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The Postcard
The front side of an advertising card promoting performances of Making Marilyn in May 2024.
The card was designed by Andrew Kay and the photography was by Chris Bissell.
Julie Burchill
The British journalist Julie Burchill was born on the 3rd. July 1959 in Frenchay, Bristol.
Beginning as a staff writer at the New Musical Express at the age of 17, she has since contributed to newspapers such as The Daily Telegraph, The Sunday Times and The Guardian.
Her writing, which was described by The Observer in 2002 as "outrageously outspoken" and "usually offensive," has been the subject of legal action.
Burchill is also a novelist, and her 2004 novel Sugar Rush was adapted for television.
-- Julie Burchill - The Early Years
Julie Burchill was educated at Brislington Comprehensive School in Bristol. Her father was a Communist union activist who worked in a distillery, and her mother had a job in a cardboard box factory.
In 2010, Burchill wrote of her parents:
"I don't care much for families. I adored
my mum and dad, but to be honest I don't
miss them much now they're dead."
Three years later she contradicted this when she said she couldn't return to Bristol, as every time she heard someone speaking with her parents' Bristol accent it would remind her how much she missed them.
Julie did not attend university, leaving the A-levels she had started a few weeks earlier in order to begin writing for the New Musical Express (NME).
-- Julie Burchill's Early Career
Julie began her writing career at the NME in 1976 at the age of 17 after responding (coincidentally with her future husband Tony Parsons) to an advert in that paper.
The ad was seeking "hip young gunslingers" to write about the then-emerging punk movement. She gained the job by submitting a "eulogy" of Patti Smith's Horses.
She later wrote that at the time she only liked black music, and said:
"When I actually heard a punk record,
I thought, 'Oh my Lord! This is not music,
this is just shouting'."
Indeed, she managed to decry the first self-released punk album in the UK, The Outsiders' Calling on Youth featuring Adrian Borland:
"Apple-cheeked Ade has a complexion
that would turn a Devon milkmaid green
with envy."
Fortunately for her, as she later said:
"Punk was over in two years. That was
the only damn good thing about it."
She left her position at the NME at the age of 20, and started freelancing in order to be able to write about other subjects, although she has never completely given up writing about pop music.
-- Julie Burchill in the 1980's
Julie's main employers after the NME were The Face and The Sunday Times, where she wrote about politics, pop, fashion and society. She was also their film critic from 1984 to 1986.
She admitted in 2008 to making up film reviews and having "skived" from screenings, and her ex-husband, Cosmo Landesman, has admitted to attending screenings on her behalf.
During the Falklands War in 1982, Burchill argued that the military dictatorship of General Galtieri represented a greater evil, and she wrote articles favourable to Margaret Thatcher.
Her sympathy for Thatcher helped in gaining a column for The Mail on Sunday, where in 1987 she went against the paper's usual political line by urging its readers to vote Labour.
Though she claims to like the Mail on Sunday, she said of journalists on the Daily Mail in 2008:
"Everybody knows that hacks are the biggest
bunch of adulterers, the most misbehaving
profession in the world – and you have people
writing for the Daily Mail writing as though they
are vicars ... moralising on single mothers and
whatnot."
-- Julie Burchill Into the 1990's
Burchill has spoken repeatedly and frankly of her relationship with drugs, writing that:
"I have put enough toot up my admittedly
sizeable snout to stun the entire Colombian
armed forces".
Julie also declared that:
"As one who suffered from chronic shyness
and a low boredom threshold ... I simply can't
imagine that I could have ever had any kind
of social life without cocaine, let alone have
reigned as Queen of the Groucho Club for a
good part of the '80's and '90's."
While Burchill has frequently drawn on her personal life for her writing, her personal life has been a subject of public comment, especially during this period, when "everything about her – her marriages, her debauchery, her children – seemed to be news."
In 1991, Burchill, Landesman and Toby Young established a short-lived magazine called Modern Review. It was launched under the slogan "Low culture for high brows."
The "Fax war" in 1993 between Burchill and author Camille Paglia, published in the Modern Review, gained much attention.
The magazine lasted until 1995, when Burchill and her colleagues fell out.
Julie met Charlotte Raven through the magazine, with whom she had a much publicised affair..
Julie said in an interview with Lynn Barber in 2004:
"I was only a lesbian for about
six weeks in 1995."
In a 2000 article she referred to:
"My very enjoyable six months
of lesbianism."
