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The outer feathers of the cormorant are not waterproof allowing them to forage underwater. It has been suggested that the wing-spread posturing is to dry the outer feathers.
Scan of Slide S4807 The White Glove by George Lambert:
LAMBERT, George
Russia 1873 – Australia 1930
Australia 1887-1900; England 1900-01; France 1901-02; England 1902-21; Australia from 1921
The white glove 1921
oil on canvas
106.0 (h) x 78.0 (w) cm
signed and dated 'G.W.LAMBERT/ 1921' lower right
Art Gallery of New South Wales, Sydney, purchased in 1922 Sydney photograph: Jenni Carter for AGNSW
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This is a lively bravura portrait of a modern Melbourne woman of fashion, style and elegance. It has an arresting vitality. Her belongings, a luscious blue stole, elegant feathered hat and jewelled ring, are as much the subject of this work as is Miss Collins herself, and contribute to it a sense of opulence. Her flamboyant pose, with her head slightly tilted back and poised to one side, and her arms caught in mid-action, matches her vivacious personality. Her eyes appear to be laughing in accord with her smile and she seems to be deliberately posing or hamming it up for the artist.
The subject, Miss Gladys Neville Collins, was the daughter of J.T. Collins, lawyer, Victorian State Parliamentary draughtsman, and trustee of the Public Library, Museums and National Gallery of Victoria. Lambert appears to have enjoyed painting her portrait and described her to Amy on 10 December 1921 as ‘a dear girl [who] sits for the fun of it and because her Dad thinks I am it’ (ML MSS 97/10, p.393).
Lambert portrayed the individual features of Miss Collins but, with her collaboration, he arranged them to denote a characteristic type. Miss Collins’s tilted head, her half-open mouth, half-closed eyes, and almost-bare right arm suggest an individual sensuality, but they also indicate a form of codified (sexual) behaviour. Lambert's portrait presents a witty version of the pose of Bernini’s Ecstasy of St Teresa 1645–52 (Cornaro Chapel, Santa Maria della Vittoria, Rome), an established expression of the ecstatic experience, and one which was subsequently taken up by photographers, film-makers and advertisers.
What is more, Lambert presented Miss Collins in a variation of the pose used by Joshua Reynolds in his portrait Sarah Siddons as the Tragic Muse 1784, which in 1921 (the year Lambert painted this portrait) the Duke of Westminster had controversially sold to The Huntington Library and Art Collection in California. By associating Miss Collins with this classic image of a leading actress, he hinted that she was playing a role in this portrait. It is also possible that Lambert knew Sargent’s Portrait of Ena Wertheimer: a vele gonfie of 1905 (Tate, London), a lively portrait of Ena wearing as a joke a black feathered hat and billowing cloak, painted essentially in black and white. It is similar to Lambert’s painting in its sense of extravagant posture and light-heartedness. If nothing else, both paintings are a reflection of the spirit of the times.
In this portrait Lambert used a limited range of colours to great effect: a dark Manet black and a Gainsborough blue, with the addition of purple in the jewel on a chain around her neck. Lambert paid close attention to the clothing, capturing an array of textures – the lustrous steel-blue silk of her stole, the fluffy white fur collar, the white leather gloves, the transparent black lace sleeve and the black velvet of the hat wreathed with white ostrich plumes.
Lambert painted the portrait with broad brushstrokes, and spontaneously, as a kind of ‘performance in paint’. When exhibited, it stood out from the prevalent brown tonalist portraiture painted at this time by other Australian artists, such as John Longstaff and W.B. McInnes. (W.B. McInnes’s much more restrained Portrait of Miss Collins was awarded the Archibald Prize for 1924 at the Art Gallery of New South Wales).
Lambert’s tour de force was purchased for 600 guineas by the Art Gallery of New South Wales when it was shown at the New South Wales Society of Artists exhibition in 1922; at that time the highest price paid by a public gallery for a portrait by an Australian artist.
