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Portrait of Comte Oscar de Ranchicourt Leaving for the Hunt
Théodore Chassériau
Santa Bárbara de Samaná, Dominican Republic, 1819 – Paris 1856
1854
Oil on canvas
116.2 x 89.5 cm
Purchase, the Museum Campaign 1988-1993 Fund and the Montreal Museum of Fine Arts' Volunteer Association Fund
Inventory 2015.228
Chassériau was in full possession of his artistic powers in 1854. These two hunting portraits, which brilliantly illustrate his originality and creativity, call to mind his admiration of Dutch and Flemish painters. Entirely in keeping with the fashion of the era, they indicate the revival of interest in hunting with hounds during the Second Empire, a time when eclecticism prevailed in every aesthetic domain.
While the dogs and horses are English breeds, the whipper-in holding back the impatient hounds is depicted in Louis XV-period dress, his French-style green coat and cocked hat showing a nostalgia for the Ancien Régime. The count stands near a gate, holding his hunting horn and riding crop. For her part, the countess, an elegant, smiling equestrienne, crop in hand and groom beside her, is about to mount her horse. Her shapely silhouette extends the curve of the stairway banister, counterbalancing the virile contrapposto stance of her husband, hand on belt, wears a serious expression.
The Burial at Sea of a Marine Officer Serving under Louis XVI
Eugène Isabey
Paris 1803 – Montévrain, France, 1886
1836
Oil on canvas
243.5 x 166 cm
Purchase, Adrienne D'Amours Pineau and René Pineau Memorial Fund, the Museum Campaign 1988-1993 Fund, the Montreal Museum of Fine Arts' Volunteer Association Fund and the Leacross Foundation Fund
Inventory 2013.70
Isabey dreamed of becoming a sailor. Refusing to relinquish his passion, he became a marine specialist. Inspired by English painters, notably Constable and Turner, this romantic artist painted the ocean in all its moods. A perfectionist, he attended to every detail and enthusiastically embraced the innovations in naval construction. “Isabey is the only painter capable of building a boat,” said Jongking, one of his students.
Exhibited in the Salon of 1836, The Burial at Sea of a Marine Officer Serving under Louis XVI elicited surprise. The subject is impressive: the stormy sky, the rough sea, the sails flapping in the wind and the body, enveloped in a white shroud, thrown into the sea at the sound of the canon, marking the absolution of a marine officer whose identity remains unknown. This painting recalls the sad metaphor of the human condition—the indentured sailor recruited from childhood—provided by Victor Hugo: “He alone battles as waves grow steep / He sails into the deep and into the night / Hard work! all is black, all is cold, without light.” Alfred de Musset spoke of the work as a tour de force: “In my opinion, this canvas merits fulsome praise. The execution is magnificent, and the composition so forceful that it stuns at first sight. I have heard the artist reproached for having shown but a part of the vessel. Nothing could be more undeserved, as it is precisely this rough portrayal that lends the scene its power.”
Portrait of Comtesse de Ranchicourt Leaving for the Hunt
Théodore Chassériau
Santa Bárbara de Samaná, Dominican Republic, 1819 – Paris 1856
1854
Oil on canvas
116.2 x 89.5 cm
Purchase, the Museum Campaign 1988-1993 Fund and the Montreal Museum of Fine Arts' Volunteer Association Fund, inv. 2015.229
Cinderella
Edward John Poynter
Paris 1836 – London 1919
About 1870
Oil on canvas
40.6 x 33.7 cm
William John and Agnes Learmont Bequest
Inventory 1909.588
This exquisite painting, while less ambitious in scale and in composition than those depicting Greco-Roman life on which Poynter established his reputation, demonstrates the qualities for which Poynter’s work was valued, such as an adept depiction of surfaces and the contrasts between them, exemplified in the marble column, the girl’s face, and the copper pot hanging from her wrist.
The subject of Cinderella was a popular one among the artist’s contemporaries, including a well-known version by his brother-in-law, Burne-Jones. Despite his obvious talents, Poynter’s reputation early in his career, when he was counted among the more talented and progressive artists of his generation, has been overshadowed by his long-standing service as the president of the Royal Academy (from 1898 until 1918), and his disdain for the modern painting techniques of the Impressionists. Poynter was also notably the last artist to be the director of the National Gallery in London, a position he occupied from 1894 to 1904.
Brittany Coast Scene (Saint-Malo)
Eugène Isabey
Paris 1803 – Montévrain, France, 1886
1860
Oil on canvas
46.3 x 66 cm
Gift of David A. Wanklyn
Inventory 1936.657
With the restoration of the monarchy, the Romantic generation harked back to a bygone past, a nostalgia that focused for some on the Ancien Régime, for others on the Napoleonic saga. The marine painting became the object of renewed interest, France relaunched its merchant navy. The Anglomania that gripped French artistic circles did not fail to impress Isabey. He visited England on several occasions, notably in 1820 with his friend Géricault when the latter crossed the Channel to exhibit the most scandalous seascape of the times, his Raft of the Medusa. In England, Isabey studied the heavy swells and calm beaches depicted by the likes of Turner or Constable exhibited at the Royal Academy in London.
