Monthly Archives: October 2023

My Architecture & Design Photography: LOUIS BOURGEOIS (1856–1930), Baháʼí Temple (1912-1953), 100 Linden Avenue, Wilmette, Illinois. (10 Photos & Illustrations).

FEATURE image: To convey the Baháʼí principle of the unity of religion, architect Louis Bourgeois incorporated a variety of religious architecture and symbols including for Hindus, Buddhists, Native Americans, Jews, Christians and Muslims.

Text & Photographs by John P. Walsh.

The temple was designed by French-Canadian architect Louis Bourgeois (1856–1930). Bourgeois and his wife joined the Baháʼí faith by winter 1906. Photo c. 1922, Public Domain.

The Chicago Baháʼí Temple House of Worship is the second such house of worship constructed and the oldest one that is still standing. The popular destination along Lake Michigan on Chicago’s Northshore attracts visitors from around the world today for its amazing architecture, beautiful gardens, and message of religious unity in prayer and for peace.

The temple was designed by French-Canadian architect Louis Bourgeois (1856–1930). After studying and traveling in Paris, Italy, Greece, Egypt, and Iran, Bourgeois settled in Chicago in 1896 where he worked with Louis Sullivan. Bourgeois moved to Southern California and, in 1898, designed in Hollywood a landmark Mission Revival style house for painter Paul de Longpré (1855-1911) whose architecture and gardens became a tourist attraction.

The nine sides of the building represent the largest single digit number which stands for the Baháʼí belief  in the unity and oneness of humankind. 6/2014 6.55mb

The idea for the construction of the first Baháʼí Temple in the Western world began in Chicago in 1903. When there was a call for designs, Louis Bourgeois’ plans were the most promising. He worked on the complex design from 1909 to 1917. Before that time, Louis Bourgeois and his wife had joined the Baháʼí faith after having come into association with the Baha’i Faith through Boston’s Baháʼí community. In that time Bourgeois constructed a plaster model of his completed vision and in the 1920’s until his death in 1930 worked on the temple’s construction in Wilmette, Illinois.

While building activity was delayed though the Great Depression of the 1930’s and into World War II, temple construction began again in earnest in 1947 and the temple was dedicated in 1953.

Abdu’l-Bahá (1844-1921), eldest son of Baháʼu’lláh (1817-1892), the founder of the Baháʼí Faith, participated in the ground-breaking ceremony in 1912 of Baháʼí Temple. Construction began in earnest in the 1920s. It is four stories of reinforced concrete. 6/2014 4.11mb
Money for the building was raised entirely by the temple congregants as their gift to the people of the world. 6/2014 6.30mb
The temple rises 191 feet from its base to its ribbed dome’s peak. The main story pylons are 45 feet high each. The building’s surfaces are teeming with carved lacelike ornamentation. 6/2013 4.50mb
The Baháʼí Temple has a highly traditional appearance whose architectural reputation in an age of orthodox modernism has only grown more positive with the years. 6/2013 4.85 mb
Interior. “The forbidden temple.” by kern.justin is licensed under CC BY-NC-ND 2.0.
The temple’s main prayer room seats 1,200 people. In the Baháʼí faith there are no clergy, no sermons and no rituals. Scriptures are read from various faith traditions with song provided by a cappella choir. 12/2017 5.31mb
“The Source of All Learning is the Knowledge of God – Exalted Be His Glory.” There are an equal number of entrances each with a quotation above it by Baháʼu’lláh  (1817-1892), founder of the Baháʼí faith. 6/2013 5.94mb
The Baháʼí temple is open year-round presenting its unique beauty through the seasons. 2/2021 7.97mb


Chicago Churches and Synagogues: An Architectural Pilgrimage, George Lane, S.J., and Algimantas Kezys, Loyola University Press, Chicago, 1981, pp. 160-161.

Chicago’s Famous Buildings, Fifth Edition, Franz Schulze and Kevin Harrington, Chicago and London: University of Chicago Press, 2003, pp. 267-269.

A Guide to Chicago’s Historic Suburbs on Wheels and on Foot, Ira J. Bach, Swallow Press/Ohio University Press, 1981, p. 535.

The building is on the National Register of Historic Places situated on a broad, landscaped site that looks towards Lake Michigan.Wilmette, 2015” by gregorywass is licensed under CC BY-NC-SA 2.0.

My Architecture & Design Photography: GRAHAM, ANDERSON, PROBST & WHITE, Civic Opera Building (1929), 20 N. Wacker Drive, Chicago, Illinois. (8 Photos & Illustrations).

FEATURE image: CIVIC OPERA BUILDING, 20 N. Wacker Drive, Chicago.

Graham, Anderson, Probst & White was one of the largest architectural firms in the first half of the twentieth century. Founded in 1912, the firm was the successor to D. H. Burnham & Co. by way of partner, Ernest R. Graham (1868-1936), and Burnham’s sons, Hubert and Daniel Jr. Five years  later the Burnhams left to form their own firm (Burnham Brothers) and Graham partnered with others of the firm’s members: William Peirce Anderson (1870-1924), Edward Mathias Probst (1870-1942), and Howard Judson White (1870-1936).
Ernest R. Graham (1868-1936)
William Peirce Anderson (1870-1924)
Edward Mathias Probst (1870-1942)
Howard Judson White (1870-1936)

Plan of Chicago Authors:

The Burnham Plan, co-authored by Daniel H. Burnham (1846-1912) and Edward H. Bennett (1874-1954) and published in 1909 encouraged making the Chicago River a focal point of building development. By 1929 massive projects including the Merchandise Mart, Chicago Daily News Building (2 N. Riverside Plaza) and Civic Opera Building (above) stood along the intersection of the three branches of the Chicago River that was part of the plan.

Daniel Hudson Burnham, c. 1890. Burnham was a great collaborator and invited architect Edward Bennett to move to Chicago to collaborate on the comprehensive plan for San Francisco, and afterwards, the Plan of Chicago. While Burnham raised money and visibility for the Chicago Plan, Bennett created the actual layouts and drawings which are so well known today. Public Domain.
The architect Edward Herbert Bennett (1874–1954) is best known as the co-author (with Daniel H. Burnham) of the Plan of Chicago, published in 1909. Bennett moved to Chicago from New York City in 1903 when he was 29 years old. Public Domain.

