View allAll Photos Tagged Norbit
Detail :
*Dura-U92-HAIR
*AMITOMO - Juicy Cherry Gacha - 22
*Emery - Safari Shirt Norbit (Mid) Salmon
*[spectacledchic] VINTAGE(May Collection) Rolled Up Jeans
*:[P]:- Amy Rose Bag [Standard-Long]:// Camel
*REIGN.- Glitter Flats
Location :
Vintage postcard.
African-American film actor Eddie Murphy (1961) began his career as a stand-up comedian. He made his television debut on Saturday Night Live. From the early 1980s, he devoted himself to acting in comedies. With his first film roles in 48 Hrs. (Walter Hill, 1982) and Trading Places (John Landis, 1983), he was already breaking through. This was followed by the hits Beverly Hills Cop (Martin Brest, 1984) and Coming to America (John Landis, 1988). His popularity waned in the late 1980s and early 1990s, but he made a comeback with The Nutty Professor (Tom Shadyac, 1996). Also a versatile voice actor, he voiced the donkey in Shrek (Andrew Adamson, Vicky Jenson, 2001) and the Chinese dragon in Mulan (Barry Cook, Tom Bancroft, 1998).
Edward Regan Murphy was born in 1961 in Brooklyn, New York, to Lillian Laney, a telephone operator, and Charles Edward Murphy, a transit police officer who was also an amateur comedian and actor. After his father died when Eddie was eight, his mother married Vernon Lynch, a foreman at a Breyer's Ice Cream plant. His brothers are Charlie Murphy and Vernon Lynch Jr. A bright kid growing up in the streets of New York, Eddie had aspirations of being in show business. His sense of humour made him stand out amongst his classmates at Roosevelt Junior-Senior High School. When he was fifteen, Murphy listened to Richard Pryor's comedy album 'That Nigger's Crazy', which inspired his decision to become a comedian. Murphy started to work as a stand-up comic in the lower part of New York, wooing audiences with his dead-on impressions of celebrities and outlooks on life. At 19, he was hired as one of the backup performers on the TV comedy show Saturday Night Live. Murphy exercised his comedic abilities by impersonating African American figures and originating some of the show's most memorable characters: Velvet Jones, inner-city kiddie host Mr. Robinson, and sourball celebrity Gumby. Murphy made his feature film debut in 48 Hrs. (Walter Hill, 1982), alongside Nick Nolte. The two's comedic and antagonistic chemistry, alongside Murphy's believable performance as a streetwise convict aiding a bitter, ageing cop, won over critics and audiences. The next year, Murphy went two for two, with another hit, Trading Places (John Landis, 1983) with Dan Aykroyd. That same year, the standup album 'Eddie Murphy, Comedian' won a Grammy. Beverly Hills Cop (Martin Brest, 1984) became one of the biggest blockbusters of the decade. It made Murphy a box-office superstar and a celebrity worldwide. Murphy's performance as a young Detroit cop in pursuit of his friend's murderers also earned him a third consecutive Golden Globe nomination. Axel Foley became one of Murphy's signature characters. On top of his game, Murphy was unfazed by his success, that is until his box office appeal and choices in scripts resulted in a spotty mix of hits and misses into the late 1980s and early 1990s. Films like The Golden Child (Michael Ritchie, 1986) and Beverly Hills Cop II (Tony Scott, 1987) were critically panned but were still massive draws at the box office. John Landis directed Murphy again in the hit Coming to America (John Landis, 1988) which allowed him to play an abundance of characters. Some of which he essayed so well that he was utterly unrecognisable. In 1989, Murphy found failure with his directorial debut, Harlem Nights (Eddie Murphy, 1989). Another 48 Hrs. (Walter Hill, 1990), his turn as a hopeless romantic in Boomerang (Reginald Hudlin, 1992) and as a suave vampire in Vampire In Brooklyn (Wes Craven, 1995) did little to resuscitate his career.
His remake of Jerry Lewis's The Nutty Professor (Tom Shadyac, 1996) brought Eddie Murphy's drawing power back into fruition. Hal Erickson at AllMovie: "the picture casts Murphy as Dr. Sherman Klump, an obese, klutzy scientist who transforms himself into Buddy Love, a self-obsessed narcissist and a hit with women. As an added surprise, Murphy doubles up his roles as Sherman and Buddy by playing each member of the Klump family (beneath piles and piles of latex). The Nutty Professor grossed dollar one and topped all of Murphy's prior efforts, earning well up into the hundreds of millions and pointing the actor in a more family-friendly direction. " From there, Murphy rebounded with occasional hits and misses but has long proven himself as a skilled comedic actor with a laudable range pertaining to characterisations and mannerisms. Though he has grown up a lot since his fast-lane rise as a superstar in the 1980s, Murphy has lived the Hollywood lifestyle with controversy, criticism, scandal, and the admiration of millions worldwide for his talents. As Murphy matured throughout the years, he settled down with more family-oriented humour with Dr. Dolittle (Betty Thomas, 1998), the animation film Mulan (Tony Bancroft, Barry Cook, 1998), Bowfinger (Frank Oz, 1999) with Steve Martin, and the animated smash Shrek (Andrew Adamson, Vicky Jenson, 2001), in a supporting role that showcased Murphy's comedic personality and charm. In the next years, he further starred in the hits The Haunted Mansion (Rob Minkoff, 2003), and Shrek 2 (Andrew Adamson, Kelly Asbury, Conrad Vernon, 2004). For the musical Dreamgirls (Bill Condon, 2006), he was nominated for a Best Supporting Actor Oscar. The film adaptation features an ensemble cast including Jamie Foxx, Beyoncé Knowles, Eddie Murphy, Jennifer Hudson, and Danny Glover. Murphy was a revelation as James Thunder Early, an R&B vocal sensation for whom the titular divas are hired to sing backup. His later films include Norbit (Brian Robbins, 2007), Shrek the Third (Chris Miller, Raman Hui, 2007), and Shrek Forever After (Mike Mitchell, 2010). In October 2019, Murphy produced and starred in the biographical comedy Dolemite Is My Name (Craig Brewer, 2019) as Rudy Ray Moore. The film received overwhelming critical acclaim. In December 2019, Murphy returned to Saturday Night Live to promote Dolemite; this was his first time hosting since 1984. Murphy, Arsenio Hall and James Earl Jones reprised their roles in the Coming to America sequel Coming 2 America (Craig Brewer, 2021). Eddie Murphy was married to Nicole Mitchell Murphy from 1993 to 2006. Murphy has ten children.
Sources: Hal Erickson (AllMovie), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
DETAILS FOR THIS VEHICLE.
Location : Kingmoor Yard Up Departures Sidings.
Date : 02/08/2013.
Type : Class A Liquids Diesel Tank Wagon.
Weight : 46 t GLW / 12.5 t Tare.
Number : ESSO 56055.
Number Series : ESSO 56000 to ESSO 56199.
Builder : 1965 by Norbit-Pickering Ltd, Wishaw, Scotland.
TOPS Code : TTA.
ADDITIONAL NOTES.
A slightly unusual visitor to Carlisle Kingmoor Yard is one of the ESSO Oil Co.'s 46 tonne fuel oil tank wagons. ESSO operates a fleet of these vehicles from their Fawley Refinery to serve traction depots around the country. The wagon seen here was one of three destined for Warrington Arpley Fuel Point but had been over carried to Carlisle due to a mishap at Warrington preventing them from being detached from freight 6X65 19.43 Didcot Yard to Mossend Yard.
British postcard by Star-Graphics, London, no. S 191.
African-American film actor Eddie Murphy (1961) began his career as a stand-up comedian. He made his television debut on Saturday Night Live. From the early 1980s, he devoted himself to acting in comedies. With his first film roles in 48 Hrs. (Walter Hill, 1982) and Trading Places (John Landis, 1983), he was already breaking through. This was followed by the hits Beverly Hills Cop (Martin Brest, 1984) and Coming to America (John Landis, 1988). His popularity waned in the late 1980s and early 1990s, but he made a comeback with The Nutty Professor (Tom Shadyac, 1996). Also a versatile voice actor, he voiced the donkey in Shrek (Andrew Adamson, Vicky Jenson, 2001) and the Chinese dragon in Mulan (Barry Cook, Tom Bancroft, 1998).
Edward Regan Murphy was born in 1961 in Brooklyn, New York, to Lillian Laney, a telephone operator, and Charles Edward Murphy, a transit police officer who was also an amateur comedian and actor. After his father died when Eddie was eight, his mother married Vernon Lynch, a foreman at a Breyer's Ice Cream plant. His brothers are Charlie Murphy and Vernon Lynch Jr. A bright kid growing up in the streets of New York, Eddie had aspirations of being in show business. His sense of humour made him stand out amongst his classmates at Roosevelt Junior-Senior High School. When he was fifteen, Murphy listened to Richard Pryor's comedy album 'That Nigger's Crazy', which inspired his decision to become a comedian. Murphy started to work as a stand-up comic in the lower part of New York, wooing audiences with his dead-on impressions of celebrities and outlooks on life. At 19, he was hired as one of the backup performers on the TV comedy show Saturday Night Live. Murphy exercised his comedic abilities by impersonating African American figures and originating some of the show's most memorable characters: Velvet Jones, inner-city kiddie host Mr. Robinson, and sourball celebrity Gumby. Murphy made his feature film debut in 48 Hrs. (Walter Hill, 1982), alongside Nick Nolte. The two's comedic and antagonistic chemistry, alongside Murphy's believable performance as a streetwise convict aiding a bitter, ageing cop, won over critics and audiences. The next year, Murphy went two for two, with another hit, Trading Places (John Landis, 1983) with Dan Aykroyd. That same year, the standup album 'Eddie Murphy, Comedian' won a Grammy. Beverly Hills Cop (Martin Brest, 1984) became one of the biggest blockbusters of the decade. It made Murphy a box-office superstar and a celebrity worldwide. Murphy's performance as a young Detroit cop in pursuit of his friend's murderers also earned him a third consecutive Golden Globe nomination. Axel Foley became one of Murphy's signature characters. On top of his game, Murphy was unfazed by his success, that is until his box office appeal and choices in scripts resulted in a spotty mix of hits and misses into the late 1980s and early 1990s. Films like The Golden Child (Michael Ritchie, 1986) and Beverly Hills Cop II (Tony Scott, 1987) were critically panned but were still massive draws at the box office. John Landis directed Murphy again in the hit Coming to America (John Landis, 1988) which allowed him to play an abundance of characters. Some of which he essayed so well that he was utterly unrecognisable. In 1989, Murphy found failure with his directorial debut, Harlem Nights (Eddie Murphy, 1989). Another 48 Hrs. (Walter Hill, 1990), his turn as a hopeless romantic in Boomerang (Reginald Hudlin, 1992) and as a suave vampire in Vampire In Brooklyn (Wes Craven, 1995) did little to resuscitate his career.
