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| The Limbourg Brothers, January From the Tres Riches Heures of Jean, Duke de Berry Flemish, c. 1412-1416 Chantilly, Musée Condé MS 65, fol. 1v |
January and February are frequently difficult months to live through, even with all our modern technology. Depending on the year and the location we can be subjected to fierce blizzards and brutal cold in the northern latitudes. In other years we may have deceptive patches of warmer days that turn our minds to spring, only to plunge once more into deep winter. In addition, especially in January, the days are short and, although the turn of the northern hemisphere back toward the sun has begun with the winter solstice in late December, darkness seems to reign interminably. The lack of sunlight can contribute to depression, both physical and mental, and the closing in of life to the indoors contributes to the spread of infections such as influenza and the common cold.
This situation is, of course, nothing new. The earth has tilted on its axis for many
millennia, bringing winter and darkness alternately to both lateral hemispheres
of the planet. Only the regions near the
center of the earth have a relatively stable year-round relationship with the
sun.
Since this is so, how did our ancestors in the northern
latitudes deal with winter? Is there any
way we can find to relate their experience to ours? The answer is yes, at least for Western
Europe. We can actually see what they
did through the calendar pages of medieval prayer books.
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| Follower of Jean Pichore, January and February From a Book of Hours French (Paris), c. 1490-1500 New York, The Morgan Library and Museum MS M7, fol. 1v |
Calendar pages usually formed the first group of pages in
missals, books of hours or other prayer books.
Their initial purpose was to record the calendar of feast days for each
month of the year. By the start of the middle
ages the Church already had a well-defined calendar of feasts. There are two kinds of feasts, moveable and
fixed. The moveable feasts are those
without a specific calendar date, such as Easter, which is set each year by the
relationship between the movements of the sun and the movements of the moon
(being celebrated on the first Sunday after the first full moon which follows
the spring equinox). Fixed feasts have a
specific calendar date (for example Christmas, which is celebrated on December
25 every year). Saints feast days are
the most prevalent form of fixed feast, being usually celebrated on the date of
the death of the saint.
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January Calendar Page
From Hours of Marguerite of Orleans
French (Rennes), c. 1426
Paris, Bibliotheque nationale de France
MS Latin 1156 B, fol. 1 |
The books contained lists of both types of feasts, with the
moveable ones being calculated for several years in the future at the time the
book was created. However, it is the
pages with the fixed feast days that received the most decoration, since they
are used year after year. The fixed
feasts include important festivals celebrating events in the life of the Virgin
Mary (such as the Purification on February 2 or the Nativity of Mary on
September 8) as well as the feast days assigned to particular saints (such as
Saint Blaise on February 3 or Saint Augustine on August 28).
Calendar pages started out as simple lists of dates and names,
just as they appear today in prayer books.
Fairly soon, however, small pictures were inserted into the page to
enliven them. And these small pictures
grew in size to become, by the late middle ages, full page pictures of the
natural world and human activity within it.
The Renaissance broadened this still further.
The Middle Ages (1100-1500)
January
At the start the images were small and often focused on two things: the sign of the zodiac associated with the month and an easily recognizable activity associated with it. |
| January From the Fulda Sacramentary French (Corvey), c. 960-1000 Munich, Bayerisches Staatsbibliothek MS Clm 10077, fol. 219 |
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| January From the Munich Golden Psalter English (Oxford), c. 1200-1225 Munich, Bayerisches Staatsbibliothek MS Clm 835, fol. 1 |
The activity associated with the month of January should
come as no surprise. It is
feasting. In the twenty-first century we
still practice this, but we have displaced the feasting from its correct place
in the calendar. In the middle ages, the
celebration of Christmas took about the same amount of time as it does now. However, they began their celebration on
Christmas Eve and carried it through to the feast of the Purification on
February 2, giving them roughly six weeks of celebration. Today, especially in the United States, with
its unique, secular Thanksgiving feast at the end of November, we begin the
celebration in late November and end it (more or less) with New Year’s Day on
January 1. This is also roughly six
weeks of celebration, just displaced.
Or, put differently, we celebrate going into the winter solstice and
Christmas, they celebrated coming out of these days.
January also carried another charge, more obvious to them than it may be to us. The name of the month itself derives from the name of the Roman god, Janus. Janus is the two-headed god, who looks both ahead and behind and was the god of beginnings and endings and of transitions. Therefore, some of the early images associated with the January calendar pages depicted the two-headed Janus feasting, with both heads. Into one mouth he is putting food and into the other mouth drink.