Typical of the artist’s later style, this painting depicts a storm off Saint-Malo, whose picturesque architecture Isabey attentively studied. Famous for its fortified ramparts, this port in Brittany was also known for its heavy tides—among the most impressive in Europe—whose devastating power was thwarted by breakwaters characteristically made of spiky rows of tree trunks, seen here. The Romantic sentiment of humanity’s miniscule status when drawing boats ashore to save them from titanic nature’s colossal power is rendered by slashing brushwork and intense impasto that blends dark sky, granite buildings and anthracite sea.
The Valley of Slaughter, Skye
John MacWhirter
Slateford, Scotland, 1839 – London 1911
1876
Oil on canvas
88.3 x 134.6 cm
Gift of Lord Strathcona and family
Inventroy 1927.319
In this painting, MacWhirter illustrates the magnificent force of nature in his native Scotland, where he was primarily known as a watercolourist. The scene depicted here is on the Isle of Skye, in the Hebrides, known for its mountain scenery and its history, associated with the Norse invasion and settlement. In 1896, MacWhirter provided illustrations for an article in Magazine of Art describing the beauty of Skye’s landscape, where the “play of light and shade at morning and at evening upon these marvelous crags and peaks” is often seen “under driving mist and storm cloud,” giving them “a most impressive appearance.” MacWhirter's paintings exemplify what the celebrated English critic Ruskin described as "the contemplative order" of landscape. MacWhirter instructed his students to "study Turner for light and atmosphere, Millais for everything."
Lion with Snake, No. 2 or Lion of the Tuileries (reduction)
Antoine Louis Barye
Paris 1795 – Paris 1875
After 1857-1858
Bronze
18 x 20.5 x 10 cm
Cast Brame, Paris
Gift of Nancy Mathias in memory of her husband David Mathias
Inventory 2002.241
Nandi (Sanskrit: नन्दी, Tamil: நந்தி, Telugu: న౦ది) is the name for the bull which serves as the mount (Sanskrit: Vahana) of the god Shiva and as the gatekeeper of Shiva and Parvati. In Hindu Religion, he is the chief guru of eighteen masters (18 siddhas) including Patanjali and Thirumular. Temples venerating Shiva display stone images of a seated Nandi, generally facing the main shrine. There are also a number of temples dedicated solely to Nandi.
The application of the name Nandi to the bull (Sanskrit: vṛṣabha) is in fact a development of recent centuries, as Gouriswar Bhattacharya has documented in an illustrated article entitled "Nandin and Vṛṣabha". The name Nandi was earlier widely used instead for an anthropomorphic deity who was one of Shiva’s two door-keepers, the other being Mahākāla. The doorways of pre-tenth-century North Indian temples are frequently flanked by images of Mahākāla and Nandi, and it is in this role of Shiva’s watchman that Nandi figures in Kālidāsa’s poem the Kumārasambhava.
ETYMOLOGY
The word “Nandi” is believed to be derived from the ancient word “Pandi” meaning bull or its has origins in the Sanskrit language where it means 'of Shiva', 'attendant of Shiva', or happy.
BIRTH OF NANDI
There was a Sage named Shilada who underwent severe penance to have a boon - A child with immortality. Lord Indra pleased of the austerities of Shilada appeared in front of him to offer a boon. After hearing the request of Shilada and his desire to have an immortal child, Lord Indra suggested him to pray to Lord Shiva who could provide the boon; nobody else could provide such a boon. Sage Shilada continued his penance for thousand years. He was totally immovable for many years, so the termites settled on his body and slowly started to build up their nest. Finally, his whole body was covered up by them. The insects started to eat his flesh and imbibed his blood. At last, only bones remained. Lord Shiva appeared in front of him and provided the boon for an immortal child. Moreover, Lord Shiva provided Sage Shilada his old form with a single touch. Sage Shilada performed Yagna and a child appeared from the sacrificial fire. His body was clad in armour made out of diamonds. The celestial dancers and singers performed on this auspicious occasion and the deities showered flowers on the child. The boy was named ’Nandi’ - who brings joy. Shilada brought the child home, immediately the boy lost his divine appearance to an ordinary child. The child completely forgot all about his birth. Sage Shilada was worried about the sudden change. He devoted his time for the bringing up the child, his education etc. By the age of seven the boy was well versed in Veda and all sacred texts. One day the two deities - Mitra and Varuna visited Sage Shilada. At the first sight of the boy, they commented: Though the boy had all auspicious signs, he would have a very short life. The boy would not live after the age of eight. Sage Shilada was mortified at this remark. Nandi could not bear his father's sorrow, he began to pray to Lord Shiva. Lord Shiva appeared before him and blessed him. Lord Shiva adorned the boy with a necklace around his neck which he was wearing, and made him immortal. Lord Shiva blessed the child and declared that he would be worshiped along with Him and become his vahana(vehicle). Immediately the boy got all the divine powers and transformed into half bull-half human. Then he and Shilada went to Lord Shiva 's abode to live.
IN HINDUISM
Bulls appear on the Indus Valley seals, including the 'Pasupati Seal', which depicts a seated figure, and according to some scholars is similar to Shiva. However, most scholars agree that the horned bull on the Indus Valley seals is not identical to Nandi.
