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St Swithun was an Anglo Saxon saint, born in Winchester and Bishop of Winchester from his consecration on 30 October 852 until his death on 2 July 863. However, he is scarcely mentioned in any document of his own time. He died in 863 when King Alfred the Great was still a young man. It is possible that St Swithun was tutor to the young king and accompanied him on a pilgrimage to Rome. His death is entered in the Canterbury manuscript of the Anglo-Saxon Chronicle (MS F) under the year 861. He is recorded as a witness to nine charters, the earliest of which (S 308) is dated 854.
More than a hundred years later, when Dunstan and Æthelwold of Winchester were inaugurating their church reform, Swithun was adopted as patron of the restored church at Winchester, formerly dedicated to St. Peter and St. Paul. His body was transferred from its almost forgotten grave to Æthelwold's new basilica on 15 July 971; according to contemporary writers, numerous miracles preceded and followed the move.
According to legend, St Swithun has a special association with the English weather, a legend which dates from July 971 when the bones of the saint were moved from outside the old Saxon cathedral and brought inside the building, apparently causing a great thunderstorm:
"On St Swithun's Day, if then dost rain,
For forty days it will remain:
St Swithun's Day, if then be fair,
For forty days 'twill rain nae mair."
A Buckinghamshire variation has
“If on St Swithun's day it really pours
You're better off to stay indoors.”
Swithun was initially buried out of doors, rather than in his cathedral, apparently at his own request. William of Malmesbury recorded that the bishop left instructions that his body should be buried outside the church, ubi et pedibus praetereuntium et stillicidiis ex alto rorantibus esset obnoxius [where it might be subject to the feet of passers-by and to the raindrops pouring from on high], which has been taken as indicating that the legend was already well known in the 12th century.
In 971 it was decided to move his body to a new indoor shrine, and one theory traces the origin of the legend to a heavy shower by which, on the day of the move, the saint marked his displeasure towards those who were removing his remains. This story, however, cannot be traced further back than the 17th or 18th century. Also, it is at variance with the 10th century writers, who all agreed that the move took place in accordance with the saint's desire expressed in a vision. James Raine suggested that the legend was derived from the tremendous downpour of rain that occurred, according to the Durham chroniclers, on St. Swithun's Day, 1315.
John Earle suggests that the legend comes from a pagan or possibly prehistoric day of augury. In France, St. Medard (8 June), Urban of Langres, and St. Gervase and St. Protais (19 June) are credited with an influence on the weather almost identical with that attributed to St Swithun in England. In Flanders, there is St Godelieve (6 July) and in Germany the Seven Sleepers' Day (27 June). There is a scientific basis to the weather pattern behind the legend of St Swithun's day. Around the middle of July, the jet stream settles into a pattern which, in the majority of years, holds reasonably steady until the end of August. When the jet stream lies north of the British Isles then continental high pressure is able to move in; when it lies across or south of the British Isles, Arctic air and Atlantic weather systems predominate.
The most false that the prediction has been, according to the Guinness Book of Records, were 1924 when 13.5 hours of sunshine in London were followed by 30 of the next 40 days being wet, and 1913 when a 15-hour rainstorm was followed by 30 dry days of 40.
St Swithun's Day is celebrated on 15 July. Wikipedia
This guy is only about 1/2 inch top to bottom. I lay flat on my (rather round) belly in the middle of my neighbor's lawn to get this shot. Yes, I was under the influence, but fortunately, not of drink or drugs...
Coral House MOC is a contemporary home with influences from both modernism and industrial style. It is located in tropical surroundings and has a colour scheme inspired by the snake that gave house its name.
The main house body is mainly built with reddish brown grille bricks, trans-clear panels and plated walls in tan, reddish brown, dark red and black. One of the plated walls "fold over" the house to form a roof. One vertical and two horizontal and white cuboids are built with SNOT technique and attached to the main house body to achieve contrast.
The ground floor hosts an open plan living room and kitchen, a calm corner with sea view, a bedroom and a spacious bathroom. Upstairs you find a room with sofa and chess corner, a small bathroom and a roof terrace.
Thanks to all who comment or favorite; it is always appreciated!
I took this beautiful picture of Monticello, Thomas Jefferson's famous home in Charlottesville, Virginia. Designed by Jefferson himself, Monticello is an outstanding example of neoclassical architecture, displaying Jefferson's influences from ancient Roman and Palladian designs. The property is surrounded by beautifully landscaped gardens and lush greenery, reflecting Jefferson's love for horticulture and innovative gardening techniques. Monticello is a testament to Jefferson's diverse talents and lasting impact on American history.
Thanks for viewing! If you enjoyed this photo, remember to favorite it and follow for more! Have you ever been to a historic landmark? Share your experiences in the comments below!
Inspired by the last portrait of the late brilliant Heath Ledger.
I have often wondered how folks take such moody portraits, so I had a play, this is my real fist attempt at using light to create a mood. I'm sure now that I have tried it I will be trying lots more things, I am still learning so I will improve.
