1875 80

4

U. S. Navy Report of the Search for Amelia Earhart, July 2-18, 1937., 7/31/1937

“At 1100, 2 July, information was received that failure of the flight was imminent, and shortly thereafter that the plane was believed to be down.”

Series: World War II Action and Operational Reports, 12/7/1941 - 1946
Record Group 38: Records of the Office of the Chief of Naval Operations, 1875 - 2006

80 years ago on July 2, 1937 famed aviatrix Amelia Earhart went missing during her round-the-world flight along with navigator Fred Noonan.  Following the report of her disappearance, U.S. Navy and Coast Guard vessels, including the aircraft carrier USS Lexington, assisted in search operations.  These efforts are detailed in these pages excerpted from the “U.S. Navy Report of the Search for Amelia Earhart, July 2-18, 1937″.  Read the entire report in the National Archives Catalog.

Baron Raimund von Stillfried (Austria 1839-1911).
No title (Tattooed bettōs, porters),
c. 1875, printed c. 1877-80.
Albumen silver photograph, colour dyes.
National Gallery of Victoria.

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Gabriella Pescucci, costume designer for Penny Dreadful, looked at the oeuvre of French Impressionists when designing the outfits for the characters. “I took elements and details from all,” she said, “so there is not something that is totally inspired by a certain picture.”
While Pescucci did not cite specific works of art in her interview with Indiewire, we did some digging on our own and came up with some visual comparisons between Pescucci’s “Penny Dreadful” designs and the works of art that may have served as their inspiration. (Shortened and reworded from this article by Indiewire.)

  • Pierre Auguste-Renoir, “Woman in a Lace Blouse,” 1869 
  • Thutmose, Nefertiti Bust, 1345 B.C. 
  • Berthe Morisot, “Woman at Her Toilette,” 1875/80 
  • James Tissot, “The Japanese Vase,” 1870 
  • Pierre Auguste-Renoir, “La Loge,” 1874 
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Monet and his boat (4)
Eye catching
In these three paintings, Monet uses his studio boat as an eye catcher. People are rowing the boat on the small arm of the Seine that once separated the Île Marante from the  left bank of the Seine near Argenteuil.
It was a favourite location for Monet, Caillebotte and others, but don’t go looking for this spot: where the studio boat in the paintings is softly gliding by, cars are riding on a busy road since 1965, and the island has been transformed into a parc filled with sports accommodations.

Claude Monet, Le bateau-atelier (The Studio Boat), 1875. Oil on canvas, 80 x 100 cm. Private collection
Claude Monet, Le bateau-atelier sur la Seine (The Studio Boat on the Seine), 1875. Oil on canvas, 55 x 74 cm. Private collection
Claude Monet, La barque-atelier (The Studio Boat), 1876. Oil on canvas, 54,5 x 65 cm. Musée d'Art et d'Histoire, Neuchâtel, Switzerland