View allAll Photos Tagged gratification
Gregarious Leader.
Dragi interese fericit de tăiere gratifications deosebit de aventuri de noapte înțelegeri se bucură de cuvinte satisfăcătoare cunoștință strângere de mână,
placuit navibus mercaturae optimum inventum naturae artifex narrationem rurfus infiftentes ad mane regi proposita, altum videtur historia,
des erreurs des roulettes des conclusions brisées des principes dominants de la cérémonie violente des impressions de freebie intéressantes des points de lustre,
gwthio chwerthin yn gleisio pwysau gweithredoedd erchyll pwerus arfau llofruddiaethau dirgel yn chwalu giatiau haearn swyddi troseddol,
خطوات رياضية أسرار الألغاز تحققت أهداف تصاعدي يهرب من عبارات راضية تخطي أخطاء حقوق الإعلان,
paroxismos vozes sonhos mais selvagens recortes resultados sorridentes loucos espalhando testemunhos unterved líderes incoerentes patrões,
危険な事態をアレンジした作品の創意工夫思考を奮い立たせる恐怖の叫び敵の皮肉を撃退することで達成された反射の冒険目的血まみれの行為.
Steve.D.Hammond.
Anima Series 5
Sitting No. 120
Lismore NSW 2017
Model: Meghann
Our sense of emotional security, or lack thereof, can influence our lives in so many ways.
If we feel disempowered or disillusioned about our circumstances, this can motivate us seek comfort and security in all sorts of ways. These ways are seldom genuine or lasting, but offer a temporary relief only.
Convincing ourselves we know the 'secret' truth behind things, or changing our personal identity are some examples of a quick fix we might reach for in our attempt to claw back a sense of control or agency over our affairs.
A more spiritual approach however, might emphasis the need to surrender and be more accepting, to feel comfortable in our own skin.
Rather than groping for instant gratification (or relief), we need to have the patience and presence of mind to change the way we think and slowly build our self-confidence from within.
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for a minute i wished i hadn't jammed the film with my stupid finger while it was ejecting, but such is the way of the polaroid; there are no mulligans. i very much love the swirl in the sky.
(polaroid fade-to-black in sx-70 sonar one-step, venice, ca)
"Never lose sight of the fact that all human felicity lies in man's imagination, and that he cannot think to attain it unless he heeds all his caprices. The most fortunate of persons is he who has the most means to satisfy his vagaries."
- Marquis de Sade
“There is nothing capricious in nature and the implanting of a desire indicates that its gratification is in the constitution of the creature that feel it.”
- Ralph Waldo Emerson
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Ah, Jamaican Lager. :)
SB600 in obvious umbrella camera right at 1/8. (Attempted to shop out the umbrella reflection, but I suck too much at PS, and I don't think I'm supposed to anyway...) I either need a softbox, or more patience...
Oh, totally forgot. Black DIY gobo taped to right side of SB600 in the umbrella, so as to not wash out the background as much.
SB28 behind, thru snoot, and paper towel at 1/64, aimed at bottle.
SB28 behind with green gel, pointing at black background.
Tin foil reflectors left of bottle.
Had this idea, and had a friend help me out. It's not mine, but I'm in California, and he owns it legally anyway. Actually, scratch that. I used oregano...
Processed in Lightroom and a tad in Elements 6.
EDIT: Hey! My picture got "explored"! That's never happened before. Thanks everyone! Ah, the warm fuzzy feeling of self-gratification...
Just another shopping day. I found a dress at Macy's that was very close to the 'white whale' (a metallic teal cocktail dress) that I've been searching for. I was going to buy it, but decided to check online and found it for $25 less on Amazon. It may have delayed my gratification, but since I still haven't worn it anywhere that didn't mean much.
Three Jacobite Highlander gents in all their finery at Glenfinnan 2023
The Words Of A King. Read Out To All Who came to Glenfinnan on August 19th 1745. Interpret as You will.
The Royal Oak Society Have.
"James VIII by the Grace of God, King of Scotland, England, France, and Ireland, Defender of the Faith, &c. To all our loving subjects, of what degree or quality soever, greeting.
"Having always borne the most constant affection to our ancient kingdom of Scotland, from whence we derive our royal origin, and where our progenitors have swayed the sceptre with glory through a longer succession of kings than any monarchy upon earth can at this day boast of; we cannot but behold with the deepest concern the miseries they suffer under a foreign usurpation, and the intolerable burdens daily added to their yoke, which become yet more sensible to us when we consider the constant zeal and affection the generality of our subject of that our ancient kingdom have expressed for us on all occasions, and particularly when we had the satisfaction of being ourselves amongst them.
"We see a nation always famous for valour, and highly esteemed by the greatest of Foreign potentates, reduced to the condition of a province, under the specious pretence of an union with a more powerful neighbour. In consequence of this pretended union, grievous and unprecedented taxes have been laid on, and levied with severity in spite of all the representations that could be made to the contrary; and these have not failed to produce that poverty and decay of trade which were easily foreseen to be the necessary consequences of such oppressive measures.
"To prevent the just resentment which could not but arise from such usage, our faithful Highlanders, a people always trained up and inured to arms, have been deprived of them; forts and citadels have been built and garrisoned where no foreign invasion could be apprehended, and a military government has been effectually introduced, as into a conquered country. It is easy to foresee what must be the consequences of such violent and unprecedented proceedings, if a timely remedy be not put to them; neither is it less manifest that such a remedy can ever be obtained but by our restoration to the throne of our ancestors, into whose royal heart such destructive maxims could never find admittance.
"We think it needless to call to mind how solicitous we have ever been, and how often we have ventured our royal person, to compass this great end; which the Divine Providence seems now to have furnished us with the means of doing effectually by enabling our good subjects in England to shake off the yoke, under which they have likewise felt their share of the common calamities. Our former experience leaves us no room to doubt of the cheerful and hearty concurrence of our Scots subjects on this occasion, towards the perfecting the great and glorious work; but that none may be deterred by the memory of past miscarriages from returning to their duty, and being restored to the happiness they formerly enjoyed, we in this public manner think fit to make known our gracious intentions towards all our people.
"We do therefore, by this our royal declaration, absolutely and effectually pardon and remit all treasons, and other crimes hitherto committed against our royal father, or ourselves. From the benefit of which pardon we except none, but such as shall, after the publication hereof, wilfully and maliciously oppose us, or those who shall appear or endeavour to appear in arms for our service.
"We farther declare that we will with all convenient speed call a free parliament; that by the advice and assistance of such an assembly, we may be enabled to repair the breaches caused by so long an usurpation, to redress all grievances, and to free our people from the unsupportable burden of the malt-tax, and al other hardships and impositions which have been the consequence of the pretended union; that so the nation may be restored to that honour, liberty, and independency, which it formerly enjoyed.
"We likewise promise upon our royal word to protect, secure, and maintain all our Protestant subjects in the free exercise of their religion, and in the full enjoyment of all their rights, privileges, and immunities, and in the secure possession of all churches, universities, colleges, and schools, conform to the laws of the land.
"All this we shall be ready to confirm in our first parliament; in which we promise to pass any act or acts that shall be judged necessary to secure each private person in the full possession of his liberty and property, to advance trade, to relieve the poor, and establish the general welfare and tranquillity of the nation. In all such matters we are fully resolved to act always by the advice of our parliaments, and to value none of our titles so much as that of common father of our people, which we shall ever show ourselves to be by our constant endeavours to promote the quiet and happiness of all our subjects. And we shall be particularly solicitous to settle, encourage, and maintain the fishery and linen manufacturers of the nation, which we are sensible may be of such advantage to it, and which we hope are works reserved for us to accomplish.
"As for those who shall appear more signally zealour for the recovery of our just rights and the prosperity of their country, we shall take effectual care to reward them according to their respective degrees and merits. And we particularly promise, as aforesaid, our full, free, and general pardon to all officers, soldiers, and sailors, now engaged in the service of the usurper, whether of the sea or land, provided that upon the publication hereof, and before they engage in any fight or battle against our forces, they quit the said unjust and unwarrantable service, and return to their duty, in which case we shall pay them all the arrears that shall be at that time due to them from the usurper; we shall grant to the officers the same commissions they shall then bear, if not higher; and to all soldiers and sailors a gratification of a whole year's pay for their forwardness in promoting our service.
"We farther promise and declare, that the vassals of such as shall without regard to our present declaration, obstinately persist in their rebellion, and thereby forfeit all pretensions to our royal clemency, shall be delivered from all servitude they were formerly bound to, and shall have grants and charters of their lands to be held immediately of the crown, provided they, upon the publication of this our royal declaration, declare openly for us, and join heartily in the cause of their country.
"And having this declared our gracious intentions to our loving subjects, we do hereby require and command them to be assisting to us n the recovery of our rights, and of their own liberties; and that all our subjects, from the age of sixteen to sixty, do, upon the setting up of our royal standard, immediately to it, or join themselves to such as shall first appear for us in their respective shires; and also to seize the horses and arms of all suspected persons, and all ammunition, forage, and whatever else may be necessary for the use of our forces.
"We also strictly command all receivers, collectors, or other persons who may be seized of any sum or sums of money levied in the name or for the use of the usurper, to retain such sum or sums of money in their own hands, till they can pay them to some person of distinction appearing publicly for us, and demanding the same for our use and service; whose receipt or receipts shall be a sufficient discharge for all such collectors, receivers, or other persons, their heirs, &c.
"Lastly, we do hereby require all sheriffs of shires, stewards of stewarties, and their respective deputies, magistrates or royal boroughs, and bailies of regalities, and all others to whom it may belong, to publish this our declaration, at the market crosses or their respective towns and boroughs, and there to proclaim as under the penalty of being proceeded against according to law, for their neglect of so necessary and important a duty.
The Portland Building*
Portland, OR
ADOX MCP 312 B/W RC paper, variable contrast, matte - used as paper negative.
Exposure: 190 seconds
* Designed by Michael Graves. Built in 1982. It became an icon of postmodern architecture style. In May 1983, the building won an American Institute of Architects honor award. In October 2009, Travel + Leisure magazine called the Portland Building "one of the most hated buildings in America".
I can only get away with posting photos I made during the Christmas season for so much longer. I get some leeway I think from being a film photographer, as we oftentimes move a bit slower and are more concerned with the nature of delayed rather than instant gratification. Also, this image happened to be the first exposure on the roll, meaning I had to make it through another 11 shots to finish this up and even see this exposure. The notion of first exposures is a worthwhile one to explore, and I believe I have spoken of it in the past. A higher-than-normal percentage of my favorite images tend to be the first or last exposures on a roll because I tend to lend more weight to the making of those photos. For example, I typically don't load an empty camera, or empty film back, until I have a picture to make. That means when a roll of film does get loaded it is because I have enough of a purpose in mind to motivate me to load film. And the film that gets loaded is being selected for the first image it will be used to make. Along those lines, when I get to the last frame I really try to make that last exposure count. There is no better way to wrap up a roll of film than with an image you are excited about. Another way of approaching this is to go out without any spare rolls of film. I did this the other night with my two Hasselblad backs, one of which is dedicated to color and the other to b&w. I opted to not take any extra rolls of b&w film with my and that back was on exposure 10, meaning I had only three shots remaining for an entire night's work. It is limiting but scarcity can also place greater value. With only three shots, or by waiting on my first shot of the roll, or the last shot, I am placing a higher-than-normal value on those exposures and because I do so, I tend to enjoy a higher-than-normal success rate with those images.
On an unrelated note, I have been noticing that Christmas decorations seem to be embodying more and more motion in them. First it was spinning Christmas trees (which go way back actually), then it was those wire frame lighted animals and figures that would move their heads or wave their arms. Now it is LED projections on the sides of home swirling in colorful and mesmerizing patterns. I really wanted to get out and make images of some of these moving displays but never quite got around to it. Maybe next year. I found this spinning Christmas Tree quite by happenstance though and since I had both my Hasselblad and tripod with me, I did not let this opportunity get by.
Hasselblad 500C
Kodak Portra 400
Hotel deLuxe (Mallory Hotel)
Portland, OR
7 exposures
ADOX MCP 312 B/W RC paper, variable contrast, matte - used as paper negative.