Sometimes we all have battles with our conscience, I have them pretty much everyday, I am without a doubt my own worst enemy. So it feels like I have my own devils, maybe I do ............
Cake Eileen wearing the Dragon robe from the Go East collection paired with a bodysuit from the Silkstone Collection.
Beautiful MG TF replica in British Racing Green in Akaroa in New Zealand. The French tricolore flies in the background revealing a significant French influence in this historic little harbour town.
A French sea captain agreed in 1838 to purchase land in the area from local chiefs, and settlers arrived in New Zealand from Rochefort in France in 1840. On arrival they discovered that the British had in the meantime named the area the Banks Peninsula, after the famous naturalist Joseph Banks, who had accompanied James Cook. Given that they had set sail on the understanding that they owned the land, the French were allowed to settle, and they originally named the town Port Louis-Philippe.
Strobist: AB1600 with gridded 60X30 softbox camera right. AB800 with gridded HOBD-W overhead. AB800 with Softlighter II camera left. AB800 with 7 inch flagged reflector camera right. Triggered by Cybersync.
Walking on the walls of the Grade I Listed Lincoln Castle, in Lincoln, Lincolnshire.
Lincoln Castle was built during the late 11th century by William the Conqueror on the site of a pre-existing Roman fortress. The castle is unusual in that it has two mottes. It is only one of two such castles in the country, the other being at Lewes in Sussex.
When William the Conqueror defeated Harold Godwinson and the English at The Battle of Hastings on 14 October 1066, he continued to face resistance to his rule in the north of England. For several years, William's position was very insecure. To project his influence northwards to control the people of the Danelaw (an area traditionally under the control of Scandinavian settlers), he constructed a few major castles in the north and midlands of England. It was at this time major castles at Warwick, Nottingham, and York were built. After gaining control of York, the Conqueror turned southwards and arrived at the Roman and Viking city of Lincoln.
When William reached Lincoln (one of the country's major settlements), he found a Viking commercial and trading centre with a population of 6,000 to 8,000. The remains of the old Roman walled fortress located 60 metres (200 ft) above the countryside to the south and west, proved an ideal strategic position to construct a new castle. Lincoln represented a vital strategic crossroads of the the same routes which influenced the siting of the Roman fort: Ermine Street, Fosse Way, Valley of the River Trent, River Witham & Lincolnshire Wolds
A castle here could guard several of the main strategic routes and form part of a network of strongholds of the Norman kingdom, in Danish Mercia, roughly the area of the country that is today referred to as the East Midlands, to control the country internally. Also (in the case of the Wolds) it could form a centre from which troops could be sent to repel Scandinavian landings anywhere on the coast from the Trent to the Welland, to a large extent, by using the roads which the Romans had constructed for the same purpose.
Work on the new fortification was completed in 1068. It is probable that at first a wooden keep was constructed which was later replaced with a much stronger stone one. To the south, where the Roman wall stands on the edge of a steep slope, it was retained partially as a curtain wall and partially as a revetment. In the west, where the ground is more level, the Roman wall was buried within an earth rampart and extended upward to form the Norman castle wall.
The castle was the focus of attention during the First Battle of Lincoln which occurred on 2 February 1141, during the struggle between King Stephen and Empress Matilda over who should be monarch in England. It was held but damaged, and a new tower, called the Lucy Tower, was built.
Lincoln Castle was again the site of a siege followed by the Second Battle of Lincoln, on 20 May 1217, during the reign of King John in the First Barons' War. This was the period of political struggle which led to the signing of Magna Carta on 15 June 1215.
As in Norwich and other places, the castle was used as a secure site in which to establish a prison. At Lincoln, the prison Gaol was built in 1787 and extended in 1847. Imprisoned debtors were allowed some social contact but the regime for criminals was designed to be one of isolation, according to the separate system. Consequently, the seating in the prison chapel is designed to enclose each prisoner individually so that the preacher could see everyone, but each could see only him. By 1878 the system was discredited, and the inmates were transferred to the new jail in the eastern outskirts of Lincoln.
Information Source:
I'm under an NDA so I must keep the details to myself, BUT I was offered a job as a social media influencer. Can you imagine that? I asked them what the hours were and they said they expected me to be socializing all hours of the night and day. There were no benefits, no insurance, no holidays and they expected me to go on about all sorts of products like perfume and charcoal grills and TV shows that I've never even heard of. Silly. Benefits would have included having lunch with the above pictured executives, but my time is valuable, too.
I turned them down. Crazy, right?
From about the 1890s onwards Australia artists increasing came under the spell of two largely Parisian influences: Impressionism (which we won't look at here specifically because it is so well known), and Art Nouveau.
The Impressionist stream has certainly had the wider impact, but to me the most interesting developments came from those influenced by the highly fashionable Art Nouveau, which found its way into painting, sculpture and architecture.
Here are three very beautiful expressions of this influence in Australian art at the turn of the 20th century. The statue is by Bertram Mackennal and here is a short video introducing his work:
Das Neumann Haus, a historic building in the heart of the rural town of Laidley earlier this year. Das Neumann Haus Museum is an historic house museum located in the town of Laidley, Queensland, Australia, on the corner of Patrick Street and William Street.
