View allAll Photos Tagged Versatile
The Art of Investment: William Stone Images & Beyond
In the heart of the contemporary art realm lies a unique space, imbued with sophistication and a touch of the avant-garde – enter the ethereal world of William Stone Images. Reflecting the style of an article from The New York Times, this space isn't merely about the aesthetic, but it's about transforming monetary support into something that goes beyond the visual.
Discovering Beauty and Empowerment
Whether you're an art connoisseur or someone new to the world of fine art prints, William Stone Images wsimages.com/ presents a delightful gallery of fine art photography prints and opulent wall art. Each piece, exclusive in nature, invites viewers to explore depths beyond the canvas and the lens, provoking thoughts of beauty, vision, and perhaps, financial acumen.
Yet, William Stone Images isn't merely about capturing moments or showcasing beauty. It's about creating an impact in the real world, making tangible differences in the lives of budding entrepreneurs and burgeoning Small and Medium-sized Enterprises (SMEs). Investing in art here is, intriguingly, an investment in the future of innovation.
The Act of Investing: More Than Money
The act of contributing or donating towards WSImages is emblematic of a grander vision. By directing your investment to RR MEDIA LIMITED, you become part of an ambitious project. This is not just about international payments being processed, but about fuelling the trajectory of SMEs, ushering in an era where they aren’t just surviving, but thriving.
Even a modest contribution via this link buy.stripe.com/28o8zHgmf0dO8dW5ko can set powerful wheels in motion. Such gestures, minute or grand, infuse life into enterprises, granting them the stability and assurance they need to innovate, hire, and prosper.
Why Join This Artistic Revolution?
In the intricate dance between art and commerce, William Stone Images strikes a harmonious chord. From the stunning visual tales on Flickr to the glimpses of events immortalised at randrphotographs.com - randrphotographs.com/ , there's an unceasing pulse of creativity here.
Moreover, the allure of discounted luxury art beckons at this clearance section - www.wsimages.com/clearance/, ensuring that beauty is accessible to many. Each dispatched piece carries with it the William Stone promise: of impeccable quality, enduring allure, and a lifetime of pride.
For those curious about the tools and techniques making these masterpieces possible, the equipment section - www.wsimages.com/about/ at wsimages reveals secrets. It's not just about having the best camera or lens. It's about understanding the myriad ways in which light interacts with these tools, producing breathtaking results.
Additionally, in a world increasingly moving towards digitisation, their services extend beyond the lens. Dive into their web offerings at cloudstands.com - cloudstands.com/, and you'll find another testament to their versatility.
In Conclusion
William Stone Images is more than a gallery or a photographic service; it's a movement. As art and entrepreneurship blend seamlessly here, your investment becomes a bridge between vision and reality. Every penny, every gesture, doesn’t just purchase beauty, but fosters growth.
Intrigued? Ready for the next chapter? The world of William Stone awaits. Join us, and let’s redefine what it means to invest in art, beauty, and progress.
WS-326-13219038-5257740-2617893-22112023051355
The most versatile craft in the Colonial Defense Navy, the F-80 was designed from the beginning to be modular and customizable to adapt to a wide-array of combat scenarios. New modular systems are still in development as this carrier-bourne starfighter campaigns across the galaxy in the fight for peace and justice. The Sabrehawk may be new, but it is quickly finding itself host to many new fighter aces.
French postcard by Editions P.I., Paris, no. 256. Photo: Warner Bros.
American actress Eleanor Parker (1922-2013) appeared in some 80 films and television series. She was nominated three times for the Academy Award for Best Actress, for Caged (1950), Detective Story (1951) and Interrupted Melody (1955). Her role in Caged also won her the Volpi Cup for Best Actress at the Venice Film Festival. One of her most memorable roles was that of the Baroness in The Sound of Music (1965). Her biographer Doug McClelland called her ‘Woman of a Thousand Faces’, because of her versatility.
