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nursingwriter · 4 months ago

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Radiographic Analysis Radiological findings are the diagnostic mainstay in orthopedic surgery for most fractures. This technique allows visualizing the soft tissues around the fractures involving low energy, high energy, and pathological fractures in aged patients. X-ray findings make it possible to classify the fractures and initiate robust management such as reduction, immobilization, and stabilization. This article describes the radiographic pictures taken at different positions and projections and the associated structures and the rationale for requesting such radiographs. Figure 1 Antero-posterior Ribs X-ray (Murphy,2020) The anteroposterior rib view is a projection used in the assessment of the posterior ribs. Unlike a standard chest x-ray, use lower kV and mAs in highlighting the bony structures in the area under investigation. While taking this radiograph, the patient is placed in an erect or supine position facing the x-ray tube, the posterior portion of the patient is resting on the detector. The patient's chin is raised to prevent inclusion in the image field; the hands are placed resting by the patient's side. The anteroposterior ribs view usually involves two projections: one supradiaphragmatic rib and the other two subdiaphragmatic ribs. The technical factors while taking this radiograph includes an anteroposterior oblique projection. The ribs are placed above and below the diaphragm in a suspended inspiration manner. Centering points are located above the diagram about 10cm just below the jugular notch around the position of the midsagittal plane and the midway point between the xiphoid process of the sternum and the 12th rib below the diaphragm (Murphy,2020). Collimation is made at a place superior to the 1st rib, inferior to the detector, and lateral to the skin borders with the ribs suspended above the diagram. On the ribs below the diaphragm, the collimation is made superior to the 9th thoracic vertebra and inferior to the 12th rib just above the iliac crest of the hip bone. The orientation of this radiograph is a portrait to make it more adequate. The detector size dimensions used for this radiograph are 43cm by 35cm or 35cm by 43cm. The exposure that gives a clear image is 260-70kVp and 30-40mAs. The distance between the focal spot to the image receptor cassette is 100cm and a grid. The ideal CR is perpendicular to the long axis more than 5 degrees to prevent clavicle obstructing apices, The anatomical structures visualized on this radiograph include posterior ribs, clavicle, supraclavicular joints, lungs, and the peritoneal space (Figure 1). Antero-posterior x-ray is indicated to demonstrate simple rib fractures that commonly lead to complications such as pneumothorax. In cases where pneumothorax or cardio-pulmonary infections are suspected, the chest x-ray would be most appropriate. Pregnancy and present medication regimen should be considered as precautions; lead masking of the gonads to prevent x-ray exposure is ideal. The AP projection produces less magnification on the ribs, providing more detailed bony structures than the PA view. High contrast or brightness do not significantly improve the image. Putting the patient in an erect or supine supported by the immobilization into oblique position produces a better shot. Figure 2 Lateral cervical spine x-ray (Lampignano et al., 2017) When taking a cervical spine x-ray laterally, the patient is placed in an erect or supine position depending on the nature of the trauma or the patient's follow-up. The detector of the image is placed in a portrait position running parallel to the long axis to that of the cervical spine on the patient's left side. The patient is informed that the image is to be taken while in a suspended inspiration. Traction and lateral projection are used when obtaining this radiograph to visualize the T1 vertebra; this technique is only performed by qualified personnel. However, full expiration must be completed for the inferior shoulder displacement to bring T1 under visualization. In a case where T1 cannot be visualized, the swimmer's lateral projection is used (Lampignano et al., 2017). The x-ray image is obtained when there is a clear visualization of C1 -T1; the vertebral bodies, zygapophyseal joints, and articular pillars are laterally superimposed. While taking a cervical spine x-ray, the technical factors involve lateral projection with the centering point about 2.5cm above the jugular notch, C4 level. Collimation is superior to C1 and inferior to the T1 vertebra; soft tissues are included anterior and posteriorly. The image orientation is a portrait with a detector size of 24cm by 30cm, exposure of 50-75kVp and 20-40mAs, SID of 150-180cm with a grid. Pregnancy and present medications should be considered as a precaution when taking the radiograph. This radiograph is indicated to visualize the pathologies of the cervical spine such as osteoarthritis and spondylitis, also commonly to trauma patients to demonstrate injuries to the soft tissues around the fractures. Anatomical structures visualized include the trachea, the vertebral bodies, soft tissues, atlas notches, articular pillars, and intervertebral disks (Figure 2). Figure 3 Antero-posterior Thoracic spine x-ray (He?man et al., 2021) Thoracic spine radiograph in AP view allows for the visualization of the thoracic spine images consisting of the twelve thoracic vertebrae. The picture is taken when the patient is supine or erect. In non-trauma patients, the ideal image should be captured in an upright position to view the thoracic spine adequately. When injuries or spinal trauma is suspected, the picture is taken supine with limited movements with the hands. The technical factor includes arrested inspiration in which the diaphragm is pushed over the lumbar vertebrae. The centering points include the 7th vertebra level at the MSP, the central beam of rays projected perpendicular to the image receptor (He?man et al., 2021). Collimation superiorly consists of the C7 and T1 junction, inferiorly the junction of T1 and L1. The lateral collimation has right paraspinal and costotransverse joints. Orientation of the image takes portrait with detector size of 35cm by 43cm, exposure of 70-80kVp, and 25-40mAs. The SID is 110cm with the correct grid selected based on the presence of a focus. Protecting sensitive body parts like the gonads to mask the x-ray beams, pregnancy, and medical history should be considered safety measures. The anatomical viewed under this radiograph includes the twelve thoracic vertebrae and part of cervical vertebrae, the clavicle, the first rib, the transverse processes, intervertebral disks, the 6th posterior rib, tracheal bifurcation, and the thoracic bodies. Thoracic spine AP x-ray is indicated in trauma patients to visualize the thoracic vertebral fractures and chronic osteogenic diseases postoperatively. The image also helps to visualize vertebral compression fractures and kyphosis or subluxation. The image quality can be improved by adequate penetration and contrast to visualize the vertebral bodies and trabecular and cortical bones (Figure 3). When taking the image on a trauma patient on a trolley, the image receptor must be aligned to the central ray to exclude anatomical obstruction and gride cut-off. Comfort should be provided to the patient by providing a pillow under the knees when flexing the legs; this technique also reduces the spinal lordosis. Figure 4 Lateral lumbar spine x-ray (McWilliam,2021) The lumbar spine lateral radiograph views the lumbar spine generally consisting of the five vertebrae and the lumbosacral segment. The patient is placed in a supine, erect, or lateral recumbent position depending on the clinical condition and history. When using lateral decubitus, the patient is positioned to extend the humeri about 90 degrees to the thorax, the elbows flexed, and the arms parallel to the thorax. In the AP projection, the spinal curvature determines if the right or left lateral projection is performed. The distal upper arms are excluded from overlying the region of interest when using the horizontal beam. The lateral decubitus position is achieved by asking the patient to cross or extend their arms over the thorax. The technical factor for this imaging involves the lateral projection; the patient is in expiration to minimize the diaphragm from being superimposed on the lumbar spine. The centering point is at the level of the iliac crest of the hip bone, the coronal end directly on the lumbar spine corresponding to the posterior third of the abdomen. The central ray is positioned perpendicular to the image receptor. Collimation superiorly includes the T12 and L1 junction, inferiorly including the sacrum (McWilliam,2021). The anterior collimation consists of the vertebral bodies' anterior border, while the posterior is the elements of the posterior column and the spinous processes. Portrait orientation with a detector size of 35cm by 43cm is used, exposure of 70-80kVp and60-80mAs, SID of 110cm, and a grid selected based on the focus applied. Lead shielding should be done to mask the x-ray beam from reaching the gonads. The anatomical structures visualized on this image include the sacrum, the body of T12, intervertebral disks, the crest of the ilium, lumbosacral segment, and intervertebral foramen (Figure 4). This x-ray is requested for trauma patients postoperatively and to diagnose chronic bone infections such as osteoarthritis. The adequacy of the radiograph is influenced by the visibility of the T12 and L1 junction to the L5 and S1 junction. In patients with spinal scoliosis, the side with the convexity is placed closest to the IR; this allows the utilization of the diverging beam to achieve the superimposition of both lower and upper endplates for better image quality. Visualization of the L4/L5/S1 junction may require a spot radiograph. Cases not requiring the demonstration of the sacral region, smaller cassettes of 30x35 may be used in a CR system, the height of CR 2.5cm is applied above the iliac crest. References He?man, M., Bu?val, S., ?ern, M., ?tvrtlk, F., Duskov, R., Hazlinger, M., ... & Vom?ka, J. (2021).Basics of Radiology. Palack University Olomouc. Lampignano, J., & Kendrick, L. E. (2017).Bontrager's Textbook of Radiographic Positioning and Related Anatomy-E-Book. Elsevier Health Sciences. McWilliam, R. (2021, January 17). Lumbar spine (lateral view) | Radiology Reference Article | Radiopaedia.org. Radiopaedia. https://radiopaedia.org/articles/lumbar-spine-lateral-view-2 Murphy, A. (2020, December 1). Ribs (AP view) | Radiology Reference Article | Radiopaedia.org. Radiopaedia. https://radiopaedia.org/articles/ribs-ap-view Read the full article

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smithcc · 4 months ago

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Effective TMJ/TMD Treatment in Hartford, CT – Relief for Jaw Pain & Discomfort at Crest Family Dental

Temporomandibular Joint Disorders (TMJ/TMD) can significantly impact daily life, causing discomfort and hindering essential functions like speaking and eating. At Crest Family Dental in Hartford, CT, we specialize in diagnosing and treating TMJ/TMD to alleviate pain and restore optimal jaw function.

Understanding TMJ/TMD

The temporomandibular joint (TMJ) connects the jawbone to the skull, facilitating movements necessary for chewing and speaking. Disorders of this joint, collectively known as TMD, encompass various conditions affecting the jaw joint and surrounding muscles. Common symptoms include:

Jaw Pain: Tenderness or discomfort in the jaw area.

