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last night i was offerd a kind of drug. i gladly said no. but thing is, it was offered by the closes person to me....my ex. i learned you cant trust people so easily.
and people should live above the influence.
i got lazy last night and didnt wanna take a real picture lol
External Affairs Minister Dr. S. Jaishankar participated in the PBD Session IV - Diaspora Divas Celebrating Women's Leadership and Influence Nari Shakti in Bhubaneswar
Sander Van Deelan has recently completed the Hennessey venom F5 revolution with all of the custom modifications you would expect like chrome rims from @bubul_chrome_ steering wheel from @nunotheoctopusgekko and stickers for the full effect! Scroll up to see some up clothes and personal shots and have a cool start to the week! #Design #FastestCar #Lego #Technic #RC #Toy #Suspension #ScaleModel #Toy #MOC #HDRPhotography#Design #Designer #Influencer #Supercar
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Lt. Governor Miller speaking U.S. Army Center of Influence Dinner Event by Anthony DePanise at 401 West Pratt Street, Baltimore, Maryland 21201
Bhakti Kubavat is a well-known Gujarati actress, model, and anchor has amassed a massive fan base on social media. To read continue visit: Bhakti Kubavat Biography
THE ABSINTHE DRINKERS
1881
James Sidney Edouard, Baron Ensor (13 April 1860 – 19 November 1949) was a Belgian painter and printmaker, an important influence on expressionism and surrealism who lived in Ostend for most of his life. He was associated with the artistic group Les XX.
Ensor's father, James Frederic Ensor, born in Brussels to English parents, was a cultivated man who studied engineering in England and Germany. Ensor's mother, Maria Catherina Haegheman, was Belgian. Ensor himself lacked interest in academic study and left school at the age of fifteen to begin his artistic training with two local painters. From 1877 to 1880, he attended the Académie Royale des Beaux-Arts in Brussels, where one of his fellow students was Fernand Khnopff. Ensor first exhibited his work in 1881. From 1880 until 1917, he had his studio in the attic of his parents' house. His travels were very few: three brief trips to France and two to the Netherlands in the 1880s, and a four-day trip to London in 1892.
During the late 19th century, much of Ensor's work was rejected as scandalous, particularly his painting Christ's Entry Into Brussels in 1889 (1888–89). The Belgian art critic Octave Maus famously summed up the response from contemporaneous art critics to Ensor's innovative (and often scathingly political) work: "Ensor is the leader of a clan. Ensor is the limelight. Ensor sums up and concentrates certain principles which are considered to be anarchistic. In short, Ensor is a dangerous person who has great changes. ... He is consequently marked for blows. It is at him that all the harquebuses are aimed. It is on his head that are dumped the most aromatic containers of the so-called serious critics." Some of Ensor's contemporaneous work reveals his defiant response to this criticism. For example, the 1887 etching "Le Pisseur" depicts the artist urinating on a graffitied wall declaring (in the voice of an art critic) "Ensor est un fou" or "Ensor is a Madman."
Ensor's paintings continued to be exhibited and he gradually won acceptance and acclaim. In 1895 his painting The Lamp Boy (1880) was acquired by the Royal Museums of Fine Arts of Belgium in Brussels, and he had his first solo exhibition in Brussels. By 1920 he was the subject of major exhibitions; in 1929 he was named a Baron by King Albert, and was the subject of the Belgian composer Flor Alpaerts's James Ensor Suite; and in 1933 he was awarded the band of the Légion d'honneur. Alfred H. Barr Jr., the founding director of the Museum of Modern Art in New York, after considering Ensor's 1887 painting Tribulations of Saint Anthony (now in MoMA's collection), declared Ensor the boldest painter working at that time.
Even in the first decade of the 20th century, however, Ensor's production of new works was diminishing, and he increasingly concentrated on music—although he had no musical training, he was a gifted improviser on the harmonium, and spent much time performing for visitors.Against the advice of friends, he remained in Ostend during World War II despite the risk of bombardment. In his old age, he was an honored figure among Belgians, and his daily walk made him a familiar sight in Ostend. He died there following a short illness, on 19 November 1949 at the age of 89.
This Father's Day my message is one The Far Reaching Effects Of "INFLUENCE" using Jonathan, David and Saul as examples out of the pages of the Bible.
Lt. Governor Miller speaking U.S. Army Center of Influence Dinner Event by Anthony DePanise at 401 West Pratt Street, Baltimore, Maryland 21201
THE DRUNKARDS
1883
James Sidney Edouard, Baron Ensor (13 April 1860 – 19 November 1949) was a Belgian painter and printmaker, an important influence on expressionism and surrealism who lived in Ostend for most of his life. He was associated with the artistic group Les XX.