The various descriptions on Nandi in the Hindu Religion texts include:
Some Puranas describe Nandi or Nandikeshvara as bull faced with a human body that resembles that of Shiva- in proportion and aspect, although with four hands, two hands holding the Parasu (the axe) and Mruga (the antelope) and the other two hands joined together in the Anjali(obeisance). Brahma Vaivarta Purana mentions Krishna himself to have taken the form of a bull as no one else in the Universe can bear Shiva.
Vehicle of Shiva: The bull Nandi is Shiva's primary vehicle and is the principal gana (follower) of Shiva.
Gate keeper of Shiva's abode: The close association of Shiva and Nandi explains the presence of a statue of Nandi at the gate of many temples dedicated to Shiva. It also explains why the word "nandi" in the Kannada, Telugu and Tamil languages is used as a metaphor for a person blocking the way. In Sanskrit, a bull is called "vrisha", which has another connotation - that of righteousness or Dharma. It is important to seek the blessings of Nandi before proceeding to worship Lord Shiva.
Chief in Shiva's army: Some Puranas mention that Nandi lead the Shiva Ganas, Shiva's attendants.
A Guru of Saivism: In addition to being his mount, Nandi is Shiva's foremost disciple. In the Natha/Siddhar tradition, Nandi is one of the primal gurus. He was the guru to Siddhar Thirumulanathar, Patanjalinathar and others.
From the yogic perspective, Nandi/Nandhi/ Nandikeshvara is the mind dedicated to Lord Siva, the Absolute. In other words, to understand and absorb Light, the 'experience and the wisdom' is Nandi which is the Guru within.
Spiritually, Nandi represents an individual jiva (soul) and the message that the jiva should always be focussed on the Atman (Paramatman).
LEGENDS
According to some puranas, Nandi was born to sage Shilada who got him by the grace of Shiva.
It was Nandi who cursed Ravana (the demon King of Lanka) that his kingdom would be burnt by a monkey (Vanara). And later Hanuman burnt Lanka when he went in search of Sita, who was kept prisoner by Ravana in Ashok Vatika. In one puranic story, it is stated that once Siva and Parvathi were playing a game of dice. For any game there has to be an umpire, who has to declare who is the winner. Siva and Parvathi agreed to have Nandi (the divine bull) as the umpire. Nandi is a favorite of Siva, as he is Siva's vehicle. Although Siva lost the game, Nandi declared him the winner. It is stated that Parvathi was indignant over Nandi's partiality for Siva and cursed him that he should die from an incurable disease. Thereupon Nandi fell at the feet of Parvathi and pleaded for forgiveness. "Mother forgive me. Should I not show at least this amount of gratitude to one who is my master? Is it not humiliating for me to declare that my master has lost the game? To uphold his honor I no doubt uttered a lie. But am I to be punished with such severity for so small an offence?" Nandi prayed for forgiveness in this manner. Parvathi forgave Nandi and taught him the means to atone for his lapse. She told him. "The Chaturdasi day in the month of Bhadrapada is the day when my son's birthday is celebrated. On that day you have to offer to my son what pleases you most (green grass)". This means that one atones for one's sins when one offers to the Lord what is most pleasing and enjoyable to him. For Nandi the most enjoyable and relishing food is green grass. As directed by Parvathi Nandi worshipped Ganapathi by offering green grass. Nandi was then relieved of his dreaded disease. His health improved and by the grace of Parvathi he was redeemed.
When the positive forces, the devas, and the negative forces, the asuras, joined together on a rare occasion to churn the ocean with a mountain to obtain the nectar of immortality they utilized Vasuki, the serpent, as the rope. The devas pulled from one end and the asuras from the other. Lots of precious herbs and gems were produced during the Churning and one of them was a poison (halāhala) which became human karma. This "poison" was so dangerous that none of the devas or asuras wanted to go near it. It was extremely sticky and coming into contact with this poison, i.e., human karma, would drag the divinity down to the realms of human suffering and ego. As everyone else ran away, Lord Siva, followed by Nandi, came forward to help as he was the only one who could counteract this deadly poison. Siva took the poison into his hand and drank it, the descent of the poison was in turn stopped at His throat, by His divine consort. Siva is therefore also known as Nīlakaṇṭha (the blue-throated one) and Viṣakaṇṭha (the poison-throated one). Nandi saw some of the poison spill out of Siva's mouth and immediately drank if off the ground. The devas and asuras watching were shocked and wondered aloud what would happen to Nandi. Lord Siva calmed their fears saying, "Nandi has surrendered into me so completely that he has all my powers and my protection".
