Tuesday, April 28, 2020

Amabie



The Amabie is a Japanese yokai, or spirit. According to legend, in 1846, it emerged from the sea in the Higo Province. A town official encountered it and drew it in his report, depicting it with long flowing hair, a mouth like a bird's bill, scales from the neck down and three fin-like legs. The Amabie prophesied six years of good harvests, and told the official that "if disease spreads, show a picture of me to those who fall ill and they will be cured." Though a minor and obscure figure in Japanese folklore, it was revived by manga artists during the current pandemic as a symbol of resistance to the disease.




The original report of the Amabie from an 1846 kawaraban, a type of news sheet made from wood or clay block prints.

Monday, April 27, 2020

Life Drawing: Anastasia

From a figure drawing session at the NYU Theater Design Department in March.



































































Friday, April 24, 2020

Wonder Wheel




In the beginning of March, I somehow wound up having a day off on a Monday. It was that rarest of rarities . . . A free weekday that was also a school day, so I really was free for most of the day! It was also sunny and unseasonably warm, so I took a trip down to Coney Island. Coney Island is one of my favorite places, and I actually like it better during the off-season, without the crowds. Some workers were in the amusement parks, starting to get them ready for a summer season which we now know will probably not happen. There were still plenty of people around, but it was pretty quiet and peaceful. Quiet and peaceful, with the exception of an old man sitting on a bench near me, ranting to someone on his phone about how Coronavirus was a hoax, it was just the flu, and it was all thought up by "the government, the military, the corporations, the Arabs . . . They're all in on it!" Four days later, the whole city was shut down.

Friday, April 17, 2020

The Future of Upscale



An interesting thing sometimes happens when buildings are torn down. The backs and sides of the buildings on the other side of the block are revealed. Sometimes you can see a ghostly outline of the demolished building on the face of the adjacent property. Sometimes you see decades-old painted advertisements for long-gone businesses. At this lot on West 55th Street, next door to the Peninsula Hotel, you can see the backs of some of the mansions of "Millionaire's Row" on 54th St. Most of what's exposed is the rear of #11 West 54th St., designed by McKim, Mead and White. It had been home to James Goodwin, a cousin of J.P. Morgan, and later was home to the Rhodes Preparatory School. To the left, you can see the back of the Lehman House. Who knows how long those big bay windows were facing the back of some other buildings?

The lot was previously occupied by four turn-of-the-century townhouses, also designed by McKim, Mead and White. The architectural details of the buildings were stripped away, which is a sneaky trick real estate people pull to keep buildings from being designated landmarks, clearing the way for them to be demolished. In 2017, Skyline Developers, which also owns the Rockefeller townhouses on 54th, purchased the lots for $83 million. In recent weeks, before the pandemic shutdown, construction crews were in there, seemingly preparing to start building something. It's unclear what is going to go up there, but the giant signage out front promises it will be THE FUTURE HOME OF UPSCALE.


City Realty: "Skyline Developers Unfurl Banners for Prime Midtown Site"

The Real Deal: "Skyline Developers Scoop Up Vacant Site for $83M"

Saturday, April 4, 2020

Millionaire's Row

During the latter part of the 19th Century, as New York City expanded northward, the wealthy class of Manhattan started to fill Fifth Avenue with their homes and businesses. The land on 54th and 55th Streets between Fifth Avenue and Sixth Avenue was occupied by St Luke's Hospital. When the hospital moved its facilities to Amsterdam Ave. in 1896, the old building was demolished and those lots became prime available real estate. There are six extant houses on West 54th St. - numbers 5 through 15 - built between 1896 and 1900, that are the remains of this "Millionaire's Row." Across the street from them stood the brownstone mansion of John D. Rockefeller Sr., founder of the Standard Oil Company. The MoMA sculpture garden now occupies that spot. On the corner of Sixth Ave. stands the exclusive University Club.

I've been working at MoMA since last year, right across the street from these houses, so I've become very familiar with them. These drawings were done last month, during lunch breaks and downtime, before everything was locked down due to the Coronavirus Pandemic and I was sent home. As I finished them up and scanned them, I hesitated to post them. Posting drawings of luxury mansions at this moment seemed a bit frivolous, as the rate of infection increases, the death toll rises, the economy collapses, and the Federal government continually fails in ways that would be laughable if it weren't so horrifying. But as I did my research on these buildings, my mind changed.

These mansions were built just a decade or two before the 1918-19 Spanish Flu pandemic. 33,000 died in New York City alone; 500 million were infected worldwide, with at least 50 million dying from it. There was quarantine and closures and mass suffering, all with far less scientific knowledge and technology than we have today. The inhabitants of these houses lived through that, and maybe some of them didn't live through it. But the city survived. I came to see these buildings as a symbol of survival, a physical reminder that some day - despite the death and suffering we're seeing now - life will go on. The city will continue. Stores and restaurants and theaters and museums will re-open. People will be able to gather, and hug, and eat meals together, and cram into subways, and walk within six feet of strangers without fear. And hopefully we will not see this again in out lifetime, and if we do, we will know better how to survive it.

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The house at No. 7 was commissioned by financier Philip Lehman, whose father had co-founded Lehman Brothers. It was designed by architect John H. Duncan, who was also the designer of Grant's Tomb and the Soldiers and Sailors' Memorial Arch in Grand Army Plaza. Completed in 1900, it was built in the Beaux Arts style. It is notable for its distinctive slate-covered mansard roof and the trio of round windows called oculi.

The house remained in the Lehman family until the 1970's. Philip's son Robert amassed a collection of over 3000 works of art, and the home became his private gallery. Upon his death in 1969, the collection was donated to the Metropolitan Museum of Art, and several rooms were dismantled and installed as part of the Robert Lehman Wing. Lehman had wanted the whole house moved to the museum, but apparently that wasn't practical. The building went through series of owners until it was purchased by a hedge fund firm in 2006, which hired Belmont Freeman Architects to restore the house as much as possible to its original appearance, including returning some artifacts (stained-glass windows, fireplace surrounds, doors, etc) from the Met and replicating details of other elements from casts.





These twin residences at Nos. 13 and 15 were built in 1896-97 by businessman William Murray. Murray never resided there; it was just a real estate investment for him. The architect was Henry J. Hardenberg, who also designed the Waldorf, the Astoria, the Plaza Hotel and the Dakota. The matching homes are in Renaissance style. No. 13 is actually slightly larger. In 1906, No. 13 was purchased by John D Rockefeller Sr., who then resold to his son. The property remained in the Rockefeller Family until the 1980's. It currently houses offices and a restaurant on the lower floor. 

Fun Fact: It was here, in 1979, that Nelson Rockefeller, son of JD Rockefeller Jr, former Vice President and governor of NY, died of a heart attack in the middle of sex with his secretary!



Finally, this grotesque head that I did during last year's Inktober challenge. You can see them poking out below the rounded facade at the bottom of the building.




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