His remake of Jerry Lewis's The Nutty Professor (Tom Shadyac, 1996) brought Eddie Murphy's drawing power back into fruition. Hal Erickson at AllMovie: "the picture casts Murphy as Dr. Sherman Klump, an obese, klutzy scientist who transforms himself into Buddy Love, a self-obsessed narcissist and a hit with women. As an added surprise, Murphy doubles up his roles as Sherman and Buddy by playing each member of the Klump family (beneath piles and piles of latex). The Nutty Professor grossed dollar one and topped all of Murphy's prior efforts, earning well up into the hundreds of millions and pointing the actor in a more family-friendly direction. " From there, Murphy rebounded with occasional hits and misses but has long proven himself as a skilled comedic actor with a laudable range pertaining to characterisations and mannerisms. Though he has grown up a lot since his fast-lane rise as a superstar in the 1980s, Murphy has lived the Hollywood lifestyle with controversy, criticism, scandal, and the admiration of millions worldwide for his talents. As Murphy matured throughout the years, he settled down with more family-oriented humour with Dr. Dolittle (Betty Thomas, 1998), the animation film Mulan (Tony Bancroft, Barry Cook, 1998), Bowfinger (Frank Oz, 1999) with Steve Martin, and the animated smash Shrek (Andrew Adamson, Vicky Jenson, 2001), in a supporting role that showcased Murphy's comedic personality and charm. In the next years, he further starred in the hits The Haunted Mansion (Rob Minkoff, 2003), and Shrek 2 (Andrew Adamson, Kelly Asbury, Conrad Vernon, 2004). For the musical Dreamgirls (Bill Condon, 2006), he was nominated for a Best Supporting Actor Oscar. The film adaptation features an ensemble cast including Jamie Foxx, Beyoncé Knowles, Eddie Murphy, Jennifer Hudson, and Danny Glover. Murphy was a revelation as James Thunder Early, an R&B vocal sensation for whom the titular divas are hired to sing backup. His later films include Norbit (Brian Robbins, 2007), Shrek the Third (Chris Miller, Raman Hui, 2007), and Shrek Forever After (Mike Mitchell, 2010). In October 2019, Murphy produced and starred in the biographical comedy Dolemite Is My Name (Craig Brewer, 2019) as Rudy Ray Moore. The film received overwhelming critical acclaim. In December 2019, Murphy returned to Saturday Night Live to promote Dolemite; this was his first time hosting since 1984. Murphy, Arsenio Hall and James Earl Jones reprised their roles in the Coming to America sequel Coming 2 America (Craig Brewer, 2021). Eddie Murphy was married to Nicole Mitchell Murphy from 1993 to 2006. Murphy has ten children.
Sources: Hal Erickson (AllMovie), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Yeah, got my pockets fat and now my shit on Norbit
Brodie in the trap, he gettin' it in, tell him, "Come and score it"
Bad lil' bitch keep blowin' up my phone, but I just ignore it
Won't hang out if it ain't about that bag, that shit be borin'
:
:
Poppin. Lonny Hoddie (Fatpack) x Poppin. Lonny Shorts (Fatpack)- Available in Poppin Mainstore
Rigged For: Legacy M
French postcard by Editions F. Nugeron, no. E 498. French poster for Coming to America (John Landis, 1988) with Eddie Murphy. Caption: Prince of Zamunda is looking for his ideal wife.
African-American film actor Eddie Murphy (1961) began his career as a stand-up comedian. He made his television debut on Saturday Night Live. From the early 1980s, he devoted himself to acting in comedies. With his first film roles in 48 Hrs. (Walter Hill, 1982) and Trading Places (John Landis, 1983), he was already breaking through. This was followed by the hits Beverly Hills Cop (Martin Brest, 1984) and Coming to America (John Landis, 1988). His popularity waned in the late 1980s and early 1990s, but he made a comeback with The Nutty Professor (Tom Shadyac, 1996). Also a versatile voice actor, he voiced the donkey in Shrek (Andrew Adamson, Vicky Jenson, 2001) and the Chinese dragon in Mulan (Barry Cook, Tom Bancroft, 1998).
Edward Regan Murphy was born in 1961 in Brooklyn, New York, to Lillian Laney, a telephone operator, and Charles Edward Murphy, a transit police officer who was also an amateur comedian and actor. After his father died when Eddie was eight, his mother married Vernon Lynch, a foreman at a Breyer's Ice Cream plant. His brothers are Charlie Murphy and Vernon Lynch Jr. A bright kid growing up in the streets of New York, Eddie had aspirations of being in show business. His sense of humour made him stand out amongst his classmates at Roosevelt Junior-Senior High School. When he was fifteen, Murphy listened to Richard Pryor's comedy album 'That Nigger's Crazy', which inspired his decision to become a comedian. Murphy started to work as a stand-up comic in the lower part of New York, wooing audiences with his dead-on impressions of celebrities and outlooks on life. At 19, he was hired as one of the backup performers on the TV comedy show Saturday Night Live. Murphy exercised his comedic abilities by impersonating African American figures and originating some of the show's most memorable characters: Velvet Jones, inner-city kiddie host Mr. Robinson, and sourball celebrity Gumby. Murphy made his feature film debut in 48 Hrs. (Walter Hill, 1982), alongside Nick Nolte. The two's comedic and antagonistic chemistry, alongside Murphy's believable performance as a streetwise convict aiding a bitter, ageing cop, won over critics and audiences. The next year, Murphy went two for two, with another hit, Trading Places (John Landis, 1983) with Dan Aykroyd. That same year, the standup album 'Eddie Murphy, Comedian' won a Grammy. Beverly Hills Cop (Martin Brest, 1984) became one of the biggest blockbusters of the decade. It made Murphy a box-office superstar and a celebrity worldwide. Murphy's performance as a young Detroit cop in pursuit of his friend's murderers also earned him a third consecutive Golden Globe nomination. Axel Foley became one of Murphy's signature characters. On top of his game, Murphy was unfazed by his success, that is until his box office appeal and choices in scripts resulted in a spotty mix of hits and misses into the late 1980s and early 1990s. Films like The Golden Child (Michael Ritchie, 1986) and Beverly Hills Cop II (Tony Scott, 1987) were critically panned but were still massive draws at the box office. John Landis directed Murphy again in the hit Coming to America (John Landis, 1988) which allowed him to play an abundance of characters. Some of which he essayed so well that he was utterly unrecognisable. In 1989, Murphy found failure with his directorial debut, Harlem Nights (Eddie Murphy, 1989). Another 48 Hrs. (Walter Hill, 1990), his turn as a hopeless romantic in Boomerang (Reginald Hudlin, 1992) and as a suave vampire in Vampire In Brooklyn (Wes Craven, 1995) did little to resuscitate his career.
His remake of Jerry Lewis's The Nutty Professor (Tom Shadyac, 1996) brought Eddie Murphy's drawing power back into fruition. Hal Erickson at AllMovie: "the picture casts Murphy as Dr. Sherman Klump, an obese, klutzy scientist who transforms himself into Buddy Love, a self-obsessed narcissist and a hit with women. As an added surprise, Murphy doubles up his roles as Sherman and Buddy by playing each member of the Klump family (beneath piles and piles of latex). The Nutty Professor grossed dollar one and topped all of Murphy's prior efforts, earning well up into the hundreds of millions and pointing the actor in a more family-friendly direction. " From there, Murphy rebounded with occasional hits and misses but has long proven himself as a skilled comedic actor with a laudable range pertaining to characterisations and mannerisms. Though he has grown up a lot since his fast-lane rise as a superstar in the 1980s, Murphy has lived the Hollywood lifestyle with controversy, criticism, scandal, and the admiration of millions worldwide for his talents. As Murphy matured throughout the years, he settled down with more family-oriented humour with Dr. Dolittle (Betty Thomas, 1998), the animation film Mulan (Tony Bancroft, Barry Cook, 1998), Bowfinger (Frank Oz, 1999) with Steve Martin, and the animated smash Shrek (Andrew Adamson, Vicky Jenson, 2001), in a supporting role that showcased Murphy's comedic personality and charm. In the next years, he further starred in the hits The Haunted Mansion (Rob Minkoff, 2003), and Shrek 2 (Andrew Adamson, Kelly Asbury, Conrad Vernon, 2004). For the musical Dreamgirls (Bill Condon, 2006), he was nominated for a Best Supporting Actor Oscar. The film adaptation features an ensemble cast including Jamie Foxx, Beyoncé Knowles, Eddie Murphy, Jennifer Hudson, and Danny Glover. Murphy was a revelation as James Thunder Early, an R&B vocal sensation for whom the titular divas are hired to sing backup. His later films include Norbit (Brian Robbins, 2007), Shrek the Third (Chris Miller, Raman Hui, 2007), and Shrek Forever After (Mike Mitchell, 2010). In October 2019, Murphy produced and starred in the biographical comedy Dolemite Is My Name (Craig Brewer, 2019) as Rudy Ray Moore. The film received overwhelming critical acclaim. In December 2019, Murphy returned to Saturday Night Live to promote Dolemite; this was his first time hosting since 1984. Murphy, Arsenio Hall and James Earl Jones reprised their roles in the Coming to America sequel Coming 2 America (Craig Brewer, 2021). Eddie Murphy was married to Nicole Mitchell Murphy from 1993 to 2006. Murphy has ten children.
Sources: Hal Erickson (AllMovie), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
American postcard by Coral-Lee, Rancho Cordova, CA, Personality no. 145. Photo: Lynn Goldsmith / LGI.