Eleanor Jean Parker was born in 1922, in Cedarville, Ohio. She was the daughter of Lola (Isett) and Lester Day Parker. Her family moved to East Cleveland, Ohio, where she attended public schools and graduated from Shaw High School. She appeared in a number of school plays. When she was 15 she started to attend the Rice Summer Theatre on Martha's Vineyard in Massachusetts. After graduation, she moved to California and began appearing at the Pasadena Playhouse. There she was spotted by a Warners Bros talent scout, Irving Kumin. The studio signed her to a long-term contract in June 1941. She was cast that year in They Died with Their Boots On (Raoul Walsh, 1941), but her scenes were cut. Her actual film debut was as Nurse Ryan in the short Soldiers in White (B. Reeves Eason, 1942). She was given some decent roles in B films, Busses Roar (D. Ross Lederman, 1942) and The Mysterious Doctor (Benjamin Stoloff, 1943) opposites John Loder. She also had a small role in one of Warner Brothers' biggest productions for the 1943 season, the pro-Soviet Mission to Moscow (Michael Curtiz, 1943) as Emlen Davies, daughter of the U.S. ambassador to the U.S.S.R (Walter Huston). On the set, she met her first husband, Navy Lieutenant. Fred L. Losse, but the marriage turned out to be a brief wartime affair. Parker had impressed Warners enough to offer her a strong role in a prestige production, Between Two Worlds (Edward A. Blatt, 1944), playing the suicidal wife of Paul Henreid's character. She played support roles for Crime by Night (William Clemens, 1944) and The Last Ride (D. Ross Lederman, 1944). Then she got the starring role opposite Dennis Morgan in The Very Thought of You (Delmer Daves, 1944). She was considered enough of a ‘name’ to be given a cameo in Hollywood Canteen (Delmer Daves, 1944). Warners gave her the choice role of Mildred Rogers in a new version of Somerset Maugham's Of Human Bondage (Edmund Goulding, 1946), but previews were not favourable and the film sat on the shelf for two years before being released. She had her big break when she was cast opposite John Garfield in Pride of the Marines (Delmer Daves, 1945). However, two films with Errol Flynn that followed, the romantic comedy Never Say Goodbye (James V. Kern, 1946) and the drama Escape Me Never (Peter Godfrey, 1947), were box office disappointments. Parker was suspended twice by Warners for refusing parts in films – in Stallion Road (James V. Kern, 1947), where she was replaced by Alexis Smith and Love and Learn (Frederick De Cordova, 1947). She made the comedy Voice of the Turtle (Irving Rapper, 1947) with Ronald Reagan, and the mystery The Woman in White (Peter Godfrey, 1948). She refused to appear in Somewhere in the City (Vincent Sherman, 1950) so Warners suspended her again; Virginia Mayo played the role. Parker then had two years off, during which time she married and had a baby. She turned down a role in The Hasty Heart (Vincent Sherman, 1949) which she wanted to do, but it would have meant going to England and she did not want to leave her baby alone during its first year.
Eleanor Parker returned in Chain Lightning (Stuart Heisler, 1950) with Humphrey Bogart. Parker heard about a women-in-prison film Warners were making, Caged (John Cromwell, 1950), and actively lobbied for the role. She got it, won the 1950 Volpi Cup for Best Actress at the Venice Film Festival and was nominated for an Academy Award. She also had a good role in the melodrama Three Secrets (Robert Wise, 1950). In February 1950, Parker left Warner Bros. after having been under contract there for eight years. Parker had understood that she would star in a film called Safe Harbor, but Warner Bros. apparently had no intention of making it. Because of this misunderstanding, her agents negotiated her release. Parker's career outside of Warners started badly with Valentino (Lewis Allen, 1951) playing a fictionalised wife of Rudolph Valentino for producer Edward Small. She tried a comedy at 20th Century Fox with Fred MacMurray, A Millionaire for Christy (George Marshall, 1951). In 1951, Parker signed a contract with Paramount for one film a year, with an option for outside films. This arrangement began brilliantly with Detective Story (William Wyler, 1951) playing Mary McLeod, the woman who doesn't understand the position of her unstable detective husband (Kirk Douglas). Parker was nominated for the Oscar in 1951 for her performance. Parker followed Detective Story with her portrayal of an actress in love with a swashbuckling nobleman (Stewart Granger) in Scaramouche (George Sidney, 1952), a role originally intended for Ava Gardner. Wikipedia: “Parker later claimed that Granger was the only person she didn't get along with during her entire career. However, they had good chemistry and the film was a massive hit. “MGM cast her into Above and Beyond (Melvin Frank, Norman Panama, 1952), a biopic of Lt. Col. Paul W. Tibbets, Jr. (Robert Taylor), the pilot of the aircraft that dropped the atomic bomb on Hiroshima. It was a solid hit. While Parker was making a third film for MGM, Escape from Fort Bravo (John Sturges, 1953), she signed a five-year contract with the studio. She was named as star of a Sidney Sheldon script, My Most Intimate Friend and of One More Time, from a script by Ruth Gordon and Garson Kanin directed by George Cukor, but neither film was made. Back at Paramount, Parker starred with Charlton Heston as a 1900s mail-order bride in The Naked Jungle (Byron Haskin, 1954), produced by George Pal. Parker returned to MGM where she was reunited with Robert Taylor in an Egyptian adventure film, Valley of the Kings (Robert Pirosh, 1954), and a Western, Many Rivers to Cross (Roy Rowland, 1955). MGM gave her one of her best roles as opera singer Marjorie Lawrence struck down by polio in Interrupted Melody (Curtis Bernhardt, 1955). This was a big hit and earned Parker a third Oscar nomination; she later said it was her favourite film. Also in 1955, Parker appeared in the film adaptation of the National Book Award-winner The Man with the Golden Arm (Otto Preminger, 1955), released through United Artists. She played Zosh, the supposedly wheelchair-bound wife of heroin-addicted, would-be jazz drummer Frankie Machine (Frank Sinatra). It was a major commercial and critical success. In 1956, she co-starred with Clark Gable in the Western comedy The King and Four Queens (Raoul Walsh, 1956), also for United Artists. It was then back at MGM for two dramas: Lizzie (Hugo Haas, 1957), in the title role, as a woman with a split personality; and The Seventh Sin (Ronald Neame, 1957), a remake of The Painted Veil in the role originated by Greta Garbo and, once again, intended for Ava Gardner. Both films flopped at the box office and, as a result, Parker's plans to produce her own film, L'Eternelle, about French resistance fighters, did not materialise.