1. Surprisingly Unafraid, 2. "BACK AWAY", 3. Between the Mausoleums, 4. Dragging Cloud Over Mount Doom, 5. Juvenile Magpie Fly-By, 6. The Pinnacles - Whakapapa, 7. Typical Posture, 8. Wet Feathers,
9. Tree Stars, 10. Magpie With a Skink, 11. Resting, 12. Gentoo on Polished Rock, 13. Magpie in Song, 14. Silver Fern, 15. Preparing To Dive, 16. Low Cloud,
17. Alleluia, Alleluia, Earth To Heaven Replies, 18. Perched on a Post, 19. B Chick, 20. Leader of the Pack, 21. Group B Fledgling, 22. Mother and Calf, 23. Tennille in the Rain, 24. Paradise Valley,
25. Tongariro - Ngauruhoe, 26. Jack in the Rain, 27. Rhinoceros Kiss, 28. Tahi, Rua, Toru, 29. Pukeko 'Hoki Koki', 30. Lock-Down, 31. Koru, 32. Lurking in the Shadows,
33. Wasp, 34. Tongariro Dawn, 35. Monochrome, 36. Royal Spoonbill, 37. Juvenile on a Tombstone, 38. Fearsome Yawn, 39. Spur-Winged Plovers, 40. "Nevermore",
41. Portrait of a Juvenile Magpie, 42. Back-Lighting, 43. Kea, 44. Flying Reptile, 45. Heron in Rain, 46. Kingfisher Perch, 47. Looking back to Ngauruhoe, 48. Magpie Fly-By,
49. Starfish Gathering, 50. Winter, 51. Tiger - Auckland Zoo, 52. Kelp Gull Flight, 53. Gazing at a Sunset Sky, 54. Albatross Fly-By, 55. Ruapehu Sunrise, 56. Dead Leaf,
57. Fungi on Pandora, 58. Land of Rainbows, 59. Kealakekua Bay, 60. Golden Plover, 61. Motutara, 62. Huge Ice, 63. MY POND!, 64. A Walk in the Park,
65. Tembo, 66. Clouds Over Ruapehu, 67. Stone Carving, 68. In-Flight Kingfisher, 69. Spoonbill Flight, 70. The Wild, Wild West, 71. Raven in Juneau, 72. Poles
Pigeon Posture is all about hips; if you are sitting at a desk, traveling in a car, train or plane, walking, running-- releasing and opening the hip joints and the areas surrounding those tight and achy hips will require some serious release and opening. This pose is the key go-to posture along with many others which we practice all week long, so don't wait for another week, month, season, year to fly by -- take care of your body & mind today!
The TDSB runs a camp for grades 6,7 & and 8 kids to improve their music skills and have fun too. Grace participated in the strings programme this year, had violin lessons for 4 hours a day, made a bunch of new friends, had a wonderful time and improved incredibly. It's been around a year since we became Canadian and picking my kid up from camp yesterday really made me feel like we'd arrived.
Detail of a block-long mural seen in the "Mile of Murals" project along the Red Line El tracks in the Rogers Park area of Chicago, Illinois.
An Eagle owl of my friends in full threat posture. (He saw our cat and it scared him!!! Which is funny because he can catch preys up to 4 times the size of our cat)
Not my best picture, since these were the first shots I took with my DSLR (without previous experience with a good camera). I released this one to Wikimedia commons under Attribution-ShareAlike 3.0 Unported license.
Great Blue Heron GBHE (Ardea Herodias)
Pedder Bay
Metchosin BC
Taken during "census" -
the Pedder Bay Marina migration monitoring site of the non-profit group RPBO (Rocky Point Bird Observatory)
DSCN7275
The Prince of Swords by sculptor Nicole Eisenman was created specifically for display in the Carnegie Museum of Art’s Neoclassical Hall of Sculpture. Interspersed among plaster casts of works of classical antiquity, her sculptures evoke an archaeological playground of modern times. He sits on a second-floor balustrade, his feet dangling over the edge and his hands blackened from clutching his smartphone.
According to Eisenhman, with a crystal lodged in its throat chakra, the figure personifies the embodiment of communication —“how we are drawn together, and also not, through ways we communicate.” Says Eisenman,“I don’t really feel like it’s possible to be alone in this world. But here’s the way we have of being alone in the crowd.”