African-American film actor Eddie Murphy (1961) began his career as a stand-up comedian. He made his television debut on Saturday Night Live. From the early 1980s, he devoted himself to acting in comedies. With his first film roles in 48 Hrs. (Walter Hill, 1982) and Trading Places (John Landis, 1983), he was already breaking through. This was followed by the hits Beverly Hills Cop (Martin Brest, 1984) and Coming to America (John Landis, 1988). His popularity waned in the late 1980s and early 1990s, but he made a comeback with The Nutty Professor (Tom Shadyac, 1996). Also a versatile voice actor, he voiced the donkey in Shrek (Andrew Adamson, Vicky Jenson, 2001) and the Chinese dragon in Mulan (Barry Cook, Tom Bancroft, 1998).
Edward Regan Murphy was born in 1961 in Brooklyn, New York, to Lillian Laney, a telephone operator, and Charles Edward Murphy, a transit police officer who was also an amateur comedian and actor. After his father died when Eddie was eight, his mother married Vernon Lynch, a foreman at a Breyer's Ice Cream plant. His brothers are Charlie Murphy and Vernon Lynch Jr. A bright kid growing up in the streets of New York, Eddie had aspirations of being in show business. His sense of humour made him stand out amongst his classmates at Roosevelt Junior-Senior High School. When he was fifteen, Murphy listened to Richard Pryor's comedy album 'That Nigger's Crazy', which inspired his decision to become a comedian. Murphy started to work as a stand-up comic in the lower part of New York, wooing audiences with his dead-on impressions of celebrities and outlooks on life. At 19, he was hired as one of the backup performers on the TV comedy show Saturday Night Live. Murphy exercised his comedic abilities by impersonating African American figures and originating some of the show's most memorable characters: Velvet Jones, inner-city kiddie host Mr. Robinson, and sourball celebrity Gumby. Murphy made his feature film debut in 48 Hrs. (Walter Hill, 1982), alongside Nick Nolte. The two's comedic and antagonistic chemistry, alongside Murphy's believable performance as a streetwise convict aiding a bitter, ageing cop, won over critics and audiences. The next year, Murphy went two for two, with another hit, Trading Places (John Landis, 1983) with Dan Aykroyd. That same year, the standup album 'Eddie Murphy, Comedian' won a Grammy. Beverly Hills Cop (Martin Brest, 1984) became one of the biggest blockbusters of the decade. It made Murphy a box-office superstar and a celebrity worldwide. Murphy's performance as a young Detroit cop in pursuit of his friend's murderers also earned him a third consecutive Golden Globe nomination. Axel Foley became one of Murphy's signature characters. On top of his game, Murphy was unfazed by his success, that is until his box office appeal and choices in scripts resulted in a spotty mix of hits and misses into the late 1980s and early 1990s. Films like The Golden Child (Michael Ritchie, 1986) and Beverly Hills Cop II (Tony Scott, 1987) were critically panned but were still massive draws at the box office. John Landis directed Murphy again in the hit Coming to America (John Landis, 1988) which allowed him to play an abundance of characters. Some of which he essayed so well that he was utterly unrecognisable. In 1989, Murphy found failure with his directorial debut, Harlem Nights (Eddie Murphy, 1989). Another 48 Hrs. (Walter Hill, 1990), his turn as a hopeless romantic in Boomerang (Reginald Hudlin, 1992) and as a suave vampire in Vampire In Brooklyn (Wes Craven, 1995) did little to resuscitate his career.
His remake of Jerry Lewis's The Nutty Professor (Tom Shadyac, 1996) brought Eddie Murphy's drawing power back into fruition. Hal Erickson at AllMovie: "the picture casts Murphy as Dr. Sherman Klump, an obese, klutzy scientist who transforms himself into Buddy Love, a self-obsessed narcissist and a hit with women. As an added surprise, Murphy doubles up his roles as Sherman and Buddy by playing each member of the Klump family (beneath piles and piles of latex). The Nutty Professor grossed dollar one and topped all of Murphy's prior efforts, earning well up into the hundreds of millions and pointing the actor in a more family-friendly direction. " From there, Murphy rebounded with occasional hits and misses but has long proven himself as a skilled comedic actor with a laudable range pertaining to characterisations and mannerisms. Though he has grown up a lot since his fast-lane rise as a superstar in the 1980s, Murphy has lived the Hollywood lifestyle with controversy, criticism, scandal, and the admiration of millions worldwide for his talents. As Murphy matured throughout the years, he settled down with more family-oriented humour with Dr. Dolittle (Betty Thomas, 1998), the animation film Mulan (Tony Bancroft, Barry Cook, 1998), Bowfinger (Frank Oz, 1999) with Steve Martin, and the animated smash Shrek (Andrew Adamson, Vicky Jenson, 2001), in a supporting role that showcased Murphy's comedic personality and charm. In the next years, he further starred in the hits The Haunted Mansion (Rob Minkoff, 2003), and Shrek 2 (Andrew Adamson, Kelly Asbury, Conrad Vernon, 2004). For the musical Dreamgirls (Bill Condon, 2006), he was nominated for a Best Supporting Actor Oscar. The film adaptation features an ensemble cast including Jamie Foxx, Beyoncé Knowles, Eddie Murphy, Jennifer Hudson, and Danny Glover. Murphy was a revelation as James Thunder Early, an R&B vocal sensation for whom the titular divas are hired to sing backup. His later films include Norbit (Brian Robbins, 2007), Shrek the Third (Chris Miller, Raman Hui, 2007), and Shrek Forever After (Mike Mitchell, 2010). In October 2019, Murphy produced and starred in the biographical comedy Dolemite Is My Name (Craig Brewer, 2019) as Rudy Ray Moore. The film received overwhelming critical acclaim. In December 2019, Murphy returned to Saturday Night Live to promote Dolemite; this was his first time hosting since 1984. Murphy, Arsenio Hall and James Earl Jones reprised their roles in the Coming to America sequel Coming 2 America (Craig Brewer, 2021). Eddie Murphy was married to Nicole Mitchell Murphy from 1993 to 2006. Murphy has ten children.
Sources: Hal Erickson (AllMovie), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
THIS PHOTO WAS UPDATED (18-JUN-09)
#################################
These are my HD movies mixed together of HD-DVD and BLURAY collection, the shelves are stacked on top of each other, this actually sits right next to the shelving with the dvd's etc.
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BLURAY TITLES: (A-Z ORDER)
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50 First Dates
Austin Powers - International Man Of Mystery
Austin Powers - The Spy Who Shagged Me
Austin Powers - Goldmember
Batman - The Dark Knight
Bedtime Stories
Bee Movie
Blue Streak
Bridge To Terabithia
Cars
CJ7
Deja Vu
Die Hard
Die Hard 2 - Die Harder
Die Hard - With A Vengeance
Die Hard 4.0
Dragon Wars
Dumb & Dumber - Unrated
Eagle Eye - Special Edition
Enemy Of The State
Eragon
Eraser
Fantastic 4 - Rise Of The Silver Surfer
Get Smart
Ghost Rider
Hancock
Hellboy - The Director's Cut
Hellboy 2 - The Golden Army
Home Alone - Family Fun Edition
I Robot
Ice Age
Ice Age 2 - The Meltdown
Independence Day
Indiana Jones - And The Kingdom Of The Crystal Skull
Journey To The Center Of The Earth (2-D / 3-D)
Kung Fu Hustle
Kung Fu Panda
Madagascar
Madagascar 2 - Escape To Africa
Man On Fire
Meet The Robinsons
Men In Black
Mr & Mrs Smith
National Treasure - Collector's Edition
National Treasure 2 - Book Of Secrets
Night At The Museum
Open Season
Open Season 2
Pirates Of The Caribbean - The Curse Of The Black Pearl
Pirates Of The Caribbean 2 - Dead Man's Chest
Pirates Of The Caribbean 3 - At World's End
Planet Of The Apes
Pretty Woman
Quantum Of Solace
Ratatouille
RV - Runaway Vacation
Short Circuit
Spiderman
Spiderman 2
Spiderman 3
Starship Troopers
Starsky & Hutch
Surf's Up
Taken
The Big Hit
The Chronicles Of Narnia - The Lion, The Witch And The Wardrobe
The Day After Tomorrow
The Devil's Own
The Forbidden Kingdom
The Game Plan
The League Of Extraordinary Gentlemen
The Manchurian Candidate
The Marine
The Simpsons Movie
The Water Horse - Legend Of The Deep
The Wild
Thirteen Ghosts
Tropic Thunder - Director's Cut
Wall-E
Yes Man
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HD-DVD TITLES: (A-Z ORDER)
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12 Monkeys
1408 - (Director's Cut)
16 Blocks
Aeon Flux
American Gangster
Apollo 13
Backdraft
Batman Begins
Beowulf - (Director's Cut)
Black Rain - (Special Collector's Edition)
Bruce Almighty
Bulletproof
Constantine
Dante's Peak
Dawn Of The Dead - (Unrated Director's Cut)
Daylight
Disturbia
Doom
Dragon Heart
End Of Days
Evan Almighty
Face Off
Failure To Launch - (Special Collector's Edition)
Fearless - (Unrated Edition)
Firewall
Four Brothers
Happy Feet
Happy Gilmore
Harry Potter And The Philosopher's Stone
Harry Potter And The Chambers Of Secrets
Harry Potter And The Prisoner Of Azkaban
Harry Potter And The Goblet Of Fire
Harry Potter And The Order Of The Phoenix
I Am Legend
I Now Pronounce You Chuck & Larry
Inside Man
Jarhead
King Kong (1976)
King Kong (2005)
Land Of The Dead - (Director's Cut)
Leaving Las Vegas
Lethal Weapon
Lethal Weapon 2
Liar Liar
License To Wed
Lucky #Slevin
Mercury Rising
Miami Vice
Mission: Impossible - (Special Collector's Edition)
Mission: Impossible 2 - (M:I-2)
Mission: Impossible 3 - (M:I:III)
Mr Bean's Holiday
Next
Norbit
Ocean's Eleven
Ocean's Twelve
Ocean's Thirteen
Out For Justice
Out Of Sight
Patch Adams
Poseidon
Rambo - First Blood
Rambo - First Blood - Part 2
Rambo 3
Sahara
Scooby-Doo
Serenity
Shaun Of The Dead
Shrek The Third
Shooter
Sleepy Hollow
Stardust
Superman - The Movie
Superman 2 - The Richard Donner Cut
Superman Returns
Terminator 2 - Judgment Day - Ultimate HD-Edition ( Steelbook )
Terminator 3 - Rise Of The Machines
The 40 Year Old Virgin
The Ant Bully
The Bourne Identity
The Bourne Supremacy
The Chronicles Of Riddick - (Director's Cut)
The Chronicles Of Riddick - Pitch Black
The Dukes Of Hazzard - Unrated
The Fast And The Furious
The Fast And The Furious - 2Fast 2Furious
The Fast And The Furious - Tokyo Drift
The Frighteners - (Directors Cut)
The Fugitive
The Game
The Heartbreak Kid
The Holiday
The Italian Job
The Kingdom
The Lake House
The Matrix
The Matrix - Reloaded
The Matrix - Revolutions
The Matrix - Experience (DVD Special) (R1)
The Mummy
The Mummy Returns
The Perfect Storm
The Polar Express
The Rundown
The Thing
The Watcher
TMNT
Tomb Raider
Total Recall
Training Day
Transformers - (Special Edition)
Troy
Twister
Under Siege
Unleashed
Van Helsing
Water World
We Were Soldiers
What Dreams May Come
World Trade Center
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I will slowly be adding more so check back with an updated photo...