Eleanor Parker supported Frank Sinatra in a popular comedy, A Hole in the Head (Frank Capra, 1959). She returned to MGM for Home from the Hill (Vincente Minnelli, 1960), co-starring with Robert Mitchum, then took over Lana Turner's role of Constance Rossi in Return to Peyton Place (José Ferrer, 1961), the sequel to the hit 1957 film. That was made by 20th Century Fox who also produced Madison Avenue (H. Bruce Humberstone, 1961) with Parker. In 1960, she made her TV debut, and in the following years, she worked increasingly in television, with the occasional film role such as Panic Button (George Sherman, Giuliano Carnimeo, 1964) with Maurice Chevalier and Jayne Mansfield. Parker's best-known screen role is Baroness Elsa Schraeder in the Oscar-winning musical The Sound of Music (Robert Wise, 1965). The Baroness was famously and poignantly unsuccessful in keeping the affections of Captain Georg von Trapp (Christopher Plummer) after he falls in love with Maria (Julie Andrews). In 1966, Parker played an alcoholic widow in the crime drama Warning Shot (Buzz Kulik, 1967), a talent scout who discovers a Hollywood star in The Oscar (Russell Rouse, 1966), and a rich alcoholic in An American Dream (Robert Gist, 1966). However, her film career seemed to go downhill. A Playboy Magazine reviewer derided the cast of The Oscar as "has-beens and never-will-be". From the late 1960s, she focused on television. In 1963, Parker appeared in the medical TV drama about psychiatry The Eleventh Hour in the episode Why Am I Grown So Cold?, for which she was nominated for an Emmy Award. She also appeared in episodes of Breaking Point (1964). And The Man from U.N.C.L.E. (1968). In 1969–1970, Parker starred in the television series Bracken's World, for which she was nominated for a 1970 Golden Globe Award. Parker also appeared on stage in the role of Margo Channing in Applause, the Broadway musical version of the film All About Eve. In 1976, she played Maxine in a revival of The Night of the Iguana. Her last film role was in a Farrah Fawcett bomb, Sunburn (Richard C. Sarafian, 1979). Subsequently, she appeared very infrequently on TV, most recently in Dead on the Money (Mark Cullingham, 1991). Eleanor Parker was married four times. Her first husband was Fred Losee (1943-1944). Her second marriage to Bert E. Friedlob (1946-1953) produced three children Susan Eleanor Friedlob (1948), Sharon Anne Friedlob (1950), and Richard Parker Friedlob (1952). Her third marriage was to American portrait painter Paul Clemens, (1954-1965) and the couple had one child, actor Paul Clemens (1958). Her fourth marriage with Raymond N. Hirsch (1966-2001) ended when Hirsch died of oesophagal cancer. She was the grandmother of actor/director Chasen Parker. Eleanor Parker died in 2013 at a medical facility in Palm Springs, California of complications of pneumonia. She was 91. Parker was raised a Protestant and later converted to Judaism, telling the New York Daily News columnist Kay Gardella in August 1969, "I think we're all Jews at heart ... I wanted to convert for a long time."
Sources: Jon C. Hopwood (IMDb), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
In Africa, where resources are much more scarce, recycling is a way of life and no scrap of material goes to waste. These are flattened strips of aluminum taken from the necks of discarded liquor bottles. Strung together they form this textile-like sculpture that recalls the woven and pieced designs of "kente", a traditional type of African Asante or Ewe royal cloth
Born in Ghana, El Anatsui currently lives in Nigeria. His work reflects his awareness of both the international contemporary art market and what he terms "classical" African art. Emerging as an artist during the vibrant West African post-independence art movements of the 1960s and 1970s, El Anatsui has gone on to receive international acclaim for his constantly evolving and highly experimental sculpture.
Photographed on display at the De Young Fine Arts Museum in Golden Gate Park, San Francisco, California
Last episode of the Bahamas series is out! youtu.be/Eosfgrjg4mA
And we finally did it! We've been talking about doing sunrise light-painting for so long, and it's during this trip that we've made it for the first time. The challenge here is to get set up properly before the blue hour, which can be tricky as we don't see exactly what's going to be revealed by the first glow of the day. It turned out to be much greater than I expected. The vibe of the morning is so different, and the colors were totally out of this world. To this day, this is one of my most favorite moment. The connection we get, the simplicity of the surroundings and the results are exactly what the Tube Stories are about. At the beginning of the video, you'll see our two first sunrise light-painting (January 21st without the clouds, and January 22nd with the cotton ball clouds)
My favorite flashlight: amzn.to/2xDGn9d
Tubes and gear: ericpare.com/gear
If you are interested to know more about tube light-painting, check out our learning group: fb.com/groups/ericpare
--- About the Tube Stories
We're a dancer/photographer duo making our way using a tube, a feather, and a flashlight. Everything we do is lit by hand, one frame at a time. Light-painting for us is a lifestyle, and this is what we share with our audience. The purpose of the Tube Stories is to bring a brighter and more colorful night to whoever is going to cross our path. Our work has been presented on the BBC, CNN, MTV, VICE, TEDx and much more.
--- About Eric Paré (Instagram: @ericparephoto)
Eric Paré is an artist-entrepreneur. When he's not on the road creating the Tube Stories, he can be found with his team at his studios in Montréal where he is working on multi-camera concepts and new technologies. He has recently been doing high ends projects for Intel, HP, Facebook, Microsoft and Adobe.