The Civic Opera Building is an office building wrapped around its theatres including a 3,563-seat opera house. It is the second-largest opera auditorium in North America after the Metropolitan Opera House in New York City. in 1996 the interior was named The Ardis Krainik Theatre in honor of Ardis Joan Krainik (1929-1997), an American mezzo-soprano opera singer and the former General Director for 15 years, who was responsible for its renovation after 1993. The impressive building and its ornamentation was the result of British business magnate and Chicago financier Samuel Insull (1859-1938) who was inspired by the concept of the Auditorium Building with its theatres and offices in a skyscraper-sized building designed by Adler & Sullivan in 1889 at 430 S. Michigan Avenue.

Chicago. Civic Opera House (1929). 5/2014 2.79 mb


AIA Guide to Chicago, 2nd Edition, Alice Sinkevitch, Harcourt, Inc., Orlando, 2004, pages 14 and 90.

Chicago’s Famous Buildings, 5th Edition, Franze Schulze and Kevin Harrington, The University of Chicago Press, 2003, pp. 117-118.

ORCHESTRA WIVES (1942), 20th Century-Fox’s rom-com music film, has first-class swing music from the Glenn Miller Band including that year’s No.1 popular, Academy Award nominated best original song, “(I’ve Got a Gal In) Kalamazoo.” Ann Rutherford and George Montgomery star in a realistic plot about musicians and their wives on tour across wartime America.

FEATURE image: Glenn Miller Orchestra, 1940-41. Public Domain.

The 1942 music film, Orchestra Wives, from 20th-Century-Fox is one of the best dance band movies ever made. Between 1934 and 1945 Fox studios made 57 musicals and music films (see – While M-G-M is known for its musicals where characters sing and dance in place of spoken dialogue, the music film is one that usually features a bandleader – which in Orchestra Wives is Glenn Miller – and musical performers within a band orchestra – Marion Hutton with The Modernaires – as well as music-related acts such as the Nicholas Brothers. In a music film, including Orchestra Wives, characters don’t break out into song but speak in regular speech. In the music film singing and dancing are normally set pieces in a nightclub or on a stage and the music itself is presented in a realistic setting all of which perfectly describes 20th Century-Fox’s Orchestra Wives.

Even Mickey Rooney was decidedly underpaid during his glory years at M-G-M. But not Ann Rutherford. When she asked for a raise, she took out her checkbook and, showing L.B. Mayer the amount it contained, told him she had promised her mother a new house. Ann got her raise. In 1942 at the age of 23, Ann appeared in her last Andy Hardy film, Andy Hardy’s Double Life (1942). She then left M-G-M and freelanced her talent. See- – retrieved October 16, 2023.
Ann Rutherford.” by carbonated is licensed under CC BY-NC-SA 2.0.
George Montgomery was an actor who started as a stuntman in Western films in the mid1930s. Montgomery appeared in around 87 films and later in several television series in his six-decade career. Best known for his roles in Westerns, he appeared as the leading man for a number of 20th Century-Fox romantic comedies, music films and musicals. Orchestra Wives in 1942 was one of the first of many that year for the handsome and rugged star. In the film Montgomery played trumpet player Bill Abbott in Gene Morrison’s Band. The part was played on the soundtrack by Glenn Miller’s lead trumpet player, Johnny Best (1913-2003). See – – retrieved October 16, 2023.
George Montgomery – in ”Roxy Hart” 1942” by Movie-Fan is licensed under CC BY-NC-SA 2.0.
Musical direction of the Orchestra Wives was by Alfred Newman. The film itself was directed by Archie Mayo (1881-1968). Mayo was a longtime Hollywood director, having moved from New York City to the West Coast in the mid1910s. He started directing a short time later. Over his 30 year career Mayo directed scores of films and worked with James Cagney, Bette Davis, and the Marx Brothers. Permission details
The item has no copyright marks as can be seen in the links. At bottom right is a logo indicating the card was produced by a union print shop and Country of origin USA.
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Fox musicals and music films from the mid1930’s to mid1940’s were extremely popular. Orchestra Wives features high production set pieces of original swing music envisioned by its music director Alfred Newman (1900-1970). The film itself was directed by Archie Mayo (1881-1968) whose decades-long career was coming to a close (Mayo retired in 1946, shortly after completing A Night in Casablanca with the Marx Brothers). Orchestra Wives features 38-year-old Glenn Miller (1904-1944) and his 22-piece Band, then at the height of popularity. It was the second of two films Miller made for Fox (the first was Sun Valley Serenade in 1941). The Miller band returned to Hollywood to film 1942’s Orchestra Wives and though contracted to do a third movie for Fox called Blind Date, Miller disbanded the band and entered the US Army. Called the Gene Morrison Band in Orchestra Wives, music includes vocal performances by Marion Hutton (1919-1987) with The Modernaires, tenor sax player Tex Beneke (1914–2000) and Lynn Bari (1919-1989). The film concludes with choreographed athletic tap dancing of the Nicholas Brothers. The film is filled with pop-song classics by the successful writing team of composer Harry Warren (1893-1981) and lyricist Mack Gordon (1904-1959). In Orchestra Wives Warren/Gordon songs included in whole or in part, That’s Sabotage, Chattanooga Choo Choo (a main set piece in Sun Valley Serenade indicating Orchestra Wives picked up right where the previous successful film left off), People Like You and Me, the love ballad At Last, the torch song Serenade in Blue (performed by sultry Lynn Bari) and Orchestra Wives’ main production number (I’ve Got a Gal in) Kalamazoo which was nominated for an Academy Award for Best Original Song (the Oscar went to White Christmas by Irving Berlin). Warren melodies are instantly recognized as simple and fresh and Gordon’s lyrics are free of cliché. The music that opens Orchestra Wives presents the film’s first set piece which is a Warren/ Gordon song, People Like You and Me. It is performed by Glenn Miller and his Orchestra with Marion Hutton and The Modernaires. All of the Warren/Gordon songs for Orchestra Wives were recorded by Glenn Miller – as well as many other musical artists in those years.

