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Its like answering the famous question ...
Is the glass half-empty OR is the glass half-full?
In this case...
Will i climb Or will i Fall?
Optimism is about shifting the odds in our favor. Its about training oneself to make good decisions when faced with crisis situations. Its about hanging in there and working against negative forces . Its the confidence inside us , our own capability to improve our own situations!....
BELEIVE IN YOURSELF!
Questione di dna, non si scelgono i padri e le madri: sono loro a scegliere te. Così come gli interessi e le passioni, prima o poi si torna a fare i conti col proprio dna.
What brings you more agony??? Doing something you know you shouldn’t do but have no regrets about it? Or.... not doing it and being in agony over wondering what would have happened had you done it?
We were with my daughter Margarita in a bar, for an afternoon snack. At one point her face lit up with a glow. A sunlight carom. "What a beautiful light!", I said. As I reached for the camera in my bag, the 12-year-old photography lover asked me, "When you say 'what a beautiful light', how do you realize it? What do you see?"
.
Shot with my very first camera and lens, from the 1990s:
Canon EOS 5 + Canon EF 50mm f/1.8 II + Kodak Vision 3 500T.
DU POP-CORN POUR LEGAULT - Rassemblement Diomède
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www.facebook.com/events/518578139550322/?ti=ls
Il n'est plus question de la pandémie, il n'est plus seulement question des arts vivants : c'est une manière de vivre et d'exister qui est remise en cause.
En visant d'abord la fermeture des théâtres, des salles de spectacle, des bibliothèques, des universités, des centres communautaires, des librairies, des centres sportifs, des bars et des cafés, des musées, tous ces lieux de création, de rassemblement, ces lieux de discussions éminemment politiques, le gouvernement a fait un choix partisan et s'est attaché a fermer ces lieux du commun.
Nous, artistes des arts vivants, touchés complètement et durablement par les mesures sanitaires du gouvernement, lançons un appel à tous ceux et celles qui se sentent concernées par cette destruction des lieux de société et par cette négation de toute politique.
La pandémie nous a éloignés les un.e.s des autres et les autorités nous ont fait croire qu'une vie pouvait se limiter à des besoins strictement « nécessaires » de travail et de consommation.
Nous disons ici que nous sommes des êtres qui avons un besoin métaphysique d'éprouver le monde, et que cette nécessité ne peut nous être discutée par le pouvoir en place.
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« Mais nous pouvons aussi tenter de nous unir, avec quelques autres, pour constituer des réseaux de résistance capables de réinventer la mobilisation, la grève et le sabotage, en même temps que le forum, l’amphithéâtre et l’agora. En s’y mettant à plusieurs, ici et maintenant, en ouvrant en grand nos institutions à tous les citoyens qui, comme nous, sont convaincus que le savoir ne se capitalise pas, mais qu’il s’élabore ensemble et dans la confrontation conflictuelle des points de vue, nous pourrions peut-être contribuer à faire de cette « pandémie », mais aussi de la santé et de l’avenir de la vie, non pas ce qui suspend, mais ce qui appelle la démocratie. »
(Barbara Stiegler, De la démocratie en Pandémie. Santé, recherche, éducation, coll. Tracts, n° 23, Paris, Gallimard, 2021)
***
Afin de respecter les mesures mises en place par le Gouvernement du Québec, nous demandons aux participants et participantes de porter un masque et de garder une distance de 2 mètres entre les unes et les autres. Des masques ainsi que du liquide antibactérien seront disponible sur place.
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Contact: pasunspectacle@gmail.com
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DU POP-CORN POUR LEGAULT #pourlesartsvivants #artsvivantsessentiels #artsvivants #cecinestpasunspectacle #soutenonslesartistes #rassemblementdiomede #thisisnotashow #artisteessentiel #montreal #artislife #pasessentieltoimeme #manifestationpourlesartsvivants #pourlessallesdespectacles #desshowsauplusvite #culturemtl #onveutdesshows #ouvrezlessallesdespectacle #theatremtl #bougelegault
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however we are northwest of Lettice’s flat, in the working-class London suburb of Harlesden visiting the home of Edith’s, Lettice’s maid, beloved parents. Edith’s father, George, works at the McVitie and Price biscuit factory in Harlesden as a Line Manager, and her mother, Ada, takes in laundry at home. They live in a small, two storey brick terrace house which opens out directly onto the street, and is far removed from the grandeur of Lettice’s Mayfair flat, but has always been a cosy and welcoming home for Edith and her younger brother Bert all their young lives. Since her father’s promotion in 1922, Edith’s mother is only laundering a few days a week now. The money she makes from this endeavour she uses for housekeeping to make she and George’s life a little more comfortable, but she is able to hold back a little back as pin money* to indulge in one of her joys, collecting pretty china ornaments to decorate their home with.
We are in Ada’s front parlour, which is where most of her decorative porcelain finds from different shops, fairs and flea markets around London are proudly displayed. With busy stylised floral wallpaper and every surface cluttered with ornaments, it can only be described as highly Victorian in style, and it is an example of conscious consumption, rather than qualitative consumption, to demonstrate how prosperous the Watsford family is, especially now that George holds the management position that he does. Like many others of its kind in Harlesden and elsewhere in London, it is the room least used in the house, reserved for when special guests like the parish minister or wealthy old widow and the Watsford’s landlady, Mrs. Hounslow, pay a call. However today’s special guest is not either the minister, nor Mrs. Hounslow. It is Frank Leadbetter, Edith’s beau, who has arranged to visit Edith’s parents on his own, as he has a very important question to ask of them both.
Dressed in his Sunday best suit, Frank sits awkwardly in one of two Victorian high backed barley twist chairs. The combination of the formality of his suit and the hard and uncomfortable horsehair upholstery of the chair encourage Frank to sit with a ramrod stiff back in his seat. He looks awkwardly around the room, allowing his gaze to flit in a desultory fashion around the unfamiliar surrounds of the Watsford’s formal front parlour. Cluttering the surface of an old Victorian sideboard and an ornate whatnot, the cold stares of Queen Victoria, Edward VII, Queen Alexandra and the current King George V and Queen Mary stare out from the glazed surfaces of plates and other objects celebrating coronations and jubilees, whilst on the mantle, flanked by pretty statues of castles and churches, younger versions of George and Ada in sepia pose formally with Edith as a little girl and Bert as a baby, gazing out from brass frames with blank stares. Frank coughs awkwardly and nervously tugs at his stiff collar, feeling hot even though there is no fire going in the small grate of the fireplace.
“Now, now, young Frank!” George booms good naturedly from the one comfortable seat in the room, an old armchair with thick red velvet button back** upholstery. “No need to be nervous, me lad!”
“Oh, you don’t know why I’m here, Mr. Watsford.” Frank replies, running his right index finger nervously around the inside of his collar.
George chuckles. “I think I can guess, Frank.”
Frank gazes down at Ada’s dainty best blue floral china tea set on the lace draped octagonal table set between the cluster of chairs. A selection of McVitie’s*** biscuits brought home by George from the nearby factory sit in a fluted glass dish.
“Will Mrs. Watsford be long, do you think, Mr. Watsford?”
“I shouldn’t think so, Frank. She’s only gone to boil the kettle and fill the pot.”
As if knowing that she was being spoken about, Ada sweeps through the door of the parlour, holding aloft the glazed teapot in the shape of a cottage with a thatched roof with the chimney as the lid that Edith bought for her as a gift from the Caledonian Markets****. “Here we are then,” she says with a heightened level of exuberance. “Tea for three!” She carefully places the teapot in the centre of the tea table.
“Perfect timing, Ada love.” George replies, and without waiting, reaches across the void between him and the tea table and snatches up a biscuit.
“George!” she chides. “Where are your manners?” She looks askance at her husband, who settles back in his seat, quite unperturbed by his wife’s scolding. “Guests first.” She sweeps her hand across the table towards the biscuits as she lowers herself precariously onto the edge of the other high backed barley twist chair. “Frank?”
“Err… umm…” Frank stutters. “Ahh, no… no thank you, Mrs. Watsford. I… I’m not hungry.”
“Oh well, more for us then, Ada love.” George says cheerfully through a biscuit filled mouth, stretching out his hand to the glass dish again.
“George!” Ada cries, slapping her husband’s hand sharply, the sound echoing around the cluttered parlour.
George retreats in his seat, recoiling and rubbing his chastised hand rather like a dog nurses a limp paw.
“Shall I be mother then*****?” Ada asks rhetorically as she automatically picks up the milk jug. “You take milk, don’t you Frank?”
“Err… yes, Mrs. Watsford.” Frank replies as she slops some milk into his cup before adding a dash to her husband’s and her own.
“And sugar?”
“Err.. two please, Mrs. Watsford.”
“Ahh, a sweet tooth after my own heart.” Ada replies with an indulgent smile, putting two heaped teaspoons of sugar into Frank’s cup before adding one to George’s and two to her own. “Now!” she sighs, taking up the cottage ware teapot pouring tea into the cups. “You wanted to talk to us, Frank?”
“Well…” Frank begins.
“You know it feels jolly funny having you here Frank, but not Edith.” Ada interrupts the young man even as he begins. “I’m quite used to you coming with Edith now.”
“Well, you know… I… I really wanted this to be a conversation that I had alone with you and Mr. Watsford,” Frank indicates to George, still licking his wounds. “Mrs. Watsford. So, I asked Hilda to take Edith out shopping today.”
“And she isn’t missing you, Frank?” Ada queries, as she replaces the pot in the middle of the tea table.
“Err…” Frank blushers, heaving and puffing his cheeks out. “Well, I told Edith a bit of a tall tale. I said that I had to help Giuseppe, my chum with his restaurant in the Islington****** today.”
“Oh yes,” Ada remarks with a tone of distaste as she hands George his cup of tea. “Giuseppe. He was your Italian friend who gave you the wine that we shared that first time we met, wasn’t he?”
Frank blushes red at the painful memory of that first rather awkward Sunday luncheon he had at the Watsfords’ when he and Ada had had a disagreement about some of his beliefs about life. “Yes.”
“My, my.” Ada takes up her own cup of tea and cradles it in her lap as she smiles to herself. “Such subterfuge to be alone with us.”
“You might not enjoy poor Frank’s discomfort quite so readily, Ada.” George pipes up from his seat as he sips his tea, tempering his wife.
“I was merely asking a question, George love.” Ada replies with a smug smile.
“No you weren’t, and you know it.” George retorts. “You were bringing up difficult memories of that awkward first tea we all had together, when you know perfectly well that we have all come a long way from there.” He gives his wife a doleful look. “Stop raking over old coals that don’t need to be raked over.”
“I agree, George.” Ada replies calmly. “We have come a long way; however, I was merely reminding Frank that in spite of that, we still have some concerns about his philosophies about life.”
“You have concerns, Ada love. I don’t.”
“Well one of us has to, if Frank has come here asking for Edith’s hand.” Ada turns her attentions to their young guest. “That is why you are here, isn’t it, Frank?”
“Well… I…” Frank stammers.
“Of course it is, Ada love. Frank?” George asks, sitting up in his seat.
“Well yes, Mr. Watsford. That’s what I came for. I came to formally ask for Edith’s hand in marriage.”
George leaps from his seat, dropping his half drunk cup of tea into the tea table noisily, sloshing tea into the saucer in his haste, before he bustles around the small black japanned cane table on which a vase of flowers stands before patting Frank on the back. “Of course! Of course! We’d be delighted, wouldn’t we Ada?” He turns and beams at his wife before turning quickly back to Frank without waiting for a reply. “What took you so long, Frank my boy?”
“Well Mr. Watsford, I know Edith and I have been stepping out for a while now,” Frank explains, sighing with relief and smiling at George’s exuberant acceptance of his request for Edith’s hand. “But I wanted to have a few things in place before I asked you.”
“Jolly good! Jolly good!” George chuckles delightedly. “Have you got a ring yet?”