Facial Pain: Aching sensations extending to the face.

Headaches: Frequent headaches, sometimes resembling migraines.

Jaw Sounds: Clicking, popping, or grating noises during jaw movement.

Limited Movement: Difficulty in opening or closing the mouth fully.

Earaches: Pain or ringing in the ears not caused by ear infections.

Causes of TMJ/TMD

Identifying the exact cause of TMD can be complex, as it often results from multiple factors, including:

Jaw Injury: Trauma to the jaw or head.

Arthritis: Degenerative or inflammatory joint conditions.

Teeth Grinding or Clenching: Habitual grinding (bruxism) or clenching, often linked to stress.

Structural Jaw Issues: Misalignment or congenital anomalies affecting the jaw's structure.

Treatment Options at Crest Family Dental

Our approach to treating TMJ/TMD is comprehensive and personalized, focusing on alleviating symptoms and addressing underlying causes:

Customized Oral Appliances: We provide dental splints or night guards to prevent teeth grinding and promote proper jaw alignment.

Physical Therapy: Targeted exercises to strengthen jaw muscles and improve mobility.

Medication Management: Prescription of anti-inflammatories or muscle relaxants to reduce pain and swelling.

Stress Reduction Techniques: Guidance on managing stress to minimize jaw tension and clenching.

Advanced Therapies: In cases where conservative treatments are insufficient, options like Botox injections or orthodontic interventions may be considered.

Benefits of Seeking Treatment

Addressing TMJ/TMD can lead to significant improvements in quality of life:

Pain Relief: Reduction or elimination of jaw and facial pain.

Enhanced Jaw Function: Restoration of normal chewing, speaking, and yawning capabilities.

Improved Sleep Quality: Alleviation of discomfort that may disrupt sleep.

Prevention of Further Damage: Early intervention can prevent worsening of the condition and associated dental issues.

Why Choose Crest Family Dental

Our commitment to patient-centered care ensures that each treatment plan is tailored to individual needs. With a team of experienced dental professionals, we utilize advanced diagnostic tools and treatment modalities to provide effective solutions for TMJ/TMD.

Schedule a Consultation

If you're experiencing symptoms of TMJ/TMD, don't let them interfere with your daily life. Contact Crest Family Dental in Hartford, CT, at (860) 968-0259 to schedule a comprehensive evaluation and begin your journey toward relief and restored jaw function.

#dental fillings #dental implants #root canal treatment #cosmetic dentistry #dentistry #hardforddentist #dentalcrown #dental office

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elbertlhjr · 11 months ago

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Addressing Common Concerns About Lubbock CoolSculpting

Introduction

In recent years, CoolSculpting has emerged as a famous non-surgical fat reduction healing option. It delivers americans a risk to take away obdurate fat pockets with no undergoing invasive systems such as liposuction. However, like all scientific manner, there are designated matters and questions that practicable patients can even have earlier than curious about Lubbock CoolSculpting. In this newsletter, we shall cope with a few of the so much fashioned matters surrounding this inventive medicine.

What is CoolSculpting?

CoolSculpting is a non-invasive body contouring remedy that makes use of managed cooling to dispose of obdurate fat cells. It is an FDA-approved strategy that objectives exact areas of the frame wherein fats accumulates even with nutrition and training efforts. The procedure works via freezing the fats cells, which are then clearly removed from the physique over the years.

Addressing Common Concerns About Lubbock CoolSculpting Will CoolSculpting Help Me Lose Weight?

One familiar false impression about CoolSculpting is that this is a weight loss answer. However, that's helpful to consider that CoolSculpting will never be designed for basic weight loss. Instead, it focuses on removing localized wallet of fat https://americanlasermedspa.com/bacon-crest/ in extraordinary parts of the physique. While chances are you'll become aware of some reduction in inches after undergoing CoolSculpting, it will have to no longer be thought-about a replacement for correct food regimen and practice in the case of accomplishing weight reduction ambitions.

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Is CoolSculpting Safe?

Yes, CoolSculpting is a reliable and FDA-licensed method for fat relief. The cooling technological know-how used for the time of the treatment selectively objectives fat cells at the same time as leaving surrounding tissues unhurt. This guarantees minimum anguish and no damage to the pores and skin or underlying platforms.

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Are There Any Side Effects?

Like any scientific technique, there might be advantage part resultseasily linked to CoolSculpting. However, these are characteristically moderate and temporary. Some straightforward part effortlessly consist of redness, swelling, bruising, numbness, and tenderness within the handled area. These aspect effects frequently resolve on their personal inside of about a days or perhaps weeks after the cure.

How Long Does it Take to See Results?

Results from CoolSculpting can fluctuate from someone to man or women. While a few persons may perhaps soar noticing transformations as early as 3 weeks after the treatment, the so much titanic outcomes are most likely visible after two to 3 months. It is incredible to notice that CoolSculpting just isn't an immediate solution for fat relief yet promises gradual enhancements over the years.

How Many Treatments Are Needed?

The wide variety of healing procedures crucial will depend upon different factors, including the unique's dreams and the size of the cure field. During your session with a CoolSculpting expert in Lubbock, they may assess your exclusive needs and counsel a medicine plan adapted to you. In some circumstances, distinct sessions may be required to acquire preferable consequences.

Is CoolSculpting Painful?

CoolSculpting is on the whole properly-tolerated by using patients and even handed minimally painful. During the approach, it's possible you'll event sensations of intense

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nomfundon · 1 year ago

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Nurturing futures, the vital role of maternal and child health in society and occupational therapy practice

Maternal and child health is not only a vital indicator of a society's well-being but also a cornerstone for its future prosperity and development. In this blog post, we'll explore the significance of maternal and child health to society and analyze its implications for Occupational Therapy (OT) practice, particularly at a community level, within the context of Cato Crest, Durban, in KwaZulu Natal.

Ensuring the well-being of mothers during pregnancy and childbirth, as well as the health and development of infants and children, is not only a matter of moral imperative but also a strategic investment in the future. The World Health Organization (WHO) underscores the significance of maternal and child health, asserting that healthy mothers and children are fundamental to the achievement of the Sustainable Development Goals (SDGs), particularly those related to health, poverty reduction, and gender equality (WHO, 2020).

Improving maternal and child health yields multifaceted benefits that extend beyond individual well-being to shape the fabric of society itself. Firstly, by reducing mortality and morbidity rates, particularly among mothers and children, societal health outcomes are significantly improved (WHO, 2019). This reduction not only enhances life expectancy but also elevates the overall quality of life for all members of the community. Secondly, investments in maternal and child health serve as a catalyst for enhancing human capital, leading to academic, social, and economic prosperity (UNICEF, 2020). Healthy mothers and children are better positioned to contribute meaningfully to their communities, driving sustainable economic growth and societal advancement. Thirdly, adequate maternal and child health care disrupts the intergenerational cycle of poverty (WHO, 2019). When families are equipped with the resources and support necessary for maintaining health, they can more effectively escape poverty traps, participating fully in education, employment, and community life. Lastly, access to maternal and child health services empower women to make informed choices about their reproductive health and overall well-being, thus promoting gender equality and social inclusion within societies (AOTA, 2019). In essence, prioritizing maternal and child health not only nurtures healthier individuals but also cultivates stronger, more resilient communities poised for long-term growth and prosperity.

In the vibrant community of Cato Crest, Durban, Occupational Therapy (OT) interventions are tailored to address the unique needs and circumstances of its residents, encompassing cultural beliefs, socioeconomic status, and access to resources. Community-based programs are integral to this approach, focusing on maternal and child health promotion through initiatives such as early childhood development support. A notable example is the Philamntwana project implemented in Catomanor, this project is done by Occupational therapy students (Level 4), where comprehensive screenings, health promotion activities, and support groups are conducted every Wednesday at the community hall. Mobile clinics are deployed to reach remote areas within Cato Crest, providing essential maternal and child health services to residents who may have limited access to healthcare facilities. These clinics offer prenatal care, vaccinations, and health education sessions tailored to the specific needs of the community (Katz et al., 2017). Furthermore, occupational therapists in Cato Crest adopt a holistic approach to care, recognizing the interconnectedness of physical, emotional, and environmental factors influencing health. This holistic perspective involves collaboration with healthcare professionals such as nurses, and local leaders to create comprehensive support systems for mothers and children. Additionally, OT practitioners advocate for policies and programs prioritizing maternal and child health within the broader healthcare system, raising awareness about the significance of early intervention and preventive care. Through these concerted efforts, families in Cato Crest are empowered to take proactive steps towards improving their health outcomes, fostering a community where the well-being of mothers and children is paramount.

During my observation at the clinic, I encountered a child with developmental delay, whose mother mentioned administering "jikijela powder" to aid the child in gaining weight. This highlights the prevalent concern of malnutrition, prompting the need for effective nutrition programs. Nutrition programs, as outlined by (Lassi et al.2013), are designed to enhance maternal and child nutrition through various initiatives, including the distribution of nutritious food supplements, this also highlights how OTs work together with other health care professionals such as a dietician. By addressing the underlying factors contributing to malnutrition, such programs play a crucial role in promoting healthy growth and development among children in communities like Cato Crest, Durban.Top of Form

Cato Crest, located in the vibrant city of Durban, KwaZulu Natal, presents both challenges and opportunities in the realm of maternal and child health. Despite its rich cultural heritage and strong community ties, Cato Crest grapples with issues such as poverty, inadequate healthcare infrastructure, and limited access to education.

However, amidst these challenges, there lies a resilient spirit and a collective determination to build a brighter future for the next generation. By harnessing the expertise of occupational therapists and engaging with local stakeholders, we can transform the landscape of maternal and child health in Cato Crest.