In 1995, Burchill wrote a column for The Times, titled "I'm a bitch, and I'm proud", in which she argued that women should reclaim the word 'bitch,' used as a slur. She wrote:
"It is the nature of these things that, in recent years,
the slighted have taken steps to repossess the slight;
thus, we have blacks who call each other 'nigger',
pansies who call each other 'queer' and upper-class
cretins who quite happily call each other 'Henry'."
In 1996, the actor, author, playwright and theatre director Steven Berkoff won a libel action against Burchill in respect of one of her articles, published in the Sunday Times newspaper, which included comments suggesting that he was "hideously ugly".
The judge ruled that Burchill's actions "held him to ridicule and contempt."
The late 1990's were a turbulent period for Burchill, as she has recalled:
"I got the heave-ho from my cushy billet at the Sunday
Express, where I later learned my nickname had been
"Caligula’s Horse" because my best friend – briefly the
editor – had appointed me.
For the first time in my brilliant career, no one wanted
to hire me. Somehow I limped into a column on the
doddering Punch – and then I got the boot from there,
too!
Surely I had reached the mythical rock bottom at last?"
-- Julie Burchill From 2000 to 2004
A user of cocaine, sharing in the activity in the company of Will Self among others, she was positive about her use in The Guardian in 2000 when defending actress Danniella Westbrook for Westbrook's loss of her nasal septum because of cocaine use.
Journalist Deborah Orr, who was then married to Self, was scathing in The Independent of Burchill and her article:
"She does not identify herself as a
cocaine addict, so she has no pity
for Ms Westbrook."
In revenge for Deborah's article, Burchill invented a supposedly long-standing crush on Will Self with the intention of upsetting Orr.
A letter in The Independent in June 2000 from the head waitress at the Groucho Club at the time, Deborah Bosley, caused a minor stir. Responding to an article by Yvonne Roberts, Bosley, at the time the partner of Richard Ingrams, a long standing critic of Burchill, stated that Burchill was merely "a fat bird in a blue mac sitting in the corner" when ensconced at the Groucho.
Burchill on Beckham (2001), a short book about David Beckham's life, career, and relationship with Victoria Beckham, attracted some of the worst notices since Jeffrey Archer's heyday.
One reviewer wrote:
"Burchill is to football writing what
Jimmy Hill is to feminist polemics."
According to Robert Winder in the New Statesman:
"The book fits in with Burchill's theme of praising
the working class; Burchill presents Beckham as
an anti-laddish symbol of old working-class values –
he reminds her of those proud men of her childhood,
'paragons of generosity, industry and chastity'."
Burchill's career was in trouble; she had been sacked by the revived Punch magazine. However she was appointed by Orr in 1998 to write a weekly column in the Guardian. Julie wrote for the Guardian for five years until 2003.
Burchill frequently thanked Deborah Orr for rescuing her. One of the pieces she wrote for The Guardian was in reaction to the murder of BBC TV presenter Jill Dando in 1999. She compared the shock of Dando's murder to finding a "tarantula in a punnet full of strawberries".
In 2002 she narrowly escaped prosecution for incitement to racial hatred following a Guardian column where she described Ireland as being synonymous with child molestation, Nazi-sympathising, and the oppression of women.
Burchill had expressed anti-Irish sentiment several times throughout her career, announcing in the London journal Time Out that:
"I hate the Irish, I think
they're appalling".
Julie supported the Iraq War, writing in The Guardian in 2003 that:
"I am in favour of a smaller war now
rather than a far worse war later."
She criticised those opposed to the war as "pro-Saddam apologists".
She justified her stance by stating that:
"This war is about freedom, justice – and oil.
Because Britain and the United States sell
weapons to Iraq, it is our responsibility to
redress our greed and ignorance by doing
the lion's share in getting rid of him".
Burchill left The Guardian acrimoniously, saying in an interview that they had offered her a sofa in lieu of a pay rise. She stated that she left the newspaper in protest at what she saw as its "vile anti-Semitism".
-- Julie Burchill From 2005 to 2009
Burchill was an early critic of the fashion for denigrating lower social classes as "chavs". In 2005, she presented the Sky One documentary In Defence of Chavs.
Julie commented in an interview for The Daily Telegraph at the time:
"Picking on people worse off than
you are isn't humour. It's pathetic,
it's cowardly and it's bullying."
She went on to say:
"It's all to do with self-loathing. ... The
middle classes can't bear to see people
having more fun, so they attack Chavs
for things like their cheap jewellery.
