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René François Ghislain Magritte, 21 November 1898 – 15 August 1967) was a Belgian surrealist artist, who became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers' preconditioned perceptions of reality. His imagery has influenced pop art, minimalist art, and conceptual art.
Magritte's earliest paintings, which date from about 1915, were Impressionistic in style. During 1916–1918, he studied at the Académie Royale des Beaux-Arts in Brussels, under Constant Montald, but found the instruction uninspiring. He also took classes at the Académie Royale from the painter and poster designer Gisbert Combaz. The paintings he produced during 1918–1924 were influenced by Futurism and by the figurative Cubism of Metzinger.
From December 1920 until September 1921, Magritte served in the Belgian infantry in the Flemish town of Beverlo near Leopoldsburg. In 1922, Magritte married Georgette Berger, whom he had met as a child in 1913. Also during 1922, the poet Marcel Lecomte showed Magritte a reproduction of Giorgio de Chirico's The Song of Love (painted in 1914). The work brought Magritte to tears; he described this as "one of the most moving moments of my life: my eyes saw thought for the first time." The paintings of the Belgian symbolist painter William Degouve de Nuncques have also been noted as an influence on Magritte, specifically the former's painting The Blind House (1892) and Magritte's variations or series on The Empire of Lights.
In 1922–1923, Magritte worked as a draughtsman in a wallpaper factory, and was a poster and advertisement designer until 1926, when a contract with Galerie Le Centaure in Brussels made it possible for him to paint full-time. In 1926, Magritte produced his first surreal painting, The Lost Jockey (Le jockey perdu), and held his first solo exhibition in Brussels in 1927. Critics heaped abuse on the exhibition.
Depressed by the failure, he moved to Paris where he became friends with André Breton and became involved in the Surrealist group. An illusionistic, dream-like quality is characteristic of Magritte's version of Surrealism. He became a leading member of the movement, and remained in Paris for three years. In 1929 he exhibited at Goemans Gallery in Paris with Salvador Dalí, Jean Arp, de Chirico, Max Ernst, Joan Miró, Picabia, Picasso and Yves Tanguy.
On 15 December 1929 he participated in the last publication of La Revolution Surrealiste No. 12, where he published his essay "Les mots et les images", where words play with images in sync with his work The Treachery of Images.
Galerie Le Centaure closed at the end of 1929, ending Magritte's contract income. Having made little impact in Paris, Magritte returned to Brussels in 1930 and resumed working in advertising.[10] He and his brother, Paul, formed an agency which earned him a living wage. In 1932, Magritte joined the Communist Party, which he would periodically leave and rejoin for several years. In 1936 he had his first solo exhibition in the United States at the Julien Levy Gallery in New York, followed by an exposition at the London Gallery in 1938.
During the early stages of his career, the British surrealist patron Edward James allowed Magritte to stay rent-free in his London home, where Magritte studied architecture and painted. James is featured in two of Magritte's works painted in 1937, Le Principe du Plaisir (The Pleasure Principle) and La Reproduction Interdite, a painting also known as Not to Be Reproduced.
During the German occupation of Belgium in World War II he remained in Brussels, which led to a break with Breton. He briefly adopted a colorful, painterly style in 1943–44, an interlude known as his "Renoir period", as a reaction to his feelings of alienation and abandonment that came with living in German-occupied Belgium.
In 1946, renouncing the violence and pessimism of his earlier work, he joined several other Belgian artists in signing the manifesto Surrealism in Full Sunlight. During 1947–48, Magritte's "Vache period," he painted in a provocative and crude Fauve style. During this time, Magritte supported himself through the production of fake Picassos, Braques, and de Chiricos—a fraudulent repertoire he was later to expand into the printing of forged banknotes during the lean postwar period. This venture was undertaken alongside his brother Paul and fellow Surrealist and "surrogate son" Marcel Mariën, to whom had fallen the task of selling the forgeries. At the end of 1948, Magritte returned to the style and themes of his pre-war surrealistic art.
In France, Magritte's work has been showcased in a number of retrospective exhibitions, most recently at the Centre Georges Pompidou (2016–2017). In the United States his work has been featured in three retrospective exhibitions: at the Museum of Modern Art in 1965, at the Metropolitan Museum of Art in 1992, and again at the Metropolitan Museum of Art in 2013. An exhibition entitled "The Fifth Season" at the San Francisco Museum of Modern Art in 2018 focused on the work of his later years.
Politically, Magritte stood to the left, and retained close ties to the Communist Party, even in the post-war years. However, he was critical of the functionalist cultural policy of the Communist left, stating that "Class consciousness is as necessary as bread; but that does not mean that workers must be condemned to bread and water and that wanting chicken and champagne would be harmful. (...) For the Communist painter, the justification of artistic activity is to create pictures that can represent mental luxury." While remaining committed to the political left, he thus advocated a certain autonomy of art. Spiritually, Magritte was an agnostic.