Together, let us strive to create a community where every mother and child has the opportunity to thrive, where healthcare is not a privilege but a fundamental human right, and where the seeds of hope planted today blossom into a tomorrow filled with promise.Top of Form

References

World Health Organization. (2020). Maternal, newborn, child and adolescent health. Retrieved from https://www.who.int/maternal_child_adolescent/en

United Nations Children's Fund. (2020). Maternal and newborn health https://www.unicef.org/health/maternal-and-newborn-health

American Occupational Therapy Association. (2019). Occupational therapy's role with maternal and infant health. https://www.aota.org/Practice/Children-Youth/Facts/Newborn-Infant.aspx

Katz, I. T., Bogart, L. M., Fu, C. M., Liu, Y., Cox, J. E., Samuels, F., ... & Bangsberg, D. R. (2017). Barriers to HPV immunization among blacks and latinos: a qualitative analysis of caregivers, adolescents, and providers. BMC Public Health, 17(1), 1-12.

Lassi, Z. S., Das, J. K., Zahid, G., Imdad, A., Bhutta, Z. A. (2013). Impact of education and provision of complementary feeding on growth and morbidity in children less than 2 years of age in developing countries: a systematic review. BMC Public Health, 13(Suppl 3), S13.

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sahilblogs · 3 years ago

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CREST FACTOR REDUCTION (CFR)

Crest Factor Reduction (CFR) is a technique for lowering a waveform’s power ratio from higher to average.

We know that we are already moving beyond 4G Technologies to the next generation of 5G and 6G, which brings back the value of Quality of Services with Efficient products that apply to most industries such as Machine Learning, Artificial Intelligence, Radio Antenna technology/ Audio Electronics, Radar/ Sensors, Physiology, and so on. Faststream Technologies is already providing 5G solutions from…

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#5G Base Station #Crest Factor Reduction

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dendroica · 6 years ago

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Climate crisis may be a factor in tufted puffins die-off, study says | The Guardian

The death of thousands of tufted puffins in the Bering Sea may have been partly caused by the climate breakdown, according to a study.

Between 3,150 and 8,500 seabirds died over a four-month period from October 2016, with hundreds of severely emaciated carcasses washed up on the beaches of the Pribilofs Islands in the southern Bering Sea, 300 miles (480km) west of the Alaskan mainland.

Researchers believe the birds died of starvation partly caused by a loss of energy-rich prey species, which was triggered by increased sea and atmospheric temperatures, as well as reductions in winter sea ice recorded since 2014.

Tufted puffins breeding in the Bering Sea feed on fish and other marine invertebrates, which in turn feed on plankton. The loss of nutritious prey species caused by the climate crisis is also affecting populations of the Atlantic puffin around Britain and Iceland.

Researchers in the journal Plos One documented the Bering Sea “wreck”, or mass die-off, with the help of a citizen science programme in which tribal and community members on St Paul Island recovered more than 350 carcasses of adult birds in the process of moulting, a vulnerable moment in the bird’s lifecycle when they require plentiful food.

According to the study, by Timothy Jones of the citizen science Coasst programme, at the University of Washington, and Lauren Divine, from the Aleut community of St Paul Island’s ecosystem conservation office, puffins typically made up fewer than 1% of recovered carcasses in the region in previous years. In this die-off, 87% of carcasses were puffins, with the remainder being the crested auklet, another North American seabird.

Increased sea temperatures have reduced food resources for puffins in the southern Bering Sea, as some marine species shift further north.

Puffins spend much of their lives at sea, only returning to land to breed each spring. Similar reductions in food supplies close to traditional breeding grounds are also pushing Atlantic puffins further north. It is predicted Atlantic puffins are unlikely to be seen south of the northernmost islands of Scotland by the second half of this century.

A seabird wreck along the Atlantic coasts of Britain, Ireland and Spain after the storms of 2013-14 resulted in the deaths of at least 54,000 birds, of which 55% were Atlantic puffins. The long-term impact of such events is not well understood but fewer than 60% of 2013’s breeding adults returned to the small Welsh island of Skomer the following year.

#Tufted Puffin #Fratercula cirrhata #Fratercula #Fraterculini #Fraterculinae #Alcidae #Lari #Charadriiformes #Aves #birds #puffin #seabirds #climate change #Bering Sea #Alaska

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hakesbros · 3 years ago

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Rently Self-guided Tour & Good Home Solutions

Sellers are also cautious of itemizing their homes because of the high mortgage rates that would loom over their subsequent buy. Over the previous month I’d say it’s gone down from 4-5 calls per property per day to 1 name per property every other day. Meanwhile, median gross sales worth per sq. foot has remained fairly secure homes for sale in albuquerque nm, down only about 4-5% from the July peak. Rent prices OTOH have dropped 10 to 15% and at the second are also affecting the large, nationwide management company-run apartment complexes as well. That stated, there are still some laggard landlords who hold asking for ridiculous rents.

To verify enrollment eligibility for a property, contact the varsity instantly. Save your filters and get updated when new homes hit the market. BONUS $5K From Seller to Buyer for Buy down points or closing prices. Lovely one story pitched tile roof, Less than 1 12 months new homes albuquerque new- Large Primary Bedroom and ensuite bath. Lovely darkish cabinetry in Kitchen and baths, gentle grey tones on partitions and flooring. Why wait to have one built when this dream house is move in Ready.

Stubbornly excessive inflation is going to stay inescapable for a long while… A 5% FFR and anemic QT isn’t going to vary that. The actual worth of housing may not go anywhere or it'd drop, but costs are a unique animal largely governed by the value of the dollar in the lengthy run. I simply don’t see where an apocalyptic collapse in house PRICES would come from with all of these dollars nonetheless sloshing round.

Buying or selling a house remains to be an enormous deal for most people. It’s a complex course of with many transferring components and many alternative folks, entities, and legal guidelines at play. Be sure you've solid representation homes for sale in albuquerque new mexico within the buy or sale of your home. Thank you for visiting our Albuquerque homes and real estate webpage. Here you will find valuable data on Albuquerque, NM actual property and Rio Rancho, NM real property for both buyers and sellers.

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bamsmuzic · 3 years ago

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𝔽𝕣𝕖𝕖 𝔸𝕡𝕡 𝕄𝕠𝕟𝕕𝕒𝕪 𝕃𝕚𝕟𝕜𝕤│𝕊𝕖𝕡𝕥𝟝-𝟚𝟘𝟚𝟚

– – – Kotelnikov ▼ Download ▼ Key specs and features 64bit multi-rate processing structure for highest accuracy “Delta” oversampled signal path (bit transparent at 0dB gain reduction) Super fast, yet natural sounding compression “Crest factor” based control scheme offering independent release controls for peak and RMS events Flexible sidechain highpass filter Advanced stereo linking…

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nursingwriter · 4 months ago

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scoliosiscarecenters-blog · 7 years ago

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5 Things to Know Before Choosing Your Scoliosis Treatment Provider

Choosing a scoliosis treatment provider is a difficult task. There are multiple types of treatment options all claiming to be better than the other. Many treatments are expensive, some treatments look extremely painful, other treatments look like they’re a huge time commitment, and others just don’t seem like they’d actually work. In an ideal world, you could simply do some stretches and your spine would miraculously straighten out. Unfortunately, that’s not usually the case for most scoliosis curves. So, how do you choose which scoliosis treatment is right for you? Before you either spend a lot of money, waste a lot of time, or do a treatment that’s irreversible – these are 5 things you should know before choosing your scoliosis treatment provider.

1. There are Multiple Types of Scoliosis

It’s extremely important to know which type of scoliosis you have prior to choosing a provider, as some types are much more difficult to treat as well as time sensitive. Some of the different scoliosis types include Congenital Scoliosis, Degenerative Scoliosis, Neuromuscular Scoliosis, and Adolescent Idiopathic Scoliosis. Among the different types, the most common type of scoliosis by far is Adolescent Idiopathic Scoliosis, also sometimes just referred to as Idiopathic. It is commonly believed that Idiopathic Scoliosis has no known cause; however, there have been multiple hypotheses on what the cause might be. For more information on what Scoliosis Care Centers has found to be the most common root cause, read The Root Cause of Adolescent Idiopathic Scoliosis.

2. There are Two Main Categories of Scoliosis Treatment

In a broad classification, there are two core types of scoliosis treatments; nonsurgical treatment and scoliosis surgery. With scoliosis surgery, there are two main options as well, Spinal Fusion Surgery and Vertebral Body Tethering. Both options are invasive (as surgery tends to be) Spinal Fusion Surgery is entirely irreversible and while VBT can be reversed on occasion, that is contingent upon the type and point of entry. There are a variety of different nonsurgical treatment options which include, but are not limited to, Scoliosis Soft Bracing, Scoliosis Hard Bracing, Traction Devices, Scoliosis Exercises, Schroth Therapy, and multiple combinations of those used in tandem (AKA a comprehensive treatment).

3. Time is of The Essence

Idiopathic scoliosis curve progression is directly correlated with increased rate of growth. In other words, the spinal curvature can quickly spiral out of control during growth spurts. Nonsurgical treatment works best while the body is still growing as the spine is not skeletally mature. The “wait and see” method of monitoring annually and taking no action is not a good strategy when you’re still growing. This begs the question –“How do I know if I’m done growing?” Doctors factor in a couple of things when assessing whether you’re still growing. First and foremost, age. If you’re 11 years old, it is highly likely you’re still going to grow. Secondly, if you’re female, if you haven’t had your first menses, you’re probably still going to grow. Lastly, doctors look at your Risser stage. Your Risser stage is determined by analyzing the ossification in the iliac crest or the growth plate in a hand through either an X-ray image or MRI. The stages go from 0-5, with 5 being skeletally mature.

