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I started this bracelet at a workshop with Mary Hettsmanperger. The copper was annealed, punched in little circles, textured, and put through a dapping process. The little beads are glass and freshwater pearls.
Emile COLONNE, baryton français (1885-1970).
ONE OF THE MOST ELEGANT AND RADIANT BARITONES OF HIS GENERATION. FOLLOWING HIS DEBUT IN FRANCE AND AFTER A FEW SEASONS IN NORTH AFRICA AND ACROSS EUROPE, HE WAS RECRUITED BY CORNEIL DE THORAN FOR THE 1923-1924 SEASON AT THE THEATRE ROYAL DE LA MONNAIE, WHERE HE BECAME A PILLAR OF THE THEATRE, SINGING SECONDARY ROLES THEN MOVING ON TO ALL PRINCIPLE CHARACTERS. HE POSSESSED A ROUND, WARM AND POWERFUL, RESOUNDING VOICE, A VERSATILE SINGER, HE WAS CAPABLE OF TACKLING ALMOST ANY REPERTOIRE. MANY LEADING CREATIONS AND A SPLENDID RECORDING LEGACY FOR THIS VERY DAPPER AND EXQUISITE SOLOIST.
Né à Toulon, il chante d'abord dans sa ville natale, puis dans la région, notamment à Marseille, puis à Nice et Cannes. Ses premiers succès lui permettent d'être invité sur les scènes de théâtres de plus en plus importants (il se fait remarquer à Nîmes dans Le Barbier de Séville puis dans Hérodiade, 1920). Il donne également de nombreux récitals et concerts, et l'Opéra Comique le remarque mais lui propose l'Opéra Garnier pour La Flûte enchantée aux côtés de Lotte Schöne. C'est un triomphe.
Puis, dès la saison 1923-1924, il s’établit à Bruxelles, car Corneil de Thoran est désespérément à la recherche d’un premier baryton d’opéra et opéra comique (il l’avait apprécié à la scène à Nîmes et à Bayonne). Il consacre une partie importante de son activité au récital et au concert, tout en assurant quelques rares créations pour la radio. Marié à la pianiste française Marie-Louise Bonduel (1886-1970) qui, après leur rencontre à Marseille, lui fait rencontrer des personnalités influentes du milieu musical français, ses parents tenant salon et fréquentant des compositeurs tels que Xavier Leroux, Claude Debussy, Albert Dupuis, Camille Saint-Saëns et beaucoup d’autres.
Quelques rôles : Papageno (La Flûte enchantée), Don Juan et Masetto (Don Juan), Almaviva (Les Noces de Figaro), Figaro (Le Barbier de Séville), Belcore (L’Elixir d’amour), Ourrias (Mireille), Valentin (Faust), Jean d’Hautecoeur (Le Rêve), le comte des Grieux (Manon), Georges d’Orbel (Violetta/La Traviata), Mercutio (Roméo et Juliette), André Thorel (Thérèse), Crespel (Les Contes d’Hoffmann), Albert (Werther), Peter (Hänsel et Gretel), l’Evêque de Blois (Esclarmonde), le marquis de Saluces (Grisélidis), Boniface (Le Jongleur de Notre-Dame), Guido Colonna (Monna Vanna), Jack (La Fille du Far-West), Marcel (La Bohème), Silvio (Paillasse), Sharpless (Madame Butterfly), Manuel (Giuditta), Schubert (Chanson d’amour). Autres opéras à son répertoire, créés au Théâtre Royal de la Monnaie : Céphale et Procris, La Chauve-souris, Deborah et Jaele, Le Départ, L’Anneau nuptial, L’Appel de la mer, Ariane à Naxos, La Dame de pique, Henry VIII, Le Favori ou les derniers jours du Seigneur Fabiano, La Fiancée vendue, La Foire de Sorotchintzi, Katharina, La Passion, L’Heure espagnole, Le Marchand de Venise, Rossini à Naples, La Route d’émeraude, Boris Goudounov, Rossini à Naples, Saint François d’Assises, Le Roi malgré lui, Un Songe de nuit d’été, Antigone et Le Joueur, etc.