Popular interest in Magritte's work rose considerably in the 1960s, and his imagery has influenced pop, minimalist, and conceptual art. In 2005 he was 9th in the Walloon version of De Grootste Belg (The Greatest Belgian); in the Flemish version he was 18th.
Witty title. Whoop-whoop.
Different style of editing, lighter than some of my usual stuff. Whenever i'm shooting with the sis we always end up creating fluffier/happier concepts than when i'm shooting with others or alone.
Maybe because the other stuff I do creeps her out. Maybe.
Yay! Witty made a new shoe mold! I like the mold for the most part, but the construction is pretty clunky looking compared to the show design. In the show the designs have much thinner line widths for the, but when you compare the design on the shoes to Bloom's shoes from her artwork on the back of Tecna's box, the design is basically the same thing and is accurate enough to the artwork.
I really like Tecna Musa and Aisha ^^
And flora is the least fav here though =\
Musa also will look cool with 2 pigtails not braids
BTW harmonix shoes.lol
A piece of street art by Witty (I believe so plz let me know if this isn't right) on the streets of Los Alcazares
If you love witty, fun horror movies, go see "Cabin in the Woods"! From the moment the title came up at an unapproriate time, I fell in love. I knew going in that I'd love it because, come on...it's from Joss Whedon and I love everything that man touches. BUT, I went in with reservations because of a certain love I have for Sam Raimi and Sam Raimi burned me with "Drag Me to Hell" so I was going in with some trepidation. I had nothing to worry about, so fun! I explained it to Duane like this, "Just saw this great horror movie, it had zombies, and um, well every horror villian you can imagine in it...um, yeah, everything was in it."
Steph, I wish we could have seen this instead of that blechy 21 Jump Street! SO FUN!!! Go see it everyone. (well, those witty horror lovers out there, anyway).
And yes, I used this photo of mine of the Hex Murder house as my cabin in the woods. The only other photo I have of a cabin is in Big Bear, CA of my brother's cabin and it's a gay man's cabin (love you!), nothing scary about it unless you are scared by well appointed rustic accessories.
The Hex Murder house? SCARY. With scary birds on the roof that appear in photos when they weren't there in person!
Don't know about the Hex Murder house? Wiki it!
ooo! I also saw the trailer for Leaper. Looks good! I'm a sucker for time travel "you're a time assassin and you have to decide whether you kill yourself" kind of movies-books.
And for your reading pleasure (and the betting pool), here are all the monsters/villians in Cabin in the Woods SPOILERS!:
Alien Beast - Floating alien creature, can be seen in background behind Dana & Marty. Generic reference: Alien. [Bet on by Bio-Med]
Alma Wade - Seen after the elevators scenes as a little girl in a white dress slowly walking towards the soldier backing away. Directly taken from the FEAR series. She possesses psychic abilities as well as space/time manipulation.
Ancient Ones - Unique god-like beings seen at the end of the film in the pit and bursting through the earth. One in every society. Apparently influenced by the works of H.P. Lovecraft. [Not on Betting Board]
Angry Molesting Tree - Exactly what it sounds like. Seen bursting out of elevator, more detailed scene cut from theatrical release. Specific reference: The Evil Dead. [Bet on by Wranglers]
Blob - Shapeless mass seen in elevator. Specific reference: The Blob. [Not on Betting Board]
The Bride - Bloody woman walking around in a wedding dress. Likely summoned by the wedding dress and choker. Possible reference to The Bloody Bride of 13 Curves Road. [Bet on by Digital Analysis]
Cells - multiple labyrinth of cells holding all the monsters. Generic reference: Cube
Clown - Evil clown that looks vaguely similar to Pennywise. Generic reference: It. [Bet on by Electric]
Deadites - Unknown if seen in film. Specific reference: The Evil Dead. [Bet on by Story Dept]
Demon - Larger horned demonic creatures, seen in backgrounds. Generic reference: Night of the Demons. [No Bets]
Dismemberment Goblins - Winged red creatures and green flightless ones seen attacking soldiers. Generic reference to imps and goblins. Generic reference: Labyrinth. [No Bets]
The Doctors - Evil surgeons wearing aprons and clothes sutured to their bodies. Generic reference: House on Haunted Hill. [Bet on by Accounting]
Dolls aka Babydoll Faces. Sharply dressed people wearing doll face masks, possibly summoned by matching doll face masks, Specific reference: The Strangers. [Bet on by Kitchen Staff]
Dragonbat - Large bat seen chasing people with a split vampire mouth as seen in Underworld and Blade series. Unique creation or possible reference to Underworld: Evolution. [No Bets]
Giant - Unknown if seen in film. Generic reference: Trolljegeren. [Bet on by Zoology]
Giant Snake - Giant cobra creature. Generic reference: Anaconda / King Cobra. Possibly a reference to the snake creature in Season 3 of Buffy the Vampire Slayer. [Bet on by Internal Logistics]