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| January Stained Glass Window Panel Swiss, c. 1170 Lausanne, Cathedral |
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| Ham of Fecamp, January From a Psalter French, c. 1180 The Hague, Koninklijk Bibliotheek MS 76 F 13, fol.1v |
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| Tweede Groep, January From a Psalter Flemish (Ghent), c. 1270-1280 New York, The Morgan Library and Museum MS M 72, fol. 1r |
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| January From a Book of Hours French, c. 1425-1435 New York, The Morgan Library and Museum MS M 64, fol. 1r |
However, artists soon dropped this sometimes challenging
image in favor of showing a man (with a single head and mouth) eating in front
of a good fire.
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| January From a Church Calendar Leaves Album Flemish (Liege), c. 1245-1255 New York, The Morgan Library and Museum MS M 908.1, fol. 1v |
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| January From a Psalter English (Winchester), c. 1295-1305 New York, The Morgan Library and Museum MS G 19, fol. 1r |
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| January From a Book of Hours French (Rouen), c. 1475-1500 New York, The Morgan Library and Museum MS G 4, fol. 2r |
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| Jean Colombe, January From a Book of Hours French (Bourges), c. 1465-1470 New York, The Morgan Library and Museum MS M 248, fol. 1r |
Other images began to appear as well. One that is especially easy for those of us who live in the northern climate to appreciate is the motif of the man seated before the fire warming his cold feet. In these little pictures showing him removing his boots and stretching out his cold feet and hands we can find a good deal of resonance as we cozy up to our own radiators and heaters or wrap our hands around a warm mug of coffee, tea or cocoa.
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| January From a Psalter French (Therouanne), c. 1260-1270 New York, The Morgan Library and Museum MS M 97, fol. 1r |
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| Egerton Master, January From a Book of Hours French (Paris), c. 1410-1425 New York, The Morgan Library and Museum MS M 919, fol. 1r |
Initially, the man was depicted alone by the fire. Over time, however, other figures began to be added to the scene. Servants were shown bringing food or drink or extra logs for the fire.
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| January From a Book of Hours French (Paris), c. 1470-1480 New York, The Morgan Library and Museum MS S 5, fol. 2r |
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| Master of the Morgan 366, January From a Book of Hours French (Tours), c. 1465-1475 New York, The Morgan Library and Museum MS M 366, fol. 5r |
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| Master of the Rouen Echevinage, January From a Book of Hours French (Rouen), c. 1470-1480 New York, The Morgan Library and Museum MS M 312, fol. 1r |
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| January From a Book of Hours French (Rouen),. c. 1485-1495 New York, The Morgan Library and Museum MS M 202, fol. 1e |
Friends shared the table.
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| Master of the Rouen Echevinage, January From a Book of Hours French (Rouen), c. 1475-1485 New York, The Morgan Library and Museum MS M 131, fol. 1r |
Eventually, by the end of the fifteenth century women
began to appear both as servants and as family members.
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| Jean Colombe and Workshop, January From the Hours of Anne of France French (Bourges), c. 1470-1480 New York, The Morgan Library and Museum MS M 677, fol. 1r |
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| Georges Trubert, January From a Book of Hours French (Avignon), c. 1480-1495 New York, The Morgan Library and Museum MS M 348, fol. 94 |
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| January From a Book of Hours Flemish, c. 1485-1495 New York, The Morgan Library and Museum MS S 7, fol. 1r |
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| Master of Spencer 6, January From a Book of Hours French (Langres), c. 1495-1505 New York, The Morgan Library and Museum MS M 271, fol. 1r |
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| January From a Breviary French, c. 1506-1516 New York, The Morgan Library and Museum MS M 8, fol. 1r |
By the early sixteenth century the entire family
has assembled, including the dog and the cat.
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| Gerard Horenbout, January From the Grimani Breviary Flemish, c. 1510-1520 Venice, Biblioteca Nazionale Marciana MS Lat I 99 |
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| Simon Bening, January From the Da Costa Hours Flemish (Bruges), c. 1510-1520 New York, The Morgan Library and Museum MS M 399, fol. 2v |
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| Follower of the Master of Petrarch's Triumphs, January From a Book of Hours French (Paris), c. 1515-1525 New York, The Morgan Library and Museum MS M 632, fol. 1r |
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| Simon Bening, January From a Book of Hours Flemish (Bruges), c. 1515-1525 New York, The Morgan Library and Museum MS M 307, fol. 1v |
Also, toward the end of the fifteenth century, these
interior scenes begin to share space with glimpses of the world outside the
house and of the activities associated with it.
