OK, I've got this to say: dogs are box office. I base this on Rin-Tin-Tin, Toto, the Eukanuba Dog Show and my Red Room blog. Especially my Red Room blog.
Four or five weeks ago I changed my blog picture, dropping the image of two charming puppies in a painting staring over my shoulder. Instead, there was just me.
From that point on, my Dashboard, which is supposed to tell me how many people are reading my stuff, took a dive.
So, I deduced, people were only reading my stuff because they liked the two puppies. Well, no reason to get moody about it. Robert Louis Stevenson probably also liked those two puppies, or close relatives.
After all, he was a friend of the artist of the painting, Elizabeth Strong, and was probably charmed by her dog paintings just like everyone else.
That would have been in 1879, in Monterey, California. Stevenson arrived from Scotland to court Fanny Osbourne, Elizabeth Strong, and her brother Joseph, coming from San Francico at the same time to sketch and paint.
They met, became friends, and Joseph eventually accompanied Stevenson and Fanny to the South Seas. Elizabeth traveled in the opposite direction, to New York and France, before returning to Monterey.
She became famous for her dog paintings. It wasn't easy. A London newspaper wrote way before the turn of the 20th Century, while Strong was in Paris, ``She loves dog painting and she is determined to make it pay. Soon she will be going to Algeria to study there.''
Maybe Red Room's Abdelwahab Hammoudi knows if Elizabeth made it to Algeria.
Anyway, since my Dashboard Dive, I have realized what a fine artist she was, helping to attract all those readers who have now deserted, and asked Huntington Sharp if he'd help me put the dog image back up on my blog, along with myself, of course.
Actually, you can only see part of the painting because, I think, my head has gotten bigger or something. With just one dog, readership probably won't necessarily soar, but I expect some kind of Dashboard lift off.
If not, I'll try cats.
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I just think it takes blogging
regularly. I know if I don't my numbers drop and I don't even have a dog picture, nor will I ever. A picture of a cat, perhaps? Regardless, for the first time, you got my attention and thus, your number just went up...hope you get more.
On the other hand, it is nice to know that I am not the only person obsessed with my blog numbers! Good luck with yours, dog or no dog!
See, Nancy, I mention dogs and for the . . .
first time I get your attention. What about all those times I wrote about Steinbeck and guns and Saroyan and libraries in peril and hitch-hiking across the country? Doesn't compare to a pair of Springer Spaniel puppies! At least, I think they're Springers. Thanks for the comments. And you certainly have an interesting blog photo.
Got biscuits?
Sad puppy eyes get ‘em everytime, Steve. My dashboard zings right up whenever I post a humorous ‘puppy blog.’
Actually, my Red Room Google numbers dropped 1,000 in the last week, and I have no idea who stole them! Now there’s a mystery even a canine sleuth can’t solve. Maybe our wizard Huntington knows...
I know, Mara,
sometimes there's no patterm to it at all. Huntington knows, alright, but hard to get him to talk.
You rang?
Steve, I don't know what causes these things either. I do know that Nancy has a point about frequent blogging, especially when paired with frequent commenting elsewhere on Red Room.
Huntington Sharp, Editor, Red Room
Steve, what can I say...
if I see a topic that seems compelling and the first couple lines intrigue me, I look. I don't always comment on what I read although I sometimes do. I also don't have the time to read blog posts.
Perhaps I am just unsophisticated when it comes to Steinbeck, guns, and Saroyan, and if so, I don't wish to show my ignorance. I do understand about libraries in peril; I believe I have mentioned it a time or two myself. Other than that, what can I say? Oh yeah, my blog picture was taken from our sailboat in Put-In-Bay. That, and I'll look for more of your blog posts in the future.
Just kidding, Nancy,
about the other blogs. Sometimes I read like mad, sometimes I'm off elsewhere and later realize I missed some good stuff. Only so much time . . .and, after all, we should all be doing other writing.
Saliboat! Great, I was trying to figure it out.
From El Springador:)
Yippee, Steve, it's great to see those pups still have their paws on the table and not just under it.
You deserve a lottery bone-us rollover and stats that will soar to the dogs!
Rosy, what's a lottery bone-us rollover?
Is that British? It makes one Paws for thought.
Dogs
Semi-anonymous
There are two kinds of people in this world: Those who use dog ears and those who use bookmarks.
