View allAll Photos Tagged precise

Professional Volume Eyelash Extension Tweezers

▪Highly Precise ▪Fine Tip

▪Hand Tested ▪Wholesale Prices

 

Khối lượng chuyên nghiệp Lông mi mở rộng nhíp

▪Chính xác cao ▪Mẹo nhỏ

▪Đã kiểm tra ▪Giá Bán from Buôn

 

Pinzette per estensione di ciglia volume professionale

▪Altamente preciso ▪Punta fine

▪Testato a mano ▪Prezzi all'ingrosso

 

Profissional Pinça de extensão de pestanas de volume

▪Alta precisão ▪ponta fina

▪Teste manual ▪Preços por atacado

 

Профессиональный объемный пинцет для наращивания ресниц

▪ Высоко Точный ▪Точный совет

▪Ручное тестирование ▪Оптовые цены

 

#tweezermaneyelashcurler #tweezermanbenelux #tweezermanmurah

#tweezermann #tweezermanprofessional #tweezermanxsephora

#tweezermanlashcurler #tweezermanbrushiq #tweezermanbrows

#tweezermanbrushes #tweezermanmini #lashproducts

#tweezermanambassador #lashexpert #lashstuff

#tweezermankiev #tweezermanaustralia #tweezermangiveaway

#tweezerman_de #tweezermannl #tweezermanlove #thicklashes

#lashes #lash #lashextensions #lashlift #lashesextension #lashboost #lashbabe #lashtraining #lashmaster

#lashesonfleek #lashlove #lashtech #lashboss #lashtips

#lashgoals #lashqueen #lashpreneur #lashtint #lashstylist

#lashartist #lashlife #lasheducator #lashobsessed #lashroom

#lashdoll #lashextension #lashmaker #lashlifting #lashing #lashdolls #lashporn #lashmapping #lashtrainer #lashfill #lashcourse #lashbeauty #lashroomdecor #lashtechnician #lashstudio #lashpro #lashaddict #lashgame

#lashlady #lashgang #lashlover #lashista #lashed #lashperfect

#lashvolume #lashschool #lashsupplier #lashquotes

#lashliftandtint #lashtip #lashlovers #lashdiva #lashbabes #lashenvy #Vietnam #china

#lashqueens #lasheslasheslashes #lashquoteoftheday #lashes👀#lashesofinstagram #lashbath #lashacademy #lashqoutes #lashboxla #russian #russian #ukraine

#lashesonlashes #lashesextensions #lashbar #lashedout #lashesfordays #lashesonpoint #lashbox #lashtweezers #lashesforever #classiclashes #lashboostrodanandfields #lashton #lashobsession #lasheslifting #lashesbyme #lashboxlacanada #lashquote #lashwands #lashaffairbyjparis #lasheslove #lashquotesoftheday #lashcommunity #lashme #batalash #lashboxlamexico #bellalash #lashclassatlanta #lovelash #volumelash #volumelashextensions #lashia #lashmaster #lashmasterorel #eyelash

#lashmasters #lashmastermindbrasil #lashmasterclass #lashmastery #sialkot #punjab #pakistan

#lashmaster2020 #lashmasterazira #lashmasterlegends #lashmaster_pro #webdesigner #webdeveloper

#lashmaster_алёна_lbc #lashmasterkiev #lashmastersconference #internetexplorer

#lashmaster_alinaaa #lashmasterminsk #lashmaster_kris #lashmasterchita #lashtweezersuk #noorimanindustries

#lashmaster_ru #lashmaster39 #lashmaster96 #lashmastersaratov #crossedge #khadmi #amithimpes

#lashmasterclases #lashmasterrostov #lashmastertrainer #lashmasterilona #bretalbeautyintl #nomaxenterprises

#lashmasterbrn #lashmasterspb #lashmasteruk #lashmasterofsweden #aifarralashliftingtools #applicators

#lashmastermoscow #lashmasterkrd #lashmastervasneva #lashmasterpenza #aifarranailtools #aifarrasurgicaltools

#lashmaster_amluxlook_дроноваалена #lashmasternn #lashmasterpnz #aeedc2020 #aifarrasurgicaltweezers

#lashmaster_dp #lashmaster_ms #lashmastertmn #lashmaster_zhitnikova #aifarralashtool #aifarrahairtools

#lashmaster_anastasiya #lashmasterpoltava #lashmastervl #lashworld #rubberdamclamps #forcep #VK #youtube

#lashmastercourse #dailymotion #ucbrowsers #alibaba

#lashmaster_amluxlook_шалыгинаекатерина

#lashmastercoursemanchester #aliexpress #amazon

#lashmaster_amluxlook_джимиева_кристина

#lashmaster_amluxlook_марияалексеева #lashmaster_amluxlook #ebay #likeforlike #USA

#lashmasternkvz #lashmasterveronicazora #lashmaster_ar #lashmasterv #topnews #latestnews #gramblr #stars

#lashmasteralmaty #lashmastermira #celebrities

#lashmaster_amluxlook_алятинаелена #doller #people

#lashmasternsk #lashmastersurgut #lashmasterzp

#lashmasterno #snapchat #flicker #Orthomechanix

#lashmasterkrg #lashmasterpiece #lashmasteroslo

#lashmasterkrsk #outlook #beautyforume #aeedcdubai

#lashmaster_alena #lashmasterodessa #lashmastertunis #lashmasternorge #google #facebook #instagram #twitter

#linkedin #pinterest #world #nation #medical

#lashmastertomsk #lashmasterdoha #lashmaster_spb #volumetweezers #lashmasterstudio #наращиваниересниц #ресницымосква #наращиваниеногтейгелем #наращиваниересницмосква #электрозаводская #айбьютистудиоэлектрозаводская #tahirsurgical

#lashlayer #liftandtint #lovelash #lashbusiness #lashextention

#eyelashes #lashforweeks #fullashes #tweezers #lashtweezers #aifarrameasurmenttools #hashtag

#eyelashextensions #borboletabeauty #melblashes #lashbarnorway #merakilashes #minklash #borbylashes #lashaffairjparis #eyelashextensionsmelbourneh #silklashes #Microblading #dental #hairtools #hairscissors #beautyscissors #New_Arrival #aifarrsurgical

#eyelashextensions #eyelinertutorial #eyesdrawing

#eyelashextensionjakarta #eyelashebekasi #eyelash

#eyelashes #eyelashtraining #eyelashekayuringin

#eyelashbekasibarathomecare #eyelashbekasibarat

#eyelashbekasimurah #eyelashbekasipromo

#eyelashbekasiutara #eyelashbekasiselatan

#eyelashbekasiregancy #eyelashhomeservice

#homeserviceeyelash #eyelashhomeservisbekasi

#eyelashpekayon #eyelashesterdekat

#eyelashesnengai #eyelashesbekasitermurah

#eyelashesbekasioke #eyelasheskeren #eyelashcantik

#eyelashlentik #eyelashbekasitimur #lashlovers

#workshoppestanas #workshops #lashartist #lashmaster #lashmagazine #lashextensions #lashlover #lashfamaly #lashboss #lashdiva #pestanasvolume #instagood #instagrammer #insta #inspiração #costadacaparica #sol #exoticeyes #extensão #lequesperfeitos #formaçãomargemsul #workshoppestanas #lovemywork #lashmagazine #lashextensions #lashlover #lashfamaly #lashboss #lashartist #lashdiva #lashqueen #Lasheaven #costadacaparica #extensãodepestanas #sol #fioafio #divalash #aifarrasurgical #lashes #mylashes #londonlash

#Professionalshavingtools #hairshavingtools #qualityshavingtools #razorsafaty #hairsafaty #Prohairsafaty #Shavingsafaty #hairshavingbursh #shavingbursh #hairshavingstand #hairshavingstandwood #shavingwoodstand #shavingstand #hairscissors #professionalscissors #professionalqualityrazor #haircuttingshears #petgroomingshears #razorshears #multirazorscissors #lashaffair #lashattachment #lashgroupies

#tweezermanxhudabeauty #tweezermanuk #tweezermanpartner #tweezermanbrasil #tweezersmanufecturer #tweezermanslant #tweezermanca #tweezermanindonesia #tweezermangear #tweezermanspain

#tweezermanhk #tweezermanvippro #tweezerman #tweezermancanada #tweezermannipper #tweezermanme #tweezermanportugal #tweezermantools #tweezermantweezers #tweezerman_id #tweezermanукраина #dramaticlashes #lasheslasheslashes #googleplus

#tweezermanturns35 #tweezermanufacturer #tweezermanxglow #gmail #info #worldtradecenter #eyelashextensions #volumetweezers #russianvolume #lash #cils #cilios #mua #rzesy #lashartist #lashcoach #berlash #ciliosbrasil #ciliosbrasil #australialashextensions #borboletabeauty #pinkladylash #lashaffairbyjp #lashmakers #lashlineacademy #volumelashes #megavolumelashes #przedluzanierzes #tweezers #australialashextensions #australialashes #Sydneylashes #Melbournelashes #Brisbanelashes #Perthlashes #Adelaidelashes #GoldCoastlashes #volumetweezers #eyelashextensions #diamondgriptweezers #CentralCoastlashes #SunshineCoastlashes #Hobartlashes #Townsvillelashes #russianvolume #sydneylashartist #ruvol #eyelashextensionssydney #lashextensionssydney #wimperextensions #wimperlashextensions #vavalash #miamilashes #sobelashes #volumelashes #miami #sobe #lashtraining #miamivolumetraining #miamilashtraining #lashesmiami #eyelashesmiami #lashextensions #russianvolume #lashbox #lashmakersnation #lashheaven #przedluzanierzes #lashpromiami #lashpro #miamilashextensions #lashtrainingmiami #lashempire #lashtrainer #lashcastle #przedluzanierzes #eyelashextensions #lashesfordays #volumetweezers #tweezers #pinkladylash #borboletabeauty #melblashes #lashbarnorway #merakilashes #classiclashes #borbylashes #lashtrainer #lashaffairbyjp #eyelashextensionsmelbourne #bellalash #sugarlashpro #sobelashes #lasheducation #russianqueenlashes #lashempire #lashmaker #miamilashtraining #rzesywarszawa #laurabeauty #ilevellab

#volumetweezers #megavolumelashes #lashextensions #mavenlashes #lashartist #lovelashbase #diamondlashes #rzesyobjetosciowe #eyelashextensionsupplies #classiclashes #premiumlashes #bestlashes #lashschool #lashbarcph #volumetweezers #mavenartistry #lashclass #lashtraining #utahlashes #lashlift #classic #lashlove #sobelashes #volume #eyelashextensions #austinlashtraining #megavolumelashes #lashextensions #lashbarnorway #Londonlashpro #lashextensionsmelbourne #viplash #completelashes #secretlashes #luxglamco #lashdoll #rzęsy #lashtrainer #lashmaster #lashtools #russianvolume #lashartist #mua #lashaffairbyjparis #hollywoodlashes #wimperextension #austinlashes #eyelashextensions #обучениенаращиваниюресниц #брови #ресницы #материалыдлябровей #владикавказ #салоныкрасоты #материалыдлянаращиванияресниц #наращиваниересниц #наращиваниеволос #объемноенаращивание #глаза #lashesmoscow #пинцеты #классическоенаращивание

#материалыдлянаращиванияресниц #2dнаращиваниересниц #ресницы3d #тройнойобъем #объёмноенаращиваниересниц #реснички #цветныересницы #lashextensions #classiclashes #цветныересницы #обучениенаращиваниюресниц #брови #ресницы #материалыдлябровей #владикавказ #салоныкрасоты #материалыдлянаращиванияресниц #наращиваниересниц #наращиваниеволос #объемноенаращивание #глаза #lashesmoscow #пинцеты #классическоенаращивание #материалыдлянаращиванияресниц #2dнаращиваниересниц #ресницы3d #тройнойобъем #объёмноенаращиваниересниц #реснички #цветныересницы #classiclashes #цветныересницы

Not exactly precise enough to help me find my way to Châtonnaye without getting lost... I was off to see Les Senteurs de Charme...

 

steph.wordpress.com/2005/12/12/lost-in-the-countryside/

Maveric DataTech enables global banks to make precise decisions using accurate data. Our services & solutions leverage our 2 decades of extensive industry expertise synthesised into a domain model to ensure data accuracy through validations at every step, without compromising on agility and nimbleness.

 

maveric-systems.com/video/maveric-datatech-precise-decisi...

Professional Volume Eyelash Extension Tweezers

▪Highly Precise ▪Fine Tip

▪Hand Tested ▪Wholesale Prices

 

Khối lượng chuyên nghiệp Lông mi mở rộng nhíp

▪Chính xác cao ▪Mẹo nhỏ

▪Đã kiểm tra ▪Giá Bán from Buôn

 

Pinzette per estensione di ciglia volume professionale

▪Altamente preciso ▪Punta fine

▪Testato a mano ▪Prezzi all'ingrosso

 

Profissional Pinça de extensão de pestanas de volume

▪Alta precisão ▪ponta fina

▪Teste manual ▪Preços por atacado

 

Профессиональный объемный пинцет для наращивания ресниц

▪ Высоко Точный ▪Точный совет

▪Ручное тестирование ▪Оптовые цены

 

#tweezermaneyelashcurler #tweezermanbenelux #tweezermanmurah

#tweezermann #tweezermanprofessional #tweezermanxsephora

#tweezermanlashcurler #tweezermanbrushiq #tweezermanbrows

#tweezermanbrushes #tweezermanmini #lashproducts

#tweezermanambassador #lashexpert #lashstuff

#tweezermankiev #tweezermanaustralia #tweezermangiveaway

#tweezerman_de #tweezermannl #tweezermanlove #thicklashes

#lashes #lash #lashextensions #lashlift #lashesextension #lashboost #lashbabe #lashtraining #lashmaster

#lashesonfleek #lashlove #lashtech #lashboss #lashtips

#lashgoals #lashqueen #lashpreneur #lashtint #lashstylist

#lashartist #lashlife #lasheducator #lashobsessed #lashroom

#lashdoll #lashextension #lashmaker #lashlifting #lashing #lashdolls #lashporn #lashmapping #lashtrainer #lashfill #lashcourse #lashbeauty #lashroomdecor #lashtechnician #lashstudio #lashpro #lashaddict #lashgame

#lashlady #lashgang #lashlover #lashista #lashed #lashperfect

#lashvolume #lashschool #lashsupplier #lashquotes

#lashliftandtint #lashtip #lashlovers #lashdiva #lashbabes #lashenvy #Vietnam #china

#lashqueens #lasheslasheslashes #lashquoteoftheday #lashes👀#lashesofinstagram #lashbath #lashacademy #lashqoutes #lashboxla #russian #russian #ukraine

#lashesonlashes #lashesextensions #lashbar #lashedout #lashesfordays #lashesonpoint #lashbox #lashtweezers #lashesforever #classiclashes #lashboostrodanandfields #lashton #lashobsession #lasheslifting #lashesbyme #lashboxlacanada #lashquote #lashwands #lashaffairbyjparis #lasheslove #lashquotesoftheday #lashcommunity #lashme #batalash #lashboxlamexico #bellalash #lashclassatlanta #lovelash #volumelash #volumelashextensions #lashia #lashmaster #lashmasterorel #eyelash

#lashmasters #lashmastermindbrasil #lashmasterclass #lashmastery #sialkot #punjab #pakistan

#lashmaster2020 #lashmasterazira #lashmasterlegends #lashmaster_pro #webdesigner #webdeveloper

#lashmaster_алёна_lbc #lashmasterkiev #lashmastersconference #internetexplorer

#lashmaster_alinaaa #lashmasterminsk #lashmaster_kris #lashmasterchita #lashtweezersuk #noorimanindustries

#lashmaster_ru #lashmaster39 #lashmaster96 #lashmastersaratov #crossedge #khadmi #amithimpes

#lashmasterclases #lashmasterrostov #lashmastertrainer #lashmasterilona #bretalbeautyintl #nomaxenterprises

#lashmasterbrn #lashmasterspb #lashmasteruk #lashmasterofsweden #aifarralashliftingtools #applicators

#lashmastermoscow #lashmasterkrd #lashmastervasneva #lashmasterpenza #aifarranailtools #aifarrasurgicaltools

#lashmaster_amluxlook_дроноваалена #lashmasternn #lashmasterpnz #aeedc2020 #aifarrasurgicaltweezers

#lashmaster_dp #lashmaster_ms #lashmastertmn #lashmaster_zhitnikova #aifarralashtool #aifarrahairtools

#lashmaster_anastasiya #lashmasterpoltava #lashmastervl #lashworld #rubberdamclamps #forcep #VK #youtube

#lashmastercourse #dailymotion #ucbrowsers #alibaba

#lashmaster_amluxlook_шалыгинаекатерина

#lashmastercoursemanchester #aliexpress #amazon

#lashmaster_amluxlook_джимиева_кристина

#lashmaster_amluxlook_марияалексеева #lashmaster_amluxlook #ebay #likeforlike #USA

#lashmasternkvz #lashmasterveronicazora #lashmaster_ar #lashmasterv #topnews #latestnews #gramblr #stars

#lashmasteralmaty #lashmastermira #celebrities

#lashmaster_amluxlook_алятинаелена #doller #people

#lashmasternsk #lashmastersurgut #lashmasterzp

#lashmasterno #snapchat #flicker #Orthomechanix

#lashmasterkrg #lashmasterpiece #lashmasteroslo

#lashmasterkrsk #outlook #beautyforume #aeedcdubai

#lashmaster_alena #lashmasterodessa #lashmastertunis #lashmasternorge #google #facebook #instagram #twitter

#linkedin #pinterest #world #nation #medical

#lashmastertomsk #lashmasterdoha #lashmaster_spb #volumetweezers #lashmasterstudio #наращиваниересниц #ресницымосква #наращиваниеногтейгелем #наращиваниересницмосква #электрозаводская #айбьютистудиоэлектрозаводская #tahirsurgical

#lashlayer #liftandtint #lovelash #lashbusiness #lashextention

#eyelashes #lashforweeks #fullashes #tweezers #lashtweezers #aifarrameasurmenttools #hashtag

#eyelashextensions #borboletabeauty #melblashes #lashbarnorway #merakilashes #minklash #borbylashes #lashaffairjparis #eyelashextensionsmelbourneh #silklashes #Microblading #dental #hairtools #hairscissors #beautyscissors #New_Arrival #aifarrsurgical

#eyelashextensions #eyelinertutorial #eyesdrawing

#eyelashextensionjakarta #eyelashebekasi #eyelash

#eyelashes #eyelashtraining #eyelashekayuringin

#eyelashbekasibarathomecare #eyelashbekasibarat

#eyelashbekasimurah #eyelashbekasipromo

#eyelashbekasiutara #eyelashbekasiselatan

#eyelashbekasiregancy #eyelashhomeservice

#homeserviceeyelash #eyelashhomeservisbekasi

#eyelashpekayon #eyelashesterdekat

#eyelashesnengai #eyelashesbekasitermurah

#eyelashesbekasioke #eyelasheskeren #eyelashcantik

#eyelashlentik #eyelashbekasitimur #lashlovers

#workshoppestanas #workshops #lashartist #lashmaster #lashmagazine #lashextensions #lashlover #lashfamaly #lashboss #lashdiva #pestanasvolume #instagood #instagrammer #insta #inspiração #costadacaparica #sol #exoticeyes #extensão #lequesperfeitos #formaçãomargemsul #workshoppestanas #lovemywork #lashmagazine #lashextensions #lashlover #lashfamaly #lashboss #lashartist #lashdiva #lashqueen #Lasheaven #costadacaparica #extensãodepestanas #sol #fioafio #divalash #aifarrasurgical #lashes #mylashes #londonlash

#Professionalshavingtools #hairshavingtools #qualityshavingtools #razorsafaty #hairsafaty #Prohairsafaty #Shavingsafaty #hairshavingbursh #shavingbursh #hairshavingstand #hairshavingstandwood #shavingwoodstand #shavingstand #hairscissors #professionalscissors #professionalqualityrazor #haircuttingshears #petgroomingshears #razorshears #multirazorscissors #lashaffair #lashattachment #lashgroupies

#tweezermanxhudabeauty #tweezermanuk #tweezermanpartner #tweezermanbrasil #tweezersmanufecturer #tweezermanslant #tweezermanca #tweezermanindonesia #tweezermangear #tweezermanspain

#tweezermanhk #tweezermanvippro #tweezerman #tweezermancanada #tweezermannipper #tweezermanme #tweezermanportugal #tweezermantools #tweezermantweezers #tweezerman_id #tweezermanукраина #dramaticlashes #lasheslasheslashes #googleplus

#tweezermanturns35 #tweezermanufacturer #tweezermanxglow #gmail #info #worldtradecenter #eyelashextensions #volumetweezers #russianvolume #lash #cils #cilios #mua #rzesy #lashartist #lashcoach #berlash #ciliosbrasil #ciliosbrasil #australialashextensions #borboletabeauty #pinkladylash #lashaffairbyjp #lashmakers #lashlineacademy #volumelashes #megavolumelashes #przedluzanierzes #tweezers #australialashextensions #australialashes #Sydneylashes #Melbournelashes #Brisbanelashes #Perthlashes #Adelaidelashes #GoldCoastlashes #volumetweezers #eyelashextensions #diamondgriptweezers #CentralCoastlashes #SunshineCoastlashes #Hobartlashes #Townsvillelashes #russianvolume #sydneylashartist #ruvol #eyelashextensionssydney #lashextensionssydney #wimperextensions #wimperlashextensions #vavalash #miamilashes #sobelashes #volumelashes #miami #sobe #lashtraining #miamivolumetraining #miamilashtraining #lashesmiami #eyelashesmiami #lashextensions #russianvolume #lashbox #lashmakersnation #lashheaven #przedluzanierzes #lashpromiami #lashpro #miamilashextensions #lashtrainingmiami #lashempire #lashtrainer #lashcastle #przedluzanierzes #eyelashextensions #lashesfordays #volumetweezers #tweezers #pinkladylash #borboletabeauty #melblashes #lashbarnorway #merakilashes #classiclashes #borbylashes #lashtrainer #lashaffairbyjp #eyelashextensionsmelbourne #bellalash #sugarlashpro #sobelashes #lasheducation #russianqueenlashes #lashempire #lashmaker #miamilashtraining #rzesywarszawa #laurabeauty #ilevellab

