The exhibit will not only feature the works of seven leading post-impressionist artists from the 1890s to the early 1900s, but it examines the new media format these artists used to produce their notable works of art: the snapshot.

According to the cover article in The Phillips Collection’s Winter 2012 magazine, the arrival of the Kodak camera in 1888 provided artists a new tool by which to study their subjects via the snapshot. Prior to the portable Kodak camera, photography was a painstaking process which was typically inaccessible to the general public. Large format cameras were big, cumbersome and required a heavy tripod and lots of patience to capture a still image on film.

This new Kodak camera allowed artists the opportunity to take numerous photos of subjects with relative ease for later study and consideration. As the article points out, “the camera did not supplant the sketch but rather added a different dimension to a wealth of visual information that could be drawn upon.”

The exhibit opens on February 4 and runs through May 6, and will feature 200 largely never-before-seen photographs alongside the 70 paintings for which these seven artists are best known. The artists include: Pierre Bonnard, Maurice Denis, Felix Vallotton, George Hendrik Breitner, Henri Evenepoel, Henri Riviere, and Edouard Vuillard.

“Snapshot marks the dawn of an era when artist used their Kodaks to explore new realms that would inform their creative output,” as noted in article’s conclusion.

Today, businesses small and large could learn from these seven artists – even companies like Kodak which itself is ironically and unfortunately on the verge of bankruptcy.

Leverage the latest tools that can help your company improve upon, not replace, what it already does well. What got you to this place is core to your business and its identity. What you use to enhance your company’s and employees’ core talents will continue to make your business successful for years to come.

You know, I think that would make for a nice snapshot.

I admit it. I have a foot fetish. It’s not exactly what you think. My love for feet is of the inanimate kind – stone feet sculptures, that is.

I just returned from my second trip to Rome this year. And based on my well-trained and traveled eye, I must say that Rome is probably the foot sculpture capital of the world. Everywhere I turned, there was another marble-carved foot. They were in museums, shops, piazzas, flea markets, and basilicas. Stoned feet in every direction.

The largest foot sculpture I’ve ever seen was in the courtyard of the famed Musei Capitolini, the oldest public museum on the planet which dates back to 1471. (This date is not a typo.) The really big and old foot is shown above. The courtyard also showcased a number of other large marble body parts, such as fingers, elbows, and heads.

The museum’s shop had a small marble replica of the big foot, which I wanted to buy, but my husband — as always – gave his standard complaint: “It’s too heavy to carry home.” Most of the time I ignore him, but given he ends up carrying the heaviest bags, I relented this time.

Of course, I regret not buying that foot. Its image is now plastered inside my head. I think I need therapy.

But great art, even in the sculpted foot variety, has a way of possessing the mind and soul.

And whether you call it a fetish or a passion, the positive effect of art and design can turn the ordinary into the extraordinary.

This effect just might help you ultimately lap the competition by a mile – give or take a foot.

I was recently in Rome where I toured the artistic creations of the 173-year-old marble floor company, Ditta Medici.

Located on Via dei Papareschi not far from the Tiber, Ditta Medici has been designing and restoring marble floors for some of the most discriminating clients on the globe since 1838. Clients have included the Vatican, Westminster Cathedral, St. Patrick’s Cathedral, the Getty Museum, several Bulgari stores, and hundreds of private clients.

Priscilla Grazioli Medici is the latest family member to run the oldest marble workshop in Rome, who gave me a tour of her factory. She showed me some beautiful and unique marbles, which I have not seen in the States — some of which have not been quarried for two thousand years.

Ditta Medici has a number of floor designs which they can customize to your floor, or they can work with you to design a completely one-of-a-kind floor using the rarest of marbles.

You clearly pay a premium for custom and unique. It’s always been this way. Yet, what is a relatively new phenomenon in today’s flatter world is less emphasis on creativity and design, and more on instant gratification, low cost and sameness.

Today, you can buy the same designer label dress or suit in London, Tampa, Minneapolis or Beijing. Is this ubiquity a bad thing? Yes, if it means that many small, individual designers are pushed to the curb in the process.

Have you happened to stroll through the storied neighborhood streets of Greenwich Village in Manhattan in the last two years? Gone are many of the decades-old, sole proprietor shops where you could find rare books, clothing, art, and household items. They have been replaced by global designer brand stores that drive up the rent for everyone else, and in turn, drive out the eclectic and the exceptional.

Unfortunately, a similar fate may await Ditta Medici of Rome and many exclusive and creative shops around the globe.

But I’m not counting out the creative class just yet.

All of us should do what we can to celebrate the artisans and innovators still among us, and those young artists and designers who aspire to make a career in the creative arts.

I’m still convinced that the most creative businesses will not only succeed, but will far outlast the competition. Much like the lasting beauty of a fine Italian marble floor.