4. Understanding Your Scoliosis Curve Measurements

The curvature of the spine is measured by calculating the angle of the topmost tilted vertebrae above the apex of the curve with the bottom-most tilted vertebrae. Where the lines intersect is the Cobb angle. The severity of scoliosis is determined by the Cobb angle. The ranges are as follows: 10-24 degrees is mild scoliosis, 25 to 39 is moderate scoliosis, and 40 degrees and above is severe scoliosis. 40 degrees is also the surgical threshold – most surgeons will not operate until the curve exceeds this measurement. There are two types of spinal curves, S-curves and C-curves. S-curves have two main curves. When referring to the severity of an S-curve, doctors will usually refer to the higher Cobb angle (see example). Given that S-curves have two main curves rather than one, they are generally more difficult to treat. That said, contrary to popular belief, S-curves can still be treated non-surgically, even severe cases.

5. Not All Scoliosis Braces are Created Equal

Scoliosis bracing is the most well-known method of non-surgical treatment. It is also one of the most heavily ridiculed, and for good reason. Although some braces are effective at straightening the spine, there are plenty of other braces that actually make the curve worse. That said, it’s important to point out that, through extensive studies, scoliosis bracing is the only nonsurgical treatment method proven to provide scoliosis curve reduction beyond a reasonable doubt. To ensure that you choose the best brace possible for your specific curve, here are some traits to look for in brace design:

A) Custom bracing — every spine and scoliosis curve is different, so every brace should be too. Avoid generic one-size-fits-all braces.

B) The spine will never be straighter than the brace makes it — if your spine is not straighter in-brace than it is out-of-brace, then it is not doing its job. The purpose of the brace is to hold the spine in a straighter and centered position.

C) Part-time bracing — for very small curves you might be able to get away with just a nighttime brace. However, as a general rule of thumb, the brace only works when you wear it, thus the longer you wear it, the better the results. This is only valid if point ”B” is true. So, if a brace is advertised as only needed to be worn for a few hours a day it is likely to be ineffective.

D) Monitoring the performance — arguably the most important thing in any brace design, it is critical to CHECK IF THE BRACE IS REDUCING THE CURVE. An in-brace X-ray or standing MRI (preferably standing MRI to avoid radiation) should be taken immediately after fitting to test the effectiveness of the brace and identify areas for improvement. The brace should be monitored every three months after initial fitting to ensure it’s still providing adequate correction.

If you’re interested in learning more about Scoliosis Care Centers’ nonsurgical scoliosis treatment, visit our treatment page or contact one of our case managers to discuss today!

#scoliosis scoliosistreatment nonsurgical xray scoliosisadvice support brace backbrace treatment advice tipsandtricks spinecare

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painandinjury · 4 years ago

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How to Manage Hip Stiffness and Pain

The hip joints are a key component to stabilization and ambulation of the human frame, so if you are experiencing problems with one or both of your hips, it is going to cause some loss of basic movements required by common activities of daily living, which translates to a reduction in quality of life. It is therefore imperative that you be mindful of your hip health at all times: take care not to place excessive shock trauma and repetitive stress to your hips; engage in exercises and stretches that condition your hip stabilizers.

The hip joint, or acetabulofemoral joint is a ball and socket type joint that supports the weight of the body in a static (standing) position and ambulatory position (running, walking). Its two articulating parts are the femoral head of the femur (upper leg bone) and the acetabulum of the pelvis (coxae), a bowl-like depression lined with cartilage.

Your hips bear quite a bit of repetitious force every day, and if you run and/or play sports that involve jumping and landing such as basketball or gymnastics, then those hip joints are really taking a pounding.

The hip/pelvis complex, like a $10,000 mountain bike, is designed to absorb shock from multiple planes while simultaneously enabling movement. A high-end mountain bike can be ridden over uneven ground and can withstand shock forces from bumpy terrain, drops and jumps thanks to a multiple- jointed frame outfitted with shock absorbers. Like the mountain bike, the hip/pelvis complex enables the human body to absorb shock while ambulating.

The hip joints are balanced under the coxae, with the femoral heads partially inserted into the acetabulae and held in tightly by strong but stretchable capsular ligaments. Smooth, nearly frictionless cartilage lines the femoral head and the acetabulum. Comprised mainly of water molecules bound by proteins, cartilage is able to absorb shock and rebound, since water is incompressible. In youth, cartilage is thicker, suppler and more resilient than in those past age 40 but as you age your cartilage thins and is less capable of absorbing repetitive shock; hence the difficulty of running for exercise as you age.

Rear view of the hip muscles.

The Ilia and ischia of the pelvis serve as broad attachment points for the hip stabilizer muscles: gluteus maximus and minimus, psoas, adductor brevis and longus, and the deep hip rotator muscles (gamellus, piriformus). These are the hip mobilizers and shock absorbers that give the hip joints their main function of propelling the body on flat and uneven ground, and stabilizing them when the upper body needs a stationary anchor such as during heavy lifting.

So what are the main types of hip problems?

The most common problem that affects the hips is osteoarthritis. With so much pounding forces absorbed daily, the hips are prone to degenerative changes more so than other joints with the exception of the knees. Tiny fissures appear in the cartilage and gradually expand over time, like a windshield crack that grows longer from the constant dips and bumps of driving. The cracks turn into pits, and the hip joint starts to lose its smooth, fluid movement; giving way to clicking, stiffness, and limited range of motion. Although osteoarthritis is often referred to as a “degenerative joint disease,” this term is not entirely accurate. There is indeed a degenerative process involving progressive loss of articular cartilage, but there is also a reparative process in response to this degeneration that involves new bone formation, osteophyte growth, and remodelling. The dynamic process of destruction and repair determines the final disease picture.

In advanced hip osteoarthritis, the pit erodes all the way down to the bone, and at that point you start getting pain in your hips, and where there is pain there usually is inflammation. The hip capsule may fill up with inflammatory exudate, increasing the internal pressure of the hip joint and adding to the stiffness.

Risk factors, or things that will increase your chances of prematurely developing hip osteoarthritis are:

Previous injuries to one or both of your hips – a fall, sports injury, car accident, etc.

Participating in sports or other activities that involve high impact landings

Being overweight for much of your adult life

Smoking, as smoking restricts oxygen to tissues which is needed for maintenance and repair

Genetic factors – having a parent who got premature hip osteoarthritis

The genetic factors likely involve protein mutations that render the cartilage’s ability to bind water less efficient, making it extra vulnerable to shocks. They may also involve abnormal production of synovial fluid by the cells of the synovial tissue that surrounds the joint. Synovial fluid is analagous to motor oil in a car’s cylinder– it minimizes friction between the moving parts, so if production of synovial fluid is low, you will get erosion of the articulating surfaces; i.e. the cartilage on the femoral head and the acetabulum, accelerating the disease process.

Another form of hip pain and stiffness may be from iliotibial (IT) band syndrome. The IT band is a broad ligament that originates on the iliac crest of the hip bone; passes over the greater trochanter of the femur (that hard bump you can feel on the sides of your hips, right underneath the skin); and then inserts into the lateral epicondyle of the proximal tibia (lower leg bone). This is a condition that some runners get, and involves strain to the ligament and tenderness at its insertions points. It most often causes pain on the side of the knee, but can also cause diffuse, broad pain over the entire hip. Tenderness and pain at ligament insertion points (into the bone) typically involve micro-tears from mechanical stress, and/or inflammation to the periosteum, the thin layer of tissue where the fibers attach to the bone.

Aneurysmal bone cysts, a benign but potentially destructive bone tumor may occur in the femur near the hip. It involves the growth of a tumor inside the bone, filled with fluid and blood. Normal bone is replaced by the tumor, which deforms and weakens the bone, making it prone to fracture. ABCs typically start in the first 20 years of life and can remain into adulthood if not dealt with. Make sure to rule this out before doing any physical therapy for hip pain; aneurysmal bone cysts are easily identified on X-ray.

There are other pathological conditions that affect the hip that can cause pain and stiffness, such as slipped capital femoral epiphysis (another pathology common to youth), fibrous dysplasia and other bone disorders but won’t be discussed in this article. Just know that these can be a long-shot cause of hip pain, and can be usually ruled out on X-ray.

Those with hip pain or discomfort due to progressive hip osteoarthritis know the consequences:

Very stiff hips upon waking in the morning, that improves up to a point as the day goes on.

Laborious walking; takes extra effort to move your legs

Aggressive movements like jumping and running are out of the question

For some, burning pain in the hips

Can’t stand for very long; have to sit

For those who have medical insurance, it’s a matter of time before they elect to have an artificial hip inserted.

So what should you do if you have hip pain from osteoarthritis, and are years away from considering hip replacement?

Here’s what I recommend:

Change your Diet: what you choose to eat day to day has the biggest influence on your health. Make 80 percent of your diet plant-based; and of that amount, about half of it raw (uncooked). Suggestions: green leafy vegetables such as chard, collard greens and spinach for the cooked; red leaf and green leaf lettuce, red cabbage, and endive for the raw. Basically, vegetables with purple and red hues are the best as they are rich in anti-oxidants.

Include protein, about 10 ounces per day. Organic grass fed meat, deep water fish, sardines, and pastured eggs are good choices. Whey protein and pea protein powder are also good.

Include fats high in Omega 3 fatty acids, and some saturated fat. Fats are a component of cell membranes especially in nerves, and they are a needed energy source for your body. Salmon, mackerel, eggs, nuts and seeds are good choices.

And of course, drink water throughout the day to stay hydrated. We humans are almost 80% water, and you lose water from your body with every exhalation.

Reduce daily stress in your life: if your life is stressful, make an effort to remove the stress. Stress has an adverse effect on your health and well-being. It can raise blood pressure, blood sugar, cholesterol and cortisol levels, which promote fat weight gain.

Get some negative ions: negative ions are abundant in nature; i.e. the outdoors. They can neutralize harmful positive ions that are plentiful where there is pollution and electronics; i.e. cities. Take off your shoes and socks, and walk on grass in a nearby park. This will “ground” your body, discharging some of your positive ions and equalizing your electrical charge with the Earth’s.

Do low-impact exercises for fitness: you don’t have to go crazy to get a good workout. Using your body’s own weight is sufficient. Planks, squats, pushups, crunches, and lunges are great. For weights, use kettlebells. Cycling can be a good exercise for those with early osteoarthritis of the hip, as the pedaling moves the hip in a non-weight bearing position.