#volumetweezers #megavolumelashes #lashextensions #mavenlashes #lashartist #lovelashbase #diamondlashes #rzesyobjetosciowe #eyelashextensionsupplies #classiclashes #premiumlashes #bestlashes #lashschool #lashbarcph #volumetweezers #mavenartistry #lashclass #lashtraining #utahlashes #lashlift #classic #lashlove #sobelashes #volume #eyelashextensions #austinlashtraining #megavolumelashes #lashextensions #lashbarnorway #Londonlashpro #lashextensionsmelbourne #viplash #completelashes #secretlashes #luxglamco #lashdoll #rzęsy #lashtrainer #lashmaster #lashtools #russianvolume #lashartist #mua #lashaffairbyjparis #hollywoodlashes #wimperextension #austinlashes #eyelashextensions #обучениенаращиваниюресниц #брови #ресницы #материалыдлябровей #владикавказ #салоныкрасоты #материалыдлянаращиванияресниц #наращиваниересниц #наращиваниеволос #объемноенаращивание #глаза #lashesmoscow #пинцеты #классическоенаращивание

#материалыдлянаращиванияресниц #2dнаращиваниересниц #ресницы3d #тройнойобъем #объёмноенаращиваниересниц #реснички #цветныересницы #lashextensions #classiclashes #цветныересницы #обучениенаращиваниюресниц #брови #ресницы #материалыдлябровей #владикавказ #салоныкрасоты #материалыдлянаращиванияресниц #наращиваниересниц #наращиваниеволос #объемноенаращивание #глаза #lashesmoscow #пинцеты #классическоенаращивание #материалыдлянаращиванияресниц #2dнаращиваниересниц #ресницы3d #тройнойобъем #объёмноенаращиваниересниц #реснички #цветныересницы #classiclashes #цветныересницы

Precise instructions at Old Linley Road, near Huddersfield

Jarmers Plads, Copenhagen

November 2010

Professional Volume Eyelash Extension Tweezers

▪Highly Precise ▪Fine Tip

▪Hand Tested ▪Wholesale Prices

 

Khối lượng chuyên nghiệp Lông mi mở rộng nhíp

▪Chính xác cao ▪Mẹo nhỏ

▪Đã kiểm tra ▪Giá Bán from Buôn

 

Pinzette per estensione di ciglia volume professionale

▪Altamente preciso ▪Punta fine

▪Testato a mano ▪Prezzi all'ingrosso

 

Profissional Pinça de extensão de pestanas de volume

▪Alta precisão ▪ponta fina

▪Teste manual ▪Preços por atacado

 

Профессиональный объемный пинцет для наращивания ресниц

▪ Высоко Точный ▪Точный совет

▪Ручное тестирование ▪Оптовые цены

 

#tweezermaneyelashcurler #tweezermanbenelux #tweezermanmurah

#tweezermann #tweezermanprofessional #tweezermanxsephora

#tweezermanlashcurler #tweezermanbrushiq #tweezermanbrows

#tweezermanbrushes #tweezermanmini #lashproducts

#tweezermanambassador #lashexpert #lashstuff

#tweezermankiev #tweezermanaustralia #tweezermangiveaway

#tweezerman_de #tweezermannl #tweezermanlove #thicklashes

#lashes #lash #lashextensions #lashlift #lashesextension #lashboost #lashbabe #lashtraining #lashmaster

#lashesonfleek #lashlove #lashtech #lashboss #lashtips

#lashgoals #lashqueen #lashpreneur #lashtint #lashstylist

#lashartist #lashlife #lasheducator #lashobsessed #lashroom

#lashdoll #lashextension #lashmaker #lashlifting #lashing #lashdolls #lashporn #lashmapping #lashtrainer #lashfill #lashcourse #lashbeauty #lashroomdecor #lashtechnician #lashstudio #lashpro #lashaddict #lashgame

#lashlady #lashgang #lashlover #lashista #lashed #lashperfect

#lashvolume #lashschool #lashsupplier #lashquotes

#lashliftandtint #lashtip #lashlovers #lashdiva #lashbabes #lashenvy #Vietnam #china

#lashqueens #lasheslasheslashes #lashquoteoftheday #lashes👀#lashesofinstagram #lashbath #lashacademy #lashqoutes #lashboxla #russian #russian #ukraine

#lashesonlashes #lashesextensions #lashbar #lashedout #lashesfordays #lashesonpoint #lashbox #lashtweezers #lashesforever #classiclashes #lashboostrodanandfields #lashton #lashobsession #lasheslifting #lashesbyme #lashboxlacanada #lashquote #lashwands #lashaffairbyjparis #lasheslove #lashquotesoftheday #lashcommunity #lashme #batalash #lashboxlamexico #bellalash #lashclassatlanta #lovelash #volumelash #volumelashextensions #lashia #lashmaster #lashmasterorel #eyelash

#lashmasters #lashmastermindbrasil #lashmasterclass #lashmastery #sialkot #punjab #pakistan

#lashmaster2020 #lashmasterazira #lashmasterlegends #lashmaster_pro #webdesigner #webdeveloper

#lashmaster_алёна_lbc #lashmasterkiev #lashmastersconference #internetexplorer

#lashmaster_alinaaa #lashmasterminsk #lashmaster_kris #lashmasterchita #lashtweezersuk #noorimanindustries

#lashmaster_ru #lashmaster39 #lashmaster96 #lashmastersaratov #crossedge #khadmi #amithimpes

#lashmasterclases #lashmasterrostov #lashmastertrainer #lashmasterilona #bretalbeautyintl #nomaxenterprises

#lashmasterbrn #lashmasterspb #lashmasteruk #lashmasterofsweden #aifarralashliftingtools #applicators

#lashmastermoscow #lashmasterkrd #lashmastervasneva #lashmasterpenza #aifarranailtools #aifarrasurgicaltools

#lashmaster_amluxlook_дроноваалена #lashmasternn #lashmasterpnz #aeedc2020 #aifarrasurgicaltweezers

#lashmaster_dp #lashmaster_ms #lashmastertmn #lashmaster_zhitnikova #aifarralashtool #aifarrahairtools

#lashmaster_anastasiya #lashmasterpoltava #lashmastervl #lashworld #rubberdamclamps #forcep #VK #youtube

#lashmastercourse #dailymotion #ucbrowsers #alibaba

#lashmaster_amluxlook_шалыгинаекатерина

#lashmastercoursemanchester #aliexpress #amazon

#lashmaster_amluxlook_джимиева_кристина

#lashmaster_amluxlook_марияалексеева #lashmaster_amluxlook #ebay #likeforlike #USA

#lashmasternkvz #lashmasterveronicazora #lashmaster_ar #lashmasterv #topnews #latestnews #gramblr #stars

#lashmasteralmaty #lashmastermira #celebrities

#lashmaster_amluxlook_алятинаелена #doller #people

#lashmasternsk #lashmastersurgut #lashmasterzp

#lashmasterno #snapchat #flicker #Orthomechanix

#lashmasterkrg #lashmasterpiece #lashmasteroslo

#lashmasterkrsk #outlook #beautyforume #aeedcdubai

#lashmaster_alena #lashmasterodessa #lashmastertunis #lashmasternorge #google #facebook #instagram #twitter

#linkedin #pinterest #world #nation #medical

#lashmastertomsk #lashmasterdoha #lashmaster_spb #volumetweezers #lashmasterstudio #наращиваниересниц #ресницымосква #наращиваниеногтейгелем #наращиваниересницмосква #электрозаводская #айбьютистудиоэлектрозаводская #tahirsurgical

#lashlayer #liftandtint #lovelash #lashbusiness #lashextention

#eyelashes #lashforweeks #fullashes #tweezers #lashtweezers #aifarrameasurmenttools #hashtag

#eyelashextensions #borboletabeauty #melblashes #lashbarnorway #merakilashes #minklash #borbylashes #lashaffairjparis #eyelashextensionsmelbourneh #silklashes #Microblading #dental #hairtools #hairscissors #beautyscissors #New_Arrival #aifarrsurgical

#eyelashextensions #eyelinertutorial #eyesdrawing

#eyelashextensionjakarta #eyelashebekasi #eyelash

#eyelashes #eyelashtraining #eyelashekayuringin

#eyelashbekasibarathomecare #eyelashbekasibarat

#eyelashbekasimurah #eyelashbekasipromo

#eyelashbekasiutara #eyelashbekasiselatan

#eyelashbekasiregancy #eyelashhomeservice

#homeserviceeyelash #eyelashhomeservisbekasi

#eyelashpekayon #eyelashesterdekat

#eyelashesnengai #eyelashesbekasitermurah

#eyelashesbekasioke #eyelasheskeren #eyelashcantik

#eyelashlentik #eyelashbekasitimur #lashlovers

#workshoppestanas #workshops #lashartist #lashmaster #lashmagazine #lashextensions #lashlover #lashfamaly #lashboss #lashdiva #pestanasvolume #instagood #instagrammer #insta #inspiração #costadacaparica #sol #exoticeyes #extensão #lequesperfeitos #formaçãomargemsul #workshoppestanas #lovemywork #lashmagazine #lashextensions #lashlover #lashfamaly #lashboss #lashartist #lashdiva #lashqueen #Lasheaven #costadacaparica #extensãodepestanas #sol #fioafio #divalash #aifarrasurgical #lashes #mylashes #londonlash

#Professionalshavingtools #hairshavingtools #qualityshavingtools #razorsafaty #hairsafaty #Prohairsafaty #Shavingsafaty #hairshavingbursh #shavingbursh #hairshavingstand #hairshavingstandwood #shavingwoodstand #shavingstand #hairscissors #professionalscissors #professionalqualityrazor #haircuttingshears #petgroomingshears #razorshears #multirazorscissors #lashaffair #lashattachment #lashgroupies

#tweezermanxhudabeauty #tweezermanuk #tweezermanpartner #tweezermanbrasil #tweezersmanufecturer #tweezermanslant #tweezermanca #tweezermanindonesia #tweezermangear #tweezermanspain

#tweezermanhk #tweezermanvippro #tweezerman #tweezermancanada #tweezermannipper #tweezermanme #tweezermanportugal #tweezermantools #tweezermantweezers #tweezerman_id #tweezermanукраина #dramaticlashes #lasheslasheslashes #googleplus

#tweezermanturns35 #tweezermanufacturer #tweezermanxglow #gmail #info #worldtradecenter #eyelashextensions #volumetweezers #russianvolume #lash #cils #cilios #mua #rzesy #lashartist #lashcoach #berlash #ciliosbrasil #ciliosbrasil #australialashextensions #borboletabeauty #pinkladylash #lashaffairbyjp #lashmakers #lashlineacademy #volumelashes #megavolumelashes #przedluzanierzes #tweezers #australialashextensions #australialashes #Sydneylashes #Melbournelashes #Brisbanelashes #Perthlashes #Adelaidelashes #GoldCoastlashes #volumetweezers #eyelashextensions #diamondgriptweezers #CentralCoastlashes #SunshineCoastlashes #Hobartlashes #Townsvillelashes #russianvolume #sydneylashartist #ruvol #eyelashextensionssydney #lashextensionssydney #wimperextensions #wimperlashextensions #vavalash #miamilashes #sobelashes #volumelashes #miami #sobe #lashtraining #miamivolumetraining #miamilashtraining #lashesmiami #eyelashesmiami #lashextensions #russianvolume #lashbox #lashmakersnation #lashheaven #przedluzanierzes #lashpromiami #lashpro #miamilashextensions #lashtrainingmiami #lashempire #lashtrainer #lashcastle #przedluzanierzes #eyelashextensions #lashesfordays #volumetweezers #tweezers #pinkladylash #borboletabeauty #melblashes #lashbarnorway #merakilashes #classiclashes #borbylashes #lashtrainer #lashaffairbyjp #eyelashextensionsmelbourne #bellalash #sugarlashpro #sobelashes #lasheducation #russianqueenlashes #lashempire #lashmaker #miamilashtraining #rzesywarszawa #laurabeauty #ilevellab

#volumetweezers #megavolumelashes #lashextensions #mavenlashes #lashartist #lovelashbase #diamondlashes #rzesyobjetosciowe #eyelashextensionsupplies #classiclashes #premiumlashes #bestlashes #lashschool #lashbarcph #volumetweezers #mavenartistry #lashclass #lashtraining #utahlashes #lashlift #classic #lashlove #sobelashes #volume #eyelashextensions #austinlashtraining #megavolumelashes #lashextensions #lashbarnorway #Londonlashpro #lashextensionsmelbourne #viplash #completelashes #secretlashes #luxglamco #lashdoll #rzęsy #lashtrainer #lashmaster #lashtools #russianvolume #lashartist #mua #lashaffairbyjparis #hollywoodlashes #wimperextension #austinlashes #eyelashextensions #обучениенаращиваниюресниц #брови #ресницы #материалыдлябровей #владикавказ #салоныкрасоты #материалыдлянаращиванияресниц #наращиваниересниц #наращиваниеволос #объемноенаращивание #глаза #lashesmoscow #пинцеты #классическоенаращивание

#материалыдлянаращиванияресниц #2dнаращиваниересниц #ресницы3d #тройнойобъем #объёмноенаращиваниересниц #реснички #цветныересницы #lashextensions #classiclashes #цветныересницы #обучениенаращиваниюресниц #брови #ресницы #материалыдлябровей #владикавказ #салоныкрасоты #материалыдлянаращиванияресниц #наращиваниересниц #наращиваниеволос #объемноенаращивание #глаза #lashesmoscow #пинцеты #классическоенаращивание #материалыдлянаращиванияресниц #2dнаращиваниересниц #ресницы3d #тройнойобъем #объёмноенаращиваниересниц #реснички #цветныересницы #classiclashes #цветныересницы

Professional Volume Eyelash Extension Tweezers

▪Highly Precise ▪Fine Tip

▪Hand Tested ▪Wholesale Prices

 

Khối lượng chuyên nghiệp Lông mi mở rộng nhíp

▪Chính xác cao ▪Mẹo nhỏ

▪Đã kiểm tra ▪Giá Bán from Buôn

 

Pinzette per estensione di ciglia volume professionale

▪Altamente preciso ▪Punta fine

▪Testato a mano ▪Prezzi all'ingrosso

 

Profissional Pinça de extensão de pestanas de volume

▪Alta precisão ▪ponta fina

▪Teste manual ▪Preços por atacado

 

Профессиональный объемный пинцет для наращивания ресниц

▪ Высоко Точный ▪Точный совет

▪Ручное тестирование ▪Оптовые цены

 

#tweezermaneyelashcurler #tweezermanbenelux #tweezermanmurah

#tweezermann #tweezermanprofessional #tweezermanxsephora

#tweezermanlashcurler #tweezermanbrushiq #tweezermanbrows

#tweezermanbrushes #tweezermanmini #lashproducts

#tweezermanambassador #lashexpert #lashstuff

#tweezermankiev #tweezermanaustralia #tweezermangiveaway

#tweezerman_de #tweezermannl #tweezermanlove #thicklashes

#lashes #lash #lashextensions #lashlift #lashesextension #lashboost #lashbabe #lashtraining #lashmaster

#lashesonfleek #lashlove #lashtech #lashboss #lashtips

#lashgoals #lashqueen #lashpreneur #lashtint #lashstylist

#lashartist #lashlife #lasheducator #lashobsessed #lashroom

#lashdoll #lashextension #lashmaker #lashlifting #lashing #lashdolls #lashporn #lashmapping #lashtrainer #lashfill #lashcourse #lashbeauty #lashroomdecor #lashtechnician #lashstudio #lashpro #lashaddict #lashgame

#lashlady #lashgang #lashlover #lashista #lashed #lashperfect

#lashvolume #lashschool #lashsupplier #lashquotes

#lashliftandtint #lashtip #lashlovers #lashdiva #lashbabes #lashenvy #Vietnam #china

#lashqueens #lasheslasheslashes #lashquoteoftheday #lashes👀#lashesofinstagram #lashbath #lashacademy #lashqoutes #lashboxla #russian #russian #ukraine

#lashesonlashes #lashesextensions #lashbar #lashedout #lashesfordays #lashesonpoint #lashbox #lashtweezers #lashesforever #classiclashes #lashboostrodanandfields #lashton #lashobsession #lasheslifting #lashesbyme #lashboxlacanada #lashquote #lashwands #lashaffairbyjparis #lasheslove #lashquotesoftheday #lashcommunity #lashme #batalash #lashboxlamexico #bellalash #lashclassatlanta #lovelash #volumelash #volumelashextensions #lashia #lashmaster #lashmasterorel #eyelash

#lashmasters #lashmastermindbrasil #lashmasterclass #lashmastery #sialkot #punjab #pakistan

#lashmaster2020 #lashmasterazira #lashmasterlegends #lashmaster_pro #webdesigner #webdeveloper

#lashmaster_алёна_lbc #lashmasterkiev #lashmastersconference #internetexplorer

#lashmaster_alinaaa #lashmasterminsk #lashmaster_kris #lashmasterchita #lashtweezersuk #noorimanindustries

#lashmaster_ru #lashmaster39 #lashmaster96 #lashmastersaratov #crossedge #khadmi #amithimpes

#lashmasterclases #lashmasterrostov #lashmastertrainer #lashmasterilona #bretalbeautyintl #nomaxenterprises

#lashmasterbrn #lashmasterspb #lashmasteruk #lashmasterofsweden #aifarralashliftingtools #applicators

#lashmastermoscow #lashmasterkrd #lashmastervasneva #lashmasterpenza #aifarranailtools #aifarrasurgicaltools

#lashmaster_amluxlook_дроноваалена #lashmasternn #lashmasterpnz #aeedc2020 #aifarrasurgicaltweezers

#lashmaster_dp #lashmaster_ms #lashmastertmn #lashmaster_zhitnikova #aifarralashtool #aifarrahairtools

#lashmaster_anastasiya #lashmasterpoltava #lashmastervl #lashworld #rubberdamclamps #forcep #VK #youtube

#lashmastercourse #dailymotion #ucbrowsers #alibaba

#lashmaster_amluxlook_шалыгинаекатерина

#lashmastercoursemanchester #aliexpress #amazon

#lashmaster_amluxlook_джимиева_кристина

#lashmaster_amluxlook_марияалексеева #lashmaster_amluxlook #ebay #likeforlike #USA

#lashmasternkvz #lashmasterveronicazora #lashmaster_ar #lashmasterv #topnews #latestnews #gramblr #stars

#lashmasteralmaty #lashmastermira #celebrities

#lashmaster_amluxlook_алятинаелена #doller #people

#lashmasternsk #lashmastersurgut #lashmasterzp

#lashmasterno #snapchat #flicker #Orthomechanix

#lashmasterkrg #lashmasterpiece #lashmasteroslo

#lashmasterkrsk #outlook #beautyforume #aeedcdubai

#lashmaster_alena #lashmasterodessa #lashmastertunis #lashmasternorge #google #facebook #instagram #twitter

#linkedin #pinterest #world #nation #medical

#lashmastertomsk #lashmasterdoha #lashmaster_spb #volumetweezers #lashmasterstudio #наращиваниересниц #ресницымосква #наращиваниеногтейгелем #наращиваниересницмосква #электрозаводская #айбьютистудиоэлектрозаводская #tahirsurgical

#lashlayer #liftandtint #lovelash #lashbusiness #lashextention

#eyelashes #lashforweeks #fullashes #tweezers #lashtweezers #aifarrameasurmenttools #hashtag

#eyelashextensions #borboletabeauty #melblashes #lashbarnorway #merakilashes #minklash #borbylashes #lashaffairjparis #eyelashextensionsmelbourneh #silklashes #Microblading #dental #hairtools #hairscissors #beautyscissors #New_Arrival #aifarrsurgical

#eyelashextensions #eyelinertutorial #eyesdrawing

#eyelashextensionjakarta #eyelashebekasi #eyelash

#eyelashes #eyelashtraining #eyelashekayuringin

#eyelashbekasibarathomecare #eyelashbekasibarat

#eyelashbekasimurah #eyelashbekasipromo

#eyelashbekasiutara #eyelashbekasiselatan

#eyelashbekasiregancy #eyelashhomeservice

#homeserviceeyelash #eyelashhomeservisbekasi

#eyelashpekayon #eyelashesterdekat

#eyelashesnengai #eyelashesbekasitermurah

#eyelashesbekasioke #eyelasheskeren #eyelashcantik

#eyelashlentik #eyelashbekasitimur #lashlovers

#workshoppestanas #workshops #lashartist #lashmaster #lashmagazine #lashextensions #lashlover #lashfamaly #lashboss #lashdiva #pestanasvolume #instagood #instagrammer #insta #inspiração #costadacaparica #sol #exoticeyes #extensão #lequesperfeitos #formaçãomargemsul #workshoppestanas #lovemywork #lashmagazine #lashextensions #lashlover #lashfamaly #lashboss #lashartist #lashdiva #lashqueen #Lasheaven #costadacaparica #extensãodepestanas #sol #fioafio #divalash #aifarrasurgical #lashes #mylashes #londonlash