Glenn Miller. Unknown author – Ad on page 65 of the Billboard 1943 Music Yearbook. Public Domain.
(5.51 minutes). Orchestra Wives’ opening scene is set in Melody-Tone Record Corp. featuring the Glenn Miller Band (called the Gene Morrison Band in the film). It starts with Glenn Miller’s 22-piece band recording a lively, perfectly arranged rendition of “People Like You and Me,” one of Harry Warren and Mack Gordon’s pop classics written for the film. The Glenn Miller Band, then at the height of their popularity, are presented with a touch of Hollywood – Jackie Gleason (1916-1987) appears as the Band’s bassist and César Romero (1907-1994) plays its pianist. Gleason and several other featured performers (such as Marion Hutton) went uncredited in the film. Miller had joined the armed forces where he led the Glenn Miller Army Air Forces Orchestra until his disappearance over the English Channel in December 1944 at 40 years old. The energy of the swing era is evident which includes trumpeter Bill Abbott (played by Western cowboy George Montgomery), one of the film’s romantic leads with Ann Rutherford, and singer “Tex” Beneke who played saxophone with bandleader Glenn Miller. One-minute-long opening credits showcase Glenn Miller’s theme from 1939, “Moonlight Serenade,” as its background music. This is a colorized version of the black and white film.
Tall, suave and sophisticated César Romero was born in New York City to Cuban parents. Romero danced and performed comedy in the 20th Century Fox films he starred in opposite Carmen Miranda and Betty Grable, such as Week-End in Havana (1941) and Springtime in the Rockies (1942). In Orchestra Wives Sinjin’s role, though minor, is pivotal to the resolution of the plot. Alice faye & Cesar Romero in ”Weekend in Havanna” 1941” by Movie-Fan is licensed under CC BY-NC-SA 2.0.
Poster for Orchestra Wives (1942) called in Spanish, “Las viudas del jazz.”
Viudas del jazz” by Kirby York is marked with Public Domain Mark 1.0.

Orchestra Wives is one of the very few films to give insight into the lives of dance band musicians and their singers and spouses on tour. These singers and wives are portrayed in the Hollywood film by glamorous Ann Rutherford (1917-2012), Lynn Bari (1919-1989), Carole Landis (1919-1948), Mary Beth Hughes (1919-1995) and Virginia Gilmore (1916-1986). Each of their glamour and acting ability make dramatic scenes highly entertaining even as they advance the plot by way of bored and distasteful gossiping and rumor mongering.

The three catty spouses in Orchestra Wives are beautiful Carole Landis, Virginia Gilmore and Mary Beth Hughes (below):

Carole Landis.Carole Landis” by thefoxling is licensed under CC BY-NC-SA 2.0.
Ronald Colman, Hedy Lamarr, Greer Garson and Virginia Gilmore.Ronald Colman, Hedy Lamarr, Greer Garson and Virginia Gilmore” by classic film scans is licensed under CC BY 2.0.
Mary Beth Hughes in Design for Scandal – trailer (cropped screenshot)
PD-US (licensing information : [1]). Public Domain.
Connie Ward (played by “America’s Sweetheart” Ann Rutherford) goes on a date with soda-jerk Cully Anderson (Harry Morgan) to hear and dance to Gene Morrison’s (Glenn Miller’s) Band in Dixon, Illinois. At Last is another song that takes place on stage in the music film Orchestra Wives. Used as a musical motif throughout the film in dramatic and romantic scenes, the Harry Warren/Mack Gordon love ballad is sung in a duet featuring headliner Lynn Bari (her voice dubbed by Pat Friday, 1921-2016, and not credited), In 1942 Ann Rutherford had been in the picture business almost a decade. She starred as Polly Benedict in the Andy Hardy series in the 1930’s  and 1940’s and was one of Scarlett O’Hara’s sisters in Gone With The Wind (1939). Rutherford was a big star compared to slightly older Harry Morgan who was making his film debut in 1942. Co-star George Montgomery (1916-2000) was an actor who had begun to appear in a string of Western films starting in 1935. Montgomery signed with 20th Century-Fox in 1939 and soon was playing leading man roles such as Bill Abbott in Orchestra Wives and several other hit films at Fox. World War II interrupted that trajectory and, in 1943, Montgomery joined the U.S. Army Air Forces First Motion Picture Unit where he made training films. Though he returned to Fox in 1946 and resumed playing lead roles, he left the studio in 1947.

Orchestra Wives is a music film with excellent swing music as a highlight and featured in regular intervals  that are set on stages such as a record studio, local dance and concert halls, and in nightclubs. The film’s central drama, however, lies in the love relationships of the professional bandmembers and their wives who travel with them. It seems everyone is stressed or bored or both by the intensity of the extra work involved in cross country touring as a musician in a popular swing band. These orchestra wives – namely, Natalie (Carole Landis), Elsie (Virginia Gilmore), and Caroline (Mary Beth Hughes) – are beautiful and jaded about living conditions and unique complications as orchestra wives. When Bill Abbott, the band’s superlative trumpeter, meets Connie Ward (Ann Rutherford), it is on the road at a local dance in Dixon, Illinois. The small-town young woman –  daughter of a town doctor (Grant Mitchell) – goes on a date with the local soda jerk just to see and hear Gene Morrison’s swing band. Up close to the stage, it is love at first sight for Connie when handsome trumpet player Bill Abbott (George Montgomery) steps up to perform. The next night, on the spur of the moment, Bill and Connie get married after Connie traveled by bus alone to Elgin, Illinois, for the band’s next gig.

Ann Rutherford was known as “America’s Sweetheart” and a big star in 1942.
Original studio publicity photo of Ann Rutherford Permission details
This work is in the public domain in the United States because it was published in the United States between 1928 and 1977, inclusive, without a copyright notice. For further explanation, see Commons:Hirtle chart as well as a detailed definition of “publication” for public art. Note that it may still be copyrighted in jurisdictions that do not apply the rule of the shorter term for US works (depending on the date of the author’s death), such as Canada (50 p.m.a.), Mainland China (50 p.m.a., not Hong Kong or Macao), Germany (70 p.m.a.), Mexico (100 p.m.a.), Switzerland (70 p.m.a.), and other countries with individual treaties.
Harry Morgan in 1975. In the mid 1930s Harry Morgan was a star debater in high school in Michigan. and began acting at the University of Chicago in 1935. Orchestra Wives was one of two films Morgan made in 1942 that marked the actor’s film debut. Permission details
Pre-1978, no mark. Public Domain.

Connie spontaneously joins the life of traveling orchestra wives and is at first innocent of its darker side. Connie learns a lot as she takes the long rides on train tours as a musician’s wife to the band’s engagements around the country and back. Those film scenes reflect accurately the lives of dance musicians of the era who had to take these long tours to far-flung places. Connie is soon at odds with the other wives who come in shapely forms of Natalie, Elsie and Caroline who are bored by the monotony of the road so that their lives get filled with backbiting gossip and being jealous of one another.