Lastly, use a Pulsed EMF mat daily. Pulsed EMF is considered “energy medicine.” It is the external application of electromagnetic fields similar to those produced by your body, to augment the potential energy the body uses to help drive biological activity; i.e. molecular movement such as blood flow and nutrient transport. This can improve blood circulation and cell membrane transport of nutrients, proteins and wastes; thus improving cell function. In weak tissues, Pulsed EMF can stimulate healing by energizing reparative cells. Can Pulsed EMF help cause worn cartilage to regenerate? Several studies such as this one found that pulsed EMF can upregulate the expression of a gene that controls cartilage production in chondrocytes. It’s definitely worth a try.

Some studies show that Pulsed EMF can help cartilage regenerate.

Go here for more info on Pulsed EMF.

To recap, your hip joints are essential to a high quality of life. They serve to ambulate you, and enable your body to perform basic movements required of daily living such as lifting, carrying, and bending. They are also prone to degeneration, so be mindful of the health of your hip joints – avoid repetitive, high-impact activities that may accelerate degeneration. If you like running, change your running stride to one that more resembles fast walking, where there is minimal to no change in height of your head as you run and therefore minimal impact to your knees and hips upon heel strike when running. In fact, if you run, focus the impact of your foot on the ball of your foot as it contacts the ground, not the heel. Running can be good for health, and your bones, when done right – not too aggressively; with moderation.

#Musculoskeletal disorders #Musculoskeletal pain #PainandInjuryDoctor.#Doctor #Muscle Pain

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sahilblogs · 4 years ago

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5G Technology: The Signals Powering of future Connectivity

From 4G to 5G technologies, Faststream has followed an evolutionary approach, with a strong emphasis on delivering able next-generation experiences and connections for our customers and partners. We were to make early investments in key 5G technologies and build extremely differentiated offerings and solutions in Core Network, RAN, Management, and Applications due to our domain knowledge and thorough understanding of technology trends. We have also invested significantly in training and lab equipment for IP creation, as well as resources to expand our partners’ 5G portfolio, to answer the fast-paced technological demands of the future 5G ecosystem.

5G Ecosystem

5G promises to revolutionize mobile networking. It will substantially increase wireless data capacity and open up new possibilities for driverless vehicles, smart factories, remote surgery, and other applications. However, a sophisticated ecosystem of hardware, apps, and services must first be established. Fueling that expansion will create possibilities for both strategic and private equity investors.

5G Base Station Components

A crucial role here is played by an integrated NodeB base station with a combination of 5G core, PHY, DFE, and RF front end, as well as layer 2 and layer 3 packet processing. The baseband PHY (Layer 1) necessitates a time-deterministic design in which many signal processing blocks are better suited to specialized digital signal processor (DSP) units, improving efficiency.

More DSP resources are required at the DFE for digital filtering, up/down conversion, and RF transmits power enhancement techniques such as Crest Factor Reduction (CFR) and Digital pre-distortion (DPD).

OUR INDUSTRIAL SOLUTIONS

Telecom 5G Technology:

Mobile data traffic and the number of mobile services are expanding on a daily basis as a result of the Internet of Things. To help telecom sectors overcome obstacles, 5G products such as next-generation voice, predictive maintenance, MEC, fixed wireless, network slicing, and business mobility solutions are available.

Retail 5G Technology:

As stores continue to digitally evolve and buyer demographics shift toward younger generations, firms must better understand their customers. Faststream assists retailers by providing solutions for consumer segmentation, tailored experiences, automatic invoicing systems, smart inventory management, and virtual kitchen assistants.

Media Entertainment 5G Technology

Historically, it has been challenging to offer digital media, entertainment, and advertising material due to technical constraints such as sluggish and unreliable networks. Telematics analytics, UHD content, OTT enablement, immersive gaming experiences, AR/VR experiences, and smart stadiums are all part of our 5G Solutions.

Manufacturing 5G Technology

Manufacturers value competition, and much-needed efficiency and profitability increases will require new process breakthroughs. We offer automated quality control, remote equipment operation, failure prediction, real-time error detection, and Industry 4.0 solutions to our customers.

Transportation 5G Technology

To reduce traffic congestion, pollution, and collisions, Faststream provides 5G solutions such as AURA, smart parking, smart surveillance, public safety, port management, and intelligent traffic systems.

Automotive 5G Technology

To handle situations such as non-responsive drivers, unclear traffic conditions, and more, we provide solutions such as predictive maintenance, remote vehicle monitoring, AURA (Augmented Reality-based Remote Assistant), CV2X, Connected Automobiles, and driver monitoring system.

Healthcare 5G Technology

For dealing with massive data volumes, our solutions include remote patient monitoring, e-health, MDM, precision medicine, and robotic surgeries, as well as Real-Time remote monitoring, sensor innovation, and other services.

To know more about 5G Technology Get Solutions & Services of 5G Technology Solutions and Services, Connect with at [email protected]

#5g technology #5G #5g network #5g enabled #5th generation #5g wireless

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ourhaileydavies · 4 years ago

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Juniper Publishers-Open Access Journal of Head Neck & Spine Surgery

Autologous Bone Marrow Derived Stem Cell (BM-MNC) Therapy for Pressure Injury in Spinal Cord Injury - A Pilot Study

Authored by Rajeshwar Nath Srivastava

Abstract

Ten Spinal cord injury (SCI) cases with grade 3 & 4 pressure injury (PI) were recruited. Five cases received autologous bone marrow derived mononuclear cells (BM-MNCs) therapy and five standard wound care. Significantly reduced surface area of PI in BM-MNC treated group was observed at week 6 (p=0.04) and at week 9 (p=0.001) as compared to standard wound care group. Similarly, significant reduction of depth was observed in BM-MNC group at week 9 (p<0.05) and exudate became significantly (p=0.001) lower from 3rd to 9th week. Clearance of slough and formation of red granulation tissue was significantly higher in BM-MNC group (p=0.001). The findings of this case series indicate that the use of autologous BM-MNCs could be a feasible option for the treatment of pressure injuries in SCI cases.

Keywords: Spinal cord injury; Pressure injury; Autologous bone marrow; Mononuclear cells

Abbrevations: PIs: Pressure Injuries; SCI: Spinal Cord Injury; MNCs: Mononuclear Cells; BM: Bone Marrow

Introduction

Pressure injuries (PIs) are a common yet challenging problem especially in people with Spinal cord injury (SCI) because of immobility and anaesthetic skin. They are difficult to treat with standard medical care and often recur [1-4]. Promising results have been reported in the treatment of small series of mainly chronic lower-extremity wounds with bone marrow-derived stem cells [5,6]. This case series was aimed to obtain the preliminary data on the use of autologous bone marrow derived mononuclear cells (BM-MNCs) to treat PIs in terms of clinical outcome and procedure safety.

Material and Methods

This study was conducted in the SCI unit, Department of Orthopaedic Surgery in collaboration with the Department of Transfusion Medicine, King George’s Medical University (KGMU), Lucknow, India. We enrolled individuals with SCIs aged 16 to 60 years with stage 3 to 4PIs. Grading of PI was done as per taxonomy of NPUAP [7]. Exclusion criteria were PIs with necrotic tissue that could not be removed on baseline debridement, osteomyelitis, exposed blood vessels and nerves in the wound, and specific comorbid conditions likely to impair wound healing such as diabetes mellitus, rheumatoid disease, and vasculitis.

About 3 hours before cell therapy, autologous bone marrow (BM) (100ml) was obtained from the posterior iliac crest aspiration. Mononuclear cells (MNCs) were separated from bone marrow using plasma expresser. The BM-MNCs suspension was injected into the wound bed by 1ml syringe. For injection, the wound was subdivided with a grid into small areas of 1cm2. Infusion was performed into the wound bed as well as sub dermally at the borders of the wound. Wound dressings during the entire study period were performed with moist gauzes twice a day and followed up to 9 weeks (Figures 1-5).

Results

Physical wound healing outcomes were compared at weeks 3, 6, and 9. Significantly reduced surface area of PI in BM-MNC group was observed at week 6 (p=0.04) which further reduced at week 9 (p=0.001) as compared to standard wound care group. Similarly, significant reduction of depth of PI was observed in BM-MNC group at week 9 (p<0.05). The exudate was similar (p>0.05) at the time of enrolment between both the groups and became significantly (p=0.001) lower in BM-MNC group from 3rd to 9th week. Clearance of slough and formation of red granulation tissue was significantly higher in BM-MNC group (p=0.001) (Table 1-3).

Values are presented as mean ± SD (Standard Deviation),

*: p<0.05 considered as statistically significant.

Values are represented as mean ± SD (Standard Deviation) 1Unpaired t-test, *Significant (p<0.05).

Discussion

PIs are a common yet challenging problem in patients with SCI because they are difficult to treat with standard medical therapy. Promising results have been reported in the treatment of small series of mainly chronic lower-extremity wounds with bone marrow-derived stem cells [5]. The rationale behind the use of bone marrow derived cell therapy-is the fact that cells in chronic wounds are phenotypically altered or senescent or both. Therefore, they have a limited capacity to divide and are less responsive to stimulation by growth factors [6]. MNCs from a patient’s own bone marrow promote angiogenesis and this seems to be a key factor for optimal healing of skin wounds. Moreover, BM-MNCs secrete paracrine factors that could recruit macrophages and endothelial cells to enhance wound healing. The repair functions of BM-MNCs are thought to involve the secretion of factors such as VEGF or FGF, which could help prevent apoptosis, promote angiogenesis, assist in matrix reorganization [8,9]. The use of autologous BM-MNCs was designed to avoid problems of immunological rejection. The results observed in terms of PI healing were independent of the number of cells infused. The findings of this case series indicate that the use of autologous BM-MNCs could be a feasible option for the treatment of pressure injuries. The stem cell therapy proposed could avoid major surgical intervention, especially if these wounds have not responded to conservative and/or standard wound care.