For January, the principle outdoor activity is directed toward the goal
of keeping the interior warm, for example chopping wood and carrying it home.
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| January From a Book of Hours Flemish, c. 1485-1495 New York, The Morgan Library and Museum MS S7, fol. 1v |
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| Master of James IV of Scotland, January From the Breviary of Eleanor of Portugal Flemish (Bruges), c. 1495-1505 New York, The Morgan Library and Museum MS M 52, fol. 2r |
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| Jean Poyer, January From the Hours of Henry VIII French (Tours), c. 1495-1505 New York, The Morgan Library and Museum MS H8, fol. 1r |
February
Especially at the beginning of the medieval period February has a similar iconography, but with a slightly different pitch. The feasting that was so prominent in January has been replaced by two images in the early calendars.The first is of the feast of the Purification or Candlemas, which is celebrated on February 2. It commemorates the double event of the presentation of Jesus in the Temple and the purification of Mary, the ritual cleansing rite that Jewish women were required to undergo after childbirth. By tradition candles are brought to church and blessed by the priests. And many of the calendar pages feature small images of women holding one or more candles. Later men also appear with candles.
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| February From a Psalter Flemish (Bruges), c. 1250-1300 London, The British Library MS Royal 2 B III, fol. 2v |
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| Eerste Groep, February From a Psalter Flemish (Bruges), c. 1255-1256 New York, The Morgan Library and Museum MS M 106, fol. 1v |
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| Tweede Groep, February From a Psalter Flemish (Ghent), c. 1270-1280 New York, The Morgan Library and Museum MS M 72, fol. 1v |
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| February From a Psalter and Book of Hours French (St. Omer), 1276 London, The British Library MS Yates Thompson 43, fol. 2v |
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| Laurentius, February From a Missal Flemish (Antwerp), c. 1350-1366 The Hague,The Meermano Museum MS MMW 10 A 14, 1v |
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| February From the Egmont Breviary Dutch (Utrecht), c. 1435-1445 New York, The Morgan Library and Museum MS M 87, fol. 5v |
But, by far, the greater number of images of February are of people, first men, and later men and women, keeping warm by the fireside. They hold out their cold feet and hands to the fire and lift up the skirts of their gowns to draw the heat up the entire span of their legs.
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| February Swiss, c. 1170 Lausanne, Cathedral |
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| Ham of Fecamp, February From a Psalter French, c. 1180 The Hague, Koninklijk Bibliotheek MS 76 F 13, fol. 2v |
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| February From the Shaftesbury Psalter English, c. 1225-1250 London, The British Library MS Lansdowne 383, fol. 3v |
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| February From a Psalter English (Reading), c. 1245-1255 New York, The Morgan Library and Museum MS M103, fol. 4v Interesting proof that the stirrup pant is not a modern invention! |
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| February From a Psalter English (Winchester), c. 1295-1305 New York, The Morgan Library and Museum MS G 19, fol. 1v
Note the depiction of the right foot outside the pictorial space. Rather than accept the limitations of the frame this artist depicts it as superimposed on the scene. It is not a window into reality, but an imposition upon it. |
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| February From the Queen Mary Psalter English (London), c. 1310-1320 London, The British Library MS Royal 2 B VII, fol. 72v
This rather unusual scene of a lord being assisted in dressing before a fire offers an intimate glimpse into the lives of fourteenth-century people. And, anyone who has ever had to get dressed in a cold room can appreciate the need for the blazing fire. |
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| Master of Morgan 453, February From a Book of Hours French (Paris), c. 1420-1435 New York, The Morgan Library and Museum MS M 453, fol. 2v |
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| February From a Book of Hours French, c. 1425-1435 New York, The Morgan Library and Museum MS M 64, fol. 2r |
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| February From a Book of Hours French (Anjou), c. 1435-1445 New York, The Morgan Library and Museum MS M 157, fol. 3r |
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| Courting Scene, February From a Book of Hours French (Paris), c. 1470-1480 NY, The Morgan Library and Museum MS S 5, fol. .3r
This courting scene used as an activity for the month of February reminds us that it is around this time that February 14, the feast of St. Valentine, became associated with courtship and love.