British postcard by Film Review / Visual Imagination Ltd, London, no. C 4. Photo: UIP. Eddie Murphy and Janet Jackson in Nutty Professor II - The Klumps (Peter Segal, 2000).
African-American film actor Eddie Murphy (1961) began his career as a stand-up comedian. He made his television debut on Saturday Night Live. From the early 1980s, he devoted himself to acting in comedies. With his first film roles in 48 Hrs. (Walter Hill, 1982) and Trading Places (John Landis, 1983), he was already breaking through. This was followed by the hits Beverly Hills Cop (Martin Brest, 1984) and Coming to America (John Landis, 1988). His popularity waned in the late 1980s and early 1990s, but he made a comeback with The Nutty Professor (Tom Shadyac, 1996). Also a versatile voice actor, he voiced the donkey in Shrek (Andrew Adamson, Vicky Jenson, 2001) and the Chinese dragon in Mulan (Barry Cook, Tom Bancroft, 1998).
Edward Regan Murphy was born in 1961 in Brooklyn, New York, to Lillian Laney, a telephone operator, and Charles Edward Murphy, a transit police officer who was also an amateur comedian and actor. After his father died when Eddie was eight, his mother married Vernon Lynch, a foreman at a Breyer's Ice Cream plant. His brothers are Charlie Murphy and Vernon Lynch Jr. A bright kid growing up in the streets of New York, Eddie had aspirations of being in show business. His sense of humour made him stand out amongst his classmates at Roosevelt Junior-Senior High School. When he was fifteen, Murphy listened to Richard Pryor's comedy album 'That Nigger's Crazy', which inspired his decision to become a comedian. Murphy started to work as a stand-up comic in the lower part of New York, wooing audiences with his dead-on impressions of celebrities and outlooks on life. At 19, he was hired as one of the backup performers on the TV comedy show Saturday Night Live. Murphy exercised his comedic abilities by impersonating African American figures and originating some of the show's most memorable characters: Velvet Jones, inner-city kiddie host Mr. Robinson, and sourball celebrity Gumby. Murphy made his feature film debut in 48 Hrs. (Walter Hill, 1982), alongside Nick Nolte. The two's comedic and antagonistic chemistry, alongside Murphy's believable performance as a streetwise convict aiding a bitter, ageing cop, won over critics and audiences. The next year, Murphy went two for two, with another hit, Trading Places (John Landis, 1983) with Dan Aykroyd. That same year, the standup album 'Eddie Murphy, Comedian' won a Grammy. Beverly Hills Cop (Martin Brest, 1984) became one of the biggest blockbusters of the decade. It made Murphy a box-office superstar and a celebrity worldwide. Murphy's performance as a young Detroit cop in pursuit of his friend's murderers also earned him a third consecutive Golden Globe nomination. Axel Foley became one of Murphy's signature characters. On top of his game, Murphy was unfazed by his success, that is until his box office appeal and choices in scripts resulted in a spotty mix of hits and misses into the late 1980s and early 1990s. Films like The Golden Child (Michael Ritchie, 1986) and Beverly Hills Cop II (Tony Scott, 1987) were critically panned but were still massive draws at the box office. John Landis directed Murphy again in the hit Coming to America (John Landis, 1988) which allowed him to play an abundance of characters. Some of which he essayed so well that he was utterly unrecognisable. In 1989, Murphy found failure with his directorial debut, Harlem Nights (Eddie Murphy, 1989). Another 48 Hrs. (Walter Hill, 1990), his turn as a hopeless romantic in Boomerang (Reginald Hudlin, 1992) and as a suave vampire in Vampire In Brooklyn (Wes Craven, 1995) did little to resuscitate his career.
His remake of Jerry Lewis's The Nutty Professor (Tom Shadyac, 1996) brought Eddie Murphy's drawing power back into fruition. Hal Erickson at AllMovie: "the picture casts Murphy as Dr. Sherman Klump, an obese, klutzy scientist who transforms himself into Buddy Love, a self-obsessed narcissist and a hit with women. As an added surprise, Murphy doubles up his roles as Sherman and Buddy by playing each member of the Klump family (beneath piles and piles of latex). The Nutty Professor grossed dollar one and topped all of Murphy's prior efforts, earning well up into the hundreds of millions and pointing the actor in a more family-friendly direction. " From there, Murphy rebounded with occasional hits and misses but has long proven himself as a skilled comedic actor with a laudable range pertaining to characterisations and mannerisms. Though he has grown up a lot since his fast-lane rise as a superstar in the 1980s, Murphy has lived the Hollywood lifestyle with controversy, criticism, scandal, and the admiration of millions worldwide for his talents. As Murphy matured throughout the years, he settled down with more family-oriented humour with Dr. Dolittle (Betty Thomas, 1998), the animation film Mulan (Tony Bancroft, Barry Cook, 1998), Bowfinger (Frank Oz, 1999) with Steve Martin, and the animated smash Shrek (Andrew Adamson, Vicky Jenson, 2001), in a supporting role that showcased Murphy's comedic personality and charm. In the next years, he further starred in the hits The Haunted Mansion (Rob Minkoff, 2003), and Shrek 2 (Andrew Adamson, Kelly Asbury, Conrad Vernon, 2004). For the musical Dreamgirls (Bill Condon, 2006), he was nominated for a Best Supporting Actor Oscar. The film adaptation features an ensemble cast including Jamie Foxx, Beyoncé Knowles, Eddie Murphy, Jennifer Hudson, and Danny Glover. Murphy was a revelation as James Thunder Early, an R&B vocal sensation for whom the titular divas are hired to sing backup. His later films include Norbit (Brian Robbins, 2007), Shrek the Third (Chris Miller, Raman Hui, 2007), and Shrek Forever After (Mike Mitchell, 2010). In October 2019, Murphy produced and starred in the biographical comedy Dolemite Is My Name (Craig Brewer, 2019) as Rudy Ray Moore. The film received overwhelming critical acclaim. In December 2019, Murphy returned to Saturday Night Live to promote Dolemite; this was his first time hosting since 1984. Murphy, Arsenio Hall and James Earl Jones reprised their roles in the Coming to America sequel Coming 2 America (Craig Brewer, 2021). Eddie Murphy was married to Nicole Mitchell Murphy from 1993 to 2006. Murphy has ten children.
Sources: Hal Erickson (AllMovie), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Now that Jomilla (Godzilla..) is officially over, I'd like to publicize my opinion about them. Does this explain it? :)
Norbit = <3.
Camel Joe = </3. ;)
Rofl. Enjoy.
Vintage postcard by Boomerang. Photo: UIP. Eddie Murphy in The Nutty Professor (Tom Shadyac, 1996).
African-American film actor Eddie Murphy (1961) began his career as a stand-up comedian. He made his television debut on Saturday Night Live. From the early 1980s, he devoted himself to acting in comedies. With his first film roles in 48 Hrs. (Walter Hill, 1982) and Trading Places (John Landis, 1983), he was already breaking through. This was followed by the hits Beverly Hills Cop (Martin Brest, 1984) and Coming to America (John Landis, 1988). His popularity waned in the late 1980s and early 1990s, but he made a comeback with The Nutty Professor (Tom Shadyac, 1996). Also a versatile voice actor, he voiced the donkey in Shrek (Andrew Adamson, Vicky Jenson, 2001) and the Chinese dragon in Mulan (Barry Cook, Tom Bancroft, 1998).
Edward Regan Murphy was born in 1961 in Brooklyn, New York, to Lillian Laney, a telephone operator, and Charles Edward Murphy, a transit police officer who was also an amateur comedian and actor. After his father died when Eddie was eight, his mother married Vernon Lynch, a foreman at a Breyer's Ice Cream plant. His brothers are Charlie Murphy and Vernon Lynch Jr. A bright kid growing up in the streets of New York, Eddie had aspirations of being in show business. His sense of humour made him stand out amongst his classmates at Roosevelt Junior-Senior High School. When he was fifteen, Murphy listened to Richard Pryor's comedy album 'That Nigger's Crazy', which inspired his decision to become a comedian. Murphy started to work as a stand-up comic in the lower part of New York, wooing audiences with his dead-on impressions of celebrities and outlooks on life. At 19, he was hired as one of the backup performers on the TV comedy show Saturday Night Live. Murphy exercised his comedic abilities by impersonating African American figures and originating some of the show's most memorable characters: Velvet Jones, inner-city kiddie host Mr. Robinson, and sourball celebrity Gumby. Murphy made his feature film debut in 48 Hrs. (Walter Hill, 1982), alongside Nick Nolte. The two's comedic and antagonistic chemistry, alongside Murphy's believable performance as a streetwise convict aiding a bitter, ageing cop, won over critics and audiences. The next year, Murphy went two for two, with another hit, Trading Places (John Landis, 1983) with Dan Aykroyd. That same year, the standup album 'Eddie Murphy, Comedian' won a Grammy. Beverly Hills Cop (Martin Brest, 1984) became one of the biggest blockbusters of the decade. It made Murphy a box-office superstar and a celebrity worldwide. Murphy's performance as a young Detroit cop in pursuit of his friend's murderers also earned him a third consecutive Golden Globe nomination. Axel Foley became one of Murphy's signature characters. On top of his game, Murphy was unfazed by his success, that is until his box office appeal and choices in scripts resulted in a spotty mix of hits and misses into the late 1980s and early 1990s. Films like The Golden Child (Michael Ritchie, 1986) and Beverly Hills Cop II (Tony Scott, 1987) were critically panned but were still massive draws at the box office. John Landis directed Murphy again in the hit Coming to America (John Landis, 1988) which allowed him to play an abundance of characters. Some of which he essayed so well that he was utterly unrecognisable. In 1989, Murphy found failure with his directorial debut, Harlem Nights (Eddie Murphy, 1989). Another 48 Hrs. (Walter Hill, 1990), his turn as a hopeless romantic in Boomerang (Reginald Hudlin, 1992) and as a suave vampire in Vampire In Brooklyn (Wes Craven, 1995) did little to resuscitate his career.