It's jealousy, because they secretly
know Chavs are better than them.
They're even better looking."
Following her departure from The Guardian, in early 2005 she moved to The Times, who were more willing to meet her demands, doubling her previous salary.
Shortly after starting her weekly column, she referred to George Galloway, but appeared to confuse him with former MP Ron Brown, reporting the misdeeds of Brown as those of Galloway:
"He incited Arabs to fight
British troops in Iraq."
She apologised in her column, although The Times paid damages thought to have been £50,000.
In 2006, The Times dropped her Saturday column, and arranged a more flexible arrangement with Burchill writing for the daily paper.
Later it emerged, during a Guardian interview published in 2008, that eventually she "was given the jolly old heave ho" by The Times, and paid off for the last year of her three-year contract, still receiving the £300,000 she would have earned if she had been obliged to provide copy.
Julie later described her columns for her abbreviated Times contract, which ended abruptly in 2007, thus:
"I was totally taking the piss. I didn't
spend much time on them and they
were such arrant crap."
In February 2006, she announced plans for a year's sabbatical from journalism, planning, among other things, to study theology. In June 2007, she announced that she would not be returning to journalism, but instead would concentrate on writing books and TV scripts and finally undertake a theology degree. However she returned to writing for The Guardian.
Burchill's co-written book with Chas Newkey-Burden, Not in My Name: A Compendium of Modern Hypocrisy, appeared in August 2008, and is dedicated "to Arik and Bibi" (Ariel Sharon and Benjamin Netanyahu).
According to Gerald Jacobs, writing for The Jewish Chronicle in 2008:
"This book does not merely stand
up for Israel, it jumps up and down,
cheers and waves its arms".
The newspaper described her as "Israel's staunchest supporter in the UK media". When asked if Israel has any flaws, she responded:
"Yes. They are much too tolerant of
their freaking neighbours, much too
reasonable".
She declared in 2005, after Ariel Sharon's withdrawal of Israeli settlers from the Gaza Strip, that:
"Israel is the only country I would
f**king die for. He's the enemy of
the Jews. Chucking his own people
off the Gaza; to me that's disgusting".
Besides writing occasional pieces for The Guardian, Julie wrote four articles for the centre-right politics and culture magazine Standpoint between July and October 2008.
-- Julie Burchill in the 2010's
At the end of June 2010 it was announced that Burchill would be writing exclusively for The Independent, contributing a weekly full-page column for the paper.
The connection lasted less than 18 months. Burchill wrote her last column for The Independent at the end of October 2011. Admitting that he had tried to recruit Burchill for The Sun in the 1980's, Roy Greenslade commented:
"My admittedly occasional reading of
her columns in recent years has left me
feeling that she realises her old schtick
is no longer working. She has run out
of steam – and sympathetic newspaper
editors".
Commenting on the Egyptian Revolution of 2011, Burchill wrote in The Independent:
"It would be wonderful to think that what replaces
Mubarak will be better. But here's the thing about
Middle Eastern regimes: they're all vile.
The ones that are 'friendly' are vile, and the ones
that hate us are vile.
Revolutions in the region have a habit of going
horribly wrong, and this may well have something
to do with the fact that Islam and democracy appear
to find it difficult to co-exist for long."
On the 13th. January 2013, Burchill wrote an article for The Observer defending Suzanne Moore after a reference by Moore to transsexuals had been greeted with a great deal of criticism.
In Burchill's view, it showed the "chutzpah" of transsexuals to have their "cock cut off and then plead special privileges as women".
There were a number of objections to her writing from members of the transgender community and non-transgender community alike. The editor of The Observer, John Mulholland, responded on the comments page to what he described as "many emails protesting about this piece" and stated that he would be looking into the issue.
Liberal Democrat MP Lynne Featherstone, formerly a junior Minister for Women and Equalities, called for the dismissal of Burchill and Mulholland in response to the piece. The article was withdrawn from the website the following day and replaced with a message from Mulholland, but reappeared on the Telegraph website.
On 18 January 2013, The Observer's Readers Editor Stephen Pritchard defended the decision to remove the article from the newspaper's website, quoting the editor who took that decision as saying:
"This clearly fell outside what we might consider
reasonable. The piece should not have been
published in that form. I don't want the Observer
to be conducting debates on those terms or with
that language. It was offensive, needlessly. We
made a misjudgment and we apologise for that".