#Professionalshavingtools #hairshavingtools #qualityshavingtools #razorsafaty #hairsafaty #Prohairsafaty #Shavingsafaty #hairshavingbursh #shavingbursh #hairshavingstand #hairshavingstandwood #shavingwoodstand #shavingstand #hairscissors #professionalscissors #professionalqualityrazor #haircuttingshears #petgroomingshears #razorshears #multirazorscissors #lashaffair #lashattachment #lashgroupies

#tweezermanxhudabeauty #tweezermanuk #tweezermanpartner #tweezermanbrasil #tweezersmanufecturer #tweezermanslant #tweezermanca #tweezermanindonesia #tweezermangear #tweezermanspain

#tweezermanhk #tweezermanvippro #tweezerman #tweezermancanada #tweezermannipper #tweezermanme #tweezermanportugal #tweezermantools #tweezermantweezers #tweezerman_id #tweezermanукраина #dramaticlashes #lasheslasheslashes #googleplus

#tweezermanturns35 #tweezermanufacturer #tweezermanxglow #gmail #info #worldtradecenter #eyelashextensions #volumetweezers #russianvolume #lash #cils #cilios #mua #rzesy #lashartist #lashcoach #berlash #ciliosbrasil #ciliosbrasil #australialashextensions #borboletabeauty #pinkladylash #lashaffairbyjp #lashmakers #lashlineacademy #volumelashes #megavolumelashes #przedluzanierzes #tweezers #australialashextensions #australialashes #Sydneylashes #Melbournelashes #Brisbanelashes #Perthlashes #Adelaidelashes #GoldCoastlashes #volumetweezers #eyelashextensions #diamondgriptweezers #CentralCoastlashes #SunshineCoastlashes #Hobartlashes #Townsvillelashes #russianvolume #sydneylashartist #ruvol #eyelashextensionssydney #lashextensionssydney #wimperextensions #wimperlashextensions #vavalash #miamilashes #sobelashes #volumelashes #miami #sobe #lashtraining #miamivolumetraining #miamilashtraining #lashesmiami #eyelashesmiami #lashextensions #russianvolume #lashbox #lashmakersnation #lashheaven #przedluzanierzes #lashpromiami #lashpro #miamilashextensions #lashtrainingmiami #lashempire #lashtrainer #lashcastle #przedluzanierzes #eyelashextensions #lashesfordays #volumetweezers #tweezers #pinkladylash #borboletabeauty #melblashes #lashbarnorway #merakilashes #classiclashes #borbylashes #lashtrainer #lashaffairbyjp #eyelashextensionsmelbourne #bellalash #sugarlashpro #sobelashes #lasheducation #russianqueenlashes #lashempire #lashmaker #miamilashtraining #rzesywarszawa #laurabeauty #ilevellab

#volumetweezers #megavolumelashes #lashextensions #mavenlashes #lashartist #lovelashbase #diamondlashes #rzesyobjetosciowe #eyelashextensionsupplies #classiclashes #premiumlashes #bestlashes #lashschool #lashbarcph #volumetweezers #mavenartistry #lashclass #lashtraining #utahlashes #lashlift #classic #lashlove #sobelashes #volume #eyelashextensions #austinlashtraining #megavolumelashes #lashextensions #lashbarnorway #Londonlashpro #lashextensionsmelbourne #viplash #completelashes #secretlashes #luxglamco #lashdoll #rzęsy #lashtrainer #lashmaster #lashtools #russianvolume #lashartist #mua #lashaffairbyjparis #hollywoodlashes #wimperextension #austinlashes #eyelashextensions #обучениенаращиваниюресниц #брови #ресницы #материалыдлябровей #владикавказ #салоныкрасоты #материалыдлянаращиванияресниц #наращиваниересниц #наращиваниеволос #объемноенаращивание #глаза #lashesmoscow #пинцеты #классическоенаращивание

#материалыдлянаращиванияресниц #2dнаращиваниересниц #ресницы3d #тройнойобъем #объёмноенаращиваниересниц #реснички #цветныересницы #lashextensions #classiclashes #цветныересницы #обучениенаращиваниюресниц #брови #ресницы #материалыдлябровей #владикавказ #салоныкрасоты #материалыдлянаращиванияресниц #наращиваниересниц #наращиваниеволос #объемноенаращивание #глаза #lashesmoscow #пинцеты #классическоенаращивание #материалыдлянаращиванияресниц #2dнаращиваниересниц #ресницы3d #тройнойобъем #объёмноенаращиваниересниц #реснички #цветныересницы #classiclashes #цветныересницы

Precise Perspective with Shiva

Professional Volume Eyelash Extension Tweezers

▪Highly Precise ▪Fine Tip

▪Hand Tested ▪Wholesale Prices

 

Khối lượng chuyên nghiệp Lông mi mở rộng nhíp

▪Chính xác cao ▪Mẹo nhỏ

▪Đã kiểm tra ▪Giá Bán from Buôn

 

Pinzette per estensione di ciglia volume professionale

▪Altamente preciso ▪Punta fine

▪Testato a mano ▪Prezzi all'ingrosso

 

Profissional Pinça de extensão de pestanas de volume

▪Alta precisão ▪ponta fina

▪Teste manual ▪Preços por atacado

 

Профессиональный объемный пинцет для наращивания ресниц

▪ Высоко Точный ▪Точный совет

▪Ручное тестирование ▪Оптовые цены

 

#tweezermaneyelashcurler #tweezermanbenelux #tweezermanmurah

#tweezermann #tweezermanprofessional #tweezermanxsephora

#tweezermanlashcurler #tweezermanbrushiq #tweezermanbrows

#tweezermanbrushes #tweezermanmini #lashproducts

#tweezermanambassador #lashexpert #lashstuff

#tweezermankiev #tweezermanaustralia #tweezermangiveaway

#tweezerman_de #tweezermannl #tweezermanlove #thicklashes

#lashes #lash #lashextensions #lashlift #lashesextension #lashboost #lashbabe #lashtraining #lashmaster

#lashesonfleek #lashlove #lashtech #lashboss #lashtips

#lashgoals #lashqueen #lashpreneur #lashtint #lashstylist

#lashartist #lashlife #lasheducator #lashobsessed #lashroom

#lashdoll #lashextension #lashmaker #lashlifting #lashing #lashdolls #lashporn #lashmapping #lashtrainer #lashfill #lashcourse #lashbeauty #lashroomdecor #lashtechnician #lashstudio #lashpro #lashaddict #lashgame

#lashlady #lashgang #lashlover #lashista #lashed #lashperfect

#lashvolume #lashschool #lashsupplier #lashquotes

#lashliftandtint #lashtip #lashlovers #lashdiva #lashbabes #lashenvy #Vietnam #china

#lashqueens #lasheslasheslashes #lashquoteoftheday #lashes👀#lashesofinstagram #lashbath #lashacademy #lashqoutes #lashboxla #russian #russian #ukraine

#lashesonlashes #lashesextensions #lashbar #lashedout #lashesfordays #lashesonpoint #lashbox #lashtweezers #lashesforever #classiclashes #lashboostrodanandfields #lashton #lashobsession #lasheslifting #lashesbyme #lashboxlacanada #lashquote #lashwands #lashaffairbyjparis #lasheslove #lashquotesoftheday #lashcommunity #lashme #batalash #lashboxlamexico #bellalash #lashclassatlanta #lovelash #volumelash #volumelashextensions #lashia #lashmaster #lashmasterorel #eyelash

#lashmasters #lashmastermindbrasil #lashmasterclass #lashmastery #sialkot #punjab #pakistan

#lashmaster2020 #lashmasterazira #lashmasterlegends #lashmaster_pro #webdesigner #webdeveloper

#lashmaster_алёна_lbc #lashmasterkiev #lashmastersconference #internetexplorer

#lashmaster_alinaaa #lashmasterminsk #lashmaster_kris #lashmasterchita #lashtweezersuk #noorimanindustries

#lashmaster_ru #lashmaster39 #lashmaster96 #lashmastersaratov #crossedge #khadmi #amithimpes

#lashmasterclases #lashmasterrostov #lashmastertrainer #lashmasterilona #bretalbeautyintl #nomaxenterprises

#lashmasterbrn #lashmasterspb #lashmasteruk #lashmasterofsweden #aifarralashliftingtools #applicators

#lashmastermoscow #lashmasterkrd #lashmastervasneva #lashmasterpenza #aifarranailtools #aifarrasurgicaltools

#lashmaster_amluxlook_дроноваалена #lashmasternn #lashmasterpnz #aeedc2020 #aifarrasurgicaltweezers

#lashmaster_dp #lashmaster_ms #lashmastertmn #lashmaster_zhitnikova #aifarralashtool #aifarrahairtools

#lashmaster_anastasiya #lashmasterpoltava #lashmastervl #lashworld #rubberdamclamps #forcep #VK #youtube

#lashmastercourse #dailymotion #ucbrowsers #alibaba

#lashmaster_amluxlook_шалыгинаекатерина

#lashmastercoursemanchester #aliexpress #amazon

#lashmaster_amluxlook_джимиева_кристина

#lashmaster_amluxlook_марияалексеева #lashmaster_amluxlook #ebay #likeforlike #USA

#lashmasternkvz #lashmasterveronicazora #lashmaster_ar #lashmasterv #topnews #latestnews #gramblr #stars

#lashmasteralmaty #lashmastermira #celebrities

#lashmaster_amluxlook_алятинаелена #doller #people

#lashmasternsk #lashmastersurgut #lashmasterzp

#lashmasterno #snapchat #flicker #Orthomechanix

#lashmasterkrg #lashmasterpiece #lashmasteroslo

#lashmasterkrsk #outlook #beautyforume #aeedcdubai

#lashmaster_alena #lashmasterodessa #lashmastertunis #lashmasternorge #google #facebook #instagram #twitter

#linkedin #pinterest #world #nation #medical

#lashmastertomsk #lashmasterdoha #lashmaster_spb #volumetweezers #lashmasterstudio #наращиваниересниц #ресницымосква #наращиваниеногтейгелем #наращиваниересницмосква #электрозаводская #айбьютистудиоэлектрозаводская #tahirsurgical

#lashlayer #liftandtint #lovelash #lashbusiness #lashextention

#eyelashes #lashforweeks #fullashes #tweezers #lashtweezers #aifarrameasurmenttools #hashtag

#eyelashextensions #borboletabeauty #melblashes #lashbarnorway #merakilashes #minklash #borbylashes #lashaffairjparis #eyelashextensionsmelbourneh #silklashes #Microblading #dental #hairtools #hairscissors #beautyscissors #New_Arrival #aifarrsurgical

#eyelashextensions #eyelinertutorial #eyesdrawing

#eyelashextensionjakarta #eyelashebekasi #eyelash

#eyelashes #eyelashtraining #eyelashekayuringin

#eyelashbekasibarathomecare #eyelashbekasibarat

#eyelashbekasimurah #eyelashbekasipromo

#eyelashbekasiutara #eyelashbekasiselatan

#eyelashbekasiregancy #eyelashhomeservice

#homeserviceeyelash #eyelashhomeservisbekasi

#eyelashpekayon #eyelashesterdekat

#eyelashesnengai #eyelashesbekasitermurah

#eyelashesbekasioke #eyelasheskeren #eyelashcantik

#eyelashlentik #eyelashbekasitimur #lashlovers

#workshoppestanas #workshops #lashartist #lashmaster #lashmagazine #lashextensions #lashlover #lashfamaly #lashboss #lashdiva #pestanasvolume #instagood #instagrammer #insta #inspiração #costadacaparica #sol #exoticeyes #extensão #lequesperfeitos #formaçãomargemsul #workshoppestanas #lovemywork #lashmagazine #lashextensions #lashlover #lashfamaly #lashboss #lashartist #lashdiva #lashqueen #Lasheaven #costadacaparica #extensãodepestanas #sol #fioafio #divalash #aifarrasurgical #lashes #mylashes #londonlash

#Professionalshavingtools #hairshavingtools #qualityshavingtools #razorsafaty #hairsafaty #Prohairsafaty #Shavingsafaty #hairshavingbursh #shavingbursh #hairshavingstand #hairshavingstandwood #shavingwoodstand #shavingstand #hairscissors #professionalscissors #professionalqualityrazor #haircuttingshears #petgroomingshears #razorshears #multirazorscissors #lashaffair #lashattachment #lashgroupies

#tweezermanxhudabeauty #tweezermanuk #tweezermanpartner #tweezermanbrasil #tweezersmanufecturer #tweezermanslant #tweezermanca #tweezermanindonesia #tweezermangear #tweezermanspain

#tweezermanhk #tweezermanvippro #tweezerman #tweezermancanada #tweezermannipper #tweezermanme #tweezermanportugal #tweezermantools #tweezermantweezers #tweezerman_id #tweezermanукраина #dramaticlashes #lasheslasheslashes #googleplus

#tweezermanturns35 #tweezermanufacturer #tweezermanxglow #gmail #info #worldtradecenter #eyelashextensions #volumetweezers #russianvolume #lash #cils #cilios #mua #rzesy #lashartist #lashcoach #berlash #ciliosbrasil #ciliosbrasil #australialashextensions #borboletabeauty #pinkladylash #lashaffairbyjp #lashmakers #lashlineacademy #volumelashes #megavolumelashes #przedluzanierzes #tweezers #australialashextensions #australialashes #Sydneylashes #Melbournelashes #Brisbanelashes #Perthlashes #Adelaidelashes #GoldCoastlashes #volumetweezers #eyelashextensions #diamondgriptweezers #CentralCoastlashes #SunshineCoastlashes #Hobartlashes #Townsvillelashes #russianvolume #sydneylashartist #ruvol #eyelashextensionssydney #lashextensionssydney #wimperextensions #wimperlashextensions #vavalash #miamilashes #sobelashes #volumelashes #miami #sobe #lashtraining #miamivolumetraining #miamilashtraining #lashesmiami #eyelashesmiami #lashextensions #russianvolume #lashbox #lashmakersnation #lashheaven #przedluzanierzes #lashpromiami #lashpro #miamilashextensions #lashtrainingmiami #lashempire #lashtrainer #lashcastle #przedluzanierzes #eyelashextensions #lashesfordays #volumetweezers #tweezers #pinkladylash #borboletabeauty #melblashes #lashbarnorway #merakilashes #classiclashes #borbylashes #lashtrainer #lashaffairbyjp #eyelashextensionsmelbourne #bellalash #sugarlashpro #sobelashes #lasheducation #russianqueenlashes #lashempire #lashmaker #miamilashtraining #rzesywarszawa #laurabeauty #ilevellab

#volumetweezers #megavolumelashes #lashextensions #mavenlashes #lashartist #lovelashbase #diamondlashes #rzesyobjetosciowe #eyelashextensionsupplies #classiclashes #premiumlashes #bestlashes #lashschool #lashbarcph #volumetweezers #mavenartistry #lashclass #lashtraining #utahlashes #lashlift #classic #lashlove #sobelashes #volume #eyelashextensions #austinlashtraining #megavolumelashes #lashextensions #lashbarnorway #Londonlashpro #lashextensionsmelbourne #viplash #completelashes #secretlashes #luxglamco #lashdoll #rzęsy #lashtrainer #lashmaster #lashtools #russianvolume #lashartist #mua #lashaffairbyjparis #hollywoodlashes #wimperextension #austinlashes #eyelashextensions #обучениенаращиваниюресниц #брови #ресницы #материалыдлябровей #владикавказ #салоныкрасоты #материалыдлянаращиванияресниц #наращиваниересниц #наращиваниеволос #объемноенаращивание #глаза #lashesmoscow #пинцеты #классическоенаращивание

#материалыдлянаращиванияресниц #2dнаращиваниересниц #ресницы3d #тройнойобъем #объёмноенаращиваниересниц #реснички #цветныересницы #lashextensions #classiclashes #цветныересницы #обучениенаращиваниюресниц #брови #ресницы #материалыдлябровей #владикавказ #салоныкрасоты #материалыдлянаращиванияресниц #наращиваниересниц #наращиваниеволос #объемноенаращивание #глаза #lashesmoscow #пинцеты #классическоенаращивание #материалыдлянаращиванияресниц #2dнаращиваниересниц #ресницы3d #тройнойобъем #объёмноенаращиваниересниц #реснички #цветныересницы #classiclashes #цветныересницы

No precise date is associated with this photo but it is thought to be from the 1930s. Many of the paintings and other fixtures are still in place in the 21st Century. However, it is thought that the decorative setting of the refectory tables was put on for the photography as these photos were used for publicity purposes.

Precise Perspective with Shiva

Bad Hair: Photo Exhibit & Social Party 2017

Professional Volume Eyelash Extension Tweezers

▪Highly Precise ▪Fine Tip

▪Hand Tested ▪Wholesale Prices

 

Khối lượng chuyên nghiệp Lông mi mở rộng nhíp

▪Chính xác cao ▪Mẹo nhỏ

▪Đã kiểm tra ▪Giá Bán from Buôn

 

Pinzette per estensione di ciglia volume professionale

▪Altamente preciso ▪Punta fine

▪Testato a mano ▪Prezzi all'ingrosso

 

Profissional Pinça de extensão de pestanas de volume

▪Alta precisão ▪ponta fina

▪Teste manual ▪Preços por atacado

 

Профессиональный объемный пинцет для наращивания ресниц

▪ Высоко Точный ▪Точный совет

▪Ручное тестирование ▪Оптовые цены

 

#tweezermaneyelashcurler #tweezermanbenelux #tweezermanmurah

#tweezermann #tweezermanprofessional #tweezermanxsephora

#tweezermanlashcurler #tweezermanbrushiq #tweezermanbrows

#tweezermanbrushes #tweezermanmini #lashproducts

#tweezermanambassador #lashexpert #lashstuff

#tweezermankiev #tweezermanaustralia #tweezermangiveaway

#tweezerman_de #tweezermannl #tweezermanlove #thicklashes

#lashes #lash #lashextensions #lashlift #lashesextension #lashboost #lashbabe #lashtraining #lashmaster

#lashesonfleek #lashlove #lashtech #lashboss #lashtips

#lashgoals #lashqueen #lashpreneur #lashtint #lashstylist

#lashartist #lashlife #lasheducator #lashobsessed #lashroom

#lashdoll #lashextension #lashmaker #lashlifting #lashing #lashdolls #lashporn #lashmapping #lashtrainer #lashfill #lashcourse #lashbeauty #lashroomdecor #lashtechnician #lashstudio #lashpro #lashaddict #lashgame

#lashlady #lashgang #lashlover #lashista #lashed #lashperfect

#lashvolume #lashschool #lashsupplier #lashquotes

#lashliftandtint #lashtip #lashlovers #lashdiva #lashbabes #lashenvy #Vietnam #china

#lashqueens #lasheslasheslashes #lashquoteoftheday #lashes👀#lashesofinstagram #lashbath #lashacademy #lashqoutes #lashboxla #russian #russian #ukraine

#lashesonlashes #lashesextensions #lashbar #lashedout #lashesfordays #lashesonpoint #lashbox #lashtweezers #lashesforever #classiclashes #lashboostrodanandfields #lashton #lashobsession #lasheslifting #lashesbyme #lashboxlacanada #lashquote #lashwands #lashaffairbyjparis #lasheslove #lashquotesoftheday #lashcommunity #lashme #batalash #lashboxlamexico #bellalash #lashclassatlanta #lovelash #volumelash #volumelashextensions #lashia #lashmaster #lashmasterorel #eyelash

#lashmasters #lashmastermindbrasil #lashmasterclass #lashmastery #sialkot #punjab #pakistan

#lashmaster2020 #lashmasterazira #lashmasterlegends #lashmaster_pro #webdesigner #webdeveloper

#lashmaster_алёна_lbc #lashmasterkiev #lashmastersconference #internetexplorer

#lashmaster_alinaaa #lashmasterminsk #lashmaster_kris #lashmasterchita #lashtweezersuk #noorimanindustries

#lashmaster_ru #lashmaster39 #lashmaster96 #lashmastersaratov #crossedge #khadmi #amithimpes

#lashmasterclases #lashmasterrostov #lashmastertrainer #lashmasterilona #bretalbeautyintl #nomaxenterprises

#lashmasterbrn #lashmasterspb #lashmasteruk #lashmasterofsweden #aifarralashliftingtools #applicators

#lashmastermoscow #lashmasterkrd #lashmastervasneva #lashmasterpenza #aifarranailtools #aifarrasurgicaltools

#lashmaster_amluxlook_дроноваалена #lashmasternn #lashmasterpnz #aeedc2020 #aifarrasurgicaltweezers

#lashmaster_dp #lashmaster_ms #lashmastertmn #lashmaster_zhitnikova #aifarralashtool #aifarrahairtools

#lashmaster_anastasiya #lashmasterpoltava #lashmastervl #lashworld #rubberdamclamps #forcep #VK #youtube

#lashmastercourse #dailymotion #ucbrowsers #alibaba

#lashmaster_amluxlook_шалыгинаекатерина

#lashmastercoursemanchester #aliexpress #amazon

#lashmaster_amluxlook_джимиева_кристина

#lashmaster_amluxlook_марияалексеева #lashmaster_amluxlook #ebay #likeforlike #USA

#lashmasternkvz #lashmasterveronicazora #lashmaster_ar #lashmasterv #topnews #latestnews #gramblr #stars

#lashmasteralmaty #lashmastermira #celebrities

#lashmaster_amluxlook_алятинаелена #doller #people

#lashmasternsk #lashmastersurgut #lashmasterzp

#lashmasterno #snapchat #flicker #Orthomechanix

#lashmasterkrg #lashmasterpiece #lashmasteroslo

#lashmasterkrsk #outlook #beautyforume #aeedcdubai

#lashmaster_alena #lashmasterodessa #lashmastertunis #lashmasternorge #google #facebook #instagram #twitter