His remake of Jerry Lewis's The Nutty Professor (Tom Shadyac, 1996) brought Eddie Murphy's drawing power back into fruition. Hal Erickson at AllMovie: "the picture casts Murphy as Dr. Sherman Klump, an obese, klutzy scientist who transforms himself into Buddy Love, a self-obsessed narcissist and a hit with women. As an added surprise, Murphy doubles up his roles as Sherman and Buddy by playing each member of the Klump family (beneath piles and piles of latex). The Nutty Professor grossed dollar one and topped all of Murphy's prior efforts, earning well up into the hundreds of millions and pointing the actor in a more family-friendly direction. " From there, Murphy rebounded with occasional hits and misses but has long proven himself as a skilled comedic actor with a laudable range pertaining to characterisations and mannerisms. Though he has grown up a lot since his fast-lane rise as a superstar in the 1980s, Murphy has lived the Hollywood lifestyle with controversy, criticism, scandal, and the admiration of millions worldwide for his talents. As Murphy matured throughout the years, he settled down with more family-oriented humour with Dr. Dolittle (Betty Thomas, 1998), the animation film Mulan (Tony Bancroft, Barry Cook, 1998), Bowfinger (Frank Oz, 1999) with Steve Martin, and the animated smash Shrek (Andrew Adamson, Vicky Jenson, 2001), in a supporting role that showcased Murphy's comedic personality and charm. In the next years, he further starred in the hits The Haunted Mansion (Rob Minkoff, 2003), and Shrek 2 (Andrew Adamson, Kelly Asbury, Conrad Vernon, 2004). For the musical Dreamgirls (Bill Condon, 2006), he was nominated for a Best Supporting Actor Oscar. The film adaptation features an ensemble cast including Jamie Foxx, Beyoncé Knowles, Eddie Murphy, Jennifer Hudson, and Danny Glover. Murphy was a revelation as James Thunder Early, an R&B vocal sensation for whom the titular divas are hired to sing backup. His later films include Norbit (Brian Robbins, 2007), Shrek the Third (Chris Miller, Raman Hui, 2007), and Shrek Forever After (Mike Mitchell, 2010). In October 2019, Murphy produced and starred in the biographical comedy Dolemite Is My Name (Craig Brewer, 2019) as Rudy Ray Moore. The film received overwhelming critical acclaim. In December 2019, Murphy returned to Saturday Night Live to promote Dolemite; this was his first time hosting since 1984. Murphy, Arsenio Hall and James Earl Jones reprised their roles in the Coming to America sequel Coming 2 America (Craig Brewer, 2021). Eddie Murphy was married to Nicole Mitchell Murphy from 1993 to 2006. Murphy has ten children.
Sources: Hal Erickson (AllMovie), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
I miss my boy.
Today is the six-monthiversary of the day we decided to fall in love. :)
He made the cutest plan to watch a movie "together" and sent me all the necessary components of said watching period. Milk Duds, Mike & Ikes, money to buy grapes (my favorite movie food), caaaake!, and the movie: Norbit. :)
What a nice young man I've found.
Tidbits*: I was wearing his shirt and reading his old letters when, low an behold, the mailman knocked on my door! "For me?!" "Yes ma'am!" And so I proceeded to unpack the contents of the above mentioned box.
* None of that happened; I got the box yesterday. But I am wearing his shirt.
Also, I find the construction of this setup humorous. View it here. instagr.am/p/kSfWQ/
Coming to America - Alternative Movie Poster
Original illustration - posters, prints and many other products available at:
Biografía
Eddie Murphy comenzó su carrera a la temprana edad de 3 años. Fue contratado como humorista por la cadena de televisión NBC de Estados Unidos para la cárcel de Alcatraz en San Francisco, conocido como el dedotes quien mencionaba a cada 3 segundos CHIWE en el programa Saturday Night Live. Abandonó el programa durante la temporada 1983-1984. En 1993 graba una canción con Michael Jackson. Después de su paso por Saturday Night Live, protagonizó varias películas, entre ellas Superdetective en Hollywood, por la que fue nominado al Globo de Oro al mejor actor de comedia. También fue nominado por las películas Límite: 48 horas, Entre pillos anda el juego y El profesor chiflado. En 2007, finalmente ganó el Globo de Oro como mejor actor de reparto por su papel del ficticio cantante de soul James "Thunder" Early en la película Dreamgirls, recibiendo también una nominación al Óscar por el mismo papel.
Murphy se destaca como un actor comediante con una gran espontaneidad y empatía.
En el año 1997 fue sorprendido en su auto con un travesti, a quien detuvo la policía. "Sólo intentaba ser un buen samaritano", justificó Murphy el episodio, que tuvo lugar el viernes a las 4.45 de la madrugada en el bulevar Santa Mónica, en el barrio West Hollywood de Los Angeles. Allí, Murphy (36 años, casado, tres hijos, un caché de más de 15 millones de dólares por película) detuvo su Toyota Land Cruiser y dejó subir a Atisone Seuili (21 años, apariencia de bella mujer, sexo indefinido). Cuando recorrieron unos tres kilómetros, policías que venían siguiendo el auto los hicieron parar.
Como actor de voz para películas de animación, prestó su voz a Asno en Shrek y sus secuelas, y al dragón Mushu en la película de Disney, Mulan.
Estuvo saliendo con la cantante, Mel B pero rompió con ella al saber que estaba embarazada.
El 1 de enero de 2008 se casa con la productora Tracey Edmonds en Bora Bora, se separan una semana después.
El 4 de noviembre de 2010, la Revista Forbes publicó que Murphy ocupó el segundo lugar en su lista como el segundo actor más taquillero de Hollywood, detrás del cómico Will Ferrell.
No obstante, Murphy encabeza la lista de las mayores fiascos con su film Pluto Nash (2002), según la lista publicada por The Hollywood Reporter. La comedia futurista protagonizada por Eddie Murphy contó con un presupuesto de cerca de 100 millones de dólares, de los que sólo consiguió recuperar 5 tras su estreno en las salas de cine de EE UU.
De acuerdo con Forbes, las producciones lideradas por Murphy recaudaron entre taquilla y vídeo doméstico $ 4,45 dólares por cada dólar cobrado por el intérprete entre junio de 2009 y junio de 2010. Sin embargo, la revista no contabiliza los trabajos en el sector de la animación, por lo que descarta la saga "Shrek" en los resultados de Murphy, quien pone voz al burro en la versión en inglés. Con ello sería bastante probable que fuera el actor más taquillero en la industria de Hollywood.
En acción real, el protagonista de "Beverly Hills Cop" cosechó resultados discretos con "Imagine That", "Meet Dave" y "Norbit".
[editar] Carrera musical
Mucho menos conocida y menos brillante, es la carrera de Eddie Murphy en el medio musical. Su hit de 1985, “Party All the Time”, su segundo sencillo personal e incluido en su álbum How Could It Be , alcanzó un notable y sorprendente Nº 2 en la lista de Billboard Hot 100. Es un tema compuesto y producido por Rick James, quien además canta en los coros. Stevie Wonder también fue invitado y participó en la producción de algunos temas del mismo disco, con la finalidad de asegurarse algún éxito.
Sin embargo, fue el único suceso en listas que tuvo Murphy, más dedicado a su carrera cinematográfica. Desde 1993, no ha vuelto a un estudio de grabación.
En total, su discografía se reduce a cinco álbumes de estudio: Eddie Murphy (1982), Comedian (1983), How Could It Be (1985), So Happy (1989) y Love's Alright (1993), así como ocho sencillos, todos relacionados de alguna forma con el amor, la comedia y la diversión.
“Put Your Mouth on Me”, incluido en So Happy (1989), fue su segundo mayor éxito al llegar al Nº 27 en Billboard.
[editar] Filmografía
[editar] Como actor
* 2011
o Tower Heist
* 2010
o A Thousand Words
o Shrek Forever After (voz)
* 2009
o Imagine That
* 2008
o Tripulación Dave
o NowhereLand
* 2007
o Norbit
o Shrek tercero Shrek the Third (voz)
* 2006
o Dreamgirls Soñadoras
* 2004
o Shrek 2 (voz)
* 2003
o The Haunted Mansion
o La guardería de Papá Daddy Day Care
* 2002
o Soy espía I Spy
o Pluto Nash The Adventures of Pluto Nash
* 2001
o Showtime
o Dr. Dolittle 2
o Shrek (voz)
* 2000
o El profesor chiflado II: La familia Klump Nutty Professor II: The Klumps
* 1999
o Bowfinger: El pícaro Bowfinger
o Condenados a fugarse Life
* 1998
o El gurú, una incontrolable tentación Holy Man
o Mulan (voz)
o Dr. Dolittle
* 1996
o El profesor chiflado The Nutty Professor
* 1995
o Un Vampiro suelto en Blooklyn Vampire en Blooklyn
* 1994
o Televisión's Christmas Classics
o Superdetective en Hollywood III Beverly Hills Cop III
* 1993
o 1993 MTV Movies Adward
* 1992
o El príncipe de las mujeres Boomerang
o Su distinguida señoría The Distingued Gentleman
o 1992 MTV Movies Adward
* 1990
o 48 horas más Another 48 Hrs.