LARGEST NANDIS IN INDIA
1. Lepakshi, Andhra Pradesh
2. Brahadishwara Temple, Tamil Nadu
3. Chamundi Hills, Mysore, Karnataka
4. Bull Temple, Bangalore, Karnataka
5. Rameswaram, Tamil Nadu
6. Hoysaleswara Temple, Halebidu, Karnataka
7. Shanthaleswara Temple, Halebidu, Karnataka
8. Vadakkunnathan Temple, Thrissur, Kerala
9. Virupaksha Temple, Hampi, Karnataka
10. Nandi Temple, Western Group of Temples, Khajuraho, Madhya Pradesh
11. Kedareshvara Temple at Balligavi (Karnataka)
12. Doddabasaveshvara temple, Kurugodu Bellary dist
WIKIPEDIA
Archbishop Malcolm McMahon OP celebrates Mass for the Ordination of Deacons James Stephen Byrne and Joseph Thomas Morgan, the 40th Anniversary of the Order of Deacons in Liverpool and the retirement of Monsignor Austin Hunt at the Metropolitan Cathedral of Christ the King, Liverpool. Picture: www.nickfairhurstphotographer.com
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Nikon D810 with the Nikon MB-D12 Multi Battery Power Pack / Grip for D800 and D810 Digital Cameras allows one to shoot at a high to catch the action FPS! Ballerina Dance Goddess Photos! Pretty, Tall Ballet Swimsuit Bikini Model Ballerina Goddess! Captured with the 50mm F1.4 Art Lens and the Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens! Ballerina dancer dancing ballet in pointe shoes! Jete! Arabesque!
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Ballerina dancing ballet! Pretty ballerina girl with dark brown hair and black eyes!
A pretty goddess straight out of Homer's Iliad & Odyssey!
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She was a beauty--a gold 45 goddess for sure! A Gold 45 Goddess exalts the archetypal form of Athena--the Greek Goddess of wisdom, warfare, strategy, heroic endeavour, handicrafts and reason. A Gold 45 Goddess guards the beauty of dx4/dt=ic and embodies 45SURF's motto "Virtus, Honoris, et Actio Pro Veritas, Amor, et Bellus, (Strength, Honor, and Action for Truth, Love, and Beauty," and she stands ready to inspire and guide you along your epic, heroic odyssey into art and mythology. It is Athena who descends to call Telemachus to Adventure in the first book of Homer's Odyssey--to man up, find news of his true father Odysseus, and rid his home of the false suitors, and too, it is Athena who descends in the first book of Homer's Iliad, to calm the Rage of Achilles who is about to draw his sword so as to slay his commander who just seized Achilles' prize, thusly robbing Achilles of his Honor--the higher prize Achilles fought for. And now Athena descends once again, assuming the form of a Gold 45 Goddess, to inspire you along your epic journey of heroic endeavour.
ALL THE BEST on your Epic Hero's Odyssey from Johnny Ranger McCoy!
Been busy traveling and shooting landscapes and working on my books The Golden Hero's Odyssey about the golden rectangle and divine proportion I use in a lot of my compositions! Also working on my physics book on Dynamic Dimensions Theory! The equation d4/dt=ic is on a lot of the 45surf swimsuit and shirts and all! :)
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Check out photos from the Thursday, October 17 2013 Enbridge CN Tower Climb for United Way Corporate Challenge 1, Invitational Climb and Presidential Challenge. For more about the event, visit unitedwaytoronto.com/climbforunitedway
The giant Toyota Corporation entered Formula 1 determined that its resources would deliver it victories.
Alas, all the money in the world (in Formula 1 terms) does not guarantee success. After a number of years of limited results Toyota finally withrew, beaten.
Toyota's Japanese arch nemesis Honda suffered a similar fate withdrawing at the end of 2008. Only in Honda's case, the team changed engine and team name to Mercedes, and promptly one thw World Championship.
Shown here is the 2004 model Formula 1 Racer, the TF104.
This lego model hase been created for Flickr LUGNuts 35th build challenge - 'Big in Japan' - as a celebration of cars, bikes and trucks produced by the Japanese automakers.
For Only US$23,000.00
Lambos Gallardo Spyder and Gallardo Superleggera Replica Kit built on a donor MR2 Toyota on either the 2000 to 2004 models.
Design scetches for ceiling strip lighting of the Antwerp Jesuit church Peter and Paul
1 the Saint Caecilie
2 the Ascension
3 the Saint Jerome
4 the Annunciation
5 Esther in front of Ahasver
6 Adoration of the shepherds
On the history of women's studies at the Academy of Fine Arts Vienna
1897
Conservative journalist A.F. Seligmann founded the art school for women and girls and taught there as a single teacher 16 students in the "Curs for head and act". 1898 expands the school: Tina Blau, a former teacher of the Munich artists association conducts 1.1.1898 a "Curs for landscape and still-life", which she held until 1915. Richard Kauffungen was nominated for sculpture, Ludwig Michalek led the "Curs for head and act" as well as an Radierkurs (etching course), Adolf Böhm the course for decorative and applied arts, Fabiani teaches ornamentation and style of teaching as well as "Modern home furnishings", Georg Klimt taught metalwork, Friedrich King wood cutting art and Hans Tichy from 1900 the drawing and painting from the living model. In all these teachers are moderate modern artists from the area of the Secession. The theoretical lectures are held in the company founded by Emil Zuckerkandl and Julius Tandler 1900 "Association of Austrian university lecturers Athenaeum", which had the task to be "an educational institution for members of the female sex". The first school year was completed with 64 students, the school is rapidly expanding, so that it forms 200-300 students annually within a few years. The steady growth is due to the restrictive attitude of the public schools of art (especially the academy) towards women, but also from the indiscriminate admission of which have been blamed all the private schools also on the part of women harshly, and just by women.
