Tempera, also known as egg tempera, is a permanent, fast-drying painting medium consisting of colored pigments mixed with a water-soluble binder medium, usually glutinous material such as egg yolk.  Tempera also refers to the paintings done in this medium.  Tempera paintings are very long-lasting, and examples from the first century AD still exist.  Egg tempera was a primary method of painting until after 1500 when it was superseded by the invention of oil painting.  A paint consisting of pigment and binder commonly used in the United States as poster paint is also often referred to as "tempera paint", although the binders in this paint are different from traditional tempera paint.  The tempera medium was used by American artists such as the Regionalists Andrew Wyeth, Thomas Hart Benton and his student Roger Medearis; expressionists Ben Shahn, Mitchell Siporin and John Langley Howard, magic realists George Tooker, Paul Cadmus, Jared French, Julia Thecla and Louise E. Marianetti; Art Students League of New York instructors Kenneth Hayes Miller and William C. Palmer, Social Realists Kyra Markham, Isabel Bishop, Reginald Marsh, and Noel Rockmore, Edward Laning, Anton Refregier, Jacob Lawrence, Rudolph F. Zallinger, Robert Vickrey, Peter Hurd, and science fiction artist John Schoenherr, notable as the cover artist of Dune.  https://en.wikipedia.org/wiki/Tempera 

The Lost Lingo of New York City’s Soda Jerks by Natasha Frost    In one soda fountain, an order of “Black and white” meant a chocolate soda with vanilla ice cream.  But in another, it signified black coffee with cream—and in yet another, a chocolate malted milk.  A simple glass of milk might variously be called “cow juice,” “bovine extract,” or “canned cow,” while water went by everything from “aqua pura” to “city cocktail” to the deeply unappetizing “Hudson River ale.”  https://www.atlasobscura.com/articles/soda-jerk-slang?utm_source=Gastro+Obscura+Weekly+E-mail&utm_campaign=8c66115832-GASTRO_EMAIL_CAMPAIGN_2020_07_21&utm_medium=email&utm_term=0_2418498528-8c66115832-71793902&mc_cid=8c66115832&mc_eid=aef0869a63 

When beloved artists pass away they leave behind a legacy of change.  Those of us moved by the artists’ work are changed.  Those of us who grow wiser from their teachings, richer from their ideas, more empathetic because of their renderings, and more loving because they showed us beauty when we couldn’t see it, we are all changed.  And when someone—often a family member—builds upon that legacy by preserving and sharing the artist’s home—the very space where the art was created—the potential for significant change can extend deep into a community and well into future generations.  “Always leave a place better than how you found it,” the award-winning poet Lucille Clifton used to tell her daughter, Sidney.  Sidney Clifton, now an Emmy-nominated producer with over 20 years of experience in the animation industry, grew up in a 100-year-old house in Baltimore, Maryland, that her parents purchased in 1968.  Her father, Fred Clifton, was a sculptor, philosophy professor, and community activist who, along with Lucille, raised their six children in that house until 1979, when it was lost to foreclosure.  “I remember looking out the window and seeing the house being auctioned,” said Sidney.  Lucille Clifton built her writing career in that house.  She wrote six books of poetry and one memoir there, including her first collection, Good Times, published in 1969.  She won two National Endowment for the Arts fellowships, one in 1970 and the second in 1973.  And she served as the state of Maryland’s poet laureate from 1974 until 1985.  In 2019, on the ninth anniversary of Lucille’s death, Sidney reached out to the owners of the house.  She learned that the same family had remained in the house all of those years since 1979—and to her amazement, that they had put the house on the market the very day she called.  “It was beautiful, and gut-wrenching to walk through, but in good shape,” Sidney said.  When she opened the door to what had been the game closet, she was astonished to find her name still on the wall in the place where she had scribbled it so many years ago.  “My mom’s presence is very strong in the house,” she said.  Sidney recalls how, back in the day, the house had acted as a “sanctuary for young artists,” and her aim now is to recreate that space, to support young artists and writers through in-person and virtual workshops, classes, seminars, residencies, and a gallery.  Plans are underway for 2021.  It is of chief importance to Sidney that the space be used to help model to young people what the artist’s life can look like.  As her monther once wrote, “We cannot create what we cannot imagine.”  To support Sidney’s vision for her childhood home, the Clifton House recently received preservation funding through the National Trust for Historic Preservation’s African American Cultural Heritage Action Fund.  Given Lucille Clifton’s pre-eminence as a culture bearer of the Black experience in America, it seems particularly fitting that the poet’s house is recognized among a group of grantees that includes the homes of two other iconic culture bearers, Paul Robeson and Muddy Waters.  For more quotes by Lucille Clifton, check out this homage.  And to read some of Lucille Clifton’s poetry, watch out for How To Carry Water:  Selected Poems of Lucille Clifton, a new collection of poems with both familiar and lesser-known works, including 10 newly discovered poems that have never been published.  Edited and with a foreword by Aracelis Girmay (a 2011 National Endowment for the Arts Literature Fellow), the collection is due out on September 8th, 2020, from BOA Editions, with support from a National Endowment for the Arts grant.  Amy Stolls and Jessica Flynn  https://www.arts.gov/art-works/2020/clifton-house-labor-love-and-legacy?utm_source=SM&utm_medium=TW&utm_campaign=BLOG_CliftonHouse_TW 