"Das Neumann Haus Museum
The house, a colonial style weatherboard building,[2] was built by German immigrant Hermann Neumann in 1893 as his private residence. The house has been restored to its former condition and refurnished in the style of the 1930s. It opened in 1998 to the public as a house museum. A visitor information centre, a café and a gift shop are also operated within the building."
The rest is here
en.wikipedia.org/wiki/Das_Neumann_Haus_Museum_(Laidley,_Queensland)
ФЭД Микрон 2 (Fed Mikron 2) by Fed
Industar-81 - 2.8/38
Automatic mode (lightmeter on-board)
Kodak BW 400CN (expired)
Tetenal Colortec c41 (30° C)
Epson V600
Amedeo Modigliani
Italian, 1884 - 1920
Woman with a Necklace, 1917
Oil on canvas
(closeup)
Amedeo Clemente Modigliani (July 12, 1884 – January 24, 1920) was a Jewish-Italian painter and sculptor who pursued his career for the most part in France. Modigliani was born in Livorno, Italy and began his artistic studies in Italy before moving to Paris in 1906. Influenced by the artists in his circle of friends and associates, by a range of genres and movements, and by primitive art, Modigliani's oeuvre was nonetheless unique and idiosyncratic. He died in Paris of tubercular meningitis—exacerbated by a lifestyle of excess—at the age of 35.
Early life
Modigliani was born into a Jewish family in Livorno, Italy.
Livorno was still a relatively new city, by Italian standards, in the late nineteenth century. The city on the Tyrrhenian coast dates from around 1600, when it was transformed from a swampy village into a seaport. The Livorno that Modigliani knew was a bustling centre of commerce focused upon seafaring and shipwrighting, but its cultural history lay in being a refuge for those persecuted for their religion. His own maternal great-great-grandfather was one Solomon Garsin, a Jew who had immigrated to Livorno in the eighteenth century as a religious refugee.
Modigliani was the fourth child of Flaminio Modigliani and his wife, Eugenia Garsin. His father was in the money-changing business, but when the business went bankrupt, the family lived in dire poverty. In fact, Amedeo's birth saved the family from certain ruin, as, according to an ancient law, creditors could not seize the bed of a pregnant woman or a mother with a newborn child. When bailiffs entered the family home, just as Eugenia went into labour, the family protected their most valuable assets by piling them on top of the expectant mother.
Modigliani had a particularly close relationship with his mother, who taught her son at home until he was ten. Beset with health problems after a bout of typhoid at the age of fourteen, two years later he contracted the tuberculosis which would affect him for the rest of his life. To help him recover from his many childhood illnesses, she took him to Naples in Southern Italy, where the warmer weather was conducive to his convalescence.
His mother was, in many ways, instrumental in his ability to pursue art as a vocation. When he was eleven years of age, she had noted in her diary that:
“The child's character is still so unformed that I cannot say what I think of it. He behaves like a spoiled child, but he does not lack intelligence. We shall have to wait and see what is inside this chrysalis. Perhaps an artist?"
Art student years
Modigliani is known to have drawn and painted from a very early age, and thought himself "already a painter", his mother wrote, even before beginning formal studies. Despite her misgivings that launching him on a course of studying art would impinge upon his other studies, his mother indulged the young Modigliani's passion for the subject.
At the age of fourteen, while sick with the typhoid fever, he raved in his delirium that he wanted, above all else, to see the paintings in the Palazzo Pitti and the Uffizi in Florence. As Livorno's local museum only housed a sparse few paintings by the Italian Renaissance masters, the tales he had heard about the great works held in Florence intrigued him, and it was a source of considerable despair to him, in his sickened state, that he might never get the chance to view them in person. His mother promised that she would take him to Florence herself, the moment he was recovered. Not only did she fulfil this promise, but she also undertook to enroll him with the best painting master in Livorno, Guglielmo Micheli.
Micheli and the Macchiaioli
Modigliani worked in the studio of Micheli from 1898 to 1900. Here his earliest formal artistic instruction took place in an atmosphere deeply steeped in a study of the styles and themes of nineteenth-century Italian art. In his earliest Parisian work, traces of this influence, and that of his studies of Renaissance art, can still be seen: artists such as Giovanni Boldini figure just as much in this nascent work as do those of Toulouse-Lautrec.
Modigliani showed great promise while with Micheli, and only ceased his studies when he was forced to, by the onset of tuberculosis.
In 1901, whilst in Rome, Modigliani admired the work of Domenico Morelli, a painter of melodramatic Biblical studies and scenes from great literature. It is ironic that he should be so struck by Morelli, as this painter had served as an inspiration for a group of iconoclasts who went by the title, the Macchiaioli (from macchia—"dash of colour", or, more derogatively, "stain"), and Modigliani had already been exposed to the influences of the Macchiaioli. This minor, localised art movement was possessed of a need to react against the bourgeois stylings of the academic genre painters. While sympathetically connected to (and actually pre-dating) the French Impressionists, the Macchiaioli did not make the same impact upon international art culture as did the followers of Monet, and are today largely forgotten outside of Italy.