1904
The Academy of Fine Arts Vienna is one of the many requests for opening the Academy for students once again putting the old arguments against that women are rarely equipped with creative spirit in the field of great art and the other a "proliferation of dilettantism and a pushing back of male members" is to be feared. Just the idea of a joint education had "abhorred" the College. The Academy therefore advocates for the financial support of the art school for women and girls, and rejects the application for opening the academy for women unanimously. The main argument for the impossibility of the joint Aktzeichnens (nude drawing) and the need for a second Aktsaales (nude hall) is increasingly mentioned, which cannot be realized because lack of space and lack of money. Henni Lehmann (Artistic studies of women, Darmstadt 1913) countered the same argument in Germany: "The common nude studies of women and men can not be described as impossible as it is done in many places, without having shown any grievances". The objection of the Quorum of the Berlin University professors that no teacher could be forced to teach women at all in such delicate subjects is countered that the problem was easily solved by entrusting a lady the Aktunterricht (nude drawing) in ladies. Suitable artists were plentiful present. That the life drawing for a long time (until 1937) remained problematic, shows the application of the renowned sculptor Teresa F. Ries of 1931, in which she was offering the Academy her services for the purpose of the management of a yet to be affiliated department, where young girls separated from the young men could work under the direction of a woman. The application was not even put to a vote.
1912
The rector of the Munich Academy also does not believe in the inclusion of students (female ones): "... it is impossible, even with regard to the space conditions, apart from that that the aspirations of the artists who devote themselves to the arts especially are usually others than that of women..."
1913
No significant change in attitude can be found between the opinions of the Academies from 1904 and those of 1913.
1919
In the report from the College's meeting of the Academy of Fine Arts Vienna to the State Office of Internal Affairs and Teaching is communicated that against the requested admission there were no fundamental objections, but that the Academy is so limited in spatial relationship, that after the experiences of the last entrance exams not even the majority of gifted young artists, capable of studying, could be included, and therefore, in case of the admission of women to the study initially had to be made a considerable expansion. The State Office counters that a further delay in the admission of women to the academic study could not be justified and that approval is to allow at least temporarily in a narrow frame.
1920
The State Office for the Interior and Education officially approved the admission of women to study at the Academy of Fine Arts Vienna (since 1919 women were admitted to all faculties of the University of Vienna, with the exception of the Catholic and Protestant Theological Faculty).
A committee consisting of the professors Bacher, Delug, Schmutzer, and Jettmar Muellner claims that the Academy has never pronounced in principle against women's studies but have always only expressed reservations because of the cramped space and financial situation. As a complete novelty proves that no more concerns are raised with regard to coeducation. Men and women should compete in the entrance examination. In the winter semester 1920/21 will be included 14 women, of course, representing only a small minority in relation to the 250 male students.
1926/1927
In the new study regulations are for the first time mentioned Schüler (M) and Schülerinnen (F).
March 1927
Report of the Academy of Fine and Applied Arts about the experiences regarding the access of women to universities: ..."in past years it was thought for the education of women and girls by the Academy of Women for Liberal and Applied Art, which is also equipped with academic classes and by the State subsidized, sufficiently having taken precautions: during a period of almost seven years of study, it was probably possible to get a clear picture about the access applications of women, and about the degree course ... Of course, the number of female candidates in the painting is strongest, weaker in sculpture, and very low in the architecture. As much already now can be said, that in no way in terms of education in the new admissions the women are left behind the male candidates. During the study period, the female students are not in diligence and seriousness of studying behind their male colleagues. Particularly gratifying can be emphasized that because of the co-education of both sexes in common rooms in the individual schools a win-win situation for everybody was. In the master schools the College was repeatedly able also honouring women with academic prices. Subsuming, it should be emphasized that our experiences with the study of women in the Academy of Fine Arts were quite favorable."
The number of students (Studentinnen) increased from 5 % in the winter semester 1920/1921 till 1939/1940 to about 25 %. After the annexation of Austria to Nazi Germany, the number of students (Studentinnen) decreased. The proportion of female students rose after 1940 naturally, reached during the war years up to 70 % and amounted 1945/1946 to 65%. From 1946/1947 the number of students (Studentinnen) fell sharply again, so 1952/1953 only 20% of the students at the Academy were women. 1963/1964 there were, however, already 41% (278).
2002
Students (Studentinnen): 570 of 936 students
University professors (Universitätsprofessorinnen): 9 out of 29
Ao Univ. (extraordinary female professors) 2 of 12
Univ.Ass. (female university assistant) 18 of 41
Contract teachers (Vertragslehrerinnen): 3 of 7
Lecturer (Lehrbeautragte): 32 of 46
Almut Krapf
www.akbild.ac.at/Portal/akademie/uber-uns/Organisation/ar...
The theme for the Show & Tell session of the November 15 Meeting of the BCD (Jigsaw society) was Christmas.