To my knowledge, bookmarks have yet to be the subject matter of fine art, photography or literature. On the other hand, the dog ear has always had a place on the printed page.
Therefore, based on the aforementioned, it can be concluded that any dog, even one obscured by a writer with a big head, appearing within the pages of Red Room, is an entirely appropriate association.
In fact, Red Room might even want to consider the dog as a mascot. I like the name, " Box Office ".
Thank you. John,
but dogs ears can reduce the value of some valuable old books. Better to use book marks. I like those puppies anyway.
It's a term
used in our National Lottery, Steve, when no one scoops the pot that week and the amount (a bonus) is rolled over to the following week. At least that's my understanding of it!
Hi Steve
I did some research but was not able to find anything on Elizabeth's séjours in Algeria. She has another work in France called "L'ami Fidèle(the faithful friend)". http://cgi.befr.ebay.be/Gravure-LAMI-FIDELE-Chien-Elizabeth-STRONG-1888_...? Here some american painters who visited Algeria (with a quick translation from google) Frederick Arthur Bridgman (1847-1928): Born in Alabama, a Boston family, he went very early in 1866 in Paris. He studied painting at the American colony of Pont-Aven and then to Paris where he received lessons Gérôme he quickly became one of his favorite pupils. He specializes in portraits and Orientalist painting. He visited Spain and Tangiers in winter 1872-1873 and Egypt where he stayed five years before returning to Paris in 1877. He visited Algeria for the first time in 1885-86. He returned several times. He spent some time in Algiers where he rents a room with difficulty-workshop in the Casbah. He works from sketches but also on photographs he carries himself. He received his first award at the Salon of 1877, then a silver medal at the world expositions of 1889 and another in that of 1900. He is the founder of the Society of American Artists in Paris. There is also a writer and photographer in his travels. Frank A. BROWN aka Paco Moreno (1879-1962): Born in Massachusetts, he went to Paris where he studied at the Academie Julian. From 1922 to 1930 he exhibited at the Salon of French Artists. He traveled to Italy and Spain and traveled to Algeria. This trip marks the lot. He also travels to Tunisia. He painted mostly landscapes and portraits. Robert Swain Gifford (1840-1905): pupil of Albert van Beest. He traveled through Europe in 1870. He also visited Morocco and Egypt. In 1874 he returned to North Africa to visit the great Algerian desert. He visited the Middle East several times. Especially in watercolor that stands out. Addison Thomas Millar (1860-1913): Born in Ohio of a Scottish father he studied in New York and then in Paris under Benjamin Constant and Boldini. He stayed in Europe for several years, visited Spain in 1895 and Algiers. He moved to New York in the late 1890s. SHONBORN John Lewis (1852-1931): Born of Hungarian parents who move while still very young in Midwestern U.S., he studied the horses in the family farm of his childhood. He stayed in Paris the painter Bonnat. He participated in a mission to Tunisia and went to Kairouan. From there he went to Algiers and then moved to Algeria. He travels the Kabylie. He painted many horses in Algeria but without yielding the cliches of the genre, fantasias and other hunts. In these pictures, he much prefers the animal release or in the fields and farms. Elihu Vedder (1836-1923): He studied under the Tompkins Harrison Matteson Shelbourne, NY. He went to Paris in March 1856 where he spent several months in the studio Edouard Picot. Then he went to Italy where he stayed for several years. He learns the art of Macchiaioli and produces many landscapes. It evolves into a Symbolist painting. He painted subjects from Egypt or North Africa. Elihu Vedder (1836-1923): He studied under the Tompkins Harrison Matteson Shelbourne, NY. He went to Paris in March 1856 where he spent several months in the studio Edouard Picot. Then he went to Italy where he stayed for several years. He learns the art of Macchiaioli and produces many landscapes. It evolves into a Symbolist painting. He painted subjects from Egypt or North Africa. Best
I'm printng this and it goes
into my art files. Thanks. Gifford and Bridgman big names in American art. I know there are some early Carmel (California) Art Assciation artists who either ventured into or spent quite a bit of time in Algeria, attracted by the desert and the people, including adventurous brothers George (1894-1971) and Martin (1894-1961) Baer. Edan Hughes writers of them, ``Several years were spent in North Africa where they painted the Algerians.'' George eventually settled in Cinnecticutt, where he established an art school; Martin came to California's Monterey Peninsula.
And thanks for the
Elizabeth Strong image. It's great.