The Master ArtistBY—ABISHEK KRISHNA

Anne Carol Moore Educator

Born: July 12, 1871, Limerick, Maine, United States

Died: January 20, 1961, New York City, New York, United States

Education: Pratt Institute

Books: Nicholas: A Manhattan Christmas Story, 

Awards: John Newbery Medal, Regina Medal

Carol Moore

Anne Carol Moore (July 12, 1871 – January 20, 1961)was an American educator, writer and advocate for children's libraries. She was named Annie after an aunt, and officially changed her name to Anne in her fifties,

1906 to 1941 she headed children's library services for the New York Public Library system. Moore wrote Nicholas, A Manhattan Christmas Story, one of two runners-up for the 1925 Newbery Medal.

Carol Moore

Early life and education 1871–1894

Moore was born in Limerick, Maine, the youngest of ten children and the only surviving daughter of Luther Sanborn and Sarah Barker Moore.

Carol Moore

Carol Moore wrote:- Roads to Childhood (1920) Nicholas, A Manhattan Christmas

Story (1924)  My Roads to Childhood (1920) Nicholas and the Golden

Goose (1924) The Three Owls (1924) Three Owls (Volume II) (1924) Cross-Roads to Childhood (1925) Reading for Pleasure (1932) A Century of Kate

Greenaway (1934) The Choice of a Hobby (1935) New Roads to Childhood (1946) Joseph A. Altsheler and American

History (1961

Carol Moore

Revolution runs in my blood: my great-great-great-great grandfather Col. James Barrett was head of the militia at Concord April 19, 1775. (And two great-great-great grandfathers fought at Concord and at Lexington as well! (Geneology page to come one of these days. )  However, having learned the lessons of successful revolutions over the last 100 years, I am committed to nonviolent revolution.  

Biography of Carol Moore

 Monsieur Signy l'Abbaye was a master artist in his day, who was ready to retire in 1392. It was the month of May. But Guiliano Bartoli, a rich Italian patron, sent for him saying, "I'd like a portrait of myself on my banquet room wall.” It's 20 feet tall."

The Master Artist Contemplating this request, Monsieur l'Abbaye shook his head. "I'm ready to retire, so I'm not available for hire. I'm sorry. I simply can't paint your portrait." But seeing the disappointment in Senior Bartoli's eyes, he continued, "Well, there's a possibility if you can find it in your heart to allow me to explore the limits of my abilities. Not for money mind you, but for food and a bed instead. Furthermore, you need not even pose because my memory's excellent. Already I can see your portrait and how to derive it. But I insist, Senior Bartoli, while I work your portrait it must stays private -- even from you!"

The Master Artist   This is strange, thought the patron,

but he also thought about how highly the artist had been recommended. "Of course," he said "Anything you wish, but I insist upon paying you at least something for your effort. Let's draw up a contract."

Now a glint came to Monsieur l'Abbaye's eyes as he gazed upon that 20-foot wall and thought of all that space, such a wonderful place for schemes and things to give imagination wings. Because, unknown to Senior Bartoli, or anyone else for that matter, for all of his career (which was 45 years) Monsieur L'Abbaye had yearned to paint in his own way. And what way was that? Certainly not the style of Byzantine or of Proto-Renaissance. No. Monsieur Signy l'Abbaye had hungered to break free of restraints. But the guild, his craft and livelihood, would never have allowed it so he followed their rules although never proud of it. Of course he didn't reveal this to Senior Bartoli.

 Signing the contract, they sealed the agreement.

     Immediately the master artist threw a high curtain in front of the wall, a curtain through which Senior Bartoli couldn't see at all. He tried to peek, but Monsieur l'Abbaye insisted on total privacy for his artistic techniques.

     A week passed. "How is it coming?" asked the hopeful Senior Bartoli.

 Answering him from behind the curtain, Monsieur l'Abbaye said, "It's coming quite well. You know, at the age of eight I was apprentice to the great Ambrogio Lorenzetti. I could never dishonor his name. He taught me the art of grinding pigment, laying plaster, sometimes slowly, sometimes faster. He taught me how to draw and, most important, not to hurry. My training was rigorous and after certification even more vigorous. Senior Bartoli, a masterpiece... takes a while at least."