Here we have two small jigsaws showing the same image 'The Wonderful Jewels' a scene from the story of Aladdin. Unfortunately I do not know the name of the illustrator. The three larger images are of a Zig Zag 200pc jigsaw, measuring c8x12in. It looks to be strip cut in interlocking style and contains a few simple whimsies but no line-cutting. The small images show a budget version I own, cut in a standard sort of grid cut. It fits flat in its box which has a large image on the front.
I have found two further versions of jigsaws cut to this image.
The early push-fit version wrapped in film was brought to the meeting by its owner. The other is a Victory Gold Box Super Cut of 200pc, measuring 13x9in. It has a wavy edge, some line-cutting and a few simple whimsies.
Aladdin is now more familiar as a Christmas pantomime and Disney movie than as a story. Aladdin, a Middle Eastern folk tale, is one of the best known tales in The Book of One Thousand and One Nights ("The Arabian Nights"), although it was actually added to the collection in the 18th century by Frenchman Antoine Galland.
In the UK the story of Aladdin was dramatised in 1788 by John O'Keefe for the Theatre Royal, Covent Garden. It has been a popular subject for pantomime for over 200 years, and includes the well-known pantomime dame character Widow Twankey (Aladdin's mother). Pantomime versions often change the setting/story from China to the Middle East and introduce elements of other Arabian Nights tales (in particular Ali Baba). One version of the "pantomime Aladdin" is Sandy Wilson's musical Aladdin, from 1979.
The earliest surviving animated feature film is the 1926 film The Adventures of Prince Achmed, which combined the story of Aladdin with that of the prince. Aladdin and His Wonderful Lamp is a 1939 Popeye the Sailor cartoon where Popeye plays Aladdin. Aladdin (1958 film) was a television musical by Cole Porter and Aladdin and His Wonderful Lamp, a 1964 album by Cliff Richard.
Since the early 1990s Aladdin pantomimes have tended to be influenced by the 1992 Disney animation; for instance the 2007/8 production at the Birmingham Hippodrome starring John Barrowman, featured a variety of songs from the Disney movies Aladdin and Mulan.
en.wikipedia.org/wiki/Aladdin_(disambiguation)
For Ruby's Treasures , Christmas Alphabet~
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#97~365 Photo Manpulations Project~
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Texture~ Mine~
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Houston Texas Sesame Street Live musical ELMOS GREEN THUMB Elmo find a new home for Sunny the sunflower February 8 2009 Bert Big Bird Ernie Oscar the grouch Grover Cookie Monster Zoe Rosita Count Von Count Abby Cadabby Telly Baby Bear Prairie Dawn Grundgetta Honkers
Paul Mpagi Sepuya
"Michael, apart" (2006)
c-print diptych, 16 x 20 inches each
Courtesy the artist and envoy enterprises, New York
COMPASSION
Union Theological Seminary
Broadway at 121st Street
New York, NY
The Institute of Art, Religion, and Social Justice recently held its first exhibition, Compassion, from November 19, 2009 to January 14, 2010.
In today's shifting political, economic, and ecological landscape, the need for compassion has never been greater, compassion understood as mutual interdependence, knowledge of self and others, and concern for human flourishing. This kind of compassion requires seeking to know all aspects of human reality, being open to truths beyond our everyday experience and embedded in it. Artists often awaken compassion most profoundly. They form our imaginations such that we can envision our interconnectedness in ways that mere didacticism cannot achieve.
Compassion used the buildings of Union Theological Seminary to create a kind of pilgrimage. The works were situated in various locations to create a tour of this remarkable and often overlooked historic complex.
Alfredo Jaar's Embrace (1995), from his Rwanda series, greeted the visitor in the Hastings lobby. Scott Treleaven was featured in the James Chapel with black and white photos from Cimitero Monumentale (2009). Marina Abramovic's video 8 Lessons on Emptiness with a Happy End (2008) shared the Narthex with Yoko Ono's Whisper Piece (2001). Terence Koh's invisible installation was located in the Refectory, with its 40-foot ceiling and massive stone fireplace, nearby. If the visitor strayed to the other end of the building, she might have found Bas Jan Ader's iconic image I'm too sad to tell you in the Burke Library, echoed in the plaintive chant of Michael Bühler-Rose's liquid ritual I'll Worship You and You'll Worship Me (2009), which could be found in the upper reaches of the Rotunda. Chrysanne Stathacos' Rose Mandala Mirror (three reflections for HHDL), also in the Rotunda, was originally created in honor of the Dalai Lama. While circumnavigating the cloisters that link the various spaces of the seminary, further works by Gareth Long and Paul Mpagi Sepuya could be found.
The Institute of Art, Religion, and Social Justice was founded under the auspices of Union Theological Seminary to explore the relationship between contemporary art and religion through the lens of social justice.
Compassion was curated by AA Bronson, Artistic Director of the Institute.
The exhibition is presented in conjunction with Karen Armstrong's TED Prize 2009 of the same name.
For further information contact Kathryn Reklis, Executive Director of the Institute, at 212.280.1404
Union Theological Seminary in the City of New York
3041 Broadway at 121st Street, New York, NY 10027
Many thanks for your visits, faves and comments. Cheers.