Julie Burchill on Religion and Philo-Semitism
In her 1987 essay collection Damaged Gods: Cults and Heroes Reappraised, Burchill criticised what she called "the anti-Semitism of politicized American blacks" such as Jesse Jackson, who had referred to New York City as "Hymietown."
Burchill wrote:
"Imagine how the blacks would have gnashed
their diamond-studded teeth if a Jewish leader
had publicly referred to Harlem as 'Nigger-town'!".
In 1999, Burchill said she "found God", and had become a Lutheran and later a "self-confessed Christian Zionist".
In June 2007 Julie announced that she would undertake a theology degree, although she subsequently decided to do voluntary work instead as a way to learn more about Christianity.
In June 2009, The Jewish Chronicle reported that Burchill had become a Friend of Brighton and Hove Progressive Synagogue and was again considering a conversion to Judaism.
According to The JC, she had attended Shabbat services for a month, and was studying Hebrew. Julie described herself as an "ex-Christian", pointing out that she had been pondering on her conversion since the age of 25.
Burchill said that:
"At a time of rising and increasingly vicious anti-
Semitism from both left and right, becoming
Jewish especially appeals to me. ... Added to the
fact that I admire Israel so much, it does seem to
make sense – assuming of course that the Jews
will have me".
Julie wrote in November 2012:
"The things I love about the Jews are: their
religion, their language and their ancient
country".
Burchill however clashed with Rabbi Elli Tikvah Sarah of the Brighton and Hove Progressive Synagogue, and the Rabbi's lesbian partner, Jess Woods.
Among the reasons for their differences was Rabbi Sarah's defence of Muslims and her advocacy of the Palestinian cause. In Burchill's words, the rabbi "respects PIG ISLAM".
Rabbi Sarah told The Independent in September 2014:
"The problem is Burchill doesn’t have any
in-depth knowledge.
I can imagine her endlessly watching the film
Exodus with Paul Newman. She’s got a kind
of Hollywood view of Jews. You know, ‘Jews
are so clever, we’ve survived ...'."
In 2014, Burchill's crowdfunded book Unchosen: The Memoirs of a Philo-Semite was published. Tel Aviv-based writer Akin Ajayi in Haaretz thought:
"The reactionary solipsism of Unchosen
is far removed from the affectionate
warmness that a love of the Jewish people
can be".
Burchill's ex-husband, Cosmo Landesman, considered it to be:
"An exhilarating and exasperating mix
of the utterly brilliant and the totally
bonkers".
He observed that:
"There are plenty of Jews Julie doesn't love,
including the millions of Jews around the
world who have ever criticised Israel.
Her love is blind, deaf and dumb to such an
obvious contradiction".
Guardian columnist Hadley Freeman wrote:
"Burchill divides up the chosen people into
Good Jews (hardliners, Israelites) and Bad
Jews (liberal Jews) with the enthusiasm of
an anti-Semite. Hilariously, she sets herself
up as the Jewishness Police, railing against
Jews who are not Jewish enough".
In his review in The Independent, Keith Kahn-Harris described Unchosen as:
"Occasionally touching, sometimes bigoted
and sporadically hilarious, but it often
degenerates into EDL-style abuse that lacks
any redeeming wit."
In The Guardian Will Self wrote:
"I’m afraid I can’t really dignify her latest
offering with the ascription 'book', nor the
contents therein as 'writing' – rather they
are sophomoric, hammy effusions,
wrongheaded, rancorous, and pathetically
self-aggrandising."
-- Julie Burchill's Other Books and Television Programmes
Burchill has written novels and made television documentaries. Her lesbian-themed novel for teenagers Sugar Rush (2004) was adapted into a television drama series produced by Shine Limited for Channel 4. Lenora Crichlow's portrayal of the central character Maria Sweet inspired the 2007 sequel novel Sweet.
Burchill has made television documentaries about the death of her father from asbestosis in 2002 (BBC Four) and Heat magazine broadcast on Sky One in 2006.
-- Welcome to the Woke Trials
Welcome To The Woke Trials: How #Identity Killed Progressive Politics was planned to be issued by Tabatha Stirling of Stirling Publishing in the summer of 2021 after being dropped by its original publisher following Burchill's defamatory tweets to Ash Sarkar.
On the 14th. March 2021, when referencing her new publisher, Burchill announced that, with Stirling:
"I've found someone
who's JUST LIKE ME."
