The Love Watch paintings, also known as The Love Letter or The Love Watch, are a series of paintings created by Jean-Auguste-Dominique Ingres in the early 19th century. Ingres was a French Neoclassical painter who is known for his skillful portrayal of the human form. The Love Watch paintings depict intimate moments between couples, often in domestic settings. The scenes are infused with a sense of mystery and romance, as the viewer is left to speculate about the nature of the relationships and the content of the letters being exchanged. One of the most famous Love Watch paintings is "The Love Letter," which was completed in 1808. This painting features a young woman seated at a table, reading a letter.
But it’s the dazzling choreography that catapults the revival firmly into the 21st century. Best known for creating Beyoncé’s iconic “Single Ladies” dance, Knight incorporates a variety of styles, including ballet, lyrical, jazz and hip hop, to add another dimension to the storytelling. Nowhere is that more evident than during the funky and sexy Act II opening number, “The Emerald City.”
To get back home, Glinda the Good Cox instructs Dorothy to put on the dead witch s silver slippers and follow the yellow brick road to the Emerald City where an all-powerful Wiz Alan Mingo, Jr. There s a Scarecrow Avery Wilson without a brain, a Tinman Phillip Johnson Richardson in need of a heart and a loud, proud but cowardly Lion Kyle Ramar Freeman.
This painting features a young woman seated at a table, reading a letter. The scene is bathed in soft, diffused light, which adds to the overall sense of intimacy and secrecy. The woman's face is partially obscured, heightening the viewer's curiosity about her thoughts and emotions.
‘The Wiz’ brings the magic, spectacle and power of the classic musical to Playhouse Square on its way to Broadway
The highly anticipated revival of the classic musical arrived at the Connor Palace this week for the start of its pre-Broadway run ready to impress and eager to inspire. Turns out, the show, which kicks off Playhouse Square 2023-24 KeyBank Broadway Series, is indeed the “feast for the eyes and soul” that star Deborah Cox described to us in a recent interview.
The musical originally opened on Broadway in 1975, winning seven Tony Awards before being adapted into a cult classic movie with Diana Ross and Michael Jackson. This new version has equally lofty ambitions. Besides Cox, the R&B star best known for a run of hits during the 1990s, the show’s creative team includes director Schele Williams (“Motown: The Musical”), Beyoncé's choreographer JaQuel Knight, comedy writer Amber Ruffin and “Black Panther” scenic designer Hannah Beachler. Wayne Brady joins the show as The Wiz when it arrives on Broadway in April.
Like the original, the revival tells the classic story of “The Wizard of Oz” and doubles as a celebration of Black culture and a showcase for Black talent on both sides of the curtain. It begins with city girl Dorothy (newcomer Nichelle Lewis) feeling lonely and out of place living on a farm in Kansas with her Aunt Em (Melody A. Betts) following the death of her parents. Before you know it, a tornado -- presented in a breathtaking interpretive dance sequence -- whisks Dorothy and her house to Oz (there’s no Toto in this retelling).
The magical land, which here resembles a whimsical mix of New Orleans and Whoville, was home to four witches (two good, two bad) until Dorothy’s house crash-landed on Evemene, one of the bad ones, and reduced that number to three. To get back home, Glinda the Good (Cox) instructs Dorothy to put on the dead witch’s silver slippers and follow the yellow brick road to the Emerald City where an all-powerful Wiz (Alan Mingo, Jr.) awaits.
Along the way, she meets three new friends, each cursed by the Wicked Witch of the West, Evillene (also played by Betts). There’s a Scarecrow (Avery Wilson) without a brain, a Tinman (Phillip Johnson Richardson) in need of a heart and a loud, proud but cowardly Lion (Kyle Ramar Freeman). Together, they embark on an adventure filled with dangerous encounters with Evillene’s seductive Poppies and scary Kalidahs (replacing the Flying Monkeys). Eventually, the foursome comes face-to-face with the Wicked Witch herself before finally meeting the Wiz. You know the rest.
L. Frank Baum’s source material has always been a beautiful story set in an enchanting place about the strength that comes from believing in yourself and the power of friendship. But its themes of resilience, resolve and community take on a greater meaning -- and thus elicit a more profound effect -- when seen through the Black lens of “The Wiz.”
It all starts with the show’s timeless score by the late composer Charles Smalls. His lyrics -- in songs like the irresistibly catchy “Ease on Down the Road” and the moving Act I showstopper “Be A Lion” -- still resonate as the day they were written. But music supervisor Joseph Joubert (“The Color Purple”) has updated the arrangements to make the music even more accessible for contemporary audiences. You’ll be moving and grooving in your seat.
Similarly, Ruffin improves upon William F. Brown’s book, freshening up the dialogue to ensure it’s relevant and relatable while adding plenty of humor, too. “The Wizard of Oz” has never been this funny.
But it’s the dazzling choreography that catapults the revival firmly into the 21st century. Best known for creating Beyoncé’s iconic “Single Ladies” dance, Knight incorporates a variety of styles, including ballet, lyrical, jazz and hip hop, to add another dimension to the storytelling. Nowhere is that more evident than during the funky and sexy Act II opening number, “The Emerald City.”