Il chante également sur les principales scènes de Belgique. Tout au long de son association avec la Monnaie, il signe plusieurs créations et côtoie les meilleurs solistes invités et les artistes de la troupe.
Apprécié de tous, étrangement, le soprano Clara Clairbert lui vouera une "haine" ou plutôt, une antipathie marquée .... Emile Colonne, d'un raffinement sans égal et issu d'un milieu socioculturel résolument différent de celui de Madame Impens ... n'aura, hormis la collaboration artistique, aucun point commun avec le soprano. Les brèves de comptoir, les railleries de coulisses et les beuveries du bar A la Vocalise (tenu par Madame Impens) resteront étrangères au baryton ...
C'est pourtant dans la mort qu'ils se retrouveront, leurs tombes étant extrêmement proches .... au cimetière de Bruxelles ...
Il laisse un précieux et magnifique, mais trop rare legs discographique où l'on peut apprécier sa voix sonore, ronde et chaleureuse.
Répertoire : opéra comique, opéra et occasionnellement, opérette.
Carrière : France, Suisse, Algérie, Maroc, Tunisie et Belgique.
Figure d'ancêtre Kota, gardien de reliquaire dans l'espace consacré à l'est de l'Afrique équatoriale atlantique de l'exposition Forêts natales au musée du quai Branly, Paris
Kota, Mahongwé
République gabonaise
XIXè-début XXè siècle
Bois, cuivre, laiton; pigments
Musée Dapper, Paris
L'exposition "Forêts natales" au musée du quai Branly - Jacques Chirac propose un panorama encyclopédique de l'art de l'Afrique équatoriale atlantique qui s'exprime à travers deux grands types d'objets :
- des statues en rapport avec le culte des ancêtres
- des masques rituels
La muséographie distingue quatre secteurs géographiques : le nord, le sud, le centre (photo ci-dessus), l'est. Elle permet d’approfondir les styles de chaque ethnie et d’en étudier les influences réciproques.
L'exposition Forêts natales, arts d'Afrique équatoriale atlantique, au musée du quai Branly - Jacques Chirac à Paris
www.quaibranly.fr/fr/expositions-evenements/au-musee/expo...
Autres gardiens de reliquaire Kota (photos dalbera)
www.flickr.com/photos/dalbera/8228528129/in/album-7215761...
www.flickr.com/photos/dalbera/4757743035/in/album-7215762...
Oct 28, 2015 - DAPPS volleyball and senior night. Photo by: Doug Curran for Barksdale School Portraits
Because Miss Potter was on TV the other night. :)
All of our children have liked the classic Beatrix Potter books, especially as toddlers. Not just the stories* and illustrations but their perfect little hardback size for holding, stacking, and carrying, like little treasures, and always with their paper covers taken off, discarded.
*Peter Rabbit, Tom Kitten, Appley Dapply's Nursery Rhymes, and Jemima Puddle Duck the most favourite. xo
Oct 28, 2015 - DAPPS volleyball and senior night. Photo by: Doug Curran for Barksdale School Portraits
Center piece is a circle of sterling that was hammered, textured and dapped, surrounded by a bezel of jump rings and twisted copper wire.
Another experiment in metal forming. . . hand cut, dapped, copper bell earrings. The little stamens are kinetic - they move gently. I'd love to make these in sterling silver, but copper is more affordable at this point and is a good material to practice on. The torch is next on my list of studio adventures. - Rune Stone Design.
Emile COLONNE, baryton français (1885-1970).
