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.

The I Love Lucy television show first aired on this day in 1951. It starred then-Hollywood legend Lucille Ball, whose zany and fresh comedic antics helped turn the sitcom into the most watched television show of its era.

Ball’s trademark blazing red hair and slapstick humor was an unlikely pairing with her co-star, Desi Arnaz. Arnaz, who played Lucy’s husband Ricky Ricardo, was also her real-life husband during the run of the show. Arnaz was a dark-haired Cuban American singer and bandleader, whose memorable heavy accent and exclamations on the show continue to resonate to this day.

CBS executives at the time questioned whether the U.S. television audience would accept the idea of an All-American redhead married to a Cuban. Those fears quickly turned to celebration as I Love Lucy went on to become one of the most popular television sitcoms of all time. Sixty years after its debut, reruns of I Love Lucy are still viewed by more than 40 million Americans each year.

On the show, Lucy and Ricky were joined by co-stars Vivian Vance and William Frawley, who played Ethel and Fred Mertz. Vance and Frawley were perfectly cast as the Ricardos’ neighbors, landlord, and best friends. To this day, I still laugh thinking about the scene of Lucy and Ethel working in the chocolate factory on the production line.

Lucille Ball not only broke new ground as a leading female character of a television sitcom, she also served as the first woman to head a television production company, Desilu, which she and Arnaz formed. As a very active studio head at Desilu, Ball “pioneered a number of methods still in use in television production today such as filming before a live studio audience with a number of cameras, and distinct sets adjacent to each other.”

Whether it’s a television studio, and large corporation, or a small or medium size business, chief executives need to be willing to move outside of their safe zone in order to innovate and try new approaches. Success in business comes from bold leadership, a strong team, and promoting a culture that embraces an inventive spirit.

That’s a winning formula I know your shareholders will love.

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.

Bergman was one of the most accomplished and recognizable actors of the 20th century. Winner of three Academy Awards, four Golden Globes, two Emmys, and a Tony Award, Bergman is ranked as the fourth greatest female star of all time by the American Film Institute.

She is best known for her role as Ilsa Lund in Casablanca (1942), in which she starred alongside Humphrey Bogart. It was in that iconic movie that Bogart uttered one of the most famous lines in cinema to Bergman, “Here’s looking at you, kid.”

Bergman’s movie career spanned six decades from 1939 to 1982. She won the Academy Award for Best Actress for Gaslight in 1945, Anastasia in 1957, and A Woman Called Golda in 1982. She was nominated for an Academy Award in For Whom the Bell Tolls in 1944, The Bells of St. Mary’s in 1946, Joan of Arc in 1949, and Autumn Sonata in 1979. She won the Best Supporting Actress Award in 1975 for Murder on the Orient Express.

Ingrid Bergman was born in Stockholm in 1915 to her Swedish father, Justus Berman, and to her German mother, Friedel Berman. Her mother died when Ingrid was three. Her father, who was an artist and photographer, died when she was 13. She went on to live with two different aunts, and later studied at Stockholm’s Royal Dramatic Theatre School, where actress Greta Garbo had studied years before.

During the 1930s, Bergman starred in more than a dozen films in Sweden and one in Germany. Unable to speak English, she was brought to Los Angeles by Hollywood producer David Selznick in May 1939 to appear in Intermezzo: A Love Story. She fully expected to return to Sweden after the film, but the American public quickly accepted her as one of its most promising stars.

Biographer Donald Spoto described Bergman as “arguably the most international star in the history of entertainment.” She successfully acted in five languages and won top awards for her work on stage, screen, and television. Director George Cukor once said to Bergman, “The camera loves your beauty, your acting, and your individuality. A star must have individuality. It makes you a great star.”

Today, global appeal and individuality also are key to success in business. Identify what makes your product or service unique, and talk about it in a language that a customer can understand.

Like it did for Bergman, it will likely make your company a great star.

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.

When the Eagles released the song Hotel California as a single in February 1977 (from the album by the same name), the band had already released four other albums, and had enjoyed numerous weeks at the top of the charts during the mid-1970’s. Yet, it was Hotel California that helped solidify the Eagles’ place in rock and roll history.