“I’m not quite there yet, Mr. Watsford, but I’m getting there. I… I also wanted to assure you that my intentions are genuine. I… I love Edith and I don’t want anyone else.”
“Well, of course you don’t, lad!” George puffs, rubbing the young man’s right shoulder comfortingly. “We knew the moment we saw you together, that you two were made for each other, didn’t we Ada?”
Ada doesn’t reply immediately.
“Oh, this is wonderful, Frank!” George shakes Frank’s hands, barely able to contain his joy. “Welcome to the family!”
“Now just hang on for a moment.” Ada’s voice cuts in, slicing the joy with its sharp edge. “Let’s not rush into this without a few clarifying things first.”
“What?” George asks. He snorts preposterously. “Whatever do mean, Ada love? Frank’s just said his intentions are good. I don’t need anything more than that.”
“Well I do.” Ada replies calmly.
“What… what is… is it, Mrs. Watsford?” Frank asks, his voice quavering with nerves.
“Now, if you’d both just sit down for a moment,” Ada says, replacing her cup on the table, indicating for the two men to resume their seats.
Deflated, both Frank and George return to their respective seats.
“Now, Frank,” Ada starts, leaning forward in her seat. “I would just like to say that in principle, I am as pleased as my husband is that you’re asking for Edith’s hand in marriage.”
“Then Ada…?” George begins, but his wife silences him by holding up the palm of her hand to him.
She goes on. “I’d already had words with Edith about the two of you eloping.”
“Oh I’d never do that to you, Mr. Watsford or my Gran, Mrs. Watsford.” Frank assures her, looking earnestly into her unreadable face.
“Yes, I’m glad to hear it, as it confirms what Edith said, which was the same as you.” Ada turns to her husband. “Prospects?”
George looks quizzically at his wife. “Prospects?”
“Yes, prospects!” Ada’s eyes grow wide as she looks knowingly at him. She lowers her voice and whispers, “Remember, we discussed this?” When he looks uncomprehendingly at her again, she adds in a hiss, “When I said you’d go all doolally******* over Frank’s proposal, which you have?”
“Oh!” George pipes up. “Oh yes!” He sits up in his seat and turns to Frank. “Now young man, Both you and Edith have told us that you’re trying to improve your lot in life.” Ada scoffs from her seat. Ignoring her, he asks, “What are your prospects for Edith, once you’re married?”
“Well, it is true that I am trying to improve my circumstances. It’s one of the reasons why I have held off asking for Ediths hand until now. Like I said, I wanted to get a few things in place before I did.”
“Such as?” George’s bushy eyebrow arches over his right eye as he asks.
“Well, as you both know, I’ve been doing extra duties at Mr. Willison’s to build up my skills. I don’t want to be a delivery boy all my life.”
“No of course not, lad!” George pipes up.
“George!” Ada exclaims. “Let the boy finish. I want to hear what he has to say, not you.”
“Err… no, of course not.” George blusters. “Go on, Frank.”
“Well, I’ve been doing a bit of window dressing and arranging of products for Mr. Willison. I’ve also been taking a correspondence course on bookkeeping, which Edith doesn’t know about.”
“Why not?” Ada snaps.
“Because I wanted to complete it first and show that I’ve applied the skills before I told her: rather like a surprise, Mrs. Watsford.”
“Alright Frank.” Ada softens. “And have you?”
“Well, it’s a bit hard to get Mrs. Willison to relinquish anything about the shop’s books, but I did manage to do a bit of bookkeeping earlier this month when she was poorly and in bed. Technically she gave the task to her daughter, Miss Henrietta, but she wanted to do other things in her spare time, so it was reasonably easy to convince her to give it over to me to do, and Mrs. Willison did admit that I did a good job of it.”
“Well that’s something, isn’t it Ada?”
Ada nods in agreement with her husband, but keeps looking at Frank with an observant stare.
Frank continues. “And I’ve been tapped on the shoulder by friends of mine who are part of a trades union.” An uncomfortable look begins to cloud Ada’s features at the mention of unions. “And they tell me that soon there might be an opening or two in one of the suburban grocers for an assistant manager position, which would lead eventually to a position where I’d be running my own corner grocer.”
“In Metroland********?” George splutters. “My daughter all the way out there?”
“It’s not so bad, Mr. Watsford. The Chalk Hill, Grange and Cedars Estates are all built along the railway line not too far from Wembley Park, so Edith would be able to visit you easily, and you’d be able to come and visit us too. We’d live in a nice little flat above the shop with indoor plumbing and all electrified.” Ada tuts at the mention of electricity, but Frank continues to paint a vision of his and Edith’s rosy future. “The children we have, your grandchildren can grow up attending local schools and getting lots of fresh air.”
“Well, since you put it like that, I guess it’s not so bad, is it Ada?”
“Well,” Ada purses her lips. “I’m sure that Edith has told you that I hold no faith in that newfangled electricity, but living in Cavendish Mews she seems to have become a convert.”
“And a lovely new estate is far healthier for any children that we have, Mrs. Watsford. It’s far better than living in a house in Clapham Junction.”
“And how much will this flat of yours cost?” Ada asks seriously.
“Around five shillings a week for a two-up two down******** semi********* in the Chalk Hill Estate, Mrs. Watsford.” Frank says, gaining strength in his convictions, filling his voice with a new boldness and surety. “And, if we were to live in a flat above the grocers’ shop, it would be even less, and we’d still have all the modern conveniences like hot and cold running water and an inside privy.”
“Nothing wrong with an outdoor privy.” remarks George.
“Nothing wrong with an indoor one, either, Mr. Watsford. I only the best for Edith and our children.”
“Alright, young Frank.” George backs down.
“Now, going back to what I had eluded to before, Frank,” Ada continues. “You’re a good lad, Frank Leadbetter, and I can see that by your thoughtfulness and your manners. I know you love our Edith, and you obviously treat her very well…”
“As she deserves, Mrs. Watsford.” Frank assures her.
“I know, Frank.” Ada tempers him. “However, the vehemence with which you spurn your new ideas around is still a bit frightening to me.”
“Oh, there’s nothing to be frightened of Mrs. Watsford.”
“But these labour unions of yours…” Ada’s voice trails off.
“I can assure you, Mrs. Watsford, the unions aren’t bad, and I am not a Communist.” Frank defends himself. “As I said just before, I only want the best for Edith and for the family I hope we will have together. I just want a better world for all of us, and the unions will help with that. However, I swear that I’m not associated with any of those militant factions that popped up after the Russian Revolution. I believe in peaceable actions, discussion and compromise.” Frank looks earnestly at Ada. “I would never put Edith in any danger. I’m a hard working man who just wants a good future. Some of the finer details of it may be different to yours and Mr. Watsford’s, Mrs. Watsford, but at the end of the day, our ideals are the same, and whatever I do, Edith and her wellbeing is central in everything I do, and everything I have planned.”
Ada sighs and smiles. “Alright Frank. So long as she is, I can only give you my blessing too.”
“Oh thank you, Mrs. Watsford!” Frank exclaims, standing up and walking over to Ada who rises from her seat and embraces Frank kindly.
“Good lad!” George says, standing up as well and beaming over his wife’s shoulder, winking at Frank.
He reaches down and snatches up two more biscuits from the fluted glass bowl on the tea table.
“George!” Ada scolds, not quick enough to catch him this time.
He smiles back at her gormlessly.
“At this rate I’m going to have to let out that vest of yours, George Wastford!” Ada remarks.
George turns to Frank. “Are you sure you want the joy of these moments of wedded bliss, Frank my boy?” he asks jokingly.
*Originating in Seventeenth Century England, the term pin money first meant “an allowance of money given by a husband to his wife for her personal expenditures. Married women, who typically lacked other sources of spending money, tended to view an allowance as something quite desirable. By the Twentieth Century, the term had come to mean a small sum of money, whether an allowance or earned, for spending on inessentials, separate and in addition to the housekeeping money a wife might have to spend.
**Button back upholstered furniture contains buttons embedded in the back of the sofa or chair, which are pulled tightly against the leather creating a shallow dimple effect. This is sometimes known as button tufting.
***McVitie's (Originally McVitie and Price) is a British snack food brand owned by United Biscuits. The name derives from the original Scottish biscuit maker, McVitie and Price, Ltd., established in 1830 on Rose Street in Edinburgh, Scotland. The company moved to various sites in the city before completing the St. Andrews Biscuit Works factory on Robertson Avenue in the Gorgie district in 1888. The company also established one in Glasgow and two large manufacturing plants south of the border, in Heaton Chapel, Stockport, and Harlesden, London (where Edith’s father works). McVitie and Price's first major biscuit was the McVitie's Digestive, created in 1892 by a new young employee at the company named Alexander Grant, who later became the managing director of the company. The biscuit was given its name because it was thought that its high baking soda content served as an aid to food digestion. The McVitie's Chocolate Homewheat Digestive was created in 1925. Although not their core operation, McVitie's were commissioned in 1893 to create a wedding cake for the royal wedding between the Duke of York and Princess Mary, who subsequently became King George V and Queen Mary. This cake was over two metres high and cost one hundred and forty guineas. It was viewed by 14,000 and was a wonderful publicity for the company. They received many commissions for royal wedding cakes and christening cakes, including the wedding cake for Queen Elizabeth II and Prince Phillip and Prince William and Catherine Middleton. Under United Biscuits McVitie's holds a Royal Warrant from Queen Elizabeth II.
****The original Caledonian Market, renown for antiques, buried treasure and junk, was situated in in a wide cobblestoned area just off the Caledonian Road in Islington in 1921 when this story is set. Opened in 1855 by Prince Albert, and originally called the Metropolitan Meat Markets, it was supplementary to the Smithfield Meat Market. Arranged in a rectangle, the market was dominated by a forty six metre central clock tower. By the early Twentieth Century, with the diminishing trade in live animals, a bric-a-brac market developed and flourished there until after the Second World War when it moved to Bermondsey, south of the Thames, where it flourishes today. The Islington site was developed in 1967 into the Market Estate and an open green space called Caledonian Park. All that remains of the original Caledonian Markets is the wonderful Victorian clock tower.
*****The meaning of the very British term “shall I be mother” is “shall I pour the tea?”
******The Italian quarter of London, known commonly today as “Little Italy” is an Italian ethnic enclave in London. Little Italy’s core historical borders are usually placed at Clerkenwell Road, Farringdon Road and Rosebery Avenue - the Saffron Hill area of Clerkenwell. Clerkenwell spans Camden Borough and Islington Borough. Saffron Hill and St. Peter’s Italian Catholic Church fall within the Camden side. However, even though this was the traditional enclave for Italians, immigrants moved elsewhere in London, bleeding into areas like Islington and Soho where they established bars, cafes and restaurants which sold Italian cuisine and wines.
*******Doolally is British and Irish slang for a person who is eccentric or has gone mad. It originated in the military.
*******Metroland is a name given to the suburban areas that were built to the north-west of London in the counties of Buckinghamshire, Hertfordshire and Middlesex in the early part of the Twentieth Century that were served by the Metropolitan Railway. The railway company was in the privileged position of being allowed to retain surplus land; from 1919 this was developed for housing by the nominally independent Metropolitan Railway Country Estates Limited (MRCE). The term "Metroland" was coined by the Met's marketing department in 1915 when the Guide to the Extension Line became the Metro-land guide. It promoted a dream of a modern home in beautiful countryside with a fast railway service to central London until the Met was absorbed into the London Passenger Transport Board in 1933.
********Two-up two-down is a type of small house with two rooms on the ground floor and two bedrooms upstairs. There are many types of terraced houses in the United Kingdom, and these are among the most modest. The first two-up two-down terraces were built in the 1870s, but the concept of them made up the backbone of the Metroland suburban expansions of the 1920s with streets lined with rows of two-up two-down semi-detached houses in Mock Tudor, Jacobethan, Arts and Crafts and inter-war Art Deco styles bastardised from the aesthetic styles created by the likes of English Arts and Crafts Movement designers like William Morris and Charles Voysey.
