Chapter IV · New Year’s · 113 days
Who was still awake at midnight?
Grand ballrooms, torchlight, and the kitchen countdown.
Pots and pans for drums at five to midnight. The grand-hotel ballroom with the balloons coming down. Sparklers in the snow. Whoever made it to midnight makes it into the painting.
Everyone Still Awake
30 traditions

Art Deco Gala
Gilded 1925 geometry — sunburst, black lacquer, a champagne tower.

Leyendecker New Year Cover
J.C. Leyendecker's crisp cover brushwork — top hat, streamers, the stroke of twelve.

Klimt Midnight Gold
Gold-leaf mosaic against a deep-blue midnight — spirals, stars, a kiss of champagne.

Whistler Fireworks Nocturne
A smoky blue nocturne — falling rockets over black water, the way Whistler saw it.

Mid-Century Cocktail Illustration
Fifties gouache advertising — coupe glasses, starbursts, tuxedo black.

Barbier Fashion Plate
A 1920s pochoir plate in the manner of George Barbier — silk, fur, a masked ball.

Bauhaus Poster
Primary geometry — circle, bar, diagonal, one red, the new year as a design.

Nightclub Line Drawing
One flowing ink line, a Broadway nightclub, a few flat spots of colour.

First Sunrise
The Japanese hatsuhinode — a red sun over the sea, cranes, a woodblock dawn.

Hogmanay Hearth
A Scottish New Year — tartan, a peat fire, a dram, a lump of coal on the step.

Sargent Evening Portrait
Bravura society oil — black velvet, one candle, silver reflected in the brush.

Confetti Risograph
Two-colour riso print — fluorescent pink and midnight blue, a storm of confetti.

Kitchen Countdown
Pots as drums, a clock near twelve, the whole family up past bedtime — a warm mid-century cover.

Grand-Hotel Ballroom
A 1920s hotel ballroom at midnight — balloons falling, a big band, black tie and sequins.

Snowfield Fireworks
Fireworks over a snowy field — sparklers in hand, breath in the cold, a nocturne in blue and gold.

First-Snow Woodblock
A Hiroshige-style ukiyo-e print — New Year's morning, first snow, pine and plum at the gate.

Belle-Époque Champagne Poster
A Mucha-tradition poster — the subject in a halo of gold and ivy, bubbles rising, a mosaic border.

City Midnight Crowd
Confetti and light in a city square at midnight — a 1950s painterly reportage illustration.

Resolutions Ledger
A Victorian engraved ledger page — the subject at a writing desk, quill up, a blank list of resolutions.

Fireside Toast
Glasses raised by the fire at midnight — a Sargent-warm interior, velvet, candle and firelight.

Torchlight Procession
A Scottish torchlight procession — tartan, fire, pipers, the subject carrying a torch through the snow.

Lantern-Festival Gouache
Red paper lanterns and gold paper-cuts for the new year — bright gouache in the Chinese folk tradition.

Balcony at Midnight
A city balcony as the clock strikes — champagne, a cityscape of fireworks, an Art Deco nocturne.

Turning the Calendar
The old calendar coming down, the new one going up — a warm domestic mid-century illustration.

Rooftop at Midnight
A city rooftop as it goes off — modern realism, cold air, warm coats.

Confetti Vector
Flat modern party graphics — bold shapes, confetti as geometry, no gradients.

Neon Countdown
Lit by a screen and a neon sign — a modern nocturne, no clock face.

Cut-and-Paste Collage
Torn magazine paper, tape and gouache — a contemporary collage.

Line and Wash
One ink line, one wash — the modern reportage sketch, done fast and sure.

First Morning Realism
January first, late light, the room still full — modern interior realism.
The one rule
The face stays. Everything else is repainted.
We are a family of artists, and the holiday art we kept being sent was one look with the colours swapped: orange in October, red in December. That is a costume, not a tradition. So each room here has its own painters behind it — Currier & Ives and Nast, the Brandywine and Hudson River schools, Rackham, Whistler, Bruegel in the snow and the magazine covers of the 1940s — and none of the four would recognise the others.
What we keep is you. The faces, the coats, the dog and the front of your house are held exactly as you sent them, and a judge scores every painting for likeness before you see it. We paint children here, and only here: a parent or guardian signs for every photograph with a child in it, the darker Halloween shelf is closed to them, and every painting with a child is looked at twice before it is shown and once more, by a person, before it is printed.
Most of the AI work doesn’t resonate with us either. We spent months on these rooms so that at least one of them resonates with you.