* 1989
o Noches de Harlem Harlem Nights
* 1988
o Coming to America Un Príncipe en Nueva York
* 1987
o Superdetective en Hollywood II Beverly Hills Cop II
* 1986
o El chico de oro The Golden Child
* 1984
o Superdetective en Hollywood Beverly Hills Cop
o The Great Standups
o Mejor defensa... el ataque Best Defend
* 1983
o Entre pillos anda el juego Trading Places
* 1982
o Límite: 48 horas 48 Hrs.
[editar] Como director
* Harlem Nights (1989)
* Coming to America (1988)
* Superdetective en Hollywood II (1987)
[editar] Como productor
* Johnny Blaze (2008)
* Norbit (2007)
* Nutty Professor II: The Klumps (2000)
* Los PJs (serie) (1999-2001)
* Condenados a fugarse Life (1999)
* Vampiro suelto en Brooklyn (1995)
* Clippers (1991)
* The Kid Who Loved Christmas (1990)
* Harlem Nights (1989)
* What's Alan Watching (1989)
* The Best of Eddie Murphy: Saturday Night Live (1989)
* Eddie Murphy Raw (1987)
* Eddie Murphy Delirious (1983)
[editar] Premios
[editar] Oscar
Año Categoría Película Resultado
2006 Mejor actor de reparto Dreamgirls Candidato
Western Town is an ideal location for movies. It can be easily remodeled into different locations from around the world and has stood in for C.S.I., Carnival, How Booze Built America, Norbit, Flintstones Viva Rock Vegas, and Entourage includes a large sound barn with a speed rail stage.
The locations in this set are available for use in film, special events, and still photography. For all inquiries, please contact the permit office at Santa Monica Mountains National Recreation Area: (805)370-2308.
Diese Bilder habe ich für die norBIT Homepage erstellt.
Das Format und das Tonemapping waren durch die Gestaltung der Webseite vorgegeben.
Headlined at The Comic Strip 2007... Chappelle Show, Norbit, Roll Bounce, Eddie Murphy's older brother.
Trading Places - Alternative Movie Poster
Original illustration - posters, prints and many other products available at:
I was perusing the BBC film diary earlier today, to see what gems of cinematic entertainment are heading our way this year:
There are a number that I'm dreading... 'Norbit' - another film where Eddie Murphy plays more than one character - I don't get why he does that, it seems, in every film. Another Mr Bean movie, another Teenage Mutant Ninja Turtles movie, another Pirates of the Caribbean film, Ocean's Thirteen (which can't be as bad as the second half of Ocean's Twelve), another Die Hard film and the Jim Carrey-less sequel to 'Bruce Almighty'.
The description of 'Music And Lyrics By', in fact, the first five words of the description drove fear into my heart as well: "Hugh Grant and Drew Barrymore play, respectively, a washed up composer and the girl who inspires him in the new rom-com from Miss Congeniality helmer Marc Lawrence."
The strangest casting decision of the year seems to be in 'Reign Over Me', the story of a grieving man who lost his family on September 11th. The aforementioned man will be played by Adam Sandler. I hope it's really good, perhaps Mr S has found a type of film/role that he's more suited to than the hideous stuff he's done in the past.
To stop being so negative, there are quite a few films I'm eagerly anticipating: 'Casablanca' is being re-issued for Valentine's Day, as it 'Dirty Dancing' (which I'm less excited about). I shall be paying money to see 'Hot Fuzz', the (hopefully less bloody) follow up to Shaun of the Dead and the film adaptation of the book 'Fast Food Nation', billed as "a powerful drama tracing the journey of a burger through a chain of human stories".
The film I'm eagerly awaiting for 2007 however is 'The Simpsons Movie'. If the trailers are anything to go by, it should be very very funny.
The photo is of a small selection of my videos and DVDs.
Western Town is an ideal location for movies. It can be easily remodeled into different locations from around the world and has stood in for C.S.I., Carnival, How Booze Built America, Norbit, Flintstones Viva Rock Vegas, and Entourage includes a large sound barn with a speed rail stage.
The locations in this set are available for use in film, special events, and still photography. For all inquiries, please contact the permit office at Santa Monica Mountains National Recreation Area: (805)370-2308.
Western Town is an ideal location for movies. It can be easily remodeled into different locations from around the world and has stood in for C.S.I., Carnival, How Booze Built America, Norbit, Flintstones Viva Rock Vegas, and Entourage includes a large sound barn with a speed rail stage.
The locations in this set are available for use in film, special events, and still photography. For all inquiries, please contact the permit office at Santa Monica Mountains National Recreation Area: (805)370-2308.
Western Town is an ideal location for movies. It can be easily remodeled into different locations from around the world and has stood in for C.S.I., Carnival, How Booze Built America, Norbit, Flintstones Viva Rock Vegas, and Entourage includes a large sound barn with a speed rail stage.
The locations in this set are available for use in film, special events, and still photography. For all inquiries, please contact the permit office at Santa Monica Mountains National Recreation Area: (805)370-2308.
Western Town is an ideal location for movies. It can be easily remodeled into different locations from around the world and has stood in for C.S.I., Carnival, How Booze Built America, Norbit, Flintstones Viva Rock Vegas, and Entourage includes a large sound barn with a speed rail stage.
The locations in this set are available for use in film, special events, and still photography. For all inquiries, please contact the permit office at Santa Monica Mountains National Recreation Area: (805)370-2308.
Western Town is an ideal location for movies. It can be easily remodeled into different locations from around the world and has stood in for C.S.I., Carnival, How Booze Built America, Norbit, Flintstones Viva Rock Vegas, and Entourage includes a large sound barn with a speed rail stage.
The locations in this set are available for use in film, special events, and still photography. For all inquiries, please contact the permit office at Santa Monica Mountains National Recreation Area: (805)370-2308.
Isidre Nonell 1872-1911
Norbit 1909
Madrid Musée Reina Sofia
LA PEINTURE EUROPÉENNE ET LE DIALOGUE SOCIAL
L'art, la peinture en particulier, mais aussi la sculpture, est commandé par les idéologies qui dominent son époque, et décidé par les élites idéologiques et politiques des sociétés. Il est possible de tenter une analyse de l'histoire de la peinture européenne sous un angle un peu différent du fondement idéologique de l'art, bien que très lié à lui : celui du dialogue inter-social. C'est un autre chapitre de "l'art miroir des valeurs d'une société".
1° Dès l'époque romane la peinture européenne, qui commence par la fresque et la mosaïque, se poursuit par les enluminures (les livres de piété...), puis les vitraux et enfin plus tardivement les tableaux de chevalet, présente, pendant environ 1000 ans (500-1500 en dates grosses) des caractéristiques communes intéressantes.
- C'est un art dont le sens est univoque, idéologiquement commandé par la doctrine de l’Église catholique à l'ouest, l'église orthodoxe à l'est dans l'Europe slave.
- C'est un art pleinement partagé, totalement inter-social : il s'adresse à toutes les couches de la population. Les élites, idéologiques et politiques, religieuses et aristocratiques, s'entendent pour promouvoir un art qui s'adresse à toutes les classes sociales. Depuis elles mêmes jusqu'aux petites gens, la paysannerie, en passant par la bourgeoisie moyenne ou petite et l'artisanat. Pendant toute la période gothique et romane, qu'une historiographie orientée appelle "le Moyen Age", tout l'art des églises, partout en Europe, du moindre village aux plus grandes villes, pendant un millénaire, part du haut de l'échelle sociale et s'adresse aux peuples, y compris et même surtout aux illettrés.
2° A la "Renaissance" l'élite sociale, aussi bien celle profane que celle religieuse, toute l'aristocratie et la très haute bourgeoisie qui a conquis sa place et s'est assimilée à l'aristocratie, sous l'influence des idées Humanistes, font naître, à côté de l'art médiéval sacré, un art nouveau. Cet art, profane, s'inspire des thèmes empruntés à l'histoire de l'antiquité européenne et à la mythologie gréco-romaine. C'est incontestablement un art réservé à l'élite cultivée. Mais la même élite continue de commanditer et de participer à l' art religieux inter-social, pluri-social, qui continue de s'adresser à tout le peuple, du bas en haut de l'échelle sociale, élites comprises. Il n'y a pas affrontement entre ces deux domaines de la peinture européenne qui vont continuer à vivre en parallèle et en bonne intelligence. En effet la Renaissance n'est pas, contrairement à ce que l'on écrit souvent, une rupture idéologique dans la société européenne. Le dialogue inter-social continue comme auparavant sur les mêmes thèmes religieux.
3° "La Réforme" va mettre en place, dans les seuls Pays Bas du nord, une évolution remarquable. Contrairement à la Renaissance, sur le plan idéologique la Réforme est très clairement une rupture par rapport à la société antérieure. Une rupture qui va provoquer une orientation profane, laïque et matérialiste des thèmes de la peinture.
Au plan social c'est la naissance et le triomphe de la peinture bourgeoise des classes moyennes.
Avant la Réforme, et après la Réforme, dans toute l'Europe hors des Pays Bas, la haute bourgeoisie européenne s'est totalement assimilée à l'aristocratie, et ses goûts artistiques ne s'en distinguent pas : elle préfère "le grand art", outre bien sûr les portraits.
Après la Réforme, mais aux Pays Bas uniquement, c'est le triomphe d'une peinture laïque mais surtout très réaliste, très proche de la vie quotidienne du petit peuple. C'est bien sûr la bourgeoisie néerlandaise dans son ensemble qui est l'élément catalyseur de cet art, qui sponsorise et fait vivre les peintres. Mais les thèmes de cette peinture peuvent être très populaires. Le paysan n'accroche pas de tableaux dans sa chaumière, mais il est souvent, ainsi que les animaux de la ferme, le sujet de la peinture des Pays Bas. Il est possible dès lors de parler d'un "art de la classe moyenne" car le marché de cet art est toute la classe moyenne des Pays Bas. Même si cet art se décide, comme toujours, tout en haut d'une société dirigée par une très haute bourgeoisie et quelques aristocrates.