--- About Kim Henry (Instagram: @kimhenry.dance)
Kim Henry is a professional contemporary dancer that has a fascination for movement and human being. Versatile and curious, she seeks for projects that push her beyond her limits. As a freelance artist, she took part in more than 45 dance and physical theater projects since 2011. From a stage in a full-house theater to an empty desert, dancing is the language she likes the most.
Follow us on instagram: instagram.com/kimhenry.dance - instagram.com/ericparephoto
Kim Henry & Eric Paré 2017
Dutch postcard. Sent by mail in 1962.
Italian actress Claudia Cardinale (1938) is one of Europe's iconic and most versatile film stars. The combination of her beauty, dark, flashing eyes, explosive sexuality and genuine acting talent virtually guaranteed her stardom. Her most notable films include 8½ (Federico Fellini, 1963), Il Gattopardo/The Leopard (Luchino Visconti, 1963) and Once Upon a Time in the West (Sergio Leone, 1968).
Claude Joséphine Rose Cardinale was born in La Goulette in Tunisia in 1938 (some sources claim 1939). Her mother, Yolande Greco, was born in Tunisia to Italian (Sicilian) emigrants from Trapani, Italy. Her father was an Italian (Sicilian) railway worker, born in Gela, Italy. Her native languages were Tunisian Arabic and French. She received a French education and she had to learn Italian once she pursued her acting career. She had her break in films after she was voted the most beautiful Italian girl in Tunisia in 1957. The contest of the Italian embassy had as a prize a trip to the Venice Film Festival. She made her film debut in the French-Tunisian coproduction Goha (Jacques Baratier, 1958) starring Omar Sharif. After attending the Centro Sperimentale di Cinematografia in Rome for two months, she signed a 7-year contract with the Vides studios. The contract forbade her to cut her hair, to marry or to gain weight. Later that year she had a role in the heist comedy I soliti ignoti/Big Deal On Madonna Street (Mario Monicelli, 1958) with Vittorio Gassman and Renato Salvatori. The film was an international success, and her film career was off and running. At this point, the press, noting her initials, announced that CC was the natural successor to BB (Brigitte Bardot), and began beating the drum on her behalf. Dozens of alluring photographs of Claudia Cardinale were displayed in newspapers and magazines throughout the world. According to IMDb, she has appeared on more than 900 magazine covers in over 25 countries. The contrast between these pictures and those of Marilyn Monroe or Jayne Mansfield is striking. Cardinale never appeared in a nude or fully topless scene. Her pictures promoted an image of a shy family girl who just happened to have a beautiful face and a sexy body. A photograph of Cardinale was featured in the original gate fold artwork to Bob Dylan's album Blonde on Blonde (1966), but because it was used without Cardinale's permission, the photo was removed from the cover art in later pressings.
Claudia Cardinale's early career was largely managed producer Franco Cristaldi. Because of her film contract, she told everyone that her son Patrizio was her baby brother. He was born out of wedlock when she was 17; the father was a mysterious Frenchman. She did not reveal to the child that he was her son until he was 19 years old. In 1966, she married Cristaldi, who adopted Patrizio. In only three years she made a stream of great films. First she made three successful comedies, Un Maledetto imbroglio/The Facts of Murder (Pietro Germi, 1959), Il Bell'Antonio/Bell'Antonio (Mauro Bolognini, 1960) featuring Marcello Mastroianni, and Audace colpo dei soliti ignoti/Fiasco in Milan (Nanni Loy, 1960). Cardinale had a supporting part in the epic drama Rocco e i suoi fratelli/Rocco and His Brothers (Luchino Visconti, 1960) in which she played the sister-in-law of Alain Delon and Renato Salvatori. And then followed leading parts in La Ragazza con la valigia/Girl with a Suitcase (Valerio Zurlini, 1961), La Viaccia/The Lovemakers (Mauro Bolognini, 1961) with Jean-Paul Belmondo, and Senilità/Careless (Mauro Bolognini, 1961). Claudia Cardinale had a deep, sultry voice and spoke Italian with a heavy French accent, so her voice was dubbed in her early films. In Federico Fellini's 8½ (1963), she was finally allowed to dub her own dialogue. In the film, she plays a dream woman - a character named Claudia, who is the object of the fantasies of the director in the film, played by Marcello Mastroianni. With Fellini's surrealistic masterpiece she received her widest exposure to date with this film. That same year, she also appeared in another masterpiece of the Italian cinema, the epic Il Gattopardo/The Leopard (Luchino Visconti, 1963) with Burt Lancaster and Alain Delon. The combined success of these two classic films made her rise to the front ranks of Italian cinema. And it also piqued Hollywood's interest.