Giant Spider - Giant spider creature seen leaping through the halls. Generic reference: Tarantula / Eight Legged Freaks. [Not on Betting Board]
Hell Lord aka Fornicus, Lord of Bondage and Pain - Buzzsaw face seen holding same orb that summons him. Specfic reference: Pinhead from Hellraiser. [Bet on by Sitterson]
The Huron - Unknown if seen in film. Described in interviews as a Native American, based on Old West settlers' fears of Indian attacks (and scalping). Generic reference: Scalps. [Bet on by Research & Development]
Jack O Lantern - Unknown if seen in film. Generic reference: (ex. Pumpkinhead). [Bet on by Security]
Kiko - The Japanese floating girl ghost. Generic reference: Yurei films (ex. The Grudge & The Ring.) [Seen in Japan]
Kevin - A normal looking man that quickly dismembers people. Scenes cut from film. In interviews, Whedon describes him as looking like "some guy who works at Best Buy." Possible reference: Sin City. [No Bets]
Killbot - Scorpion-like robot with buzzsaws. Generic reference: Hardware & Chopping Mall. [Not on Betting Board]
Kraken - Massive tentacles seen in various scenes. Generic reference: 20000 Leagues Under the Sea. [Not on Betting Board]
Merman - Hadley's beloved mercreature, summoned by the conch. Generic reference: Creature from the Black Lagoon. [Bet on by Hadley]
Mummy - Mummy creature seen briefly in background. Generic reference: The Mummy. [Bet on by Psychologists]
Mutants - Orange jump-suited humans that vomit into others. Generic reference: Wrong Turn / The Hills Have Eyes / The Toxic Avenger. A larger one could be a possible reference to a Boomer from Left 4 Dead. [Bet on by Demolition].
The Reanimated - Unknown creature seen on betting board. Possible reference: Re-Animator [Bet on by Administration]
Reaver - Small Whedonverse humanoid seen during massacre.Specific reference: Firefly. [Not on Betting Board]
Reptilius - Unknown creature seen on betting board. Possible reference: Reptilicus [No Bets]
Sasquatch / Wendigo / Yeti - Folklore references to the hairy "Bigfoot" type beast. Generic reference: Abominable. [No Bets]
Scarecrow Folk - Humanoids with burlap masks. Generic reference: Scarecrows. [Bet on by Data Archives]
Sexy Witches - Unknown if seen in film. Generic reference: The Craft. [Bet on by Archives]
Snowman - Unknown reference seen on betting board. Possible reference: Jack Frost. [Bet on by Communications]
Sugar Plum Fairy aka Ballerina Dentata - Unique creation summoned by the music box. Loose cross of Black Swan as a child with the tooth fairies from Hellboy II: The Golden Army. Possible reference to El laberinto del fauno. [No Bets]
Twins aka Grady's Daughters - Disturbing looking twin girls. Specific reference: The Shining. [No Bets]
Unicorn - Magnificent horned equine. Generic reference: Supernatural: Plucky Pennywhistle's Magic Menagerie (#7.14). (Interesting, I can totally understand why this would be said, but this movie was made before that episode of Supernatural.) [Bet on by Engineering]
Vampires - Bald, gothically dressed humanoids with sharp ears. Generic reference: Nosferatu, eine Symphonie des Grauens. [Bet on by Distribution]
Werewolf - Prominently shown. Generic reference: The Wolf Man. [Bet on by Finance]
Witches - Floating witch seen zapping soldiers. Generic reference: Darkness Falls. [Bet on by Operations]
Wraiths - Various ethereal ghosts seen killing soldiers. Generic reference: 13 Ghosts. [No Bets]
Zombie Redneck Torture Family aka the Buckners - Main villains summoned by reciting a Latin incantation in the diary. A family of rednecks who adhere to a religion that worships pain. Mash-Up of zombie, torture, & killer backwood family films (ex. Wrong Turn / The Hills Have Eyes). The religious element (and the family's "Black Room") reference the Cenobites from Hellraiser. [Bet on by Maintainence & Ronald the Intern]
Zombies - Numerous creatures seen feasting on remains. Generic reference: Night of the Living Dead. [Bet on by Chem Dept]
1:400 - 1/400 Scale - Diecast Aircraft.
Airport Diorama 1:400 Scale.
Cautport - CAUT International Airport (SKCAU / CAU).
There's quite a few law courts / solicitors / barristers around the Fleet Street area. I am sure this rather wittily named boozer gets a few of them in! We didn't stop by, it wasn't opening time yet.
The circular sign above the door reads 'The Union Bank of London Limited Chancery Lane Branch'.
Taken with my Fujifilm X-T30 II camera and a XF18-55mm lens
I was going to write something terribly witty about how I found this old photo of Manhattan buildings in a shoe box on the side of the road, and how it made me think of much simpler times, before all of the hustle and bustle of modern New York.
I had this entire rap planned out where I'd explain how old snapshots are all we have of days gone by, and how in holding them now, we carry on the memory of the person or place in them. I was going to make you believe this was all truth. Then I was going to ask whether you thought this was indeed a vintage pic I found, or one I took a few days ago and manipulated in Photoshop to look real.
