Old and New World artistry merge in Hispanic Baroque

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A 1893 one-cent postage stamp depicting Christopher Columbus and indigenous figures, surrounded by an ornate border. The inscription reads 'Columbus in Sight of Land.'

Above: “Annunciation and Saints,” Jose de Paez, Mexican (1727-1790), oil on copper, 1750-1760.

“Spirit & Splendor: El Greco, Velázquez, and the Hispanic Baroque” surveys 150 years of Spanish art leading to the Baroque period with works culled from the collection of the Hispanic Society of America in New York City. Some of Spain’s most renowned and respected artists are represented in this ongoing exhibition at the Blanton Museum of Art, but don’t expect much more than a dozen of these works.

What I love are the pieces demonstrating the Baroque style translated by transplants and native-born artisans in the Americas. Artists took advantage of materials available in this so-called “New” World – copper, shells and, of course, more precious metals. They added a magical sheen to art designed to convert “pagans” to the foreign beliefs held by the Catholic conquerors.

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Postcard from Europe: Home’s where the boat floats

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Colorful stamp depicting boats on water, with artistic brush strokes and a sunny backdrop.

Above: Houseboats docked along a London canal

Tensions have been rising between the managers of Britain’s canals, others who use them, and the nomadic narrowboaters, revered by some as bohemian travelers and disdained by others as maritime squatters.”

“Britain’s Canalboat Nomads Fear New Rules Will Sink Their Way of Life,” Steve Hendrix, The Washington Post, August 29. 2025

I had seen canalboats before, yet London was the first place I became fascinated with the lifestyle of those who operated them. Clueless as to how the system worked.

Now I know, there are boats with permanent berths, and then there are “travelers,” wanderers required to shove off after two weeks in one spot. Many of these are not short-term vacationers but long-term residents who rove about the canals tying up their houses fortnightly.

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Postcard from Nice, France: Keep diving for pearls of flavor

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A postage stamp depicting an open oyster with a blue background, labeled 'Les huîtres' and marked with a value of 0.50€ from La Poste 2004.

Above: A no. 2 oyster, probably a Charente Maritime, dressed with a dash of vinegar at Le Gambetta

And I had my first oyster. Now, this was a truly significant event. I remember it like I remember losing my virginity – and in many ways, more fondly….

I took it in my hand, tilted the shell back into my mouth as instructed by the now beaming Monsieur Saint-Jour and with one bite and a slurp, wolfed it down. It tasted of seawater…of brine and flesh…and somehow…of the future. Everything was different now. Everything. I’d not only survived – I’d enjoyed.”

Anthony Bourdain, Kitchen Confidential: Adventures in the Culinary Underbelly, 2000

Anthony Bourdain credits an oyster tasted in France when he was ten years old for propelling him toward a lifetime obsession with flavor. While this Virginia Beach native loves oysters now, it certainly was not love at first swallow. I didn’t learn to enjoy them un-fried or un-Rockefellowed until late in high school.

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