Exposure: 11 seconds
Shot with custom large format pinhole camera designed and built in collaboration with master camera maker Kurt Mottweiler.
This was my first colour developed film in quite some time,as I have been saving the shot films up in the fridge until I had enough to develop,it is always a nice surprise when they get scanned,as one never quite remembers what was shot on theat particular roll,delayed gratification rules!
Sadomasochism is the giving and receiving of pleasure from acts involving the receipt or infliction of pain or humiliation. Practitioners of sadomasochism may seek sexual gratification from their acts. While the terms sadist and masochist refer respectively to one who enjoys giving and receiving pain, practitioners of sadomasochism may switch between activity and passivity. BDSM is a variety of often erotic practices or roleplaying involving bondage , discipline , dominance and submission , sadomasochism , and other related interpersonal dynamics. The term BDSM is first recorded in a Usenet post from 1991, and is interpreted as a combination of the abbreviations B/D (Bondage and Discipline), D/s (Dominance and submission), and S/M (Sadism and Masochism). BDSM is now used as a catch-all phrase covering a wide range of activities, forms of interpersonal relationships, and distinct subcultures. BDSM communities generally welcome anyone with a non-normative streak who identifies with the community; this may include cross-dressers, body modification enthusiasts, animal roleplayers, rubber fetishists, and others. Activities and relationships in BDSM are often characterized by the participants' taking on roles that are complementary and involve inequality of power; thus, the idea of informed consent of both the partners is essential. The terms submissive and dominant are often used to distinguish these roles: the dominant partner ("dom") takes psychological control over the submissive ("sub"). The terms top and bottom are also used; the top is the instigator of an action while the bottom is the receiver of the action. The two sets of terms are subtly different: for example, someone may choose to act as bottom to another person, for example, by being whipped, purely recreationally, without any implication of being psychologically dominated, and submissives may be ordered to massage their dominant partners. Although the bottom carries out the action and the top receives it, they have not necessarily switched roles. The abbreviations sub and dom are frequently used instead of submissive and dominant . Sometimes the female-specific terms mistress , domme , and dominatrix are used to describe a dominant woman, instead of the sometimes gender-neutral term dom . Individuals who change between top/dominant and bottom/submissive roles—whether from relationship to relationship or within a given relationship—are called switches . The precise definition of roles and self-identification is a common subject of debate among BDSM participants.
Queer is an umbrella term for sexual and genderminorities who are not heterosexual or are not cisgender. Originally meaning "strange" or "peculiar", queer came to be used pejoratively against those with same-sex desires or relationships in the late 19th century.
Queer is sometimes expanded to include any non-normative sexuality, including (cisgender) "queer heterosexuality
Originally, jodhpurs were snug-fitting from just below the knee to the ankle, and were flared at the hip to allow ease for sitting in the saddle. Modern jodhpurs are made with stretch fabric or leather and are tight-fitting throughout. They are supportive and flexible.
Almighty God's Word "Man Can Only Be Saved Amidst the Management of God" (Excerpt, Stage Version)
www.holyspiritspeaks.org/videos/sovereignty-over-everything/
Almighty God says, "How many creatures are there living and reproducing in the vast expanse of the universe, following the law of life over and over, adhering to one constant rule. Those who die take with them the stories of the living, and those who are living repeat the same tragic history of those who have died. And so mankind can’t help but ask itself: Why do we live? And why do we have to die? Who is in command of this world? And who created this mankind? Was mankind really created by Mother Nature? Is mankind really in control of its own fate? … For thousands of years mankind has asked these questions, over and over again. Unfortunately, the more that mankind has become obsessed with these questions, the more of a thirst he has developed for science. Science offers brief gratification and temporary enjoyment of the flesh, but is far from sufficient to free mankind of the solitariness, loneliness, and barely-concealed terror and helplessness deep within his soul. Mankind merely uses scientific knowledge that the naked eye can see and the brain can comprehend to anesthetize his heart. Yet such scientific knowledge cannot stop mankind from exploring mysteries. Mankind does not know who is the Sovereign of all things in the universe, much less does he know the beginning and future of mankind. Mankind merely lives, perforce, amidst this law. None can escape it and none can change it, for among all things and in the heavens there is but One from everlasting to everlasting who holds sovereignty over everything. He is the One who has never been beheld by man, the One whom mankind has never known, in whose existence mankind has never believed, yet He is the One who breathed the breath into mankind’s ancestors and gave life to mankind. He is the One who supplies and nourishes mankind for its existence, and guides mankind up to the present day. Moreover, He and He alone is whom mankind depends on for its survival. He holds sovereignty over all things and rules all living beings beneath the universe. He commands the four seasons, and it is He who calls forth wind, frost, snow, and rain. He gives mankind sunshine and brings the coming of night. It was He who laid out the heavens and earth, providing man with mountains, lakes and rivers and all the living things within them. His deed is everywhere, His power is everywhere, His wisdom is everywhere, and His authority is everywhere. Each of these laws and rules are the embodiment of His deed, and every one of them reveals His wisdom and authority. Who can exempt themselves from His sovereignty? And who can discharge themselves from His designs? All things exist beneath His gaze, and moreover, all things live beneath His sovereignty. His deed and His power leave mankind with no choice but to acknowledge the fact that He really does exist and holds sovereignty over all things. No other thing apart from Him can command the universe, much less can it ceaselessly provide for this mankind. Regardless of whether you are able to recognize the deed of God, and irrespective of whether you believe in the existence of God, there is no doubt that your fate lies within the ordination of God, and there is no doubt that God will always hold sovereignty over all things. His existence and authority are not predicated upon whether or not they can be recognized and comprehended by man. Only He knows man’s past, present and future, and only He can determine the fate of mankind. Regardless of whether you are able to accept this fact, it will not be long before mankind witnesses all of this with his own eyes, and this is the fact that God will soon bring to bear. Mankind lives and dies under the eyes of God. Mankind lives for the management of God, and when his eyes close for the final time, that is also for the very same management."
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After owning a Polaroid camera for more than ten years, this is the year I've finally managed to take one good photo, with the whole frame filled with image, with the entire frame filled with emulsion. Finally!
Here, concrete beams somewhere on Rijeka's university campus.
Taken with Polaroid OneStep 1000 instant camera, on Polaroid Originals B&W SX-70 instant film. Scanned with Epson XP-225 all-in-one scanner I found connected to my dad's computer. Good enough!
Apparently, I've colour-corrected this photo just a wee bit different than the other two, so this one looks different. In real life, all three look exactly the same.
K-jey and I originally conceived the idea of using this costume for a Christmas Fairy theme but we are both impatient people who need instant gratification. We ended up shooting an Autumn Fairy in the abandoned orphanage.
…..who remembers High-waisted mom jeans? . Bright colorblock windbreakers? Butterfly shaped frames were popular in the seventies and oversized square frames? This eye-catching style was everyone’s fave in the 70s, and even in the 80s, they were still outrageously popular. They had large square frames, often featured a top bar, and could be worn both as prescription glasses and sunglasses. , oversized square frames could be a great style go-to.
When it comes to vintage eyewear the 70s can sometimes be a decade that is overlooked. People often think of the 50s & 60s cat eyes or 80s huge oversized specs, but let me assure you the eyewear in the 70s was just as hot as the mini skirts, bell sleeves and flares that graced the decade.
I've been addicted to instant film lately, shooting the equivalent of 80 bucks worth of Instax Mini film in Ottawa a couple weeks ago, and also blowing through a couple packs of increasingly rare Polaroid 600 film in my SX-70. And tonight, I present to you, my first few shots through my latest instant camera, the Fuji Instax 210. It's a big unwieldy black plastic beast that shoots in a wide aspect ratio. I hate the fact that you can't turn off the auto flash, but other than that, I think I'm going to go on some totally rad adventures with it.
A shot of some golden autumn foliage in a park near my house. Taken about a minute before the sun dipped below the horizon. The Instax film doesn't quite captured the golden tones that we actually saw, but I still find the image very aesthetically pleasing.
One of the beauties of visiting the Big Island Hawaii, one can get right up close and personal, with that thought Winter time here, we don't have to wait until spring (Today) instant gratification, This was from our first day on the big island, I roamed in search of the proper settings of the D810 as well a comparison to the D7100. The travel choice of the 28 mm - 300 mm single telephoto lens, My preference all around. Enjoy ! Paul
Scanned Pola
Fujifilm instax 210
Featured in EyeEm Blog Take Ten Interview
Featured in Instant Gratification - Interview for The Idea List Mag
Ilford Sprite 35-II - not sure about fantastic but definitely plastic !
It's an entry level plastic camera which is not designed to be repaired. 😂 Serial #210802
From Ilford websites:
Since inception in 1879, ILFORD has been a name associated with photography. Whilst the company has evolved over the years, the drive to provide our customers with world-class products is as strong as it was over 140 years ago.
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The Ilford Sprite 35-II a fun and affordable way to jump into analogue photography!
There are plenty of good reasons why some love the authentic look and feel of film-generated photographs; there’s also the discipline of having only 24 or 36 exposures to work with, and the anticipation of having a roll developed. Then there’s the desire to slow down from the relentless pace of digital technology and instant gratification
Back in the 1960s, few cameras were easier to use and more affordable than the Sprite 35. Forget shutter speeds, aperture, or light meters – just load a roll of film, hit the shutter button, and press the film lever. It was an attractive camera for people who wanted to capture a few snaps without fussing about the right settings.
The Ilford Sprite 35-II continues that heritage and will meet the needs of people experimenting with 35mm film and looking for a camera that’s ‘no frills’ simple. It’s a step up from disposable cameras, and being re-usable, it won’t create extra waste.
The camera has a fixed shutter speed (1/120s) with a 31mm, single element f9 fixed-focus wide-angle lens, perfect for capturing most well-focused daylight scenes, and also features a built-in flash with a 15-second recycle time for night time shooting.
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All of my photographs are under copyright ©. None of these photographs may be reproduced and/or used in any way without my permission.
© VanveenJF Photography
I have a lot of work that I just processed and scanned from this summer. As a result, I am running further behind in my plans to print a portfolio. Fortunately that is coming along, albeit slowly. I think it has to do with the immediate gratification a scanned photo as opposed to the arduous printing process.
Hanuman seems to be a rather popular deity in India. More so in South India with numerous temples visible everywhere.
The last time I was traveling in the Coorg or was it around Bellary or was it Hampi itself? - there was a hillside village where Hanuman was supposed to have been born.
I have no idea about the genuineness of such claims but there are way too many places in India where Rama and Hanuman have stopped over.
This is a spartan structure but gaily in its color combination of primal red and blue. Just 4 little pillars to cover the area and it was an open air temple with no pundit looking for gratification.
Not inside the main heritage complex of Hampi but a tad short of it on the right hand side as you drive to the famed city lying in ruins.
Hanuman here seems to be ringing a prayer bell but then that is just an optical illusion.
Hanuman is supposed to be strong but his powers remain harnessed by the not so powerful Rama from the epic Ramayana. The conundrum of life is that the strongest men or creatures are not the masters but they sure can be devoted.
_DSC5407 nef less sharp
I love the old style of the bullet bra! It was a very Hot Style in its Day!!! They do have a pad that helped make the pointy look!
I really like the look of the pointy boob's. 1976
1960's Jodhopper Pants
60s -Black Leather trouser, jodhpurs, having side metal zipper on each side and front slash pockets. Sides hips have a very rounded shaping, A black leather piece is on the inside crotch. Leather strap pieces button on lower hem, forming stirrups for the foot. Elephant Ear Riding Jodhpurs with metal zipper fastenings on both sides and at the ankles. Great for equestrian and revival events or land girl costume.
Originally, jodhpurs were snug-fitting from just below the knee to the ankle, and were flared at the hip to allow ease for sitting in the saddle. Modern jodhpurs are made with stretch fabric or leather and are tight-fitting throughout. They are supportive and flexible.
On a holiday trip Transylvania, northern province of Romania, i fell in love with the jewelry worn by romanian gypsieswomen.
I have a in a traditional dress for gypsy women. No photos, I tried to dress a few times but sold it. i fell in love with the local culture and brought souvenir from Transylvania, black leather jodhpurs pants. I added gypsy exoticism with strong makeup and plenty of jewelry, the picture does not include jewelry.