Glenn Miller, born in Clarinda, Iowa, near the Missouri and Nebraska state lines. Miller had his first first-class experience of playing professional dance music in Chicago in 1926. Miller quickly started freelancing where he became a top arranger for Ray Noble (1903-1978), Tommy Dorsey (1905 -1956), Jimmy Dorsey (1904-1957), and others. Miller formed his own band in 1936. In its first year Miller’s band was just one of many swing dance bands and it soon disbanded. In 1938 when Miller reformed the band, he had developed his definitive big-band sound and his records started selling like hot cakes to his mostly younger fans across the country. In art imitating life, Miller portrays bandleader Gene Morrison in Orchestra Wives who disbands his 22-piece band in the face of circumstances where some band-members resign because of their orchestra wives. Having to cancel the rest of the tour, Miller/Morrison immediately looks to re-assemble the band. In the film, Connie Ward Abbott, a new orchestra wife, conspires with Morrison band pianist Sinjin to reunite the original band. This will also produce, with the help of Dr. Ward (Grant Mitchell), Connie’s father, a reconciliation between Connie and Bill who had separated but were always deeply in love.

Among the many swing era musicals in this period, Orchestra Wives, while a comedy with the usual lighter fare typical for the genre, is notable for its realistic and serious plot. Though called a “musical comedy with the occasional touch of drama” ( it is really more of a drama with musical comedy. The naïveté and lack of trust between lovers, namely small-town Illinois girl Connie Ward (played by “America’s sweetheart” Ann Rutherford) and Bill Abbott (played by Western cowboy George Montgomery) — whose fictional bandleader Gene Morrison (played by Glenn Miller) calls him “the best trumpet man in the business” — is raw, serious and real. Sparked by in-house rumor-mongering of band-members’ infidelities as well as other cascading gossip of bored wives on a cross- country band tour, the newlyweds Connie and Bill face their first big crisis as a couple very shortly after they are married. Upon suspecting her husband is having an affair with sultry Jaynie, the band’s lead singer, there is this confrontation between newlyweds whose misunderstanding gets mixed up in embarrassment and resentment:

CONNIE: I know there was nothing wrong between you and Jaynie (played by statuesque Lynn Bari)

BILL: That’s what I told you last night.

CONNIE: But it really wasn’t my fault. It was Natalie (Carole Landis) and Elsie (Virginia Gilmore) and Carole (Mary Beth Hughes)  and their gossip started it.

BILL: From what I heard just now, you’ve been spreading a little gossip yourself.

Lynn Bari was born in Virginia. A statuesque, dark-haired WWII pin-up beauty Bari paid her acting dues for years by way of tart bit-parts as secretary, party girl and glorified extra. At the same time, she was being groomed as a starlet under contract to MGM and Fox. Fox Studios started giving her leads and top supporting roles in mostly second-tier films such as The Return of the Cisco Kid (1939), Pack Up Your Troubles (1939), Hotel for Women (1939), and Hollywood Cavalcade (1939). Bari had gained fame by her good looks though even her better roles tended toward unsympathetic parts such as in Orchestra Wives where she played a femme fatale. See – – retrieved October 16, 2023. “Lynn Bari (colorized) by manito” is licensed under CC By 2.0.
Jaynie (Lynn Bari), lead singer for the touring Gene Morrison band, performs in a nightclub another Warren/Gordon pop classic from Orchestra Wives, “Serenade in Blue.” The composers believed this song, which became a pop standard, was a superior piece of music and that Glenn Miller was able to arrange its harmonies and perform the song at its best potential.

Jaynie, the band’s singer, held a torch for Bill though their affair was over shortly before Bill met Connie and married her. Because Gene Morrison didn’t want to pay for the wives to accompany the band on an overnight gig to Iowa City, the newlyweds were apart for the first time. Natalie gossiped to Connie about other band members’ extra-marital affairs and Carole told Connie about Bill and Jaynie. Connie, apparently unafraid to take the bus alone between towns, travels that way late at night to meet Bill. In the meantime, the gossiping wives call Jaynie (with a reproduction of Whistler’s Mother on the wall behind them) to tell her that Connie is coming to town. After Jaynie and Bill shared an after-show chop suey dinner together, Jaynie propositioned Bill in her hotel room which he declined. Afterwards learning that Connie was coming to the hotel she telephoned Bill’s room and on the pretext of needing cash, Bill comes into Jaynie’s room. Connie discovered the pair together in Jaynie’s room in their pajamas and, as Jaynie planned, is scandalized. Though Bill tells Connie that nothing was going on, Connie storms out, hurt and angry, and gets on the next bus back to Des Moines. The next day, when the band returns, Connie learns that what she was told is gossip. In revenge, Connies spills the beans about spousal infidelities of the gossiping wives that Natalie told her before. Connie’s words result in three band members leaving the tour and to the cancellation of the rest of the tour by bandleader Gene Morrison.

It also leads to a serious dramatic scene between Connie and Bill that honestly explores a situation of any new spouse – not just an “orchestra wife” – who is in love with someone with a stressful job who has to travel and be on the road all the time. The work/home tension is a modern theme and universal to more than a swing band musician’s family. Released in September 1942, Orchestra Wives, was popular cinematic fare in a country that neared its first full year of being “all-in” fighting in World War II. The film has one foot in a carefree pre-war swing era and another in wartime America that brought one of its longest lists of casualties in its history and, soon, the Atomic Age. Orchestra Wives is a music film and ostensible comedy that provides serious treatment to scenes that point, if briefly and thus superficially to the post-war era’s film noir and its themes of jealousy, infidelity, innuendo, mystery, and the femme fatale. To combine music, comedy and serious drama is a highlight of the original screenplay by Karl Tunberg (1907-1992) and Darrel Ware (1906-1944) – a writing team nominated the year before for an Academy Award for screenwriting for Tall, Dark and Handsome also from 20th Century-Fox.

BILL: I married you because you were a happy kid. Gay, cute, cheerful. But you’ve gone neurotic on me. You trail me around like a house detective. And then with one flick of your tongue you bust up our band. Last night you said you weren’t an orchestra wife and you hit the nail right on the head. You aren’t and you never will be.

CONNIE: Maybe you’re right Bill but I’ve tried. I don’t know the two things just don’t seem to go together. Look, how can you be a real wife when you are trailing from one hotel to another like a lot of gypsies? When you have breakfast at lunchtime and lunch at dinnertime and dinner at midnight? Why this isn’t living. Why this isn’t even being married.

BILL: What did you expect – a banker? You married a trumpet player. You weren’t getting a suburban home with flowerpots and kiddies. At the time you seemed to think the idea was pretty glamorous.

CONNIE: Well at the time I was crazy. This life is about as glamorous as a gymnasium.

BILL: Well,  I’ll give you a chance for something better. You know that marriage certificate? That little piece of paper with rosebuds on it? Well you can pack it with your things. I’m through with it.