*********A semi-detached house (known more commonly simply as a semi) is a house joined to another house on one side only by a common wall.
This cluttered and old fashioned, yet cosy front parlour may look realistic to you, however it is in fact made up of pieces from my 1:12 miniatures collection, including pieces from my childhood.
You may think that by 1926 when this story is set, that homes would have been more modern and less Victorian, and many were. However, there were a lot of people during this era who grew up and established their homes during the reign of Queen Victoria and did not want to update their homes, or could not afford to do so, so an interior like this would not have been uncommon in the 1920s and even in the lead up to and during the Second World War.
Fun things to look for in this tableau include:
The old fashioned high backed Victorian chairs with their barley twist detailing and brass casters were made by Town Hall Miniatures
Ada’s collection of commemorative plates of Queen Victoria’s Diamond Jubilee in 1897, the Coronation of King Edward VII and Queen Alexandra in 1902 and the Coronation of King George V and Queen Mary in 1911 on the sideboard and the whatnot are all made by the British miniature artist Rachel Munday. The plate of Edward VIII on the far left is a piece of souvenir ware from around 1905 and is made of very finely pressed tin.
The bust of Queen Victoria was made by Warwick Miniatures in Ireland, who are well known for the quality and detail applied to their pieces. It has been hand painted by me.
The Victorian Prince of Wales (later King Edward VII) vase in the centre of the fireplace has been hand made, painted and gilded by Welsh miniature ceramist Rachel Williams who has her own studio, V&R Miniatures, in Powys.
The Watsford family photos on the mantlepiece are all real photos, produced to high standards in 1:12 size on photographic paper by Little Things Dollhouse Miniatures in Lancashire. The frames are from various suppliers, but all are metal.
The church and castle statues at either end of the fireplace are made of resin and are hand painted. They came from Kathleen Knight’s Dolls’ House Shop in the United Kingdom.
Sitting on the central pedestal table is the cottage ware teapot Edith gave her mother as a gift a few years ago. Made by French ceramicist and miniature artisan Valerie Casson, it has been decorated authentically and matches in perfect detail its life-size Price Washington ‘Ye Olde Cottage Teapot’ counterparts. The top part of the thatched rood and central chimney form the lid, just like the real thing. Valerie Casson is renown for her meticulously crafted and painted miniature ceramics.
Also on the table, the glass dish of biscuits is an artisan piece. The bowl is made from real glass with the biscuits attached and hand painted. It came from Beautifully Handmade Miniatures in Kettering. The teacups, milk jug and sugar bowl also come from Kathleen Knight’s Dolls’ House Shop.
Ada’s wicker sewing basket, sitting closed to show off its pretty florally decorated top, has knitting needles sticking out of it. The basket was hand made by Mrs. Denton of Muffin Lodge in the United Kingdom.
The fireplace, the whatnot, the central pedestal table, the embroidered footstool by the fireplace, the brass fire irons and the ornate black japanned cane table on which Ada’s sewing box stand also came from Kathleen Knight’s Dolls’ House Shop.
The sideboard is a piece I bought as part of a larger drawing room suite of dolls house furniture from a department store when I was a teenager.
The collection of floral vases on the bottom two tiers of the whatnot came from an online stockist of miniatures on E-Bay.
The vase of flowers are all beautifully made by hand by the Doll House Emporium and inserted into a real, hand blown glass vase.
The little white vase in the forefront of the photo is mid Victorian and would once have been part of a tiny doll’s tea service. It is Parian Ware. Parian Ware is a type of biscuit porcelain imitating marble. It was developed around 1845 by the Staffordshire pottery manufacturer Mintons, and named after Paros, the Greek island renowned for its fine-textured, white Parian marble, used since antiquity for sculpture. I have had it since I was about ten years old.
The ‘home sweet home’ embroidery and the painting on the wall come from online shops who sell dollhouse miniatures, as does the Art Nouveau vase on the left hand side of the picture.
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Sony A7R RAW Photos of Pretty Brunette Bikini Swimsuit Model Goddess! Carl Zeiss Sony FE 55mm F1.8 ZA Sonnar T* Lens! Lightroom 5.3 ! Pretty Hazel Eyes & Silky Brown / Black Hair!
And here're a couple of HD video movies I shot of the goddess with the 4K Sony:
Enjoy! Be sure to watch in the full 1080P HD!
The epic goddess was tall, thin, fit, tan, and in wonderful shape (as you can see).
Check out my greatest hits compilation, and let me know what you think:
www.elliotmcguckenphotography.com/45surf/45SURF-Heros-Ody...
Epic Goddess Straight Out of Hero's Odyssey Mythology! Pretty Model! :) Tall, thin, fit and beautiful!
Welcome to your epic hero's odyssey! The beautiful 45surf goddess sisters hath called ye to adventure, beckoning ye to read deeply Homer's Iliad and Odyssey, whence ye shall learn of yer own exalted artistic path guided by Hero's Odyssey Mythology. I wouldn't be saying it if it hadn't happened to me.
New 500px!
500px.com/herosodysseymythology
New instagram! instagram.com/45surf
Pretty Swimsuit Bikini Model Goddess! :)
Follow me on facebook! facebook.com/elliot.mcgucken
Nikon D300 Photos of Beautfiul Sexy Hot Brunette!
She was a beauty--a gold 45 goddess for sure! A Gold 45 Goddess exalts the archetypal form of Athena--the Greek Goddess of wisdom, warfare, strategy, heroic endeavour, handicrafts and reason. A Gold 45 Goddess guards the beauty of dx4/dt=ic and embodies 45SURF's motto "Virtus, Honoris, et Actio Pro Veritas, Amor, et Bellus, (Strength, Honor, and Action for Truth, Love, and Beauty," and she stands ready to inspire and guide you along your epic, heroic journey into art and mythology. It is Athena who descends to call Telemachus to Adventure in the first book of Homer's Odyssey--to man up, find news of his true father Odysseus, and rid his home of the false suitors, and too, it is Athena who descends in the first book of Homer's Iliad, to calm the Rage of Achilles who is about to draw his sword so as to slay his commander who just seized Achilles' prize, thusly robbing Achilles of his Honor--the higher prize Achilles fought for. And now Athena descends once again, assuming the form of a Gold 45 Goddess, to inspire you along your epic journey of heroic endeavour.
ALL THE BEST on your Epic Hero's Odyssey from Johnny Ranger McCoy!
Modeling the Gold 45 Revolver Gold'N'Virtue swimsuit. :)
A laid-back,classic, socal lifestyle shoot!
May the 45surf goddesses inspire you along am artistic journey of your own making!
All 45surf Hero's Odyssey Mythology Photography is shot in the honor of Truth, Beauty, and the Light of Physicist Dr. E's Moving Dimensions Theory's dx4/dt=ic . The fourth dimension is expanding relative to the three spatial dimensions at the rate of c. Ergo relativity, time, entropy, and entanglement.
All the best on your Epic Hero's Odyssey from Johnny Ranger McCoy!
New blog celebrating my philosophy of photography with tips, insights, and tutorials!
Ask me any questions! :)
Sony A7R RAW Photos of Pretty Brunette Bikini Swimsuit Model Goddess! Carl Zeiss Sony FE 55mm F1.8 ZA Sonnar T* Lens! Lightroom 5.3 ! Pretty Hazel Eyes & Silky Brown Black Hair!
All the best on your Epic, Homeric, Heroic Odyssey into the Art of Photography from Johnny Ranger McCoy!
All 45surf Hero's Odyssey Mythology Photography is shot in the honor of Dynamic Dimensions Theory's First Law and equation: The fourth dimension is expanding relative to the three spatial dimensions at the rate of c: dx4/dt=ic.
"Qual é o lugar mais importante da sua casa?
Eu acho que essa é uma boa pergunta
para início de uma sessão de psicanálise.
Porque quando a gente revela
qual é o lugar mais importante da casa,
a gente revela também o lugar preferido da alma."
Rubem Alves
"What is the most important place in your home?
I think this is a good question
Login to psychoanalysis.
Because when we show
what is the most important place in the house,
we also shows the preferred place of the soul. "
Rubem Alves
informações e pedidos: glau.guarino@gmail.com
66/100 Possibilities~ 100 Possibilities Project set
There is something wrong with the questions that are supposed to be disposed of by answers. . . . People think that when you have answers you no longer have questions. And they want the greatest possible number of answers, the smallest number of questions. The ideal is to have no more questions. Then when you have no questions, you have “peace”.
~ Thomas Merton
What we already know is in the past. What we have yet to discover is the future. Always make your questions bigger than your answers, and you'll keep drawing yourself into a bigger future with new possibilities.
~ Gary Ryan Blair
Gratitude (76) I am grateful for questions, even when they don't seem to have immediate or definite answers . . .
The Hortus Palatinus was commissioned by Frederick V, Elector Palatine (1596-1632) for his wife. In 1619 it was finished and people called it 'Germany's greatest Renaissance garden'. As far as the destruction of the castle and garden goes, I cite Victor Hugo (in translation by whomever): "In 1619, Frederick V, then a young man, took the crown of the kings of Bohemia, against the will of the emperor, and in 1687, Philip William, Count Palatine, by then an old man, assumes the title of prince-elector, against the will of the king of France. This was to cause Heidelberg battles and never-ending tribuluations, the Thirty Years War, Gustav Adolfs Ruhmesblatt and finally the War of the Grand Alliance, the Turennes mission. All of these terrible events have blighted the castle. Three emperors, Louis the Bavarian, Adolf of Nassau, and Leopold of Austria, have laid siege to it; Pio II condemned it; Louis XIV wreaked havoc on it." As far as the restoration goes I cite Wikipedia (article section written by whomever): "The question of whether the castle should be completely restored was discussed for a long time. In 1868, the poet Wolfgang Müller von Königswinter argued for a complete reconstruction, leading to a strong backlash in public meetings and in the press. In 1883, the Grand Duchy of Baden established a "Castle field office", supervised by building director Josef Durm in Karlsruhe, district building supervisor Julius Koch and architect Fritz Seitz. The office made a detailed plan for preserving or repairing the main building. They completed their work in 1890, which led a commission of specialists from across Germany to decide that while a complete or partial rebuilding of the castle was not possible, it was possible to preserve it in its current condition. Only the Friedrich Building, whose interiors were fire damaged, but not ruined, would be restored. This reconstruction was done from 1897 to 1900 by Karl Schäfer at the enormous cost of 520,000 Marks." It was not possible to restore the whole castle. For further information on the garden, try Wikipedia: en.wikipedia.org/wiki/Hortus_Palatinus
nessuno nasce con le spalle forti...e nemmeno vive senza far errori..di valutazione
poi te le fai...a volte da sola altre ti aiutano.poi impari dai tuoi stessi sbagli..che per gli altri a volte hanno peso diverso
e poi sei pronta
FORSE per reggere il mondo
IL TUO MONDO....
che a volte infastidisce che altre viene amato...che talvolta gira intorno all'uomo che ami...
cmq come dicevo..allenamento....POI SEI PRONTA..spero.
04/08/1976..
fate un po' i conti voi
una stretta...
Rat was obediently following officers’ orders. She questioned what was going to happen next.
“Well, you’re in luck,” Bobby answered. “Since you have this little child to take care of, I spoke to the judge and he doesn’t believe you’re a flight risk, so you can stay here while you await trial. You’ll be wearing a GPS ankle bracelet to ensure you don’t go anywhere.”
“Wait a minute,” Booley interrupted. “Where’s the orange jumpsuit? Where’s the showdown in court? Where is my justice?”
“This is no prime time TV show, Mr. Booley,” Bobby countered.
“Now, unless you and Elizabeth want to take care of another child and pet while we take her --- somewhere-”
“No, I understand,” Booley said, watching as the officer hung Rat’s “inmate” number outside her door and turned on her ankle bracelet for monitoring.
"And Jesus stood still."