Cet art caractéristique des Pays Bas du 17è siècle ne se répand pas ailleurs dans l' Europe restée catholique (Allemagne, Autriche, Italie, Espagne) ou de manière tout à fait marginale. Pendant tout le 17è et le 18è siècle l'art de la peinture de ces pays continue sur la lancée de la Renaissance : il reste divisé en deux domaines distincts, mais non affrontés, complémentaires :
- L'art religieux à destination des peuples, toujours dirigé par l’Église catholique, toujours commandé par une volonté de dialogue social, et par le souci constant de s'adresser à toutes les couches de la population européenne y compris les analphabètes. Depuis la haute aristocratie et la haute bourgeoisie jusqu'à la paysannerie, selon la destination du tableau, l'importance des églises ou le particularisme des demeures privées.
- "Le Grand Art" dont les thèmes sont à la fois religieux, historiques et mythologiques, commandité par les Rois, les Princes et la Haute Église. Un art destiné aux Palais des Rois, aux Hôtels de l'Aristocratie et de la Haute Bourgeoisie commerçante et financière, aux églises d'importance, et aux édifices publics
4° Une fois mis fin aux guerres imposées par la Révolution et l'Empire, l'Europe va pouvoir retrouver la paix, et se consacrer à nouveau à son développement scientifique, technique et économique interrompu pendant un quart de siècle par les ambitions françaises.
A partir de 1820 et jusqu'en 1950, toujours selon des datations approchantes, c'est la période de l'Art Moderne. Une période extraordinairement plurielle au plan idéologique. On constate un net effacement de la religion catholique, mais les "Lumières" n'ont pas encore triomphé absolument et aucune idéologie sacrée ou profane ne domine totalement la société européenne. C'est ce qui explique la grande diversité des thèmes et la liberté de création dont jouissent les artistes. Sauf les deux exceptions communiste et nazie mais qui restent circonscrites dans le temps et dans l'espace.
Au plan social on peut dire que c'est la victoire progressive de l'art bourgeois compris comme un art des classes moyennes. Bref, c'est l'art des Pays Bas du 17è siècle qui s'installe dans toute l'Europe avec toutefois une résistance un petit peu plus évidente de la peinture religieuse, qui n'est cependant plus commanditée exclusivement par l’Église.
La Grande Peinture, "le Grand Art", c'est l’école Académique en France qui le perpétue. Il va résister très peu de temps. Dès les Impressionnistes, la peinture de style et de thème classique doit s'effacer, non pas disparaître, mais accepter de laisser vivre la peinture bourgeoise des paysages ordinaires, des mœurs de la vie quotidienne, des nature-mortes. Une peinture en outre d'un style très éloigné du grand classicisme.
L'Art de la période Moderne c'est un art de la peinture très divers, représenté par de multiples écoles, qui réduit à peu de chose les grands sujets religieux, historiques ou mythologiques et s'adresse en fait à toutes les classes du bas en haut de la hiérarchie sociale. L'art abstrait, une nouveauté qui apparaît dans les années 1900 s'adresse plus spécifiquement aux intellectuels, mais toujours de toutes les classes de la société. On peut donc bien parler d'un art bourgeois des classes moyennes, mais qui n'est aucunement exclusif, totalitaire, qui laisse vivre le Grand Art notamment dans l'art décoratif monumental, et qui laisse se développer sur ses marges l'aventure de l'art abstrait. Bref la période de l'Art Moderne est un temps de dialogue et d'art partagé entre les différentes couches de la société, mais sans aucun doute avec plus de diversité thématique et stylistique que dans les temps plus anciens, entre 500 et 1800.
5° A partir des années 1950 et suivantes s'impose en Europe l'Art Contemporain. Il est inspiré par des avant-gardes européennes et souvent parisiennes, mais est en provenance de New York.
La caractéristique de cet "Art" est qu'il se veut radicalement révolutionnaire, absolument novateur, qu'il entend faire table rase de toute l'esthétique du passé européen. A commencer par le rejet du Beau comme but de l'art. Le Nouveau Monde des Amériques du Nord, celui des USA, entend s'opposer à l'Ancien Monde, Européen, et s'imposer à lui. Le Nouveau Monde a donc systématisé cette idée "géniale", esquissée en Europe, à Paris : le Beau n'est plus un critère de l'art. Quant au Sens, il est possible de l'inventer, de lui faire dire ce que l'on veut. Et de vendre ce petit montage nouveau avec beaucoup de profit.
A partir de la Fontaine-Urinoir de Marcel Duchamp le laid est promu à la dignité de concept créateur, d' idée fondatrice, inséparable du nouvel Art Conceptuel, à égalité avec quelques autres obsessions : le Nouveau, l'Absurde, la Provocation et la Rentabilité.
L'artiste contemporain officiel doit proposer froidement, avec détermination les objets les plus hétéroclites : sièges et tables bancales, cartons, toutes les brosses, à dent, à ongles, à cils, à cheveux, à vêtements, des lunettes, des chaussures, balais brosse et serpillières, cintres, vêtements, chiffons entassés, boites ouvertes ou fermées, machineries cassées ou concassées, tubulures, poutrelles rouillées, tordues, cassées, poutres de ciment, moellons, parpaings, tuiles, briques entières ou pulvérisées, tubes de néon, tas de gravats ou de charbon, sacs de cailloux, toutes les sortes de tuyaux: fer, ciment, plastiques, tous les tissus en vrac, du caoutchouc, des seaux, brocs, pots, un vieux téléphone, des machines à écrire, à laver, un évier... et bien sûr toujours des carrés ou rectangles blanc, jaune, noir, rouge et des taches ou des lignes à l'infini. ...et proclamer haut et fort, avec une grande assurance, le plus de culot possible même, que c'est de "l'art" et surtout de l'art anti-bourgeois. Car bien sûr cette élite éclairée et argentée qui commandite le non-art contemporain se proclame et s'affiche révolutionnaire. Son art est conçu pour déranger les peuples, mais c'est pour leur bien, donc c'est révolutionnaire.
Le mépris des classes moyennes, le mépris des peuples, est devenue une caractéristique de l'art de l'élite éclairée de l'Occident. C'est l'art des "Lumières" idéologiquement mondialiste, qui triomphe au niveau de l'art officiel c'est à dire celui étatique, et des grands Ensembles et Organisations Internationales, et au niveau de la grande Finance Internationale. Cet art n'est plus en Occident un outils de dialogue inter-social, il s'enferme dans un discours ésotérique, s'impose dans des musées construits exprès pour lui, et se fabrique un marché particulier. L'art Contemporain, Conceptuel est devenu une Réserve pour Eclairés et Riches. Un art réservé à l'Oeil qui illumine, de tout en haut, et à ses Gardiens du Temple des niveaux supérieurs, la Pyramide sociale. La Pyramide qui figure sur le billet de un dollar et dans la cour du Louvre à Paris. Et dont le programme d'extermination et de contrôle absolu des peuples, anti-humaniste, est inscrit sur le monument appelé les Georgia Guidestones (USA). Bien sûr au nom de la Raison Eclairée, celle des "Lumières".
6° A d'autres niveaux de la société occidentale, au niveau tout à fait moyen de la Pyramide, au niveau de la bourgeoisie ordinaire et des classes moyennes, au niveau local et régional des villes, s'est maintenu vivant un art privé, commercial, qui survit en dehors du catéchisme de l'art officiel, mais aussi de ses sources de financement.
D'autre part, parti aussi de New York, mais vraiment originaire du Nouveau Monde, l'art des rues, à l'origine rebelle et sauvage, se développe un peu plus tardivement, puis s'impose en Europe à partir des années 2000-2010, jusqu'à devenir un art toléré, semi-organisé, puis adopté et sponsorisé. Le secteur public et celui privé sont associés dans son succès. Mais cet art est toujours à des niveaux de décision locale, et bien sûr essentiellement citadin, comme toute la société occidentale.
L'art privé commercial et l'art des rues sont deux domaines de la peinture occidentale qui pratiquent le dialogue inter-social, à l'intérieur de toutes les classes moyennes, et même en direction des classes les plus défavorisées. On peut penser que le développement de l'art des rues pourrait permettre de limiter les graffitis vandales imposés par quelques asociaux, qui malheureusement ont défiguré beaucoup de nos villes. Après seulement on pourra peut être s'occuper de construire une esthétique pour les exclus de la société. Encore qu'il est très douteux que les exclus aient du temps à consacrer à l'esthétique, et que cette question est surtout un faux problème agité par des intellectuels-idéologues, très semblables à ceux qui nous ont fabriqué l'art contemporain.
Mais il existe d'autre domaines où le Beau et le Sens persistent. La photographie contemporaine, par exemple sur Flickr, montre avec évidence que c'est le beau et le sens qui rassemblent et font dialoguer les peuples de la Terre. Il est vrai qu'il n'y a pas que de bons photographes et que des esthètes sur Flickr, mais ce qui émerge, ce qui retient finalement l'attention, en moyenne, c'est à dire dans "la classe bourgeoise moyenne", c'est la qualité d'une production artistique, considérable en nombre, attachée à la beauté et au sens partagé. Tout un monde qui parle un langage commun. Cet art populaire photographique est un rayon d'espoir quant on sort d'un musée d'art contemporain: une fraternité et une liberté réelles, authentiques, une vraie universalité esthétique, dans le respect des différences individuelles et culturelles. Un Partage, pas une Exclusion.
Il reste cependant que ce qui fait gravement question, c'est la naissance en Occident, au niveau des élites, durant la seconde partie du 20è siècle, d'un art (peinture-sculpture) très puissant, très protégé, très financé, qui exclut non seulement les niveaux inférieurs de la société, mais toute la classe moyenne occidentale. C'est une première dans l'histoire de l'art européen.
Mais la nouveauté est-elle toujours un progrès ?
Ou l'Art Contemporain Officiel serait-il une laide grimace et une impasse absurde tout en haut de l'arbre de l'évolution humaine ?
EUROPEAN PAINTING AND SOCIAL DIALOGUE
Art, painting in particular, but also sculpture, is controlled by the ideologies that dominate its time, and decided by the ideological and political elites of societies. It is possible to attempt an analysis of the history of European painting from a slightly different angle from the ideological foundation of art, although closely linked to it: that of inter-social dialogue. This is another chapter of "art, mirror of the values of a society".