CONNIE: So am I. And I’ll leave you half the pieces.

The climax of the film occurs when Connie walks out on Bill—and vice versa—and leaves their marriage and love hanging in the air. With band members’ tensions among their wives exploding into the open, Gene Morrison (Glenn Miller) has to break up the band. Though these breakups’ flashpoint is Connie and Bill’s open rift, can and will she now help to get the band back together and reconcile with Bill? And who will help her?

MARION HUTTON. Singer Marion Hutton was discovered by Glenn Miller when she was 17 years old. Marion was the older sister of film actress Betty Hutton (1921-2007). Since the Huttons’ father had died, Glenn Miller and his wife Helen became Marion’s legal guardians which allowed her to accompany them as they worked. Marion Hutton stayed with the Glenn Miller Band until it disbanded in 1942.
Unknown author – Ad on page 80 of Billboard 1944 Music Yearbook
·         Public Domain Created: 1 January 1944
Tex Beneke was a saxophone player who played with the Glenn Miller Band, among others. Tex Beneke is featured in major production swing music numbers by Harry Warren and Mack Gordon in Orchestra Wives. Tex Beneke” by Cushing Memorial Library and Archives, Texas A&M is licensed under CC BY-NC-ND 2.0.
The #1 popular song in 1942 was (I’ve Got a Gal) in Kalamazoo by Harry Warren and Mack Gordon and featured in the music film, Orchestra Wives. Featuring Tex Beneke and Marion Hutton with The Modernaires it was recorded by Glenn Miller and His Orchestra and was on the 78 r.p.m.’s A side with At Last on B side. The Glenn Miller record was 1942’s best-selling recording and spent 8 weeks in the no.1 spot. It was also nominated  for the Academy Award for Best Original Song. The main production number in Orchestra Wives also featured The Nicholas Brothers composed of brothers, Fayard (1914–2006) and Harold (1921–2000). The act from the 1930s to 1950s excelled in a variety of dance techniques, especially its high acrobatics, and they were considered the greatest tap dancers of their time. See – “The Year’s Top Recordings”. The Billboard. 55 (1): 27. January 2, 1943. – retrieved October 16, 2023.

About composer Harry Warren and lyricist Mack Gordon.

Orchestra Wives provides a lot of first-class music and a dramatic film record of the dance hall scene in the swing era. (I’ve Got a Gal) in Kalamazoo was nominated for an Academy for Best Original Song. Harry Warren wrote some of the great popular songs of the 1930s and 1940s. Many of them were used in Fox musical films in their heyday. Warren had been writing music in Hollywood since 1932. When he moved from Warner Bros. to Twentieth-Century Fox he was assigned to write for Fox’s well-produced and highly popular musicals.

Harry Warren believed he saw the quality of motion pictures in Hollywood actually improve during World War II, the mid20th century’s major global crisis. Through all of it, Americans, Warren observed, expressed a general feeling of confidence that the war would ultimately be won. This excitement translated to the movies at the time.

In addition to working with lyricist Mack Gordon (1904-1959), Warren worked with Fox’s arranger-orchestrator Herbert Spencer (1905-1992). In a long career, Spencer worked with many successful composers and helped orchestrate scores in Holiday Inn (1942), Gentleman Prefer Blondes (1953), Call Me Madam (1953), Carousel (1956), Funny Girl (1968), Hello, Dolly (1969), and more, but he expressed especial enjoyment working with Warren.

Warren’s many inspired melodies, Spencer thought, were simple but logical, seemingly inevitable, and Warren’s song drafts arrived to Spencer filled with detail that helped make the orchestrator’s role more interactive. Spencer also enjoyed working personally with Warren whom the Chilean-born arranger described as “simpatico.” Warren, unlike other busy composers, was accessible to discuss and develop a musical score. With beguiling modulation, the songs rise and fall in intervals, and its notes and meter, as Herbert Spencer might have had it, follow their logical and effortless path.

Head of production at 20th Century-Fox and producer of Orchestra Wives, William LeBaron was brought to Hollywood by Joseph P. Kennedy.

William LeBaron (1883 1958) in 1919. LeBaron became the production chief at several studios, including RKO Studios (1929-1931), Paramount Studios (1936-1941) and 20th Century Fox (1941-1947). He started out working as a playwright in New York City and was brought to Hollywood in 1924 by one of his theatrical investors, Joseph P. Kennedy (1888-1969). LeBaron was born in Elgin, Illinois, an Illinois town that had a pivotal role in Orchestra Wives as the script’s setting where Connie Ward and Bill Abbott get married. Public Domain.

While not in the top ten films of 1942 that earned between $2.885 (M-G-M’s Somewhere I’ll Find You starring Clark Gable and Lana Turner) and $5.358 million (M-G-M’s Mrs. Miniver starring Greer Garson and Walter Pidgeon), 20th Century-Fox’s Orchestra Wives produced a solid and popular music film that took in a very respectable $1.3 million at the box office.

The Films of 20th Century-Fox A Pictorial History, Tony Thomas and Aubrey Solomon, Secaucus NJ: Citadel Press, 1985, pp. 129-130.
The Dance Bands, Brian Rust, New Rochelle, NY: Arlington House Publishers, 1974, pp. 140-142.
Harry Warren and the Hollywood Musical, Tony Thomas, Foreward by Bing Crosby, Secaucus NJ: Citadel Press, 1975, pp. 184-189.

Unknown author – Ad on page 27 of May 16, 1942 Billboard magazine. Public Domain.

James McNeill Whistler’s favorite contemporary British artist: ALBERT JOSEPH MOORE (1841–1893). Four of his large-format, meticulously painted visions of human figures in a mysterious, at once ancient and modern, idealized natural world that succeeded in pursuing beauty.

FEATURE image: Albert Joseph Moore (1841-1893), READING ALOUD, 1884, oil on canvas, 42.24 x 81 in., Glasgow Art Gallery & Museum.

The artist: Albert Joseph Moore (1841-1893).

INTRO: Albert Joseph Moore was born in 1841 into a family of artists in North Yorkshire in England. Moore through his own advanced aesthetic experiments in the milieu of theoretical and practical advancements of mid-to-late 19th century modern art in England and France – such as a systematic analysis of nature, mathematical plotting, and principles for quintessential combinations of color, line and form – created art that was, in formal terms, in its conception and execution, on the cutting edge of abstraction that would continue to develop and blossom into early 20th century Cubism. Moore’s art gained the respect of other progressive artists (Moore was called “a painter’s painter”), patrons and collectors, if not always the critics and contemporaries who viewed Moore’s work as merely decorative. Moore was actively collected in his lifetime and exhibited regularly in major venues such as the Royal Academy. Unmarried and of a lifelong independent disposition, Moore died in 1893 at 52 years old, having just completed his last monumentally ambitious artwork (“The Loves of the Winds and the Seasons,” Blackburn Museum and Art Gallery, posted below) a handful of days before. Several of Moore’s pictures are now in public collection throughout the UK, including the Tate and the British Museum in London. 

