The Quick 10: The Ten

I have to admit, the long weekend has made me a little lazy today. This was my thought process in thinking of my Quick 10 Topic: "Quick 10"¦ Quick 10"¦ 10"¦ Ten. The Ten. A Quick 10 of The Ten. Yes. Brilliant."
The Ten is a group of 10 American Impressionist painters who quit the Society of American Artists in the late 1800s when they felt it had become too commercial. But who were they? I'm happy to oblige"¦

The Quick 10: The Ten

Seated, left to right: Edward Simmons, Willard L. Metcalf, Childe Hassam, J. Alden Weir, Robert Reid
Standing, left to right: William Merritt Chase, Frank W. Benson, Edmund C. Tarbell, Thomas Wilmer Dewing, Joseph Rodefer De Camp

1. Childe Hassam. Hassam's most famous works are the series of 22 flag paintings he started in 1916. They show Fifth Avenue, 57th Street and other streets near Hassam's gallery at the time.

2. J. Alden Weir. Weir was the first president of the Association of American Painters and Sculptors but resigned only a year after being named when the society sponsored the modernist Armory show. His brother was a well-known landscape artist.

3. John Henry Twachtman. Twatchman is famous among art historians for his personal style "“ his interpretation of Impressionism was much more experimental than his contemporaries.

4. Robert Reid. Reid was a mostly "decorative" painter "“ many of his works were of young women sitting in the middle of a field of flowers. He was an instructor at the School of the Museum of Fine Arts, Boston, of which he was also an alumnus.

5. Willard Metcalf. Speaking of the School of the Museum of Fine Arts, Boston, Willard Metcalf was a student there as well. He is thought to have been the first American painter to visit Giverny, the location of Claude Monet's home and garden. He ended up marrying one of the models he used in a mural for a New York courthouse - Marguerite Beaufort Hailé, a stage performer 20 years younger than him. She ended up leaving him for one of his students. In 1923, his work Benediction sold for $13,000 "“ at the time, a record selling price for an American artist who was still alive.

6. Frank Weston Benson. Benson wasn't really considered an Impressionist until after he joined The Ten. Prior to that he had been working on decorative murals for the Library of Congress. Late in his career, Benson became famous for his depictions of his wife and daughters exploring nature at their summer home in Maine. After 1920, however, he started painting a plethora of wildlife. In 1995, a Benson oil painting sold for $4.1 million. More recently, a Benson was donated to Goodwill, which put the work up for auction on its site. It started at $10, but once the piece was verified as an authentic Benson, it ended up selling for $165,002.

7. Edmund Charles Tarbell. Tarbell developed quite the following in Boston "“ in fact, his followers were called the Tarbellites. Like Benson, Tarbell used his wife and children as models in much of his work"¦ except, of course, when he was doing portraits. His portraits included U.S. Presidents Woodrow Wilson, Calvin Coolidge and Herbert Hoover and can still be found in the White House.

8. Thomas Wilmer Dewing. Look at Dewing's paintings and you'll probably notice a theme: women. Women playing instruments, women writing letters, women standing, women sitting. Lots of women. In fact, some critics call him sexist, saying he painted empty-eyed women lounging around in pretty dresses doing nothing.

9. Joseph DeCamp. Probably one of the lesser-known of The Ten, but with good reason: in 1904, his Boston studio caught on fire and hundreds of his works were destroyed, including pretty much all of his landscapes.

10. Edward Simmons. Simmons was probably best known for his murals. After graduating from Harvard, he went on to win the first commission of the Municipal Art Society. They had him paint a series inside of the Criminal Courthouse in Manhattan. He also did murals for the Waldorf-Astoria in New York, the Library of Congress and the Capital at Saint Paul, Minn.

Bad Moods Might Make You More Productive

Being in a bad mood at work might not be such a bad thing. New research shows that foul moods can lead to better executive function—the mental processing that handles skills like focus, self-control, creative thinking, mental flexibility, and working memory. But the benefit might hinge on how you go through emotions.