It's actually one I did myself. And I was quite proud of myself, and of this whole trippy nostaglia ride I would take you on.
Then the photo gods intervened and smacked me "up side the head."
I recently upgraded my system - the first time in years - to take advantage of the new Mac OS and various design apps, etc. I downloaded the shots from my camera's memory card. I opened them, did the standard issue color enhancements, and saved each to a folder.
I opened THIS shot, then scaled it down to it's current size so I could upload it, and I saved it to my hard drive.
But...
I forgot to make a copy of the original first, so the ONLY version I have of it, is THIS low-resolution shot. No print-quality photo showing the depth and detail in the scene, no high-res back up burned to CD. Nothing but this.
Just goes to show you that you shouldn't get too full of yourself and try to pull the wool over someone's eyes. The Fates will always get the last laugh.
I think I'll cry myself to sleep now.
[+]
As a way of returning the extraordinary generosity and support you
have all shown me in this great community, whenever I upload a new
pic or series of shots this year, I'll provide a link to another flickr
photog whose work, personality, or spirit I feel you should discover.
Visit and introduce yourself. Make a friend. Share the love.
Open your eyes to -gadgetgirl- today.
Eleanor "Nell" Gwyn (or Gwynn or Gwynne) (1650 - 14 November 1687), was one of the earliest English actresses to receive prominent recognition, and a long-time mistress of King Charles II.
Called "pretty, witty Nell" by Samuel Pepys, she has been called a living embodiment of the spirit of Restoration England and has come to be considered a folk heroine, with a story echoing the rags-to-royalty tale of Cinderella.
Elizabeth Howe, in The First English Actresses, says she was "the most famous Restoration actress of all time, possessed of an extraordinary comic talent."[1] By Charles, Nell had two sons, Charles Beauclerk (1670-1726) and James Beauclerk (1671-1680). Charles was the first Earl of Burford, later Duke of St. Albans.
Very little is reliably known about Nell Gwyn's background. Her mother was Helena (or perhaps Eleanor) Gwyn, née Smith; contemporaries referred to her as "Old Madam Gwyn" or simply "Madam Gwyn". Madam Gwyn was born within the parish of St Martin-in-the-Fields, London, and is thought to have lived most of her life in the city. She is believed by most Gwyn biographers to have been low-born; Beauclerk calls this conjecture, based solely on what is known of her later life. Nell Gwyn's father was, according to most sources, Thomas Gwyn, a Captain in the Cavalier Army during the English Civil War.[2]
Three cities make the claim to be Nell Gwyn's birthplace: Hereford, London (specifically Covent Garden), and Oxford. Evidence for any one of the three is scarce.[3] The fact that "Gwyn" is a name of Welsh origin might support Hereford, as its county is on the border with Wales; The Dictionary of National Biography notes a traditional belief that she was born there in Pipe Well Lane, renamed to Gwynne Street in the 19th century. London is the simplest choice, perhaps, since Nell's mother was born there and that is where she raised her children. Alexander Smith's 1715 Lives of the Court Beauties says she was born in Coal Yard Alley in Covent Garden and other biographies, including Wilson's, have followed suit. Beauclerk pieces together circumstantial evidence to favor an Oxford birth. The location may remain a mystery, but the time does not: a horoscope cast for Nell Gwyn pinpoints it as Saturday 2 February 1650, at six o'clock in the morning.[4]
One way or another, Nell's father seems to have been out of the picture by the time of her childhood in Covent Garden, and her mother was left in a low situation. Old Madam Gwyn was by most accounts an obese brandy-swigging alcoholic whose business was running a bawdy house (a brothel). There, or in the bawdy house of one Madam Ross, Nell would spend at least some time. It is possible she worked herself as a child prostitute; Peter Thomson, in the Oxford Illustrated History of Theatre, says it is "probable". A rare mention of her upbringing from the source herself might be seen to contradict the idea: A 1667 entry in Samuel Pepys' diary records, second-hand,
Here Mrs. Pierce tells me [...] that Nelly and Beck Marshall, falling out the other day, the latter called the other my Lord Buckhurst's whore. Nell answered then, "I was but one man's whore, though I was brought up in a bawdy-house to fill strong waters to the guests; and you are a whore to three or four, though a Presbyter's praying daughter!" which was very pretty.[5]
It is not out of the question that Gwyn was merely echoing the satirists of the day, if she said this at all.
Various anonymous verses are the only other sources describing her childhood occupations: bawdyhouse servant, street hawker of herring, oysters or turnips, and cinder-girl have all been put forth.[6] Tradition has her growing up in Coal Yard Alley, a poor slum off Drury Lane.
Around 1662, Nell is said to have taken a lover by the name of Duncan or Dungan. Their relationship lasted perhaps two years and was reported with obscenity-laced acidity in several later satires. ("For either with expense of purse or p---k, / At length the weary fool grew Nelly-sick".[7]) Duncan provided Gwyn with rooms at a tavern in Maypole Alley, and the satires also say he was involved in securing Nell a job at the theatre being built nearby.