In 1963 Claudia Cardinale played the princess who owned the Pink Panther diamond in The Pink Panther (Blake Edwards, 1963) which was filmed in Italy. It was the first in the series of detective comedies starring Peter Sellers as bumbling French Inspector Jacques Clouseau (the mishap-prone snoop was actually a supporting player in his debut). The film was an enormous success and brought CC to English-speaking audiences. In 1964 she co-starred with John Wayne and Rita Hayworth in her first American production, Circus World (Henry Hathaway, 1964). It was another box-office hit. The following year she appeared with Rock Hudson in Blindfold (Philip Dunne, 1966), an offbeat mixture of espionage and slapstick comedy. The Professionals (Richard Brooks, 1966) is her favourite among her Hollywood films. In this Western, she is a gutsy Mexican woman married against her will to a rich American. The film received Academy Award nominations for Best Direction (Richard Brooks), Best Screenplay (Brooks again), and Best Cinematography (Conrad L. Hall). Cardinale continued dividing her time between Hollywood and Europe for the remainder of the decade. Throughout the 1960s, Claudia Cardinale also appeared in some of the best European films. In France, she appeared in the Swashbuckler Cartouche (Philippe de Broca, 1962) featuring Jean-Paul Belmondo. Back in Italy, she played in I Giorno della civetta/The Day of the Owl (Damiano Damiani, 1968) with Franco Nero, and Nell'anno del Signore/The Conspirators (Luigi Magni, 1969) with Nino Manfredi. Mesmerizing is her performance in Sandra/Vaghe stelle dell'Orsa... (Luchino Visconti, 1965) as a Holocaust survivor with an incestuous relationship with her brother (Jean Sorel). Another highlight in her career is C'era una volta il West/Once Upon a Time in the West (Sergio Leone, 1968), the ultimate Spaghetti Western. Lucia Bozzola writes in her review at AllMovie: "In Sergio Leone's epic Western, shot partly in Monument Valley, a revenge story becomes an epic contemplation of the Western past. (...) As in his 'Dollars' trilogy, Leone transforms the standard Western plot through the visual impact of widescreen landscapes and the figures therein. At its full length, Once Upon a Time in the West is Leone's operatic masterwork, worthy of its legend-making title."
In the following decades, Claudia Cardinale remained mainly active in European cinema. She played a small part for Visconti in Gruppo di famiglia in un interno/Conversation Piece (Luchino Visconti, 1974) starring Burt Lancaster and Silvana Mangano. She worked with other major Italian directors at Goodbye e amen (Damiano Damiani, 1977), the TV mini-series Jesus of Nazareth (Franco Zeffirelli, 1977) as the adulteress, and La Pelle/The Skin (Liliana Cavani, 1981) starring Marcello Mastroianni and based on the bitter novel by Curzio Malaparte concerning the Allied liberation of Naples. An international arthouse hit was Fitzcarraldo (Werner Herzog, 1982), the story of an obsessed impresario (Klaus Kinski) whose foremost desire in life is to bring both Enrico Caruso and an opera house to the deepest jungles of South America. In his diary of the making of Fitzcarraldo, Werner Herzog writes: "Claudia Cardinale is great help because she is such a good sport, a real trouper, and has a special radiance before the camera. In her presence, [Klaus Kinski] usually acts like a gentleman." Other interesting films include the Luigi Pirandello adaptation Enrico IV/Henry IV (Marco Bellocchio, 1984) with Marcello Mastroianni, the epic La révolution française/The French Revolution (Robert Enrico, Richard T. Heffron, 1989), the nostalgic drama Mayrig/Mother (Henri Verneuil, 1991), and the romantic thriller And now... Ladies and Gentlemen (Claude Lelouch, 2002) starring Jeremy Irons. On Television she gave another well-received performance in the TV drama La storia/History (Luigi Comencini, 1986), in which she plays a widow raising a son during World War II.
Claudia Cardinale is a liberal with strong political convictions. She is involved in many humanitarian causes, and pro-women and pro-gay issues, and she has frequently stated her pride in her Tunisian and Arab roots - as evidenced by her appearance as herself in the Tunisian film Un été à La Goulette/A Summer at La Goulette (Férid Boughedir, 1996). She has managed to combine her acting work with a role of goodwill ambassador for UNICEF, and advocate for the work of Luchino Visconti with whom she made four films. She wrote an autobiography, 'Moi Claudia, Toi Claudia' (Me Claudia, You Claudia). In 2005, she also published a French-language book, Mes Etoiles (My Stars), about her personal and professional relationships with many of her directors and co-stars through her nearly 50 years in show-business. In 2002, she won an honorary Golden Bear award of the Berlin Film Festival, and previously in 1993 she was awarded an honorary Golden Lion at the Venice Film Festival. Cardinale works steadily on and in recent years she has also worked in the theatre. In the cinema, she appeared recently in the French-Tunisian gay drama Le fil/The String (Mehdi Ben Attia, 2009), the Algerian drama Un balcon sur la mer/A View of Love (Nicole Garcia, 2010) in which she played the mother of Jean Dujardin, and the costume drama Effie Gray (Richard Laxton, 2014) with Dakota Fanning. Claudia Cardinale currently lives in Paris. She has made over 135 films in the past 60 years and still does two or three a year.
Sources: Lucia Bozzola (AllMovie), Steve Rose (The Guardian), IMDb, and Wikipedia.
And, please check out our blog European Film Star Postcards.
This month there were 9 members fielding 74 images, 5 of whom played a full house of images; Jamie; Dave; Mrs P; Maria and Mic.
This montage is a representative selection of entries, with at least one image per member.
Thanks to Sharon for setting the challenge.
My dad use to have a collection of PG teapots and now I have a couple of them.
Taken for CC Most Versatile for Feb 2019 but added a texture too for the CC Week 6 Texture challenge
Black clouds, sunshine, rain, blue skies, and a couple of rainbows. Yesterday's weather was a bit strange.
French postcard by Editions du Globe, no 486. Photo: Metro-Goldwyn-Mayer.