Albert Joseph Moore (1841-1893), AZALEAS, 1867, Hugh Lane Municipal Gallery of Modern Art, Dublin, Ireland.

Azaleas was a popular artwork by Albert Moore for its harmonies of color and the “Greek refinement” that the artist infused into his work. This bigger-than-life-size canvas called Azaleas was painted in 1867, exhibited in 1868 and demonstrates the artist’s ability to represent the human figure on a grand scale.

The 26-year-old artist had some architectural design experience in theory and practice and used this in his preparatory process. This artwork incorporated ideal geometry along with typical academic methods.

Moore’s process followed, first, making studies of the nude figure and draped figure. Moore next made a larger-than-life-sized full-scale nude figure cartoon which, at this stage, was informed by geometric abstraction of the figure in a setting guided by, or through, the milieu of the object in the artist’s hands.

The geometric quality guided the composition rather than was externally imposed by the artist. Moore’s “system of line arrangement” sought the directions of the prominent lines of the composition so to plot parallels of them throughout the drawing resulting in a statuesque yet corporeally vivacious figure.

Nature, specifically the landscape, ultimately served as the inspiration for the manifestation of line parallels and optical balance rather than the mathematically ideal. Moore’s geometric construct and its interplay determined every element of the composition – from the position and placement of the figure to the location of accessories, such as wall hangings, distribution of drapery folds, and architectural elements. The canvas’s shape and size also were ultimately determined by this idiosyncratic geometric arrangement.

Traces of Moore’s preparatory practice are in evidence in Azaleas’ full size nude cartoon with its vestiges of diagonal and horizontal lines through the midsection of the figure and near to her feet. Using these lines in the nude drawing it is apparent that Moore experimented with the placement of the figure’s head, the extended hand, and a raised heel which was ultimately hidden under opaque drapery. Moore used a live model for his figure.

The final nude cartoon was transferred to the canvas and this outline was built up with oil colors. A drapery cartoon was then transferred on top of the transferred, built-up nude figure cartoon. Using this method Moore rendered greater transparency of the fabric since the underlying nude cartoon showed through faintly. This painstaking preparation was masked by Moore’s fresh and free style of painting. For instance, the drape folds of the left shoulder are painted in long, fluent, and elegant strokes while the azaleas are rendered in energetic strokes. Moore’s objective was for the final painting to look like an impromptu and expressive sketch when, in fact, it was carefully planned and executed.

About painting Moore taught his students to think long about it but execute with quickness and determination. This technique aided in transforming oil painting into the manner of Graeco-Roman fresco in that Moore’s working method allowed for painting only what could be finished in a day.

Moore’s careful planning, rapid execution, and brush technique also suggested the influence of Japonisme. Asian influences in Azaleas included the carp bowl held in the women’s arm (an actual studio prop) and the geometric pattern in the azalea pot whose symmetry Moore saw as part of both Greek and Japanese art. To integrate and transition the predominantly yellow figure in the predominantly white background Moore used a device taken from Japanese art of painting flitting butterflies around the azalea bush. Moore also painted russet blossoms in the woman’s hair and bowl and on the floor that further unites the monumental composition.

Moore’s observation of Japanese prints also likely influenced the English artist’s color scheme in Azaleas. This is identifiable in its limited schematic of hues. The color placement, however, was also subject to the geometric practices in the whole composition.

When Azaleas was exhibited at the Royal Academy in 1868 it was consigned to an out of the way place on the wall of its North Room. It was observed that Moore’s canvas looked more like a tapestry than an oil painting. In this way, Moore anticipated James McNeill Whistler’s comment about color in that it should appear “embroidered” on the canvas, in the same way a thread is embroidered on fabric. Whistler attributed this color quality to Japanese art in that those artists looked for repetition in color application and not contrast.

Architecture critics in 1868 noticed and especially admired Moore’s Azaleas. Its systematic repetitions and geometric construction were labeled the only “decorative” painting in the 1868 English exhibition. Art critics were less generous. Straining with opera glasses just to see the work they recognized its beauty and Moore’s talent but called its design and execution eccentric. Others turned up their critical nose to the new decorative work as “curious” and little more than a luxurious indulgence of art for art’s sake. Art critics were unhappy with the paintings’ colors as they found they lacked the requisite black that marked contemporary French art and, instead, opted for a quiet and delicate dreamscape.

English writer William Michael Rossetti (1829-1919) declared Azaleas one of the most important English pictures of 1868 and decried those looking to judge it by way of actual historical pictures from Greek antiquity. With Algernon Swinburne (1837-1909), Rossetti compared Moore’s artwork to another painting in the 1868 exhibition: “The Wife of Pygmalion, A Translation from the Greek” by the older George Frederic Watts (1817-1904). In that work Watts sought to create a painterly equivalent of classical sculpture. William Gladstone (1809-1898) wanted to purchase Watts’ picture after seeing it at the Academy in 1868. In a letter to Gladstone in May 1868 Watts informed Gladstone that it had been “claimed” but invited Gladstone to visit him in his studio to see the cast of the fragmentary Greek original from which the painting was derived.

Swinburne saw the poetry and musicality of Moore’s artwork .While most art critics snubbed the painting (and by extension the painter) for its art for art’s sake qualities, Swinburne praised them. Of Azaleas, Swinburne wrote: “The melody of color, the symphony of form is complete: one more beautiful thing is achieved, one more delight is born into the world; and its meaning is beauty; and its reason for being is to be.”

Albert Joseph Moore (1841-1893), SEA-GULLS, 1870/71, oil on canvas, 27 x 61 inches (68.5 x 154.8 cm), Williamson Art Gallery & Museum, Birkenhead, UK.

Sea-gulls was accepted for the 1871 Royal Academy exhibition. It was the third painting for Albert Moore to exhibit at the Royal Academy. Moore was absorbed in painting Sea-gulls, a major work, for British shipping magnate Frederic Leyland (1831-1892) and this work occupied him up to the Royal Academy Exhibition that spring.

Its creation by the 36-year-old Moore was not without headaches owing to controversy. Moore’s friend and admirer, American ex-patriate artist, James Abbott McNeill Whistler (1834-1903), had learned of Moore’s preliminary work on the painting through Leyland, a major art collector and the artists’ mutual friend.