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| Georges Trubert, February From a Book of Hours French (Avignon), c. 1480-1495 New York, The Morgan Library and Museum MS M 348, fol. 10v |
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| Jean Poyer, February From the Hours of Henry VIII French (Tours), c. 1495-1505 New York, The Morgan Library and Museum MS H 8, fol. 1v |
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| February From Meditations and Church Services German, 1507 London, The British Library MS Egerton 2076, fol. 2 |
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| The Limbourg Brothers, February From the Tres Riches Heures of Jean, Duke de Berry Flemish, c. 1412-1416 Chantilly, Musée Condé MS 65, fol. 2v |
This had a huge effect on some of the miniature painters who
followed the Limbourgs. Prior to their
work hardly any images had shown any winter activities outside the house. A few images did exist, primarily as sculptural decorations on church doors or occasionally in manuscripts. Generically called "the Labors of the Months" they showed figures participating in whatever agricultural activity suited that month.
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| January Italian, c. 1250 Venice, Basilica of St. Mark |
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| February Italian, c. 1250 Venice, Basilica of St. Mark |
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| February From the Psalter of Lambert le Begue Flemish (Liege), c. 1255-1265 London, The British Library MS Additional 21114, fol. 1v |
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| February From a Breviary French (Cambrai), c. 1275-1300 The Hague, Koninklijk Bibliotheek MS KB 76 J 18, fol. 210v
In this image, the artist shows us not only a "Labor of the Month", but also a clever reference to the zodiacal sign for February, the twin fish of Pisces. |
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Luca della Robbia, January
Italian, c. 1450-1456
London, Victoria and Albert Museum |
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| Luca della Robbia, February Italian, c. 1450-1460 London, The Victoria and Albert Museum |
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| Fishing in February From The Queen Mary Psalter English (London), c. 1310-1320 London, The British Library MS Royal 2 B VII, fol. 73 Not only is this a reference to winter fishing, but the fish are actually the symbol of Pisces, February's sign of the zodiac.
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After the work of the Limbourgs this kind of image became much more frequent. The fireside only scenes continued, of course, but they were joined by many more showing such scenes as workers pruning trees, preparing the ground for sowing, cutting and hauling wood. Occasionally, the two motifs are combined, with scenes of people warming themselves by the fire outdoors.
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| February From a Book of Hours French (Paris), c. 1415-1425 New York, The Morgan Library and Museum MS M 1000, fol. 2r |
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| February From the Hours of Charlotte of Savoy French (Paris), c. 1415-1430 New York, The Morgan Library and Museum MS M 1004, fol. 1v |
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| February From the Dunois Hours French (Paris), c. 1440-1450 London, The British Library MS Yates Thompson 3, fol. 2
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| February From a Book of Hours Flemish (Bruges), c. 1465-1475 New York, The Morgan Library and Museum MS M 285, fol. 2r |
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| Jean Colombe and Workshop, February From a Book of Hours French (Bourges), c. 1465-1470 New York, The Morgan Library and Museum MS M 248, fol. 2r |
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| February From a Book of Hours French (Rouen), c. 1475-1500 New York, The Morgan Library and Museum MS G 4, fol. 3r |
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| February, Cutting Firewood From a Book of Hours Flemish, c. 1485-1495 New York, The Morgan Library and Museum MS S 7, fol. 2r
The action in this picture is continued on the next leaf (below). |
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| February, Bringing the Cut Wood Home From a Book of Hours Flemish, c. 1485-1495 New York, The Morgan Library and Museum MS S 7, fol. 3r |
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| February From a Book of Hours Flemish, c. 1500 London, The British Library MS King's 9, fol. 3v-4 This Book of Hours contains inscriptions by Anne Boleyn and Henry VIII. |
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February
From a Book of Hours
German (Strasbourg), Early 16th Century
Los Angeles, J. Paul Getty Museum
MS Ludwig IX 16, fol. 2r
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From a Book of Hours
German (Strasbourg), Early 16th Century
Los Angeles, J. Paul Getty Museum
MS Ludwig IX 16, fol. 2r
The Renaissance and Baroque (1500-1800)
January
For whatever reason, the sixteenth century was a time of change for the depiction of the months. No longer was the focus for the month of January solely feasting by the fire, although such pictures did continue to be created. Instead, artists began to study and depict the wintry landscape, with its snow and leafless trees, and the human actors moving within it. Initially glimpsed as a landscape outside the house in the manner of the Limbourg Brothers, the landscape itself soon became the dominant subject of the painting. And, while the Labors of the Months continued to hold some place, some of the “labors” became more akin to what we would call pastimes, such as ice skating. Such activities were probably not depicted until now because they were not considered worthy of recording. |
| Pieter Bruegel the Elder, Hunters in the Snow (January) Flemish, 1565 Vienna, Kunsthistorisches Museum |
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| Etienne Delaune, January French, c. 1570 Paris, Musée du Louvre |
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| Leandro Bassano, January Italian, c. 1595-1600 Vienna, Kunsthistorisches Museum
In spite of the modernity of this image, it still retains a reference to the older tradition by placing the zodiacal symbol for January, Aquarius, in the sky.