American actress Eleanor Parker (1922-2013) appeared in some 80 films and television series. She was nominated three times for the Academy Award for Best Actress, for Caged (1950), Detective Story (1951) and Interrupted Melody (1955). Her role in Caged also won her the Volpi Cup for Best Actress at the Venice Film Festival. One of her most memorable roles was that of the Baroness in The Sound of Music (1965). Her biographer Doug McClelland called her ‘Woman of a Thousand Faces’, because of her versatility.
Eleanor Jean Parker was born in 1922, in Cedarville, Ohio. She was the daughter of Lola (Isett) and Lester Day Parker. Her family moved to East Cleveland, Ohio, where she attended public schools and graduated from Shaw High School. She appeared in a number of school plays. When she was 15 she started to attend the Rice Summer Theatre on Martha's Vineyard in Massachusetts. After graduation, she moved to California and began appearing at the Pasadena Playhouse. There she was spotted by a Warners Bros talent scout, Irving Kumin. The studio signed her to a long-term contract in June 1941. She was cast that year in They Died with Their Boots On (Raoul Walsh, 1941), but her scenes were cut. Her actual film debut was as Nurse Ryan in the short Soldiers in White (B. Reeves Eason, 1942). She was given some decent roles in B films, Busses Roar (D. Ross Lederman, 1942) and The Mysterious Doctor (Benjamin Stoloff, 1943) opposites John Loder. She also had a small role in one of Warner Brothers' biggest productions for the 1943 season, the pro-Soviet Mission to Moscow (Michael Curtiz, 1943) as Emlen Davies, daughter of the U.S. ambassador to the U.S.S.R (Walter Huston). On the set, she met her first husband, Navy Lieutenant. Fred L. Losse, but the marriage turned out to be a brief wartime affair. Parker had impressed Warners enough to offer her a strong role in a prestige production, Between Two Worlds (Edward A. Blatt, 1944), playing the suicidal wife of Paul Henreid's character. She played support roles for Crime by Night (William Clemens, 1944) and The Last Ride (D. Ross Lederman, 1944). Then she got the starring role opposite Dennis Morgan in The Very Thought of You (Delmer Daves, 1944). She was considered enough of a ‘name’ to be given a cameo in Hollywood Canteen (Delmer Daves, 1944). Warners gave her the choice role of Mildred Rogers in a new version of Somerset Maugham's Of Human Bondage (Edmund Goulding, 1946), but previews were not favourable and the film sat on the shelf for two years before being released. She had her big break when she was cast opposite John Garfield in Pride of the Marines (Delmer Daves, 1945). However, two films with Errol Flynn that followed, the romantic comedy Never Say Goodbye (James V. Kern, 1946) and the drama Escape Me Never (Peter Godfrey, 1947), were box office disappointments. Parker was suspended twice by Warners for refusing parts in films – in Stallion Road (James V. Kern, 1947), where she was replaced by Alexis Smith and Love and Learn (Frederick De Cordova, 1947). She made the comedy Voice of the Turtle (Irving Rapper, 1947) with Ronald Reagan, and the mystery The Woman in White (Peter Godfrey, 1948). She refused to appear in Somewhere in the City (Vincent Sherman, 1950) so Warners suspended her again; Virginia Mayo played the role. Parker then had two years off, during which time she married and had a baby. She turned down a role in The Hasty Heart (Vincent Sherman, 1949) which she wanted to do, but it would have meant going to England and she did not want to leave her baby alone during its first year.
Eleanor Parker returned in Chain Lightning (Stuart Heisler, 1950) with Humphrey Bogart. Parker heard about a women-in-prison film Warners were making, Caged (John Cromwell, 1950), and actively lobbied for the role. She got it, won the 1950 Volpi Cup for Best Actress at the Venice Film Festival and was nominated for an Academy Award. She also had a good role in the melodrama Three Secrets (Robert Wise, 1950). In February 1950, Parker left Warner Bros. after having been under contract there for eight years. Parker had understood that she would star in a film called Safe Harbor, but Warner Bros. apparently had no intention of making it. Because of this misunderstanding, her agents negotiated her release. Parker's career outside of Warners started badly with Valentino (Lewis Allen, 1951) playing a fictionalised wife of Rudolph Valentino for producer Edward Small. She tried a comedy at 20th Century Fox with Fred MacMurray, A Millionaire for Christy (George Marshall, 1951). In 1951, Parker signed a contract with Paramount for one film a year, with an option for outside films. This arrangement began brilliantly with Detective Story (William Wyler, 1951) playing Mary McLeod, the woman who doesn't understand the position of her unstable detective husband (Kirk Douglas). Parker was nominated for the Oscar in 1951 for her performance. Parker followed Detective Story with her portrayal of an actress in love with a swashbuckling nobleman (Stewart Granger) in Scaramouche (George Sidney, 1952), a role originally intended for Ava Gardner. Wikipedia: “Parker later claimed that Granger was the only person she didn't get along with during her entire career. However, they had good chemistry and the film was a massive hit. “MGM cast her into Above and Beyond (Melvin Frank, Norman Panama, 1952), a biopic of Lt. Col. Paul W. Tibbets, Jr. (Robert Taylor), the pilot of the aircraft that dropped the atomic bomb on Hiroshima. It was a solid hit. While Parker was making a third film for MGM, Escape from Fort Bravo (John Sturges, 1953), she signed a five-year contract with the studio. She was named as star of a Sidney Sheldon script, My Most Intimate Friend and of One More Time, from a script by Ruth Gordon and Garson Kanin directed by George Cukor, but neither film was made. Back at Paramount, Parker starred with Charlton Heston as a 1900s mail-order bride in The Naked Jungle (Byron Haskin, 1954), produced by George Pal. Parker returned to MGM where she was reunited with Robert Taylor in an Egyptian adventure film, Valley of the Kings (Robert Pirosh, 1954), and a Western, Many Rivers to Cross (Roy Rowland, 1955). MGM gave her one of her best roles as opera singer Marjorie Lawrence struck down by polio in Interrupted Melody (Curtis Bernhardt, 1955). This was a big hit and earned Parker a third Oscar nomination; she later said it was her favourite film. Also in 1955, Parker appeared in the film adaptation of the National Book Award-winner The Man with the Golden Arm (Otto Preminger, 1955), released through United Artists. She played Zosh, the supposedly wheelchair-bound wife of heroin-addicted, would-be jazz drummer Frankie Machine (Frank Sinatra). It was a major commercial and critical success. In 1956, she co-starred with Clark Gable in the Western comedy The King and Four Queens (Raoul Walsh, 1956), also for United Artists. It was then back at MGM for two dramas: Lizzie (Hugo Haas, 1957), in the title role, as a woman with a split personality; and The Seventh Sin (Ronald Neame, 1957), a remake of The Painted Veil in the role originated by Greta Garbo and, once again, intended for Ava Gardner. Both films flopped at the box office and, as a result, Parker's plans to produce her own film, L'Eternelle, about French resistance fighters, did not materialise.