First, the conventional wisdom on glitter in makeup was: don't wear it, it's for children and whores. Then: you can wear it, but wear it subtly, so that no one knows you're wearing it, or at least so that straight men and the unsavvy don't know you're wearing it.
"Obvious makeup, obvious fake stuff was such a no-no until really the middle of the 20th century," Deihl says. "There's stuff going back to the 1970s with people doing outrageous face painting and things. [But] in terms of general wear, not countercultural but teenage girls putting glitter on their faces—that's relatively recent." New Jersey, the inventor of glitter was from there. In 1934, Henry Ruschmann stumbled upon a way to manufacture the stuff we package and sell as glitter while grinding up plastics and other materials from landfills. Ruschmann's company, Meadowbrook Inventions, still makes glitter today, though some people consider plastic glitter like this cheap—or for "casual crafters" only—true depth of sparkle only being achievable with glass glitter. This seems very dangerous and is indeed not recommended for use by children.
February 14, 2011
A-Z through the DSM IVr
H: Histrionic Personality Disorder
People with this disorder are usually able to function at a high level and can be successful socially and professionally. People with histrionic personality disorder usually have good social skills, but they tend to use these skills to manipulate other people and become the center of attention. Furthermore, histrionic personality disorder may affect a person's social or romantic relationships or their ability to cope with losses or failures.
People with this disorder lack genuine empathy. They start relationships well but tend to falter when depth and durability are needed, alternating between extremes of idealization and devaluation. They may seek treatment for depression when romantic relationships end, although this is by no means a feature exclusive to this disorder.
They often fail to see their own personal situation realistically, instead tending to dramatize and exaggerate their difficulties. They may go through frequent job changes, as they become easily bored and have trouble dealing with frustration. Because they tend to crave novelty and excitement, they may place themselves in risky situations. All of these factors may lead to greater risk of developing depression.
Additional symptoms include:
-Exhibitionist behavior.
-Constant seeking of reassurance or approval.
-Excessive dramatics with exaggerated displays of emotions, such as hugging someone they have just met or crying uncontrollably during a sad movie (Svrakie & Cloninger, 2005).
-Excessive sensitivity to criticism or disapproval.
-Inappropriately seductive appearance or behavior.
-Excessive concern with physical appearance.
-Somatic symptoms, and using these symptoms as a means of garnering attention.
-A need to be the center of attention.
-Low tolerance for frustration or delayed gratification.
-Rapidly shifting emotional states that may appear superficial or exaggerated to others.
-Tendency to believe that relationships are more intimate than they actually are.
-Making rash decisions.
Well I'm full of mixed emotions right now...
On one hand Valentines Day sucked big time...but I knew it would. But I only cried once today so far...so I'm doing better than I expected. I'm guessing all the chocolate consumption helped too...but yeah, it's been a really, really rough day. I'm just glad it's almost over...
On the other hand I really am proud of this picture and like how it came out...hopefully I can redeem myself after my HORRIBLE attempt at a picture yesterday. ugh...if I could take it down I totally would. It was a disgrace....
One more thing: I'm trying to figure out how to make some money so I can move to California and be with Garry. I dunno if anyone would be interested in a book of my pics or of editing techniques I use or if anyone would take part in some kind of photo auction of some sort...please let me know what you guys think. I'm desperate for money...I can't be here anymore I NEED to get to Garry...at this point I'd rather be homeless with him than here with all the riches in the world but without him.
printed on PX600 silver shade instant film using an impossible instant lab and an apple iphone 5s. cured using a dry age kit, still got a bit of an orange cast. scan: epson V750. exif tags: filmtagger.
The ugly face of consumerism ...
a city centre still with all the trimmings from Christmas ....
and while many of us have the freedom and the good fortune to be fit and able to stroll the streets contemplating our next hit to satisfy our ceaseless hunger for instant gratification ...
some are in an altogether differerent reality ...
and we should be happy, and yet ...
{film}
This year, I felt like fall had betrayed me because it had started while I was in San Francisco. So I ignored fall. I enjoyed seeing leaves well on their way to changing colors, but I did not photograph it. Come to think of it, I did not photograph much at all. But fall and I were not on speaking terms. Until this morning when I had to test a Hasselblad back and I put a roll of Ektar (gasp!) through a borrowed 500c/m and shot the remnants of fall on my street. Now fall and I are friends again and I feel bad for being such a shitty friend.
Also, this was shot after 10 and by lunchtime, it was scanned. I'd say that almost qualifies as instant gratification.
i am not immune to gambling. i like it in some ways. i like the risk involved. as vices go, this is a very interesting one. heroin, cocaine, alcohol. all of them involve highs and lows. but when you study the available information, and you make a choice, and hand over your money and wait, staring or listening to the decision as it unfolds, there is no sense of anticipation like it in this world. nothing can give you that sense of gratification. the routine, the job, the family, the debt, it all goes away. if nothing else, it nurtures a sense of identity: I made a decision, i took a risk, and I WAS RIGHT.
unfortunately, gambling is an institution that is laughed at by the higher echelons of society. they gamble too, but they can afford to lose. gambling is the greatest and the worst of all vices. homes are lost. jobs are lost. families are lost. these places should be torn down. they are slaughterhouses, they are houses of torture.
something fatally flawed exists, not in our brains, but in how society interacts and manipulates our brains. the allure of the win. the material world bombarding us with messages.
january is statistically the worst for the working man's finances. but this is an all year round thing. relentlessly tugging at the poor, to part with their cash on a long shot, and they leave these places empty handed into the unforgiving light.
We hosted an absolutely wonderful event in our bookshop recently, with storyteller Mara Menzies, who had adapted her own storytelling performance into a novel, Blood and Gold, which draws on her Kenyan and Scottish roots, history and mythology, exploring family, history, colonialism and more through various lenses.
Mara treated us to some of her live storytelling, which was just a delight to experience. Much as I am forever in love with the written word, I'm always aware the roots of the modern books (and plays and films and other media) run back millennia to oral storytelling.
Long, long before even the most ancient stories we have written down, such as Gilgamesh, there were storytellers talking, acting and singing and dancing these tales, each putting their own spin on them. Some would have been professional storytellers like Mara, others just the person in a village or small, wandering tribe, who had the gift and knowledge, and would spin them around a flickering camp fire at night to their small groups.
We have aways told stories, it's part of the spiritual element of our DNA as humans, and it's something that is still wonderful and thrilling and magical to experience, even in an age of instant digital gratification or giant screen entertainment or shelves full of books on every subject.
Mara's book Blood and Gold is published by Birlinn, and you can follow her on Twitter twitter.com/marastoryteller She may be bringing her performance back to the Edinburgh Fringe next year, if she does I highly recommend catching it.
Paris - Antonio Canova.
Antonio Canova (1 November 1757 – 13 October 1822) was an Italian sculptor who became famous for his marble sculptures that delicately rendered nude flesh. The epitome of the neoclassical style, his work marked a return to classical refinement after the theatrical excesses of Baroque sculpture.
Antonio Canova was born in Possagno, a village of the Republic of Venice situated amid the recesses of the hills of Asolo, where these form the last undulations of the Venetian Alps, as they subside into the plains of Treviso. At three years of age Canova was deprived of both parents, his father dying and his mother remarrying. Their loss, however, was compensated by the tender solicitude and care of his paternal grandfather and grandmother, the latter of whom lived to experience in her turn the kindest personal attention from her grandson, who, when he had the means, gave her an asylum in his house at Rome.
His father and grandfather followed the occupation of stone-cutters or minor statuaries; and it is said that their family had for several ages supplied Possagno with members of that calling. As soon as Canova's hand could hold a pencil, he was initiated into the principles of drawing by his grandfather Pasino. The latter possessed some knowledge both of drawing and of architecture, designed well, and showed considerable taste in the execution of ornamental works. He was greatly attached to his art; and upon his young charge he looked as one who was to perpetuate, not only the family name, but also the family profession.
The early years of Canova were passed in study. The bias of his mind was to sculpture, and the facilities afforded for the gratification of this predilection in the workshop of his grandfather were eagerly improved. In his ninth year he executed two small shrines of Carrara marble, which are still extant. Soon after this period he appears to have been constantly employed under his grandfather. Amongst those who patronized the old man was the patrician family Falier of Venice, and by this means young Canova was first introduced to the senator of that name, who afterwards became his most zealous patron.
Between the younger son, Giuseppe Falier, and the artist a friendship commenced which terminated only with life. The senator Falier was induced to receive him under his immediate protection. It has been related by an Italian writer and since repeated by several biographers, that Canova was indebted to a trivial circumstance - the moulding of a lion in butter - for the warm interest which Falier took in his welfare. The anecdote may or may not be true. By his patron Canova was placed under Bernardi, or, as he is generally called by filiation, Giuseppe Torretto, a sculptor of considerable eminence, who had taken up a temporary residence at Pagnano, one of Asolo's boroughs in the vicinity of the senator's mansion.
This took place whilst Canova was in his thirteenth year; and with Torretto he continued about two years, making in many respects considerable progress. This master returned to Venice, where he soon afterwards died; but by the high terms in which he spoke of his pupil to Falier, the latter was induced to bring the young artist to Venice, whither he accordingly went, and was placed under a nephew of Torretto. With this instructor he continued about a year, studying with the utmost assiduity.
After the termination of this engagement he began to work on his own account, and received from his patron an order for a group, Orpheus and Eurydice. The first figure, which represents Eurydice in flames and smoke, in the act of leaving Hades, was completed towards the close of his sixteenth year. It was highly esteemed by his patron and friends, and the artist was now considered qualified to appear before a public tribunal.
The kindness of some monks supplied him with his first workshop, which was the vacant cell of a monastery. Here for nearly four years he labored with the greatest perseverance and industry. He was also regular in his attendance at the academy, where he carried off several prizes. But he relied far more on the study and imitation of nature. A large portion of his time was also devoted to anatomy, which science was regarded by him as the secret of the art. He likewise frequented places of public amusement, where he carefully studied the expressions and attitudes of the performers. He formed a resolution, which was faithfully adhered to for several years, never to close his eyes at night without having produced some design. Whatever was likely to forward his advancement in sculpture he studied with ardour. On archaeological pursuits he bestowed considerable attention. With ancient and modern history he rendered himself well acquainted and he also began to acquire some of the continental languages.
Three years had now elapsed without any production coming from his chisel. He began, however, to complete the group for his patron, and the Orpheus which followed evinced the great advance he had made. The work was universally applauded, and laid the foundation of his fame. Several groups succeeded this performance, amongst which was that of Daedalus and Icarus, the most celebrated work of his noviciate. The terseness of style and the faithful imitation of nature which characterized them called forth the warmest admiration. His merits and reputation being now generally recognized, his thoughts began to turn from the shores of the Adriatic to the banks of the Tiber, for which he set out at the commencement of his twenty-fourth year.
Before his departure for Rome, his friends had applied to the Venetian senate for a pension, to enable him to pursue his studies without embarrassment. The application was ultimately successful. The stipend amounted to three hundred ducats (about 60 pounds per annum), and was limited to three years. Canova had obtained letters of introduction to the Venetian ambassador, the Cavaliere Zulian, and enlightened and generous protector of the arts, and was received in the most hospitable manner.
His arrival in Rome, on 28 December 1780, marks a new era in his life. It was here he was to perfect himself by a study of the most splendid relics of antiquity, and to put his talents to the severest test by a competition with the living masters of the art. The result was equal to the highest hopes cherished either by himself or by his friends. The work which first established his fame at Rome was Theseus Vanquishing the Minotaur, now in the collections of the Victoria & Albert Museum, in London. The figures are of the heroic size. The victorious Theseus is represented as seated on the lifeless body of the monster. The exhaustion which visibly pervades his whole frame proves the terrible nature of the conflict in which he has been engaged. Simplicity and natural expression had hitherto characterized Canova's style; with these were now united more exalted conceptions of grandeur and of truth. The Theseus was regarded with fervent admiration.
Canova's next undertaking was a monument in honor of Clement XIV; but before he proceeded with it he deemed it necessary to request permission from the Venetian senate, whose servant he considered himself to be, in consideration of the pension. This he solicited, in person, and it was granted. He returned immediately to Rome, and opened his celebrated studio close to the Via del Babuino. He spent about two years of unremitting toil in arranging the design and composing the models for the tomb of the pontiff. After these were completed, other two years were employed in finishing the monument, and it was finally opened to public inspection in 1787. The work, in the opinion of enthusiastic dilettanti, stamped the author as the first artist of modern times.