Down the long, dusty road on their way from Jericho to Jerusalem, almost two thousand years ago, trod Jesus with his motley band of twelve disciples, followed by a huge crowd.
They were all hot and sweaty. The dust clung to them. They were weary, but Jesus was at the height of his popularity, and the great crowd of people pressed close to him. They were jabbering endlessly. Asking questions. Seeking favors. They could be heard a mile away.
"Hey, what's all the noise?" blind Bartimaeus asked his friend as they sat by the roadside begging.
"I don't know," answered his friend with a puzzled tone in his voice.
"Let's ask someone," they agreed.
"It's Jesus," a passerby informed them.
"You mean Jesus of Nazareth, the fellow they claim can heal the sick and the blind?" Bartimaeus excitedly asked.
"That's the one," the man said, "and I'm on my way to see him. Good-bye."
The crowd came closer and closer. Excitement filled the air. The noise became intense.
"I can't believe it," shouted Bartimaeus to another friend. "This just has to be my lucky day. I've got to get to Jesus; I know he can heal me."
"Hey, Bart, there he is," cried Bartimaeus's friend, "but how will you ever get his attention?"
Dignity was dismissed. "This is it," said Bartimaeus, "I may never see Jesus again and I desperately want to be healed."
So, seeking to drown out the noise of the crowd, Bartimaeus yelled at the top of his voice, "Jesus, have mercy on me! O Lord, son of David, have mercy on me!"
"Cool it, man! Shut up!" retorted some of the crowd. "You're making too much noise. You don't stand a chance of getting to Jesus, so just relax and quit your stupid yelling!"
But Bartimaeus was all the more determined to get to Jesus. He couldn't see, but he could yell. He cried out all the louder. Hear his voice rise above the din of the crowd. It rings out like a great clarion call, "Jesus, O Lord, Son of David, have mercy on me! Jesus, O Lord, Son of David, have mercy on me!"
And Jesus stood still.
And the crowds stood still.
And a great calm settled down over them all.
The winds and the waves couldn't stop Jesus. Neither could angry mobs. Crowds of people couldn't stop him either. But a lone, blind beggar could—and did.
And Jesus with his great heart of compassion asked for Bartimaeus to be brought to him.
"What do you want me to do for you?" Jesus asked.
"Lord," Bartimaeus replied, "please give me my sight." And Jesus did!
"Go your way," he said, "your faith has made you whole."
-from I Hate Witnessing by Dick Innes
He saw , heard and responded in His grace to one man's desperate desire to see.
He still does so today.
"With those who first watched and waited for God to step from the heavens and into an unlikely stable, we are reminded on the feast of Epiphany that we, too, are a world straining in the dark, waiting for a great light. Like those who first journeyed to set their eyes on the child born to die, we labor through long nights, often finding ourselves out of place, in the dark, and straining to see more. But in so doing, Christ himself can transform our watching and our waiting, our lives and our deaths, bringing light where death stings, tears discourage, and darkness haunts. "I wait for the Lord," sings the psalmist, "my soul waits, and in his word I hope; my soul waits for the Lord, more than watchmen wait for the morning, more than watchmen wait for the morning" (Psalm 130:5-6). The night is long, but the light is real. "
-Jill Carattini
Picture is of the Mission House along Farquhar Street Penang. 1876
www.penang-traveltips.com/farquhar-street-mission-house-a...
View overlooking the visitors center, Balboa Park, San Diego, California
---
San Diego is a city that revels in its proximity to the ocean and is steeped in history. After all, San Diego is the first place that Europeans visited on the west coast. In the mid 1500s, Spanish colonists claimed the area for Spain and 200 years later, the settlement of Alta California was formed based on this early colonial foundation. San Diego became a part of the United States in 1850 after 30 years of being part of Mexico.*
Balboa Park was first known as City Park. It was created in the 1860s and was renamed Balboa Park in 1910. It is named after Vasco Nuñez de Balboa, the first European to spot the Pacific Ocean.
Read my blog post about Balboa Park here:
--
View more of my travel photography at my website Adventure Through the Lens.
View my New York City photography at my website NY Through The Lens.
Interested in my work and have questions about PR and media? Check out my:
To use any of my photos commercially, feel free to contact me via email at photos@nythroughthelens.com
How methane is created and destroyed on Mars is an important question in understanding the various detections and non-detections of methane at Mars, with differences in both time and location. Although making up a very small amount of the overall atmospheric inventory, methane in particular holds key clues to the planet’s current state of activity.
This graphic depicts some of the possible ways methane might be added or removed from the atmosphere.
One exciting possibility is that methane is generated by microbes. If buried underground, this gas could be stored in lattice-structured ice formations known as clathrates, and released to the atmosphere at a much later time.
Methane can also be generated by reactions between carbon dioxide and hydrogen (which, in turn, can be produced by reaction of water and olivine-rich rocks), by deep magmatic degassing or by thermal degradation of ancient organic matter. Again, this could be stored underground and outgassed through cracks in the surface. Methane can also become trapped in pockets of shallow ice, such as seasonal permafrost.
Ultraviolet radiation can both generate methane – through reactions with other molecules or organic material already on the surface, such as comet dust falling onto Mars – and break it down. Ultraviolet reactions in the upper atmosphere (above 60 km) and oxidation reactions in the lower atmosphere (below 60 km) acts to transform methane into carbon dioxide, hydrogen and water vapour, and leads to a lifetime of the molecule of about 300 years.
Methane can also be quickly distributed around the planet by atmospheric circulation, diluting its signal and making it challenging to identify individual sources. Because of the lifetime of the molecule when considering atmospheric processes, any detections today imply it has been released relatively recently.
But other generation and destruction methods have been proposed which explain more localized detections and also allow a faster removal of methane from the atmosphere, closer to the surface of the planet. Dust is abundant in the lower atmosphere below 10 km and may play a role, along with interactions directly with the surface. For example, one idea is that methane diffuses or ‘seeps’ through the surface in localized regions, and is adsorbed back into the surface regolith. Another idea is that strong winds eroding the planet’s surface allows methane to react quickly with dust grains, removing the signature of methane. Seasonal dust storms and dust devils could also accelerate this process.
Continued exploration at Mars – from orbit and the surface alike – along with laboratory experiments and simulations, will help scientists to better understand the different processes involved in generating and destroying methane.
Credits: ESA
This is the collection of materials that packaged my recent purchase. Thinking about using this when when talking about consumerism, math, environmental impact. Many different questions can be asked.
I will measure & tag the items. Shipping times, destinations and scans will follow.
All of this came in two separate shipments through two separate distributors. The boxes were big, the contents small.
How much space did this take up on the flight to Moose Jaw?
Why did it go to Mount Hop 3 times?
How many computers are shipped through this process?
What is the estimated amount of weight?
What are the impacts of this purchase? Enviro, economically
Trace the route of the MacBook using the following.
Type: Package
Status: Delivered
Delivered On: 04/11/2008 12:58
Signed By: BACKDOOR
Delivered To: REGINA, CA
Shipped/Billed On: 28/10/2008
Product: WORLD EASE
Service: EXPEDITED
Special Instructions: SIGNATURE REQUIRED
Weight: 4.00 Kgs
Package Progress Location Date Local Time Description
REGINA, SK, CA 04/11/2008 12:58 DELIVERED
04/11/2008 12:48 DESTINATION SCAN
04/11/2008 8:57 OUT FOR DELIVERY
WINNIPEG,MB, CA 03/11/2008 19:09 DEPARTURE SCAN
03/11/2008 8:55 INCORRECT ROUTING AT UPS FACILITY / THE PACKAGE WAS MISSORTED AT THE HUB. IT HAS BEEN REROUTED TO THE CORRECT DESTINATION SITE
03/11/2008 3:00 ARRIVAL SCAN
MOUNT HOPE,ON, CA 01/11/2008 3:00 DEPARTURE SCAN
MOUNT HOPE,ON, CA 31/10/2008 4:59 IMPORT SCAN
31/10/2008 4:30 ARRIVAL SCAN
BUFFALO,NY, US 31/10/2008 1:53 DEPARTURE SCAN
31/10/2008 1:31 ARRIVAL SCAN
LOUISVILLE,KY, US 30/10/2008 15:49 DEPARTURE SCAN
MOUNT HOPE,ON, CA 30/10/2008 14:41 ONE SHIPMENT WITH MULTIPLE RECEIVERS REQUIRING SPECIAL HANDLING TO ENSURE CORRECT SORT AND DELIVERY
ANCHORAGE,AK, US 28/10/2008 20:54 ARRIVAL SCAN
MOUNT HOPE,ON, CA 28/10/2008 14:39 ONE SHIPMENT WITH MULTIPLE RECEIVERS REQUIRING SPECIAL HANDLING TO ENSURE CORRECT SORT AND DELIVERY
SHANGHAI, CN 29/10/2008 2:36 DEPARTURE SCAN
SHANGHAI,CN 28/10/2008 21:37 EXPORT SCAN
28/10/2008 14:22 ORIGIN SCAN
CN 28/10/2008 0:34 BILLING INFORMATION RECEIVED
Tracking results provided by UPS: 05/11/2008 21:20 ET
Wanderling Acoe. Wanderling - That's what the size will be called I think. Has anyone used that?
Acoe is the molds name. Like Chloe only with an A and without the L XD
I hope to focus on odd worldly faces that don't seem to have a place, but you feel like they belong somewhere. For example, is Acoe from asia, maybe somewhere in africa? Northern europe? I like faces like that. I like it when people can't just say "You're white, you're black, you're asian" etc. It's a big change the world is going through, and I don't think some people like it when they can't put people into corners based on race or nationality. Suck it, right? XD
Copy paste from Tumblr:
Her head is almost done. Just got to work on the body now. She’s going to be somewhere between 35-40cm tall, but yosd sized torso with longer legs and arms. She’ll have two sets of feet - one pair will be yosd sized, and the other will be momoko/pullip sized, so there’d be a nice selection of shoes. I’m hoping that she’ll fit yosd clothes, they’ll just be super short. So like, dresses will be fine, and shorts/bloomers/shirts, but things like jeans and such will have to be made specifically for her. She would also come with a sleeping face, and I plan on doing an elf head and a sleeping elf head, though the open eyed will still have a different shape to her eyes than the non-elf. Eventually I hope to have her professionally cast but the first few will be cast by me.
Her ears have also been moved after this and her eyes are a different shape. I’LL SHOW YOU SOON. Thoughts? Would you buy a doll like this for $350-$400?
I’m also thinking of casting her in porcelain but I’m not sure about selling her in that medium, would anyone be interested in a spring-‘strung’ porcelain version?
Do you think my faceups would be good enough to offer as default faceups?
I know it’s hard to gauge but I’m doing so much thinking now and I thought I may as well ask. I know I consider buying dolls based purely on progress shots sO I figure I can’t be the only one.
ANYWAY. I hope you like her! ^^
This photo has been on explore: Nov 18, 2009 #495
Please View On Black
Sorry - could not resist.
Saumacus asked for big cows in Germany: www.flickr.com/photos/rschuetz/4114809100/in/photostream/...
Now - here we have a REAL big cow ;-)
.
A Question Mark feeding on decaying fruit in my backyard feeder log. Our beautiful world, pass it on.
Product ID: WF_CC09-2
Type: wedding cookie favor
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“Floating on the waters of Sydney Harbour are the island worlds of ‘Elantica’. Designed to be viewed from a distance, the installation focuses on the relationship between nature and technology.
“‘Elantica’ comprises a series of geometrically shaped ‘islands’ of electronics. The architectural ‘skin’ is made of discarded circuit boards and other forms of e-waste. The islands vary in height and size: the largest is about three metres long and two metres high and all are equipped with glowing LEDs and underwater microphones that capture and transmit the sounds of the water.
“Through this enigmatic work, the artist reflects on the consequences of living in an ‘e-bubble’: our behaviour and the forms of language and communication are changing; there is a lack of privacy for the individual; digital devices are not only being used in combination with natural forms but are actually being integrated within them; and overconsumption of electronic devices may be stimulating changes in the human body and mind.