Eleanor Parker supported Frank Sinatra in a popular comedy, A Hole in the Head (Frank Capra, 1959). She returned to MGM for Home from the Hill (Vincente Minnelli, 1960), co-starring with Robert Mitchum, then took over Lana Turner's role of Constance Rossi in Return to Peyton Place (José Ferrer, 1961), the sequel to the hit 1957 film. That was made by 20th Century Fox who also produced Madison Avenue (H. Bruce Humberstone, 1961) with Parker. In 1960, she made her TV debut, and in the following years, she worked increasingly in television, with the occasional film role such as Panic Button (George Sherman, Giuliano Carnimeo, 1964) with Maurice Chevalier and Jayne Mansfield. Parker's best-known screen role is Baroness Elsa Schraeder in the Oscar-winning musical The Sound of Music (Robert Wise, 1965). The Baroness was famously and poignantly unsuccessful in keeping the affections of Captain Georg von Trapp (Christopher Plummer) after he falls in love with Maria (Julie Andrews). In 1966, Parker played an alcoholic widow in the crime drama Warning Shot (Buzz Kulik, 1967), a talent scout who discovers a Hollywood star in The Oscar (Russell Rouse, 1966), and a rich alcoholic in An American Dream (Robert Gist, 1966). However, her film career seemed to go downhill. A Playboy Magazine reviewer derided the cast of The Oscar as "has-beens and never-will-be". From the late 1960s, she focused on television. In 1963, Parker appeared in the medical TV drama about psychiatry The Eleventh Hour in the episode Why Am I Grown So Cold?, for which she was nominated for an Emmy Award. She also appeared in episodes of Breaking Point (1964). And The Man from U.N.C.L.E. (1968). In 1969–1970, Parker starred in the television series Bracken's World, for which she was nominated for a 1970 Golden Globe Award. Parker also appeared on stage in the role of Margo Channing in Applause, the Broadway musical version of the film All About Eve. In 1976, she played Maxine in a revival of The Night of the Iguana. Her last film role was in a Farrah Fawcett bomb, Sunburn (Richard C. Sarafian, 1979). Subsequently, she appeared very infrequently on TV, most recently in Dead on the Money (Mark Cullingham, 1991). Eleanor Parker was married four times. Her first husband was Fred Losee (1943-1944). Her second marriage to Bert E. Friedlob (1946-1953) produced three children Susan Eleanor Friedlob (1948), Sharon Anne Friedlob (1950), and Richard Parker Friedlob (1952). Her third marriage was to American portrait painter Paul Clemens, (1954-1965) and the couple had one child, actor Paul Clemens (1958). Her fourth marriage with Raymond N. Hirsch (1966-2001) ended when Hirsch died of oesophagal cancer. She was the grandmother of actor/director Chasen Parker. Eleanor Parker died in 2013 at a medical facility in Palm Springs, California of complications of pneumonia. She was 91. Parker was raised a Protestant and later converted to Judaism, telling the New York Daily News columnist Kay Gardella in August 1969, "I think we're all Jews at heart ... I wanted to convert for a long time."
Sources: Jon C. Hopwood (IMDb), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Versatility is my final project after a one year photographic course. All the pictures are made from my old pictures of flowers.
This had the same "mother" as Boom www.flickr.com/photos/allcarrots/2668203782//
Always amazes me how versatile pixels are
1991 Ford Versatile 9030 4WD bi-directional loader tractor.
An import from the USA registered in April 1992.
Cheffins vintage and classic auction, Sutton -
"1991 FORD VERSATILE 9030 Bi-Directional diesel TRACTOR Reg. No. J110 JHG Serial No. D470150 Reported by the vendor to be a one owner tractor with 6,011 hours showing."
Unsold.
The 'Most Versatile' challenge is set by the Compositionally Challenged Group. Thank you very much Sharon for choosing these fab themes, and thanks Linda for posting them.