ONE OF THE MOST ELEGANT AND RADIANT BARITONES OF HIS GENERATION. FOLLOWING HIS DEBUT IN FRANCE AND AFTER A FEW SEASONS IN NORTH AFRICA AND ACROSS EUROPE, HE WAS RECRUITED BY CORNEIL DE THORAN FOR THE 1923-1924 SEASON AT THE THEATRE ROYAL DE LA MONNAIE, WHERE HE BECAME A PILLAR OF THE THEATRE, SINGING SECONDARY ROLES THEN MOVING ON TO ALL PRINCIPLE CHARACTERS. HE POSSESSED A ROUND, WARM AND POWERFUL, RESOUNDING VOICE, A VERSATILE SINGER, HE WAS CAPABLE OF TACKLING ALMOST ANY REPERTOIRE. MANY LEADING CREATIONS AND A SPLENDID RECORDING LEGACY FOR THIS VERY DAPPER AND EXQUISITE SOLOIST.
Né à Toulon, il chante d'abord dans sa ville natale, puis dans la région, notamment à Marseille, puis à Nice et Cannes. Ses premiers succès lui permettent d'être invité sur les scènes de théâtres de plus en plus importants (il se fait remarquer à Nîmes dans Le Barbier de Séville puis dans Hérodiade, 1920). Il donne également de nombreux récitals et concerts, et l'Opéra Comique le remarque mais lui propose l'Opéra Garnier pour La Flûte enchantée aux côtés de Lotte Schöne. C'est un triomphe.
Puis, dès la saison 1923-1924, il s’établit à Bruxelles, car Corneil de Thoran est désespérément à la recherche d’un premier baryton d’opéra et opéra comique (il l’avait apprécié à la scène à Nîmes et à Bayonne). Il consacre une partie importante de son activité au récital et au concert, tout en assurant quelques rares créations pour la radio. Marié à la pianiste française Marie-Louise Bonduel (1886-1970) qui, après leur rencontre à Marseille, lui fait rencontrer des personnalités influentes du milieu musical français, ses parents tenant salon et fréquentant des compositeurs tels que Xavier Leroux, Claude Debussy, Albert Dupuis, Camille Saint-Saëns et beaucoup d’autres.
Quelques rôles : Papageno (La Flûte enchantée), Don Juan et Masetto (Don Juan), Almaviva (Les Noces de Figaro), Figaro (Le Barbier de Séville), Belcore (L’Elixir d’amour), Ourrias (Mireille), Valentin (Faust), Jean d’Hautecoeur (Le Rêve), le comte des Grieux (Manon), Georges d’Orbel (Violetta/La Traviata), Mercutio (Roméo et Juliette), André Thorel (Thérèse), Crespel (Les Contes d’Hoffmann), Albert (Werther), Peter (Hänsel et Gretel), l’Evêque de Blois (Esclarmonde), le marquis de Saluces (Grisélidis), Boniface (Le Jongleur de Notre-Dame), Guido Colonna (Monna Vanna), Jack (La Fille du Far-West), Marcel (La Bohème), Silvio (Paillasse), Sharpless (Madame Butterfly), Manuel (Giuditta), Schubert (Chanson d’amour). Autres opéras à son répertoire, créés au Théâtre Royal de la Monnaie : Céphale et Procris, La Chauve-souris, Deborah et Jaele, Le Départ, L’Anneau nuptial, L’Appel de la mer, Ariane à Naxos, La Dame de pique, Henry VIII, Le Favori ou les derniers jours du Seigneur Fabiano, La Fiancée vendue, La Foire de Sorotchintzi, Katharina, La Passion, L’Heure espagnole, Le Marchand de Venise, Rossini à Naples, La Route d’émeraude, Boris Goudounov, Rossini à Naples, Saint François d’Assises, Le Roi malgré lui, Un Songe de nuit d’été, Antigone et Le Joueur, etc.
Il chante également sur les principales scènes de Belgique. Tout au long de son association avec la Monnaie, il signe plusieurs créations et côtoie les meilleurs solistes invités et les artistes de la troupe.