....from a walk through Oxley Creek Common. Oxley Creek Common is home to a remarkable variety of birds. An experienced observer can find as many as 70 species in one hour of observation during the spring about 10% of all Australia's bird species and several times the diversity one could find walking the suburbs. In the past eleven years over 190 species have been recorded on the Common. (Source: University of Queensland)
Eastern Whipbird (pretty sure this is the female. Male and female were together and this one's call was as per the female below. It did not have a long tail as per the field guides. ...unless it's an immature?)
Scientific Name: Psophodes olivaceus
Description: Adult Eastern Whipbirds are mostly dark olive-green above, with a long tail, and a grey-white belly. The head and breast are black, with a broad white patch on the side of the face and a black crest. The eye is pale cream and the bill is black. Young whip birds are generally duller, with a smaller crest. The white cheek patch is absent in very young birds, and increases in size as the birds mature.
Similar species: Eastern Whipbirds are hard to confuse with any other Australian bird. The much rarer Western Whipbird, Psophodes nigrogularis, of southern and south-western Australia, has an olive-brown crest and a smaller white face patch. It is also smaller, measuring 22 to 24 cm.
Distribution: The range of the Eastern Whipbird is from northern Queensland to Victoria along the coastal band of eastern Australia.
Habitat: Eastern Whipbirds live in wet habitats, including rainforest, eucalypt forest and dense scrub near watercourses, in dense vegetation near the ground. The birds are secretive, but can be curious, and will be seen if the observer remains patient.
Seasonal movements: Sedentary; The birds remain in the same area all year round.
Feeding: The Eastern Whipbird feeds on insects and other small invertebrates, which are caught on the ground by bill. Feeding takes place alone, in pairs or in small family groups.
Breeding: A breeding pair of Eastern Whipbirds occupies a territory, which is defended year round, with the mates staying together for many years. The female makes a cup nest of sticks and bark, which is lined with finer grasses, and placed in dense vegetation near the ground. The female also incubates the eggs. The young birds are fed by both parents. Sometimes two broods are raised in a single season.
Calls: The Whipbirds' long whip call, one of the most characteristic sounds of the Australian bush, is performed as a duet. The male makes the drawn out whip crack and the female usually follows quickly with a sharp "choo-choo".
Minimum Size: 26cm
Maximum Size: 30cm
Average size: 28cm
Average weight: 56g
Breeding season: July to December
Clutch Size: 2 to 3 eggs
Incubation: 18 days
Nestling Period: 12 days
(Source: www.birdsinbackyards.net)
© Chris Burns 2015
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In the early 1990s the Campaign for a Scottish Assembly and other groups sought to use public events to keep the issue of devolution in the limelight. The first of these was ‘A Day for Scotland’ held in Stirling in the summer of 1990. This music event was organised by Stirling Council and the Scottish Trades Union Congress (STUC). It was attended by approximately 38,000 people and featured bands such as Runrig, Hue and Cry and Deacon Blue. The success of this event led to other music events and rallies.
Image courtesy of Grant Gallagher..
The Scottish Political Archive is housed at the University of Stirling. The archive is home to the oral interviews, personal papers and associated material from prominent Scottish politicians. For further information about the work of the archive please visit our website www.scottishpoliticalarchive.org.uk
Lucky for me a part of my family lives near Rajouri Garden or I would have never had a chance to visit The California Boulevard. It is quite an interesting place. I went to this restaurant with very low expectations which is why when I entered I was absolutely thrilled to see the space they have created.
This restaurant has been around for less than a year but it was bustling with people and everyone seemed rather happy. The place had a very lively vibe. The California Boulevard is a great place to pick for a fun weekend party with friends.
I love movies and The California Boulevard is all about Hollywood and celebrities. The restaurant even has a real Harley Davidson! I love desserts and because the restaurant was celebrating Cameron Diaz’s birthday the day we went there and we got to dig into it. It was absolutely divine.
Even though The California Boulevard is a party place and there were tons of people in there, the staff still ensured that we were well cared for. They ensured that our glasses were always full and we got our courses in quick succession.
Multi-cuisine restaurants always make me nervous. I always feel it is best for restaurants to just specialise in one cuisine but this restaurant pleasantly surprised me. Even though they had a lot of items on the menu, the restaurant’s chef did a great job in whipping us up a treat.
Our starters included “Nachos” (Rs. 165), “Dilli ki Chat” (Rs. 145), “Prawn Spring Rolls” (Rs. 225) and “Cheesy Chicken Chowder” (Rs. 175). The Dilli ki Chat and Cheesy Chicken Chowder were recommended by the Chef and were signature dishes of the restaurant. I quite enjoyed my starters, the soup in particular was exquisite.
Our delicious starters left us craving for more. The “Wok Fried Chicken” (Rs. 325) had been marinated with soy and garlic and tossed with basil and fresh red chillies. The flavours were absolutely wonderful and this was one of the nicest things I ate at this restaurant. I coupled this with a lovely caprioska. The one I picked was a “Cucumber and Basil Caprioska” (Rs. 275).
Next up a delicious “Honey Chilly Red Snapper” (Rs. 455). Perfection lies in simplicity, this was simple wok tossed fish with sweet chilly sauce but for me it was absolutely “spot on”. We also ordered an Indian main course dish – “Gosht Nihari” (Rs. 365). The fragrant lamb jus and saffron were to die for.