In 1977, Hotel California spent eight weeks as the number one album in America, and landed the Eagles two Grammys. Since its release, over 16 million copies of the album have been sold. Rolling Stone magazine ranks Hotel California at #37 on its 500 Greatest Albums of All Time.

The song still resonates in my head today as freshly as it did in 1977, and why is that? It is timeless, memorable, and generally appealing to a wide and diverse audience.

Are there corporate equivalents to Hotel California? Maybe so. Kleenex, Gatorade, and Harley Davidson come to mind.

Good marketing, strong product performance, and dogged customer focus keep great products and brands at the top of the charts year after year.

One-hit wonders and flashy products come and go each year, but the truly deserving survive.

If your company gives considerable attention to these important fundamentals, the sweet smell of success will follow. Or is that the smell of colitas?

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.

Last year, I flew through Memphis, Tennessee and found myself with some time to kill one hot August afternoon. So I drove about 10 miles to visit the city’s historical Memorial Park Cemetery on Poplar Avenue. No, I was not going there to pay my respects to a deceased relative or friend. Instead, I wanted to pay my respects to one of the most gifted faux bois (false wood) artists of the Western Hemisphere, Dionicio Rodriguez.

Rodriquez was born in Toluca, Mexico in 1891. He is known for perfecting a process in which he carved reinforced concrete to look like wood and rocks. Rodriquez developed his unique skills at a young age working in a Mexican foundry and for an Italian artist, who produced imitation rocks. He later worked with Mexican architects and engineers to reproduce ruins of ancient buildings, including a major project for the presidential residence in Mexico City.

Dionicio Rodriquez came to the U.S. in the 1920s, and proceeded to travel extensively throughout the country working on commission to sculpt concrete into compelling footbridges, benches, and other shapes to simulate wooden tree limbs.

His works spanned 30 years and are on display today in numerous cities across the U.S., including San Antonio, Memphis, Little Rock, Chattanooga, New York, and Ann Arbor. Many pieces are listed in the National Register of Historic Places, including his works on the grounds of the Memphis Memorial Park Cemetery.

Rodriquez did not speak English and he never married. He died in 1955 in San Antonio, and left no immediate survivors. What he did leave behind, however, was a rich legacy of beautiful and unique art.

His works have been catalogued in the 2008 book by Patsy Pittman Light, “Capturing Nature, The Cement Sculpture of Dionicio Rodriquez.” According to Amazon.com, “Light spent a decade documenting the trabajo rustico (“rustic work”) of Rodriquez.”

I marvel at the patience and dedication to one’s craft that produces results at the level and scale of this artisan. It frankly inspires me, and should inspire others, who seek to distinguish themselves from their peers and competitors.

Muchas gracias Señor Rodriquez for coming to this country to share your talents in so many concrete ways — for both the living and the departed.

One of the designer contestants who will appear on the show this season will be April Johnston, a 2010 graduate of SCAD’s School of Fashion. At 21, Johnston will be the youngest of the 17 contestants.

SCAD is the Savannah College of Art and Design, which is headquartered in Savannah, Georgia, with campuses also in Atlanta, Hong Kong, and Lacoste, France.

I profiled SCAD in a blog posting in February 2009. As one of the top art and design schools on the globe, I am a big fan and supporter of SCAD’s.

If past “Project Runway” shows are any guide, April Johnston will undoubtedly face stiff competition, as well as stiff critiques from the show’s honcho and former super model, Heidi Klum. Fashion industry luminaries Tim Gunn, Michael Kors, and Nina Garcia round out the panel of judges.

What Johnston will have going for her is the world-class education and training she received at SCAD. That, along with some natural talent, will hopefully serve her well throughout the competition.

The Dean of Fashion at SCAD, Michael Fink, handicaps Johnston’s chances this way, “If her provocative and powerful senior collection is any indication, we’re confident she’ll create some exciting and intriguing clothes.”

We will soon see whether or not that’s the case.

Your employees hold the keys to your company’s success and how well you measure up to the competition. But you’ll need to create a corporate culture that will nurture employee talent, and stimulate creativity and innovation.

New Lantern has the type of “provocative and powerful” services that could tap into the scads of talent that already exists within your employees. This, in turn, could put you on the path to your own award-winning season.