Apprécié de tous, étrangement, le soprano Clara Clairbert lui vouera une "haine" ou plutôt, une antipathie marquée .... Emile Colonne, d'un raffinement sans égal et issu d'un milieu socioculturel résolument différent de celui de Madame Impens ... n'aura, hormis la collaboration artistique, aucun point commun avec le soprano. Les brèves de comptoir, les railleries de coulisses et les beuveries du bar A la Vocalise (tenu par Madame Impens) resteront étrangères au baryton ...
C'est pourtant dans la mort qu'ils se retrouveront, leurs tombes étant extrêmement proches .... au cimetière de Bruxelles ...
Il laisse un précieux et magnifique, mais trop rare legs discographique où l'on peut apprécier sa voix sonore, ronde et chaleureuse.
Répertoire : opéra comique, opéra et occasionnellement, opérette.
Carrière : France, Suisse, Algérie, Maroc, Tunisie et Belgique.
Monday 6th August 1979, and the start of a nice cushy week on my favourite duty, the "Thornbury locals". You worked your way out from Bristol on a trip mainly laid on for Marlwood School, Alveston, then spent the morning dapping about on a network of delightful little routes linking Thornbury to the surrounding villages. I think that day's itinerary was two trips from Thornbury to Tytherington and two to Berkeley via Hill. Thursday was the same. Tuesday was Thornbury-Sharpness, via Lower Stone, then Sharpness to Dursley. The latter service had a 4XX Stroud-area number. Back the same way. Wednesday was two trips down to Sheperdine and back. Friday took you over to Yate, via Tytherington and Iron Acton. There were various ten-minute flea-hops up to Tytherington and back thrown in here and there to profitably ...or, rather, loss-makingly... occupy the driver's time. You then worked back to Bristol on the 310, via Olveston, Tockington, Lower Almondsbury and Little Stoke. It was "union agreement" that, since the driver spent the whole duty away from his home depot and its canteen facilities, a certain amount of non-driving time must be incorporated into his day. This enabled you to pop into a branch of Witts's, buy a nice pasty and one or two other dainties and roar off to some secluded lay-by to spread out on the back seat with the Telegraph and a Henri Winterman half corona. It was money for jam.
I didn't do too bad for buses that week. The day after this I had to sway and float around the lanes, to the dispiriting groan of its transmission, in a bloody 10.3-metre Leyland National. Wednesday was a (not quite so bad) B-series National. Otherwise it was these agreeable short REs. Here, with my essentials ...duty card, waybill and newspaper... grouped around the dash, and nobody aboard, I'd stopped to jump out for a quick shot. Not much danger of causing an obstruction. The little hamlet of Hill is in the distance. With the Bristol-Gloucester limited stop service there were three bus routes between Thornbury and Berkeley. It seems incredible now and, of course, it was all gone within a year or two.
The gorgeous Dapper Museum is forever closed.
Lo stupendo museo Dapper è chiuso per sempre.
El estupendo museo Dapper está cerrado para siempre.
Das wunderbar Dapper Museum ist für immer geschlossen.
“She was a gordian shape of dazzling hue,
Vermilion-spotted, golden, green, and blue;
Striped like a zebra, freckled like a pard,
Eyed like a peacock, and all crimson barr'd;
And full of silver moons, that, as she breathed,
Dissolv'd, or brighter shone, or interwreathed
Their lustres with the gloomier tapestries -
So rainbow-sided, touch'd with miseries,
She seem'd, at once, some penanced lady elf,
Some demon's mistress, or the demon's self ...”
~ Lamia – John Keats ~
This mixed media assemblage necklace with movable parts was nothing less than absolute fun to conceive and construct. It began with the eyelid; made of repurpose copper, it was hammered into shape without the use of any dapping tools, just an old driftwood with plenty of curved crevices and a ball hammer. The eyelash are synthetic lashes, and peacock feathers.
The eyelid then needed a socket. That came in the shape of a heart made of epoxy clay, sculpted, painted and sealed, and then embellished Steampunk style. The 'armor' for the heart is also made with repurpose copper, plus some screws. A tonne of copper wires and 2 pieces of old spikes becomes the Goth-style bail. A quartz crystal hangs off the spikes to complete the look.