Charles II had been restored to the English throne in 1660, after a decade of protectorate rule by the Cromwells, when pastimes regarded as frivolous, including theatre, had been banned. One of Charles' early acts as King was to license the formation of two acting companies, and in 1663 the King's Company, led by Thomas Killigrew, opened a new playhouse, the Theatre in Bridges Street (later rebuilt and renamed the Theatre Royal, Drury Lane).
Mary Meggs, a former prostitute nicknamed "Orange Moll" and a friend of Madam Gwyn's, had been granted the licence to "vend, utter and sell oranges, lemons, fruit, sweetmeats and all manner of fruiterers and confectioners wares" within the theatre.[8] Orange Moll hired Nell and her older sister Rose as "orange-girls", selling the small, sweet "china" oranges to the audience inside the theatre for a sixpence each.
The work exposed her to multiple aspects of theatre life and to London's higher society: this was after all the "King's playhouse" and Charles frequently enough attended the performances. The orange-girls would also serve as messengers between men in the audience and actresses backstage; they received monetary tips for this role and certainly some of these messages would end in sexual assignations. Whether this activity rose to the level of pimping may be a matter of semantics. Some sources think it also likely that Gwyn prostituted herself during her time as an orange-girl.
The new theatres were the first in England to feature actresses; earlier, women's parts were played by boys or men. Gwyn joined the rank of actresses at Bridges Street when she was fourteen, less than a year after becoming an orange-girl.
If her good looks, strong clear voice, and lively wit were responsible for catching the eye of Killigrew, she still had to prove herself clever enough to succeed as an actress. This was no mean task in the Restoration theatre; the limited pool of audience members meant that very short runs were the norm for plays and fifty different productions might be mounted in the nine-month season lasting from September to June.[10]
Gwyn was illiterate her entire life (signing her initials "E.G." would be the extent of her ability to read or write), adding an extra complication to the memorisation of her lines.
Late in 1667, George Villiers, 2nd Duke of Buckingham took on the role of unofficial manager for Gwyn's love life. He aimed to provide King Charles II someone who would move aside Barbara Palmer, his principal current mistress (and Buckingham's cousin), moving Buckingham closer to King's ear. The plan failed; reportedly, Gwyn asked £500 a year to be kept and this was rejected as too dear a price. Buckingham had a backup, though: he was also involved in successful maneuvers to match the King with Moll Davis, an actress with the rival Duke's Company.[25] Davis would be Nell's first rival for the King. Several anonymous satires from the time relate a tale of Gwyn, with the help of her friend Aphra Behn, slipping a powerful laxative into Davis' tea-time cakes before an evening when she was expected in the king's bed.[26]
Romance between the King and Gwyn began in April of 1668, if the stories are correct: Gwyn was attending a performance of George Etherege's She Wou'd if She Cou'd at the theatre in Lincoln's Inn Fields. In the next box was the King, who from accounts was more interested in flirting with Nell than watching the play. Charles invited Nell and her date (a Mr. Villiers, a cousin of Buckingham's) to supper, along with his brother James, the Duke of York. The anecdote turns charming if perhaps apocryphal at this point: the King, after supper, discovered that he had no money on him; nor did his brother. Gwyn had to foot the bill. "Od's fish!" she exclaimed, in an imitation of the King's manner of speaking, "but this is the poorest company I ever was in!"[27]
Previously having been the mistress of Charles Hart and Charles Sackville, she jokingly titled the King "her Charles the Third". By the summer of 1668, Gwyn's affair with the King was well-known, though there was little reason to believe it would last for long. She continued to act at the King's House, her new notoriety drawing larger crowds and encouraging the playwrights to craft more roles specifically for her. June 1668 found her in Dryden's An Evening's Love, or The Mock Astrologer, and in July she played in Lacy's The Old Troop. This was a farce about a company of Cavalier soldiers during the English Civil War, based on Lacy's own experiences. Possibly, Nell Gwyn's father had served in the same company, and Gwyn's part — the company whore — was based on her own mother.[28] As her commitment to the king increased, though, her acting career slowed, and she had no recorded parts between January and June of 1669, when she played Valeria in Dryden's very successful tragedy Tyrannick Love.[29]
King Charles II had a considerable number of mistresses through his life, both short affairs and committed arrangements. He also had a wife, the Queen consort Catherine of Braganza, who was in an awkward position in several ways: made pregnant, she consistently miscarried, and she had little or no say over Charles' choice to have mistresses. This had come to a head shortly after their 1662 marriage, in a confrontation between Catherine and Barbara Palmer that became known as the "Bedchamber crisis". Ostracised at court and with most of her retinue sent back to her home nation of Portugal, Catherine had been left with little choice but to acquiesce to Charles' mistresses being granted semi-official standing.