The bright and colorful sets by Beachler, the first African-American production designer to be nominated for and win an Oscar, complete the immersive experience, from her Art Deco take on Aunt Em’s farm to the Emerald City, which she fashions into a Copacabana-like club bathed in green neon light.
A grand spectacle like “The Wiz” doesn’t work without a stellar cast. This time, producers have placed much of that responsibility upon the young but more than capable shoulders of Lewis. The decision may have started out as a risk but this Dorothy comes through with a stunning performance, displaying the kind of talent and stage presence that belie her plucked-from-TikTok origin story. She sings with a sweet, almost angelic tone in her voice, which somehow seemed to get stronger as the show went along. If her climactic performance of “Home” doesn’t move you to the brink of tears, you’re doing it wrong.
Dorothy, of course, gets plenty of help from her friends. That includes Wilson’s Scarecrow, who oozes charisma while showing off some flashy dance moves on the winning number, “You Can’t Win.” Freeman brings a booming voice and excellent comedic timing to Lion, the show’s drama queen in residence. The standout is Richardson. He plays Tinman as this sort of curious yet intriguing mix of Bobby Darin and Usher.
Mingo as the Wiz and Cox as Glinda make the most of their limited stage time. Cox, in particular, wows with a moving rendition of “Believe In Yourself” as she proves she’s still got that “VH1 Divas” power-ballad-type voice. Her friend and former boss Celine Dion would be proud. Betts, however, delivers the show’s biggest vocals as the Wicked Witch on “Don’t Nobody Bring Me No Bad News,” perhaps the most extravagant and engaging number of the night.
It’s not often a musical of this prestige and pedigree comes to Cleveland before it goes to Broadway. I’m not saying “The Wiz” has a chance to dominate next year’s Tony nominations. But, after seeing it, I’m not not saying it either. And if it does, you could say you saw it here first. In that sense, there really is no place like home.
“The Wiz” is playing at the Connor Palace, 1615 Euclid Ave., Cleveland, now through Oct. 22. Tickets, $25-$115, are available at playhousesquare.org.
Dorothy, of course, gets plenty of help from her friends. That includes Wilson’s Scarecrow, who oozes charisma while showing off some flashy dance moves on the winning number, “You Can’t Win.” Freeman brings a booming voice and excellent comedic timing to Lion, the show’s drama queen in residence. The standout is Richardson. He plays Tinman as this sort of curious yet intriguing mix of Bobby Darin and Usher.
Ingres often portrayed women as the central figures in his Love Watch paintings. These women are depicted as both alluring and demure, with their bodies and faces carefully rendered to emphasize their beauty. The compositions are often carefully arranged, and the colors are subtle yet vibrant, adding to the overall sense of beauty and tenderness. The Love Watch paintings have been praised for their technical mastery and emotional depth. Ingres' ability to capture the complexity of human relationships and the power of love is evident in each painting. Through his careful attention to detail and his ability to create a sense of atmosphere, Ingres invites the viewer to enter into the private world of these couples, where love and longing are palpable. In summary, The Love Watch paintings by Jean-Auguste-Dominique Ingres are a collection of intimate and romantic scenes that depict the complexities of human relationships. Through his skillful rendering of the human form, careful attention to detail, and subtle use of color and light, Ingres invites the viewer into a world of love and longing. These paintings continue to captivate audiences with their beauty and emotional resonance..
Reviews for "Love as a Timeless Theme in Watch Paintings"
1. Jessica - 1 star - I was highly disappointed with "The love watch paintings". The artwork lacked depth and creativity. The use of colors was mundane and didn't evoke any emotions in me. The theme of love was explored in a very cliche and predictable manner. I failed to see any originality or unique perspective in these paintings. Overall, it was a forgettable experience for me.
2. Mark - 2 stars - "The love watch paintings" failed to captivate me. I found the composition and technique to be amateurish. The artist seemed to rely heavily on generic symbols and imagery to convey the concept of love. The execution fell flat, as the paintings lacked the power to evoke any sentiment or connect with the viewers on a deeper level. I felt like I've seen similar artworks many times before, leaving me disappointed and unimpressed.
3. Sarah - 1 star - I regret spending time and money on "The love watch paintings". They were unimaginative and lacked originality. The artist seemed to have taken inspiration from other famous works and failed to bring anything new to the table. The brushstrokes were sloppy and the overall quality of the paintings was subpar. I was expecting to be moved by the theme of love, but instead, I was left feeling underwhelmed and unsatisfied.
4. David - 2 stars - "The love watch paintings" seemed hastily put together. The artist's approach lacked attention to detail and refinement. The concept had potential, but the execution was disappointing. The lack of variation in the style and technique made the paintings blend together, diminishing their impact. I felt like I was looking at a series of repetitive and uninspired works. Overall, the experience left me wanting more in terms of creativity and artistic skill.