Modigliani's connection with the movement was through Micheli, his first art teacher. Micheli was not only a Macchiaioli himself, but had been a pupil of the famous Giovanni Fattori, a founder of the movement. Micheli's work, however, was so fashionable and the genre so commonplace that the young Modigliani reacted against it, preferring to ignore the obsession with landscape that, as with French Impressionism, characterised the movement. Micheli also tried to encourage his pupils to paint en plein air, but Modigliani never really got a taste for this style of working, sketching in cafes, but preferring to paint indoors, and especially in his own studio. Even when compelled to paint landscapes (three are known to exist), Modigliani chose a proto-Cubist palette more akin to Cézanne than to the Macchiaioli.
While with Micheli, Modigliani not only studied landscape, but also portraiture, still-life, and the nude. His fellow students recall that the latter was where he displayed his greatest talent, and apparently this was not an entirely academic pursuit for the teenager: when not painting nudes, he was occupied with seducing the household maid.
Despite his rejection of the Macchiaioli approach, Modigliani nonetheless found favour with his teacher, who referred to him as "Superman", a pet name reflecting the fact that Modigliani was not only quite adept at his art, but also that he regularly quoted from Nietzsche's Thus Spake Zarathustra. Fattori himself would often visit the studio, and approved of the young artist's innovations.
In 1902, Modigliani continued what was to be a life-long infatuation with life drawing, enrolling in the Accademia di Belle Arti (Scuola Libera di Nudo, or "Free School of Nude Studies") in Florence. A year later while still suffering from tuberculosis, he moved to Venice, where he registered to study at the Istituto di Belle Arti.
It is in Venice that he first smoked hashish and, rather than studying, began to spend time frequenting disreputable parts of the city. The impact of these lifestyle choices upon his developing artistic style is open to conjecture, although these choices do seem to be more than simple teenage rebellion, or the cliched hedonism and bohemianism that was almost expected of artists of the time; his pursuit of the seedier side of life appears to have roots in his appreciation of radical philosophies, such as those of Nietzsche.
Early literary influences
Having been exposed to erudite philosophical literature as a young boy under the tutelage of Isaco Garsin, his maternal grandfather, he continued to read and be influenced through his art studies by the writings of Nietzsche, Baudelaire, Carduzzi, Comte de Lautréamont, and others, and developed the belief that the only route to true creativity was through defiance and disorder.
Letters that he wrote from his 'sabbatical' in Capri in 1901 clearly indicate that he is being more and more influenced by the thinking of Nietzsche. In these letters, he advised friend Oscar Ghiglia,
“(hold sacred all) which can exalt and excite your intelligence... (and) ... seek to provoke ... and to perpetuate ... these fertile stimuli, because they can push the intelligence to its maximum creative power.”
The work of Lautréamont was equally influential at this time. This doomed poet's Les Chants de Maldoror became the seminal work for the Parisian Surrealists of Modigliani's generation, and the book became Modigliani's favourite to the extent that he learnt it by heart. The poetry of Lautréamont is characterised by the juxtaposition of fantastical elements, and by sadistic imagery; the fact that Modigliani was so taken by this text in his early teens gives a good indication of his developing tastes. Baudelaire and D'Annunzio similarly appealed to the young artist, with their interest in corrupted beauty, and the expression of that insight through Symbolist imagery.
Modigliani wrote to Ghiglia extensively from Capri, where his mother had taken him to assist in his recovery from the tuberculosis. These letters are a sounding board for the developing ideas brewing in Modigliani's mind. Ghiglia was seven years Modigliani's senior, and it is likely that it was he who showed the young man the limits of his horizons in Livorno. Like all precocious teenagers, Modigliani preferred the company of older companions, and Ghiglia's role in his adolescence was to be a sympathetic ear as he worked himself out, principally in the convoluted letters that he regularly sent, and which survive today.
“Dear friend
I write to pour myself out to you and to affirm myself to myself. I am the prey of great powers that surge forth and then disintegrate... A bourgeois told me today - insulted me - that I or at least my brain was lazy. It did me good. I should like such a warning every morning upon awakening: but they cannot understand us nor can they understand life...”
Paris
Arrival
In 1906 Modigliani moved to Paris, then the focal point of the avant-garde. In fact, his arrival at the epicentre of artistic experimentation coincided with the arrival of two other foreigners who were also to leave their marks upon the art world: Gino Severini and Juan Gris.
He settled in Le Bateau-Lavoir, a commune for penniless artists in Montmartre, renting himself a studio in Rue Caulaincourt. Even though this artists' quarter of Montmartre was characterised by generalised poverty, Modigliani himself presented - initially, at least - as one would expect the son of a family trying to maintain the appearances of its lost financial standing to present: his wardrobe was dapper without ostentation, and the studio he rented was appointed in a style appropriate to someone with a finely attuned taste in plush drapery and Renaissance reproductions. He soon made efforts to assume the guise of the bohemian artist, but, even in his brown corduroys, scarlet scarf and large black hat, he continued to appear as if he were slumming it, having fallen upon harder times.