#linkedin #pinterest #world #nation #medical

#lashmastertomsk #lashmasterdoha #lashmaster_spb #volumetweezers #lashmasterstudio #наращиваниересниц #ресницымосква #наращиваниеногтейгелем #наращиваниересницмосква #электрозаводская #айбьютистудиоэлектрозаводская #tahirsurgical

#lashlayer #liftandtint #lovelash #lashbusiness #lashextention

#eyelashes #lashforweeks #fullashes #tweezers #lashtweezers #aifarrameasurmenttools #hashtag

#eyelashextensions #borboletabeauty #melblashes #lashbarnorway #merakilashes #minklash #borbylashes #lashaffairjparis #eyelashextensionsmelbourneh #silklashes #Microblading #dental #hairtools #hairscissors #beautyscissors #New_Arrival #aifarrsurgical

#eyelashextensions #eyelinertutorial #eyesdrawing

#eyelashextensionjakarta #eyelashebekasi #eyelash

#eyelashes #eyelashtraining #eyelashekayuringin

#eyelashbekasibarathomecare #eyelashbekasibarat

#eyelashbekasimurah #eyelashbekasipromo

#eyelashbekasiutara #eyelashbekasiselatan

#eyelashbekasiregancy #eyelashhomeservice

#homeserviceeyelash #eyelashhomeservisbekasi

#eyelashpekayon #eyelashesterdekat

#eyelashesnengai #eyelashesbekasitermurah

#eyelashesbekasioke #eyelasheskeren #eyelashcantik

#eyelashlentik #eyelashbekasitimur #lashlovers

#workshoppestanas #workshops #lashartist #lashmaster #lashmagazine #lashextensions #lashlover #lashfamaly #lashboss #lashdiva #pestanasvolume #instagood #instagrammer #insta #inspiração #costadacaparica #sol #exoticeyes #extensão #lequesperfeitos #formaçãomargemsul #workshoppestanas #lovemywork #lashmagazine #lashextensions #lashlover #lashfamaly #lashboss #lashartist #lashdiva #lashqueen #Lasheaven #costadacaparica #extensãodepestanas #sol #fioafio #divalash #aifarrasurgical #lashes #mylashes #londonlash

#Professionalshavingtools #hairshavingtools #qualityshavingtools #razorsafaty #hairsafaty #Prohairsafaty #Shavingsafaty #hairshavingbursh #shavingbursh #hairshavingstand #hairshavingstandwood #shavingwoodstand #shavingstand #hairscissors #professionalscissors #professionalqualityrazor #haircuttingshears #petgroomingshears #razorshears #multirazorscissors #lashaffair #lashattachment #lashgroupies

#tweezermanxhudabeauty #tweezermanuk #tweezermanpartner #tweezermanbrasil #tweezersmanufecturer #tweezermanslant #tweezermanca #tweezermanindonesia #tweezermangear #tweezermanspain

#tweezermanhk #tweezermanvippro #tweezerman #tweezermancanada #tweezermannipper #tweezermanme #tweezermanportugal #tweezermantools #tweezermantweezers #tweezerman_id #tweezermanукраина #dramaticlashes #lasheslasheslashes #googleplus

#tweezermanturns35 #tweezermanufacturer #tweezermanxglow #gmail #info #worldtradecenter #eyelashextensions #volumetweezers #russianvolume #lash #cils #cilios #mua #rzesy #lashartist #lashcoach #berlash #ciliosbrasil #ciliosbrasil #australialashextensions #borboletabeauty #pinkladylash #lashaffairbyjp #lashmakers #lashlineacademy #volumelashes #megavolumelashes #przedluzanierzes #tweezers #australialashextensions #australialashes #Sydneylashes #Melbournelashes #Brisbanelashes #Perthlashes #Adelaidelashes #GoldCoastlashes #volumetweezers #eyelashextensions #diamondgriptweezers #CentralCoastlashes #SunshineCoastlashes #Hobartlashes #Townsvillelashes #russianvolume #sydneylashartist #ruvol #eyelashextensionssydney #lashextensionssydney #wimperextensions #wimperlashextensions #vavalash #miamilashes #sobelashes #volumelashes #miami #sobe #lashtraining #miamivolumetraining #miamilashtraining #lashesmiami #eyelashesmiami #lashextensions #russianvolume #lashbox #lashmakersnation #lashheaven #przedluzanierzes #lashpromiami #lashpro #miamilashextensions #lashtrainingmiami #lashempire #lashtrainer #lashcastle #przedluzanierzes #eyelashextensions #lashesfordays #volumetweezers #tweezers #pinkladylash #borboletabeauty #melblashes #lashbarnorway #merakilashes #classiclashes #borbylashes #lashtrainer #lashaffairbyjp #eyelashextensionsmelbourne #bellalash #sugarlashpro #sobelashes #lasheducation #russianqueenlashes #lashempire #lashmaker #miamilashtraining #rzesywarszawa #laurabeauty #ilevellab

#volumetweezers #megavolumelashes #lashextensions #mavenlashes #lashartist #lovelashbase #diamondlashes #rzesyobjetosciowe #eyelashextensionsupplies #classiclashes #premiumlashes #bestlashes #lashschool #lashbarcph #volumetweezers #mavenartistry #lashclass #lashtraining #utahlashes #lashlift #classic #lashlove #sobelashes #volume #eyelashextensions #austinlashtraining #megavolumelashes #lashextensions #lashbarnorway #Londonlashpro #lashextensionsmelbourne #viplash #completelashes #secretlashes #luxglamco #lashdoll #rzęsy #lashtrainer #lashmaster #lashtools #russianvolume #lashartist #mua #lashaffairbyjparis #hollywoodlashes #wimperextension #austinlashes #eyelashextensions #обучениенаращиваниюресниц #брови #ресницы #материалыдлябровей #владикавказ #салоныкрасоты #материалыдлянаращиванияресниц #наращиваниересниц #наращиваниеволос #объемноенаращивание #глаза #lashesmoscow #пинцеты #классическоенаращивание

#материалыдлянаращиванияресниц #2dнаращиваниересниц #ресницы3d #тройнойобъем #объёмноенаращиваниересниц #реснички #цветныересницы #lashextensions #classiclashes #цветныересницы #обучениенаращиваниюресниц #брови #ресницы #материалыдлябровей #владикавказ #салоныкрасоты #материалыдлянаращиванияресниц #наращиваниересниц #наращиваниеволос #объемноенаращивание #глаза #lashesmoscow #пинцеты #классическоенаращивание #материалыдлянаращиванияресниц #2dнаращиваниересниц #ресницы3d #тройнойобъем #объёмноенаращиваниересниц #реснички #цветныересницы #classiclashes #цветныересницы

Professional Volume Eyelash Extension Tweezers

▪Highly Precise ▪Fine Tip

▪Hand Tested ▪Wholesale Prices

 

Khối lượng chuyên nghiệp Lông mi mở rộng nhíp

▪Chính xác cao ▪Mẹo nhỏ

▪Đã kiểm tra ▪Giá Bán from Buôn

 

Pinzette per estensione di ciglia volume professionale

▪Altamente preciso ▪Punta fine

▪Testato a mano ▪Prezzi all'ingrosso

 

Profissional Pinça de extensão de pestanas de volume

▪Alta precisão ▪ponta fina

▪Teste manual ▪Preços por atacado

 

Профессиональный объемный пинцет для наращивания ресниц

▪ Высоко Точный ▪Точный совет

▪Ручное тестирование ▪Оптовые цены

 

#tweezermaneyelashcurler #tweezermanbenelux #tweezermanmurah

#tweezermann #tweezermanprofessional #tweezermanxsephora

#tweezermanlashcurler #tweezermanbrushiq #tweezermanbrows

#tweezermanbrushes #tweezermanmini #lashproducts

#tweezermanambassador #lashexpert #lashstuff

#tweezermankiev #tweezermanaustralia #tweezermangiveaway

#tweezerman_de #tweezermannl #tweezermanlove #thicklashes

#lashes #lash #lashextensions #lashlift #lashesextension #lashboost #lashbabe #lashtraining #lashmaster

#lashesonfleek #lashlove #lashtech #lashboss #lashtips

#lashgoals #lashqueen #lashpreneur #lashtint #lashstylist

#lashartist #lashlife #lasheducator #lashobsessed #lashroom

#lashdoll #lashextension #lashmaker #lashlifting #lashing #lashdolls #lashporn #lashmapping #lashtrainer #lashfill #lashcourse #lashbeauty #lashroomdecor #lashtechnician #lashstudio #lashpro #lashaddict #lashgame

#lashlady #lashgang #lashlover #lashista #lashed #lashperfect

#lashvolume #lashschool #lashsupplier #lashquotes

#lashliftandtint #lashtip #lashlovers #lashdiva #lashbabes #lashenvy #Vietnam #china

#lashqueens #lasheslasheslashes #lashquoteoftheday #lashes👀#lashesofinstagram #lashbath #lashacademy #lashqoutes #lashboxla #russian #russian #ukraine

#lashesonlashes #lashesextensions #lashbar #lashedout #lashesfordays #lashesonpoint #lashbox #lashtweezers #lashesforever #classiclashes #lashboostrodanandfields #lashton #lashobsession #lasheslifting #lashesbyme #lashboxlacanada #lashquote #lashwands #lashaffairbyjparis #lasheslove #lashquotesoftheday #lashcommunity #lashme #batalash #lashboxlamexico #bellalash #lashclassatlanta #lovelash #volumelash #volumelashextensions #lashia #lashmaster #lashmasterorel #eyelash

#lashmasters #lashmastermindbrasil #lashmasterclass #lashmastery #sialkot #punjab #pakistan

#lashmaster2020 #lashmasterazira #lashmasterlegends #lashmaster_pro #webdesigner #webdeveloper

#lashmaster_алёна_lbc #lashmasterkiev #lashmastersconference #internetexplorer

#lashmaster_alinaaa #lashmasterminsk #lashmaster_kris #lashmasterchita #lashtweezersuk #noorimanindustries

#lashmaster_ru #lashmaster39 #lashmaster96 #lashmastersaratov #crossedge #khadmi #amithimpes

#lashmasterclases #lashmasterrostov #lashmastertrainer #lashmasterilona #bretalbeautyintl #nomaxenterprises

#lashmasterbrn #lashmasterspb #lashmasteruk #lashmasterofsweden #aifarralashliftingtools #applicators

#lashmastermoscow #lashmasterkrd #lashmastervasneva #lashmasterpenza #aifarranailtools #aifarrasurgicaltools

#lashmaster_amluxlook_дроноваалена #lashmasternn #lashmasterpnz #aeedc2020 #aifarrasurgicaltweezers

#lashmaster_dp #lashmaster_ms #lashmastertmn #lashmaster_zhitnikova #aifarralashtool #aifarrahairtools

#lashmaster_anastasiya #lashmasterpoltava #lashmastervl #lashworld #rubberdamclamps #forcep #VK #youtube

#lashmastercourse #dailymotion #ucbrowsers #alibaba

#lashmaster_amluxlook_шалыгинаекатерина

#lashmastercoursemanchester #aliexpress #amazon

#lashmaster_amluxlook_джимиева_кристина

#lashmaster_amluxlook_марияалексеева #lashmaster_amluxlook #ebay #likeforlike #USA

#lashmasternkvz #lashmasterveronicazora #lashmaster_ar #lashmasterv #topnews #latestnews #gramblr #stars

#lashmasteralmaty #lashmastermira #celebrities

#lashmaster_amluxlook_алятинаелена #doller #people

#lashmasternsk #lashmastersurgut #lashmasterzp

#lashmasterno #snapchat #flicker #Orthomechanix

#lashmasterkrg #lashmasterpiece #lashmasteroslo

#lashmasterkrsk #outlook #beautyforume #aeedcdubai

#lashmaster_alena #lashmasterodessa #lashmastertunis #lashmasternorge #google #facebook #instagram #twitter

#linkedin #pinterest #world #nation #medical

#lashmastertomsk #lashmasterdoha #lashmaster_spb #volumetweezers #lashmasterstudio #наращиваниересниц #ресницымосква #наращиваниеногтейгелем #наращиваниересницмосква #электрозаводская #айбьютистудиоэлектрозаводская #tahirsurgical

#lashlayer #liftandtint #lovelash #lashbusiness #lashextention

#eyelashes #lashforweeks #fullashes #tweezers #lashtweezers #aifarrameasurmenttools #hashtag

#eyelashextensions #borboletabeauty #melblashes #lashbarnorway #merakilashes #minklash #borbylashes #lashaffairjparis #eyelashextensionsmelbourneh #silklashes #Microblading #dental #hairtools #hairscissors #beautyscissors #New_Arrival #aifarrsurgical

#eyelashextensions #eyelinertutorial #eyesdrawing

#eyelashextensionjakarta #eyelashebekasi #eyelash

#eyelashes #eyelashtraining #eyelashekayuringin

#eyelashbekasibarathomecare #eyelashbekasibarat

#eyelashbekasimurah #eyelashbekasipromo

#eyelashbekasiutara #eyelashbekasiselatan

#eyelashbekasiregancy #eyelashhomeservice

#homeserviceeyelash #eyelashhomeservisbekasi

#eyelashpekayon #eyelashesterdekat

#eyelashesnengai #eyelashesbekasitermurah

#eyelashesbekasioke #eyelasheskeren #eyelashcantik

#eyelashlentik #eyelashbekasitimur #lashlovers

#workshoppestanas #workshops #lashartist #lashmaster #lashmagazine #lashextensions #lashlover #lashfamaly #lashboss #lashdiva #pestanasvolume #instagood #instagrammer #insta #inspiração #costadacaparica #sol #exoticeyes #extensão #lequesperfeitos #formaçãomargemsul #workshoppestanas #lovemywork #lashmagazine #lashextensions #lashlover #lashfamaly #lashboss #lashartist #lashdiva #lashqueen #Lasheaven #costadacaparica #extensãodepestanas #sol #fioafio #divalash #aifarrasurgical #lashes #mylashes #londonlash

#Professionalshavingtools #hairshavingtools #qualityshavingtools #razorsafaty #hairsafaty #Prohairsafaty #Shavingsafaty #hairshavingbursh #shavingbursh #hairshavingstand #hairshavingstandwood #shavingwoodstand #shavingstand #hairscissors #professionalscissors #professionalqualityrazor #haircuttingshears #petgroomingshears #razorshears #multirazorscissors #lashaffair #lashattachment #lashgroupies

#tweezermanxhudabeauty #tweezermanuk #tweezermanpartner #tweezermanbrasil #tweezersmanufecturer #tweezermanslant #tweezermanca #tweezermanindonesia #tweezermangear #tweezermanspain

#tweezermanhk #tweezermanvippro #tweezerman #tweezermancanada #tweezermannipper #tweezermanme #tweezermanportugal #tweezermantools #tweezermantweezers #tweezerman_id #tweezermanукраина #dramaticlashes #lasheslasheslashes #googleplus

#tweezermanturns35 #tweezermanufacturer #tweezermanxglow #gmail #info #worldtradecenter #eyelashextensions #volumetweezers #russianvolume #lash #cils #cilios #mua #rzesy #lashartist #lashcoach #berlash #ciliosbrasil #ciliosbrasil #australialashextensions #borboletabeauty #pinkladylash #lashaffairbyjp #lashmakers #lashlineacademy #volumelashes #megavolumelashes #przedluzanierzes #tweezers #australialashextensions #australialashes #Sydneylashes #Melbournelashes #Brisbanelashes #Perthlashes #Adelaidelashes #GoldCoastlashes #volumetweezers #eyelashextensions #diamondgriptweezers #CentralCoastlashes #SunshineCoastlashes #Hobartlashes #Townsvillelashes #russianvolume #sydneylashartist #ruvol #eyelashextensionssydney #lashextensionssydney #wimperextensions #wimperlashextensions #vavalash #miamilashes #sobelashes #volumelashes #miami #sobe #lashtraining #miamivolumetraining #miamilashtraining #lashesmiami #eyelashesmiami #lashextensions #russianvolume #lashbox #lashmakersnation #lashheaven #przedluzanierzes #lashpromiami #lashpro #miamilashextensions #lashtrainingmiami #lashempire #lashtrainer #lashcastle #przedluzanierzes #eyelashextensions #lashesfordays #volumetweezers #tweezers #pinkladylash #borboletabeauty #melblashes #lashbarnorway #merakilashes #classiclashes #borbylashes #lashtrainer #lashaffairbyjp #eyelashextensionsmelbourne #bellalash #sugarlashpro #sobelashes #lasheducation #russianqueenlashes #lashempire #lashmaker #miamilashtraining #rzesywarszawa #laurabeauty #ilevellab

#volumetweezers #megavolumelashes #lashextensions #mavenlashes #lashartist #lovelashbase #diamondlashes #rzesyobjetosciowe #eyelashextensionsupplies #classiclashes #premiumlashes #bestlashes #lashschool #lashbarcph #volumetweezers #mavenartistry #lashclass #lashtraining #utahlashes #lashlift #classic #lashlove #sobelashes #volume #eyelashextensions #austinlashtraining #megavolumelashes #lashextensions #lashbarnorway #Londonlashpro #lashextensionsmelbourne #viplash #completelashes #secretlashes #luxglamco #lashdoll #rzęsy #lashtrainer #lashmaster #lashtools #russianvolume #lashartist #mua #lashaffairbyjparis #hollywoodlashes #wimperextension #austinlashes #eyelashextensions #обучениенаращиваниюресниц #брови #ресницы #материалыдлябровей #владикавказ #салоныкрасоты #материалыдлянаращиванияресниц #наращиваниересниц #наращиваниеволос #объемноенаращивание #глаза #lashesmoscow #пинцеты #классическоенаращивание

#материалыдлянаращиванияресниц #2dнаращиваниересниц #ресницы3d #тройнойобъем #объёмноенаращиваниересниц #реснички #цветныересницы #lashextensions #classiclashes #цветныересницы #обучениенаращиваниюресниц #брови #ресницы #материалыдлябровей #владикавказ #салоныкрасоты #материалыдлянаращиванияресниц #наращиваниересниц #наращиваниеволос #объемноенаращивание #глаза #lashesmoscow #пинцеты #классическоенаращивание #материалыдлянаращиванияресниц #2dнаращиваниересниц #ресницы3d #тройнойобъем #объёмноенаращиваниересниц #реснички #цветныересницы #classiclashes #цветныересницы

DDiamond

 

unified all unique designs and the consummation technology, precise innovation pure presenting, creation love. Attracts your vision, causes your innermost feelings deep emotion. Let the people free fervor capture! The impression profound looked how our product does research and develop engineer to achieve DDiamond® to the mechanical circulation precision, the experience DDiamond® how controls all in theirs movement performance, and pushes us to the product limit. Invites you enjoy heartily DDiamond® world!

 

When you are riding a bike, you are free®

Enjoy U `r Ride®

 

www.DDiamond2009.com

  

DDiamond

 

結合了所有獨特設計和完善技術,精確創新的純淨呈獻,創造迷戀。 吸引你的目光,引起您內心的深深情感。讓人們自由的激情奪取! 印象深刻的看我們的產品研發工程師怎麼達到DDiamond®對機械循環的精確度,體驗DDiamond®怎麼控制一切在他們的運動表現並且推擠我們對產品的極限。

 

請您盡情享受DDiamond®的世界!

