Moonlight Serenade - Karl J. Kuerner

Oil on canvas, 30x40”

Karl J. Kuerner was born in Chadds Ford, Pennsylvania in 1957.

N. C. Wyeth (US 1882-1945)

‘Kuerner's Farm’ 1916 

Andrew Wyeth, Evening at Kuerners, 1970 Drybrush on paper

Andrew Wyeth, The Hunter, 1974

Andrew Wyeth, The Kuerner Farm, 1971

Karl J Kuerner (American, PA, b 1957), oil on board, "Pine Cones"

Andrew Wyeth, Evening at Kuerners, 1970

Andrew Wyeth: Serán en Kuerners (1970)

here's another poem, this one's a little different. it's a tribute to an ex-best friend of mine, so um, naia if you're out there, i hope you like it. under the cut as usual.

[Tall Women]

I have loved several tall women in my life but tonight I am compelled to sing the praises of one in particular. She smelled like salt. She felt over six feet tall, With a strong, soft body like a sequoia, Or a redwood. Blue eyes, campfire smile. Ash and silt on skin. Sand in the cracks of her hands when you ran your fingers over it, She smelled like a human. Deep Woods Off and marijuana. In my mind, she stands frozen by the deer crossing sign. Short hair, loose clothes, Round, freckled face. She made fried eggs and pasta with alfredo sauce And she covered everything in butter. We were married. Our wedding held over the yellow line in the middle of a road. She was a hard-footed girl, A slaughterhouse maiden, Her mother’s only handsome son. She was in love with grime And the creatures of the night, She held chickens by their legs And necks, Crying when they died. She sat cross-legged in the river mud, Tasting like a body run through with little striped fish. We carried a glass jar of milk Up a hill, It shattered and spilled in a puddle. We drank tequila in the snow. She held me under leather blankets, Lay me down limp like I had died One night In a tent on the riverbank. We swam half-naked And told each other stories, And stories, And stories.

the painting is "evening at kuerners" by andrew wyeth (1970)

also if you ever actually do read this, sorry if it's creepy, i legitimately did not think it was going to turn out so wistful and gay but i'll be damned if i'm going to edit out the thing that makes it good.

Would you like to talk about Andrew Wyeth paintings? What do you think of them?

Hi! So, first of all, thank you for asking. It's always great to talk about Wyeth's works, especially in light of Remus and Sirius's relationship (I'm interested in his paintings essentially because of them). Basically, Wyeth's paintings are particularly fascinating to me for their portrayal of the haunted world imbricated in the most domestic and familiar places.

Wyeth's works don't have an eminently objective way of representing an urban or natural scene. His landscapes are always subjective manifestations that incorporate sensitive and abstract elements of American culture. The paintings include not only concretely visible phenomena but also those of an imaginary order that concern the forms of thinking and experiencing space (see Evening at Kuerners, No Trespassing, and Witching Hour). In fact, if you're digging for an example, his works remind me a lot of antique cartography, which was not an art that only showed real locations; it also included imaginary or allegoric elements.

This idea brings to my mind the haunted houses and places that we experience in Remus and Sirius' world, from the Marauder's Map to the Shrieking Shack and the cave Padfoot lives in, besides the spaces created exclusively by the readers like Lupin's strange and isolated house in Wales or Sirius' apartment decorated with his family paraphernalia from the wizarding world (while being simultaneously located in Camden Town). As if we participated in Wyeth's paintings, we created the magical world based on this contrasting game between the orderly and sober nature and the wild woods and houses. We joined in the game by including bizarre objects in the narrative and also by hybridizing their human and animal forms (is Remus the wolf exclusively during the full moon?).

Places such as caves, shacks, houses and forests are elements in both Wyeth's painting and the wizarding world that aim to represent this feeling of protection so desired by men and animals; to represent places that can combat hostilities from the outside world. I see in both these media a kind of search for shelter, for a safe place, a location that reflects the will of the human being to return to inhabit a home in which he found himself protected. However, at the same time, these spaces are tied to a landscape that seems suspended somehow, or perhaps holding a malaise or a threat (see Open and Closed, Renfield, and The Mill). A figuration of terror and a sense of the unfamiliar reside in these places, belonging to a penumbral, ominous world where houses don't have adequately illuminated windows, for example.