In a typing room at the UCLA Library, there was a device under each typewriter to shove dimes against the clock.  In nine days I wrote Fahrenheit 451.  It cost me $9.80 and I called it my dime novel.  Ray Bradbury  See https://www.mentalfloss.com/article/527650/16-surprising-facts-about-ray-bradburys-fahrenheit-451 or https://www.sparknotes.com/lit/451/ or https://interestingliterature.com/2013/07/a-short-analysis-of-ray-bradbury-fahrenheit-451/

Charlotta Bass strode onto a stage in Chicago and gave a speech as the first Black female candidate for Vice President.  As a candidate for the nation's second highest office under the Progressive Party ticket in 1952, she addressed convention attendees on March 30 that year.  "I stand before you with great pride," she said.  "This is a historic moment in American political life.   Historic for myself, for my people, for all women.   For the first time in the history of this nation a political party has chosen a Negro woman for the second highest office in the land."  Bass started making history long before she ran for office.  The activist turned politician was born in South Carolina in 1874.  She later moved to the West Coast, where she became one of the first African American women to own and operate a newspaper—the California Eagle.  Her fight against injustice started decades before her political bid.  She used her newspaper as a platform to highlight issues such as police brutality, restrictive housing, the Ku Klax Klan and civil liberties.  She was such a major advocate for civil liberties, women's rights and immigration, she received death threats.  The FBI also placed her under surveillance after she was labeled a communist, government records show.  Faith Karimi  https://www.cnn.com/2020/08/14/us/charlotta-bass-kamala-harris-trnd/index.html 

During an interview on “The View” in January 2019, Kamala Harris provided a mnemonic device when Whoopi Goldberg asked her how to pronounce her name correctly.  “Just think like ‘comma,’ and add a ‘la.’”  The name Kamala is derived from the Sanskrit word for “lotus.”  The vice presidential nominee explained the symbolism behind the name at a book event in 2018.  “The symbolism is that the lotus flower sits on water, but never really gets wet,” Harris said, according to The Washington Post.  “Its roots are in the mud, meaning it is grounded.  One must always know where they come from.”  Kyle Hicks  https://www.thedenverchannel.com/news/election-2020/how-to-pronounce-kamala-harris-name 

Guillaume Apollinaire (1880–1918) was a French poet, playwright, short story writer, novelist, and art critic of Polish-Belarusian descent.  Apollinaire is considered one of the foremost poets of the early 20th century, as well as one of the most impassioned defenders of Cubism and a forefather of Surrealism.  He is credited with coining the term "Cubism" in 1911 to describe the emerging art movement, and the term "surrealism" in 1917 to describe the works of Erik Satie.  The term Orphism (1912) is also his.  He wrote poems without punctuation attempting to be resolutely modern in both form and subject.  Apollinaire wrote one of the earliest Surrealist literary works, the play The Breasts of Tiresias (1917), which became the basis for Francis Poulenc's 1947 opera Les mamelles de Tirésias.  Apollinaire was active as a journalist and art critic for Le Matin, L'Intransigeant, L'Esprit nouveau, Mercure de France, and Paris Journal.  In 1912 Apollinaire cofounded Les Soirées de Paris,an artistic and literary magazine.  The term Orphism was coined by Apollinaire at the Salon de la Section d'Or in 1912, referring to the works of Robert Delaunay and František Kupka.  During his lecture at the Section d'Or exhibit Apollinaire presented three of Kupka's abstract works as perfect examples of pure painting, as anti-figurative as music.  The term Surrealism was first used by Apollinaire concerning the ballet Parade in 1917.  He described Parade as "a kind of surrealism" (une sorte de surréalisme) when he wrote the program note the following week, thus coining the word three years before Surrealism emerged as an art movement in Paris.  https://en.wikipedia.org/wiki/Guillaume_Apollinaire

Read about museums in Honfleur, France including Les Maisons Satie and Musée Eugène Boudin at https://www.lonelyplanet.com/france/honfleur/attractions/a/poi-sig/1003169

 http://librariansmuse.blogspot.com  Issue 2243  August 17, 2020