After five years of incessant labor, he completed another cenotaph, to the memory of Clement XIII, which raised his fame still higher. Works now came rapidly from his chisel. Amongst these is Psyche, with a butterfly, which is placed on the left hand, and held by the wings with the right. This figure, which is intended as a personification of man's immaterial part, is considered as in almost every respect the most faultless and classical of Canova's works. In two different groups, and with opposite expression, the sculptor has represented Cupid with his bride; in the one they are standing, in the other recumbent. These and other works raised his reputation so high that the most flattering offers were sent to him from the Russian court to induce him to remove to St Petersburg, but these were declined, although many of his finest works made their way to the Hermitage Museum. "Italy", says he, in writing of the occurrence to a friend, "Italy is my country - is the country and native soil of the arts. I cannot leave her; my infancy was nurtured here. If my poor talents can be useful in any other land, they must be of some utility to Italy; and ought not her claim to be preferred to all others?"
Numerous works were produced in the years 1795-1797, of which several were repetitions of previous productions. One was the celebrated group representing the Parting of Venus and Adonis. This famous production was sent to Naples. The French Revolution was now extending its shocks over Italy; and Canova sought obscurity and repose in his native Possagno. Thither he retired in 1798, and there he continued for about a year, principally employed in painting, of which art also he had some knowledge. Events in the political world having come to a temporary lull, he returned to Rome; but his health being impaired from arduous application, he took a journey through a part of Germany, in company with his friend Prince Rezzonico. He returned from his travels much improved, and again commenced his labors with vigour and enthusiasm.
The events which marked the life of the artist during the first fifteen years of the period in which he was engaged on the above-mentioned works scarcely merit notice. His mind was entirely absorbed in the labors of his studio, and, with the exception of his journeys to Paris, one to Vienna, and a few short intervals of absence in Florence and other parts of Italy, he never quit Rome. In his own words, "his statues were the sole proofs of his civil existence."
There was, however, another proof, which modesty forbade him to mention, an ever-active benevolence, especially towards artists. In 1815 he was commissioned by the Pope to superintend the transmission from Paris of those works of art which had formerly been conveyed thither under the direction of Napoleon. By his zeal and exertions - for there were many conflicting interests to reconcile - he adjusted the affair in a manner at once creditable to his judgment and fortunate for his country.
In the autumn of this year he gratified a wish he had long entertained of visiting London, where he received the highest tokens of esteem. The artist for whom he showed particular sympathy and regard in London was Benjamin Haydon, who might at the time be counted the sole representative of historical painting there, and whom he especially honored for his championship of the Elgin marbles, then recently transported to England, and ignorantly depreciated by polite connoisseurs. Among Canova's English pupils were sculptors Sir Richard Westmacott and John Gibson.
Canova returned to Rome in the beginning of 1816, with the ransomed spoils of his country's genius. Immediately after, he received several marks of distinction: he was made President of the Accademia di San Luca, the main artistic institution in Rome, and by the hand of the Pope himself his name was inscribed in "the Golden Volume of the Capitol", and he received the title of Marquis of Ischia, with an annual pension of 3000 crowns.
He now contemplated a great work, a colossal statue of Religion. The model filled Italy with admiration; the marble was procured, and the chisel of the sculptor ready to be applied to it, when the jealousy of churchmen as to the site, or some other cause, deprived the country of the projected work. The mind of Canova was inspired with the warmest sense of devotion, and though foiled in this instance he resolved to consecrate a shrine to the cause. In his native village he began to make preparations for erecting a temple which was to contain, not only the above statue, but other works of his own; within its precincts were to repose also the ashes of the founder. Accordingly he repaired to Possagno in 1819. After the foundation-stone of this edifice had been laid, Canova returned to Rome; but every succeeding autumn he continued to visit Possagno, in order to direct the workmen, and encourage them with pecuniary rewards and medals.
In the meantime the vast expenditure exhausted his resources, and compelled him to labor with unceasing assiduity notwithstanding age and disease. During the period which intervened between commencing operations at Possagno and his decease, he executed or finished some of his most striking works. Amongst these were the group Mars and Venus, the colossal figure of Pius VI, the Pietà, the St John, the recumbent Magdalen. The last performance which issued from his hand was a colossal bust of his friend, the Count Cicognara.
In May 1822 he paid a visit to Naples, to superintend the construction of wax moulds for an equestrian statue of the perjured Bourbon king Ferdinand VII. This journey materially injured his health, but he rallied again on his return to Rome. Towards the latter end of the year he paid his annual visit to the place of his birth, when he experienced a relapse. He proceeded to Venice, and expired there at the age of nearly sixty-five. His disease was one which had affected him from an early age, caused by the continual use of carving-tools, producing a depression of the ribs. The most distinguished funeral honors were paid to his remains, which were deposited in the temple at Possagno on 25 October 1822. His heart was interred in a marble pyramid he designed as a mausoleum for the painter Titian in the church of Santa Maria Gloriosa dei Frari in Venice, now a monument to the sculptor.
Among Canova's heroic compositions, his Perseus with the Head of Medusa (photo, right) appeared soon after his return from Germany. The moment of representation is when the hero, flushed with conquest, displays the head of the "snaky Gorgon", whilst the right hand grasps a sword of singular device. By a public decree, this fine work was placed in one of the stanze of the Vatican hitherto reserved for the most precious works of antiquity.
In 1802, at the personal request of Napoleon, Canova returned to Paris to model a bust of the first consul. The artist was entertained with munificence, and various honors were conferred upon him. The statue, which is colossal and entitled Napoleon as Mars the Peacemaker, was not finished till four years after. On the fall of the great emperor, Louis XVIII presented this statue to the British government, by whom it was afterwards given to the Duke of Wellington.
Palamedes, Creugas and Damoxenus, the Combat of Theseus and the Centaur, and Hercules and Lichas may close the class of heroic compositions, although the catalogue might be swelled by the enumeration of various others, such as Hector and Ajax, and the statues of George Washington (commissioned by the State of North Carolina to be displayed in its Capitol Building), King Ferdinand of Naples, and others.
Under the head of compositions of grace and elegance, the statue of Hebe takes the first place in point of date. Four times has the artist embodied in stone the goddess of youth, and each time with some variation. The last one is in the Museum of Forlì, in Italy. The only material improvement, however, is the substitution of a support more suitable to the simplicity of the art. Each of the statues is, in all its details, in expression, attitude and delicacy of finish, strikingly elegant.
The Dancing Nymphs maintain a character similar to that of the Hebe. The Three Graces and the Venus are more elevated. The Awakened Nymph is another work of uncommon beauty. The mother of Napoleon, his consort Maria Louise (as Concord), to model whom the author made a further journey to Paris in 1810, the princess Esterhazy and the muse Polymnia (Elisa Bonaparte) take their place in this class, as do the ideal heads, comprising Corinna, Sappho, Laura, Beatrice and Helen of Troy.
Of the cenotaphs and funeral monuments the most splendid is the monument to the archduchess Archduchess Maria Christina, Duchess of Teschen, consisting of nine figures.
Besides the two for the Roman Pontiffs already mentioned, there is one for Alfieri, another for Emo, a Venetian admiral, and a small model of a cenotaph for Horatio Nelson, besides a great variety of monumental relieves.
A BRIEF HISTORY OF THE MUSEUM
The Metropolitan Museum of Art was founded in 1870 by a group of American citizens – businessmen and financiers as well as leading arists and thinkers of the day – who wanted to create a museum to bring art and art education to the American people.
The Metropolitan's paintings collection also began in 1870, when three private European collections, 174 paintings in all, came to the Museum. A variety of excellent Dutch and Flemish paintings, including works by such artists as Hals and Van Dyck, was supplemented with works by such great European artists as Poussin, Tiepolo, and Guardi.
The collections continued to grow for the rest of the 19th century – upon the death of John Kensett, for example, 38 of his canvases came to the Museum. But it is the 20th century that has seen the Museum's rise to the position of one of the world's great art centers. Some highlights: a work by Renoir entered the Museum as early as 1907 (today the Museum has become one of the world's great repositories of Impressionist and Post-Impressionist art)...in 1910 the Metropolitan was the first public institution to accept works of art by Matisse...by 1979 the Museum owned five of the fewer than 40 known Vermeers...the Department of Greek and Roman Art now oversees thousands of objects, including one of the finest collections in glass and silver in the world...The American Wing holds the most comprehensive collection of American art, sculpture, and decorative arts in the world...the Egyptian art collection is the finest outside Cairo...the Islamic art collection is without peer...and so on, through many of the 17 curatorial departments.
In 1880, the Metropolitan Museum moved to its current site in Central Park. The original Gothic-Revival-style building has been greatly expanded in size since then, and the various additions (built as early as 1888) now completely surround the original structure. The present facade and entrance structure along Fifth Avenue were completed in 1926.
A comprehensive architectural plan for the Museum approved in 1971 was completed in 1991. The architects for the project were Kevin Roche John Dinkeloo and Associates, and the overall aim was to make the Museum's collections more accessible to the public, more useful to the scholars and, in general, more interesting and informative to all visitors.
Among the additions to the Museum as part of the master plan are: the Robert Lehman Wing (1975), which houses an extraordinary collection of Old Masters, as well as Impressionist and Post-Impressionist art; the installation in The Sackler Wing of the Temple of Dendur (1978), an Egyptian monument (ca. 15 B.C.) that was given to the United States by Egypt; The American Wing (1980), whose magnificent collection also includes 24 period rooms offering an unparalleled view of American art history and domestic life; The Michael C. Rockefeller Wing (1982) for the display of the arts of Africa, Oceania, and the Americas; the Lila Acheson Wallace Wing (1987), which houses modern art; and the Henry R. Kravis Wing, devoted to European sculpture and decorative arts from the Renaissance to the beginning of the 20th century.
With the building now complete, the Metropolitan Museum continues to refine and reorganize the collections in its existing spaces. In June 1998, the Arts of Korea gallery opened to the public, completing a major suite of galleries – a "museum within the Museum" – devoted to the arts of Asia. In October 1999 the renovated Ancient Near Eastern Galleries reopened. And a complete renovation and reinstallation of the Greek and Roman Galleries is underway: the first phase, The Robert and Renée Belfer Court for early Greek art, opened in June 1996; the New Greek Galleries premiered in April 1999; and in April 2000 the Cypriot Galleries will open to the public.