The Shrieking Shack is precisely that: a place of boundaries, borders, and unexpected events. A place where Sirius, acknowledged as a monster and an omen of death (no less), becomes a human being, and Remus, inversely, the morally responsible professor with good manners, transforms into the said monster.

In painting Karl Kuerner, Wyeth observed and depicted the passage of time as Kuerner grew older and eventually became ill with leukemia. In this surreal scene, a meditation on death and regeneration, Wyeth imagined Kuerner encased in vestiges of ice at the base of Kuerner Hill. This was a powerful location for the artist, close to the railroad tracks where his father had died so tragically in 1945, a symbolic reminder of that death.

Brandywine Museum of Art

In contrast to the bleak image, the painting’s title, Spring, suggests renewal, thawing out and the natural passage of time and seasons.

«Свет внутри»

Karl J. Kuerner

Evening at Kuerners

Presenting recently rediscovered drawings, 'Andrew Wyeth: Life and Death' explores what it means for an artist to picture their own death, in both the context of Wyeth’s late career and contemporary American art.⁠ ⁠ This volume presents for the first time a recently rediscovered series of pencil drawings from the early 1990s, through which Wyeth imagined his own funeral. Chapters by leading art historians explore the significance of picturing one’s own death in both the context of Wyeth’s late career and contemporary American art. The book connects the funeral series to Wyeth’s decades-long engagement with death as an artistic subject in painting, his relationships with the models depicted, and his use of drawing as an expressive and exploratory medium. It further inserts Wyeth’s work into a larger conversation about mortality and self-portraiture that developed in American art since the 1960s, and includes works by @duanemichals Andy Warhol, David Wojnarowicz, George Tooker, @janaina_tschape_studio and @mariomooreart ⁠ ⁠ Published by @delmonico_books and @colbymuseum⁠ ⁠ Edited with text by Tanya Sheehan. Foreword by Jacqueline Terrassa. Text by Karen Baumgartner, Rachael Z. DeLue, Alexander Nemerov.⁠ ⁠ Designed by @mikomcginty⁠ ⁠ Read more via linkinbio.⁠ ⁠ Pictured here:⁠ ⁠ Andrew Wyeth, 'Dr. Syn,' 1981. Tempera on panel. © 2021 Andrew Wyeth/Artists Rights Society (ARS). Collection of the Wyeth Foundation for American Art⁠ ⁠ 'Spring,' 1978. Tempera on panel. © 2021 Andrew Wyeth/Artists Rights Society (ARS). @brandywinerivermuseum Gift of George A. Weymouth and his son in memory of Mr. and Mrs. George T. Weymouth, 1987⁠ ⁠ Andrew Wyeth, 'Breakup,' 1994. Tempera on panel. © 2021 Andrew Wyeth/Artists Rights Society (ARS). Collection of Jeb Jeutter, North Carolina. Photo courtesy of Bonhams⁠ ⁠ Andrew Wyeth, 'Kuerner’s Hill 1' (Funeral Group), ca. 1991–94. Watercolor on paper. © 2021 Andrew Wyeth/Artists Rights Society (ARS). The Phyllis and Jamie Wyeth Collection⁠ ⁠ #andrewwyeth #andrewwyethlifeanddeath #andrewwyethfuneraldrawings https://www.instagram.com/p/CeeTq1-JTz9/?igshid=NGJjMDIxMWI=

Yesterday I watched the films Trading Places (1983) and Being There (1979).

I noticed that the breakfast-in-bed trays featured in both were quite similar. 

I have since discovered that quite similar trays were manufactured in North America by the Kuerner and Ronel companies, and can still be purchased today from Scully & Scully.  

House Arrest Karl J. Kuerner

https://www.karljkuerner.com/my-places

Karl J. Kuerner

Merry Christmas !!