“The central question is: where do we look to find a balance that suits both man and robot?
“The islands of ‘Elantica’ are a scale model of this new zone…but we are looking at it from a distance.
“Special thanks go to TES-AMM Australia for the technical support by providing e-waste circuit boards for responsible recycling into the artwork.”
Sorting out a few original blinds for the 94 , this one from TL in 1977. What route(s) would have run along the three Bermondsey locations ?. Thanks.
..."Ogni Zona Rossa è una questione Nazionale". (da una scritta in piazza Duomo)
Reportage: "ZonaRossa - L'Aquila, 4 anni dopo".
6 aprile 2009 alle ore 3:32. Una scossa sconvolge una Regione, una popolazione, una Nazione. "Ogni zona rossa è una questione nazionale". Si legge in uno dei tanti messaggi in giro per la città.
Il mio reportage, vuole fare il punto della situazione 4 anni dopo il sisma. Per non dimenticare chi ha perso la casa, gli affetti, la vita. Per non dimenticare quanto successo.
Arrivare sul posto, e trovare tutto diverso da come lo si era lasciato anni prima. Ascoltare le parole tra le lacrime della gente. Ascoltare il ricordo di chi in quelle zone è nato e vissuto da sempre. E' l'unico vero autentico modo per comprendere e capire quanto si è fatto e quanto ancora ci sia da fare per ricostruire. E rinascere.
I O N O N D I M E N T I C O.
© All rights reserved. Using this photo without my permission is illegal.
© Le immagini contengono filigrana digitale per il copyright e l’autenticazione
© E’ vietata ogni riproduzione e/o utilizzo della/e stessa/e previo specifico accordo con l’autore che ne detiene tutti i diritti e si riserva di poter concederne uso in licenza secondo norme vigenti.
© MikeR. @ Photographer - www.mikerphotographer.webs.com
© MikeR. @ Photographer – www.rallomichele.wix.com/photographer
© MikeR. @ Photographer – www.mikerphotoart.wix.com/book
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So, in spite of the presence of my favorite subject matter in the abandoned house, the eye is certainly drawn to that tree, right?
The question of perception is about that tree...
I see a tree (walnut, maybe) with curves that look like a woman's body. A symbol of mother earth, mother nature...
Or maybe it's just a creepy-cool looking tree.
I have visited this property in Palo Alto County, Iowa before.
Explore #386
Well, there you have it: the JJ brothers in real life! Sunglasses for ultimate awesomeness, and photo filter 'cuz it's cool. Anyways, time for the obligatory facts:
1) We are fraternal twin brothers born and raised in San Diego, CA.
2) LEGO has been our primary hobby for as long as we can remember (we started at age 3).
3) We are now both 15 years old as of April 22nd.
4) Justin is much taller than Jordan. This picture illustrates that quite nicely.
5) As builders, we like to build, and have built, in a very wide variety of themes and styles. Some days we'll feel like building one theme, and then a couple minutes later, have a great idea for some other theme. We've really tried to go in as many different themes and styles as we can, and that's what's so great about LEGO!
6) We've been to BrickFair Virginia twice, and BrickCon once. BrickCon was our first convention, and unfortunately, we probably won't be able to go to that one again for a while. We will, however, be going to BrickFair Virginia pretty much every year. Speaking of which, we hope to meet a lot of you guys there :D
7) We've won quite a few contests, and entered quite a few more. Contests are great because they push you out of your comfort zone, and make you try new things that you wouldn't have under other circumstances.
8) Some of our favorite musical artists include Coldplay, Train, and many others. Some of our favorite composers include John Williams, Alan Silvestri, Hans Zimmer, Howard Shore, and many others as well.
9) We are both in our school's band program. Justin plays the clarinet, and Jordan plays the bass clarinet. In addition to band, we also play on our school's volleyball and soccer teams.
10) We are Freshmen in high school.
11) We have two cats named Nittany and Paws. Nittany is very obese, but Paws remains in respectable shape. This is probably due to the fact that Nittany sits by his food bowl all day long, and doesn't do any exercise.
12) Some of our friends that go to school with us share our passion for Lego, but don't have flickr accounts.
13) We love our Canon EOS REBEL T3i! We're thinking about getting an expensive macro lens for it soon.
14) Jordan takes all of the pictures. Justin watches Jordan take all of the pictures.
15) The only bad part about having cats is the hair. It gets everywhere (especially on the LEGO).
16) Our hobby is becoming more and more expensive every year.
17) Our collab for BFVA (Homefront) will pretty much take up all of our most useful pieces.
18) We appreciate comments more than favorites on flickr. Our reasoning: it takes one second to click the little star above the picture, but it takes much longer to give a nice, thoughtful comment that lets us know that we did a good job.
19) Number 20 is next. What a shocker
20) Justin's favorite color is green, while Jordan's is red. Hehe Christmas
The End.
___________________________________________________________________________
Added are our closest flickr friends and main inspirations. Obviously we can't tag everyone, so don't be offended if you aren't.
Anyways, on to the question: what do you guys think of us trying a different theme every week this summer? It might be kinda fun. We'll think about it.
Thanks for reading, guys!
Liz by Andy Warhol. Ken C. Arnold Art Collection Andy Warhol
From Wikipedia, the free encyclopediaJump to:navigation, search
For the song by David Bowie, see Andy Warhol (song)
Andy Warhol
Warhol in 1977
Birth name Andrew Warhola
Born August 6, 1928(1928-08-06)
Pittsburgh, Pennsylvania, U.S.
Died February 22, 1987 (aged 58)
New York City, U.S.
Nationality American
Field Painting, Cinema
Training Carnegie Mellon University
Movement Pop art
Works Chelsea Girls (1966 film)
Exploding Plastic Inevitable (1966 event)
Campbell's Soup Cans (1962 painting)
Andrew Warhola (August 6, 1928 – February 22, 1987), known as Andy Warhol, was an American painter, printmaker, and filmmaker who was a leading figure in the visual art movement known as pop art. After a successful career as a commercial illustrator, Warhol became famous worldwide for his work as a painter, avant-garde filmmaker, record producer, author, and public figure known for his membership in wildly diverse social circles that included bohemian street people, distinguished intellectuals, Hollywood celebrities and wealthy patrons.
Warhol has been the subject of numerous retrospective exhibitions, books, and feature and documentary films. He coined the widely used expression "15 minutes of fame." In his hometown of Pittsburgh, Pennsylvania, The Andy Warhol Museum exists in memory of his life and artwork.
The highest price ever paid for a Warhol painting is $100 million for a 1963 canvas titled Eight Elvises. The private transaction was reported in a 2009 article in The Economist, which described Warhol as the "bellwether of the art market." $100 million is a benchmark price that only Jackson Pollock, Pablo Picasso, Gustav Klimt and Willem de Kooning have achieved.[1]
Contents [hide]
1 Childhood
2 Early career
3 1960s
4 Attempted assassination
5 1970s
6 1980s
7 Sexuality
8 Religious beliefs
9 Death
10 Works
10.1 Paintings
10.2 Films
10.3 Factory in New York
10.4 Filmography
10.5 Music
10.6 Books and print
10.7 Other media
10.8 Producer and product
11 Dedicated museums
12 Movies about Warhol
12.1 Dramatic portrayals
12.2 Documentaries
13 See also
14 References
15 Further reading
16 External links
Childhood
Warhol's childhood home at 3252 Dawson Street in the South Oakland neighborhood of Pittsburgh, PennsylvaniaAndy Warhol was born in Pittsburgh, Pennsylvania.[2] He was the fourth child of Ondrej Warhola (died 1942)[3] and Julia (nee Zavacka, 1892-1972),[4] whose first child was born in their homeland and died before their migration to the U.S. His parents were working-class immigrants from Mikó (now called Miková), in northeastern Slovakia, then part of Austro-Hungarian Empire. Warhol's father immigrated to the US in 1914, and his mother joined him in 1921, after the death of Andy Warhol's grandparents. Warhol's father worked in a coal mine. The family lived at 55 Beelen Street and later at 3252 Dawson Street in the Oakland neighborhood of Pittsburgh.[5] The family was Byzantine Catholic and attended St. John Chrysostom Byzantine Catholic Church. Andy Warhol had two older brothers, Ján and Pavol, who were born in today's Slovakia. Pavol's son, James Warhola, became a successful children's book illustrator.
In third grade, Warhol had chorea, the nervous system disease that causes involuntary movements of the extremities, which is believed to be a complication of scarlet fever and causes skin pigmentation blotchiness.[6] He became a hypochondriac, developing a fear of hospitals and doctors. Often bed-ridden as a child, he became an outcast among his school-mates and bonded strongly with his mother.[7] At times when he was confined to bed, he drew, listened to the radio and collected pictures of movie stars around his bed. Warhol later described this period as very important in the development of his personality, skill-set and preferences. When Warhol was 13, his father died in an accident.[8]
Early career
Warhol showed early artistic talent and studied commercial art at the School of Fine Arts at Carnegie Institute of Technology in Pittsburgh, Pennsylvania (now Carnegie Mellon University).[9] In 1949, he moved to New York City and began a successful career in magazine illustration and advertising. During the 1950s, he gained fame for his whimsical ink drawings of shoe advertisements. These were done in a loose, blotted-ink style, and figured in some of his earliest showings at the Bodley Gallery in New York. With the concurrent rapid expansion of the record industry and the introduction of the vinyl record, Hi-Fi, and stereophonic recordings, RCA Records hired Warhol, along with another freelance artist, Sid Maurer, to design album covers and promotional materials.[10]
Campbell's Soup I (1968)1960s
His first one-man art-gallery exhibition as a fine artist[11][12] was on July 9, 1962, in the Ferus Gallery of Los Angeles. The exhibition marked the West Coast debut of pop art.[13] Andy Warhol's first New York solo Pop exhibit was hosted at Eleanor Ward's Stable Gallery November 6–24, 1962. The exhibit included the works Marilyn Diptych, 100 Soup Cans, 100 Coke Bottles and 100 Dollar Bills. At the Stable Gallery exhibit, the artist met for the first time John Giorno who would star in Warhol's first film, Sleep, in 1963.[citation needed]
It was during the 1960s that Warhol began to make paintings of iconic American products such as Campbell's Soup Cans and Coca-Cola bottles, as well as paintings of celebrities such as Marilyn Monroe, Elvis Presley, Troy Donahue, Muhammad Ali and Elizabeth Taylor. He founded "The Factory", his studio during these years, and gathered around himself a wide range of artists, writers, musicians, and underground celebrities. He began producing prints using the silkscreen method. His work became popular and controversial.