The end to my meal was rather happy because I got to try three different desserts, thanks to my friends who are just as dessert obsessed as I am. We started with Flambé Baileys Jamun (Rs. 175), Spanish Churros (Rs. 175) and TCB Kulfi Gazzak Ferrous (Rs. 195). The last dessert was really special, created with the popular Indian dessert Gazzak and the ingredient that every dessert must have – chocolate, the chefs had manage to create a finger-licking delight on the plate. All three of us closed our eyes to savour this unusual treat. I know you will too!
XOXO
Shivangi
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Following my visit to the V&A Museum at Kensington, last week, I figured it was time to check out the *other* V*A museum in London, namely the Museum of Childhood in Bethnal Green.
I'd been here before, but a very long time ago. Once again I was massively impressed by the quality of the exhibits and their presentation.
The museum is on Cambridge Heath Road, within easy walking distance of Bethnal Green tube.
A tin metal car made in Japan by a company called Bandai. For Your Pleasure? It's the same type of car - a late 1960s Cadillac - that featured on the cover of the 2nd LP by Roxy Music.
For Corpus Christi 2016, record crowds accompanied Our Lord in the Blessed Sacrament.
From the Solemn Mass with the St. Cecilia choir to the glorious outdoor procession with the Blessed Sacrament in the parish gardens, the feast of Corpus Christi at St. John Cantius Church in Chicago is an important experience for parishioners and visitors.
Flowers and incense prepare the way for the Blessed Sacrament, and elaborate chalk designs adorn the pathways to the various altars set up for the procession.
Many thanks to the hundred or so volunteers: artists, workers, cleaners, servers, religious, and clergy who helped give glory to our Eucharistic King. And many thanks to the numerous faithful who attended.
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Moat Hill House. This guesthouse’s grounds contain the remains of a 7th to 12th Century ring fort. Unfortunately only one of the slopes of the hill is visible as the area is private property and is inaccessible to the public.
Demonstrations by Egyptian Americans in Kansas City against Egyptian President Hosni Mubarak during rioting and unrest in Egypt.
photoblogged at
blog.ericbowersphoto.com/2011/01/demonstration-for-egypt-...
FOR SALE on ebay (until 10/09/18).
Follow the link:
www.ebay.co.uk/itm/401592956323?ssPageName=STRK:MESELX:IT...
1/43 Code 3 conversion of a BMW i3 in the livery of a Met Police IRV.
The base model is from a BMW dealership. I have created and applied custom-made decals to fit the model exactly.
For Dogster's weather challenge. We've been having really warm sunny days - gotta love Spring. Here is Skye relaxing in the shade.
I spent Friday afternoon with my friend I haven't seen since graduation. Went to her place. She's now living really near where I have my classes, which means I get to see her more often.
I'm about to leave to go meet two other friends that I also haven't seen since graduation (weird coincidence, actually). We're going to meet all the way across town. Which means I should leave about 45 minutes before 3pm (that's when we're supposed to meet). Well it's 2:47pm and my parents didn't even take a shower yet to drive me there. I'm always the one who is late for everything :(
SOOC
A brave young Iranian woman, who was brutally and senselessly murdered by a cowardly Basij sniper. Her only crime, ...daring to attend a protest of the recent controversial election in Iran.
Neda means "voice" or "calling" in Farsi, and she has been referred to as the "voice of Iran" and "a symbol of pro-democracy protesters battering the Islamic regime" in the World.
My most sincere thoughts and prayers to her family and loved ones. And I hope that her death is not in vain, and that it will help to bring about a truly representative government for the wonderful people of Iran.
"The tree of liberty must be refreshed from
time to time, with the blood of patriots"
Thomas Jefferson
***WARNING*** The video link provided here is extremely disturbing and graphic, and may not be appropriate for viewing by minors.
Neda .
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ParalympicsGB Swimmer, Maisie Summers-Newton aged 19, from Wellingborough, competing in the 200m Individual Medley SM6 - Women event, at the Tokyo 2020 Paralympic Games.
ParalympicsGB is the name for the Great Britain and Northern Ireland Paralympic Team that competes at the summer and winter Paralympic Games. The Team is selected and managed by the British Paralympic Association, in conjunction with the national governing bodies, and is made up of the best sportsmen and women who compete in the 22 summer and 4 winter sports on the Paralympic Programme.
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For more information please contact the ParalympicsGB Press Office via press@paralympics.org.uk
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The Prophet (s) said:
“Fatima is the joy of my heart, and her sons are the fruit of my soul.”
Yanabi Al-Mawadda, v. 1, ch. 15, p. 243
♡♡♡♡♡♡♡♡♡♡♡♡♡♡♡
The holidays are fast approaching... a time to remember dear relatives lost.
This is a picture of me (AKA "the little monkey") with my great grandma Julia. Surely, she was an inspiration for Gary Larsen's Far Side. Check out my parents' groovy Danish Modern furniture... not to mention the tribal art.
I don't remember "Grandma Julia" much... except that she had a Hungarian accent and impeccable style.