The eyelid stays closed in its normal position. The eyelid opens when the chain drop below the heart is tugged gently. If you want the eye to stay open, a small weight can be attached to the chain, in which case, the lid will stay perpetually opened.
(Tell me if you need a weight attached to the chain.)
* this piece wears about 18 inches round the neck. A longer chain can be attached upon request.
* the pendant hangs about 7.5 inches from bail to chain.
* this piece is relatively heavy.
* to see a demo of how the lid works, go to :
find this and other items at alteredalchemy.etsy.com
It was a freezing windy morning when I stepped out onto the summit of the Butte. Neither 4 layers of clothing nor beanies and gloves could keep the cold wind from sucking the warmth out of my body and scaring me back to the safety of the car. It was the light, however, that made me forget all my bodily senses for a few precious hours.
The crepuscular rays of golden sunlight were dancing their way around the horizon, lending beams of light to dark landscape in front of me. And where they hit the ground, it was as though somebody shouted Let there be light....
And what was once, a few chilly minutes prior, a dim and dull landscape transformed into a vibrant palette, filled with hues of greens and yellows and oranges. And then, just as quickly it appeared, it disappeared, leaving behind nothing but a vestige of its former glory, a glory I had attempted to capture on my camera in the rather short time the light revealed the vista's full beauty.
What had drawn me to Palouse originally was exactly seeing the very same kind of images of acclaimed photographers Chip Phillips and Kevin McNeal of surreal landscapes: rolling green hills, subtle and soft lighting and precisely placed barns.
And ever since then, I had envisioned getting images of the pastoral nature: lush green farmland set aglow by dapplied transient lighting, strategically placed barns and silos to draw the viewer's eye and swathes of green, yellow and orange to add color to a surreal landscape. And now, to see the very same kind of blissful scenery with my own eyes was like being on cloud nine.
Words cannot express the awe I had for such a landscape. So I will leave you with this image, which was shot with a tele lens at ISO 800, 1/250s at F11
Steptoe Butte
WA USA
circa 2003
The Propeller Pin is another piece I made while exploring the chatoyant properties of the mica particles in polymer clay, shifting their alignment, and then revealing the resulting textureless textures with my Peeler. Mixing peeled patterns with wavy blade 'waves' and smoothly aligned sheets, I cut fourteen wedges to assemble a circle, then dropped in a bullseye for the centre. All the pieces were burnished together while flat, to seal the seems connecting the pieces and give the composite veneer a unified smooth surface. The pin's compound curve was created by forming the flat circle through a sequence of dapping bowls that I had made with polymer clay. I started by giving the circle a gentle slump in the largest bowl, then gradually increased the curve of the clay by decreasing the dapping bowl diameter, just the same as you would with sheet metal and a traditional jeweller's dapping block. The pin is about 3 1/2" in diameter.
This ring was created by soldering two circular sheets of silver shot, then forging the discs using a dapping block and tools, to create two half spheres, which are then soldered together. Silver wire and shot, fine silver. Photo by Adrian Ordenana, San Francisco.
-Heather Greene, 2004
Playing with shapes. This was going to be a regular old bead, but then I decided to make a vessel and then I had to make a lid, and then I thought it might be a nice perfume bottle. That's not a hole in the wire of the stem. I dapped that little sucker!
This is what comes of working when one is supposed to be teaching others. This is why I don't work in classes. But it was a small class. I'm sure they didn't mind. ?
Week 16 / 52
I decided to take a portrait of a stranger this week so I headed over to the Students' Union at lunchtime to try to find a photogenic student. It was a struggle because it is still the Easter Holiday for the undergrads so there weren't many students around. But then I spotted a very dapper student walking towards me. I asked him if I could take his photo and he said yes.
He offered to take his hat off but I insisted that he kept it on.