 

When you are riding a bike, you are free®

Enjoy U`r Ride®

 

www.DDiamond2009.com

Professional Volume Eyelash Extension Tweezers

▪Highly Precise ▪Fine Tip

▪Hand Tested ▪Wholesale Prices

 

Khối lượng chuyên nghiệp Lông mi mở rộng nhíp

▪Chính xác cao ▪Mẹo nhỏ

▪Đã kiểm tra ▪Giá Bán from Buôn

 

Pinzette per estensione di ciglia volume professionale

▪Altamente preciso ▪Punta fine

▪Testato a mano ▪Prezzi all'ingrosso

 

Profissional Pinça de extensão de pestanas de volume

▪Alta precisão ▪ponta fina

▪Teste manual ▪Preços por atacado

 

Профессиональный объемный пинцет для наращивания ресниц

▪ Высоко Точный ▪Точный совет

▪Ручное тестирование ▪Оптовые цены

 

#tweezermaneyelashcurler #tweezermanbenelux #tweezermanmurah

#tweezermann #tweezermanprofessional #tweezermanxsephora

#tweezermanlashcurler #tweezermanbrushiq #tweezermanbrows

#tweezermanbrushes #tweezermanmini #lashproducts

#tweezermanambassador #lashexpert #lashstuff

#tweezermankiev #tweezermanaustralia #tweezermangiveaway

#tweezerman_de #tweezermannl #tweezermanlove #thicklashes

#lashes #lash #lashextensions #lashlift #lashesextension #lashboost #lashbabe #lashtraining #lashmaster

#lashesonfleek #lashlove #lashtech #lashboss #lashtips

#lashgoals #lashqueen #lashpreneur #lashtint #lashstylist

#lashartist #lashlife #lasheducator #lashobsessed #lashroom

#lashdoll #lashextension #lashmaker #lashlifting #lashing #lashdolls #lashporn #lashmapping #lashtrainer #lashfill #lashcourse #lashbeauty #lashroomdecor #lashtechnician #lashstudio #lashpro #lashaddict #lashgame

#lashlady #lashgang #lashlover #lashista #lashed #lashperfect

#lashvolume #lashschool #lashsupplier #lashquotes

#lashliftandtint #lashtip #lashlovers #lashdiva #lashbabes #lashenvy #Vietnam #china

#lashqueens #lasheslasheslashes #lashquoteoftheday #lashes👀#lashesofinstagram #lashbath #lashacademy #lashqoutes #lashboxla #russian #russian #ukraine

#lashesonlashes #lashesextensions #lashbar #lashedout #lashesfordays #lashesonpoint #lashbox #lashtweezers #lashesforever #classiclashes #lashboostrodanandfields #lashton #lashobsession #lasheslifting #lashesbyme #lashboxlacanada #lashquote #lashwands #lashaffairbyjparis #lasheslove #lashquotesoftheday #lashcommunity #lashme #batalash #lashboxlamexico #bellalash #lashclassatlanta #lovelash #volumelash #volumelashextensions #lashia #lashmaster #lashmasterorel #eyelash

#lashmasters #lashmastermindbrasil #lashmasterclass #lashmastery #sialkot #punjab #pakistan

#lashmaster2020 #lashmasterazira #lashmasterlegends #lashmaster_pro #webdesigner #webdeveloper

#lashmaster_алёна_lbc #lashmasterkiev #lashmastersconference #internetexplorer

#lashmaster_alinaaa #lashmasterminsk #lashmaster_kris #lashmasterchita #lashtweezersuk #noorimanindustries

#lashmaster_ru #lashmaster39 #lashmaster96 #lashmastersaratov #crossedge #khadmi #amithimpes

#lashmasterclases #lashmasterrostov #lashmastertrainer #lashmasterilona #bretalbeautyintl #nomaxenterprises

#lashmasterbrn #lashmasterspb #lashmasteruk #lashmasterofsweden #aifarralashliftingtools #applicators

#lashmastermoscow #lashmasterkrd #lashmastervasneva #lashmasterpenza #aifarranailtools #aifarrasurgicaltools

#lashmaster_amluxlook_дроноваалена #lashmasternn #lashmasterpnz #aeedc2020 #aifarrasurgicaltweezers

#lashmaster_dp #lashmaster_ms #lashmastertmn #lashmaster_zhitnikova #aifarralashtool #aifarrahairtools

#lashmaster_anastasiya #lashmasterpoltava #lashmastervl #lashworld #rubberdamclamps #forcep #VK #youtube

#lashmastercourse #dailymotion #ucbrowsers #alibaba

#lashmaster_amluxlook_шалыгинаекатерина

#lashmastercoursemanchester #aliexpress #amazon

#lashmaster_amluxlook_джимиева_кристина

#lashmaster_amluxlook_марияалексеева #lashmaster_amluxlook #ebay #likeforlike #USA

#lashmasternkvz #lashmasterveronicazora #lashmaster_ar #lashmasterv #topnews #latestnews #gramblr #stars

#lashmasteralmaty #lashmastermira #celebrities

#lashmaster_amluxlook_алятинаелена #doller #people

#lashmasternsk #lashmastersurgut #lashmasterzp

#lashmasterno #snapchat #flicker #Orthomechanix

#lashmasterkrg #lashmasterpiece #lashmasteroslo

#lashmasterkrsk #outlook #beautyforume #aeedcdubai

#lashmaster_alena #lashmasterodessa #lashmastertunis #lashmasternorge #google #facebook #instagram #twitter

#linkedin #pinterest #world #nation #medical

#lashmastertomsk #lashmasterdoha #lashmaster_spb #volumetweezers #lashmasterstudio #наращиваниересниц #ресницымосква #наращиваниеногтейгелем #наращиваниересницмосква #электрозаводская #айбьютистудиоэлектрозаводская #tahirsurgical

#lashlayer #liftandtint #lovelash #lashbusiness #lashextention

#eyelashes #lashforweeks #fullashes #tweezers #lashtweezers #aifarrameasurmenttools #hashtag

#eyelashextensions #borboletabeauty #melblashes #lashbarnorway #merakilashes #minklash #borbylashes #lashaffairjparis #eyelashextensionsmelbourneh #silklashes #Microblading #dental #hairtools #hairscissors #beautyscissors #New_Arrival #aifarrsurgical

#eyelashextensions #eyelinertutorial #eyesdrawing

#eyelashextensionjakarta #eyelashebekasi #eyelash

#eyelashes #eyelashtraining #eyelashekayuringin

#eyelashbekasibarathomecare #eyelashbekasibarat

#eyelashbekasimurah #eyelashbekasipromo

#eyelashbekasiutara #eyelashbekasiselatan

#eyelashbekasiregancy #eyelashhomeservice

#homeserviceeyelash #eyelashhomeservisbekasi

#eyelashpekayon #eyelashesterdekat

#eyelashesnengai #eyelashesbekasitermurah

#eyelashesbekasioke #eyelasheskeren #eyelashcantik

#eyelashlentik #eyelashbekasitimur #lashlovers

#workshoppestanas #workshops #lashartist #lashmaster #lashmagazine #lashextensions #lashlover #lashfamaly #lashboss #lashdiva #pestanasvolume #instagood #instagrammer #insta #inspiração #costadacaparica #sol #exoticeyes #extensão #lequesperfeitos #formaçãomargemsul #workshoppestanas #lovemywork #lashmagazine #lashextensions #lashlover #lashfamaly #lashboss #lashartist #lashdiva #lashqueen #Lasheaven #costadacaparica #extensãodepestanas #sol #fioafio #divalash #aifarrasurgical #lashes #mylashes #londonlash

#Professionalshavingtools #hairshavingtools #qualityshavingtools #razorsafaty #hairsafaty #Prohairsafaty #Shavingsafaty #hairshavingbursh #shavingbursh #hairshavingstand #hairshavingstandwood #shavingwoodstand #shavingstand #hairscissors #professionalscissors #professionalqualityrazor #haircuttingshears #petgroomingshears #razorshears #multirazorscissors #lashaffair #lashattachment #lashgroupies

#tweezermanxhudabeauty #tweezermanuk #tweezermanpartner #tweezermanbrasil #tweezersmanufecturer #tweezermanslant #tweezermanca #tweezermanindonesia #tweezermangear #tweezermanspain

#tweezermanhk #tweezermanvippro #tweezerman #tweezermancanada #tweezermannipper #tweezermanme #tweezermanportugal #tweezermantools #tweezermantweezers #tweezerman_id #tweezermanукраина #dramaticlashes #lasheslasheslashes #googleplus

#tweezermanturns35 #tweezermanufacturer #tweezermanxglow #gmail #info #worldtradecenter #eyelashextensions #volumetweezers #russianvolume #lash #cils #cilios #mua #rzesy #lashartist #lashcoach #berlash #ciliosbrasil #ciliosbrasil #australialashextensions #borboletabeauty #pinkladylash #lashaffairbyjp #lashmakers #lashlineacademy #volumelashes #megavolumelashes #przedluzanierzes #tweezers #australialashextensions #australialashes #Sydneylashes #Melbournelashes #Brisbanelashes #Perthlashes #Adelaidelashes #GoldCoastlashes #volumetweezers #eyelashextensions #diamondgriptweezers #CentralCoastlashes #SunshineCoastlashes #Hobartlashes #Townsvillelashes #russianvolume #sydneylashartist #ruvol #eyelashextensionssydney #lashextensionssydney #wimperextensions #wimperlashextensions #vavalash #miamilashes #sobelashes #volumelashes #miami #sobe #lashtraining #miamivolumetraining #miamilashtraining #lashesmiami #eyelashesmiami #lashextensions #russianvolume #lashbox #lashmakersnation #lashheaven #przedluzanierzes #lashpromiami #lashpro #miamilashextensions #lashtrainingmiami #lashempire #lashtrainer #lashcastle #przedluzanierzes #eyelashextensions #lashesfordays #volumetweezers #tweezers #pinkladylash #borboletabeauty #melblashes #lashbarnorway #merakilashes #classiclashes #borbylashes #lashtrainer #lashaffairbyjp #eyelashextensionsmelbourne #bellalash #sugarlashpro #sobelashes #lasheducation #russianqueenlashes #lashempire #lashmaker #miamilashtraining #rzesywarszawa #laurabeauty #ilevellab

#volumetweezers #megavolumelashes #lashextensions #mavenlashes #lashartist #lovelashbase #diamondlashes #rzesyobjetosciowe #eyelashextensionsupplies #classiclashes #premiumlashes #bestlashes #lashschool #lashbarcph #volumetweezers #mavenartistry #lashclass #lashtraining #utahlashes #lashlift #classic #lashlove #sobelashes #volume #eyelashextensions #austinlashtraining #megavolumelashes #lashextensions #lashbarnorway #Londonlashpro #lashextensionsmelbourne #viplash #completelashes #secretlashes #luxglamco #lashdoll #rzęsy #lashtrainer #lashmaster #lashtools #russianvolume #lashartist #mua #lashaffairbyjparis #hollywoodlashes #wimperextension #austinlashes #eyelashextensions #обучениенаращиваниюресниц #брови #ресницы #материалыдлябровей #владикавказ #салоныкрасоты #материалыдлянаращиванияресниц #наращиваниересниц #наращиваниеволос #объемноенаращивание #глаза #lashesmoscow #пинцеты #классическоенаращивание

#материалыдлянаращиванияресниц #2dнаращиваниересниц #ресницы3d #тройнойобъем #объёмноенаращиваниересниц #реснички #цветныересницы #lashextensions #classiclashes #цветныересницы #обучениенаращиваниюресниц #брови #ресницы #материалыдлябровей #владикавказ #салоныкрасоты #материалыдлянаращиванияресниц #наращиваниересниц #наращиваниеволос #объемноенаращивание #глаза #lashesmoscow #пинцеты #классическоенаращивание #материалыдлянаращиванияресниц #2dнаращиваниересниц #ресницы3d #тройнойобъем #объёмноенаращиваниересниц #реснички #цветныересницы #classiclashes #цветныересницы

Professional Volume Eyelash Extension Tweezers

▪Highly Precise ▪Fine Tip

▪Hand Tested ▪Wholesale Prices

 

Khối lượng chuyên nghiệp Lông mi mở rộng nhíp

▪Chính xác cao ▪Mẹo nhỏ

▪Đã kiểm tra ▪Giá Bán from Buôn

 

Pinzette per estensione di ciglia volume professionale

▪Altamente preciso ▪Punta fine

▪Testato a mano ▪Prezzi all'ingrosso

 

Profissional Pinça de extensão de pestanas de volume

▪Alta precisão ▪ponta fina

▪Teste manual ▪Preços por atacado

 

Профессиональный объемный пинцет для наращивания ресниц

▪ Высоко Точный ▪Точный совет

▪Ручное тестирование ▪Оптовые цены

 

#tweezermaneyelashcurler #tweezermanbenelux #tweezermanmurah

#tweezermann #tweezermanprofessional #tweezermanxsephora

#tweezermanlashcurler #tweezermanbrushiq #tweezermanbrows

#tweezermanbrushes #tweezermanmini #lashproducts

#tweezermanambassador #lashexpert #lashstuff

#tweezermankiev #tweezermanaustralia #tweezermangiveaway

#tweezerman_de #tweezermannl #tweezermanlove #thicklashes

#lashes #lash #lashextensions #lashlift #lashesextension #lashboost #lashbabe #lashtraining #lashmaster

#lashesonfleek #lashlove #lashtech #lashboss #lashtips

#lashgoals #lashqueen #lashpreneur #lashtint #lashstylist

#lashartist #lashlife #lasheducator #lashobsessed #lashroom

#lashdoll #lashextension #lashmaker #lashlifting #lashing #lashdolls #lashporn #lashmapping #lashtrainer #lashfill #lashcourse #lashbeauty #lashroomdecor #lashtechnician #lashstudio #lashpro #lashaddict #lashgame

#lashlady #lashgang #lashlover #lashista #lashed #lashperfect

#lashvolume #lashschool #lashsupplier #lashquotes

#lashliftandtint #lashtip #lashlovers #lashdiva #lashbabes #lashenvy #Vietnam #china

#lashqueens #lasheslasheslashes #lashquoteoftheday #lashes👀#lashesofinstagram #lashbath #lashacademy #lashqoutes #lashboxla #russian #russian #ukraine

#lashesonlashes #lashesextensions #lashbar #lashedout #lashesfordays #lashesonpoint #lashbox #lashtweezers #lashesforever #classiclashes #lashboostrodanandfields #lashton #lashobsession #lasheslifting #lashesbyme #lashboxlacanada #lashquote #lashwands #lashaffairbyjparis #lasheslove #lashquotesoftheday #lashcommunity #lashme #batalash #lashboxlamexico #bellalash #lashclassatlanta #lovelash #volumelash #volumelashextensions #lashia #lashmaster #lashmasterorel #eyelash

#lashmasters #lashmastermindbrasil #lashmasterclass #lashmastery #sialkot #punjab #pakistan

#lashmaster2020 #lashmasterazira #lashmasterlegends #lashmaster_pro #webdesigner #webdeveloper

#lashmaster_алёна_lbc #lashmasterkiev #lashmastersconference #internetexplorer

#lashmaster_alinaaa #lashmasterminsk #lashmaster_kris #lashmasterchita #lashtweezersuk #noorimanindustries

#lashmaster_ru #lashmaster39 #lashmaster96 #lashmastersaratov #crossedge #khadmi #amithimpes

#lashmasterclases #lashmasterrostov #lashmastertrainer #lashmasterilona #bretalbeautyintl #nomaxenterprises

#lashmasterbrn #lashmasterspb #lashmasteruk #lashmasterofsweden #aifarralashliftingtools #applicators

#lashmastermoscow #lashmasterkrd #lashmastervasneva #lashmasterpenza #aifarranailtools #aifarrasurgicaltools

#lashmaster_amluxlook_дроноваалена #lashmasternn #lashmasterpnz #aeedc2020 #aifarrasurgicaltweezers

#lashmaster_dp #lashmaster_ms #lashmastertmn #lashmaster_zhitnikova #aifarralashtool #aifarrahairtools

#lashmaster_anastasiya #lashmasterpoltava #lashmastervl #lashworld #rubberdamclamps #forcep #VK #youtube

#lashmastercourse #dailymotion #ucbrowsers #alibaba

#lashmaster_amluxlook_шалыгинаекатерина

#lashmastercoursemanchester #aliexpress #amazon

#lashmaster_amluxlook_джимиева_кристина

#lashmaster_amluxlook_марияалексеева #lashmaster_amluxlook #ebay #likeforlike #USA

#lashmasternkvz #lashmasterveronicazora #lashmaster_ar #lashmasterv #topnews #latestnews #gramblr #stars

#lashmasteralmaty #lashmastermira #celebrities

#lashmaster_amluxlook_алятинаелена #doller #people

#lashmasternsk #lashmastersurgut #lashmasterzp

#lashmasterno #snapchat #flicker #Orthomechanix

#lashmasterkrg #lashmasterpiece #lashmasteroslo

#lashmasterkrsk #outlook #beautyforume #aeedcdubai

#lashmaster_alena #lashmasterodessa #lashmastertunis #lashmasternorge #google #facebook #instagram #twitter

#linkedin #pinterest #world #nation #medical

#lashmastertomsk #lashmasterdoha #lashmaster_spb #volumetweezers #lashmasterstudio #наращиваниересниц #ресницымосква #наращиваниеногтейгелем #наращиваниересницмосква #электрозаводская #айбьютистудиоэлектрозаводская #tahirsurgical

#lashlayer #liftandtint #lovelash #lashbusiness #lashextention

#eyelashes #lashforweeks #fullashes #tweezers #lashtweezers #aifarrameasurmenttools #hashtag

#eyelashextensions #borboletabeauty #melblashes #lashbarnorway #merakilashes #minklash #borbylashes #lashaffairjparis #eyelashextensionsmelbourneh #silklashes #Microblading #dental #hairtools #hairscissors #beautyscissors #New_Arrival #aifarrsurgical

#eyelashextensions #eyelinertutorial #eyesdrawing

#eyelashextensionjakarta #eyelashebekasi #eyelash

#eyelashes #eyelashtraining #eyelashekayuringin

#eyelashbekasibarathomecare #eyelashbekasibarat

#eyelashbekasimurah #eyelashbekasipromo

#eyelashbekasiutara #eyelashbekasiselatan

#eyelashbekasiregancy #eyelashhomeservice

#homeserviceeyelash #eyelashhomeservisbekasi

#eyelashpekayon #eyelashesterdekat

#eyelashesnengai #eyelashesbekasitermurah

#eyelashesbekasioke #eyelasheskeren #eyelashcantik

#eyelashlentik #eyelashbekasitimur #lashlovers

#workshoppestanas #workshops #lashartist #lashmaster #lashmagazine #lashextensions #lashlover #lashfamaly #lashboss #lashdiva #pestanasvolume #instagood #instagrammer #insta #inspiração #costadacaparica #sol #exoticeyes #extensão #lequesperfeitos #formaçãomargemsul #workshoppestanas #lovemywork #lashmagazine #lashextensions #lashlover #lashfamaly #lashboss #lashartist #lashdiva #lashqueen #Lasheaven #costadacaparica #extensãodepestanas #sol #fioafio #divalash #aifarrasurgical #lashes #mylashes #londonlash

#Professionalshavingtools #hairshavingtools #qualityshavingtools #razorsafaty #hairsafaty #Prohairsafaty #Shavingsafaty #hairshavingbursh #shavingbursh #hairshavingstand #hairshavingstandwood #shavingwoodstand #shavingstand #hairscissors #professionalscissors #professionalqualityrazor #haircuttingshears #petgroomingshears #razorshears #multirazorscissors #lashaffair #lashattachment #lashgroupies

#tweezermanxhudabeauty #tweezermanuk #tweezermanpartner #tweezermanbrasil #tweezersmanufecturer #tweezermanslant #tweezermanca #tweezermanindonesia #tweezermangear #tweezermanspain

#tweezermanhk #tweezermanvippro #tweezerman #tweezermancanada #tweezermannipper #tweezermanme #tweezermanportugal #tweezermantools #tweezermantweezers #tweezerman_id #tweezermanукраина #dramaticlashes #lasheslasheslashes #googleplus

#tweezermanturns35 #tweezermanufacturer #tweezermanxglow #gmail #info #worldtradecenter #eyelashextensions #volumetweezers #russianvolume #lash #cils #cilios #mua #rzesy #lashartist #lashcoach #berlash #ciliosbrasil #ciliosbrasil #australialashextensions #borboletabeauty #pinkladylash #lashaffairbyjp #lashmakers #lashlineacademy #volumelashes #megavolumelashes #przedluzanierzes #tweezers #australialashextensions #australialashes #Sydneylashes #Melbournelashes #Brisbanelashes #Perthlashes #Adelaidelashes #GoldCoastlashes #volumetweezers #eyelashextensions #diamondgriptweezers #CentralCoastlashes #SunshineCoastlashes #Hobartlashes #Townsvillelashes #russianvolume #sydneylashartist #ruvol #eyelashextensionssydney #lashextensionssydney #wimperextensions #wimperlashextensions #vavalash #miamilashes #sobelashes #volumelashes #miami #sobe #lashtraining #miamivolumetraining #miamilashtraining #lashesmiami #eyelashesmiami #lashextensions #russianvolume #lashbox #lashmakersnation #lashheaven #przedluzanierzes #lashpromiami #lashpro #miamilashextensions #lashtrainingmiami #lashempire #lashtrainer #lashcastle #przedluzanierzes #eyelashextensions #lashesfordays #volumetweezers #tweezers #pinkladylash #borboletabeauty #melblashes #lashbarnorway #merakilashes #classiclashes #borbylashes #lashtrainer #lashaffairbyjp #eyelashextensionsmelbourne #bellalash #sugarlashpro #sobelashes #lasheducation #russianqueenlashes #lashempire #lashmaker #miamilashtraining #rzesywarszawa #laurabeauty #ilevellab

#volumetweezers #megavolumelashes #lashextensions #mavenlashes #lashartist #lovelashbase #diamondlashes #rzesyobjetosciowe #eyelashextensionsupplies #classiclashes #premiumlashes #bestlashes #lashschool #lashbarcph #volumetweezers #mavenartistry #lashclass #lashtraining #utahlashes #lashlift #classic #lashlove #sobelashes #volume #eyelashextensions #austinlashtraining #megavolumelashes #lashextensions #lashbarnorway #Londonlashpro #lashextensionsmelbourne #viplash #completelashes #secretlashes #luxglamco #lashdoll #rzęsy #lashtrainer #lashmaster #lashtools #russianvolume #lashartist #mua #lashaffairbyjparis #hollywoodlashes #wimperextension #austinlashes #eyelashextensions #обучениенаращиваниюресниц #брови #ресницы #материалыдлябровей #владикавказ #салоныкрасоты #материалыдлянаращиванияресниц #наращиваниересниц #наращиваниеволос #объемноенаращивание #глаза #lashesmoscow #пинцеты #классическоенаращивание

#материалыдлянаращиванияресниц #2dнаращиваниересниц #ресницы3d #тройнойобъем #объёмноенаращиваниересниц #реснички #цветныересницы #lashextensions #classiclashes #цветныересницы #обучениенаращиваниюресниц #брови #ресницы #материалыдлябровей #владикавказ #салоныкрасоты #материалыдлянаращиванияресниц #наращиваниересниц #наращиваниеволос #объемноенаращивание #глаза #lashesmoscow #пинцеты #классическоенаращивание #материалыдлянаращиванияресниц #2dнаращиваниересниц #ресницы3d #тройнойобъем #объёмноенаращиваниересниц #реснички #цветныересницы #classiclashes #цветныересницы

At the precise moment I took this photo. This was in fact. The greatest taco. In the entire world. And then I ate it. #tacos #carnitas #food #greatesttacoever

 

28 Likes on Instagram

 

2 Comments on Instagram:

 

themichaelfrank: #bestever

 

blackgarlicsoda: *Ahem* SECOND greatest Taco.