Antonio Canova (Possagno, 1 de Novembro de 1757 — Veneza, 13 de Outubro de 1822) foi um desenhista, pintor, antiquário e arquiteto italiano, mas é mais lembrado como escultor, desenvolvendo uma carreira longa e produtiva. Seu estilo foi fortemente inspirado na arte da Grécia Antiga, suas obras foram comparadas por seus contemporâneos com a melhor produção da Antiguidade, e foi tido como o maior escultor europeu desde Bernini, sendo celebrado por toda parte. Sua contribuição para a consolidação da arte neoclássica só se compara à do teórico Johann Joachim Winckelmann e à do pintor Jacques-Louis David, mas não foi insensível à influência do Romantismo. Não teve discípulos regulares, mas influenciou a escultura de toda a Europa em sua geração, atraindo inclusive artistas dos Estados Unidos, permanecendo como uma referência ao longo de todo o século XIX especialmente entre os escultores do Academismo. Com a ascensão da estética modernista caiu no esquecimento, mas sua posição prestigiosa foi restabelecida a partir de meados do século XX. Também manteve um continuado interesse na pesquisa arqueológica, foi um colecionador de antiguidades e esforçou-se por evitar que o acervo de arte italiana, antiga ou moderna, fosse disperso por outras coleções do mundo. Considerado por seus contemporâneos um modelo tanto de excelência artística como de conduta pessoal, desenvolveu importante atividade beneficente e de apoio aos jovens artistas. Foi Diretor da Accademia di San Luca em Roma e Inspetor-Geral de Antiguidades e Belas Artes dos estados papais, recebeu diversas condecorações e foi nobilitado pelo papa Pio VII com a outorga do título de Marquês de Ischia.[1][2][3]
ntonio Canova era filho de um escultor de algum mérito, Pietro Canova, que faleceu quando o filho tinha cerca de três anos. Um ano depois sua mãe, Angela Zardo, também o deixou, casando com Francesco Sartori e entregando o menino aos cuidados de seu avô paterno, Passino Canova, também escultor, e de sua tia Caterina Ceccato. Teve um meio-irmão das segundas núpcias de sua mãe, o abade Giovanni Battista Sartori, de quem se tornou amigo íntimo, e que foi seu secretário e executor testamentário. Aparentemente seu avô foi o primeiro a notar seu talento, e assim que Canova pôde segurar um lápis foi iniciado nos segredos do desenho. Sua juventude foi passada em estudos artísticos, mostrando desde cedo predileção pela escultura. Com nove anos já foi capaz de produzir dois pequenos relicários em mármore, que ainda existem, e desde então seu avô o empregou para diversos trabalhos. O avô era patrocinado pela rica família Falier de Veneza, e através dele Canova foi apresentado ao senador Giovanni Falier, que se tornou seu assíduo protetor, e cujo filho Giuseppe se tornou um dos seus mais constantes amigos. Através de Falier, Canova, com cerca de 13 anos, foi colocado sob a orientação de Giuseppe Torretto, um dos mais notáveis escultores do Vêneto em sua geração. Seu estudo foi facilitado pelo acesso que teve a importantes coleções de estatuária antiga, como as mantidas pela Academia de Veneza e pelo colecionador Filippo Farsetti, que foi-lhe útil estabelecendo novos contatos com ricos patronos. Logo suas obras foram elogiadas pela precoce virtuosidade, capacitando-o a receber suas primeiras encomendas, entre elas duas cestas de frutas em mármore para o próprio Farsetti, muito admiradas. A cópia que fez em terracota dos célebres Lutadores Uffizi valeu-lhe o segundo prêmio na Academia.[4][5]
Com a morte de Torretto a continuidade da instrução de Canova foi confiada a Giovanni Ferrari, sobrinho do outro, mas permaneceu com ele apenas um ano. Então, com apenas dezesseis anos, decidiu iniciar o trabalho por conta própria, e logo recebeu de Falier a encomenda para estátuas representando Orfeu e Eurídice. O conjunto, acabado entre 1776-77, resultou tão bem e atraiu tanto aplauso que seus amigos já previam para ele um futuro brilhante.[5] Nele, e em outro grupo importante, representando Dédalo e Ícaro (1778-79), o escultor já mostrava grande maturidade. Seu estilo nessa fase, se tinha um caráter ornamental típico do Rococó, era também vigoroso, e ao mesmo tempo se distinguia da tradição naturalista da arte veneziana e evidenciava uma tendência à idealização que adquirira com seus estudos dos clássicos.[4]
O grande progresso de Canova levou Falier a organizar sua ida para Roma, a fim de que se aperfeiçoasse. Roma nessa época era o mais importante centro de peregrinação cultural da Europa e uma meta obrigatória para qualquer artista que aspirasse à fama. Com sua pletora de monumentos antigos e grandes coleções, numa fase em que estava em pleno andamento a formação do Neoclassicismo, a cidade era toda um grande museu, e oferecia inúmeros exemplares autênticos para estudo em primeira mão da grande produção artística do passado clássico. [4] Antes de sua partida seus amigos conseguiram-lhe uma pensão de 300 ducados anuais, que se manteria por três anos. Também obteve cartas de apresentação para o embaixador veneziano na cidade, o Cavalier Girolamo Zulian, um ilustrado patrono das artes, que o recebeu com grande hospitalidade quando o artista chegou ali em torno de 1779 (Cf. nota: [6]), e providenciou a primeira exibição pública, em sua própria casa, de um trabalho do artista, uma cópia do grupo de Dédalo e Ícaro que mandou vir de Veneza e que suscitou a admiração de quantos a viram. Segundo o relato do conde Leopoldo Cicognara, um de seus primeiros biógrafos, apesar da aprovação unânime da obra Canova sentiu enorme embaraço naquele momento, falando muitas vezes dele anos mais tarde como um dos episódios mais tensos de sua vida. Através de Zulian Canova foi assim introduzido, com um sucesso imediato, na populosa comunidade local de intelectuais, onde brilhavam o arqueólogo Gavin Hamilton, os colecionadores sir William Hamilton e o cardeal Alessandro Albani, e o antiquário e historiador Johann Joachim Winckelmann, o principal mentor do Neoclassicismo, entre tantos outros que partilhavam de seu amor aos clássicos.[5][7]
Em Roma Canova pôde aprofundar o estudo das mais importantes relíquias da Antigüidade, completar sua educação literária, aperfeiçoar sua fluência no francês e colocar-se na competição com os melhores mestres da época.[8] O resultado ficou além de suas próprias expectativas. Sua primeira obra produzida em Roma, patrocinada por Zulian, foi Teseu vencendo o Minotauro (1781), que foi recebida com grande entusiasmo, a ponto de ser declarada como o marco inaugural de uma nova era para as artes. Em seguida esculpiu um pequeno Apolo em ato de coroar a si mesmo (1781-82), para o senador Abondio Rezzonico, uma estátua de Psiquê (1793) para Zulian, e passou a contar com o apoio de Giovanni Volpato, que abriu-lhe outras portas, entre elas a do Vaticano. Nesse período estabeleceu uma ligação tumultuada com a filha de Volpato, Domenica.[9][7]
Sua próxima encomenda, acertada por intermédio de Volpato, foi um monumento fúnebre ao papa Clemente XIV, mas para aceitá-la decidiu pedir permissão ao Senado de Veneza, em consideração à pensão que lhe haviam conseguido. Sendo concedida, fechou sua oficina em Veneza e voltou imediatamente para Roma, onde abriu um novo atelier nas imediações da Via del Babuino, onde os dois anos seguintes foram passados para a conclusão do modelo, e outros dois gastos na realização da obra, que foi finalmente inaugurada em 1787, atraindo o elogio dos maiores críticos da cidade. Durante esse período se engajou paralelamente em projetos menores, alguns baixos-relevos em terracota e uma estátua de Psique. Mais cinco anos foram despendidos na elaboração de um cenotáfio para Clemente XIII, entregue em 1792, que levou sua fama a alturas ainda maiores.[9]
Nos anos seguintes, até o encerramento do século, Canova se aplicou com ingente empenho em produzir um significativo conjunto de novas obras, entre elas vários grupos de Eros e Psiquê, em atitudes diferentes, que lhe valeram um convite para que se instalasse na corte russa, mas declarando sua íntima ligação com a Itália, declinou. Outras foram a Despedida de Vênus e Adônis, o grupo Hércules furioso lançando Licas ao mar, uma estátua de Hebe, e uma primeira versão da Madalena penitente. Mas o esforço foi excessivo para sua saúde, e o uso continuado de um apetrecho de escultura chamado trapano, que comprime o peito, provocou o afundamento de seu esterno. Sentindo-se exausto após tantos anos de atividades intensas e ininterruptas, e em vista da ocupação francesa de Roma em 1798, retirou-se para Possagno, onde aplicou-se à pintura, e logo seguiu em uma excursão de recreio pela Alemanha em companhia de seu amigo o Príncipe Rezzonico. Também passou pela Áustria, onde recebeu a encomenda de um cenotáfio para a arquiduquesa Maria Cristina, filha de Francisco I, que resultou anos mais tarde em uma obra majestosa, a melhor que produziu nesse gênero. Nessa mesma ocasião foi induzido a enviar para a capital austríaca o grupo de Teseu matando o centauro, que havia sido destinado para Milão, e que foi instalado em um templo em estilo grego construído especialmente para esse fim nos jardins do Palácio de Schönbrunn.[9]
Em sua volta a Roma em 1800, revigorado, produziu em poucos meses uma das suas composições mais aclamadas, o Perseu com a cabeça da Medusa (1800-01), inspirado livremente no Apolo Belvedere e julgado digno de ombrear com ele, e que lhe valeu o título de Cavalier, concedido pelo papa. Em 1802 foi convidado por Napoleão Bonaparte para visitar Paris e criar uma estátua sua, e segundo o testemunho de seu irmão, que o acompanhara, o escultor e o estadista mantiveram conversações em um nível de grande franqueza e familiaridade. Também encontrou o pintor Jacques-Louis David, o mais importante dos neoclássicos franceses.[10]
Em 10 de agosto de 1802 o papa Pio VII indicou o artista como Inspetor-Geral das Antiguidades e Belas Artes do Vaticano, posto que conservou até sua morte. Além de ser um reconhecimento de sua obra escultórica, a indicação implicava que ele também era considerado um conhecedor, com a capacidade de julgar a qualidade das obras de arte e um interesse em preservar as coleções papais. Entre as atribuições do cargo estavam a responsabilidade pela emissão de autorizações para escavações arqueológicas e a supervisão dos trabalhos de restauro, aquisição e exportação de antiguidades, além da supervisão sobre a instalação e organização de novos museus nos estados papais. Ele inclusive comprou 80 peças antigas com seus próprios recursos e as doou para os Museus Vaticanos. Entre 1805 e 1814 foi quem decidiu sobre a vinda de todos os artistas bolsistas italianos para aperfeiçoamento em Roma. Em 1810 foi indicado para a presidência da Accademia di San Luca, a mais importante instituição artística da Itália em sua época, e permaneceu como um baluarte de estabilidade na esfera cultural romana ao longo do turbulento período da ocupação francesa, sendo confirmado em suas posições por Napoleão. Sua missão administrativa culminou com a incumbência de resgatar, em 1815, o espólio artístico arrebatado da Itália pelo imperador francês, e por seu zelo e esforço conseguiu resolver o difícil trabalho de acomodar interesses internacionais divergentes e recuperar diversos tesouros para sua pátria, entre eles obras de Rafael Sanzio, o Apolo Belvedere, a Vênus Medici e o Laocoonte.[11][12]
No outono deste ano pôde realizar o sonho há muito acalentado de viajar a Londres, onde foi recebido com grande consideração. Sua viagem tinha dois propósitos primários: agradecer a ajuda que o governo britânico lhe dera da recuperação do acervo italiano confiscado, e conhecer os Mármores de Elgin, um grande conjunto de peças removidas do Partenon de Atenas, criadas por Fídias e seus assistentes, conhecimento que para ele foi uma revelação, contribuindo para confirmar sua impressão de que a arte grega era superior pela qualidade de seu acabamento e pela sua atenção à natureza. Ele também foi solicitado a dar seu parecer de perito sobre a importância do conjunto, que estava sendo posto à venda por Lord Elgin para a Coroa, e expressou-se nos termos mais elogiosos, mas recusou-se a restaurá-las, conforme foi convidado a fazê-lo, considerando que deviam permanecer como testemunhos autênticos da grande arte grega.[13] Voltando a Roma em 1816 com as obras devolvidas pela França, foi recebido em triunfo e recebeu do papa uma pensão de 3 mil escudos, tendo seu nome inscrito no Livro de Ouro do Capitólio com o título de Marquês de Ischia.[3][14]
Então Canova começou a elaborar o projeto para uma outra estátua, monumental, representando a Religião. Não por servilismo, uma vez que era um devoto ardente, mas sua idéia de instalá-la em Roma acabou frustrado mesmo sendo financiado por ele mesmo e estando pronto o modelo em seu tamanho definitivo, que entretanto acabou sendo executado em mármore em tamanho muito reduzido por ordem Lord Brownlow e levado para Londres. Mesmo assim ele decidiu erguer um templo em sua vila natal que conteria aquela escultura conforme seu plano original e outras peças de sua autoria, e nele deveriam, no tempo, repousar suas cinzas. Em 1819 foi lançada a pedra fundamental, e em seguida Canova retornou a Roma, mas a cada outono voltava às obras para acompanhar o seu progresso e instruir os empregados, encorajando-os com recompensas financeiras e medalhas. Mas o empreendimento se revelou excessivamente custoso, e o artista teve de voltar ao trabalho com renovado empenho a despeito de sua idade e doenças. Desta fase são algumas de suas peças mais significativas, como o grupo de Marte e Vênus para a Coroa Inglesa, a estátua colossal de Pio VI, uma Pietà (somente o modelo), outra versão da Madalena penitente. Sua última obra acabada foi um enorme busto de seu amigo o Conde Cicognara.[15]