Among the imagery tackled by Warhol were dollar bills, celebrities and brand name products. He also used as imagery for his paintings newspaper headlines or photographs of mushroom clouds, electric chairs, and police dogs attacking civil rights protesters. Warhol also used Coca Cola bottles as subject matter for paintings. He had this to say about Coca Cola:
What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca Cola, and you know that the President drinks Coca Cola, Liz Taylor drinks Coca Cola, and just think, you can drink Coca Cola, too. A coke is a coke and no amount of money can get you a better coke than the one the bum on the corner is drinking. All the cokes are the same and all the cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it.[14]
New York's Museum of Modern Art hosted a Symposium on pop art in December 1962 during which artists like Warhol were attacked for "capitulating" to consumerism. Critics were scandalized by Warhol's open embrace of market culture. This symposium set the tone for Warhol's reception. Throughout the decade it became more and more clear that there had been a profound change in the culture of the art world, and that Warhol was at the center of that shift.[citation needed]
Campbell's Tomato Juice Box (1964)A pivotal event was the 1964 exhibit The American Supermarket, a show held in Paul Bianchini's Upper East Side gallery. The show was presented as a typical U.S. small supermarket environment, except that everything in it – from the produce, canned goods, meat, posters on the wall, etc. – was created by six prominent pop artists of the time, among them the controversial (and like-minded) Billy Apple, Mary Inman, and Robert Watts. Warhol's painting of a can of Campbell's soup cost $1,500 while each autographed can sold for $6. The exhibit was one of the first mass events that directly confronted the general public with both pop art and the perennial question of what art is (or of what is art and what is not).[citation needed]
As an advertisement illustrator in the 1950s, Warhol used assistants to increase his productivity. Collaboration would remain a defining (and controversial) aspect of his working methods throughout his career; in the 1960s, however, this was particularly true. One of the most important collaborators during this period was Gerard Malanga. Malanga assisted the artist with producing silkscreens, films, sculpture, and other works at "The Factory", Warhol's aluminum foil-and-silver-paint-lined studio on 47th Street (later moved to Broadway). Other members of Warhol's Factory crowd included Freddie Herko, Ondine, Ronald Tavel, Mary Woronov, Billy Name, and Brigid Berlin (from whom he apparently got the idea to tape-record his phone conversations).[15]
During the '60s, Warhol also groomed a retinue of bohemian eccentrics upon whom he bestowed the designation "Superstars", including Edie Sedgwick, Viva, Ultra Violet, and Candy Darling. These people all participated in the Factory films, and some – like Berlin – remained friends with Warhol until his death. Important figures in the New York underground art/cinema world, such as writer John Giorno and film-maker Jack Smith, also appear in Warhol films of the 1960s, revealing Warhol's connections to a diverse range of artistic scenes during this time.
Attempted assassination
On June 3, 1968, Valerie Solanas shot Warhol and art critic and curator Mario Amaya at Warhol's studio.[16] Before the shooting, Solanas had been a marginal figure in the Factory scene. She founded a "group" called S.C.U.M. (Society for Cutting Up Men) and authored the S.C.U.M. Manifesto, a separatist feminist attack on patriarchy. Over the years, Solanas' manifesto has found a following.[17] Solanas appears in the 1968 Warhol film I, A Man. Earlier on the day of the attack, Solanas had been turned away from the Factory after asking for the return of a script she had given to Warhol. The script, apparently, had been misplaced.[18]
Amaya received only minor injuries and was released from the hospital later the same day. Warhol however, was seriously wounded by the attack and barely survived (surgeons opened his chest and massaged his heart to help stimulate its movement again). He suffered physical effects for the rest of his life. The shooting had a profound effect on Warhol's life and art.[19][20]
Solanas was arrested the day after the assault. By way of explanation, she said that Warhol "had too much control over my life." She was eventually sentenced to three years under the control of the Department of Corrections. After the shooting, the Factory scene became much more tightly controlled, and for many this event brought the "Factory 60s" to an end.[20] The shooting was mostly overshadowed in the media due to the assassination of Robert F. Kennedy two days later.
Warhol had this to say about the attack: "Before I was shot, I always thought that I was more half-there than all-there – I always suspected that I was watching TV instead of living life. People sometimes say that the way things happen in movies is unreal, but actually it's the way things happen in life that's unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, it's like watching television – you don't feel anything. Right when I was being shot and ever since, I knew that I was watching television. The channels switch, but it's all television." [21]
1970s
Andy Warhol and Jimmy Carter in 1977Compared to the success and scandal of Warhol's work in the 1960s, the 1970s proved a much quieter decade, as Warhol became more entrepreneurial. According to Bob Colacello, Warhol devoted much of his time to rounding up new, rich patrons for portrait commissions– including Shah of Iran Mohammad Reza Pahlavi, his wife Empress Farah Pahlavi, his sister Princess Ashraf Pahlavi, Mick Jagger, Liza Minnelli, John Lennon, Diana Ross, Brigitte Bardot, and Michael Jackson.[22][citation needed] Warhol's famous portrait of Chinese Communist leader Mao Zedong was created in 1973. He also founded, with Gerard Malanga, Interview magazine, and published The Philosophy of Andy Warhol (1975). An idea expressed in the book: "Making money is art, and working is art and good business is the best art."[cite this quote]
Warhol used to socialize at various nightspots in New York City, including Max's Kansas City; and, later in the '70s, Studio 54.[23] He was generally regarded as quiet, shy, and a meticulous observer. Art critic Robert Hughes called him "the white mole of Union Square."[24]
1980s
Warhol had a re-emergence of critical and financial success in the 1980s, partially due to his affiliation and friendships with a number of prolific younger artists, who were dominating the "bull market" of '80s New York art: Jean-Michel Basquiat, Julian Schnabel, David Salle and other so-called Neo-Expressionists, as well as members of the Transavantgarde movement in Europe, including Francesco Clemente and Enzo Cucchi.
By this period, Warhol was being criticized for becoming merely a "business artist".[25] In 1979, unfavorable reviews met his exhibits of portraits of 1970s personalities and celebrities, calling them superficial, facile and commercial, with no depth or indication of the significance of the subjects. This criticism was echoed for his 1980 exhibit of ten portraits at the Jewish Museum in New York, entitled Jewish Geniuses, which Warhol – who exhibited no interest in Judaism or matters of interest to Jews – had described in his diary as "They're going to sell."[25] In hindsight, however, some critics have come to view Warhol's superficiality and commerciality as "the most brilliant mirror of our times," contending that "Warhol had captured something irresistible about the zeitgeist of American culture in the 1970s."[25]
Warhol also had an appreciation for intense Hollywood glamour. He once said: "I love Los Angeles. I love Hollywood. They're so beautiful. Everything's plastic, but I love plastic. I want to be plastic."[26]
Sexuality
Warhol never married or had children.[27] Many people think of him as asexual and merely a "voyeur"; however, it is now well-established that he was homosexual (see biographers such as Victor Bockris, Bob Colacello,[28] and art historian Richard Meyer[29]). The question of his sexuality aside, Warhol stated in a 1980 interview that he was still a virgin.[30] The question of how Warhol's sexuality influenced his work and shaped his relationship to the art world is a major subject of scholarship on the artist, and is an issue that Warhol himself addressed in interviews, in conversation with his contemporaries, and in his publications (e.g. Popism: The Warhol Sixties).
Throughout his career, Warhol produced erotic photography and drawings of male nudes. Many of his most famous works (portraits of Liza Minnelli, Judy Garland, and Elizabeth Taylor, and films like Blow Job, My Hustler, and Lonesome Cowboys) draw from gay underground culture and/or openly explore the complexity of sexuality and desire. Many of his films premiered in gay porn theaters. That said, some stories about Warhol's development as an artist revolved around the obstacle his sexuality initially presented as he tried to launch his career. The first works that he submitted to a gallery in the pursuit of a career as an artist were homoerotic drawings of male nudes. They were rejected for being too openly gay.[31] In Popism, furthermore, the artist recalls a conversation with the film maker Emile de Antonio about the difficulty Warhol had being accepted socially by the then more famous (but closeted) gay artists Jasper Johns and Robert Rauschenberg. De Antonio explained that Warhol was "too swish and that upsets them." In response to this, Warhol writes, "There was nothing I could say to that. It was all too true. So I decided I just wasn't going to care, because those were all the things that I didn't want to change anyway, that I didn't think I 'should' want to change... Other people could change their attitudes but not me".[32][33] In exploring Warhol's biography, many turn to this period – the late 1950s and early 1960s – as a key moment in the development of his persona. Some have suggested that his frequent refusal to comment on his work, to speak about himself (confining himself in interviews to responses like "Um, No" and "Um, Yes", and often allowing others to speak for him) – and even the evolution of his Pop style – can be traced to the years when Warhol was first dismissed by the inner circles of the New York art world.[34]
Religious beliefs
Images of Jesus from The Last Supper cycle (1986). Warhol made almost 100 variations on the theme, which the Guggenheim felt "indicates an almost obsessive investment in the subject matter."[35]Warhol was a practicing Byzantine Catholic. He regularly volunteered at homeless shelters in New York, particularly during the busier times of the year, and described himself as a religious person.[36] Several of Warhol's later works depicted religious subjects, including two series, Details of Renaissance Paintings (1984) and The Last Supper (1986). In addition, a body of religious-themed works was found posthumously in his estate.[36]
During his life, Warhol regularly attended Mass, and the priest at Warhol's church, Saint Vincent's, said that the artist went there almost daily,[36] although he never took communion or made confession and sat or knelt in the pews at the back.".[30] The priest thought he was afraid of being recognized; Warhol said he was self-conscious about being seen in a Roman Catholic church crossing himself "in the Orthodox way" (right to left instead of the reverse).[30]
His art is noticeably influenced by the eastern Christian iconographic tradition which was so evident in his places of worship.[36]
Warhol's brother has described the artist as "really religious, but he didn't want people to know about that because [it was] private." Despite the private nature of his faith, in Warhol's eulogy John Richardson depicted it as devout: "To my certain knowledge, he was responsible for at least one conversion. He took considerable pride in financing his nephew's studies for the priesthood".[36]
Death
Warhol died in New York City at 6:32 a.m. on February 22, 1987. According to news reports, he had been making good recovery from a routine gallbladder surgery at New York Hospital before dying in his sleep from a sudden post-operative cardiac arrhythmia.[37] Prior to his diagnosis and operation, Warhol delayed having his recurring gallbladder problems checked, as he was afraid to enter hospitals and see doctors. His family sued the hospital for inadequate care, saying that the arrhythmia was caused by improper care and water intoxication.[38]
Warhol's grave at St. John the Baptist Byzantine Catholic CemeteryWarhol's body was taken back to Pittsburgh by his brothers for burial. The wake was at Thomas P. Kunsak Funeral Home and was an open-coffin ceremony. The coffin was a solid bronze casket with gold plated rails and white upholstery. Warhol was dressed in a black cashmere suit, a paisley tie, a platinum wig, and sunglasses. He was posed holding a small prayer book and a red rose. The funeral liturgy was held at the Holy Ghost Byzantine Catholic Church on Pittsburgh's North Side. The eulogy was given by Monsignor Peter Tay. Yoko Ono also made an appearance. The coffin was covered with white roses and asparagus ferns. After the liturgy, the coffin was driven to St. John the Baptist Byzantine Catholic Cemetery in Bethel Park, a south suburb of Pittsburgh. At the grave, the priest said a brief prayer and sprinkled holy water on the casket. Before the coffin was lowered, Paige Powell dropped a copy of Interview magazine, an Interview t-shirt, and a bottle of the Estee Lauder perfume "Beautiful" into the grave. Warhol was buried next to his mother and father. Weeks later a memorial service was held in Manhattan for Warhol on April 1, 1987, at St. Patrick's Cathedral, New York.
Warhol's will dictated that his entire estate – with the exception of a few modest legacies to family members – would go to create a foundation dedicated to the "advancement of the visual arts". Warhol had so many possessions that it took Sotheby's nine days to auction his estate after his death; the auction grossed more than US$20 million. His total estate was worth considerably more, due in no small part to shrewd investments over the years.[citation needed]
In 1987, in accordance with Warhol's will, the Andy Warhol Foundation for the Visual Arts was founded. The Foundation not only serves as the official Estate of Andy Warhol, but also has a mission "to foster innovative artistic expression and the creative process" and is "focused primarily on supporting work of a challenging and often experimental nature."[39]
The Artists Rights Society is the U.S. copyright representative for the Andy Warhol Foundation for the Visual Arts for all Warhol works with the exception of Warhol film stills.[40] The U.S. copyright representative for Warhol film stills is the Warhol Museum in Pittsburgh.[41] Additionally, the Andy Warhol Foundation for the Visual Arts has agreements in place for its image archive. All digital images of Warhol are exclusively managed by Corbis, while all transparency images of Warhol are managed by Art Resource.[42]
The Andy Warhol Foundation released its 20th Anniversary Annual Report as a three-volume set in 2007: Vol. I, 1987–2007; Vol. II, Grants & Exhibitions; and Vol. III, Legacy Program.[43] The Foundation remains one of the largest grant-giving organizations for the visual arts in the U.S.[44]
Works
Paintings
This section needs references that appear in reliable third-party publications. Primary sources or sources affiliated with the subject are generally not sufficient for a Wikipedia article. Please add more appropriate citations from reliable sources. (February 2009)
By the beginning of the 1960s, Warhol was a very successful commercial illustrator. His detailed and elegant drawings for I. Miller shoes were particularly popular. These illustrations consisted mainly of "blotted ink" drawings (or monoprints), a technique which he applied in much of his early art. Although many artists of this period worked in commercial art, most did so discreetly. Warhol was so successful, however, that his profile as an illustrator seemed to undermine his efforts to be taken seriously as an artist.