Stirling is alleged to have written a series of articles for Patriotic Alternative as "Miss Britannia", describing her son's school as "a hellhole for sensible, secure White boys" and claimed:
"There is one member of staff who is
openly gay, and I mean RuPaul extra
gay".
On the 16th. March 2021, Burchill announced that she would not publish her book with Stirling Publishing, the same day she issued a public apology for libel and harassment of Sarkar. The book was subsequently published by Academica Press.
-- Responses
Burchill has described her own style as the writing equivalent of screaming and throwing things. For her novel Sugar Rush her publicist described her as "Britain's most famous and controversial journalist".
One of her most consistent themes is the championing of the working class against the middle class, and she has been particularly vocal in defending 'chavs'. According to Will Self:
"Burchill's great talent as a journalist is
to beautifully articulate the inarticulate
sentiments and prejudices of her
readers".
For Michael Bywater:
"Burchill's insights were, and remain,
negligible, on the level of a toddler
having a tantrum".
John Arlidge wrote in The Observer in 2002:
"If Burchill is famous for anything it is
for being Julie Burchill, the brilliant,
unpredictable, outrageously outspoken
writer who has an iconoclastic, usually
offensive, view on everything."
In November 1980, former Sex Pistols front man John Lydon gave an interview to Ann Louise Bardach in which he referred to Burchill and Tony Parsons as:
"Toss-bag journalists, desperately
trying to get in on something."
Lydon was incensed by Burchill and Parsons attributing his talent to his alleged use of amphetamines.
In October 1999, in an article for The Guardian, Julie wrote:
"That young men succeed in suicide more
often than girls isn't really the point. Indeed,
the more callous among us would say that
it was quite nice for young men finally to
find something that they're better at than
girls".
After a previous occasion when Burchill wrote "suicides should be left to get on with it", she "received a small number of letters from people whose sons had killed themselves".
In 2002, her life was the subject of a one-woman West End play, Julie Burchill is Away, by Tim Fountain, with Burchill played by her friend Jackie Clune.
A sequel by Fountain, Julie Burchill: Absolute Cult, followed in 2014, with Lizzie Roper in the central role.
In 2003, Burchill was ranked number 85 in Channel 4's poll of 100 Worst Britons. The poll was inspired by the BBC series 100 Greatest Britons, though it was less serious in nature. The aim was to discover the "100 worst Britons we love to hate".
The poll specified that the nominees had to be British, alive and not currently in prison or pending trial. In 2005, on the 25th. anniversary of the murder of John Lennon, she told The Guardian:
"I don't remember where I was, but I was
really pleased he was dead, as he was a
wife-beater, gay-basher, anti-Semite and
all-round bully-boy."
In the essay "Born Again Cows" published in Damaged Gods (1987), she wrote:
"When the sex war is won, prostitutes
should be shot as collaborators for their
terrible betrayal of all women."
On the 6th. June 2021, and shortly after the announcement of the birth of Lilibet Mountbatten-Windsor, the daughter of the Duke and Duchess of Sussex, Burchill tweeted:
"What a missed opportunity. They could
have called it Georgina Floydina!”
This was a reference to George Floyd. Her comments were widely condemned, with racial equality activist Shola Mos-Shogbamimu stating:
"Lilibet is referred to as 'IT'. The utter
disrespect & dehumanisation of
#HarryandMeghan children because
of their proximity to ‘Blackness’ is Racist."
Actress Kelechi Okafor wrote:
"Likening baby Lilibet to George Floyd
is to hone in on the fact she isn't fully
white...She refers to Lilbet as 'it' even
though it has been announced that the
baby is a girl and she could've addressed
her as such...Disgusting scenes."
On the 8th. June, via her Facebook account, Burchill announced that she had been sacked by The Daily Telegraph as a result of her online comments.
-- Libel
In 2020, Burchill posted a series of defamatory tweets of Ash Sarkar, which included claims that she condones paedophilia and is supportive of Islamist terrorism.
Burchill called on her Facebook followers to "wade in on Twitter" against "the Islamists" and the "nonces". As a result of the comments, her publisher, Little, Brown Book Group, cancelled the scheduled publication of Welcome to the Woke Trials, stating that her comments about Islam were “not defensible from a moral or intellectual standpoint”.
In March 2021, after being sued for libel and harassment, Burchill retracted her comments, issued a full apology and paid substantial damages to Sarkar, including her legal costs.
Burchill stated:
"I should not have sent these tweets,
some of which included racist and
misogynist comments regarding Ms
Sarkar's appearance and her sex life."