  

Precise Perspective with Shiva

Precise Perspective with Shiva

Precise Perspective with Shiva

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

www.twitter.com/Memoire2cite le Logement Collectif* 50,60,70's dans tous ses états..Histoire & Mémoire de l'Habitat / Rétro-Villes / HLM / Banlieue / Renouvellement Urbain / Urbanisme URBANISME S’imaginer Paris et le Grand Paris @ URBANISME S’imaginer Paris et le Grand Paris @ Les 50ans d'Apur 50ans.apur.org/#intro @ Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - dailymotion.com/video/xxi0ae?playlist=x34ije … Trente ans d’histoire de l’habitat : de la

Reconstruction à l’urbanisation intensive, puis raisonnée. La région parisienne connaît alors un développement

exceptionnel façonnant le paysage de l’Îlede-France actuelle.

Réalisée à l’initiative de la DRAC Île-deFrance, une exposition regroupant une quarantaine de photographies d’ensembles de logements édifiés en Île-de-France entre 1945 et 1975 et sélectionnés pour la qualité de leur forme urbaine, leur valeur d’usage ou leurs spécificités techniques, a été présentée, du 5 juillet au 15 septembre 2011, à La Maison de l’architecture en Île-de-France. Cette exposition a fait l’objet d’une publication dans la revue Beaux Arts Editions. @ Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ".où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ. De Femmes à l'usine (1981), Bobigny, banlieue rouge (1986), à La banlieue en morceaux (2000), en passant par les publications collectives qu'elle a coordonnées et les travaux qu'elle a encadrés, la trajectoire de cette historienne a conduit l'histoire sociale et politique – telle qu'on la pratiquait dans les années 1970 – vers une histoire urbaine renouvelée. Le livre revient sur cette évolution et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Les auteurs, historiennes et historiens, sociologues, politistes, géographes, architectes, urbanistes et décideurs politiques proposent une histoire urbaine à la fois interdisciplinaire et ancrée dans la fabrique de la ville et ses représentations, portant la marque de sa dédicataire. Les quatre sections de l'ouvrage dessinent les chantiers qu'Annie Fourcaut a investis : " Du social à l'urbain " met en avant la conviction qu'étudier l'histoire des villes, c'est toujours faire de l'histoire sociale ; " Qu'elle était belle la banlieue " est centré sur les banlieues, son territoire d'étude de prédilection ; " Les habits neufs des politiques de la ville " interroge les politiques urbaines successives et leur transformation ; enfin, " Banc d'essai des modernités " propose une analyse historique de l'urbanisme, comme discipline et comme pratique.Le thème du logement. « Il s’agit du premier label Patrimoine XXe siècle attribué en Île-de-France. La DRAC, qui l’a mise en œuvre, a choisi de s’intéresser en tout premier lieu à cette production de

logements de masse d’une ampleur inégalée construits dans notre région après la guerre. Ce sont des créations emblématiques d’une architecture contemporaine dépréciée ; à ce titre, elles sont au premier chef concernées par les recommandations du Conseil de l’Europe. De plus, par l’ampleur des programmes, les étendues qu’ils recouvrent, ces ensembles sont sont plus éloignés du champ

traditionnel des monuments historiques. L’outil label a semblé approprié. Le choix de labelliser les ensembles de logements est donc audacieux : nous espérons que le regard porté sur ces immeubles Change. » Valérie Gaudard, Conservation régionale des monuments historiques, DRAC-Île-de-France.

(extrait d’un entretien publié dans Beaux Arts éditions « 1945-1975, Une histoire de l’habitat – 40 ensembles « patrimoine du XXe siècle »). Créé en 1999 par le ministère de la Culture et de la Communication, le label Patrimoine du XXe siècle

vise à signaler au public, aux décideurs et aux aménageurs, "les édifices et ensembles urbains qui sont autant de témoins matériels de l’évolution technique économique, sociale, politique et culturelle de notre société". Liens Le label patrimoine XXe - www.culturecommunication.gouv.fr/Regions/DRAC-Ile-de-Fran... La Maison de l'architecture - www.maisonarchitecture-idf.org/spip.php

www.twitter.com/Memoire2cite www.beauxarts.com/produit/une-histoire-de-lhabitat/ @ LES GRANDS ENSEMBLES @ L EXEMPLE DE DIJON «LE BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE»Sylvain TABOURY, sociologue, enseignant à l’école d’architecture de Versailles. Co-auteur avec Karine Gougerot, photographe, de Billardon, histoire d’un grand ensemble, paru aux éditions Créaphis en 2004. Texte communiqué à partir de la rencontre-débat du 20 mai 2005 Organisée par le Centre de Ressources Politique de la Ville en Essonne en partenariat avec Maison de Banlieue et de l’Architecture, le CAUE 91 et CINEAM dans le cadre de l’exposition «Des ensembles assez grands: mémoire et projets en Essonne». Cet ouvrage retrace l’histoire de la cité Jean-Billardon, barre de 14 étages et de 250 logements, à Dijon, premier grand ensemble de la ville, construit entre 1953 et 1955, démoli en 2003. Sélectionné parmi les immeubles significatifs de l’architecture du XXe siècle par la direction de l’Architecture et du Patrimoine (DAPA) du ministère de la Culture, Billardon était un symbole incontournable de l’histoire du quartier des Grésilles et de l’agglomération dijonnaise, ainsi qu’un formidable témoin de l’architecture novatrice de l’après-guerre. Sollicités par le service Inventaire de la Direction régionale des affaires culturelles de Bourgogne (Drac) et par l’Office public d’aménagement et de construction de Dijon (Opac), dans le cadre de l’opération de renouvellement urbain (ORU) du quartier des Grésilles, nous avons collecté et rassemblé, de janvier à juillet 2003, les traces de cette histoire, les archives, mais aussi les témoignages, recomposant des trajectoires familiales, professionnelles, des documents iconographiques et sonores. La restitution auprès des habitants et des partenaires du projet en octobre 2004, accompagnée d’une table ronde avec différents intervenants et acteurs du quartier, a été un moment fort, inscrit dans le processus de transformation engagé sur le quartier des Grésilles. Une exposition, intitulée «Mémoires de Billardon, fragments de vies», a également été présentée dans les locaux prestigieux du musée de la Vie bourguignonne de Dijon, du 14 octobre 2004 au 31 janvier 2005.Garder une trac De fait, la démolition de la Cité Billardon, le 4 juillet 2003, restera sans aucun doute un événement sensible dans la mémoire de nombre d’habitants de l’agglomération dijonnaise. Cette barre fut la première construction d’un tout nouveau quartier – le quartier des Grésilles –, à Dijon, où près de 4000 logements ont été construits Centre de Ressources Politique de la Ville en Essonne entre 1953 et 1966 – 14970 habitants en 1968, 8263 en 2003 – sur un terrain agricole demeuré nu, à l’est du territoire communal. Les 14 étages et 250 logements de l’immeuble, élevés au milieu des champs et des jardins familiaux, où un écriteau «Chasse interdite» était encore visible quelques années auparavant, faisaient alors l’admiration des très nombreux badauds venus visiter cette toute nouvelle Cité radieuse, construite tel un

Meccano de béton et d’acier. « Immeuble révolutionnaire», «Meccano géant à l’échelle du monde moderne», les titres de la presse de l’époque donnent un aperçu de l’impact national et international de l’événement. «Des visiteurs étaient venus de toute la France et même de l’étranger, jeter un coup d’œil au chantier», rappelait un article de la presse locale le jour de la démolition. Cette « barre » de 14 étages et de 250 logements, desservis par des coursives placées tous les trois niveaux, était une déclinaison appauvrie du modèle de la Cité radieuse du Corbusier, inaugurée le 14 octobre 1952. Les appartements étaient de deux types: les uns de deux et trois pièces, situés dans les ailes, de disposition traditionnelle, orientés au sud et pourvus de loggias; les autres, de cinq pièces, situés au centre du bâtiment, du type « duplex ». Huit espaces commerciaux avaient été aménagés en rez-dechaussée. Cependant, en dépit des ressemblances et de la qualité architecturale de l’édifice, l’immeuble n’était pas une unité d’habitation au sens où Le Corbusier l’entendait. L’originalité de la Cité Billardon tient en réalité au procédé constructif qui fut utilisé lors de son édification. Elle fut la toute première à expérimenter en France le procédé de préfabrication Estiot, réutilisé par la suite pour la construction de plusieurs grands ensembles, comme le Noyer-Renard à AthisMons, la Cité des 4000 à la Courneuve, la Grâce-de-Dieu à Caen, la Croixdes-Oiseaux et Champ-Fleury à Avignon, le Gros Buisson à Épinay, SainteBarbe à Metz, le Haut-du-Lièvre à Nancy, les tours du Lancy à Genève ou encore des bâtiments d’habitation à Alger. Le mode constructif, repris sur celui des gratte-ciel américains, associait l’acier en ossature et le béton en pré-enrobage avec une majeure partie réalisée en atelier. Le procédé donnait des résultats évidents: précision remarquable, rapidité d’exécution, peu ou pas d’installations de chantier – suppression des coffrages, des étayages, des échafaudages – et surtout économie considérable de main-d’œuvre. Il s’agissait des prémices d’industrialisation dite lourde du bâtiment. Forte de cette première expérience, la commune avait ensuite réalisé deux autres cités de même type, Épirey, puis Lochères. Mais le modèle de Billardon fut perverti: dans une logique de réduction des coûts de production et de rapidité d’exécution, tous les espaces peu productifs comme les logements en duplex, les cellules commerciales, ou les très grands halls, ont été supprimés. Les deux cités comprennent 348 logements, relativement mal desservis et sans attrait, des petits logements sur un seul niveau La démolition de Billardon n’a donc évidemment pas la même signification, Centre de Ressources Politique de la Ville en Essonne « BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE » Centre de Ressources Politique de la Ville en Essonne ni les mêmes conséquences que celles d’Épirey ou des Lochères, déjà démolies en 1992 et 2000. Cet immeuble possédait une fonction symbolique incontestable, une place à part dans la vie des résidents qui s’y sont succédé, comme dans la mémoire des habitants du quartier. Les récits que nous avons pu recueillir auprès d’une trentaine d’anciens résidents de l’immeuble nous offrent différentes représentations de l’histoire de

Billardon, et des personnes qui y ont vécu ou travaillé d’avril 1955 à décembre 2002. Les témoignages des plus anciens, arrivés parmi les premiers, en 1955, répondent aux histoires des plus jeunes, derniers occupants du rafiot, aujourd’hui démoli. Ils sont venus d’horizons divers, de Côte-d’Or, de Bretagne, d’Alsace, de la région parisienne, du Maroc, d’Algérie, du Portugal, du Cambodge ou d’ailleurs et leurs paroles traduisent l’enracinement profond de leurs souvenirs de Billardon, que certains n’auraient jamais voulu quitter. Bien sûr, la mémoire n’est pas «objective». Le discours s’élabore toujours à partir d’un présent et la disparition engendre certainement une nostalgie conduisant à magnifier les bons moments et à tempérer les plus pénibles. Mais en faisant imploser Billardon, c’est bien tout un pan de leur vie que l’on a réduit en poussière. Chaque témoin traduit avec ses mots ces petits faits de la vie quotidienne, souvent jugés sans importance, petits riens ou traumatismes, anecdotes ou événements tragiques, qui ont marqué leur sensibilité.« Une verrue dans le quartier»C’est pour ces différentes raisons esthétiques, historico-culturelles – témoignage de l’histoire des villes – et socio-symboliques – mémoire des hommes – que la Direction de l’Architecture et du Patrimoine (DAPA) du ministère de la

Culture avait décidé de répertorier la Cité Billardon parmi les immeubles représentatifs de l’architecture du XXe siècle. L’immeuble avait reçu le label «Patrimoine du XXe siècle» à la fin des années 1990. Or, ce processus de «patrimonialisation» était inconcevable pour de nombreuses personnalités locales, voire de nombreux habitants du quartier. Stigmatisé comme une «verrue» dans le quartier, l’immeuble était devenu un véritable cauchemar: dégradations, violence, difficultés et «mal-vivre» constituaient le quotidien de locataires excédés, souvent «assignés à résidence». Bagarres, agressions, cambriolages, drogue, vitres brisées, ascenseurs en panne, alimentaient manchettes de journaux et témoignages, décrivant le naufrage d’un immeuble à la dérive, devenu symbole de tous les maux. La démolition paraissait donc inéluctable, comme une délivrance, la promesse d’un avenir meilleur. Les partenaires institutionnels se devaient de mettre en scène leur capacité à changer la vie des habitants du quartier, réparer les erreurs d’une période de l’urbanisation contemporaine, dont Billardon était l’un des symboles les plus représentatifs. L’idée d’une enquête ethnographique sur l’édifice et ses locataires avait donc « BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE » Centre de Ressources Politique de la Ville en Essonne du mal à passer dans la réflexion de certains décideurs. La mise en œuvre du projet, initié par le service Inventaire de la Direction régionale des affaires culturelles (Drac) de Bourgogne, sur les budgets de l’opération de renouvellement urbain du quartier, fut bloquée administrativement pendant plusieurs mois. Entre-temps, tous les locataires de l’immeuble avaient été relogés… (la dernière famille quitte son logement le 23 décembre 2002).

Une histoire des grands ensembles? Le travail de recherche historique sur les grands ensembles est rendu aujourd’hui d’autant plus difficile à faire comprendre que la ville issue des Trente Glorieuses est souvent considérée, avec la politique publique qui l’a programmée, comme une vaste erreur collective (A. Fourcaut). L’architecture des «tours» et des «barres», du «chem« BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE » Centre de Ressources Politique de la Ville en Essonne. Photographie, histoire et sociologie, de monographies locales – Saint-Étienne, Villeurbanne, etc. – publiés ces dernières années sur ce thème en témoigne clairement.Cependant, on est encore loin du compte. Si plusieurs urbanistes, historiens, géographes ou sociologues1 ont récemment contribué à une meilleure connaissance du sujet au niveau national et international, l’histoire de ces quartiers d’habitat collectif reste un terrain largement méconnu, à peine exploré par les historiens locaux. En Essonne, à quelques exceptions près – Draveil, Viry-Châtillon, les Ulis, Athis-Mons ou Grigny –, rares sont les monographies ou les études locales à accorder une place de choix à l’analyse et à la présentation de ces bouleversements. Les mauvaises volontés, auxquelles nous avons parfois été confrontés dans le cadre de nos recherches dans le département témoignent des réticences que continue de susciter toute démarche d’enquête et d’analyse sur la mémoire et le devenir des grands ensembles.

La transformation en cours ou à venir d’une vingtaine de sites en Essonne dans le cadre du Programme national de rénovation urbaine, institué par la loi Borloo du 1er août 2003, et la priorité donnée à la démolition-reconstruction,

sur fond de crise du logement social, devraient pourtant poser avec plus d’acuité la question de l’appréciation de ce patrimoine départemental. De nombreuses communes mobilisées dans des programmes d’intervention n’ont qu’une vision très partielle de l’histoire de ces quartiers, de leurs évolutions, dont les conséquences ne sont envisagées le plus souvent qu’à travers le prisme d’une crise sociale impossible à juguler. Or, n’est-il pas singulier, voire dangereux, d’entreprendre des opérations de transformation urbaine aussi radicales, sans même commencer par chercher à comprendre comment, par qui et pour quelles raisons ces espaces ont été construits ou transformés, sans évaluer dans certains cas l’impact des politiques précédemment engagées?Richesse patrimoniale ou héritage encombrant, définir une nouvelle vision de la ville exige un travail d’enquête, d’expertise, une capitalisation des expériences, rarement mis en œuvre.Et c’est sans doute là le talon d’Achille d’une politique de transformation

urbaine menée dans l’urgence, qui ne peut se nourrir de capitalisation critique, et occulte le rôle crucial de l’accompagnement qualitatif et de la sensibilisation et/ou de la formation des élus, des services de l’État et des collectivités, des opérateurs et des aménageurs, des bailleurs.Ces images devenues presque ordinaires de parpaings, pans de bétons fracassés, vitres brisées laissent songeur: quel regard les résidents – et notamment

les plus jeunes – pourront-ils bien porter à l’avenir sur un environnement si violemment rejeté? Pourquoi respecter ce qui n’est bon qu’à être démoli?

Pour n’en citer que quelques-uns : FORTIN J-P., Grands ensembles. L’espace et ses raisons, Plan Urbanisme Construction Architecture (PUCA), 1997 ; PEILLON P., Utopie et désordre urbains. Essai sur les grands ensembles d’habitation, La Tour d’Aigues, Editions de l’Aube, 2001 ; DUFAUX F., FOURCAUT A., SKOUTELSKY R., Faire l’histoire des grands ensembles. Bibliographie 1950-1980, ENS éditions, 2003 ; TOMAS F., BLANC J-N., BONILLA M., Les grands ensembles, une histoire qui continue…, Publications de l’université de Saint-Etienne, 2003 ; DUFAUX F., FOURCAUT A. (dir.), Le monde des grands

ensembles, Créaphis, 2004.« Pour une histoire des grands ensembles en Essonne », Les Cahiers de la Maison de Banlieue et de l’Architecture, n° 11, mai 2005« BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE »

Centre de Ressources Politique de la Ville en Essonne

Les enjeux du projet

À Dijon, le projet a mis de long mois à se concrétiser. L’enjeu de ce travail était double:

■ Un enjeu de connaissance et d’analyse de l’histoire et des différentes étapes de l’évolution urbaine et sociale de l’immeuble et du quartier, des vécus, trajectoires résidentielles et familiales des habitants de la cité. Il a été réalisé à travers:

– une recherche historique dans les archives du bailleur, de la commune, des journaux locaux, de l’agence d’urbanisme, etc., replaçant l’étude dans le contexte général de l’histoire de la France de la Reconstruction et des quarante dernières années;– une écoute, dévoilant les différentes représentations de ce quartier, non plus

à partir de critères ou de théories de spécialistes, mais en suivant pas à pas(mot à mot) les trajets, les images qu’y déposent les habitants et les acteursdu quartier. Le travail artistique – photographies, textes – ayant alors pour fonction de réintroduire ces regards croisés dans la circulation de la ville,d’en faire des éléments de partage, de réflexio« BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE »Centre de Ressources Politique de la Ville en EssonneCes recherches ont permis de retracer les différentes étapes de construction et de transformation de cet immeuble dans son territoire, ainsi que l’évolution d sa composition socio-démographique. Une iconographie importante a pu être collectée et répertoriée sur CD-Rom. Une présence longue – deux à trois jours par semaine pendant cinq mois – a été assurée sur le terrain, favorisant notre immersion et l’observation du quotidien des habitants du quartier, le recueil d’une parole informelle, permettant d’expliciter notre démarche, ses objectifs, son intérêt, l’instauration d’une quotidienneté, de relations de confiance. Pour cela, une présence régulière aux différentes manifestations, aux réunions et aux événements publics liés au quartier et une fréquentation de lieux de rencontre et d’échanges préalablement identifiés ont été nécessaires.Des rencontres collectives et individuelles ont été organisées avec les partenaires – associations, structures et personnes-relais sur le quartier – nous permettant d’être rapidement identifiés et de baliser précisément notre rôle – le rôle de chacun – dans le projet, de recueillir leur connaissance du terrain, leurs représentations et leurs réflexions sur le projet. Les ateliers avec les techniciens, les élus et les associations concernées devaient définir précisément: ● les objectifs à court, moyen et, le cas échéant, long terme;

● les actions à court, moyen et long terme;

● les modalités de leur déroulement.

Ces rencontres avaient également pour objectif de faire fonctionner le«bouche-à-oreille», qui demeure bien souvent le principal vecteur d’information pour ce type de démarche. Elles nous permettaient également de nouer des premiers contacts avec les habitants et les personnes-relais impliqués dans la vie du quartier. Ont été mis en œuvre:

● un moment de rencontre-discussion avec les habitants sous la forme d’une soirée projection-débat: présentation du travail de recueil de mémoire, personnes et structures porteuses, méthodes, finalités; définition en commundes modalités de leur participation au projet.

● sollicitation et information de la presse locale (journaux, radio, télévision), des bulletins associatifs, de la communication institutionnelle (ville, communauté

d’agglomération, bailleur, etc.) pour relayer et présenter le plus précisément possible la démarche entreprise et les personnes en charge de ce travail;

● des entretiens compréhensifs, individuels, en couple ou en petits groupes sous la forme d’entretiens semi-directifs de type «récits de vie(s)», recueillisauprès d’habitants ou d’anciens habitants du quartier, de professionnels travaillant ou ayant exercé leur activité dans le quartier, d’élus ou de responsables associatifs.

« BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE »

Centre de Ressources Politique de la Ville en Essonne

Les entretiens ont été enregistrés et traités sur support numérique – mini-disc –, et les documents et les objets soigneusement inventoriés et/ou scannés.Ces entretiens avaient pour objectifs d’enregistrer non pas l’histoire de ce quartier, mais la manière qu’avaient nos interlocuteurs de dire leur propre histoire, cequi faisait mémoire pour ces personnes en contact étroit avec le quartier, natifs ou de passage, enracinés ou nouveaux venus. Il s’agissait de souvenirs, d’impressions d’enfance, de petits faits de la vie quotidienne parfois jugés sans importance, d’événements heureux ou tragiques, qui ont marqué leur sensibilité. Cela supposait donc que l’on prenne le temps, précisément de parler et d’écouter. Les entretiens se sont déroulés de préférence au domicile des personnes, pas dans la rue ou une salle impersonnelle, mais dans la sphère privée plus à même de laisser subvenir ces épopées de l’intime. L’objectif n’était pas de faire une archéologie du quartier, ni même d’enfermer nos interlocuteurs dans la norme de la personne-type qui habite un grand ensemble, mais bien de montrer que cet immeuble était composé de fragmentsde vies, de destins d’hommes et de femmes singuliers. Il s’agissait de montrer

comment, à un moment donné, ces personnes, venues parfois d’horizons lointains, se sont arrêtées là et ont enrichi ce lieu de leurs histoires et de leurs trajectoires particulières.