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Some of these winter landscapes make reference to a Biblical event associated with the month, the Flight into Egypt.
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| Abel Grimmer, January, Landscape with the Flight into Egypt Flemish, c. 1600 Private Collection |
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| Joos de Momper, Winter Landscape with the Flight into Egypt Flemish, c.1620-1630 Private Collection |
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| Jan Gerritsz Swelinck, January with Flight into Egypt Dutch, c. 1624-1645 Amsterdam, Rijksmuseum |
But the majority, growing ever less religious, concentrated attention on the effects of the cold weather on the natural and human worlds.
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| Sebastian Vrancx, January Flemish, c. 1620-1630 Budapest, Szépmûvészeti Múzeum |
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| Joos de Momper, Winter Landscape Flemish, c.1620-1630 Private Collection |
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| Pierre Antoine Patel, January, Snow Effect French, c. 1680-1700 Paris, Musée du Louvre |
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| Cornelis Dusart, January, Twelfth Night Dutch, c. 1675-1704 London, The British Museum |
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| Caspar Luyken, January Dutch, c. 1698-1702 Amsterdam, Rijksmuseum |
February
February followed a similar pattern. However, because by late February winter begins to abate, the medieval Labors often included scenes such as pruning and digging, the difference is not quite so stark. In the Renaissance and Baroque periods February also included some of the more lighthearted activities such as skating, but the focus was more weighted toward the agricultural activities that had medieval precedents. |
| Master of James IV of Scotland, February From the Breviary of Eleanor of Portugal Flemish (Bruges), c. 1495-1515 New York, The Morgan Library and Museum MS M 52, fol. 2v |
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| February From a Book of Hours Dutch, c. 1500-1525 The Hague, Koninklijk Bibliotheek MS KB 133 D 11, fol. 3r |
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| Gerard Horenbout, February From the Grimani Breviary Flemish, c. 1510-1520 Venice, Biblioteca Nazionale Marciana Horenbout's debt to the Limbourg Brothers is obvious. |
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| Simon Bening, February From the Da Costa Hours Flemish (Bruges), c. 1510-1520 New York, The Morgan Library and Museum MS M 399, fol. 3v |
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| Simon Bening, February From a Book of Hours Flemish (Bruges), c. 1515-1525 New York, Pierpont Morgan Library MS M 307, fol. 2r |
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| Master of the Getty Epistles, February From a Book of Hours French (Tours), c. 1525-1540 New York, The Morgan Library and Museum MS M 452, fol. 3r |
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| Pieter Bruegel the Elder, A Gloomy Day (February) Flemish, 1565 Vienna, Kunsthistorisches Museum |
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| Etienne Delaune, February French, After 1568 Philadelphia, Museum of Art |
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| February French, Late 16th Century Philadelphia, Museum of Art |
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| February Italian (Venetian), c. 1580 London, The National Gallery |
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| Lucas van Valckenborch the Elder, Winter Landscape in a Snowstorm Dutch, 1586 Vienna, Kunsthistorisches Museum |
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| Joos de Momper, Dorf in Winter Flemish, c. 1600 Hamburg, Kunsthalle |
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| Leaonard Gaultier, February French, c. 1600 Philadelphia, Museum of Art |
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| Abel Grimmer, Month of February or Winter Flemish, c 1604-1606 Private Collection |
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| Jan van de Velde the Younger, February From a series of The Months Dutch, 1616 Boston, Museum of Fine Arts |
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| Leandro Bassano, Februry Italian, c. 1595-1600 Vienna, Kunsthistorisches Museum |
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| Antonio Tempesta, February, A Carnival Tournament Italian, 1599 Philadelphia, Museum of Art |
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| Joos de Momper_February Flemish, c. 1600 Amsterdam, Rijksmuseum |
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Aegidius Sadeler the Younger After Pieter Stevens, February-Carnival |
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| Cornelis Dusart, February From the 12 Months of the Year Dutch, c. 1680-1690 Boston, Museum of Fine Arts |
Nor was the theme of romantic love, associated with the feast of St. Valentine on February 14 by the fourteenth century, neglected.