As part of the study, published in Personality and Individual Differences, a pair of psychologists at the University of Waterloo in Canada subjected more than 90 undergraduate students to a battery of tests designed to measure their working memory and inhibition control, two areas of executive function. They also gave the students several questionnaires designed to measure their emotional reactivity and mood over the previous week.

They found that some people who were in slightly bad moods performed significantly better on the working memory and inhibition tasks, but the benefit depended on how the person experienced emotion. Specifically, being in a bit of a bad mood seemed to boost the performance of participants with high emotional reactivity, meaning that they’re sensitive, have intense reactions to situations, and hold on to their feelings for a long time. People with low emotional reactivity performed worse on the tasks when in a bad mood, though.

“Our results show that there are some people for whom a bad mood may actually hone the kind of thinking skills that are important for everyday life,” one of the study’s co-authors, psychology professor Tara McAuley, said in a press statement. Why people with bigger emotional responses experience this boost but people with less-intense emotions don’t is an open question. One hypothesis is that people who have high emotional reactivity are already used to experiencing intense emotions, so they aren’t as fazed by their bad moods. However, more research is necessary to tease out those factors.

[h/t Big Think]

Universal Pictures Home Entertainment
The 10 Wildest Movie Plot Twists
Laura Harring in Mulholland Drive (2001)
Laura Harring in Mulholland Drive (2001)
Universal Pictures Home Entertainment

An ending often makes or breaks a movie. There’s nothing quite as satisfying as having the rug pulled out from under you, particularly in a thriller. But too many flicks that try to shock can’t stick the landing—they’re outlandish and illogical, or signal where the plot is headed. Not all of these films are entirely successful, but they have one important attribute in common: From the classic to the cultishly beloved, they involve hard-to-predict twists that really do blow viewers’ minds, then linger there for days, if not life. (Warning: Massive spoilers below.)

1. PSYCHO (1960)

Alfred Hitchcock often constructed his movies like neat games that manipulated the audience. The Master of Suspense delved headfirst into horror with Psycho, which follows a secretary (Janet Leigh) who sneaks off with $40,000 and hides in a motel. The ensuing jolt depends on Leigh’s fame at the time: No one expected the ostensible star and protagonist to die in a gory (for the time) shower butchering only a third of the way into the running time. Hitchcock outdid that feat with the last-act revelation that Anthony Perkins’s supremely creepy Norman Bates is embodying his dead mother.


No, not the botched Tim Burton remake that tweaked the original movie’s famous reveal in a way that left everyone scratching their heads. The Charlton Heston-starring sci-fi gem continues to stupefy anyone who comes into its orbit. Heston, of course, plays an astronaut who travels to a strange land where advanced apes lord over human slaves. It becomes clear once he finds the decrepit remains of the Statue of Liberty that he’s in fact on a future Earth. The anti-violence message, especially during the political tumult of 1968, shook people up as much as the time warp.

3. DEEP RED (1975)

It’s not rare for a horror movie to flip the script when it comes to unmasking its killer, but it’s much rarer that such a film causes a viewer to question their own perception of the world around them. Such is the case for Deep Red, Italian director Dario Argento’s (Suspiria) slasher masterpiece. A pianist living in Rome (David Hemmings) comes upon the murder of a woman in her apartment and teams up with a female reporter to find the person responsible. Argento’s whodunit is filled to the brim with gorgeous photography, ghastly sights, and delirious twists. But best of all is the final sequence, in which the pianist retraces his steps to discover that the killer had been hiding in plain sight all along. Rewind to the beginning and you’ll discover that you caught an unknowing glimpse, too.