Ensor's father, James Frederic Ensor, born in Brussels to English parents, was a cultivated man who studied engineering in England and Germany. Ensor's mother, Maria Catherina Haegheman, was Belgian. Ensor himself lacked interest in academic study and left school at the age of fifteen to begin his artistic training with two local painters. From 1877 to 1880, he attended the Académie Royale des Beaux-Arts in Brussels, where one of his fellow students was Fernand Khnopff. Ensor first exhibited his work in 1881. From 1880 until 1917, he had his studio in the attic of his parents' house. His travels were very few: three brief trips to France and two to the Netherlands in the 1880s, and a four-day trip to London in 1892.
During the late 19th century, much of Ensor's work was rejected as scandalous, particularly his painting Christ's Entry Into Brussels in 1889 (1888–89). The Belgian art critic Octave Maus famously summed up the response from contemporaneous art critics to Ensor's innovative (and often scathingly political) work: "Ensor is the leader of a clan. Ensor is the limelight. Ensor sums up and concentrates certain principles which are considered to be anarchistic. In short, Ensor is a dangerous person who has great changes. ... He is consequently marked for blows. It is at him that all the harquebuses are aimed. It is on his head that are dumped the most aromatic containers of the so-called serious critics." Some of Ensor's contemporaneous work reveals his defiant response to this criticism. For example, the 1887 etching "Le Pisseur" depicts the artist urinating on a graffitied wall declaring (in the voice of an art critic) "Ensor est un fou" or "Ensor is a Madman."
Ensor's paintings continued to be exhibited and he gradually won acceptance and acclaim. In 1895 his painting The Lamp Boy (1880) was acquired by the Royal Museums of Fine Arts of Belgium in Brussels, and he had his first solo exhibition in Brussels. By 1920 he was the subject of major exhibitions; in 1929 he was named a Baron by King Albert, and was the subject of the Belgian composer Flor Alpaerts's James Ensor Suite; and in 1933 he was awarded the band of the Légion d'honneur. Alfred H. Barr Jr., the founding director of the Museum of Modern Art in New York, after considering Ensor's 1887 painting Tribulations of Saint Anthony (now in MoMA's collection), declared Ensor the boldest painter working at that time.
Even in the first decade of the 20th century, however, Ensor's production of new works was diminishing, and he increasingly concentrated on music—although he had no musical training, he was a gifted improviser on the harmonium, and spent much time performing for visitors.Against the advice of friends, he remained in Ostend during World War II despite the risk of bombardment. In his old age, he was an honored figure among Belgians, and his daily walk made him a familiar sight in Ostend. He died there following a short illness, on 19 November 1949 at the age of 89.
Recreating a scene from A WOMAN UNDER THE INFLUENCE in CalArts's graduate Film Production Workshop, Feb 2011
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Open your eyes to the changing role of folk art as it influences Southern culture through a collection of 500 artifacts ranging from pottery to musical instruments.
Highlighted artists include the Meaders and Hewell family pottery makers, chair-maker Walter Shelnut, Cherokee basket-maker Lucille Lossiah, the Reeves family of basket makers, story quilter Harriet Powers and blacksmith Philip Simmons.
Throughout the exhibition, videos present folk art processes and are complemented by touchable examples of highlighted works. Two enclosed rooms create listening environments for visitors to hear folk storytelling, singing and instrumental music.
“The changing role of folk arts, once central to the lives of ordinary southerners, offers fresh insights into the region’s social history.” - Curator John Burrison
Highlights:
Pottery by David Drake (1801-late 1870s), the best-known enslaved African American potter, known simply as Dave until Emancipation. He learned the craft at Pottersville in Edgefield District, South Carolina, and was given the limited freedom of signing his pots and inscribing them with his own poetry.
A significant collection of Appalachian folk pottery assembled by guest curator Burrison, author of Brothers in Clay and From Mud to Jug: The Folk Potters and Pottery of Northeast Georgia.
Sacred and secular music listening rooms.
Props from the celebrated folk drama Heaven Bound, performed annually since 1930 at Big Bethel African Methodist Episcopal Church.
A changing display of quilts from the Atlanta History Center’s collection.
Videos featuring the Meaders and Hewell family pottery makers, chair-maker Walter Shelnut, Cherokee basket-maker Lucille Lossiah, the Reeves family of basket makers, story quilter Harriet Powers, and blacksmith Philip Simmons.
Southern-made furniture as found in the catalog Neat Pieces: The Plain-Style Furniture of Nineteenth-Century Georgia
Musical instruments including dulcimers, banjos, mandolins, and guitars.
Displays of Southern foods and foodways including grits, gumbo, and hot pepper sauce.
Display of contemporary folk traditions including duck decoys, Hmong textiles, Seder celebrations, and more.
www.atlantahistorycenter.com/exhibitions/shaping-traditio...
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via bit.ly/2VZVRx2
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Photobooth backdrop painted by Edoardo Ortegon.
We celebrated the art of influence with Delacroix! We painted our own masterpieces inspired by Degas, van Gogh, and Cezanne. We also became a part of the art with a van Gogh-inspired photobooth and enjoyed music from Joey Ryan & The Inks! And, as always, it was all FREE!