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February Torch Dance |
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| Francois Boucher, The Four Seasons: Winter French, 1755 New York, Frick Collection |
And, our old friends from January, eating and keeping warm, were not entirely neglected either.
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| Francisco Barrera, February, Winter Still Life Spanish, 1640 Madrid, Museo Nacional del Prado |
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| Hendrick Bloemaert, Old Man Warming His Hands Flemish, 1631 Private Collection |
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| Joachim von Sandrart, February German, 1642 Schleissheim, Staatsgalerie |
Gradually, the distinction between the two winter months faded into an almost generic depiction of "Winter". These paintings of the Baroque and later periods depict mainly landscapes and winter sports and have abandoned the old tie to the liturgical calendar for a new seasonal approach to nature.
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| Hendrick Avercamp, Skating on a Frozen River Dutch, c. 1608 Amsterdam, Rijksmuseum |
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| Klaes Molenaer, Winter Dutch, c. 1660-1670 Private Collection |
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| Aert van der Neer, Sports on a Frozen River Dutch, c. 1660 New York, Metropolitan Museum of Art |
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| Jacques de la Joue the Younger, Allegory of Winter French, c. 1730-1740 New York, Metropolitan Museum of Art |
"Winter": The Post-Baroque (1800-2018)
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Caspar David Friedrich, Winter
German, 1811
London, National Gallery |
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| Barend Cornelis Koekkoek, Winter Landscape, Holland Dutch, 1833 New York, Metropolitan Museum of Art |
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| Henry Farrer, Winter Scene in Moonlight American, 1869 New York, Metropolitan Museum of Art |
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| Claude Monet, Boulevard Saint-Denis, Argenteuil, in Winter French, 1875 Boston, Museum of Fine Arts |
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| Leon-Germain Pelouse, January:Cernay, near Rambouillet French, c. 1887 New York, Metropolitan Museum of Art |
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| Alfred Sisley, Rue Eugene Moussoir at Moret: Winter English, 1891 New York, Metropolitan Museum of Art |
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| Claude Monet, Ice Floes French, 1893 New York, Metropolitan Museum of Art |
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| George Bellows, Blue Snow, the Battery American, 1910 Columbus (OH), Museum of Art |
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| Ernest Lawson, Winter American, 1914 New York, Metropolitan Museum of Art |
It would appear that almost all ties to the old calendar pages have been obliterated, except, of course, that nature has not changed. Winter is still winter and during the season we still do the same things that our ancestors did. We sit at home in the warmth, we perhaps overindulge in food and drink, we do what chores are required of us in the outside world (though these may no longer involve tillage and pruning).
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| George Henry Durrie, Red School House American, 1858 New York, Metropolitan Museum of Art |
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| Camille Bernier, Janvier, Bretagne French, c. 1872 Paris, Musée d'Orsay |
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| Childe Hassam, Winter in Union Square American, c.1889-1890 New York, Metropolitan Museum of Art |
When we can, if we can, we also participate in outdoor sports.
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| Currier and Ives After Charles Parsons, Central Park, Winter-The Skating Pond American, 1862 New York, Metropolitan Museum of Art |
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| Currier and Ives, Central Park in Winter American, c. 1877-1894 New York, Metropolitan Museum of Art |
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| William James Glackens, Central Park, Winter American, c. 1905 New York, Metropolitan Museum of Art |
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| George Bellows, Love of Winter American, 1914 Chicago, Art Institute |
Of course, for the rest of us, we sit at home keeping warm
and watch, not the dancing flames of the fire, but the performance of these
hardy men and women on our screens.
Or, instead of watching the screen, we may read a book, peruse a magazine or write a letter, in the company of our dog or cat.
Or, instead of watching the screen, we may read a book, peruse a magazine or write a letter, in the company of our dog or cat.
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| Joseph J. Gould, February American, 1896 New York, Metropolitan Museum of Art
(Notice that the wallpaper is sprinkled with hearts for Valentine's Day) |
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| Edward Penfield, February American, 1898 New York, Metropolitan Museum of Art |
So perhaps things aren’t really so different for most of us after all.
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| Wharton H. Esherick, Trudging in the Snow (January) American ,1922 Philadelphia, Museum of Art |
© M. Duffy, 2018
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