Em maio de 1822 visitou Nápoles para superintender a construção do modelo para uma estátua eqüestre do Rei Fernando IV de Nápoles, mas o trajeto cobrou caro de sua saúde. Voltando a Roma, recuperou-se, mas em sua visita anual a Possagno já chegou lá doente, e recusando o repouso seu estado piorou. Então foi levado a Veneza, onde faleceu lúcido e serenamente. Suas últimas palavras foram "Anima bella e pura" (alma bela e pura), que pronunciou várias vezes antes de expirar. Testemunhos de amigos presentes em seu transpasse dizem que seu semblante foi adquirindo uma crescente radiância e expressividade, como se estivesse absorvido em uma contemplação extática. A autópsia realizada em seguida revelou uma obstrução do intestino por uma necrose na altura do piloro. Seu funeral, realizado em 25 de outubro de 1822, foi cercado das mais altas honras, entre a comoção de toda a cidade, e os acadêmicos disputaram para carregar seu caixão. Seu corpo foi em seguida sepultado em Possagno e seu coração foi depositado em uma urna de pórfiro mantida na Academia de Veneza. Sua morte gerou luto em toda a Itália, e as homenagens fúnebres ordenadas pelo papa em Roma foram assistidas por representantes de várias casas reais da Europa. No ano seguinte começou a ser erguido um cenotáfio para ele, a partir de um modelo que havia sido criado pelo próprio Canova em 1792 por encomenda de Zulian, originalmente para celebrar o pintor Ticiano, mas que não havia sido realizado. Hoje o monumento pode ser visitado na Basílica de Santa Maria Gloriosa dei Frari, em Veneza.[15]
Segundo a Memória Biográfica sobre o artista deixada pelo seu amigo íntimo o Conde Cicognara, Canova manteve ao longo de toda sua vida hábitos frugais e uma rotina regular. Acordava cedo e imediatamente começava a trabalhar. Após o almoço costumava retirar-se para um breve repouso. Teve uma doença crônica de estômago que permanece não identificada, que causava dores severas em ataques que se sucederam ao longo de toda sua vida. Parece ter nutrido uma fé religiosa profunda e sincera. Não manteve uma vida social especialmente brilhante, embora fosse constantemente solicitado para frequentar os círculos de personalidades ilustres que o admiravam, mas era comum que recebesse amigos em sua própria casa após sua jornada de trabalho, à noite, quando se revelava um anfitrião de modos finos, inteligente, afável e caloroso. Segundo suas próprias palavras, suas esculturas eram a única prova de sua existência civil. Parece que em duas ocasiões esteve perto de contrair matrimônio, mas permaneceu solteiro por toda a vida. Seu grupo de amigos, porém, era grande e a eles dedicava um afeto intenso e elevado. Não manteve discípulos regulares, mas se notava talento superior em algum artista iniciante não poupava bons conselhos e encorajamento. Muitas vezes apoiou financeiramente jovens promissores e buscou-lhes encomendas. Mesmo sempre às voltas com muito trabalho, não hesitava em abandonar seu atelier assim que fosse chamado por outro artista para dar sua opinião sobre assuntos de arte ou oferecer conselhos técnicos.[16]
Alimentou um perene entusiasmo pelo estudo da arte antiga e pela arqueologia. Gostava da literatura clássica e fazia frequentes leituras, mas de hábito alguém lia para ele enquanto trabalhava. Considerava a leitura de bons autores um recurso indispensável para aperfeiçoamento pessoal e de sua arte. Não foi um escritor, mas manteve profusa correspondência com amigos e intelectuais, onde se evidencia um estilo de escrita claro, simples e vívido, que foi-se refinando ao longo dos anos sem perder sua força e espontaneidade. Uma de suas cartas de 1812 atesta que chegou a pensar em publicar algo sobre sua arte em seus princípios gerais, mas não o concretizou. Contudo, em segredo muitas de suas observações e idéias foram registradas por seu círculo de associados e tornadas públicas mais tarde. Parecia ser imune à inveja, à crítica e à bajulação, e nunca se afligiu com o sucesso alheio; ao contrário, não economizava elogios quando percebia grandeza na obra de seus colegas de ofício, e manifestava gratidão por conselhos ou reparos que julgava justos e apropriados. Quando uma crítica contundente apareceu publicada em um jornal de Nápoles, dissuadiu seus amigos que queriam prover uma réplica, dizendo que seu trabalho se encarregaria de dar a resposta adequada.[17] As relações de Canova com a política de seu tempo são exemplificadas nas obras que criou para a Casa da Áustria e a Casa de Bonaparte, onde os desejos de legitimação e glorificação dos governantes entraram em conflito com a postura politicamente neutra que o escultor desejava manter. Teve obras recusadas ou severamente criticadas por ambas por não se enquadrarem naqueles desejos, como o grupo de Hércules furioso que lança Licas ao mar (1795), rejeitado pelo imperador austríaco, e o mesmo acontecendo com o retrato alegórico que fez para Napoleão como Marte pacificador.[18] Sua opinião a respeito de Napoleão tem sido descrita como ambígua, sendo ao mesmo tempo um admirador, aceitando da sua família várias encomendas, e um crítico, especialmente pela sua invasão da Itália e o confisco de um grande acervo de obras de arte italianas.[19]
Apreciava o sucesso de suas obras e era vivamente grato por isso, mas nunca evidenciou que um desejo de glória pessoal fosse seu objetivo primário, apesar de ter sido um dos artistas de seu tempo mais expostos aos perigos da celebridade, pois recebeu diversas condecorações e a proteção de muitos nobres importantes, foi ele mesmo nobilitado em vários Estados da Europa, incumbido de altos cargos públicos e incluído como membro em muitas academias de arte mesmo sem jamais tê-lo solicitado. Gastou boa parte da fortuna que veio a acumular em obras de caridade, no fomento de associações de classe e no apoio aos jovens artistas. Em várias ocasiões adquiriu com recursos próprios obras de arte para museus públicos e coleções de livros para bibliotecas, não raro fazendo suas doações anonimamente. Também em vários momentos precisou ser alertado para não dissipar seus rendimentos com os problemas alheios.[20][8]
Seu permanente fascínio pela antiguidade clássica fez com que ele acumulasse uma significativa coleção de peças arqueológicas de mármore e terracota. Sua coleção de placas de terracota da Campania era especialmente interessante, embora nunca citada nas suas primeiras biografias. As peças eram em sua maioria fragmentárias, mas muitas estavam íntegras e eram de alta qualidade, e as tipologias que ele preferiu reunir evidenciam que ele estava à frente das tendências museológicas e colecionistas de seu tempo. O seu interesse pelo material estava ligado ao uso da argila para criar os modelos de suas obras em mármore, e ele a preferia antes do que o gesso por ser mais fácil de trabalhar, e a empregava também para a elaboração dos relevos que ele chamava "de recreação privada", onde representava cenas que encontrava em suas leituras de Homero, Virgílio e Platão.[21]
We hosted an absolutely wonderful event in our bookshop recently, with storyteller Mara Menzies, who had adapted her own storytelling performance into a novel, Blood and Gold, which draws on her Kenyan and Scottish roots, history and mythology, exploring family, history, colonialism and more through various lenses.
Mara treated us to some of her live storytelling, which was just a delight to experience. Much as I am forever in love with the written word, I'm always aware the roots of the modern books (and plays and films and other media) run back millennia to oral storytelling.
Long, long before even the most ancient stories we have written down, such as Gilgamesh, there were storytellers talking, acting and singing and dancing these tales, each putting their own spin on them. Some would have been professional storytellers like Mara, others just the person in a village or small, wandering tribe, who had the gift and knowledge, and would spin them around a flickering camp fire at night to their small groups.
We have aways told stories, it's part of the spiritual element of our DNA as humans, and it's something that is still wonderful and thrilling and magical to experience, even in an age of instant digital gratification or giant screen entertainment or shelves full of books on every subject.
Mara's book Blood and Gold is published by Birlinn, and you can follow her on Twitter twitter.com/marastoryteller She may be bringing her performance back to the Edinburgh Fringe next year, if she does I highly recommend catching it.
Shot in bright sunlight, it looks like noon. Straight down shadows, undesirable for today's photography but essential for shots in 1873 with individual glass plates. By Eadward J. Muybridge, famous for his motion studies. An innovative photographer of historic note.
At age 20, Muybridge emigrated to America as a bookseller, first to New York, and then to San Francisco. Planning a return trip to Europe in 1860, he suffered serious head injuries in a stagecoach crash in Texas. He spent the next few years recuperating in England, where he took up professional photography, learning the wet-plate collodion process, and secured at least two British patents for his inventions. He went back to San Francisco in 1867. In 1868 he exhibited large photographs of Yosemite Valley, which made him world-famous.
In 1871 Muybridge shot and killed Major Harry Larkyns, his wife's lover, but was acquitted in a jury trial on the grounds of justifiable homicide. In 1872 he travelled for more than a year in Central America on a photographic expedition.
__________________________________________
CITY AND COUNTY OFFICIAL PAPER.
THURSDAY OCT. 22, 1871.
A STARTLING TRAGEDY.
Chevalier Harry Larkyns Shot Dead by Edward J. Muybridge, the Photographer- The Sequel to a Scandalous Intrigue. From the S.F. Bulletin, October 19th
Considerable sensation was created In the city yesterday morning by the receipt of intelligence from Calistoga of the deliberate killing of Major Harry Larkyns of this city, by Edward J. Muybridge, the well known photographer. The cause leading to the act of murder was the discovery of convincing proof by Muybridge of the infidelity of his wife with Larkyns, and immediately thereupon he set out to avenge his wrongs, leaving the city in pursuit of Larkyns on Saturday, knowing him to be in the vicinity of Calistoga, engaged In preparing maps of the mines in that locality. He reached Calistoga at 8 o'clock in the evening, and without stopping for food or rest he went in search of his intended victim with a horse and buggy. Larkyns had returned from Pine Flat on Saturday evening and stopped at the Yellow Jacket mine, eleven miles from Calistoga, intending to pass the night there.
THE TRAGEDY Thither
Muybridge traced him, and reaching the spot at about 11 o'clock at night, he sent word to the Major that he wanted to see him. Larkyns was confronted by Muybridge, who, in words of terrible import, said, "This is the reply to the letter you sent to my wife,'' and immediately discharged a revolver. The aim was well taken and deadly. Larkyns had no opportunity to defend himself or to utter a word. He ran a few steps and fell a corpse, with a bullet through his heart. Putting his pistol up, Muybridge surrendered himself to the Superintendent of the mine, and was forthwith conveyed to Calistoga, where he was given in charge to the authorities.
THE WOMAN Connected with this affair was the divorced wife of one Lucius D. Stone, and whom Mr. Muybridge married about four years ago, while she was engaged as a saleswoman in a fancy store on Kearney street.
About a year since an intimacy sprung up between Mrs. Muybridge and Larkyns, which was generally noted with scandalous comments by those acquainted with the parties. Muybridge was absent from his home a great deal of the time, taking views of the coast and interior scenery: but last Spring unpleasant suspicions broke upon him, and an encounter ensued with Larkyns, attended with an exchange of blows, as reported. At all events, Larkyns was seriously warned against continuing his attentions to Mrs. Muybridge, and several acquaintances of Larkyns also cautioned him of his mortal peril in his unhallowed intimacy.
Muybridge sent his wife on a visit to a relative in Portland, Oregon, last Spring, in the hope of finally interrupting the scandalous intrigue, not supposing, it is presumed, that it had extended to the magnitude of criminality. Subsequently, it appears, a clandestine correspondence was continued between the guilty pair, through the medium of a woman who attended Mrs. Muybridge as a nurse, a short time previous to her departure for Oregon. This confidant, of course, was capable of treachery likewise, and when it became necessary for her to employ some extra persuasive influence to collect a demand for $IOO which she made on Muybridge, intercepted letters presented the requisite facility. On Saturday morning the claim of the mutual friend was pressed anew on Muybridge, and letters were exhibited to him to compel his speedy attention to the matter, containing evidence of a most exasperating character. The claim was not immediately forthcoming, as anticipated, but the parties concerned in this peculiar process for collecting a debt have the satisfaction of knowing that it was entirely effective in launching a wretched mortal into eternity within twelve hours after its institution. [The claim was a photo of Muybridge's son, titled, "Little Harry."