During Gwyn's first years with Charles, there was little competition in the way of other mistresses: Barbara Palmer was on her way out in most respects certainly in terms of age and looks and others, such as Moll Davis, kept quietly away from the spotlight of public appearances or Whitehall. Nell gave birth to her first son, Charles, on 8 May 1670. This was the King's seventh son — by five separate mistresses.
In February 1671, Nell moved into a brick townhouse at 79 Pall Mall.[32] The property was owned by the crown and its current resident was instructed to transfer the lease to Gwyn. It would be her main residence for the rest of her life. Gwyn seemed unsatisfied with being a leasee only – in 1673 we are told in a letter of Joseph Williamson that "Madam Gwinn complains she has no house yett." Gwyn is said to have complained that "she had always conveyed free under the Crown, and always would; and would not accept [the house] till it was conveyed free to her by an Act of Parliament." In 1676, Gwyn would in fact be granted the freehold to the property, which would remain in her family until 1693; as of 1960 the property was still the only one on the south side of Pall Mall not owned by the Crown.
Nell Gwyn gave birth to her second child by the King, James, on 25 December 1671. Sent to school in Paris when he was six, he would die there in 1681. The circumstances of the child's life in Paris and the cause of his death are both unknown, one of the few clues being that he died "of a sore leg", which Beauclerk (p. 300) speculates could mean anything from an accident to poison.
There are two variations about how the elder of her two children by Charles was given the Earldom of Burford, both of which are unverifiable: The first (and most popular) is that when Charles was six years old, on the arrival of the King, Nell said, "Come here, you little bastard, and say hello to your father." When the King protested her calling Charles that, she replied, "Your Majesty has given me no other name by which to call him." In response, Charles made him the Earl of Burford. Another is that Nell grabbed Charles and hung him out of a window (or over a river) and threatened to drop him unless Charles was granted a peerage. The King cried out "God save the Earl of Burford!" and subsequently officially created the peerage, saving his son's life. On 21 December 1676, a warrant was passed for "a grant to Charles Beauclerc, the King's natural son, and to the heirs male of his body, of the dignities of Baron of Heddington, co.Oxford, and Earl of Burford in the same county, with remainder to his brother, James Beauclerc, and the heirs male of his body." [33] A few weeks later, James was given "the title of Lord Beauclerc, with the place and precedence of the eldest son of an earl." [33]
Shortly afterwards, the King granted Burford House, on the edge of the Home Park in Windsor, to Nell and their son. She lived there when the King was in residence at the Castle. In addition to the properties mentioned above, Nell had a summer residence on the site of what is now 61-63 King's Cross Road, which enjoyed later popularity as the Bagnigge Wells Spa. According to the London Encyclopedia (Macmillan, 1983) she "entertained Charles II here with little concerts and breakfasts". An inscribed stone of 1680, saved and reinserted in the front wall of the present building, shows a carved mask which is probably a reference to her stage career.
Just after the death of Henry Jermyn, 1st Earl of St Albans at the turn of the year, on 5 January 1684, King Charles granted his son Charles, Earl of Burford, the title of Duke of St Albans, gave him an allowance of £1,000 a year, and granted him the offices of Chief Ranger of Enfield Chace and Master of the Hawks in reversion (i. e. after the death of the current incumbents).
King Charles died on 6 February 1685. James II, obeying his brother's deathbed wish, "Let not poor Nelly starve," eventually paid most of Gwyn's debts off and gave her a pension of 1500 pounds a year. He also paid off the mortgage on Gwyn's Nottinghamshire lodge in Bestwood, which would remain in the Beauclerk family until 1940.[35] At the same time, James applied pressure to Nell and her son Charles to convert to Roman Catholicism, something she resisted.
In March of 1687, Gwyn suffered a stroke that left her paralysed on one side. In May, a second stroke left her confined to the bed in her Pall Mall house; she made out her will on 9 July. Nell Gwyn died on 14 November 1687, at ten in the evening, less than three years after the King's death. She was 37 years old. Although she left considerable debts, she left a legacy to the Newgate prisoners in London.
She was buried in the Church of St Martin-in-the-Fields, London, after a funeral in which Thomas Tenison, the Archbishop of Canterbury, preached a sermon on the text of Luke 15:7 "Just so, I tell you, there will be more joy in heaven over one sinner who repents than over ninety-nine righteous persons who need no repentance."
via Painters' Table - Contemporary Art Magazine: Daily Painting Links on Artist Blogs, Painting Blogs and Art Websites ift.tt/1YkvrUu
The 74-Z speeder bike, sometimes referred to as the Imperial speeder bike due to its use by scout stormtroopers of the Galactic Empire, was a speeder bike manufactured by Aratech Repulsor Company used for reconnaissance purposes, as well as rapid transportation in combat zones.
-Wookieepedia
Built for the Eurobricks Star Wars Episode VI Community Build. The speederbike design was inspired by Legohaulic and Larry Lars.