Conclusion

The procedure of BM-MNC therapy was safe and well tolerated by the subjects. The efficacy can be better commented with larger sample size. But in this study, the results were highly satisfactory.

For more articles in Open access Journal of Head Neck & Spine Surgery | Juniper Publishers please click on: https://juniperpublishers.com/jhnss/index.php

#Head and neck surgery #spinal cord injury #Autologous bone marrow #Mononuclear cells #Pressure injury

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impressivepress · 4 years ago

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HENRI MATISSE’S DOMESTIC INTERIORS

John Elderfield reexamines Matisse’s Piano Lesson (1916) and Music Lesson (1917), considering the works’ depictions of domestic space during the tumult of World War I.

Those interested in modern art who have been in voluntary isolation with a partner and children since the spring may have wondered: do we have images of what family life was like for the great early modernists? The answer is: at first, yes. As the nineteenth century advanced, it became increasingly common for married bourgeois couples in France to sleep together in double beds, and for much of their private time after marriage to be consumed with children. Greater intimacy between husband and wife, accompanied by closer family relationships generally, meant that paintings abounded of bourgeois parents with their children, including paintings of artists’ families.1

And so it remained through Impressionism. But the sterner modernism that followed was less forgiving of such potentially sentimental subjects, which remained the province of more traditional painters—artists who remained happy to record parents with the children they had begun to call by silly but touching pet names (as they often also did each other), and who posed proudly as families in their overstuffed living rooms. But Henri Matisse or Pablo Picasso?

Actually, three of Matisse’s most important paintings are of his family: The Painter’s Family, The Piano Lesson, and The Music Lesson.2 What follows concentrates on the last two, especially the third. As will become apparent, their implications bear significantly on our present domestic situations, isolated from the viral chaos around us, and not only because both of them depict home schooling.

Two Lessons, Two Styles

These two works were painted in the years 1916–17, but in what order is extremely pertinent to their meanings. Before Alfred H. Barr, Jr., the Museum of Modern Art’s founding director, published his great 1951 monograph on Matisse—the first to establish a plausible chronology of the artist’s work—it was not known which canvas came first. As Barr reported, Pierre Matisse, the artist’s younger son, was “quite certain that the more abstract of the two, The Piano Lesson, is the earlier,” while the artist’s wife, Amélie, remembered that “the more abstract canvas was as usual painted after the more realistic one.”3

Had Madame Matisse been correct, the reputation of The Music Lesson would be akin to that of the first, freer versions of other pairs of the artist’s paintings: though not of the same order as the succeeding, more rigorous composition, it would be seen as an accomplished work. However, as Barr realized, it was Pierre Matisse who was correct. As a result, The Music Lesson has widely been seen as a regression on the artist’s part—a move away from the radical invention of his work of the 1910s, and one leading to the more traditional naturalism that would flourish in the 1920s.

So infuriated about this interpretation was the critic Dominique Fourcade that in 1986 he described its proponents as evidencing “satisfaction in letting the artist die in 1916 with La Leçon de piano . . . even if that meant letting him be reborn from nothingness” in the 1930s, to again work “abstractly and without transition, to the cut-outs at the end of his life.”4 I was not alone in thinking that “letting the artist die” was hyperbole on Fourcade’s part, but it proved no exaggeration: a decade or so later, in 1998, art historian Yve-Alain Bois was writing that with The Music Lesson Matisse “takes leave of himself, and of what I have called his system,” by which Bois meant the conception of painting that the artist had formed a decade earlier and employed through the creation of The Piano Lesson.5 Clearly, if Matisse “takes leave of himself, and . . . his system” in The Music Lesson, then, for Bois, he does at that moment die, at least artistically. To compare these two paintings, then, is unlike comparing any other pair of paintings by Matisse: it is to adjudicate a controversy.

Family Paintings

Let us begin with what the two paintings have in common: size, medium, and subject matter. Both are about eight feet tall by seven feet wide, with The Piano Lesson very slightly the larger of the pair. This makes them the largest paintings Matisse ever made, with the exception of his few imagined compositions: Dance and Music, of 1909–10, and Bathers by a River and The Moroccans, both completed more or less at the same time as The Piano Lesson. Like most of Matisse’s paintings, they were painted in oil on canvas.

To turn to subject matter is to open the pages of a very extensive literature, some of which I myself have written and which interested readers can easily find.6 But at least a summary is needed here, for these two paintings are exceptional both in their particular choice of subject and in their relationship to works on a similar subject. In the latter respect they belong to a long sequence of the artist’s paintings of a privileged interior space, either home or studio or both at the same time. As with some but not all earlier such paintings—the most celebrated example being The Red Studio (1911)—the objects depicted within their interiors have allusive or symbolic qualities, either conventional or original to Matisse. And, like most but not all of the paintings in this subcategory, the manner in which the interior and the objects within it are painted explicitly participates in the shaping of these qualities.

To further reduce the field of comparison, these are, as we have heard, family paintings, preceded in this respect by only The Painter’s Family of 1911.7 To be precise, The Piano Lesson shows only one member of the family—Pierre, the artist’s younger son—while The Music Lesson, just like The Painter’s Family, shows all of its members: Matisse’s eldest child, Marguerite, stands beside Pierre at the piano; his older brother, Jean, sits at the left, smoking while reading; the artist’s wife, Amélie, is outside in the garden; and though Matisse himself goes unseen, he is alluded to through a prominent depiction of his violin, which rests on the piano. It is truly a painting of a painter’s family; and Matisse himself titled it La famille. It was renamed The Music Lesson by Albert C. Barnes, never one to shy from taking such liberties, after it entered his collection (now the collection of the Barnes Foundation, Philadelphia) in 1923.8

These paintings, and especially the second, belong to a long tradition of representations of one and usually more members of a family in an explicitly domestic space, and engaged in an activity or activities appropriate to it. The most prominent antecedents are the paintings of, and made for, the comfortable bourgeois households of seventeenth-century Holland. Eugène Fromentin, in his book Les maîtres d’autrefois of 1876, proposed that Dutch art, famous for its domestic interiors, effectively began in 1609, with the beginning of the twelve-year truce in the Eighty Years’ War with Spain.9 Art historian Svetlana Alpers, to whom I owe this observation, points out that wartime paintings of guardrooms and garrisons were the forerunners of these domestic interiors; familial intimacy would have been understood to be the counterpart of martial camaraderie.

By now, alarm bells should be sounding, at least for those who know that the years 1916 and 1917, when Matisse made these two paintings, were very bad years indeed for France in World War I, with more than half a million dead in 1916 and almost as many the following year. Moreover, these works were painted in the living room of Matisse’s home, looking out onto its back garden, where his studio stood.10 The house was in Issy-les-Moulineaux, a suburb of Paris that had transformed itself into a center for the military aviation industry, producing fighter planes; and the household was impoverished by the war, whose guns could actually be heard from the garden on quiet days—guns, and also massive explosions from military mines, both utterly destructive of the French countryside. The loudest of these—on June 7, 1917, during the Battle of Messines—was the product of 600 tons of explosives that blew off the crest along the entire length of the Messines Ridge; it was heard as far away as Dublin.11 The British general who ordered this offensive famously remarked, “We may not make history tomorrow, but we shall certainly change the geography.”12 This was not only a war between nations but also had quickly become a war against nature.

It was around this time that The Music Lesson was painted, in midsummer 1917. That was also when—as Matisse wrote in a letter to his friend the painter Charles Camoin—“Something important has happened in my house: Jean, my eldest, has left to join the regiment at Dijon.”13 What may at first sight appear to be a scene of cultured and contented domestic harmony, then, was about to shattered. This is not only a family painting; it is also a war painting.

Much has been written of the reductive, “abstract” vocabulary of The Piano Lesson as the result of Cubist geometry, on the one hand, and wartime avoidance of luxury, on the other. These factors may indeed have been sources for Matisse as he painted this picture, but a source may or may not be called into play in the finished form of a work of art.14 As I see it, the war as a source is actually called into play more fully in The Music Lesson than in its predecessor, if less obviously. Knowing that Jean Matisse was headed for guardrooms or garrisons aids a martial association that may have been in his father’s mind, but this is present in the painting only for those who know it as well. In what follows, I shall propose that the imaging of this sociable canvas itself invites interpretation as describing a family in a moment of lockdown against mindfulness of anything troublingly external, whereas The Piano Lesson pushes out of our minds all but the moment of twilight grace that it represents.

Rooms with a View

Let us now look at what the two paintings represent, and how they do so. As we have heard, The Piano Lesson shows solely the artist’s younger son, Pierre. He stares out toward us, even while lost in concentration, practicing on a very bourgeois Pleyel piano beside a French window open to the garden. Pierre was sixteen when the picture was painted but looks much younger. Since he and his father were the musicians of the family, he may be thought to function as a surrogate for the painter. In the bottom-left corner of the painting we see Matisse’s Decorative Figure of 1908, arguably the most sexual of his sculptures. Behind Pierre we may think we see a woman seated on a high stool, a severe, supervisory, arguably maternal presence, but this is actually a painting on the wall, Matisse’s Woman on a High Stool (Germaine Raynal) of 1914, transformed to convey these qualities.15 On the rose cloth over the piano, a candle and a metronome recapitulate the opposition of vitality and logic that the sculpture and the painting introduce. Together, they also stress the measuring of time, while the carving around the reversed name of the piano on the music stand flows across time and space, like music, through the grillwork of the window.

Time has stopped at a moment of fading, late-afternoon light in a dimly illuminated interior. An unseen light to the right traverses the scene, striking the boy’s forehead and shadowing a triangle on his far cheek; brightening the salmon-orange curtain and the pale blue-gray of the partly closed right panel of the window; and illuminating a big triangular patch of lawn outside, the only visible feature of the darkened garden. It is the view of the room that matters.