On a small street in the French Quarter of New Orleans sits a non-descript store front, which is home to one of finest copper lantern makers on the globe, Bevolo Gas and Electric Lights.

Andrew Bevolo, Sr. opened his light company in the French Quarter in 1945 based on the skills he had learned working at several leading manufacturers of the day, including Ford, Sikorsky, and Higgins. Bevolo took this knowledge and revolutionized the gas lantern industry with a hand riveting technique. Up until that time, gas lamps were made with brittle soldered joints, which greatly reduced the longevity of the lanterns.

A few years later, renowned architect A. Hays Town found his way to Bevolo’s workshop, and the two formed a partnership and the iconic French Quarter copper lantern was born.

Sixty-six years later, the company is now run by Drew Bevolo, grandson to the founder. Today the company has 40 employees and its famed hand-made copper lanterns can be found on some of the most discriminating homes and commercial buildings in all 50 states and in 28 countries.

Bevolo now boasts scores of different lantern designs, and can also custom design a lamp on request, working with its own designers or a project’s architect. Each lantern is still made by hand and in Louisiana.

Craftsmanship and artistry are words that have increasingly become lost in today’s flat world, where instant gratification and demands for the lowest price now rule the day. But too much focus on low price can come at a price. It penalizes creativity, it trivializes design, and it rewards mediocrity.

Applaud and shine light on the artists and creators, and those among us who continue to honor the old way of doing things – when the old way is better.

In fact, I have a nice, new copper lantern that can provide just the right light source.

British painter and portrait artist Lucian Michael Freud died last week in London at the age of 88.

Not as famous as his grandfather, Sigmund Freud, Lucian was well-known nonetheless in the world of art for his “stark and revealing paintings of friends and intimates,” according to the New York Times.

Lucian Freud was born in Berlin on December 8, 1922 to Sigmund Freud’s youngest son, Ernst Ludwig Freud, who was an Austrian architect. Lucian’s mother, Lucie née Brasch, was German. As both parents were Jewish, the Freuds moved their family to the St. John’s Wood district of London in 1933 to escape Nazi Germany.

I know St. John’s Wood well and have walked down many of its streets given my grandfather lived in that district for many years. I also know the work of Lucian Freud and have always respected it for its thought-provoking nature. His earlier Surrealism works gave way to bluntly-presented nude portraitures by the 1950s, which served to shock the senses. For example, his “Naked Man with Rat” (1977-1978) depicted a man lying on a couch holding a sleeping rat.

The central figures of Freud’s paintings many times appear tired, aged, and distressed – which has unnerved some observers over the years, particularly in the United States. Yet, no matter what one thinks of Freud’s work, there is an undisputed market for it. In May 2008, his 1995 portrait “Benefits Supervisor Sleeping” sold at auction by Christie’s in New York City for $33.6 million, which set a record for sale value of a painting by a living artist.

Conformity is the enemy to both the artist and the innovator. Corporations are generally expert at promoting conformity, but seldom proficient in providing for a culture that promotes creative thought and action. And they do so at their peril.

The next time you find yourself trying to conform, ask this question: “What would Freud do?” No, not the father of psychoanalysis, but his grandson.

Encarta’s Online World English Dictionary describes the word “lantern” as follows:

1. portable lamp: a portable case with transparent or translucent sides that protects and holds a lamp
2. lighthouse room: a room containing the large lamp at the top of a lighthouse
3. structure with windows: a structure with windows on all sides, resembling a lantern, e.g. one at the top of a dome

A “new” lantern, therefore, provides the maximum amount of light given the glass of a new lamp, lighthouse, or architectural structure is at its most pristine state.

Lanterns have been used for centuries to provide a source of light to guide those seeking a particular path, direct those aiming toward a certain objective, or to generally add light to an otherwise darkened state.

Our goal at New Lantern is simple: shine light on artists, designers, innovators and entrepreneurs from which we in business can learn.

This is what defines our company and our name.

According to the Los Angeles Times, the upcoming 83rd Academy Awards show on February 27 will include a major facelift for its world famous envelope, which contains the words: “And the Oscar goes to…”

LA-based designer, Marc Friedland, was tasked with the envelope’s upgrade. The redesign features an “Art Deco-influenced satin gold frame with an ecru inset panel” featuring a gold-leaf-embossed Oscar statuette. Friedland described the previous design as something that surprisingly resembled a “non-descript, office supply store bought” envelope.

Details matter, and so does image and design. Your company needs to pay close attention to how others see you, particularly the important aspects of your business that potentially distinguish it from the pack.

Look outside your organization to seek a fresh pair of eyes to advise on what may be your non-descript blind spot. Doing so could lead to your company’s own envelope and the just rewards that go with it.

Several months ago I was in San Francisco and making my way by foot to an appointment in the Financial District. I suddenly found myself at the base of the city’s iconic Transamerica Pyramid building on Montgomery Street.