She further apologised for "liking" posts calling on Sarkar to kill herself, and promised to refrain from any further harassment of Sarkar.
-- Julie Burchill's Personal Life
Burchill married Tony Parsons (whom she met at NME) in 1979 at the age of 20. She left Parsons three years later, leaving behind a son, which was followed by years of rancour in the media, described in 2002 as "a steady stream of vitriol in both directions."
Julie had claimed to have persevered with the "sexual side" of their marriage "by pretending that my husband was my friend Peter York".
Her relationships, particularly with Parsons, have featured in her work; Parsons later wrote that:
"It's like having a stalker. I don't
understand her fascination with
someone whom she split up with
15 years ago."
Immediately after her relationship with Parsons, Burchill married Cosmo Landesman, with whom she also had a son. She split from Landesman in 1992. The sons from her marriages with Parsons and Landesman lived with their fathers after the separations.
She married for a third time in 2004, to Daniel Raven, around 13 years her junior, and the brother of her former lover Charlotte Raven. She wrote of the joys of having a "toyboy" in her Times column in 2010.
Fellow NME journalist/author Paul Wellings wrote about their friendship in his book I'm A Journalist...Get Me Out of Here:
"She has written about her lesbian relationships,
and declared that "I would never describe myself
as 'heterosexual', 'straight' or anything else.
Especially not 'bisexual' (it sounds like a sort of
communal vehicle missing a mudguard).
I like 'spontaneous' as a sexual description".
In 2009 Julie said that she was only attracted to girls in their 20's, and since she was now nearly 50:
"I really don't want to be an
old perv. So best leave it".
Julie has lived in Brighton and Hove since 1995, and a book on her adopted home town titled Made in Brighton (Virgin Books) was published in April 2007.
Her house in Hove was sold (and demolished for redevelopment as high-density flats) around 2005 for £1.5 million, of which she has given away £300,000, citing Andrew Carnegie:
"A man who dies rich, dies shamed."
Burchill's second son, Jack Landesman, died by suicide in June 2015, aged 29. In an article for The Sunday Times Magazine, Julie wrote of his inability over many years to experience pleasure and the serious mental health issues from which he suffered.
The Beautiful Lottie Locke. The star of a Club shoot organised by David Rann at Fotofilia Studios.
Model Lottie Locke
MUA Devon Martin
Artistic Oversight David Rann
If you want to have fair skin and lighter complexion and don’t know how to get fair skin, then you can adopt various natural remedies for this purpose. You will find a variety of skin care creams in the market, which also claim to make your skin fair. But if you use natural remedies instead of s...
Complexions Contemporary Ballet BRIC Arts | Media | Bklyn www.bricartsmedia.org. Photos by Ryan Muir
requested very fair complexion, full lips
I'm falling in love with way too many dolls lately.... but this one is really *gorgeous*!!!!
John Singleton Copley - American, 1738 - 1815
Watson and the Shark, 1778
West Building, Main Floor — Gallery 60-B
We look onto the side of a rowboat crowded with nine men trying to save a pale, nude young man who flails in the water in front of us as a shark approaches, mouth agape, from our right in this horizontal painting. In the water, the man floats with his chest facing the sky, his right arm overhead and the other stretched out by his side. Extending to our left, his left leg is bent and the right leg is straight, disappearing below the knee. His long blond hair swirls in the water and he arches his back, his wide-open eyes looking toward the shark behind him. To our right, the shark rolls up out of the water with its gaping jaws showing rows of pointed teeth. In the boat, eight of the men have light or tanned complexions, and one man has dark brown skin. The man with brown skin stands at the back center of the boat, and he holds one end of a rope, which falls across the boat and around the upper arm of the man in the water. Another man stands at the stern of the boat, to our right, poised with a long, hooked harpoon over the side of the boat, ready to strike the shark. His long dark hair blows back and he wears a navy-blue jacket with brass buttons, white breeches, blue stockings, and his shoes have silver buckles. Two other men wearing white shirts with blousy sleeves lean over the side of the boat, bracing each other as they reach toward the man in the water. An older, balding man holds the shirt and body of one of this pair and looks on, his mouth open. The other men hold long oars and look into the water with furrowed brows. The tip of a shark’s tail slices through the water to our right of the boat, near the right edge of the canvas. Along the horizon line, which comes three-quarters of the way up the composition, buildings and tall spires line the harbor. The masts of boats at port creates a row of crosses against the light blue sky. Steely gray clouds sweep across the upper left corner of the canvas and the sky lightens to pale, butter yellow at the horizon.