Nous avons donc insisté sur les trajectoires familiales et professionnelles de chacun: origines, parcours résidentiels, étapes et ruptures de vies – mariage, naissances, emplois successifs, divorces, décès, etc. –, points de repères autour desquels chacun construit «son temps», étapes qui organisent la durée, le vécu familial, domestique, les faits d’une vie et les événements de l’histoire. Le souvenir trouve également un support concret dans l’espace et les multiplesbouleversements du bâti et du cadre de vie. Démolitions, reconstructions,aménagements, suscitent une perte de repères, et invitent d’autant plus à faireun travail de mémoire. Dans cette perspective, ont été évoqués les souvenirs attachés plus précisément au quartier des Grésilles et à l’immeuble Billardon.Les personnes interrogées ont été invitées à s’appuyer le plus largement possible sur des descriptions détaillées (déménagement, logements successifs, accessibilité au travail ou aux équipements et services, nombre et identité des commerces, relations de voisinage, espaces collectifs), leurs pratiques (loisirs, vie scolaire, pratiques commerciales, etc.), les événements (fêtes, accidents, etc.) ou personnes marquantes; leurs perceptions du quartier et de son évolution – qu’ils y habitent toujours ou pas –, leurs projections éventuelles dans l’avenir (liste de thèmes non exhaustive).De février à juin 2003, une quinzaine d’entretiens ont pu être réalisés auprès d’une trentaine d’anciens locataires de l’immeuble, des premiers résidents de

Billardon dans les années 1950 aux derniers occupants, récemment relogés. « BILLARDON, HISTOIRE D’UN GRAND ENSEMBLE » Centre de Ressources Politique de la Ville en Essonne Des outils pour l’action: la restitution Tout au long de l’étude, nous avons rencontré et consulté régulièrement l’ensemble des institutions et des partenaires concernés par la démarche, afin de leur soumettre les premiers éléments de notre travail, recueillir leurs commentaires, leurs suggestions et critiques. Ces rencontres ont été l’occasion de partager une réflexion, d’élaborer des propositions de restitution aux différents publics.Malgré nos craintes initiales, une restitution de qualité a pu être proposée aux habitants, grâce à l’implication très forte de l’Opac de Dijon, véritable porteur du projet, et dans une moindre mesure du service Inventaire de la Direction régionale des affaires culturelles de Bourgogne. Leur implication a permis de trouver différents partenaires financiers, comme la Caisse des Dépôts et Consignations ou la communauté d’agglomération.

De notre côté, sur la base du rapport et du reportage photographique que nous avions remis à nos commanditaires, nous avons pu convaincre les éditions

Créaphis, reconnues pour la qualité de leurs publications de documents d’histoire, de sciences sociales et de photographie, de formuler une proposition éditoriale de qualité. Sur la base de nos recommandations, deux pistes de restitution ont été privilégiées:

● une exposition, événement fort et fédérateur, pouvant susciter des échanges,des moments de rencontre entre habitants du quartier et résidents extérieurs,

dans une optique d’ouverture du quartier au reste de la ville, les productions de certains groupes d’habitants pouvant être également valorisées, ainsi que les objets ou films recueillis dans le cadre du projet;

● une publication, associant textes et documents d’archives sur l’histoire du quartier, une sélection de témoignages et de photographies professionnelles

et amateurs, et accompagnant cette exposition, pour une diffusion plus large des résultats de l’opération, et une appropriation durable du projet par les habitants du quartier et les autres résidents de l’agglomération.Cette restitution avait également pour objectif de mettre en lumière les différentes préoccupations des habitants, permettant aux acteurs de terrain de disposer d’une base de connaissances pour définir et programmer leurs interventions, à court, moyen et long terme. Un tel travail fait émerger des représentations collectives, des divergences, des tensions qu’il faut savoir analyser et traiter pour améliorer les rapports sociaux et les conditions de vie des habitants.Encore faut-il que ces paroles soient prises en compte pour permettre aux institutions de redéfinir leurs modes d’intervention sur la ville: vaste chantier… Sylvain TABOURY,sociologue, enseignant à l’école d’architecture de Versailles Les 30 Glorieuses . com et la carte postale.. Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. Jérôme (Mémoire2Ville) #chercheur #archiviste #maquettiste dans l #histoire des #logementssociaux #logement #HLM #logementsocial #Patrimoine @ Les films du MRU -Industrialiser la construction, par le biais de la préfabrication.Cette industrialisation a abouti, dans les années 1950, à un choix politique de l'Etat, la construction massive de G.E. pour résoudre la très forte crise du logement dont souffrait la France www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... … Le temps de l'urbanisme, 1962, Réalisation : Philippe Brunet www.dailymotion.com/video/xgj2zz?playlist=x34ije … … … … -Les grands ensembles en images Les ministères en charge du logement et leur production audiovisuelle (1944-1966) MASSY - Les films du MRU - La Cité des hommes, 1966, Réalisation : Fréderic Rossif, Albert Knobler www.dailymotion.com/video/xgiqzr?playlist=x34i - Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - www.dailymotion.com/video/xxi0ae?playlist=x34ije … - A quoi servaient les films produits par le MRU ministère de la Reconstruction et de l'Urbanisme ? la réponse de Danielle Voldman historienne spécialiste de la reconstruction www.dailymotion.com/video/x148qu4?playlist=x34ije … -les films du MRU - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : la préfabrication en usine, le coffrage glissant... www.dailymotion.com/video/xyjudq?playlist=x34ije … - TOUT SUR LA CONSTRUCTION DE NOTRE DAME LA CATHEDRALE DE PARIS Içi www.notredamedeparis.fr/la-cathedrale/histoire/historique... -MRU Les films - Le Bonheur est dans le béton - 2015 Documentaire réalisé par Lorenz Findeisen produit par Les Films du Tambour de Soie içi www.dailymotion.com/video/x413amo?playlist=x34ije Noisy-le-Sec le laboratoire de la reconstruction, 1948 L'album cinématographique de la reconstruction maison préfabriquée production ministère de la Reconstruction et de l'Urbanisme, 1948 L'album cinématographique içi www.dailymotion.com/video/xwytke archipostcard.blogspot.com/search?updated-max=2009-02-13T... - - PRESQU'ILE DE GENNEVILLIERS...AUJOURD'HUI...DEMAIN... (LA video içi parcours.cinearchives.org/Les-films-PRESQU-ILE-DE-GENNEVI... … ) Ce film de la municipalité de Gennevilliers explique la démarche et les objectifs de l’exposition communale consacrée à la presqu’île, exposition qui se tint en déc 1972 et janvier 1973 - le mythe de Pruitt-Igoe en video içi nextcity.org/daily/entry/watch-the-trailer-for-the-pruitt... … - 1964, quand les loisirs n’avaient (deja) pas le droit de cité poke @Memoire2cite youtu.be/Oj64jFKIcAE - Devenir de la ZUP de La Paillade youtu.be/1qxAhsqsV8M v - Regard sur les barres Zum' youtu.be/Eow6sODGct8 v - MONTCHOVET EN CONSTRUCTION Saint Etienne, ses travaux - Vidéo Ina.fr www.ina.fr/video/LXF99004401 … via - La construction de la Grande Borne à Grigny en 1969 Archive INA www.youtube.com/watch?time_continue=12&v=t843Ny2p7Ww (discours excellent en seconde partie) -David Liaudet : l'image absolue, c'est la carte postale" phothistory.wordpress.com/2016/04/27/david-liaudet-limage... … l'architecture sanatoriale Histoire des sanatoriums en France (1915-1945). Une architecture en quête de rendement thérapeutique..

passy-culture.com/wp-content/uploads/2009/10/Les-15-Glori... … … & hal.archives-ouvertes.fr/tel-01935993/document Gwenaëlle Le Goullon (LAHRA), auteur du livre "la genèse des grands ensembles",& Danièle Voldman (CHS, Centre d'Histoire Sociale), expliquent le processus qui a conduit l'Etat, et le ministère de l'urbanisme &de la reconstruction à mener des chantiers exp www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... mémoire2cité & l'A.U.A. - Jacques Simon (1929 - 26 septembre 2015) est un architecte paysagiste formé à l'École des beaux-arts de Montréal et à l'École nationale supérieure du paysage de Versailles. Fasciné par la campagne qui témoigne d'une histoire de labeur, celle des agriculteurs "ses amis", "les génies de la terre", Jacques SIMON, paysagiste dplg, Premier Grand Prix du Paysage en 1990*, réalise avec eux des installations paysagères éphémères principalement dans des champs et visibles du ciel. Avec sa palette d'artiste, Jacques SIMON réinvente des paysages comme les agriculteurs eux-aussi à leur façon les créent et les entretiennent. Le CAUE du Rhône vous invite à venir découvrir ses travaux au travers d'un kaléidoscope de photographies empreintes de spontanéité, de fraîcheur et d'humour. Cette exposition nous interpelle sur le caractère essentiel d'une nature changeante, fragile, sur l'importance d'une activité agricole diversifiée et sur la nécessaire évolution du métier de paysan. Elle nous amène aussi à voir et à interpréter ce que l'on voit, elle éveille en nous le sens de la beauté du paysage en conjuguant les différentes échelles de perception et de lecture; à pied et à vol d'oiseau, à la fois l'échelle humaine, terrestre, géologique, forestière, hydrologique, biologique mais aussi esthétique et symbolique. Jacques Simon, paysagiste cosmopolite est l'un des principaux acteurs du renouveau de la pensée paysagère en France dans les années 60 et 70 conjuguant avec cohérence sa pratique de paysagiste, de voyageur, d'éditeur, d'enseignant avec son approche plus artistique du paysage, subtile, sensible et humaine de la nature avec la réalisation de "performances". Ses projets paysagers comme ses interventions paysagères éphémères sont marqués par la mobilité, la fragilité, une empathie avec le lieu, par la dualité même du voyage : découverte / évanouissement, création / disparition. Jacques Simon dessine, écrit sur le paysage, "une surface", un peu à la manière du land'art avec les techniques et les outils du jardinier, du cultivateur. Il ne s'agit plus de représenter la nature mais de l'utiliser en créant avec et dans le paysage. L'intention de Jacques Simon n'est pas d'apposer sa marque sur le paysage mais de travailler instinctivement avec lui afin que ses travaux-installations manifestent même brièvement un contact en harmonie avec le monde naturel. "On dit qu'il a bouleversé l'esprit du paysage, il a remis les choses essentielles à leur place. Il rit de l'importance qu'on veut bien lui donner, fils de l'air, il ne veut rien de plus que passer dans les cerveaux pour les ventiler, les rafraîchir et non pour les modeler; son "importance", il l'a ailleurs et autrement; il est historique parce que dans son temps, dans celui qui s'écoule et non dans celui qui passe". Extrait de "Jacques Simon, tous azimuts", Jeanne-Marie Sens et Hubert Tonka, Pandora Editions, 1991. Il a introduit une nouvelle conception de l'art du paysage proche du Land art, Jacques Simon est l'auteur d'une série d'ouvrages sur différents aspects du paysage et abordés d'un point de vue technique. Il a travaillé de 1964 à 1966 en collaboration avec Michel Corajoud. Il a conçu le Parc de la Deûle (qui lui a valu le Grand Prix national du Paysage en 2006, après l'avoir reçu une première fois en 19901).

Il est mort le 29 septembre 20151 et a été incinéré à Auxerre Le paysagiste Jacques Simon s'est éteint le 26 septembre dernier à l'âge de 86 ans. Diplômé de Versailles en 1959, il fut sans doute l'une des figures les plus emblématiques, les plus géniales et les plus originales du paysagisme contemporain. Premier grand prix du paysage et prix du Conseil de l'Europe pour le parc de la Deule, on lui doit des principes de compositions très forts, autour du nivellement, du traitement du végétal ou de la place laissée au vide. Ses intuitions comme ses travaux ont inspiré tous les paysagistes avec lesquels il a travaillé, à commencer par Michel Corajoud ou Gilles Vexlard. On lui doit un profond renouvellement dans la composition des grands ensembles, ses réalisations -comme le parc Saint-John Perse à Reims- restant des modèles pour tous les professionnels. Jacques Simon développa également une production d'œuvres plus éphémères, attentif aux mouvements et aux transformations. Pédagogue talentueux et généreux, il le fut autant par les documents techniques et la revue qu'il publia, que par ses interventions en atelier devant plusieurs générations d'étudiants de l'école. Les paysagistes perdent un de leurs plus féconds inspirateurs. L'ENSP s'associe au deuil de sa famille et de ses proches. Témoignages à la mémoire de Jacques Simon

Dans les années 1990 à l'école du Paysage de Versailles, lorsque nous entrions en première année, la première satisfaction était d'acquérir du nouveau matériel d'expression plastique. Encre, feutres, supports en grand format et sur papier calque...mais aussi découvrir des livres de notre professeur Jacques Simon : des carnets de dessins et de croquis, des photomontages découpés aux ciseaux.

En amphithéâtre lors de conférences et séances de projections de diapositives, Jacques Simon évoquait surtout sa capacité à piloter un hélicoptère. Je viens de retrouver un extrait d'un article à ce sujet..« (...) Car depuis une dizaine d'années, le Bourguignon a trouvé une solution à son imagination en bourgeonnement permanent. Jacques Simon crée ‘pour lui tout seul'. Ni commande ni concours. Mais des messages géants écrits dans les champs et seulement visibles d'avion ou d'hélicoptère. Un art éphémère et privé dont il s'amuse, les veilles de moissons, tout autour de sa ferme de Turny, dans l'Yonne.Et là, plus rien ne l'arrête. Les agriculteurs du coin ont pris l'habitude de le voir faucher des allées entières de luzerne. De l'apercevoir écraser d'interminables chemins de phacelia, un graminé californien qui existe en trois couleurs (blanc, bleu, rouge). De l'observer dans son hélicoptère photographiant le résultat. Ses messages sont des hommages ou des avertissements. L'un prévient : ‘Hé, si tu n'as plus de forêt t'es foutu.' Un autre : 'Sans les paysans, je m'emmerde. Signé : la Terre.' Même l'hiver, Jacques Simon s'adonne à cette calligraphie paysagère. (...) ».Extrait paru dans La Croix l'événement du dimanche 11 et lundi 12 juin 1995, par Frédéric Potet, rubrique Culture. son site simonpaysage.free.fr/

file:///C:/Users/user/Downloads/B_Blanchon_AUA.pdf Interview to Jacques Simon incleded on the dvd that accompanies book "Metropoles en Europe", from the exhibition "Lille - Metropoles en Europe". The French landscape architect Jacques Simon's love for nature first developed on his father's tree farm and then deepened when he traveled as a young man to Sweden and then Canada, where he attended art school in Montreal while working as a lumberjack. Between 1957 and 1959, Simon studied at the École Nationale de Horticulture. He has since become an important link in the renewal of French landscape architecture, combining the Anglo-Saxon and Scandinavian garden cultures he absorbed in his travels with classic Latin structures. He works as often as possible in situ, and does not shy away from driving the tractor himself.

www.youtube.com/watch?v=OyBnqrUlK9U turny.chez.com/A0archives/jSIMMON.htm Jacques Simon, Il crée la revue Espaces verts en 1968, l’anime jusqu’en 1982, publie des cahiers spéciaux dédiés à « l’Aménagement des espaces libres ». Même l'hiver, il s'adonne à cette calligraphie paysagère».La Croix dimanche 11 et lundi 12 juin 1995, simonpaysage.free.fr/ Jacques Simon écrit ses premiers articles dès la fin des années 1950 pour des revues comme Maison et Jardin et Urbanisme. En 1965, il signe l’un de ses premiers livres, L’Art de connaître les arbres. strabic.fr/Jacques-Simon-Gilles-Vexlard … jacques simon & Le parc des Coudrays - Élancourt-Maurepas, 1970 strabic.fr/Jacques-Simon-Gilles-Vexlard … simonpaysage.free.fr/ Jacques Simon - Espaces verts n° 27, avril-mai-juin 1971, p. 44-45 Fasciné par la campagne qui témoigne d'une histoire de labeur, celle des agriculteurs "ses amis", "les génies de la terre" paysagiste dplg, Premier Grand Prix du Paysage en 1990*, www.youtube.com/watch?v=OyBnqrUlK9U …ici es EDITIONS DU CABRI PRESENTE PARIS LA BANLIEUE 1960-1980 -La video Içi www.youtube.com/watch?v=lDEQOsdGjsg ,

A partir des années 1950, le trafic de la banlieue parisienne suit l’urbanisation galopante et les dessertes ferroviaires doivent s’adapter et se moderniser.Quelques amateurs ont su immortaliser un monde ferroviaire qui était alors en voie de disparition. Dans ce film, nous retrouvons les dessertes 750 volts par troisième rail en rames « Standard » sur les lignes de Versailles-RD, sur la ligne d’Auteuil et entre Puteaux et Issy-Plaine mais aussi les derniers trains à vapeur à St Lazare, à La Bastille et sur le Nord et quelques ultimes voyages sur les lignes de Ceinture --------------De la révolution industrielle à aujourd’hui, un décryptage minutieux de la course au développement qui a marqué le point de départ de l’ère de l'anthropocène (ou l'ère de l'Homme) et de la déterioration continue de la planète. www.arte.tv/fr/videos/073938-000-A/l-homme-a-mange-la-terre/ Quelque 1 400 milliards de tonnes de CO2 sont aujourd’hui prisonnières de la basse atmosphère. Réchauffement climatique, déforestation, inondations, épuisement des ressources, pollutions, déchets radioactifs... : en deux siècles, la course au progrès et à la croissance a durablement altéré la planète, la crise environnementale se doublant d’une rupture géologique, avec l’avènement de l’ère anthropocène. Portée par l’exploitation des énergies fossiles – du charbon de la révolution industrielle en Angleterre au tout-pétrole de la domination économique des États-Unis –, l’industrialisation et ses corollaires, taylorisme et colonialisme, entraînent une exponentielle production de masse. Un processus qu’accélère la Première Guerre mondiale, les firmes chimiques mobilisées pour tuer l’ennemi se reconvertissant dans la destruction du vivant avec les herbicides, insecticides et fertilisants de l’agriculture intensive. Alors que l’urbanisation s’étend, la voiture, qui sonne le glas du tramway, se généralise, et l’Amérique s’inspire du modèle autoroutier nazi. La Seconde Guerre mondiale engendre une nouvelle organisation du travail, laquelle devient la norme, et annonce l’ère nucléaire de la guerre froide. Dans sa démesure, l’homme rêve déjà d’usages civils de l’atome (y compris pour l’abattement de montagnes et la dissolution des calottes glaciaires !). Le plastique et le béton deviennent les piliers de la consommation de masse, dévoreuse de matières premières et antidote à la contestation sociale, jusqu’à la révolution numérique. Liaisons dangereuses

