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Reference: APAAME_20060911_FFR-0174
Photographer: Francesca Radcliffe
Credit: Aerial Photographic Archive for Archaeology in the Middle East
Copyright: Creative Commons Attribution-Noncommercial-No Derivative Works
Exposition-vente d’œuvres multiples et petits objets des étudiants des beaux-arts de Nantes, du 20 au 30 avril 2016 à la Dulcie Galerie. Vernissage le mardi 19 avril à 18h30. Commissariat d'exposition : Georgia Nelson.
"Tell me, if I would catch you one day and kiss the sole of your foot, wouldn't you limp a little bit afterwards for fear of crushing my kiss?..."
From preschool through high school, I took a photo of Danny on his first day of school. He always hated it. I now know he still does.
Friday was his first day of teacher inservice training. The program in which he will work won't start until next week. So........I took a picture for this first day of school.
I CAN NOT BELIEVE my son is an adult who will soon be teaching. I KNOW he'll be good at it......but wasn't it just yesterday he started preschool????
Images from 'Peter Tells Lies' a new and emerging performance which was a part of the Flourish season at the Barbican Theatre March-April 2011
Images by Chris Jones
Reference: APAAME_20060910_DLK-0208
Photographer: David Leslie Kennedy
Credit: Aerial Photographic Archive for Archaeology in the Middle East
Copyright: Creative Commons Attribution-Noncommercial-No Derivative Works
Show & Tell Puzzla 150pc Cries of London no12 Hot Spiced Gingerbread Francis Wheatley, 8x11in plywood. Estimated late 1910s-1920s -? 1926 box annotation? - or earlier.
spitalfieldslife.com/2011/01/26/wheatleys-cries-of-london/
Francis Wheatleyexhibited his series of oil paintings entitled the “Cries of London” at the Royal Academy between 1792 and 1795. Two year earlier, the forty-one year old painter had been elected to the Academy in preference to the King’s nominee and, as a consequence, he never secured any further commissions for portraits from the aristocracy. Losing his income entirely, what should have been the crowning glory of his career was its unravelling – Wheatley was declared insolvent in 1793 and struggled to make a living until his death in 1801, when the Royal Academy paid his funeral expenses.
Yet in the midst of this turmoil, Wheatley created these sublime images of street sellers that – although seen at the time as of little consequence beside his aristocratic portraits – are now the works upon which his reputation rests. Born in Covent Garden in 1747, Wheatley was ideally qualified to portray these hawkers because he grew up amongst them and their cries, echoing in the streets around the market. You will recognise the old stone pillars of the market buildings that still stand today in a couple of these pictures, all of which could be located specifically in that vicinity. However, these pictures are far from social reportage as we understand it, and you may notice a certain similarity between many of the women portrayed in these pictures, for whom it is believed Mrs Wheatley – herself a painter and exhibitor at the Royal Academy – was the model. Look again, and you will also see that variants on the same ginger and white terrier occur throughout these paintings too.
In spite of the idealised quality of these pictures, I am drawn to these “Cries of London,” as a project that places working people at the centre of the picture, and represents them as individuals of stature and presence. The body language of subservience is only present when customers are in the frame, as you will see in the Knife Grinder and Cherry Seller below, whilst the lone Strawberry Seller, Match Seller and Primrose Seller all gaze out at us with assured status, as our equals. Taking this a stage further, the final three pictures, the Ballad Seller, the Gingerbread Seller and the Turnip Seller portray sellers and customers meeting eye to eye – dealing on a level – and with a discernible erotic charge in the air.
Although coming too late to save his career, Wheatley was well served by his engravers who created the prints which brought recognition for his “Cries of London,” as the most beautiful and most popular series of prints on this subject of all time, with editions still available into the early twentieth century.
Luigi Schiavonetti, born in Bassano in 1765, engraved the first three plates, the Primrose Seller, the Milk Maids and the Orange Seller, with lush velvety stippled tones – a style that was maintained by the three subsequent engravers (Cardon, Vendramini and Gaugain), when Schiavonetti became too successful and expensive for such a modest project. The “Cries of London” were sold at seven shillings and sixpence for a plain set and sixteen shillings coloured, and the fact all thirteen were issued is itself a measure of their popularity.