Watson and the Shark's exhibition at the Royal Academy in 1778 generated a sensation, partly because such a grisly subject was an absolute novelty. In 1749, 14–year–old Brook Watson had been attacked by a shark while swimming in Havana Harbor. Copley's pictorial account of the traumatic ordeal shows nine seamen rushing to help the boy, while the bloody water proves he has just lost his right foot. To lend equal believability to the setting Copley, who had never visited the Caribbean, consulted maps and prints of Cuba.
The rescuers' anxious expressions and actions reveal both concern for their thrashing companion and a growing awareness of their own peril. Time stands still as the viewer is forced to ponder Watson's fate. Miraculously, he was saved from almost certain death and went on to become a successful British merchant and politician.
Although Copley underscored the scene's tension and immediacy, the seemingly spontaneous poses actually were based on art historical precedents. The harpooner's pose, for example, recalls Raphael's altarpiece of the Archangel Michael using a spear to drive Satan out of heaven. The oil painting's enormous acclaim ensured Copley's appointment to the prestigious Royal Academy, and he earned a fortune selling engravings of its design.
More information on this painting can be found in the Gallery publication American Paintings of the Eighteenth Century, pages 54-71, which is available as a free PDF at www.nga.gov/content/dam/ngaweb/research/publications/pdfs...
John Singleton Copley was born in Boston in 1738, and grew up there, training in the visual arts under his step-father Peter Pelham (c. 1697-1751), an English engraver who had immigrated in 1727 and married Copley's widowed mother in 1748. Copley's earliest paintings, from the mid-1750s, reveal the influence of English mezzotint portraits as well as the work of local and itinerant artists. He experimented with many media: oil on canvas, miniatures on copper or ivory, pastel, and printmaking. By the late 1750s he was established as a portrait painter.
Copley worked in Boston until 1774 with the exception of a six month painting trip to New York City in 1771. By the mid-1760s he wanted to compare his works with those by contemporaries in England, and in 1765 he sent a portrait of his half-brother Henry Pelham, Boy with a Squirrel, to the annual exhibition of the Society of Artists of Great Britain. Encouraged by Benjamin West and Joshua Reynolds, Copley left Boston for study in Europe. He left for London in 1774 and went almost immediately to Italy, where he spent more than a year, studying and painting. He returned to London in 1775, settling there with his wife and three of his children, who had come from Boston.
1776 marked the beginning of the second half of Copley's career. As his first work at the Royal Academy he exhibited The Copley Family, painted in 1777, followed by Watson and the Shark the next year. The success of these paintings brought him the praise of reviewers and earned him full membership in the academy. His ambition was to paint large history paintings of contemporary events, like those of Benjamin West, and he exhibited independently, charging admission, The Death of the Earl of Chatham (Tate Gallery), The Death of Major Pierson (Tate Gallery), and the Siege of Gibraltar (Guildhall Art Gallery, London). He also continued to paint portraits, many on a much larger scale than his American work. Copley died in London in 1815.
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
..
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
.
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
..
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
.
Complexions Contemporary Ballet BRIC Arts | Media | Bklyn www.bricartsmedia.org. Photos by Ryan Muir
Complexions Contemporary Ballet BRIC Arts | Media | Bklyn www.bricartsmedia.org. Photos by Ryan Muir
www.drguida.com/skin/laser-skin-resurfacing/
Time, gravity and excess sun exposure can cause deepening of facial lines and uneven pigmentation. This gives an older, tired look to an otherwise youthful complexion. Laser skin resurfacing can reduce, and often remove, much of this damage to the skin and literally "turn back the clock". A tired looking, sun damaged face can obtain an entirely new, fresh look with healthy, glowing smooth skin. This is the goal of laser resurfacing.
There are different levels of laser resurfacing available, depending on the patient's condition, the level of "down time" or recovery period a patient can tolerate, and cost.
www.drguida.com/skin/laser-skin-resurfacing/
Time, gravity and excess sun exposure can cause deepening of facial lines and uneven pigmentation. This gives an older, tired look to an otherwise youthful complexion. Laser skin resurfacing can reduce, and often remove, much of this damage to the skin and literally "turn back the clock". A tired looking, sun damaged face can obtain an entirely new, fresh look with healthy, glowing smooth skin. This is the goal of laser resurfacing.