Pop Art was an experimental form that several artists were independently adopting; some of these pioneers, such as Roy Lichtenstein, would later become synonymous with the movement. Warhol, who would become famous as the "Pope of Pop", turned to this new style, where popular subjects could be part of the artist's palette. His early paintings show images taken from cartoons and advertisements, hand-painted with paint drips. Those drips emulated the style of successful abstract expressionists (such as Willem de Kooning). Warhol's first Pop Art paintings were displayed in April 1961, serving as the backdrop for New York Department Store Bronwit Teller's window display. This was the same stage his Pop Art contemporaries Jasper Johns, James Rosenquist and Robert Rauschenberg had also once graced.[45] Eventually, Warhol pared his image vocabulary down to the icon itself – to brand names, celebrities, dollar signs – and removed all traces of the artist's "hand" in the production of his paintings.
To him, part of defining a niche was defining his subject matter. Cartoons were already being used by Lichtenstein, typography by Jasper Johns, and so on; Warhol wanted a distinguishing subject. His friends suggested he should paint the things he loved the most. It was the gallerist Muriel Latow who came up with the ideas for both the soup cans and Warhol's dollar paintings. On 23 November 1961 Warhol wrote Latow a check for $50 which, according to the 2009 Warhol biography, Pop, The Genius of Warhol, was payment for coming up with the idea of the soup cans as subject matter.[46] For his first major exhibition Warhol painted his famous cans of Campbell's Soup, which he claimed to have had for lunch for most of his life. The work sold for $10,000 at an auction on November 17, 1971, at Sotheby's New York – a minimal amount for the artist whose paintings sell for over $6 million more recently.[47]
He loved celebrities, so he painted them as well. From these beginnings he developed his later style and subjects. Instead of working on a signature subject matter, as he started out to do, he worked more and more on a signature style, slowly eliminating the hand-made from the artistic process. Warhol frequently used silk-screening; his later drawings were traced from slide projections. At the height of his fame as a painter, Warhol had several assistants who produced his silk-screen multiples, following his directions to make different versions and variations.[48]
In 1979, Warhol was commissioned by BMW to paint a Group 4 race version of the then elite supercar BMW M1 for the fourth installment in the BMW Art Car Project. Unlike the three artists before him, Warhol declined the use of a small scale practice model, instead opting to immediately paint directly onto the full scale automobile. It was indicated that Warhol spent only a total of 23 minutes to paint the entire car.[49]
Warhol produced both comic and serious works; his subject could be a soup can or an electric chair. Warhol used the same techniques– silkscreens, reproduced serially, and often painted with bright colors – whether he painted celebrities, everyday objects, or images of suicide, car crashes, and disasters, as in the 1962–63 Death and Disaster series. The Death and Disaster paintings (such as Red Car Crash, Purple Jumping Man, and Orange Disaster) transform personal tragedies into public spectacles, and signal the use of images of disaster in the then evolving mass media.
The unifying element in Warhol's work is his deadpan Keatonesque style – artistically and personally affectless. This was mirrored by Warhol's own demeanor, as he often played "dumb" to the media, and refused to explain his work. The artist was famous for having said that all you need to know about him and his works is already there, "Just look at the surface of my paintings and films and me, and there I am. There's nothing behind it." [50]
His Rorschach inkblots are intended as pop comments on art and what art could be. His cow wallpaper (literally, wallpaper with a cow motif) and his oxidation paintings (canvases prepared with copper paint that was then oxidized with urine) are also noteworthy in this context. Equally noteworthy is the way these works – and their means of production – mirrored the atmosphere at Andy's New York "Factory". Biographer Bob Colacello provides some details on Andy's "piss paintings":
Victor... was Andy's ghost pisser on the Oxidations. He would come to the Factory to urinate on canvases that had already been primed with copper-based paint by Andy or Ronnie Cutrone, a second ghost pisser much appreciated by Andy, who said that the vitamin B that Ronnie took made a prettier color when the acid in the urine turned the copper green. Did Andy ever use his own urine? My diary shows that when he first began the series, in December 1977, he did, and there were many others: boys who'd come to lunch and drink too much wine, and find it funny or even flattering to be asked to help Andy 'paint.' Andy always had a little extra bounce in his walk as he led them to his studio...[51]
Warhol's first portrait of Basquiat (1982) is a black photosilkscreen over an oxidized copper "piss painting".
After many years of silkscreen, oxidation, photography, etc., Warhol returned to painting with a brush in hand in a series of over 50 large collaborative works done with Jean-Michel Basquiat between 1984 and 1986.[52][53] Despite negative criticism when these were first shown, Warhol called some of them "masterpieces," and they were influential for his later work.[54]
The influence of the large collaborations with Basquiat can be seen in Warhol's The Last Supper cycle, his last and possibly his largest series, seen by some as "arguably his greatest,"[55] but by others as “wishy-washy, religiose” and “spiritless."[56] It is also the largest series of religious-themed works by any U.S. artist.[55]
At the time of his death, Warhol was working on Cars, a series of paintings for Mercedes-Benz. [57]
Films
Warhol worked across a wide range of media – painting, photography, drawing, and sculpture. In addition, he was a highly prolific filmmaker. Between 1963 and 1968, he made more than 60 films [58], plus some 500 short black-and-white "screen test" portraits of Factory visitors.[59] One of his most famous films, Sleep, monitors poet John Giorno sleeping for six hours. The 35-minute film Blow Job is one continuous shot of the face of DeVeren Bookwalter supposedly receiving oral sex from filmmaker Willard Maas, although the camera never tilts down to see this. Another, Empire (1964), consists of eight hours of footage of the Empire State Building in New York City at dusk. The film Eat consists of a man eating a mushroom for 45 minutes. Warhol attended the 1962 premiere of the static composition by LaMonte Young called Trio for Strings and subsequently created his famous series of static films including Kiss, Eat, and Sleep (for which Young initially was commissioned to provide music). Uwe Husslein cites filmmaker Jonas Mekas, who accompanied Warhol to the Trio premiere, and who claims Warhol's static films were directly inspired by the performance.[60]
Batman Dracula is a 1964 film that was produced and directed by Warhol, without the permission of DC Comics. It was screened only at his art exhibits. A fan of the Batman series, Warhol's movie was an "homage" to the series, and is considered the first appearance of a blatantly campy Batman. The film was until recently thought to have been lost, until scenes from the picture were shown at some length in the 2006 documentary Jack Smith and the Destruction of Atlantis.
Warhol's 1965 film Vinyl is an adaptation of Anthony Burgess' popular dystopian novel A Clockwork Orange. Others record improvised encounters between Factory regulars such as Brigid Berlin, Viva, Edie Sedgwick, Candy Darling, Holly Woodlawn, Ondine, Nico, and Jackie Curtis. Legendary underground artist Jack Smith appears in the film Camp.
His most popular and critically successful film was Chelsea Girls (1966). The film was highly innovative in that it consisted of two 16 mm-films being projected simultaneously, with two different stories being shown in tandem. From the projection booth, the sound would be raised for one film to elucidate that "story" while it was lowered for the other. The multiplication of images evoked Warhol's seminal silk-screen works of the early 1960s.
Other important films include Bike Boy, My Hustler, and Lonesome Cowboys, a raunchy pseudo-western. These and other titles document gay underground and camp culture, and continue to feature prominently in scholarship about sexuality and art.[61][62] Blue Movie – a film in which Warhol superstar Viva makes love and fools around in bed with a man for 33 minutes of the film's playing-time – was Warhol's last film as director. The film was at the time scandalous for its frank approach to a sexual encounter. For many years Viva refused to allow it to be screened. It was publicly screened in New York in 2005 for the first time in over thirty years.
After his June 3, 1968, shooting, a reclusive Warhol relinquished his personal involvement in filmmaking. His acolyte and assistant director, Paul Morrissey, took over the film-making chores for the Factory collective, steering Warhol-branded cinema towards more mainstream, narrative-based, B-movie exploitation fare with Flesh, Trash, and Heat. All of these films, including the later Andy Warhol's Dracula and Andy Warhol's Frankenstein, were far more mainstream than anything Warhol as a director had attempted. These latter "Warhol" films starred Joe Dallesandro – more of a Morrissey star than a true Warhol superstar.
In the early '70s, most of the films directed by Warhol were pulled out of circulation by Warhol and the people around him who ran his business. After Warhol's death, the films were slowly restored by the Whitney Museum and are occasionally projected at museums and film festivals. Few of the Warhol-directed films are available on video or DVD.
Factory in New York
Factory: 1342 Lexington Avenue (the first Factory)
The Factory: 231 East 47th street 1963-1967 (the building no longer exists)
Factory: 33 Union Square 1967-1973 (Decker Building)
Factory: 860 Broadway (near 33 Union Square) 1973-1984 (the building has now been completely remodeled and was for a time (2000–2001) the headquarters of the dot-com consultancy Scient)
Factory: 22 East 33rd Street 1984-1987 (the building no longer exists)
Home: 1342 Lexington Avenue
Home: 57 East 66th street (Warhol's last home)
Last personal studio: 158 Madison Avenue
Filmography
Main article: Andy Warhol filmography
Music
In the mid 1960s, Warhol adopted the band the Velvet Underground, making them a crucial element of the Exploding Plastic Inevitable multimedia performance art show. Warhol, with Paul Morrissey, acted as the band's manager, introducing them to Nico (who would perform with the band at Warhol's request). In 1966 he "produced" their first album The Velvet Underground & Nico, as well as providing its album art. His actual participation in the album's production amounted to simply paying for the studio time. After the band's first album, Warhol and band leader Lou Reed started to disagree more about the direction the band should take, and their artistic friendship ended.[citation needed]
Warhol designed many album covers for various artists starting with the photographic cover of John Wallowitch's debut album, This Is John Wallowitch!!! (1964). He designed the cover art for the Rolling Stones albums Sticky Fingers (1971) and Love You Live (1977), and the John Cale albums The Academy In Peril (1972) and Honi Soit in 1981. In 1975, Warhol was commissioned to do several portraits of Mick Jagger, and in 1982 he designed the album cover for the Diana Ross album Silk Electric.[citation needed] One of his last works was a portrait of Aretha Franklin for the cover of her 1986 gold album Aretha, which was done in the style of the Reigning Queens series he had completed the year before.[63]
Warhol was also friendly with many recording artists, including Deborah Harry, Grace Jones, Diana Ross and John Lennon (with whom he posed for an infamous photograph[64]) - he designed the cover to Lennon's 1986 posthumously released Menlove Ave. Warhol also appeared as a bartender in The Cars' music video for their single "Hello Again", and Curiosity Killed The Cat's video for their "Misfit" single (both videos, and others, were produced by Warhol's video production company).[citation needed] Warhol featured in Grace Jones' music video for "I'm Not Perfect (But I'm Perfect for You)".
Warhol strongly influenced the New Wave/punk rock band Devo, as well as David Bowie. Bowie recorded a song called "Andy Warhol" for his 1971 album Hunky Dory. Lou Reed wrote the song "Andy's Chest", about Valerie Solanas, the woman who shot Warhol, in 1968. He recorded it with the Velvet Underground, but this version wasn't officially released until the VU album appeared in 1985. He recorded a new version for his 1972 solo album Transformer, produced by Bowie and Mick Ronson.[citation needed]
Cover of copy no. 18 of 25 Cats Name [sic] Sam and One Blue Pussy by Andy Warhol given in 1954 to Edgar de Evia and Robert Denning when the author was a guest in their home in the Rhinelander Mansion.[citation needed]Books and print
Beginning in the early 1950s, Warhol produced several unbound portfolios of his work.