SOoo because there's nothing special about this, I feel like I should have something witty to say. And I don't. ;D Yes yes, this was what I had to resort to today.. another self-portrait. I was pressed for time before uni, and got home late... I suppose I need ideas of things to shoot around the house so I don't resort to shooting myself on days that I don't get out with my camera... however, today, I will admit I was feeling confident... I increased my running distance, and really pushed myself, even going through the nature preserve running up steep hills (that I complained about on Friday when I went with Danny)... So yes, I felt accomplished, I guess... so celebrate?! Maybe that's the explanation for the added bokeh texture ;)
Texture by ishkamina .. thanks!
p.s. please ignore the split ends!!! I have other versions of this, with more bokeh where they weren't so noticeable! eek!... also, this was going to be 365... but changed my mind instead to a b&w shot... ;)
Its a short 1.2 km hike to the water. Great for the lazy hiker or someone who just wants to relax for a short while.
Witty Nickname lent me his 35mm f/1.8 lens and I went out to take a few night shots with it. This is an sooc shot of Calgary's Langevine Bridge, lit up at night.
I'm all out of witty titles. What I really need to do is fall into a juicy roll of film. In the meantime, for those that are really bored, here is the reason it's called original joe's. It's a long read recommended only for insomniacs. I need me one of their smooth cocktails. This is the San Jose location.
Original Joe’s is the quintessential, classic San Francisco dining experience. A fabric of the City for 75 years, it is located in the heart of the historic and majestic North Beach, a mecca for natives, tourists, and culinary aficionados alike.
Lumbering out of the darkness of the great depression, Original Joe’s opened its doors in 1937. The restaurant was opened by Tony Rodin, whose legendary work ethic and love for his restaurant grew Original Joe’s from a 14-stool counter, to one of San Francisco’s culinary landmarks. Three generations later and counting, Tony’s family ensures that classic Italian-American cooking with healthy portions and reasonable prices are prepared behind its iconic counter, exhibition style, for all to see.
Original Joe’s is the oldest of all existing Joe’s restaurants in the country and is the innovator of what is now nationally known as the “Joe’s Concept”. With its signature red leather booths, legendary smooth cocktails, and renowned Italian American menu, Joe’s has come to signify its own Northern Californian category of food and symbolizes classic Italian American comfort food at its finest.
as for how there are more than one...read on...for those that haven't dozed off.
The name “Joe’s” was a generic name that dates back to the Barbary Coast in San Francisco. During the 1920’s, a group of entrepreneurs decided to open a new restaurant on Broadway Street in San Francisco. The name “Joe’s” had gone dormant for a while and they determined that “New Joe’s” would be a good name. “New Joe’s” became the first restaurant in San Francisco to do exhibition cooking where food was prepared in full view of the customers. It was also the restaurant where the “Joe’s Special” was created. Folklore has it that a customer ordered a spinach omelet very late on night. The customer asked the chef if he had anything else available to cook. The chef replied he had some hamburger left. The customer asked him to throw some of the hamburger into his omelet. The dish became so popular that they eventually put it on the menu.
In 1937, the partners at “New Joe’s” had a falling out. One of the partners teamed up with Louis J. Rocca and Ante Rodin and started a restaurant at 144 Taylor Street in San Francisco. He insisted he was “The Original” so they called the new restaurant “Original Joe’s”. The restaurant became extremely popular.
On May 24, 1956, Louis J. Rocca, Louis J. Rocca, Jr. (Babe), Arthur Tortore (Otto) and Anthony Caramagno (Nino) opened “Original Joe’s” in San Jose. The four partners wanted to bring an authentic San Francisco restaurant to the South Bay. They were convinced that if they could keep it authentic, they could serve the community by producing their traditional home-style Italian-American cuisine. Their desire was so great that they actually transported San Francisco French bread via Greyhound bus everyday for the first two years of operation.
In the early 1970’s, downtown San Jose started to flounder. Businesses were relocating to the outskirts of town. Original Joe’s became one of the cornerstones for an ever changing downtown. As the genres of food have changed over the years, Original Joe’s maintains it traditional roots. Still owned and operated by the Rocca Family, Original Joe’s continues to strive to replicate the dining experience that people have enjoyed for over 51 years.
1:400 - 1/400 Scale - Diecast Aircraft.
Airport Diorama 1:400 Scale.
Cautport - CAUT International Airport (SKCAU / CAU).
Single In January 2018
Pentax M 28/2.8
day 14
Couple of walks today with friends, this one coming from Witty's Lagoon
It looks pretty good from the front, The only problem is the velcro of the Witty dress won't close in the back.
The plastic dress cover stayed on pretty well, and the shoes fit nicely too. The Winx 'X" on the Witty Wings is slighly smaller than the Jakks "X" so the Witty wings slide in very easily.
René François Ghislain Magritte, 21 November 1898 – 15 August 1967) was a Belgian surrealist artist, who became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers' preconditioned perceptions of reality. His imagery has influenced pop art, minimalist art, and conceptual art.