When he first arrived in Paris, he wrote home regularly to his mother, he sketched his nudes at the Colarossi school, and he drank wine in moderation. He was at that time considered by those who knew him as a bit reserved, verging on the asocial. He is noted to have commented, upon meeting Picasso who, at the time, was wearing his trademark workmen's clothes, that even though the man was a genius, that did not excuse his uncouth appearance.
Transformation
Within a year of arriving in Paris, however, his demeanour and reputation had changed dramatically. He transformed himself from a dapper academician artist into a sort of prince of vagabonds.
The poet and journalist Louis Latourette, upon visiting the artist's previously well-appointed studio after his transformation, discovered the place in upheaval, the Renaissance reproductions discarded from the walls, the plush drapes in disarray. Modigliani was already an alcoholic and a drug addict by this time, and his studio reflected this. Modigliani's behaviour at this time sheds some light upon his developing style as an artist, in that the studio had become almost a sacrificial effigy for all that he resented about the academic art that had marked his life and his training up to that point.
Not only did he remove all the trappings of his bourgeois heritage from his studio, but he also set about destroying practically all of his own early work. He explained this extraordinary course of actions to his astonished neighbours thus:
“Childish baubles, done when I was a dirty bourgeois."
The motivation for this violent rejection of his earlier self is the subject of considerable speculation. The self-destructive tendencies may have stemmed from his tuberculosis and the knowledge (or presumption) that the disease had essentially marked him for an early death; within the artists' quarter, many faced the same sentence, and the typical response was to set about enjoying life while it lasted, principally by indulging in self-destructive actions. For Modigliani such behavior may have been a response to a lack of recognition; it is known that he sought the company of other alcoholic artists such as Utrillo and Soutine, seeking acceptance and validation for his work from his colleagues.
Modigliani's behavior stood out even in these Bohemian surroundings: he carried on frequent affairs, drank heavily, and used absinthe and hashish. While drunk he would sometimes strip himself naked at social gatherings. He became the epitome of the tragic artist, creating a posthumous legend almost as well-known as that of Vincent van Gogh.
During the 1920s, in the wake of Modigliani's career and spurred on by comments by Andre Salmon crediting hashish and absinthe with the genesis of Modigliani's style, many hopefuls tried to emulate his 'success' by embarking on a path of substance abuse and bohemian excess. Salmon claimed—erroneously—that whereas Modigliani was a totally pedestrian artist when sober,
“...from the day that he abandoned himself to certain forms of debauchery, an unexpected light came upon him, transforming his art. From that day on, he became one who must be counted among the masters of living art.”
While this propaganda served as a rallying cry to those with a romantic longing to be a tragic, doomed artist, these strategies did not produce unique artistic insights or techniques in those who did not already have them.
In fact, art historians suggest that it is entirely possible for Modigliani to have achieved even greater artistic heights had he not been immured in, and destroyed by, his own self-indulgences. We can only speculate what he might have accomplished had he emerged intact from his self-destructive explorations.
Output
During his early years in Paris, Modigliani worked at a furious pace. He was constantly sketching, making as many as a hundred drawings a day. However, many of his works were lost - destroyed by him as inferior, left behind in his frequent changes of address, or given to girlfriends who did not keep them.
He was first influenced by Henri de Toulouse-Lautrec, but around 1907 he became fascinated with the work of Paul Cézanne. Eventually he developed his own unique style, one that cannot be adequately categorized with other artists.
He met the first serious love of his life, Russian poet Anna Akhmatova, in 1910, when he was 26. They had studios in the same building, and although 21-year-old Anna was recently married, they began an affair. Tall (Modigliani was only 5 foot 5 inches) with dark hair (like Modigliani's), pale skin and grey-green eyes, she embodied Modigliani's aesthetic ideal and the pair became engrossed in each other. After a year, however, Anna returned to her husband.
Experiments with sculpture
In 1909, Modigliani returned home to Livorno, sickly and tired from his wild lifestyle. Soon he was back in Paris, this time renting a studio in Montparnasse. He originally saw himself as a sculptor rather than a painter, and was encouraged to continue after Paul Guillaume, an ambitious young art dealer, took an interest in his work and introduced him to sculptor Constantin Brancusi.
Although a series of Modigliani's sculptures were exhibited in the Salon d'Automne of 1912, he abruptly abandoned sculpting and focused solely on his painting.
Question of influences
In Modigliani's art, there is evidence of the influence of primitive art from Africa and Cambodia which he may have seen in the Musée de l'Homme, but his stylisations are just as likely to have been the result of his being surrounded by Mediaeval sculpture during his studies in Northern Italy (there is no recorded information from Modigliani himself, as there is with Picasso and others, to confirm the contention that he was influenced by either ethnic or any other kind of sculpture). A possible interest in African tribal masks seems to be evident in his portraits. In both his painting and sculpture, the sitters' faces resemble ancient Egyptian painting in their flat and masklike appearance, with distinctive almond eyes, pursed mouths, twisted noses, and elongated necks. However these same chacteristics are shared by Medieval European sculpture and painting.