The first of several bound self-published books by Warhol was 25 Cats Name Sam and One Blue Pussy, printed in 1954 by Seymour Berlin on Arches brand watermarked paper using his blotted line technique for the lithographs. The original edition was limited to 190 numbered, hand colored copies, using Dr. Martin's ink washes. Most of these were given by Warhol as gifts to clients and friends. Copy #4, inscribed "Jerry" on the front cover and given to Geraldine Stutz, was used for a facsimile printing in 1987[65] and the original was auctioned in May 2006 for US $35,000 by Doyle New York.[66]
Other self-published books by Warhol include:
A Gold Book
Wild Raspberries
Holy Cats
After gaining fame, Warhol "wrote" several books that were commercially published:
a, A Novel (1968, ISBN 0-8021-3553-6) is a literal transcription– containing spelling errors and phonetically written background noise and mumbling– of audio recordings of Ondine and several of Andy Warhol's friends hanging out at the Factory, talking, going out.[citation needed]
The Philosophy of Andy Warhol (From A to B & Back Again) (1975, ISBN 0-15-671720-4)– according to Pat Hackett's introduction to The Andy Warhol Diaries, Pat Hackett did the transcriptions and text for the book based on daily phone conversations, sometimes (when Warhol was traveling) using audio cassettes that Andy Warhol gave her. Said cassettes contained conversations with Brigid Berlin (also known as Brigid Polk) and former Interview magazine editor Bob Colacello.[citation needed]
Popism: The Warhol Sixties (1980, ISBN 0-15-672960-1), authored by Warhol and Pat Hackett is a retrospective view of the sixties and the role of Pop Art.
The Andy Warhol Diaries (1989, ISBN 0-446-39138-7), edited by Pat Hackett, is a diary dictated by Warhol to Hackett in daily phone conversations. Warhol started the diary to keep track of his expenses after being audited, although it soon evolved to include his personal and cultural observations.[67]
Warhol created the fashion magazine Interview that is still published today. The loopy title script on the cover is thought to be either his own handwriting or that of his mother, Julia Warhola, who would often do text work for his early commercial pieces.[68]
Other media
As stated, although Andy Warhol is most known for his paintings and films, he has authored works in many different media.
Drawing: Warhol started his career as a commercial illustrator, producing drawings in "blotted-ink" style for advertisements and magazine articles. Best known of these early works are his drawings of shoes. Some of his personal drawings were self-published in small booklets, such as Yum, Yum, Yum (about food), Ho, Ho, Ho (about Christmas) and (of course) Shoes, Shoes, Shoes. His most artistically acclaimed book of drawings is probably A Gold Book, compiled of sensitive drawings of young men. A Gold Book is so named because of the gold leaf that decorates its pages.[69]
Sculpture: Warhol's most famous sculpture is probably his Brillo Boxes, silkscreened ink on wood replicas of Brillo soap pad boxes (designed by James Harvey), part of a series of "grocery carton" sculptures that also included Heinz ketchup and Campbell's tomato juice cases.[70] Other famous works include the Silver Clouds– helium filled, silver mylar, pillow-shaped balloons. A Silver Cloud was included in the traveling exhibition Air Art (1968–69) curated by Willoughby Sharp. Clouds was also adapted by Warhol for avant-garde choreographer Merce Cunningham's dance piece RainForest (1968).[71]
Audio: At one point Warhol carried a portable recorder with him wherever he went, taping everything everybody said and did. He referred to this device as his "wife". Some of these tapes were the basis for his literary work. Another audio-work of Warhol's was his "Invisible Sculpture", a presentation in which burglar alarms would go off when entering the room. Warhol's cooperation with the musicians of The Velvet Underground was driven by an expressed desire to become a music producer.[citation needed]
Time Capsules: In 1973, Warhol began saving ephemera from his daily life– correspondence, newspapers, souvenirs, childhood objects, even used plane tickets and food– which was sealed in plain cardboard boxes dubbed Time Capsules. By the time of his death, the collection grew to include 600, individually dated "capsules". The boxes are now housed at the Andy Warhol Museum.[72]
Television: Andy Warhol dreamed of a television show that he wanted to call The Nothing Special, a special about his favorite subject: Nothing. Later in his career he did create two cable television shows, Andy Warhol's TV in 1982 and Andy Warhol's Fifteen Minutes (based on his famous "fifteen minutes of fame" quotation) for MTV in 1986. Besides his own shows he regularly made guest appearances on other programs, including The Love Boat wherein a Midwestern wife (Marion Ross) fears Andy Warhol will reveal to her husband (Tom Bosley, who starred alongside Ross in sitcom Happy Days) her secret past as a Warhol superstar named Marina del Rey. Warhol also produced a TV commercial for Schrafft's Restaurants in New York City, for an ice cream dessert appropriately titled the "Underground Sundae".[73]
Fashion: Warhol is quoted for having said: "I'd rather buy a dress and put it up on the wall, than put a painting, wouldn't you?"[cite this quote] One of his most well-known Superstars, Edie Sedgwick, aspired to be a fashion designer, and his good friend Halston was a famous one. Warhol's work in fashion includes silkscreened dresses, a short sub-career as a catwalk-model and books on fashion as well as paintings with fashion (shoes) as a subject.[citation needed]
Performance Art: Warhol and his friends staged theatrical multimedia happenings at parties and public venues, combining music, film, slide projections and even Gerard Malanga in an S&M outfit cracking a whip. The Exploding Plastic Inevitable in 1966 was the culmination of this area of his work.[74]
Theater: Andy Warhol's PORK opened on May 5, 1971 at LaMama theater in New York for a two week run and was brought to the Roundhouse in London for a longer run in August, 1971. Pork was based on tape-recorded conversations between Brigin Berlin and Andy during which Brigid would play for Andy tapes she had made of phone conversations between herself and her mother, socialite Honey Berlin. The play featured Jayne County as "Vulva" and Cherry Vanilla as "Amanda Pork".[citation needed] In 1974, Andy Warhol also produced the stage musical Man On The Moon, which was written by John Phillips of the Mamas and the Papas.
Photography: To produce his silkscreens, Warhol made photographs or had them made by his friends and assistants. These pictures were mostly taken with a specific model of Polaroid camera that Polaroid kept in production especially for Warhol. This photographic approach to painting and his snapshot method of taking pictures has had a great effect on artistic photography. Warhol was an accomplished photographer, and took an enormous amount of photographs of Factory visitors, friends.[citation needed]
Computer: Warhol used Amiga computers to generate digital art, which he helped design and build with Amiga, Inc. He also displayed the difference between slow fill and fast fill on live TV with Debbie Harry as a model.[75] (video)
Producer and product
Warhol had assistance in producing his paintings. This is also true of his film-making and commercial enterprises.[citation needed]
He founded the gossip magazine Interview, a stage for celebrities he "endorsed" and a business staffed by his friends. He collaborated with others on all of his books (some of which were written with Pat Hackett.) He adopted the young painter Jean-Michel Basquiat, and the band The Velvet Underground, presenting them to the public as his latest interest, and collaborating with them. One might even say that he produced people (as in the Warholian "Superstar" and the Warholian portrait). He endorsed products, appeared in commercials, and made frequent celebrity guest appearances on television shows and in films (he appeared in everything from Love Boat to Saturday Night Live and the Richard Pryor movie, Dynamite Chicken).[citation needed]
In this respect Warhol was a fan of "Art Business" and "Business Art"– he, in fact, wrote about his interest in thinking about art as business in The Philosophy of Andy Warhol from A to B and Back Again.[citation needed]
Dedicated museums
Two museums are dedicated to Andy Warhol. The Andy Warhol Museum, one of the Carnegie Museums of Pittsburgh, is located at 117 Sandusky Street in Pittsburgh, Pennsylvania. It is the largest American art museum dedicated to a single artist, holding more than 12,000 works by the artist.[citation needed]
The other museum is the Andy Warhol Museum of Modern Art, established in 1991 by Andy's brother John Warhola, the Slovak Ministry of Culture, and the Warhol Foundation in New York. It is located in the small town of Medzilaborce, Slovakia. Andy's parents and his two brothers were born 15 kilometres away in the village of Miková. The museum houses several originals donated mainly by the Andy Warhol Foundation in New York and also personal items donated by Warhol's relatives.[citation needed]
Movies about Warhol
Dramatic portrayals
Warhol (right) with director Ulli Lommel on the set of 1979's Cocaine Cowboys, in which Warhol appeared as himselfIn 1979, Warhol appeared as himself in the film Cocaine Cowboys.[76]
After his passing, Warhol was portrayed by Crispin Glover in Oliver Stone's film The Doors (1991), by David Bowie in Basquiat, a film by Julian Schnabel, and by Jared Harris in the film I Shot Andy Warhol directed by Mary Harron (1996). Warhol appears as a character in Michael Daugherty's 1997 opera Jackie O. Actor Mark Bringleson makes a brief cameo as Warhol in Austin Powers: International Man of Mystery (1997). Many films by avant-garde cineast Jonas Mekas have caught the moments of Andy's life. Sean Gregory Sullivan depicted Warhol in the 1998 film 54. Guy Pearce portrayed Warhol in the 2007 film, Factory Girl, about Edie Sedgwick's life.[77] Actor Greg Travis portrays Warhol in a brief scene from the 2009 film Watchmen.
Gus Van Sant was planning a version of Warhol's life with River Phoenix in the lead role just before Phoenix's death in 1993.[78]
Documentaries
The 2001 documentary, Absolut Warhola was produced by Polish director Stanislaw Mucha, featuring Warhol's parents' family and hometown in Slovakia.[79]
Andy Warhol: A Documentary Film is a reverential four-hour 2006 movie by Ric Burns.[80]
Andy Warhol: Double Denied is a 52 minute movie by lan Yentob about the difficulties in authenticating Warhol's work.[81]
Are you...
Dreaming! Dreaming the night! Dreaming all right!
Do we! Do we know, when we FLY?
When we, when we go
Do we die?
Well, I've gone and done it again. Janet has banned me from the kitchen for the next week because I snorted the powder sugar she was planning to use on our apple turnovers. The shame is real.
Question. Does this photo qualify as a leading lines shot?
First I'd like to thank all of you, especially Heather, that took interest in my bizarre story about the Osprey versus Goose...it appears the goose has won!
After having so many questions unanswered I decided to Google, why didn't I think of that in the first place! Here are some very interesting facts! Who would have thought Herons, Eagles and Osprey nests!
Canada geese nest in areas that are surrounded by or close to water
Nest sites vary widely and include the shores of cattail and bulrush marshes, the bases of trees, the tops of muskrat lodges and haystacks, and unoccupied nests of eagles, herons, and ospreys. Nests have produced successful broods of geese and ospreys in the same year.
Other nest sites include planter boxes and nesting structures provided specifically for geese.
The nest is a bowl-shaped depression approximately 1½ feet in diameter lined with grass, leaves, and goose down.
A pair of geese may return to the same nest site in consecutive years.
Adult pairs usually stay together for life unless one dies. Lone geese will find another mate, generally within the same breeding season.
Between one and ten, but normally five to six eggs are laid in the nest in March, April, or May. Eggs are incubated by the goose (female) while the gander (male) stands guard nearby. The female leaves the nest only briefly each day to feed.
Eggs hatch after 25 to 30 days of incubation. The young, called goslings, can walk, swim, and feed within 24 hours.
Both parents (especially the gander) vigorously defend the goslings until they are able to fly, which is at about ten weeks.
I have never seen the male standing guard anywhere, but I will continue to keep watch in hopes of seeing the babies make that 40' leap of fate!
This is 'not the goose in question'!