The colors, including that green triangle no more distant than anything else, complement one another in ways that activate the stillness of the scene. The orange converses with the pale blue, and the rose with the green; these are interrupted by a yellow and a black, all of them reconciled by the surrounding soft gray, which they appear to tint. The colors also resist being fully incorporated into the work of objective depiction, largely because they occupy such stark, autonomous shapes. Instead, the strips and shards of color may be imagined as organizing a simulacrum of the spatial experience of such a scene. They alternatively attract and repel each other, as if magnetized, tipping backward and forward in space, even as they shift in position across the plane of the picture. To follow their direction in the means and pace of our attention is to imagine a movement akin to walking through a room and registering the effects of parallax—the apparent displacement of objects in space due to changes in the position of the observer.

With The Music Lesson, by contrast, everything appears utterly still, and no one looks out of the room; we are excluded. However, we do now see the garden. More precisely, we are shown a view not into the garden but of it, for Matisse has given it the appearance of a painted screen rolled down at the back of the living room, the gray frame around it containing a scene no more real than that of the woman on a high stool in the ocher-framed painting beside it. As such, it may be thought to conceal the reality of what is outside. Prominent beyond the pool is a much enlarged reprise of Matisse’s sculpture Reclining Nude I (Aurora) as re-represented in his Blue Nude: Memory of Biskra (both 1907), the luxuriant backdrop here substituting for the North African setting of the earlier painting, and similarly enhancing the nude’s sensuality.16 The garden erased by twilight in The Piano Lesson may seem a better response to a war that was more ruthlessly and extensively destructive of landscape than any previous. But as the critic Paul Fussell observed of the literature produced during World War I, “If the opposite of war is peace, the opposite of experiencing moments of war is proposing moments of pastoral.”17

Whereas, in making The Piano Lesson, Matisse condensed, eliminating detail, in The Music Lesson he veiled and washed over drawn detail with thinly applied paint. He had been working like this since making his late, dark-and-sculptural Fauve paintings, such as Blue Nude: Memory of Biskra; and he continued to do so in a less sculptural way, and with a lighter palette, even while making more severe, opaque pictures throughout his so-called “experimental period,” of which The Piano Lesson was a summative work. The manner in which The Music Lesson was painted is less a fall from modernist grace, as many critics have characterized it, than a recovery of that late Fauve manner, but with a more intense, indeed almost hallucinatory palette.

Leave-taking

Bois said Matisse took leave of a “system” after painting The Piano Lesson. He characterized that system as “an all-over conception of the canvas” that is “the product of a total democracy on the picture plane, of a dispersion of forces: our gaze is forbidden to focus on any particular area of the picture.”18 I agree that that painting’s successor is a leave-taking painting, but not in that sense: I think Bois’s description also applies to The Music Lesson, and that it is as summative in its own way as its predecessor. The two works encapsulate the momentum of preceding domestic and studio interiors in two different keys, the earlier work drawing together the achievements of the four preceding extraordinary years, the later looking back a decade to see what earlier innovations should be preserved. And it is the later work, with its extraordinarily disjointed composition—of which more in a moment—that shuttles around our gaze the more frenetically.

The putative sweetness and naturalism of The Music Lesson may lull us into believing that it is an undemanding work, but it is as undemanding as, say, Watteau’s paintings of disconnected figures, made two centuries earlier, from which it draws inspiration. Barr perceptively described its style as “descriptive rococo.”19 The artist and critic Amédée Ozenfant invoked another eighteenth-century artist when he observed of the Nice-period paintings that followed The Music Lesson, “This hankering for comfort. . . . When I hear him taking this line à la Fragonard, I have the feeling it is a feint.”20 I myself have the feeling that The Music Lesson is a feint, challenging our preconceptions, at the end of Matisse’s most extremist period of modernism, as to what a modern painting can be.

I therefore find myself disagreeing not only with Bois, who sees The Music Lesson as Matisse’s leave-taking from his time as a modernist painter, but also with Fourcade, who wants to see the artist’s career as “an uninterrupted story.”21 Painting his son Jean’s leave-taking, Matisse does paint a leave-taking of his own, a moving on from what he had achieved over the past few years. He was very clear about this, saying, “If I had continued down the . . . road which I knew so well, I would have ended up as a mannerist.”22 What he ends up as—predicated in The Music Lesson—is an artist determined not to be constrained by the universalizing modernism that he had inherited; hence his fascination with the prerevolutionary eighteenth century.23 This led him to develop from previously unexplored features of his post-Fauve paintings a highly self-conscious, even metapictorial, art of spectacle.

Whereas the modernism of The Piano Lesson is so tautly drawn that we never think of an actual pianist wedged behind the sheet music, the naturalism of The Music Lesson invites us to imagine the members of the family having taken their places where Matisse shows them. If we do imagine that, we must conclude that all of them are oblivious to what is around them, and to each other—except for the intimate couple at the piano, Marguerite protective of her younger brother, Pierre, since the elder one will soon be leaving. Both Jean and Amélie are alone. If we know of his approaching mobilization, we may guess why. Amélie’s isolation—outside the oasislike part of the garden, with its voluptuous sculpture—leaves little to the imagination. Still, whether paired or alone, the family sit in a cramped, busily claustrophobic space. And whether music-making or reading or whatever it is that Madame Matisse is doing—knitting, perhaps—they are not at work; their occupations are pastimes, ways of passing the time. Yet if the The Piano Lesson evokes time measured, The Music Lesson suggests time paused—whether forever or just momentarily is unclear, but Matisse has certainly hit the pause button, with his family at once busily occupied and locked down in place.

Speaking recently of Matisse’s contemporaneous Garden at Issy, art historian T. J. Clark refers to “those pictures—the key pictures, most often, in modernism—where deep inward concentration on means, fierce enclosure in a pictorial world, results in a strength that is not like any kind of pictorial strength we have seen before.”24 The Music Lesson both reflects fierce enclosure and is a picture of one; however, it is a thing of parts and patches less well guarded than The Piano Lesson.

The vivid coloration of The Music Lesson adds an apparitional, somewhat exotic quality to this family tableau, the pink answering the green, the turquoise the brown, and the gray binding the other colors while also separating out the soon-to-be soldier. Barnes compared its large geometric planes of flat color to those of what he called “Oriental art,” an association also applicable to the garden statue and linking The Music Lesson to The Painter’s Family, which was influenced by Persian miniatures.25 As in that earlier painting, the planes, piled one above the other, clash dissonantly, and our unified experience of the picture is to be found in our experience of its discord, not in its formal coherence as a decoratively patterned surface.26 Here, the superimposed flickering filaments of overlaid curvilinear drawing, which camouflage the meeting of the planes as they speak to the garden foliage, increase the sense of a composition poised on the brink of decomposition. As art historian Karen K. Butler acutely observes, “Overall, the strong tension between geometry and arabesque, or order and chaos, creates a mesmerizing subliminal stasis.”27 She adds that while The Music Lesson has been associated with nationalistic wartime critiques of avant-garde art in favor of traditional themes—here, “la bonne famille française”—its formal discord is complemented by its “thematic opposition of tropical and sexual luxuriance with bourgeois order.”28

This is not a regressive work, and there is nothing in it of a retour à l’ordre. Certainly the feint that it has seemed to introduce would become a way of disarming an audience hostile to modernism, but this did not prevent the result from being surreptitiously challenging, often melancholic, and affecting as well as sweetly beautiful. And the sweetness and beauty are obviously as much a challenge to modernist taste as their opposites are to antimodernist ones. In the end, though, what is at once most challenging to accommodate in our familiar picture of Matisse, and most familiar in the art that surrounds us now, is the assertion of the viability of aesthetic spectacle—the false scenic magic of what Charles Baudelaire called “favorite dreams treated with consummate skill and tragic concision.”29

A Man Who Is Not at the Front

This said, I must turn in conclusion to a question that readers may have been asking: even if The Piano Lesson and The Music Lesson are war paintings in the sense that they reflect their creation during wartime—the forces of order and chaos at odds in the family-lockdown canvas especially—they offer no response to the true horrors of the battlefields. In an earlier issue of the Quarterly (Spring 2020) I wrote of how, a half century earlier, the French painter Édouard Manet had faced the question of how to be an activist in his art by vigorously drawing attention to a single indefensible episode of violence, the shocking execution of Emperor Maximilian of Mexico, who had been imposed on that country as its ruler through French neocolonialism. What, then, are we to make of Matisse’s silence on the unparalleled slaughter during the years of World War I?

The answer has two parts. The first is that Matisse volunteered for military duty, and even purchased boots in anticipation of serving, but was rejected owing to his age (he was forty-four) and weak heart. He was deeply upset—disappointed and I think ashamed—at not directly serving his country, especially since many of his friends and colleagues did serve, including his close friends Camoin and the painter Albert Marquet, as well as Guillaume Apollinaire and Georges Braque, both of whom were badly wounded and returned as war heroes. Others, however, were successful in escaping service, Robert Delaunay fleeing to Switzerland and Marcel Duchamp to the United States, and we must forget the honor claimed by many of those in the United States who refused the draft during the Vietnam War if we are to understand the dishonor assigned to those who did so in France in 1914. For Matisse, that would have been out of the question.

Second: Matisse spoke of sharing the sense of helplessness and revulsion that so many were feeling over the war, but he did help in practical ways.30 One of the first results of Germany’s invasion of France, for example, was the occupation of Matisse’s northern hometown of Bohain-en-Vermandois, which meant that the artist’s brother, Auguste, and some 400 other townsmen were deported to a German prison camp, leaving his seventy-year-old mother, Anna, alone and in failing health. Matisse sold prints in order to send 100 kilos of bread each week to these prisoners, who were at risk of dying from hunger.31 (Buying each week what works out to be 500 baguettes was no mean task during wartime.)