     Reluctantly, Senior Bartoli withdrew.      A month passed. "How is it coming?" Senior Bartoli

asked.

 "It's coming well," said Monsieur l'Abbaye, again from behind the curtain. Along with his words came the strange sounds of swooshing, clanking and slapping. "You know you're fortunate it's I painting your portrait. Only buon fresco will do. It's four coats of lime plaster. First layer the trullisatio, followed by the arriccio, then the anenato and finally the intonaco not to mention the part where I draw. But it's the best plaster process I ever saw. Senior Bartoli, it will last forever, but alas, it's a time-consuming endeavor."

     Sighing deeply, the patron again withdrew. Just how long would this take? Who knew?

Another three, four months passed and finally half a year went by. Senior Bartoli, the patron, marched in demanding of Monsieur l'Abbaye, the master artist, to see his portrait, "You must be finished by now and today I will see it!" he shouted, shaking with frustration.

     Stepping from behind the cloth as though surprised by such anger, Monsieur l'Abbaye said calmly. "That's fine. You needed only to request it." And he pulled aside the 20-foot curtain.

 Guiliano Bartoli stood for a minute and then his mouth fell open, his eyes turned red and he grabbed what few hairs he had left on his head. He did a little hop, and then a twitch, and his eyebrows contorted as though bewitched. Guiliano Bartoli obviously did not like his portrait, not a bit. Guiliano Bartoli threw a fit.

     "How absurd, how obscene. What does this mean? You'll not receive one Florine, do you hear? You're not an artist, maybe a thief or a madman. Get out of my sight! You'll leave my house tonight or I'll throw you out!"

So what had Monsieur l'Abbaye drawn that was wrong? He couldn't see it, he'd fussed and fixed for so long. It was his masterpiece. He wasn't sorry, no, not at all, that he had drawn to his heart's content for 20 feet tall. No matter what anybody could say, Monsieur Signy l'Abbaye had drawn it his way. Perhaps his patron couldn't tolerate his obsession with cubist expression, but Picasso would have been proud.

  If truth be told Monsieur l'Abbaye wasn't crazy, surely. He'd simply been born 500 years too early!

THE MASTER ARTIST

WRITTEN BY: BY GROUP: CAROL MOORE ARYABHATTA

ABOUT THE AUTHOR

THE STORY

CONTENT

*ABOUT CUBISM AND THE PROTO-RENAISSANCE

Anne Carol Moore

Educator

Born: July 12, 1871, Limerick, Maine, United States

Died: January 20, 1961, New York City, New York, United States

Education: Pratt Institute

Books: Nicholas: A Manhattan Christmas Story, 

Awards: John Newbery Medal, Regina Medal

Carol Moore

CAROL M

OO

RECarol Moore (July 12, 1871, Limerick, Maine, USA – January 20, 1961 (89yrs), New York City, New York , USA) an American educator, writer and advocate for children's libraries. Her other names were Anne Carroll Moore, & ACM . She was named  Annie after an aunt, and officially changed her name to Anne in her fifties.  Moore wrote Nicholas, A Manhattan Christmas Story, one of two runners-up for the 1925 Newbery Medal.

Monsieur Signy l'Abbaye was a master artist in his day, who in 1392 was ready to retire. It was the month of May. But Guiliano Bartoli, a rich Italian patron, sent for him & on his arrival said

’Abbaye looked thoughtful for a moment and said

Bartoli became disappointed …………………………

“I’m sorry, I don’t think so. I’m ready for retire so am not available for hire.”

“I’d like a portrait of myself on my banquet room wall. Could u paint it, it’s 20-feet tall”

HOWEVER, BY SEEING THE DISAPPOINTMENT IN BARTOLI’S EYES , L’ABBAYE CONTINUED………… BARTOLI REPLIES :

NOW A GLINT CAME TO L’ABBAYE’S EYES AS HE GAZED UPON THAT 20-FOOT WALL AND THINGS GAVE HIS IMAGINATIONS WINGS…

 "Anything you wish, but I insist upon paying you at least something for your effort. Let's draw up a contract."

