On a recent trip through the Provence in France, through fields of lavender, sunflowers, vineyards and olive trees, I was reminded of the importance of landscapes, and that of the Provence in particular, as inspiration for many artists, including Frédéric

Music was always part of Henri Matisse’s (1869-1954) life. He played the violin on a daily basis, reflecting the rigorous structure and precise technique which corresponded to his artistic methods. It also provided him with an escape and source of

Two of the greatest of Mexico’s artists, composer and pianist Carlos Chávez and painter and muralist Diego Rivera created a ballet on an unlikely subject: Caballos de vapor (Horsepower, or H.P.). The subject however, was close to both artists’ hearts:

“Painting can be a conversation with oneself and, at the same time, it can be a conversation with other paintings” (Jasper Johns, 1989) In this second of two articles I will briefly return to the relationship between Edvard Munch, the

« Notre tête est ronde pour permettre à la pensée de changer de direction » (Our head is round to allow thoughts to change direction) – Francis Picabia A current exhibition at the Museum of Modern Art in New York

Swedish artist Carl Köhler (1919-2006) has left a body of art in the neo-modernist style that was virtually ignored at the time of his death. His son, Henry, has taken up his father’s legacy and over the past decade has

“Je veux écrire mon songe musical…..” (I want to write my musical dream….) In three of my previous articles for Interlude (September 7, 2011, September 6, 2014 and December 13, 2015) I had concentrated on Debussy’s works related to the

“One day I must be able to improvise freely on the keyboard of colors: the row of watercolors in my paintbox” Paul Klee (1879-1940), son of a German music teacher and a Swiss mother, started studying violin as a child,