Modigliani painted a series of portraits of contemporary artists and friends in Montparnasse: Chaim Soutine, Moise Kisling, Pablo Picasso, Diego Rivera, Marie "Marevna" Vorobyev-Stebeslka, Juan Gris, Max Jacob, Blaise Cendrars, and Jean Cocteau, all sat for stylized renditions.
At the outset of World War I, Modigliani tried to enlist in the army but was refused because of his poor health.
The war years
Known as Modì, which roughly translates as 'morbid' or 'moribund', by many Parisians, but as Dedo to his family and friends, Modigliani was a handsome man, and attracted much female attention.
Women came and went until Beatrice Hastings entered his life. She stayed with him for almost two years, was the subject for several of his portraits, including Madame Pompadour, and the object of much of his drunken wrath.
When the British painter Nina Hamnett arrived in Montparnasse in 1914, on her first evening there the smiling man at the next table in the café introduced himself as Modigliani; painter and Jew. They became great friends.
In 1916, Modigliani befriended the Polish poet and art dealer Leopold Zborovski and his wife Anna.
Jeanne Hébuterne
The following summer, the Russian sculptor Chana Orloff introduced him to a beautiful 19-year-old art student named Jeanne Hébuterne who had posed for Foujita. From a conservative bourgeois background, Hébuterne was renounced by her devout Roman Catholic family for her liaison with the painter, whom they saw as little more than a debauched derelict, and, worse yet, a Jew. Despite her family's objections, soon they were living together, and although Hébuterne was the love of his life, their public scenes became more renowned than Modigliani's individual drunken exhibitions.
On December 3, 1917, Modigliani's first one-man exhibition opened at the Berthe Weill Gallery. The chief of the Paris police was scandalized by Modigliani's nudes and forced him to close the exhibition within a few hours after its opening.
After he and Hébuterne moved to Nice, she became pregnant and on November 29, 1918 gave birth to a daughter whom they named Jeanne (1918-1984).
Nice
During a trip to Nice, conceived and organized by Leopold Zborovski, Modigliani, Tsuguharu Foujita and other artists tried to sell their works to rich tourists. Modigliani managed to sell a few pictures but only for a few francs each. Despite this, during this time he produced most of the paintings that later became his most popular and valued works.
During his lifetime he sold a number of his works, but never for any great amount of money. What funds he did receive soon vanished for his habits.
In May of 1919 he returned to Paris, where, with Hébuterne and their daughter, he rented an apartment in the rue de la Grande Chaumière. While there, both Jeanne Hébuterne and Amedeo Modigliani painted portraits of each other, and of themselves.
Last days
Although he continued to paint, Modigliani's health was deteriorating rapidly, and his alcohol-induced blackouts became more frequent.
In 1920, after not hearing from him for several days, his downstairs neighbor checked on the family and found Modigliani in bed delirious and holding onto Hébuterne who was nearly nine months pregnant. They summoned a doctor, but little could be done because Modigliani was dying of the then-incurable disease tubercular meningitis.
Modigliani died on January 24, 1920. There was an enormous funeral, attended by many from the artistic communities in Montmartre and Montparnasse.
Hébuterne was taken to her parents' home, where, inconsolable, she threw herself out of a fifth-floor window two days after Modigliani's death, killing herself and her unborn child. Modigliani was interred in Père Lachaise Cemetery. Hébuterne was buried at the Cimetière de Bagneux near Paris, and it was not until 1930 that her embittered family allowed her body to be moved to rest beside Modigliani.
Modigliani died penniless and destitute—managing only one solo exhibition in his life and giving his work away in exchange for meals in restaurants. Had he lived through the 1920s when American buyers flooded Paris, his fortunes might well have changed. Since his death his reputation has soared. Nine novels, a play, a documentary and three feature films have been devoted to his life.
With strong rumours that Harley Davidson will be ceasing production of their famous plodding petrol engines and start building green e-bikes I was interested to overhear some of their touring design engineers with weird beards discussing how they could still retain their iconic styling, incorporating big bore cylinders. It should have been obvious earlier but it seems they are on the cusp of developing an engine that uses environmentally friendly lithium ion battery technology to heat water and create steam to drive the big Harley cylinders instead of using petrol. This will have health benefits for traditional Harley fans, too, who will now have to stop regularly to take on water instead of beer. About every one and a half miles.
One of my attempts at the "Smile on Saturday" theme "fancy fabrics".
Shot with a Noritsu "38-60 mm F 4-4.8" (enlarging) lens on a Canon EOS R5.
Miss Kafukou, Turkana tribe.