Whistler expressed concern that Moore’s work perhaps overlapped adversely with some of Whistler’s own preliminary sketches for a painting. Whistler saw a pair of sketches Moore had sent to Leyland as potential commissions. Whistler felt that Moore’s sketch may have been influenced by seeing one of Whistler’s sketches. Whistler feared that if Moore’s painting was exhibited first, it would reflect badly on Whistler as an imitator when in fact the artwork Whistler was working on ante-dated Moore’s conceptions. This was a mortifying prospect for Whistler who prided himself on originality.

Whistler’s anxiety may have also stemmed from the fact that with Sea-gulls, Moore would fulfill his second commission for Leyland, while Whistler who introduced them had yet to complete a picture for Leyland that had been commissioned in 1867.

To ease Whistler’s fears, the American artist proposed that Moore accompany another mutual friend, architect William Nesfield (1835-1888), to Whistler’s studio in Chelsea to inspect his older original sketch that Moore had seen.

Nesfield, acting as mediator, concluded in September 1870 that the recent work of the two artists shared themes, but each maintained their own artistic originality. The crisis was averted and led to Moore exhibiting Sea-gulls.

During this crisis and shortly thereafter, Moore did not finish to his satisfaction his painting when it was time for its exhibition in April 1871. A major effort required to complete Sea-gulls had deeply undermined Moore’s health. After the exhibition the painting was returned to the artist, but he could not yet immediately set to work on it to completion. Months later it was finished and sold to Leyland.

In Sea-gulls Moore introduced obvious analogies between the liquid patterns of the sea and the rippling and splashing motion of the figure’s hair and drapery. Moore’s intention was to discern patterns inherent in nature. The drawings also suggest that he exaggerated the effect of air currents by employing the revolving fans that were simultaneously in use for Sea-gulls and another painting titled Shells.

Much of Moore’s work to complete the painting after the exhibition revolved around redressing the picture surface. Moore had been experimenting for some time with the surface quality of his paintings. In the early 1870s, Moore’s technique had developed to combine transparent and opaque fabrics that created unusual layering effects. Following the 1871 exhibition, Moore seemed to apply this technique in Sea-gulls that involved unusually thick paint layers.

Much later, during the winter of 1880, Sir Coutts Lindsay (1824-1913) – the British artist and watercolorist founded Grosvenor Gallery on Bond Street as an alternative exhibition space to the Royal Academy which became a venue for avant-garde artists, particularly those associated with art for art’s sake – mounted a show on the subject of artists’ working sketches. Moore contributed the preparatory studies for Sea-gulls to the show that included his sketches of hands, heads, drapery, plants and flowers, as well as the painting’s cartoon.

Although biographers of Whistler and Moore have attached no importance to their friendship, particularly after the September 1870 controversy over Sea-gulls which they claim ended it, the artists in fact remained on intimate terms unbroken until Moore’s death in 1893. In the later 1870s they again were thrust together in a contentious situation but this time on the same side of sorts. When Whistler became involved in libel proceedings against Ruskin in later 1878 Albert Moore was the only artist who the American ex-patriate artist could rely on to both publicly attend the proceedings and actually give evidence on Whistler’s behalf. 

Albert Joseph Moore (1841-1893), READING ALOUD, 1884, oil on canvas, 42.24 x 81 in., Glasgow Art Gallery & Museum.

Reading Aloud was one of three large-format paintings Albert Moore completed in the 1880s. Completed in 1884, Moore had been working on Reading Aloud for years – at least since 1881. Moore had drawn a chalk sketch of the geometrically designed composition over which the artist would lay a piece of translucent glass. By painting directly on the glass, he could experiment with colors without redrawing the picture. He then could transfer the trial color experiment on glass (as well as a final drawing) onto tracing paper by which the final artwork was then made by pinning the tracing paper to the canvas. The artist then painted the composition directly to the canvas, section by section, working as he painted to unify color scheme and, as figural poses and other details are different in the final artwork than surviving preparatory materials, drawing. It was meticulous organizing and harmonizing creative work that helps to explain why Moore labored for years on the almost 7×4 foot oil on canvas.

While these three reclining figures are static their contrasting drapery folds whether they are swirls, zigzags or sweeping diagonals – with the sofa’s swags to unite them – enliven the picture. As classicism revivalists are noted for their mere realism and moralistic anecdote, Moore’s evocation of classicism, though containing allegorical qualities, belies a modernity by way of its abstract combination of line and form in the depiction of languid female figures in a neutral setting. The black-and-white owl vase that Moore included in the lower right corner of the painting had been absent from previous studies (originally it was a seated cat) and provides a narrative sign. It connotes the quality of wisdom as well as perhaps the goddess Athena with which the owl is associated so to apply it to the various states of the readers though the overall picture with its fascination with repose is more subtly mysterious than anecdotal. Yet the classicism/modernity enigma continues as the honey bee which Moore paints on the face of the owl vase was the symbol used by the picture’s purchaser, pig iron industrialist William Connal (1819-1898), for himself.

Moore, Albert Joseph; William Connal; York Museums Trust;

After his wife of 25 years Emelia Jessie (Campbell) Connal died in 1877, 56-year-old industrialist William Connal faced life alone at Solsgirth, his Scottish country manor. Connal turned his attention to the arts and, in addition to Moore, became an avid collector of contemporary art by such painters as Edward Burne Jones (1833-1898), Edward Poynter (1836-1919), Frederick Sandys (1829-1904), Roddam Spencer Stanhope (1829-1908), Fernand Knopff (1858-1921) and Adolphe Monticelli (1824-1886) along with the Old Masters. Connal owned Symphony in Silver and Grey by American artist James McNeill Whistler (1834-1903) who greatly admired Moore. In 1883, Connal invited Moore to stay at Solsgirth House in Perthshire for a month allowing the artist to recuperate after a serious illness. It was during this stay that Connal commissioned Moore to paint his portrait that shows him wearing a honeybee brooch, the emblem that Connal used on his personal items (Connal’s portrait today is in York Art Gallery).