There’s a possibility if you allow me to explore the limits of my abilities. Not for money mind you, but for food and a bed instead. You need not pose because my memory is excellent.  I can see your portrait in my mind. But I insist,  while I work your portrait stays private -- even from you!"

Unknown to Senior Bartoli, or anyone else for that matter, for all of his career (which was 45yrs) Monsieur L'Abbaye had yearned to paint in his own way. And what way was that? Certainly not the style of Byzantine or of Proto-Renaissance. No. Monsieur Signy l'Abbaye had hungered to break free of restraints.

Signing the contracts, they sealed the

agreement.

The master artist threw a high curtain in front of the wall, a curtain through which no one can see. Bartoli tried to peek but still couldn’t see.  

A week passed, Bartoli with hope asked

L’Abbaye said

“ How is it coming along”

“It’s coming along quite well. You know , at the age of eight I was apprentice to the great Ambrogio Lorenzetti. I could never dishonour his name. He taught me the art of grinding pigment, laying plaster, sometimes slowly, sometimes faster. He taught me how to draw and, most important, not to hurry. 

A MONTH PASSED …………………………….

L’ABBAYE’S REPLY:

“How is it coming along ??”

"It's coming well. You know you're fortunate it's I painting your portrait. Only buon fresco will do. It's four coats of lime plaster.  But it's the best plaster process I ever saw. Senior Bartoli, it will last forever

Another four months passed and finally half a year went by. Senior Bartoli, the patron, marched in demanding of Monsieur l'Abbaye, the master artist, to see his portrait. Shaking with frustration, he shouted

L’Abbaye replied calmly

And L’Abbaye pulled aside the 20-foot curtain.

"You must be finished by now and today I will see it!"

"That's fine. You needed only to request it."

 Guiliano Bartoli stood for a minute and then his mouth fell open, his eyes turned red and he grabbed what few hairs he had left on his head. He did a little hop, and then a twitch, and his eyebrows contorted as though bewitched. Guiliano Bartoli obviously did not like his portrait, not a bit. Guiliano Bartoli threw a fit.

SO WHAT HAD MONSIEUR L'ABBAYE DRAWN THAT WAS WRONG? HE COULDN'T SEE IT. IT WAS HIS MASTERPIECE. HE WASN'T SORRY, NO, NOT AT ALL, THAT HE HAD DRAWN TO HIS HEART'S CONTENT FOR 20 FEET TALL. NO MATTER WHAT ANYBODY COULD SAY, MONSIEUR SIGNY L'ABBAYE HAD DRAWN IT HIS WAY. PERHAPS HIS PATRON COULDN'T TOLERATE HIS OBSESSION WITH CUBIST EXPRESSION, BUT PICASSO WOULD HAVE BEEN PROUD. 

"How absurd, You'll not receive one florine, do you hear? You're not an artist, maybe a thief or a madman. Get out of my sight! You'll leave my house tonight or I'll throw you out!"

IF TRUTH BE TOLD, L’ABBAYE WASN’T CRAZY !BUT WAS BORN 500yrs TOO EARLY.

CUBISMCubism began as an intellectual revolt against the artistic expression of previous eras. Among the specific elements abandoned by the cubists were the sensual appeal of paint texture and color, subject matter with emotional charge or mood, the play of light on form, movement, atmosphere, and the illusionism that proceeded from scientifically based perspective. To replace these they employed an analytic system in which the three-dimensional subject (usually still life) was fragmented and redefined within a shallow plane or within several interlocking and often transparent planes.

Pictures related to cubism

PROTO-RENAISSANCE In Italy the Renaissance proper was preceded by an

important “proto-renaissance” in the late 13th and early 14th centuries, which drew inspiration from Franciscan radicalism. St. Francis had rejected the formal Scholasticism of the prevailing Christian theology and gone out among the poor praising the beauties and spiritual value of nature. His example inspired Italian artists and poets to take pleasure in the world around them. Renaissance art, with Renaissance Humanist philosophy, spread throughout Europe, affecting both artists and their patrons with the development of new techniques and new artistic sensibilities. Renaissance art marks the transition of Europe from the medieval period to the Early modern age.

THANK

YOU

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