1 ° From the Romanesque period European painting, which begins with the fresco and the mosaic, continues with the illuminations (the books of piety ...), then the stained glass windows and finally later the easel paintings, present, during about 1000 years (500-1500 in big dates) interesting common features.
- It is an art whose meaning is univocal, ideologically controlled by the doctrine of the Catholic Church in the West, the Orthodox Church in the East, in Slavic Europe.
- It is a fully shared art, totally inter-social: it is addressed to all layers of the population. The elites, ideological and political, religious and aristocratic, agree to promote an art that is addressed to all social classes. From themselves to the little people, the peasantry, through the middle or small bourgeoisie and crafts. Throughout the Gothic and Romanesque period, which an oriented historiography calls "the Middle Ages", all the art of churches, everywhere in Europe, from the smallest village to the largest cities, for a millennium, goes from the top of the ladder social and is addressed to the peoples, including and even especially to the illiterate.
2. At the "Renaissance" the social elite, both secular and religious, all the aristocracy and the very high bourgeoisie who conquered its place and assimilated to the aristocracy, under the influence of ideas Humanists, give birth, next to sacred medieval art, to a new art. This secular art, is inspired by themes borrowed from the history of European antiquity and Greco-Roman mythology. It is undeniably an art reserved for the cultured elite. But the same elite continues to sponsor and participate in inter-social, multi-social religious art, which continues to address to all the peoples, from the bottom up the social ladder, elites included. There is no clash between these two areas of European painting that will continue to live in parallel and in good intelligence. Indeed, the Renaissance is not, contrary to what is often written, an ideological break in European society. The inter-social dialogue continues as before on the same religious themes.
3 ° "The Reformation" will put in place, in the only Northern Netherlands, a remarkable evolution. Unlike the Renaissance, ideologically Reformation is very clearly a break from the previous society. A rupture that will provoke a secular and materialistic orientation of the themes of painting.
On the social level, it is the birth and triumph of bourgeois painting of the middle classes.
Before the Reformation, and after the Reformation, throughout Europe outside the Netherlands, the European upper class fully assimilated to the aristocracy, and its artistic tastes are not distinguishable: it prefers "the great art ", and besides of course the portraits.
After the Reformation, but in the Netherlands only, it is the triumph of a secular painting but especially very realistic, very close to the daily life of the small people. It is of course the Dutch bourgeoisie as a whole which is the catalyst element of this art, which sponsors and makes painters live. But the themes of this painting can be very popular. The peasant does not hang pictures in his cottage, but he is often, as well as the animals of the farm, the subject of the painting of the Netherlands. It is therefore possible to speak of an "art of the middle class" because the market for this art is all the middle class of the Netherlands. Even if this art is decided, as always, at the top of a society run by a very high bourgeoisie and some aristocrats.
This characteristic art of the Netherlands of the 17th century does not spread elsewhere in Europe remained Catholic (Germany, Austria, Italy, Spain) or quite marginal way. Throughout the 17th and 18th centuries, the art of painting in these countries continues the Renaissance momentum: it remains divided into two distinct, but not confrontational, complementary domains:
- Religious art for the people, always directed by the Catholic Church, always driven by a desire for social dialogue, and by the constant concern to address all the layers of the European population including illiterates. From the upper aristocracy and the upper middle class to the peasantry, according to the destination of the painting, the importance of churches or the particularism of private homes.
- "The Great Art" whose themes are at once religious, historical and mythological, sponsored by the Kings, the Princes and the High Church. An art destined for the Palaces of kings, the hotels of the aristocracy and the high-class commercial and financial Bourgeoisie, the churches of importance, and the public buildings
4. Once the wars imposed by the Revolution and the Empire have been ended, Europe will be able to find peace again, and devote itself once again to its scientific, technical and economic development interrupted for a quarter of a century by French ambitions.
From 1820 until 1950, according to approximate dates, it is the period of Modern Art. An extraordinarily plural period at the ideological level. There is a clear erasure of the Catholic religion, but the "Enlightenment" has not yet triumphed absolutely and no sacred or profane ideology totally dominates European society. This explains the great diversity of themes and the freedom of creation enjoyed by artists. Except for the two societies, Communist and Nazi, but which remain circumscribed in time and space.
On the social level, it can be said that it is the progressive victory of bourgeois art understood as an art of the middle classes. In short, it is the art of the Netherlands of the 17th century that spread throughout Europe with however a little more obvious resistance of the religious painting, which is no longer exclusively sponsored by the Church.
The Great Painting, "the Great Art", is the Academic School in France which perpetuates it. He will resist very little time. Already in impressionist times the painting of style and classic theme must fade, not disappear, but agree to let live the bourgeois painting of ordinary landscapes, of the mores of everyday life, of still life. A painting in addition to a style far removed from the great classicism.
The Art of the Modern Period is a very diverse art of painting, represented by multiple schools, which reduces to little matter the great religious, historical or mythological subjects and actuallyu addresses alle the classes, from the bottom tot the top of the social hierarchy. Abstract art, a novelty that appears in the 1900s is more specifically for intellectuals, but always of all classes of society. We can therefore speak of a bourgeois art of the middle classes, but which is by no means exclusive, totalitarian, which allows Great Art to live, especially in monumental decorative art, and which allows to developp on its margins the adventure of abstract art. In short, the period of Modern Art is a time of dialogue and art shared between the different layers of society, but without any doubt with more diversity thematic and stylistic, than in the older times, between 500 and 1800.
5 ° From the 1950s onwards, Contemporary Art impose oneself in Europe. He is inspired by European avant-gardes and often Parisian, but is coming from New York.
The characteristic of this "Art" is that it wants to be radically revolutionary, absolutely innovative, that it intends to make a "clean slate" of all the aesthetics of the European past. To begin with the rejection of Beau as a goal of art.
The New World of North America, that of the US, intends to oppose the Old World, European, and impose on him. The New World has thus systematized this "brilliant" idea, sketched in Europe, in Paris: Beau is no longer a criterion of art. As for the Meaning, it is possible to invent it, to make it say what you want. And sell this little new montage with a lot of profit.
From the Fontaine-Urinoir of Marcel Duchamp the ugly is promoted to the dignity of creative concept, of founding idea, inseparable from the new Conceptual Art, on par with some other obsessions: the New, the Absurd, the Provocation and the Profitability.
The official contemporary artist must propose coldly, with determination the most heterogeneous objects: wobbly seats and tables, cartons, all brushes, for tooth, nail, eyelashes, hair, clothes, glasses, shoes, brooms brushes and mops, hangers, clothes, packed rags, open or closed boxes, broken or crushed machinery, tubing, rusted beams, bent, broken, cement beams, rubble, blocks, tiles, whole or pulverized bricks, neon tubes, heaps of rubble or coal, pebble bags, all kinds of pipes: iron, cement, plastics, all loose fabrics, rubber, buckets, jugs, pots, an old phone, typewriters, washing, a sink ... and of course always squares or rectangles white, yellow, black, red and spots or lines to infinity. ... and proclaim loud and clear, with great confidence, the most possible base even, that it is "art" and especially anti-bourgeois art. Because of course this enlightened and silvery elite who sponsors the contemporary non-art proclaims itself anti-bourgeois and revolutionary. His art is designed to disturb people, but it's for their own good, so it's revolutionary.
The contempt of the middle classes, the scorn of peoples, has become a feature of the art of the enlightened elite of the West. It is the art of the "Enlightenment" ideologically globalist, which triumphs at the level of the official art that is to say that the States, and the big Ensembles and International Organizations, and at the level of the big International Finance. This art is no longer a tool of inter-social dialogue in the West, it closes in an esoteric discourse, imposes itself in museums built especially for it, and manufactures himself a particular market.The Contemporary Art, the Conceptual Art has become a Reserve for Enlighteneds and Richs. An art reserved for the Eye which illuminates, from above, and at its Guardians of the Temple of higher levels, the Social Pyramid. The Pyramid that appears on the dollar bill and in the courtyard of the Louvre in Paris. And whose program of extermination and of absolute control of peoples, anti-humanist, is inscribed on the monument called the Georgia Guidestones (USA). Of course in the name of Reason. Of course in the name of the Enlightened Reason, that of the "Enlightenment".
6. At other levels of Western society, at the very average level of the Pyramid, at the level of the ordinary bourgeoisie and the middle classes, at the local and regional level of the cities, a private commercial art has been kept alive, which survives outside the catechism of the official art, but also from its sources of funding.
On the other hand, also starting from New York, but really native of New World, street art, originally rebellious and wild, develops a little later, then imposes itself in Europe from the 2000s -2010, until becoming a tolerated art, semi-organized, then adopted and sponsored. The public and private sectors are associated in its success. But this art is always at local decision-making levels, and of course essentially urban, like all Western society.
Private commercial, non-international art, and street art are two areas of Western painting that practice inter-social dialogue, within all the middle classes, and even towards the most disadvantaged classes. One can think that the development of the art of the streets could make it possible to limit the vandal graffiti imposed by some asocials, which unfortunately have disfigured many of our cities. After only it may be possible to build an aesthetic for the socially excluded. Although it is very doubtful that the excluded have time to devote to aesthetics, and that this question is mainly a false problem agitated by intellectual-ideologues, very similar to those who made invented contemporary art.
But there are other areas where beauty and meaning persist. Contemporary photography, for example on Flickr, shows with obviousness that it is the beautiful and the sense which gather and make dialogue the peoples of the Earth. It is true that there are not only good photographers and aesthetes on Flickr, but what emerges, which finally holds the attention, on average, ie in "the middle class middle class" is the quality of an artistic production, considerable in number, attached to beauty and shared meaning. A whole world that speaks a common language. This popular photographic art is a ray of hope when one comes out of a museum of contemporary art: a real and authentic fraternity and freedom, a true aesthetic universality, with respect for individual and cultural differences. A Sharing, not a Exclusion.
It remains, however, that what poses a serious question is the birth in the west, at the elite level, during the second part of the 20th century, of a very powerful, highly protected, highly funded art (painting-sculpture) which excludes not only the lower levels of society, but the entire western middle class. It is a first in the history of European art. But is novelty always a progress ?
Or would the official contemporary Art be an ugly grimace and an absurd impasse at the top of the tree of human evolution?