Yet Matisse clearly felt deeply uncomfortable about the idea of making art that professed to make a difference to what was happening on the battlefields. “Waste no sympathy on the idle conversation of a man who is not at the front,” he wrote to a gallerist, “and besides a man not at the front feels good for nothing.”32 It was impossible for Matisse to conceive of making war posters, as Raoul Dufy did; and paintings of battlefields, such as Félix Vallotton made, were obviously out of the question.33 Speaking for himself, he would write in 1951: “Despite pressure from certain conventional quarters, the war did not influence the subject of paintings, for we were no longer merely painting subjects. For those who could work there was only a restriction of means.”34

Matisse’s reaction to the privations of the war took the form of a self-imposed restriction of means, making do with less in his art as well as in his life. This response, which was ethical as well as pictorial, only increased the intensity of what he achieved. He spurned ostentation in both his personal and his public life, including refusing to draw attention to himself by staging solo exhibitions in Paris while his compatriots were in arms. And even as the Cubists, following Matisse’s own earlier lead, were enriching the color of their works in 1914, he refused ostentation in his art, too—then broke free with The Music Lesson to make his perhaps most underestimated major painting.

~ John Elderfield · Fall 2020 Issue. John Elderfield, Chief Curator Emeritus of Painting and Sculpture at the Museum of Modern Art, New York, and formerly the inaugural Allen R. Adler, Class of 1967, Distinguished Curator and Lecturer at the Princeton University Art Museum, joined Gagosian in 2012 as a senior curator for special exhibitions.

1 See Anne Martin-Fugier, “Bourgeois Rituals,” in Michelle Perrot, ed., A History of Private Life, vol. 4, From the Fires of Revolution to the Great War, trans. Arthur Goldhammer (Cambridge, MA, and London: The Belknap Press of Harvard University Press, 1990), pp. 261–337, esp. “From Marriage to Family,” pp. 321–22.

2 A fourth, lesser painting, Pianist and Checker Players of 1924, is a reprise of The Painter’s Family. Luxe, calme et volupté of 1904–05 is, obliquely, a family painting, albeit not set in an interior. Illustrations of these and other works mentioned but not illustrated in this essay may be easily found in my Henri Matisse: A Retrospective (New York: The Museum of Modern Art, 1992). The present text is a substantially revised and expanded version of my essay “Un nouveau départ,” in Cécile Debray, Matisse: Paires et séries, exh. cat. (Paris: Centre Pompidou, 2012), pp. 119–24.

3 Alfred H. Barr, Jr., Matisse: His Art and His Public (New York: The Museum of Modern Art, 1951), p. 193.

4 Dominique Fourcade, “An Uninterrupted Story,” in Henri Matisse: The Early Years in Nice, 1916–1930, exh. cat. (Washington, DC: National Gallery of Art, 1986), pp. 47–48.

5 Yve-Alain Bois, Matisse and Picasso, exh. cat., Kimbell Art Museum, Fort Worth (Paris: Flammarion, 1998), pp. 29–30.

6 See my essays on The Piano Lesson in Matisse in the Collection of The Museum of Modern Art (New York: The Museum of Modern Art, 1978), pp. 114–16, and in Stephanie D’Alessandro and Elderfield, Matisse: Radical Invention, 1913–1917, exh. cat. (New Haven: Yale University Press, 2010), pp. 290–93. The former speaks more of iconography, the latter more of the pictorial process, and both essays contain references to other literature on this painting and The Music Lesson.

7 See note 2 above on one later painting, Pianist and Checker Players.

8 The finest account of this painting is Karen K. Butler, “The Music Lesson,” in Yve-Alain Bois, ed., Matisse in the Barnes Foundation (Philadelphia: The Barnes Foundation, 2015), 2:214–29.

9 See Svetlana Alpers, The Vexations of Art: Velázquez and Others (New Haven and London: Yale University Press, 2005), pp. 86–90. As Alpers points out, pp. 83–84, Matisse’s Still Life after Jan Davidsz. De Heem’s “La Desserte” (1915) belongs to this discussion; on which see my discussion of this painting in Matisse: Radical Invention, pp. 254–59.

10 Garden at Issy, a painting made in June–October 1917, around the same time as The Painter’s Family, includes a schematic image of the studio.

11 See D’Alessandro, “The Challenge of Painting,” and my “Charting a New Course,” both in Matisse: Radical Invention, respectively pp. 262–69 and 310–19.

12 See Peter Barton, Peter Doyle, and Johan Vandewalle, Beneath Flanders Fields: The Tunnellers’ War 1914–1918 (Montreal: McGill-Queen’s University Press, 2005), pp. 162–83. In Matisse: Radical Invention, p. 319, I relate this explosion to Matisse’s Shaft of Sunlight, also of summer 1917.

13 The family had been dreading this event, but Jean had volunteered and was therefore able to choose how he wished to serve. Probably on the basis of what he had seen in Issy, he opted to become an airplane mechanic, and soon left, to everyone’s relief, not for the front lines but to begin his mechanic’s training in Dijon. He was disgusted with the job within a fortnight, but at least he was not fighting in the mud of the trenches. See Matisse, letter to Charles Camoin, n.d. [summer 1917], in Claudine Grammont, ed., Correspondance entre Charles Camoin et Henri Matisse (Lausanne: Bibliothèque des Arts, 1997), p. 105.

14 See Christopher Ricks, Allusion to the Poets (Oxford: Oxford University Press, 2002), pp. 3–4.

15 Woman on a High Stool is a portrait not of Mme. Matisse but of Germaine Raynal, the then-nineteen-year-old wife of the critic Maurice Raynal, who was closely allied with the Cubists. Here, though, she fulfills a role in the painting, and by extension in the Matisse household, akin to that of the chilly, dignified Mme. Bellelli in Edgar Degas’s Bellelli Family of c. 1860, a figure who, in Martin-Fugier’s description, “accurately portrays the role of the bourgeois mother.” “Bourgeois Rituals,” p. 269.

16 Matisse’s The Moroccans, another painting of a North African motif, conceived in 1912, was finally completed in November 1916, between the two family paintings and at a time of increasing concern for African soldiers involved in the war and visible on the streets of Paris.

17 Paul Fussell, The Great War and Modern Memory (Oxford: Oxford University Press, 1975), 231. Fussell continues, “Since war takes place outdoors and always within nature, its symbolic status is that of the ultimate antipastoral.” Matisse’s final two (of six) sessions of work on his Bathers by a River (conceived 1909), which took place in 1916 and 1917, transformed what had begun as a pastoral composition into what is commonly understood to be an antipastoral one. The Piano Lesson and The Music Lesson were among the paintings he made when taking a break from making the critical changes on that enormous canvas. Its six-part development is charted in Matisse: Radical Invention, pp. 88–91, 104–07, 152–57, 174–77, 304–09, 346–49.

18 Bois, Matisse and Picasso, pp. 29–30.

19 Barr, Matisse: His Art and His Public, p. 194.

20 Amédée Ozenfant, Mémoires, 1886–1962 (Paris: Segher, 1968), p. 215; quoted here from Pierre Schneider, Matisse (New York: Rizzoli, 1984), p. 506. I have discussed this statement previously in Henri Matisse: A Retrospective, pp. 37–41.

21 Fourcade, “An Uninterrupted Story.”

22 Matisse, quoted in Ragnar Hoppe, “På visit hos Matisse,” in Städer och Konstnärer, resebrev och essäer om Konst (Stockholm: Albert Bonniers Förlag, 1931), 196, recording a visit to Matisse in 1919. Trans. in Jack Flam, ed., Matisse on Art (Berkeley and Los Angeles: University of California Press, 1995), p. 75.

23 Edward Said has relevant things to say here in “Return to the Eighteenth Century,” in his On Late Style: Music and Literature Against the Grain (New York: Pantheon, 2006), pp. 25–47.

24 T. J. Clark’s lecture “Attention to What? Matisse’s Garden at Issy, 1917,” which speaks of Garden of Issy as reflecting its wartime creation, was delivered as part of the Glasgow International, March 2020.

25 Albert C. Barnes, The Art in Painting (Merion, PA: The Barnes Foundation Press, 1925), 360. Quoted here from Butler, “The Music Lesson,” p. 222.

26 I draw here on my remarks on The Painter’s Family in Henri Matisse: A Retrospective, p. 63.

27 Butler, “The Music Lesson,” p. 219.

28 Ibid., 227 n. 7, questioning the interpretation in Kenneth E. Silver, Esprit de corps: The Art of the Parisian Avant-Garde and the First World War, 1914–1925 (Princeton, NJ: Princeton University Press, 1989), pp. 200–203.

29 I observed earlier that the garden in The Music Lesson resembles a painted screen rolled down at the back of the living room; in the passage quoted here, Charles Baudelaire is discussing his admiration for backdrop paintings on the stage. He concludes, “These things, so completely false, are for that very reason much closer to the truth.” Baudelaire, “Salon of 1859,” discussed in and here quoted from Walter Benjamin, “On Some Motifs in Baudelaire,” in his Illuminations, ed. and intro. Hannah Arendt, trans. Harry Zohn (New York: Schocken, 1968), p. 193.

30 See Matisse, letter to René Jean, October 1, 1915, quoted in my entry on Still Life after Jan Davidsz. De Heem’s “La Desserte”, in Matisse: Radical Invention, p. 255.

31 See D’Alessandro’s entry on For the Civil Prisoners of Bohain-en Vermandois and her essay “The Challenge of Painting,” both in Matisse: Radical Invention, respectively p. 249, pp. 264–65.

32 Matisse, letter to Léonce Rosenberg, June 1, 1916, quoted in D’Alessandro, “The Challenge of Painting,” p. 263.

33 On the activities of French artists during the war, see Silver, Esprit de corps, and Richard Cork, A Bitter Truth: Avant-Garde Art and the Great War, exh. cat. (London: Barbican Art Gallery, and New Haven: Yale University Press, 1994).

34 Matisse, in E. Tériade, “Matisse Speaks,” Art News Annual 21 (1952): pp. 40–71, quoted here from Flam, ed., Matisse on Art, p. 205.

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