Muybridge was at the photograph gallery of Bradley & Rulofson, his place of employment, just previous to his departure for Calistoga, and manifested such a frenzy of despair and rage that his friends were fearful that he contemplated suicide. His subsequent movements, which were deliberate and methodic enough, are already indicated.
THE MURDERED MAN. Major Harry Larkyns, the victim, was well known In the city for a period of nearly two years, rather in the character of an adventurer. From the little that is known of his history, he came from a respectable and wealthy family in England, but became estranged from his relatives in consequence of his reckless and spendthrift propensities, and after wasting his patrimony in riotous living, he was thrown upon his wits for a livelihood. His life-history would, no doubt, afford a romantic narrative. He held a commission in the British army during a portion of his life, and served six years in India. Subsequently he traveled extensively In Europe, and was familiarly acquainted with the attractions and points of interest in the principal cities of the continent. On the breaking out of the FrancoGerman war he entered the French service, and held a position on the staff of General Bourbaki with the rank of Major. This fact was corroborated by a French gentleman who happened to be in San Francisco at a time that Larkyns was in custody of the authorities for certain financial irregularities. The gentleman commended Larkyns as a gallant officer, and in admiration of his conduct in the service of France, be desired to assist him in his emergency, but the favor was not required. Major Larkyns made his first appearance here in the month of January, 1873. He had previously been sojourning for a season at Salt Lake City, with San Francisco as his objective point. While there he fell in with a young Englishman named Arthur Neil, whom he had previously known in Europe, and procured large loans from this gentleman in anticipation of expected remittances, and appointed to accompany him in a tour around the world. The two spent a season of dashing dissipation In this city, made an excursion to Honolulu, and on their return a breech occurred, in consequence of a failure of confidence in the Major's expectation-.
A prosecution followed on a charge of obtaining money by false pretenses, and the Major's draft on a fictitious banking establishment in China was a leading feature of the case. The trouble was finally compromised by the Major drawing upon his grandmother, in England, for the sum of $4,000, which amount represented one-half of the expenses of this ostentatious pair of tourists, covering a period of about two months. On being released from this difficulty, entirely penniless, the Major declined the tender of a passage to China and the charity of persons whose sympathy was excited in his behalf, and declared that he would remain here and retrieve his character and his fortunes by his own exertions.
He commenced at the foot of the ladder by working at one of the wharves. He subsequently secured an engagement as translator in a publishing house and also as a reporter on several of the city journals. For a short time this season he acted as agent for Wilson's circus, and latterly had been employed in preparing maps of the mining regions about Calistoga, by which enterprise he expected to gain a substantial start in the world.
The deceased was highly educated and possessed all the accomplishments attainable by travel and good society in all parts of the world. Reduced from affluence to poverty by his reckless habits, his moral principles and ideas of correct dealing did not stand him well in the emergency, and his endeavors to reclaim himself were doubtless retarded in consequence.
He had good qualities, withal, which won him much indulgence, and many will bestow the touching tribute of "poor devil " on his corpse who, by comparison can ill afford the charity. The body of Major Larkyns was brought to the city last evening, and conveyed to the undertaking rooms of Lockhart & Porter, at 39 Third street. It was deposited in a handsome rosewood coffin, provided by friends at Calistoga. The wound made by the fatal bullet was in the vicinity of the heart.
FURTHER PARTICULARS. A gentleman who witnessed the killing of Major Larkyns gives the following additional details of the tragedy. It occurred at the dwelling of William Stewart, Superintendent of the Yellow Jacket Mine, where deceased was spending the night. Mr. Stewart had just returned from the village with his mail, and Muybridge appeared to have followed close behind him. Larkyns was sitting in the parlor with two other gentlemen and a number of ladies, a portion of the company being engaged in a game of cards.
A knock was heard at the door and the visitor invited to enter. A voice replied from without: "I want to see Major Larkyns; I will detain him but a moment." Larkyns rose from the table, excused himself in a jocular manner, and said he would see who the mysterious visitor was. He opened the door and peered for a moment into the darkness, remarking: "Where are you sir; I cannot see you." Larkyns then stepped out of the door, glancing about on either side, and immediately after the voice was heard again: "My name is Muybridge. There is the answer to the letter you sent my wife." Almost simultaneously came the report of the well aimed pistol. Larkyns clapped one hand to his heart, turned about and ran through the house, to the back door, saying: "Let me out," and fell dead. Muybridge rushed into the house and pursued Larkyns with his pistol raised for another shot, when one of the gentlemen present drew a pistol and commanded him to stand. Muybridge then drew his pistol on this person and was on the point of firing when his arm was struck down and he was secured.
Muybridge offered no further resistance, and expressed his gratification on learning that his victim was dead. The funeral of Major Larkyns will be held to-morrow at 1 P. M., from the Church of the Advent, on Howard street.
A beautiful sunny winter day and my first time visiting Foster Beach. The ice formations were amazing! I have more photos to sort from both cameras, but here are some quick ones from the iPhone for instant gratification.
I think I got sunburned - I didn't even think of it ahead of time but of course I should have put sunblock on my face
Thank you to TierNLae for allowing me to include her in my rendering. Quite a fetching model if I dare say so...
The study below was derived from facts uncovered while doing research
for the following Doctoral dissertation:
Light to the shadows of their mind:
Criminal tactics and strategies
Criminology Department Dept.
Chatwick University
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A full moon peeks through the heavy fall clouds, its rays transcending down and bathing in a soft light, the over grown, untended, remains of what once had been a proper English garden. Its soft rays catch the old moss roses, lilacs, and various other old growth flowers, their once still vibrant colours faded now that the fall is approaching.
But something still is vibrant here, brightly flashing a colourful fire as it moves along an old flagstone path.
Two feminine figures in fancy dress move guardedly along the path, gown and jewels are the source of the added fiery colours now caught by the full harvest moon’s rays. The rustle of satin is heard as a long, slinky gown sweeps along the leaf littered flagstone path at the spiked heels of its owners feet. Soft voices carry in murmurs as they walk, breaking up what, until a few minutes, ago had been the hushed silence brought upon by the notice of the pair by the gardens inhabitants.
The twosome finally reaches an old garden shed, its weather-beaten door half ajar, broken remnants of glass still hang in its front window; some ancient, rusty tools still lay up along its side wall. As they stand there the younger one suddenly jumps, giving a little gasp. What is it dear? her companion asks sweetly. She looks into her companions’ deep mesmerizing brown eyes, someone is moving along that path over there, on the other side of the pond. Mother said that no one should be outdoors on this side of town, she add, worry now creeping up on her. The older woman turns her head abruptly, I see him, you had better wait her, and I’ll make sure that whoever it is will not bother us.
A cop on his beat is seen walking along the outer path that lines the old garden leading to the manor house at the opposite end of what is now an inner city block. He jumps a little as a figure steps out of the mist that has now started to spread from a small pond the he is walking by.
Mae looks back at the garden shed that now sits back in the woods a little ways; her youthful companion’s colourful gown is vibrant against the faded walls of the shed. She turns away and looks at the copper walking towards her, unaware as of yet that he is no longer alone. Mae walks out of the mist and onto the sidewalk, noticing with satisfaction that she has startled him. She approaches and walks past the stern copper, as she does Mae tosses his way the sorta glance that she knew would pique the coppers natural distrust, making him turn to follow and see what mischief was going on!
Her long hair streaming down her back, creating a halo in the moonlit garden, her shimmering long jeweled earrings sway gently, watches as her companion walk up to the figure on the path. She is suddenly self-aware of how she is dressed, and how vulnerable they are out here alone, away from the bright lights and safety of the manor they had left some ten minutes ago. She hopes the figure isn’t someone nasty who will harm her friend. Her back is to the old door of the shed. The clouds again cover the moon. The young girl shivers, though it really is not that cold out. Suddenly a quick shadow emerges, a hand is clasped over her mouth, another grabs her by her silky waist, and she is pulled struggling into the darkness of the shed, vanishing from sight like the moon above her. Gradually the night voices of the garden return, chirping, hooting, and such. But as for the garden shed, sounds are no longer heard from within…..
What Led to This?
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It had been the boys who had first spotted the ladies in colorfully long shiny gowns. Those gowns fluidly rustling along shapely figures crossing the street leading to ornate front doors of the old Hampton East club Mansion. But it had been their “sparklers” the glittering jewelry the ladies all seemed to be temptingly showing off, that had made their mouths wolfishly drool.
But, what they had seen when stealing peeks through slits in a velvet curtained window, had made them run to find Mae. They then breathlessly babbled on about the halfcocked, half-baked scheme they had dreamed up. “Even the young’uns had jools” they had excitedly told Mae. She figured that most of it was probably paste, who wears anything of value on the eastside she thought to herself. But just a glimmer of a possibility began to take seed, as she maternally continued to listen to the excited pair.
Mae decided to humor the pair of excitable petty thieves, she owed them some favors anyway, and Mae hated leaving a debt unpaid. Besides, business had been slow lately; it seemed that no one well to do these days need their fortune read. So, for no rhythm or reason other than to see what all the chatter had been about, Mae crashed the upscale event. She slipped inside through the large matching oak doors, without even a second glance from the pensioner guard wearing a loose uniform “manning” the entrance.
Mae was amazed, even she could not have predicted the marvelous displays of wealth, so tantalizingly close, and yet seemingly so far out of reach. Even the dangling “jools” worn with careless abandon by the “Young’uns” mostly 18 through 20 year olds, with a few 16 and 17 year olds peppered in among the multitude of guests, appeared to be the real McCoy!
Mae was also surprised that she had been able to get this far, and so had not even begun to think of ways to profit from the situation. A condition that was going to have to be quickly rectified Mae told herself. Itching to somehow lay her greedy hands on some of the expensive jewels she observed being beckoningly worn by the female guests in attendance. Like the royal appearing lady she was just now walking past. She was in an elegantly flowing purple gown, dripping in gems, especially the small diamonds that were glistening on the thin tiara that held up the rich girl’s luxuriantly long hair.
All in all, Mae was glad she had positioned the boys to wait in the old garden shed, promising it would be worth their while. Mainly Mae had wanted to keep them out of mischief, too avoid having them upset her apple cart, and it appeared to have been a canny move on her part, as she surveyed a young lady with a long flowing mane of hair sweeping by, causing Mae to perk up with interest.
So, it was still with no real purpose in mind yet, that Mae had started to shadow the fetchingly gowned young lady of about nineteen who was timidly working her way , weaving in and out amongst the groups of happily chatting guests. Mae’s desire was a closer scrutiny of the prettily dressed young girl’s savory fiery ruby jewelry, so enticingly slippery upon her sweat glistened figure.
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Mae had always been attracted to rubies ever since a poshly dressed young mother had wandered into the carnival sideshow that Mae had been working some years prior. Mae had been the first to try for a share of the young Mother’s dazzling jewelry after spying her predicament from the interior of her tent.
The obviously well-to-do young Mother had been unwisely left alone to tend to a colicky baby. Mae had forced herself on the wretched Mother, using the pretense of giving a helping hand. Unscrupulously, Mae had seized the opportunity to check along the young Mother’s thick satiny clothes for any valuables.
Passing up on a temptingly lovely, lengthy dangling pendent, Mae’s fingers instead whisked down along the slick long sleeve of the young mother’s arm, as all her attention was being given to the thrashing infant. Passing over a thick braided gold bracelet, Mae’s fingers darted to the young ladies’ left ring finger.
The harried Mother struggled to keep a tight hold on the silken clad infant squirming in her mother’s satin covered arms. As the thrashing child bawled, the mother, finding herself being handicapped by the long sleeved slippery satin blouse she wearing was unable to really pay attention to anything else going on around her. Therefore, Mae was easily able to slip off the invitingly large ruby and diamond engagement ring from the mother’s ring finger, conveniently tear moistened from the squealing infants sobbing.
Ring in hand, Mae then finally listened to the mother’s pleas she didn’t need any help, quit caressing down her tingling attire, and retreated to the dark depths of her tent to watch the rest of the drama unfold.