Moore’s pictorial methodology which he continued to develop over his artistic career is in evidence in Reading Aloud. Moore works out and unifies various and moving parts depicting a scene’s animating personality based in psychology with its physical forms that are mathematically contrived by way of lines and curves and, ultimately, color and texture, and whose impact on the viewer of the completed artwork is allowed to be emotional rather than cerebral. In Reading Aloud Moore constructed the image based on two pairs of diagonals that intersect into a pattern. Though the geometric system is visually subdued, it is evident in the figure on the right whose arms coincide with a set of diagonals. It is obvious also in the picture’s overall use of contrasting bold colors – the fabrics’ pinks and creams are integrated to, though angularly distinct from, the charcoal greys of the covered limbs and book cover. The edges of the book cover also coincide with some of the complex design of diagonal lines whose subliminal quality is an intrinsic expression of the psychic nature of the artwork. This angularity based on diagonals was a deliberate strategy for Moore when he painted the final artwork. There is also the horizontal lines component in the painting manifested in the outstretched arms of the crouching figure at left and the table and vase. Moore’s design strategies were innovative in 1884 startling contemporary viewers approaching to what Cubism would accomplish 25 years later. Critics when viewing Reading Aloud, being neither particularly understanding nor sympathetic to Moore’s methods or intentions, praised the picture’s overall gracefulness but impugned his drawing skills and identified the painting as mostly static decoration. Yet the static figures form part of a complex array of abstract and naturalistic patterns that fill every inch of canvas. Reading Aloud is a testament to the artist’s ability to translate such natural phenomena into a stylized form. Most prominent among them is a fabric effect found in other of Moore’s paintings of the period, in which white lace is layered over cloth of a darker color. Reading aloud was exhibited at the Royal Academy where, starting in 1883, Moore chose to exhibit annually.

Albert Joseph Moore (1841-1893), The Loves of the Winds and the Seasons, 1893, oil on canvas, Blackburn Museum and Art Gallery, Blackburn, UK.

The Loves of the Winds and the Summer was English artist Albert Moore’s final and largest artwork of his career. It is 6 feet tall and 7 feet wide and is the jewel in the crown of the Blackburn Museum and Art Gallery near Manchester, England. It is the result of Moore’s study of the psychology of his subject matter, that of love. Love begins to manifest formally for Moore by the expression of soft bodily postures, changing and harmonious curves, and piercing gazes expressed in deep coral colors. The male figure of the Wind is flanked by the spurned female figure of Summer to the left and the embraced female figure of Autumn to the right. Moore was so enveloped in his amorous themes that while working on this picture he was writing poetry about what the human face was like when in love – and it is found in his picture. The Love of the Winds and the Seasons is Moore’s fullest expression of animating personality united to depicted physical forms that are first lines, curves and color, with the result being an emotional impact on the viewer who encounters the artwork. This exquisite artistic sensitivity by Moore is made more remarkable since the artist was dying in 1893. In the company of his young and attractive live models in his new capacious art studio, Moore worked day after day on this work. Moore had cancer (a tumor on his thigh) and had submitted to three operations to keep ahead of it. When his doctors told him they could operate no more, and that the cancer continued to spread throughout his body, Moore was resigned to his situation. He is reported to have said: “Well, there’s an end of it.” In the limited time left to him Moore intended to finish his painting of love, The Loves of the Winds and the Seasons. The artist did not want to lose any time. His legs had swollen to twice their size and had to be drained. In acute pain he worked around the clock for the next six months. His friends thought the intense work as well as the cancer was killing Moore but as the painting progressed to completion, they observed that the artist’s personal tranquility and happiness became apparent. The project was monumental – numerous preparatory studies, drapery studies, full scale and life-sized cartoons (i.e., 4’ 9” tall by 1’4” wide for Autumn) , nude studies – all technically meticulous and versatile- and that underwent the artist’s elaborate and idiosyncratic geometric platting system that he began in the late 1870s. Moore was the consummate auteur that slightly older American ex-patriate painter James Abbott McNeill Whistler (1834-1904) most admired in England. Moore conceived his paintings from start to finish – and The Loves of the Winds and the Seasons was at once its pinnacle and completion. Moore, as Whistler aspired to be, was sole master of his work. In 1893 Moore now expanded this mathematical process to amalgamate his diagonals with horizontals so that his creative process could not suffer the critique that Ruskin hurled at Whistler of “ask(ing) 200 guineas for flinging a pot of paint in the public’s face.” The painting was a commission for the Australian mine-owner George McCulloch (1848-1907). Moore’s calculations included various adjustments of the models’ natural poses to submit to the mathematical formulas on the canvas. This formal submission of subjects to linear construction extended to each detail in the entire composition, such as the flowers for which also study drawings were made. Within these design rigidities, the preparatory drawings of the live models and subjects were transferred to the artwork with little idealization though slight but important adjustments were made, such as to Summer’s hairstyle. Knowing his own time was short, Moore made his cartoons in color so that his transfer to the canvas was as efficient as possible as he painted the final artwork. Critics have observed that despite the intense planning and preparation, the final artwork is executed unevenly – parts are meticulous and vigorous, mostly in the foreground, while others in the background are loose and crude. To what degree this is the artist’s intention or the result of his declining health, is a matter for speculation. During the artistic process the terminally ill artist isolated himself mostly. His handful of visitors remarked that the artist was cheerful, cracked jokes, told funny stories, and smoked his pipe. These select parties knew, however, that their social calls were in the context of final good-byes. In those last days and months of Moore’s life, the artist’s mind, by evidence of the art from his past that he referenced in 1893, stretched back to an earlier career which shared long-held important aspects with The Loves of the Winds and the Summer. For his last artwork. Albert Moore glossed the picture’s narrative in verses he wrote to accompany it:

Lo! fickle Zephyr chaseth wayward Spring,

It is a merry race;

Flowers laugh to birds that sing,

Yet frequent tears shall cloud her comely face.

The South Wind shall with blushing Autumn mate,

Contented with her lot;

Summer sigheth – such her fate

She and her burning kisses are forgot.

Two lovers rough for shudd’ring Winter strive,

Beneath a shroud of snow;

Heaven haply shall contrive

Their violence she may not further know.

Through its figural and intellectual prism of ancient classical mythology, Moore worked in his career to update the complex equation of the natural world’s varying and transitory seasons to human life’s copious physical, emotional, and spiritual expressions and contradictions. With their immersion in Moore’s modern art, the painter achieved a graciously-contrived visual dramatic interplay of nature and humanity, ancient and present-day, whose quest is eternal in time and space.

Albert Joseph Moore passed away in the middle of the night on September 25, 1893. He died 9 days after finishing his last painting, The Loves of the Winds and the Summer. Moore was 52 years old.

SOURCES: ALBERT MOORE, Robyn Asleson, Phaidon, 2000, pgs. 70, 97-100, 104, 108. 164, 166-168, 177, 179, 185, 199-202; – retrieved September 5, 2023.