In this month's challenge, 11 members entered 98 photos, and 7 members completed all 10 themes. These members, in play order were: Robin, Maria, Ms J, Pat, Sharon, Andy and Carissa.
This montage features at least one photo per person, and at least one photo per theme. To view the complete challenge and entries, click Here.
Tungsten white balance, B&W levels adjusted, Twilight filter added in editor.
January Most Versatile - All Color, fill the frame
A versatile set to create a cosy little corner - with typical Fourth Wall modern style.
Includes accent chair with INM! & Physics API scripts, standing lamp, coffee table, open magazine, frames & plant.
Accent chair, frames, coffee table & plant pot all have texture options.
→
Cheffins vintage and classic auction, Sutton -
"FORD 276 VERSATILE 4 cylinder diesel TRACTOR Fitted with front loader and pallet tines."
Unsold.
A 1911 Gold Sovereign, and two enamelled coins, a 'young Victoria' farthing 1850 and a 1889 'old Victoria' silver sixpence.
CC Most Versatile - Landscape
CC Rainbow Game - Blue
An urban landscape, in Emeryville, California near the Public Market. It's been a few years since I visited the Public Market, which is a food court with a variety of international foods. In the place of what used to be a large parking lot there is now a small park and new buildings. One thing you can count on is change. I like the play structure in the shape of a whale. It has two slides plus areas for climbing. You can even go inside the whale. I am guessing the vertical lines simulate kelp or other sea life. Emeryville is just north of Oakland in the East Bay.
My theme today was "versatile". I drew a complete blank. I seriously had to Google the word to spur any ideas.
Today the Laowa 85mm f/5.6 2x Ultra Macro APO completed my light travel combo that also contains the TTArtisan f:5.6/28mm and the Leica Elmar-M f:2,8/50mm
This is another skirt that an be worn with different colored tops.. This top is actually a very light tan.
Versatile the ability to adapt change become what ever or who ever you want to be, Always strive to be a chameleon there are so many phases colors and experiences. Never be afraid to take chances. From fear comes greatness.
Pants: tomoto slim pants black by tomoto,
Boots: A&Y Deuz Boots Metallic (Male) - Black by ☢A&Y Bunker CyberShop☢
marketplace.secondlife.com/p/AY-Deuz-Boots-Metallic-Male-...
Arm wraps: Caboodle Aiden Arm warmer by Caboodle
maps.secondlife.com/secondlife/TMD/129/205/22
Face Mask: Caboodle by Caboodle
maps.secondlife.com/secondlife/TMD/129/205/22
Hair Piece: Zibska: Radulfr Color Change Headpiece and Necklace by Zibska
marketplace.secondlife.com/p/Zibska-Radulfr-Color-Change-...
Neck piece: Zibska ~ Ortensia Deux Color Change Collar by Zibska
marketplace.secondlife.com/p/Zibska-Ortensia-Deux-Color-C...
Makeup: Dawg Shadow Eye Makeup - Unisex Makeup Tattoo Layer
by VANITY FLAIR by Lera - eyes, eyeliner, eyelashes, makeup
marketplace.secondlife.com/p/Dawg-Shadow-Eye-Makeup-Unise...
Flicker: www.flickr.com/photos/126589445@N02/
Blog: tazmanianalpha.wordpress.com/
Photo by Chezza Slade
Amy's texture is very versatile. I plan to get XTM's and stuff done too.
FDE (more like taupe) coming soon, but come to think of it, I've never seen them stippled.
lol the 11 Rib is 1.2mb *trollface*. You might want to import these when youre totally finished with your rifle and you've saved a .txt of it. But you know, thats just like, my opinion man.
Also this picture above wouldn't export to code.
I rescued this antique tripod from an interior design shop a couple of years back, just before they turned it (can you believe) into a lamp stand!!! It's amazingly versatile, breaks down into manageable pieces and is extremely sturdy. And as a kind of novelty, I'm planning to cannibalise a modern ball-head to adapt it for use with a modern camera.
The Handley-Page Victor K.2 tanker evolved from the original Victor B.2, ‘V’-bomber, which entered service with the Royal Air Force in October 1961. The first K.2 flew at Woodford on 1 March 1972. It had a crew of five, and was powered by four Rolls-Royce Conway turbofans of 20,600 lb thrust each. It had a maximum speed of 640 mph (Mach 0.92) at 40,000 feet, a ceiling of 59,000 feet and a range of 3,500 miles.
Victor K.2s made a substantial contribution in the Falklands War, flying over 3,000 hours and making over 600 air refuelling sorties from Ascension Island, in support of the Vulcans, Nimrods, Hercules and Harriers. They also flew in the Gulf War, refuelling the Tornado and other allied aircraft. The Victor’s outstanding versatility and advanced design enabled it to have the longest service of all the ‘V-bomber’ generation.
XL231 joined 139 Squadron on 1 February 1962, returning to Handley-Page for conversion to a B(S.R) Mk 2 in November 1963 and joining the Wittering Wing in July 1964. It was converted to become the prototype K.2 Tanker on 23 January 1972 and saw service in the Falklands War, in support of the ‘Operation Black Buck’ Vulcan raid on Port Stanley, and later in the Gulf War. It was flown into retirement at Elvington in November 1993. The aircraft is kept in ground operational condition by Andre Tempest and his ground crew.