The Turkana s inhabit the arid territories of northern Kenya, on the boundary with Sudan. Nilotic-speaking people, they have for a long time stayed outside of the influence of the main foreign trends. Nomad shepherds adapted to a almost totally desert area, some also fish in Lake Turkana. They are divided in 28 clans. Each one of them is associated with a particular brand for its livestock, so that any Turkana can identify a relative in this way.The majority of the Turkana still follow their traditional religion: they believe in a God called Kuj or Akuj, associated with the sky and creator of all things. He is thought to be omnipotent but rarely intervenes in the lives of people. Contact between God and the people is made though a diviner (emeron). Diviners have the power to interpret dreams, forecast the future, heal, and make rain. However, the Turkana doubt about those who say they have powers, but fail to prove it in the everyday life. According to estimates, about 15% of the Turkana are Christian. Evangelism has started among the Turkana since the 1970s. Various church buildings have been built since then. The most astonishing element one can notice in the villages, is that the only permanent structures are churches, with huts all around. Infact, in the late 1970s, feeding projects as well as literacy courses and other services have been provided by Baptist workers. This easily explains the importance acquired by the Church.The Turkana don't have any physical initiations. They have only the asapan ceremony, transition from youth to adulthood, that all men must perform before marriage. The Turkana are polygamous. Homestead consists of a man, his wives and children, and often his mother. When a new wife comes, she stays at the hut of the mother or first wife until she has her first child. The high bride-wealth payment (30 to 50 cattle, 30 to 50 camels and 100 to 200 small stock) often means that a man cannot marry until he has inherited livestock from his dead father. It also implies that he collect livestock from relatives and friends, which strengthens social ties between them. Resolution is found to conflicts through discussions between the men living in proximity to one another. Men of influence are particularly listened, and decisions are enforced by the younger men of the area. Each man belongs to a specific generation set. If a man is a Leopard, his son will be a Stone, so that there is approximately an equal number of each category. The Turkana make finely carved wooden implements, used in the daily life. During the rainy season, moonlight nights' songs have a particular place in the Turkana's life. The songs often refer to their cattle or land, but they are sometimes improvised and related to immediate events. The Turkana have a deep knowledge of plants and products they use as medicine. The fat-tailed sheep is often called "the hospital for the Turkana".
Les Turkanas habitent les territoires arides du nord du Kenya, à la frontière avec le Soudan.Peuple de langue nilotique, ils sont pendant longtemps restés hors de l’influence des principaux courants étrangers. Pasteurs nomades adaptés à une zone presque totalement déserte, certains pêchent également dans le lac Turkana. Ils sont divisés en 28 clans. Chacun d’entre eux est associé à une marque particulière donné à son bétail, de telle façon que tout Turkana peut identifier un parent de cette manière.La majorité des Turkana suit encore leur religion traditionnelle : ils croient en un Dieu appelé Kuj ou Akuj, associé au ciel et créateur de toute chose. Les Turkana le voient comme omnipotent mais intervenant rarement dans la vie des gens. Le contact entre Dieu et les hommes se fait par l’intermédiaire d’un divin (emeron). Les devins ont le pouvoir d’interpréter les rêves, prédire l’avenir, soigner et faire pleuvoir. Toutefois, les Turkana doutent de ceux qui disent qu’ils ont des pouvoirs, mais échouent à le prouver dans la vie de tous les jours. Selon des estimations, environ 15% des Turkana sont chrétiens. L’évangélisme a commencé chez les Turkana depuis les années 1970. Diverses églises ont depuis été construites. L’élément le plus étonnbant que l’on peut noter dans les villages est que les seules structures en dur sont les églises, avec des huttes tout autour. En fait, à la fin des années 1970, des projets alimentaires ainsi que des cours d’alphabétisation et d’autres services ont été menés par des travailleurs baptistes. Cela explique facilement l’importance acquise par l’Eglise.Les Turkana n’ont aucune initiation physique. Ils ont seulement la cérémonie asapan, transition de la jeunesse à l’âge adulte, que chaque homme doit suivre avant le mariage. Les Turkana sont polygames. La propriété familiale est composée d’un homme, ses femmes et enfants, et souvent sa mère. Quand une nouvelle femme arrive, elle loge dans la hutte de la mère ou de la première femme jusqu’à ce qu’elle ait son premier enfant. Le paiement élevé pour la mariée (30 à 50 têtes de gros bétail, 30 à 50 dromadaires, et 100 à 200 têtes de petit bétail) signifie souvent qu’un homme ne peut se permettre de se marier jusqu’à ce qu’il ait hérité le bétail de son père décédé. Cela implique également qu’il collecte le bétail requis de parents et amis, ce qui renforce les liens sociaux entre eux. La résolution des conflits se fait par la discussion entre les hommes vivant à proximité.Les hommes d’influence sont particulièrement écoutés, et les décisions sont mises en application par les hommes plus jeunes de la zone. Chaque homme appartient à une classe d’âge spécifique. Si un homme est un Léopard, son fils deviendra une Pierre, de telle façon qu’il y a approximativement un même nombre de chaque catégorie. Les Turkana font des outils en bois finement taillés, utilisés dans la vie de tous les jours. Durant la saison des pluies, les chansons des nuits de pleine lune ont une place particulière dans la vie des Turkana. Elles font souvent référence à leur bétail et terres, mais sont parfois improvisées ou liées à des événements immédiats. Les Turkana ont une connaissance intime des plantes et des produits qu’ils utilisent comme médicaments. La queue grasse des moutons est souvent appelée « l’hôpital pour les Turkana ».