Magritte's earliest paintings, which date from about 1915, were Impressionistic in style. During 1916–1918, he studied at the Académie Royale des Beaux-Arts in Brussels, under Constant Montald, but found the instruction uninspiring. He also took classes at the Académie Royale from the painter and poster designer Gisbert Combaz. The paintings he produced during 1918–1924 were influenced by Futurism and by the figurative Cubism of Metzinger.
From December 1920 until September 1921, Magritte served in the Belgian infantry in the Flemish town of Beverlo near Leopoldsburg. In 1922, Magritte married Georgette Berger, whom he had met as a child in 1913. Also during 1922, the poet Marcel Lecomte showed Magritte a reproduction of Giorgio de Chirico's The Song of Love (painted in 1914). The work brought Magritte to tears; he described this as "one of the most moving moments of my life: my eyes saw thought for the first time." The paintings of the Belgian symbolist painter William Degouve de Nuncques have also been noted as an influence on Magritte, specifically the former's painting The Blind House (1892) and Magritte's variations or series on The Empire of Lights.
In 1922–1923, Magritte worked as a draughtsman in a wallpaper factory, and was a poster and advertisement designer until 1926, when a contract with Galerie Le Centaure in Brussels made it possible for him to paint full-time. In 1926, Magritte produced his first surreal painting, The Lost Jockey (Le jockey perdu), and held his first solo exhibition in Brussels in 1927. Critics heaped abuse on the exhibition.
Depressed by the failure, he moved to Paris where he became friends with André Breton and became involved in the Surrealist group. An illusionistic, dream-like quality is characteristic of Magritte's version of Surrealism. He became a leading member of the movement, and remained in Paris for three years. In 1929 he exhibited at Goemans Gallery in Paris with Salvador Dalí, Jean Arp, de Chirico, Max Ernst, Joan Miró, Picabia, Picasso and Yves Tanguy.
On 15 December 1929 he participated in the last publication of La Revolution Surrealiste No. 12, where he published his essay "Les mots et les images", where words play with images in sync with his work The Treachery of Images.
Galerie Le Centaure closed at the end of 1929, ending Magritte's contract income. Having made little impact in Paris, Magritte returned to Brussels in 1930 and resumed working in advertising.[10] He and his brother, Paul, formed an agency which earned him a living wage. In 1932, Magritte joined the Communist Party, which he would periodically leave and rejoin for several years. In 1936 he had his first solo exhibition in the United States at the Julien Levy Gallery in New York, followed by an exposition at the London Gallery in 1938.
During the early stages of his career, the British surrealist patron Edward James allowed Magritte to stay rent-free in his London home, where Magritte studied architecture and painted. James is featured in two of Magritte's works painted in 1937, Le Principe du Plaisir (The Pleasure Principle) and La Reproduction Interdite, a painting also known as Not to Be Reproduced.
During the German occupation of Belgium in World War II he remained in Brussels, which led to a break with Breton. He briefly adopted a colorful, painterly style in 1943–44, an interlude known as his "Renoir period", as a reaction to his feelings of alienation and abandonment that came with living in German-occupied Belgium.
In 1946, renouncing the violence and pessimism of his earlier work, he joined several other Belgian artists in signing the manifesto Surrealism in Full Sunlight. During 1947–48, Magritte's "Vache period," he painted in a provocative and crude Fauve style. During this time, Magritte supported himself through the production of fake Picassos, Braques, and de Chiricos—a fraudulent repertoire he was later to expand into the printing of forged banknotes during the lean postwar period. This venture was undertaken alongside his brother Paul and fellow Surrealist and "surrogate son" Marcel Mariën, to whom had fallen the task of selling the forgeries. At the end of 1948, Magritte returned to the style and themes of his pre-war surrealistic art.
In France, Magritte's work has been showcased in a number of retrospective exhibitions, most recently at the Centre Georges Pompidou (2016–2017). In the United States his work has been featured in three retrospective exhibitions: at the Museum of Modern Art in 1965, at the Metropolitan Museum of Art in 1992, and again at the Metropolitan Museum of Art in 2013. An exhibition entitled "The Fifth Season" at the San Francisco Museum of Modern Art in 2018 focused on the work of his later years.
Politically, Magritte stood to the left, and retained close ties to the Communist Party, even in the post-war years. However, he was critical of the functionalist cultural policy of the Communist left, stating that "Class consciousness is as necessary as bread; but that does not mean that workers must be condemned to bread and water and that wanting chicken and champagne would be harmful. (...) For the Communist painter, the justification of artistic activity is to create pictures that can represent mental luxury." While remaining committed to the political left, he thus advocated a certain autonomy of art. Spiritually, Magritte was an agnostic.
Popular interest in Magritte's work rose considerably in the 1960s, and his imagery has influenced pop, minimalist, and conceptual art. In 2005 he was 9th in the Walloon version of De Grootste Belg (The Greatest Belgian); in the Flemish version he was 18th.