For several minutes I stood there in awe gazing upward at this architectural wonder to take in its dramatic pyramid shape and its “wings” silhouetted against an intense blue sky.

In a city that boasts the Golden Gate Bridge and the Coit Tower, San Francisco has no shortage of iconic landmarks. Yet, among office buildings throughout the world, you would be hard-pressed to find one as uniquely shaped and enduring as the Transamerica building.

Designed by architect William Pereira, the building’s nonconformist shape had its detractors during its planning and construction, which started in 1969. The Transamerica building was completed in 1972 and soon became a proud and highly recognized symbol for San Franciscans.

History books are full of similar reactions to bold and unconventional designs that initially startled the senses, but over time became beloved for their distinction. Look no further than Gustave Eiffel, the French engineer who designed the famed tower in Paris that bears his name.

From childhood we are taught not to stand out in the crowd. Go along. Fit in. Conform. As adults, this conformist behavior is roundly encouraged in the workplace.

This type of imitative culture serves to stifle the very type of creativity and innovation that your company needs to thrive and endure.

Applaud the individuality of your employees and seek to encourage, not suppress, the dramatic.

Your company has the potential to leave its mark on the business landscape, but only if you give your employees the opportunity to stand out in the crowd.

Today’s blog posting marks our 100th here at New Lantern. Each week for the last two years, we have attempted to shine light on all things innovative and creative, so that your company might benefit.

We’ve profiled a wide range of creative thinkers, business leaders, artists, designers and entrepreneurs. We’ve drawn lessons from some of the world’s most notable innovators, while spotlighting the lesser known or yet-to-be-known, from whom your company can learn.

Our objective is simple: helping your company or organization effectively mine and leverage the talents of your existing workforce. We seek to apply creative right-brain stimuli to a left-brain business and analytical world, which can lead to more innovative products, services, and processes.

This marriage of the creative and analytical is nothing new, yet it is unfortunately underutilized in today’s business sector. During the 15th through 17th centuries, the Medici family of Florence helped usher in a “creative explosion” by bringing together successful people from a wide ranging disciplines such as: sculptors, scientists, poets, philosophers, painters, and architects.

Let us help your company use creativity as the spark to unlock the talents of your employees and managers.

We think you’ll find that a little bit of light – or sliver, if you will – can go a long way toward achieving your company’s objectives in 2011.

Nike CEO, Mark Parker, is featured in Fast Company’s September edition cover story, “The World’s Most Creative CEO.” It chronicles Parker’s internal rise to Nike’s chief executive and his recipe for success by using “elite athletes, artists, and his own shoe designs to drive a $34 billion business.”

Parker is not a household name outside of Nike and the sports industry, compared to co-founder and chairman, Phil Knight. Knight was CEO for almost 40 years until he stepped down in 2004, when he brought in an outsider from S.C. Johnson, William Perez, to replace him. Perez lasted only 18 months before hanging up his cleats, saying that the culture at Nike was too difficult. That’s when Nike turned to Parker, a long-time Nike executive and über footwear designer.

Parker came to Nike in 1979 as a product designer and footwear tester. It wasn’t long before executives realized his talent in creating some of the most memorable and profitable Nike shoe products in the company’s history. His creations have adorned some of the globe’s most celebrated athletes, including John McEnroe, Michael Jordan, Lance Armstrong, Tiger Woods, and Kobe Bryant – a veritable “cobbler to the gods” as described by Fast Company.

An avid marathoner himself, Mark Parker knows a thing or two about athletes and footwear. Most important, he brings a creative mind to the CEO role, which he continues to nurture every day. According to the article, he “regularly hosts dinners for about 25 artist friends to just talk and kick around ideas.”

It’s no surprise that Parker stays laser-focused on Nike’s design and R&D work. He frequents the company’s secretive “Innovation Kitchen” sessions, an internal think tank of sorts, “where athletic ambition, art, and a bit of mad science are cooked into the stuff that made Nike the dominate player in sports shoes and apparel.”

Parker also spends a lot of time and attention on sustainability and cutting product waste. And, Parker recently outlined some pretty big goals of increasing sales by 40 percent by 2015. He’ll have his work cut out for him, but stretch goals and competing hard are nothing new for a company which aligns itself with world class athletes and sports.

If you want a little insight into what makes this successful corporate executive tick, take a look at his choice for the new company mission statement nine years ago: “To bring innovation and inspiration to every athlete in the world.”

Since becoming CEO, Parker has also developed nine “maxims” that he wants to serve as guiding principles at Nike. His favorite is No. 6, “Be a sponge. Curiosity is life. Assumption is death.” Parker says that was one his grandmother taught him.

Parker’s approach demonstrates that curiosity and a hearty appetite for creativity are a powerful combo for Nike — and for any other company seeking to compete and win.