© Eric Lafforgue
CAST
Kiley (Bailey)
Skyler (TB)
Nicole Davis (TB)
Liz Baxter (Bailey)
Sean Davis Erebus
Influencers - Mia (Summer) & Ryan (Seth)
Wardrobe Designer - (Bailey)
Hairdresser: (Bailey)
MUSIC Everything You Know is Wrong - Geoffrey Burch. Copyright free
pixabay.com/music/horror-scene-everything-you-know-is-wro...
(There's a dragging sound, and a thump.)
Sean: My god! How did you do that?
Nicole: Sean? What's wrong?
911: Ma'am?
Sean: How did you pick me up like that?
Nicole: Sean? What's going on?
Sean: Honey, you won't believe it. Kiley just picked me up like I was a doll or something.
Nicole: That's impossible!
911: Ma'am?
Nicole: My husband was a football player. He's a big guy. Over 6 feet and about 200 pounds. He said our fifteen-year-old daughter just picked him up like a doll!
911: Ma'am, I will keep the units rolling. There are some drugs that cause people to exhibit great feats of strength. Can your husband exit the room?
Nicole: Sean? Can you open the door?
Sean: They've got a lot of stuff in front of it. Girls, why did you do this?
(There's a scraping sound from inside the room, and grunting, as Sean starts to move things, and the girls are giggling, sounding like glass windchimes.)
911: Ma'am, what is happening, now?
Nicole: My husband is moving furniture away from the door. I guess they barricaded themselves in there while they did that Mia makeover.
911: Ma'am, please repeat what you just said.
Nicole: Sean's moving furniture --
911: No, ma'am. The very last thing you said. Did you say a name?
Nicole: Oh, yes. Mia, this influencer. She has a makeover that everybody is doing, and the girls--
911: Ma'am, are you able to leave the house?
Nicole: I'm sorry?
Sean: That's okay, girls. I can do this on my -- Ow! Hey, Skyler! Take it easy!
911: Ma'am we're receiving reports that people who have taken the drug being sold by this Mia Murony are behaving aggressively.
Nicole: Sean? Are you okay?
Sean: Yeah, it's just that ... Skyler nearly broke my arm pulling me away from the door.
(The girls' tinkling laughter follows his remark.)
911: Ma'am, I want you to leave your house and run, do not walk, RUN to the intersection of Maple and Fremont. Officers will assist you there.
Nicole: My husband is with the girls. Sean, can you open the door?
Sean: Come on, girls. Let's get all of this stuff out of the way. Don't you want to show your mom how the makeover worked?
Kiley: It DID work, didn't it, Dad? I'm beautiful now, aren't I?
Sean: You've always been beautiful, honey.
(There's a sharp sound of flesh hitting flesh and Sean cries out in pain.)
Kiley: (sounding animalistic) LIAR!
A visit to West Dean Gardens West Sussex on a hot summers day to see the variety of plants & scenery.
L'édition 2022 est là : PARADE,
Techno Parade, Paris, samedi 24 septembre 2022
Les éditions précédentes sont là aussi :
They will show me what I want to see, Techno Parade, Paris samedi 23 septembre 2017.
Techno Parade, Paris samedi 19 septembre 2015.
et puis, pour les fans, il y a toujours JJ_BT, l'intégrale
le tout , powered by issuu.
This one, the most photographic of my recent paintings was influenced by Millais "The Old Garden" although I've been slightly more liberal with my colour here. These mossy steps were in a neglected area of the terraced garden at Craighall Castle,Rattray Perthshire.The lawn was covered in frost. I am also working on a print based on this. As with other work in this series I'm working from photographic material, I'm intertested that it has fooled a few people into thinking it is a photo manipulation rather than a painting. I saw a very good book on Chuck Close in November, I much admire his quasi photorealistic renderings of the past decade, not the high finish stuff. I was also influenced by Bill Jacklin RA, who paints work that deals with texture and light. Anyway Garden Steps is part of a growing series of work, which I've only just begun. As I'm in my 50th year I thought it was about time to get serious about painting again, these are "warming up" to bigger and better work I hope.
This picture has begun the year with the most comments on any of my material thus far on Flickr. Thank you to everyone for your thoughts, I value everything youve said, particularly the debate on Photoshop or painting.
The camera and the artist (set) about the relationship between photographic images and those painted. I hope to use examples from my own practice where photography has been used in both photo-realistic work as well as illustration and other art-forms.
I have used a number of artists whose work I have studied and look at the way photography informed and influenced their visual expression.
As I have scanned a lot of my old work I'm well aware that photography has played and still plays a significant role for me as an artist, indeed in recent years these two practices have overlapped and are no longer distinct paths.
They say that the Catholic church is a sphere of influence. Here is my Oval of influence…
One of my first experiences with using a telephoto lens. I can tell you that it was quite difficult to focus and hold something as long as this lens! :D
Taken with Olympus OM2SP, telephoto lens, fujifilm superia, ISO 200