Jean-François Millet, artist of one of my favorite paintings, The Gleaners, once said: "Beauty does not lie in the face. It lies in the harmony between a person and his or her industry. Beauty is an expression. When I paint a mother, I try to render her beautiful by the mere look she gives her child."
Millet was a rule-breaker. He dared to depict the lowest ranks of 19th century society, like peasant farmers, with a simple but monumental grandeur that attracted considerable opposition from the upper classes.
Perhaps my love for Steinbeck can be intuited from my admiration for Millet and the Barbizon School. Much like Millet's paintings, Steinbeck's novels examine with humanity those disenfranchised members of society who tend to be overlooked.
In his whimsical portrait of Cannery Row, I found myself longing for a place that no longer exists, wishing that I could be as free as Mack and the boys riding a truck to go catch some frogs. Steinbeck's storytelling was again unmatched - demonstrating to us the beauty in the ordinary without being sermonizing.
Jean-François Millet, artist of one of my favorite paintings, The Gleaners, once said: "Beauty does not lie in the face. It lies in the harmony between a person and his or her industry. Beauty is an expression. When I paint a mother, I try to render her beautiful by the mere look she gives her child."
Millet was a rule-breaker. He dared to depict the lowest ranks of 19th century society, like peasant farmers, with a simple but monumental grandeur that attracted considerable opposition from the upper classes.
Perhaps my love for Steinbeck can be intuited from my admiration for Millet and the Barbizon School. Much like Millet's paintings, Steinbeck's novels examine with humanity those disenfranchised members of society who tend to be overlooked.
In his whimsical portrait of Cannery Row, I found myself longing for a place that no longer exists, wishing that I could be as free as Mack and the boys riding a truck to go catch some frogs. Steinbeck's storytelling was again unmatched - demonstrating to us the beauty in the ordinary without being sermonizing.
Jean-François Millet, artist of one of my favorite paintings, The Gleaners, once said: "Beauty does not lie in the face. It lies in the harmony between a person and his or her industry. Beauty is an expression. When I paint a mother, I try to render her beautiful by the mere look she gives her child."
Millet was a rule-breaker. He dared to depict the lowest ranks of 19th century society, like peasant farmers, with a simple but monumental grandeur that attracted considerable opposition from the upper classes.
Perhaps my love for Steinbeck can be intuited from my admiration for Millet and the Barbizon School. Much like Millet's paintings, Steinbeck's novels examine with humanity those disenfranchised members of society who tend to be overlooked.
In his whimsical portrait of Cannery Row, I found myself longing for a place that no longer exists, wishing that I could be as free as Mack and the boys riding a truck to go catch some frogs. Steinbeck's storytelling was again unmatched - demonstrating to us the beauty in the ordinary without being sermonizing.
Jean-François Millet, artist of one of my favorite paintings, The Gleaners, once said: "Beauty does not lie in the face. It lies in the harmony between a person and his or her industry. Beauty is an expression. When I paint a mother, I try to render her beautiful by the mere look she gives her child."
Millet was a rule-breaker. He dared to depict the lowest ranks of 19th century society, like peasant farmers, with a simple but monumental grandeur that attracted considerable opposition from the upper classes.
Perhaps my love for Steinbeck can be intuited from my admiration for Millet and the Barbizon School. Much like Millet's paintings, Steinbeck's novels examine with humanity those disenfranchised members of society who tend to be overlooked.
In his whimsical portrait of Cannery Row, I found myself longing for a place that no longer exists, wishing that I could be as free as Mack and the boys riding a truck to go catch some frogs. Steinbeck's storytelling was again unmatched - demonstrating to us the beauty in the ordinary without being sermonizing.
Jean-François Millet, artist of one of my favorite paintings, The Gleaners, once said: "Beauty does not lie in the face. It lies in the harmony between a person and his or her industry. Beauty is an expression. When I paint a mother, I try to render her beautiful by the mere look she gives her child."
Millet was a rule-breaker. He dared to depict the lowest ranks of 19th century society, like peasant farmers, with a simple but monumental grandeur that attracted considerable opposition from the upper classes.
Perhaps my love for Steinbeck can be intuited from my admiration for Millet and the Barbizon School. Much like Millet's paintings, Steinbeck's novels examine with humanity those disenfranchised members of society who tend to be overlooked.
In his whimsical portrait of Cannery Row, I found myself longing for a place that no longer exists, wishing that I could be as free as Mack and the boys riding a truck to go catch some frogs. Steinbeck's storytelling was again unmatched - demonstrating to us the beauty in the ordinary without being sermonizing.