There are different levels of laser resurfacing available, depending on the patient's condition, the level of "down time" or recovery period a patient can tolerate, and cost.
Complexions Contemporary Ballet BRIC Arts | Media | Bklyn www.bricartsmedia.org. Photos by Ryan Muir
This is Katerina; a hip Latin chick. Her hair is dark brown felt with pigtails, and her complexion is cafe on leche (light brown). She has a pretty white flower with embroidered detail on her hair that she picked in her abuela's (grandmother's) garden. Her dress is white with a colorful design and striped accent with decorative stitch. She has a new feature--full skirt ready for dancing merengue, her favorite music. Her face is delicately painted. She has big emerald green eyes. Her dancing shoes, which are removable, are soft light brown felt.
Katerina measures 17 inches and is stuffed with poly-fil.
For pricing and shipping information visit www.etsy.com/listing/73920718/katerina-17-inch-doll-ready...
If you like this doll but would like it a little different or can't find one you like in my shop check out the Custom Doll Order and design your own doll www.etsy.com/listing/66122145/custom-doll-you-pick-hair-f....
Though daily cleansing is good for your complexion, it doesn't completely rid skin of the clogging and dulling dead cells that accumulate over time.. For more, read www.shampooline.com/bliss-micro-magic-3-oz-85-g.html
Complexions Contemporary Ballet BRIC Arts | Media | Bklyn www.bricartsmedia.org. Photos by Ryan Muir
Garza real
Ardea cinereaFamilia: Ardeidos – ArdeidaeAspecto: Garza grande, de complexión robusta, predominantemente de color gris, con un pico recto, fuerte, en forma de daga. Las garzas pueden diferenciarse de las grullas durante el vuelo, y a menudo también cuando están de pie, por la forma en que encorvan su cuello.Tamaño: Largo 84-102 cm, envergadura alar 155-175 cm, peso 930-1.150 g.Nido: Una gran pila desarreglada de ramas, generalmente construido muy alto en un abeto o pino. Las aves pueden usar el mismo nido durante muchos años.Reproducción: Pone 6 huevos en mayo, incubados de forma alternada por los padres, en 4 a 6 períodos, durante 25 a 28 días. Las aves jóvenes aprenden a volar aproximadamente a los 50 días. Muchas garzas reales anidan en colonias.Distribución: Ave migratoria de verano que se reproduce poco en Finlandia (solo hay alrededor de 100 parejas). En los últimos años, los avistamientos de invierno se han vuelto más comunes.Migración: Pasa el invierno en el oeste y sur de Europa. La migración de otoño puede tener lugar entre mediados de agosto y principios de noviembre, y las aves regresan de marzo a mayo.
Alimentación: Acecha inmóvil a lo largo de costas, lista para emboscar, en espera de que peces y animales acuáticos pequeños estén a su alcance.Sonidos: Un chillido fuerte, molesto, similar al llamado de la pagaza piquirroja.
La garza real tiene partes superiores de color gris claro, y partes inferiores de color blanco grisáceo. Su cabeza es mayormente blanca, excepto por una raya negra que se extiende desde encima de sus ojos hasta la parte posterior de su cuello, donde algunas de sus plumas se alargan para formar una cresta. Los adultos con plumaje de apareamiento pueden tener un color rosáceo a los lados del cuello, y algunas filas de rayas oscuras en el cuello y el pecho. La garza real tiene el pico de color amarillo o naranja amarillento, patas de color marrón opaco e iris amarillo.
Las aves inmaduras generalmente se parecen a las adultas, pero su capuchón y su cuello son más grises (y el cuello no tiene color rosáceo). Su pico es más pardusco y el iris es blanco.
Complexions Contemporary Ballet BRIC Arts | Media | Bklyn www.bricartsmedia.org. Photos by Ryan Muir
This photo is licensed under a Creative Commons license. Please credit Rob Larsen with a link to Drunkenfist.com, if you use this photo anywhere. Thanks.
2018_05_11 Complexions Contemporary Ballet with "From Bach to Bowie" at Teatro Regio di Parma.
© Luca Vantusso for LKV Photo Agency
Medium: Pastels
Description: Drawing from observation of a set of coffee makers, using random colors but taking as reference the value tones of the original items.
Size: 14” x 20”
The Batavia Depot Museum has on display miniature art created by two different miniature artists that lived in the Fox River Valley.......Sadly, both artists have past away.......But their artwork remains and is quite impressive......
These miniature rooms were created by Elaine Cannon.....