By the time the young mother had gotten her squalling infant daughter to sleep she had fended off about a dozen additional hands offering to help. Mae had watched with professional interest as some of those hands had cunningly been searching the young lady for anything of value…
Mae observed that the distracted mother’s pendent had been nicked next, easily unclasped and slipped away from the ruffled throat of her glossy blouse! Then, as the mother was bent over the baby’s stroller, her long dangling earrings (the pair!) had been whisked away from out of her long mane of straight hair. Soon followed in quick session by the jeweled pin from her satin ascot, her wrists thick braided gold bracelet, a gold pinky ring, and the contents of her velvet purse. Even the mahogany rattle, and silver pacifier had been plucked from the now sleeping infants hand and mouth as her mother’s shiny back had been turned while searching about for the her babies vanished ermine blanket. All in all a very masterful and complete plucking of the erstwhile pretty hen and her downy chick, Mae thought smugly, for nothing else had been as grand as the ruby ring that Mae had slipped off first.
Now, there were still occasions where Mae dared to wear the magnificent ring, but tonight, had decidedly not been one of those occasions.
(Editor’s note:
The incident Mae instigated at the Carnival was not an original part of her story line
It was actually lifted by our author based upon similar experiences of one Lady Eileen St’D , Surry 1910)
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Mae plotted a way to at least grab this girl’s attention for a closer look, and so she moved in such a fashion to make it a possibility. At the same time the nineteen year old turned her head away, her long hair swirling to behind her back as someone called out a name. Mae broke off her approach and stood nearby, filing away the girls name for future reference. (It had always amazed Mae that just knowing a person’s name could break down barriers and inspire confidence when a stranger used it. ) Mae watched as an older model of the young girl approached, dressed in a glossy satin gown of mint green and laden with shimmering emerald encrusted jewels. She stuck a finger under the girls nose. Mae followed it, the gold ring she was wearing of a serpent encircling her finger with bright emerald eyes, mystifying her.
The lady lectured her daughter on wandering off , especially when it was only her and her Auntie there to watch her. Mae saw the mothers eyes travel towards the regal lady in the purple gown and tiara. Losing interest Mae wandered off, not caring to hear the rest. She knew a blind alley when she saw one. She paused; she also recognized other quarry when she saw it… A lady wearing a flowing gown of red silk was standing off to one side. Shy and uncomfortable, she was the epitome of a Wall-flower, one who attracted little or no attention, or luck, unless it was of the unfortunately bad kind. One who Mae knew she would have to meet.
Mae walked up to her, and began a conversation. It started out uncomfortably, but Mae soon won her over, enchanting the edgy lady enough so that she actually, with a little hesitation, allowed Mae to pick up her palm: believing it was with the the intention of reading her fortune. As the girl was told that fortune, the mousey miss was totally caught under the enchantment of Mae’s eyes and sing-song way of speaking. Mae could see that she had captured the girl’s imagination as she wove her fortune telling around her like a spider would weave its silky web. Then, with delight, Mae saw a special gleam in the girl’s eyes that she knew all too well. A look she had seen before in previous clients, one that told her they were no longer completely caring of what was going on around them.
Mae ever so slightly tightens her grip on the palm she held. Than, with baited breath, Mae began to work a jeweled ring over the knuckle of a warm slender finger , her practiced eye watching the girls face for any sign that she was catching on to what Mae was up to! Mae smiled broadly as she had a habit of doing when one of her wicked schemes was coming to fruitation. The girl smiled impishly in response, totally misinterpreting what that smile stood for. Never in her wildest dreams would she have guessed what this nice lady: with the deep black eyes from which she could not pull away from, who was so pleasantly stroking her palms while telling her fortune so enjoyably, was smiling about! Nor did she have the slightest of inklings that her Grandmother’s pretty ring was going to vanish!
Mae suddenly felt a noticeable vibe wash over her, and she chanced a look around her. Along a back wall was a row of palm trees, in-between them were a series of small stone benches. A solo figure was walking along them, a slinky, long soft gown, fell flowing down to her feet. The figure of the girl whose name Mae now knew. Mae turned her full attention back to the task at hand, easily maneuvering her captive audience so that the wall was now in her full view. Over a silken shoulder Mae watched as the young miss made her slinky way into a powder room, disappearing with a muted swishing of her gown. . Suddenly Mae had an epiphany, realizing exactly how to ensnare the pretty little miss into her web, at the center of which dangled the old garden shed where there were debts to be paid!
Mae finished her “business” with the shy wall-flower, convincing her to go one her way now that her fortunes were assured to be taking a turn for the “better.” She moved off happily enough, glad that she had met the charming stranger, falling for Mae’s story hook, line and ring less finger!
Keeping an eye on the retreating lady as she swept away, Mae headed towards a stone bench that sat near the back exit leading to the old garden, a stone bench that was in a direct line to the approach that the young miss should be taking on her journey back from the powder room. Mae waited, and when she saw her victim open the door, she buried her hands in her face and acted like she was sobbing, all the while watching the girls approach through a crack made by her fingers.
The girl stopped, You okay Ma’am, she asked with genuine, childishly innocent, concern ( as Mae had predicted), Mae jumped like she had not noticed the girl, and looking up into her face, she called the girl by name, starting to spin a new web of deceit. The young miss offered Mae her embroidered silk handkerchief, which she gladly accepted, holding the girls well ringed fingers for a second showing her gratification. While “drying”her eyes, Mae went into her story full throttle; she knew there would not be much time.
The young miss, nervously looked around, as she played with her shiny necklace, holding it with slender ringed fingers , as she innocently listened to the captivating dark haired stranger. Mae, for a second blinded as the diamonds and rubies flashed in the light, smiled inwardly. Overly pretty teenage girls were so naïve and easy to manipulate, she thought, while weaving another , totally different type of story, then the one she had fed the flowing red silked wall flower.
Mae accurately interpreted the reveries of the young miss now in Mae’s clutches. Now under different circumstances the tale that Mae fed the girl would have not gotten her anywhere. But the fact Mae knew the girls name, knew how to make use of the exchange she had witnessewd between the girl and her mother, and also possessed some knowledge of what attracts a young ladies fancy, the circumstances worked wonderfully in her favor. Then, add in Mae’s fortune telling abilities, and the poor, beautifully adorned soul never stood a chance
Mae hit her with all the talent of a quick change artist. And soon Mae was had lured the girl into following her out the exit and walk with her out into the darkened garden. It happened quite literally before the young thing could catch her breath, or clearly think things through. She had totally fallen for the fortune teller’s fairy tale, and now believed she was aiding this lady in distress, as she believed Mae to be. The young miss, more than a little bewildered, walked obediently alongside Mae, under her dark spell, as they made their way ever closer to a seemingly quiet old garden shed.
Mae looked at the girl now walking next to her, innocently unaware of the fact that she had been led out here for one reason only. Totally oblivious to the fact that she now presented nothing more than to the seemingly sweet lady walking next to her than the value of her expensively flowing gown, the bright jewels she was wearing, and the contents of the small purse dangling by her side. Mae smiled to herself, knowing that in the greenhouse her two muggers would miss nothing, the young girls jewels, , fat silken purse, even the gown would all fetch a sweet price when peddled.
It was when they had reached that shed, that Mae’s captive companion had spotted the figure walking along the path by the pond. A figure that Mae knew she would m have to take care of, else risk having her carefully wrought plan fall to pieces…
Led to This:
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Mae looked back and smiled smugly at the copper hot on her heels. Someone is going to be in trouble for leaving his post she thought. Just a couple more blocks should give them enough time in the greenhouse, and then Mae would easily give this flatfoot the slip. Mae’s mind went deliciously back to what should now be happening to the luckless lady in the long shiny gown, and how much Mae’s cut of the take would amount to. It was too bad she would miss the boys at work; Mae did so enjoy watching a good mugging.
As Mae happily led the harness bull away from the garden she marveled over her good fortune, wondering over how things had worked to her benefit. As she did she found herself walking along a block populated with small pubs. At the end of which lay an alley which Mae was going to use as passage to slip away from the copper. By then he would then be safely away from the old gardens. Mae would than circle back. She knew the boys would be finishing their job, but she did not want them to leave without her. She was going to take personal possession of the girls most valuable items. There was no way she was going to trust the two nimble headed crooks with not being cheated out of a fair price for the girl’s jewels.
It was as she reached the alleyway and looked back that she realized the copper was no longer tailing her. She swore to herself, what had happened? She cautiously backtracked, looking into the windows of the pubs as she passed. She stopped at one she knew, one appropriately, in Mae’s mind, named the Hook and Fiddle. It was their that she spotted her lost cop, cradling a beer, and sitting next to tall man at a back table.
Mae headed back on her way. She indistinctively knew that the copper would be occupied for a while. Mainly because she knew the cut of man he was sitting next to. Renauld, a man whose hands touched everything from the rackets, extortion, blackmail, down to trafficking and kidnapping, Renauld, to whom Mae owed some personal favors.
As Mae reached the sidewalk where she had first met the copper, she hastened her step. It would not be long before the girl’s bejeweled mother would be noticing her daughter’s absence…… Mae suddenly stopped, freezing in her tracks. A slow grin spread across her appealing face.
The epiphany that had made Mae stop to think contained the seed of a plan, that was in her opinion, brilliant. The mother should have noticed her daughters absence, and what if someone ,Mae, were to find the wealthy , overbearing lady, as she searched and helpfully divulged to her just what her daughter had been up to. Sneaking off into the garden with a young man, of all the nerve…why I would bet the pair of them is inside the old garden shed in the back snogging away as we speak.
Mae, with a quick stop over at the shed to check on things, hurried back to the manor. And best of all she thought, licking her lips in savoring anticipation as she fine-tuned the story she would use, best of all…, Ladies of that ilk always travel in pairs…
40 minutes later:
Three shadowy figures emerge from an old dilapidated garden shed. Two run off carrying small bundles under their arms. A third follows, taking a look back inside, closes the door and walks almost serenely off in the opposite direction. Something glistens from a finger as the moon once again peeks cautiously from the dark clouds overhead.
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Addendum est
In a smoke filled pub that he owns, a man, wicked, is puffing on a long black cigar. He is seated alone at the back table where he has been holding court that late evening.
The door opens and a female enters. Looking neither left nor right she heads directly to the man’s table.
Wotcher, he says, with perhaps a trace of compassion in an otherwise traditionally unemotionally stern deep voice. He spots the ring she is wearing, a gold serpent enter twined around her finger, its arrow shaped head home to a pair of flickering green emerald eyes.
What fresh wickedness have you been up to this evening he asks her expectantly? Adding, even you shouldn’t be sporting something like that around this area.
Mae meets his gaze, knowing full well she had taken a risk wearing the ring. But she knew that she had to make use of it to gain Renauld’s interest quickly, If game, he would not have much time…..
For if Renauld took the bait, not only would Mae be squared with Renauld, but also probably now be in his debt. For as much a Mae loathed to be in debt to someone, she loved to be owed one……
Courtesy of Chatwick University Archives
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Interestingness 242: 2-3-2009
Let's talk about Mr. Brown Pelican's whinges. Let's talk about them in a very specific and personal way. First off, Mr. Pelican claims to be supportive of my plan to fight him hammer and tong. Don't trust him, though; he's a wolf in sheep's clothing. Before you know it, he'll restructure the social, political, and economic relationships that exist throughout our entire society. If that's the case, I recommend that we improve the physical and spiritual quality of life for the population at present and for those yet to come.
Mr. Pelican believes, in his elitist delirium, that he acts in the public interest. I won't dwell on that except to direct your attention to the impulsive manner in which Mr. Pelican has been trying to engage in the trafficking of human beings. You may make the comment, "What does this have to do with pernicious personæ non gratæ?" Well, once you begin to see the light you'll realize that I find it necessary, if I am to meet my reader on something like a common ground of understanding, to point out that he keeps trying to deceive us into thinking that the purpose of life is self-gratification. The purpose of this deception may be to help faddism-prone fugitives evade capture by the authorities. Or maybe the purpose is to replace the search for truth with a situationist relativism based on catty oligarchism. Oh what a tangled web Mr. Pelican weaves when first he practices to deceive.