Sleepaway Camp is notorious among horror fans for a number of reasons: the bizarre, stilted acting and dialogue; hilariously amateurish special effects; and ‘80s-to-their-core fashions. But it’s best known for the mind-bending ending, which—full disclosure—reads as possibly transphobic today, though it’s really hard to say what writer-director Robert Hiltzik had in mind. Years after a boating accident that leaves one of two siblings dead, Angela is raised by her aunt and sent to a summer camp with her cousin, where a killer wreaks havoc. In the lurid climax, we see that moody Angela is not only the murderer—she’s actually a boy. Her aunt, who always wanted a daughter, raised her as if she were her late brother. The final animalistic shot prompts as many gasps as cackles.


The Usual Suspects has left everyone who watches it breathless by the time they get to the fakeout conclusion. Roger "Verbal" Kint (Kevin Spacey), a criminal with cerebral palsy, regales an interrogator in the stories of his exploits with a band of fellow crooks, seen in flashback. Hovering over this is the mysterious villainous figure Keyser Söze. It’s not until Verbal leaves and jumps into a car that customs agent David Kujan realizes that the man fabricated details, tricking the law and the viewer into his fake reality, and is in fact the fabled Söze.

6. PRIMAL FEAR (1996)

No courtroom movie can surpass Primal Fear’s discombobulating effect. Richard Gere’s defense attorney becomes strongly convinced that his altar boy client Aaron (Edward Norton) didn’t commit the murder of an archbishop with which he’s charged. The meek, stuttering Aaron has sudden violent outbursts in which he becomes "Roy" and is diagnosed with dissociative identity disorder, leading to a not guilty ruling. Gere’s lawyer visits Aaron about the news, and as he’s leaving, a wonderfully maniacal Norton reveals that he faked the multiple personalities.

7. FIGHT CLUB (1999)

Edward Norton is no stranger to taking on extremely disparate personalities in his roles, from Primal Fear to American History X. The unassuming actor can quickly turn vicious, which led to ideal casting for Fight Club, director David Fincher’s adaptation of the Chuck Palahniuk novel. Fincher cleverly keeps the audience in the dark about the connections between Norton’s timid, unnamed narrator and Brad Pitt’s hunky, aggressive Tyler Durden. After the two start the titular bruising group, the plot significantly increases the stakes, with the club turning into a sort of anarchist terrorist organization. The narrator eventually comes to grips with the fact that he is Tyler and has caused all the destruction around him.


Early in his career, M. Night Shyamalan was frequently (perhaps a little too frequently) compared to Hitchcock for his ability to ratchet up tension while misdirecting his audience. He hasn’t always earned stellar reviews since, but The Sixth Sense remains deservedly legendary for its final twist. At the end of the ghost story, in which little Haley Joel Osment can see dead people, it turns out that the psychologist (Bruce Willis) who’s been working with the boy is no longer living himself, the result of a gunshot wound witnessed in the opening sequence.

9. THE OTHERS (2001)

The Sixth Sense’s climax was spooky, but not nearly as unnerving as Nicole Kidman’s similarly themed ghost movie The Others, released just a couple years later. Kidman gives a superb performance in the elegantly styled film from the Spanish writer-director Alejandro Amenábar, playing a mother in a country house after World War II protecting her photosensitive children from light and, eventually, dead spirits occupying the place. Only by the end does it become clear that she’s in denial about the fact that she’s a ghost, having killed her children in a psychotic break before committing suicide. It’s a bleak capper to a genuinely haunting yarn.


David Lynch’s surrealist movies may follow dream logic, but that doesn’t mean their plots can’t be readily discerned. Mulholland Drive is his most striking work precisely because, in spite of its more wacko moments, it adds up to a coherent, tragic story. The mystery starts innocently enough with the dark-haired Rita (Laura Elena Harring) waking up with amnesia from a car accident in Los Angeles and piecing together her identity alongside the plucky aspiring actress Betty (Naomi Watts). It takes a blue box to unlock the secret that Betty is in fact Diane, who is in love with and envious of Camilla (also played by Harring) and has concocted a fantasy version of their lives. The real Diane arranges for Camilla to be killed, leading to her intense guilt and suicide. Only Lynch can go from Nancy Drew to nihilism so swiftly and deftly.


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