En balayant, avec de formidables archives issues du monde entier, deux siècles de progrès jusqu’à l’ère du big data, le film remonte aux sources de la crise écologique, en interrogeant avec précision les enjeux scientifiques, économiques et politiques qui y ont conduit. Fourmillant d’informations, il éclaire l’histoire de cette marche folle, et les liaisons dangereuses entre industries militaire et civile. Entre capitalisme et mondialisation imposés par les grandes puissances, un décryptage passionnant du basculement dans l’anthropocène, funeste asservissement de la nature par l’homme. le Logement Collectif* 50,60,70's dans tous ses états..Histoire & Mémoire de l'Habitat / Rétro-Villes / HLM / Banlieue / Renouvellement Urbain / Urbanisme URBANISME S’imaginer Paris et le Grand Paris @ Les 50ans d'Apur (link: 50ans.apur.org/#intro) 50ans.apur.org/#intro @ Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ. De Femmes à l'usine (1981), Bobigny, banlieue rouge (1986), à La banlieue en morceaux (2000), en passant par les publications collectives qu'elle a coordonnées et les travaux qu'elle a encadrés, la trajectoire de cette historienne a conduit l'histoire sociale et politique – telle qu'on la pratiquait dans les années 1970 – vers une histoire urbaine renouvelée. Le livre revient sur cette évolution et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Les auteurs, historiennes et historiens, sociologues, politistes, géographes, architectes, urbanistes et décideurs politiques proposent une histoire urbaine à la fois interdisciplinaire et ancrée dans la fabrique de la ville et ses représentations, portant la marque de sa dédicataire.Les quatre sections de l'ouvrage dessinent les chantiers qu'Annie Fourcaut a investis : " Du social à l'urbain " met en avant la conviction qu'étudier l'histoire des villes, c'est toujours faire de l'histoire sociale ; " Qu'elle était belle la banlieue " est centré sur les banlieues, son territoire d'étude de prédilection ; " Les habits neufs des politiques de la ville " interroge les politiques urbaines successives et leur transformation ; enfin, " Banc d'essai des modernités " propose une analyse historique de l'urbanisme, comme discipline et comme pratique. www.benjamingibeaux.fr/portfolio/petite-histoire-de-lhabi... Le Label « Patrimoine du XXe siècle » créé en 1999 par le ministère de la Culture et de la Communication a pour but de faire connaître l’architecture de cette période. La comparaison des labellisations réalisées par les DRAC d’Île-de-France et d’Occitanie (ex Languedoc-Roussillon et de Midi-Pyrénées) montre la variété des méthodes employées pour rendre compte soit de l’importance numérique des édifices remarquables soit de la difficulté à établir ce corpus et de la nécessité de s’appuyer sur les inventaires ou études thématiques ou monographiques. Si l’attribution du label, désormais appelé "Architecture contemporaine remarquable" s’est faite depuis vingt ans de façon très diverse selon les régions, elle est toujours l’occasion de mettre en lumière et de porter à la connaissance du public des œuvres architecturales remarquables, notamment via une augmentation impressionnante des publications de qualité sur l'architecture du XXe siècle. En 1999, le ministère de la Culture et de la Communication propose la mise en place d’un nouvel outil pour permettre la reconnaissance et la sauvegarde des constructions élevées au cours du siècle qui s’achève. Le label « Patrimoine du XXe siècle » est une déclinaison nationale de la recommandation du conseil de l’Europe sur la prise en compte de l’architecture du XXe siècle. Ce dernier évoque, pour la conservation de ce patrimoine « moins reconnu », une absence d’intérêt « en raison de sa proximité dans l’Histoire, de l’abondance de ses témoignages et de son caractère hétérogène » et sa crainte de « pertes irréparables »2 . Le label mis en place par la France vise à appeler « l’attention des décideurs, des aménageurs, mais aussi et surtout de ses usagers et du public sur les productions remarquables de ce siècle » Chargées de mettre en place le label, les directions régionales des affaires culturelles (Drac), services déconcentrés du ministère de la Culture, ont à cette date déjà construit, chacune à sa manière, leur approche de la préservation du patrimoine du XXe siècle. Elles s’emparent alors diversement du label, appliquant de facto des labellisations aux immeubles de ce siècle déjà protégés au titre des monuments historiques4 ou mettant en place de véritables stratégies pour répondre pleinement aux attendus de la directive nationale. À partir de nos expériences, il nous a paru intéressant de montrer la diversité de la mise en place du label dans trois Drac parmi d’autres, l’Île-de-France ainsi que Languedoc-Roussillon et Midi-Pyrénées qui composent aujourd’hui la région Occitanie5. Pour chacune de ces Drac, il s’agit de montrer comment la connaissance de ce patrimoine, mais aussi ses particularités territoriales ont joué un rôle important dans le choix des méthodologies de sélection des œuvres à labelliser ainsi que la détermination de critères, et de présenter les résultats et les actions de valorisation menées pour faire connaître et apprécier ces créations architecturales récentes. Le label « Patrimoine du XXe siècle » en Île-de-France : gérer l’abondance La Drac Île-de-France s’est emparée tardivement du label « Patrimoine du XXe siècle », pour plusieurs raisons. Parmi les freins à l’action, il faut citer la question du pilotage de la mise en place du label entre différents services de la Drac, les interrogations liées à l’opportunité de ce nouveau dispositif et un relatif scepticisme quant à son efficacité, l’ampleur de la tâche au vu du corpus concerné, le plus important de France en quantité et sans doute en qualité, mais surtout l’engagement pris de longue date par cette Drac et les membres de sa commission régionale du patrimoine et des sites (CRPS) en faveur du patrimoine du XXe siècle. En effet, c’est sans doute dans cette région que l’on protège le plus grand nombre d’édifices contemporains au titre des monuments historiques : dans la première décennie du XXIe siècle, selon les années, 50 à 70 % des protections concernent des édifices construits au siècle précédent. Ainsi, ce nouveau dispositif, dépourvu de dispositions contraignantes, étranger à la culture de la conservation régionale des monuments historiques (CRMH) dont l’action est liée à la protection, peinait à démontrer son intérêt au regard de ce qu’offre la législation sur les monuments historiques. Cependant, au vu de l’enjeu que constitue la préservation de l’architecture contemporaine en Île-de-France, lié à la fois à l’ampleur de la production et aux évolutions urbaines et réglementaires constantes engageant sa conservation, la question de la mise en place du label était régulièrement posée à la Drac. Pilotée par la CRMH, la première expérience de labellisation y fut menée en 2004. Elle s’inscrivait dans la suite de l’étude menée par le groupe d’experts dirigé par Bernard Toulier, conservateur du Patrimoine au département du pilotage de la recherche et de la politique scientifique du ministère de la Culture, qui avait produit une liste d’édifices du XXe siècle repérés en bibliographie, inventaire devant servir de base à la constitution de propositions de labellisations. Selon la méthode suivie par ce groupe d’experts, on fit le choix de présenter tous les immeubles concernés regroupés par larges typologies. Les membres de la CRPS, devant lesquels fut présentée cette liste d’édifices, rejetèrent en bloc la sélection où voisinaient l’aérogare 1 de l’aéroport Roissy-Charles de Gaulle et la modeste mairie du 17e arrondissement de Paris présentée à la demande de son maire, arguant de l’impossibilité à valider le choix d’édifices que rien ne rapprochait. De plus, nombre des immeubles retenus étaient candidats à la protection au titre des monuments historiques, brouillant de fait l’identité du label et réfutant du même coup la conception un temps énoncée du label comme « antichambre » de la protection. En effet, si la grande qualité de la plupart des édifices sélectionnés montrait toute la richesse des créations contemporaines franciliennes, la seule présentation des plus remarquables d’entre eux résultait d’une absence de sélection argumentée, selon l’esprit du label. La présentation de cette première liste en CRPS tourna donc court. - La question des critères de sélection a été débattue à la lumière de l’expérience de la labellisa (...) En 2008, toujours sous l’impulsion du service des monuments historiques, une nouvelle orientation fut prise. Un pilotage, un groupe de travail, un objectif furent mis en place. Trois orientations furent définies : selon les recommandations de la CRMH de la région PACA, procéder par thématiques typologiques, méthode propice à l’élaboration de critères de sélection ; cibler un patrimoine déprécié ou en danger, pour répondre parfaitement aux attendus de la directive européenne ; pour cette première campagne de labellisation, choisir un champ vierge de reconnaissance patrimoniale, éloigné de la protection au titre des monuments historiques afin d’éviter toute confusion entre les édifices labellisés et les édifices protégés. Le thème des ensembles de logements, nombreux dans cette région, s’est naturellement dégagé. À géométrie variable, le groupe de travail dirigé par la cellule protection était formé d’un premier cercle pérenne, garant de la cohérence de la démarche de labellisation et des choix des thématiques, et d’un second, composé de spécialistes de chaque thématique retenue. Le premier cercle était constitué d’agents de la Drac (conservation des monuments historiques, service architecture, un architecte des bâtiments de France, chargé de faire le lien avec l’ensemble des services départementaux de l’architecture et du patrimoine de la région), de représentants du monde universitaire et de la recherche dans le domaine de l’architecture du XXe siècle.

Pour les ensembles de logements, le second cercle du groupe de travail a permis d’associer des acteurs de terrain, des représentants des bailleurs sociaux, des experts. Le sujet fut restreint chronologiquement (1945-1975), son acception précisée (habitat collectif et individuel) et le corpus, basé sur les inventaires existants et la bibliographie, fut établi à partir des critères élaborés par le groupe de travail : histoire, forme urbaine, valeur d’usage, technique, style - Composée d’environ un tiers de ses membres, la délégation permanente est une émanation de la CRPS (...) De façon exceptionnelle, la liste des ensembles de logements fut en premier lieu présentée devant les membres de la délégation permanente de la CRPS7 pour en valider les orientations et s’assurer de l’adhésion des membres, à la fois pour ne pas risquer de réitérer l’expérience malheureuse de 2004 mais surtout pour interroger la commission sur le bien-fondé à distinguer ces ensembles de logements d'après-guerre, constructions parmi les plus décriées du XXe siècle.

La méthodologie proposée a conduit à la labellisation d’une première série d’immeubles, quarante ensembles de logements en 2010 (fig. 2, 3), puis d’une seconde série de soixante-quinze lieux de culte en 2011 (fig. 4, 5). Les critères peuvent être adaptés ou précisés selon le thème retenu : pour les édifices religieux, la qualité et l’originalité du décor furent ajoutés et la valeur d’usage exclue.La méthode choisie a été vertueuse : elle a permis de labelliser un grand nombre d’édifices, d’associer largement les services patrimoniaux de l’État et des collectivités, de créer des synergies avec l’université et les chercheurs, de valoriser l’action de l’État par des présentations en CRPS, des publications, des journées d’études, des expositions, actions relayées par la presse généraliste et spécialisée8 (fig. 6 et 7). Un partenariat pérenne s’est développé avec l’éditeur Beaux-Arts pour la publication de chaque campagne de labellisation, avec diffusion en kiosque au plus près du public concerné pour un prix inférieur à 15 €. Elle a également permis d’impliquer les acteurs de terrain, répondant ainsi à l’objectif visé de sensibilisation du public à cette architecture mal aimée Depuis 2016, la Drac Île-de-France a conduit trois nouvelles campagnes, toutes thématiques, fondées sur des partis méthodologiques diversifiés, adaptés aux sujets d’étude.

- Note méthodologique « Étude du patrimoine du XXe siècle de la métropole du Grand Paris », La manu (...) - La loi relative à la liberté de la création, à l’architecture et au patrimoine (LCAP) promulguée (...) Une campagne vise à identifier les édifices et ensembles contribuant à structurer le territoire de la récente métropole du Grand Paris. L’établissement d’une critériologie et la sélection ont été confiés à un bureau d’études, la Manufacture du patrimoine, associé à un groupe de travail conduit par la Drac. Des critères dits généraux, divisés en critères primaires et complémentaires, ont été retenus. Pour la thématique étudiée, se sont ajoutés sept critères spécifiques répondant aux enjeux de « l’émergence et du rayonnement de la métropole »10. Les grands travaux présidentiels ont été concernés dans un premier temps, aboutissant à la labellisation de dix édifices en novembre 2016, avant une présentation plus large d’édifices emblématiques, retenus pour l’obtention d’un label « Architecture contemporaine remarquable »11 en juin 2018.

- Introduite par la loi relative à la liberté de la création, à l’architecture et au patrimoine (LC (...) De façon innovante, la Drac a conclu un partenariat avec l’école nationale supérieure d’architecture (ENSA) Paris-Belleville avec laquelle elle s’est associée dès l’élaboration du premier label (colloque, exposition, travaux avec l’IPRAUS). Le thème choisi, inscrit dans la droite ligne du précédent, s’attache à l’étude des villes nouvelles. Par son caractère récent et spécifique dans l’histoire de la planification urbaine, cet objet d’étude implique une nouvelle approche, menée dans le cadre d’une convention triennale de chaire partenariale avec l’ENSA Paris-Belleville. La méthodologie s’appuie sur la grille d’analyse habituellement employée par la Drac, enrichie pour inclure davantage l’espace public. Des édifices de la ville d’Évry (Essonne), qui manifesta en 2016 son souhait de voir son patrimoine labellisé, ont été présentés en novembre 2018 aux membres de la commission régionale de l’architecture et du patrimoine (CRPA)12 en vue d’une labellisation.- Valérie Gaudard remercie vivement Mmes Agnès Chauvin, cheffe du bureau de la protection, et Maria (...)Enfin, le champ de l’architecture scolaire est abordé dès 2010. Au vu de l’immensité du corpus, la Drac a choisi en 2016 de s’attacher dans un premier temps aux lycées, en lien avec le service de l’Inventaire de la région Île-de-France13.

Le label en Languedoc-Roussillon : une succession d’opportunités V- La Poste Art Nouveau de Tuchan, l’hôtel du Belvédère à Cerbère. - Certains construits vers 1900 relèvent davantage d’une esthétique encore XIXe comme la villa Las (...) - Le 3 octobre 2001, une CRPS dédiée a examiné onze propositions de protection, dont deux seulement (...)

14Dans ce territoire riche en monuments anciens, l’attention pour l’architecture du XXe siècle s’observe dès les années 1980 avec la décentralisation. La commission régionale du patrimoine historique archéologique et ethnologique (Corephae) du 15 décembre 1986 a examiné les premiers dossiers14. Parmi des édifices de la première moitié du siècle, bénéficiant du recul et bien documentés, plus faciles à appréhender15, on peut citer les cliniques Saint-Charles à Montpellier, exemple d’architecture des années 1930, ornées des sculptures monumentales de Joachim Costa et des verrières d’Émile Brière, sauvées in extremis de la démolition. En l’an 2000, une campagne de protection thématique est lancée16, distinguant des bâtiments majeurs de l’entre-deux-guerres, comme le théâtre municipal de Carcassonne, le Palais des Arts et du Travail de Narbonne, le lycée technique Dhuoda à Nîmes, l’église Sainte-Thérèse à Montpellier mais également le centre d’apprentissage pour garçons, actuel lycée Mermoz à Béziers, œuvre de Pierre Jeanneret, à laquelle ont collaborés Jean Prouvé et Charlotte Perriand.

- Monument inscrit MH en 2009 Toujours à Odeillo, un petit collectif de maisons solaires, initiativ (...) Plus récemment ont été inscrits au titre des monuments historiques, le centre de vol à voile de la Montagne Noire, à Labécède-Lauragais, haut lieu de formation des pilotes entre 1932 et 1980 ou des installations solaires en Cerdagne, liées à la personnalité de Félix Trombe dont les recherches aboutissent à la construction entre 1962 et 1968 par le CNRS du four solaire d’Odeillo à Font-Romeu-Odeillo-Via Pourtant, cette architecture du XXe siècle, représentant un nombre de réalisations jamais atteint, restait mal appréciée, mal aimé.

 

Precise Monoblock Axes

Healthy Machine Standard Head System

Push Button Needle Change Type

Sterilization can be done with High-temperature and High-pressure repeatedly

One Year Manufacturer Warranty

 

www.mostuwant.com/bandbr-high-speed-dental-lab-handpiece-...

Precise Perspective with Shiva

Precise Perspective with Shiva

Precise Perspective with Shiva

Precise Perspective with Shiva

Precise Perspective with Shiva

Professional Volume Eyelash Extension Tweezers

▪Highly Precise ▪Fine Tip

▪Hand Tested ▪Wholesale Prices

 

Khối lượng chuyên nghiệp Lông mi mở rộng nhíp

▪Chính xác cao ▪Mẹo nhỏ

▪Đã kiểm tra ▪Giá Bán from Buôn

 

Pinzette per estensione di ciglia volume professionale

▪Altamente preciso ▪Punta fine

▪Testato a mano ▪Prezzi all'ingrosso

 

Profissional Pinça de extensão de pestanas de volume

▪Alta precisão ▪ponta fina

▪Teste manual ▪Preços por atacado

 

Профессиональный объемный пинцет для наращивания ресниц

▪ Высоко Точный ▪Точный совет

▪Ручное тестирование ▪Оптовые цены

 

#tweezermaneyelashcurler #tweezermanbenelux #tweezermanmurah

#tweezermann #tweezermanprofessional #tweezermanxsephora

#tweezermanlashcurler #tweezermanbrushiq #tweezermanbrows

#tweezermanbrushes #tweezermanmini #lashproducts

#tweezermanambassador #lashexpert #lashstuff

#tweezermankiev #tweezermanaustralia #tweezermangiveaway

#tweezerman_de #tweezermannl #tweezermanlove #thicklashes

#lashes #lash #lashextensions #lashlift #lashesextension #lashboost #lashbabe #lashtraining #lashmaster

#lashesonfleek #lashlove #lashtech #lashboss #lashtips

#lashgoals #lashqueen #lashpreneur #lashtint #lashstylist

#lashartist #lashlife #lasheducator #lashobsessed #lashroom

#lashdoll #lashextension #lashmaker #lashlifting #lashing #lashdolls #lashporn #lashmapping #lashtrainer #lashfill #lashcourse #lashbeauty #lashroomdecor #lashtechnician #lashstudio #lashpro #lashaddict #lashgame

#lashlady #lashgang #lashlover #lashista #lashed #lashperfect

#lashvolume #lashschool #lashsupplier #lashquotes

#lashliftandtint #lashtip #lashlovers #lashdiva #lashbabes #lashenvy #Vietnam #china

#lashqueens #lasheslasheslashes #lashquoteoftheday #lashes👀#lashesofinstagram #lashbath #lashacademy #lashqoutes #lashboxla #russian #russian #ukraine

#lashesonlashes #lashesextensions #lashbar #lashedout #lashesfordays #lashesonpoint #lashbox #lashtweezers #lashesforever #classiclashes #lashboostrodanandfields #lashton #lashobsession #lasheslifting #lashesbyme #lashboxlacanada #lashquote #lashwands #lashaffairbyjparis #lasheslove #lashquotesoftheday #lashcommunity #lashme #batalash #lashboxlamexico #bellalash #lashclassatlanta #lovelash #volumelash #volumelashextensions #lashia #lashmaster #lashmasterorel #eyelash

#lashmasters #lashmastermindbrasil #lashmasterclass #lashmastery #sialkot #punjab #pakistan

#lashmaster2020 #lashmasterazira #lashmasterlegends #lashmaster_pro #webdesigner #webdeveloper

#lashmaster_алёна_lbc #lashmasterkiev #lashmastersconference #internetexplorer

#lashmaster_alinaaa #lashmasterminsk #lashmaster_kris #lashmasterchita #lashtweezersuk #noorimanindustries

#lashmaster_ru #lashmaster39 #lashmaster96 #lashmastersaratov #crossedge #khadmi #amithimpes

#lashmasterclases #lashmasterrostov #lashmastertrainer #lashmasterilona #bretalbeautyintl #nomaxenterprises

#lashmasterbrn #lashmasterspb #lashmasteruk #lashmasterofsweden #aifarralashliftingtools #applicators

#lashmastermoscow #lashmasterkrd #lashmastervasneva #lashmasterpenza #aifarranailtools #aifarrasurgicaltools

#lashmaster_amluxlook_дроноваалена #lashmasternn #lashmasterpnz #aeedc2020 #aifarrasurgicaltweezers

#lashmaster_dp #lashmaster_ms #lashmastertmn #lashmaster_zhitnikova #aifarralashtool #aifarrahairtools

#lashmaster_anastasiya #lashmasterpoltava #lashmastervl #lashworld #rubberdamclamps #forcep #VK #youtube

#lashmastercourse #dailymotion #ucbrowsers #alibaba

#lashmaster_amluxlook_шалыгинаекатерина

#lashmastercoursemanchester #aliexpress #amazon

#lashmaster_amluxlook_джимиева_кристина

#lashmaster_amluxlook_марияалексеева #lashmaster_amluxlook #ebay #likeforlike #USA

#lashmasternkvz #lashmasterveronicazora #lashmaster_ar #lashmasterv #topnews #latestnews #gramblr #stars

#lashmasteralmaty #lashmastermira #celebrities

#lashmaster_amluxlook_алятинаелена #doller #people

#lashmasternsk #lashmastersurgut #lashmasterzp

#lashmasterno #snapchat #flicker #Orthomechanix

#lashmasterkrg #lashmasterpiece #lashmasteroslo

#lashmasterkrsk #outlook #beautyforume #aeedcdubai

#lashmaster_alena #lashmasterodessa #lashmastertunis #lashmasternorge #google #facebook #instagram #twitter

#linkedin #pinterest #world #nation #medical

#lashmastertomsk #lashmasterdoha #lashmaster_spb #volumetweezers #lashmasterstudio #наращиваниересниц #ресницымосква #наращиваниеногтейгелем #наращиваниересницмосква #электрозаводская #айбьютистудиоэлектрозаводская #tahirsurgical

#lashlayer #liftandtint #lovelash #lashbusiness #lashextention

#eyelashes #lashforweeks #fullashes #tweezers #lashtweezers #aifarrameasurmenttools #hashtag

#eyelashextensions #borboletabeauty #melblashes #lashbarnorway #merakilashes #minklash #borbylashes #lashaffairjparis #eyelashextensionsmelbourneh #silklashes #Microblading #dental #hairtools #hairscissors #beautyscissors #New_Arrival #aifarrsurgical

#eyelashextensions #eyelinertutorial #eyesdrawing

#eyelashextensionjakarta #eyelashebekasi #eyelash

#eyelashes #eyelashtraining #eyelashekayuringin

#eyelashbekasibarathomecare #eyelashbekasibarat

#eyelashbekasimurah #eyelashbekasipromo

#eyelashbekasiutara #eyelashbekasiselatan

#eyelashbekasiregancy #eyelashhomeservice

#homeserviceeyelash #eyelashhomeservisbekasi

#eyelashpekayon #eyelashesterdekat

#eyelashesnengai #eyelashesbekasitermurah

#eyelashesbekasioke #eyelasheskeren #eyelashcantik

#eyelashlentik #eyelashbekasitimur #lashlovers

#workshoppestanas #workshops #lashartist #lashmaster #lashmagazine #lashextensions #lashlover #lashfamaly #lashboss #lashdiva #pestanasvolume #instagood #instagrammer #insta #inspiração #costadacaparica #sol #exoticeyes #extensão #lequesperfeitos #formaçãomargemsul #workshoppestanas #lovemywork #lashmagazine #lashextensions #lashlover #lashfamaly #lashboss #lashartist #lashdiva #lashqueen #Lasheaven #costadacaparica #extensãodepestanas #sol #fioafio #divalash #aifarrasurgical #lashes #mylashes #londonlash

#Professionalshavingtools #hairshavingtools #qualityshavingtools #razorsafaty #hairsafaty #Prohairsafaty #Shavingsafaty #hairshavingbursh #shavingbursh #hairshavingstand #hairshavingstandwood #shavingwoodstand #shavingstand #hairscissors #professionalscissors #professionalqualityrazor #haircuttingshears #petgroomingshears #razorshears #multirazorscissors #lashaffair #lashattachment #lashgroupies

#tweezermanxhudabeauty #tweezermanuk #tweezermanpartner #tweezermanbrasil #tweezersmanufecturer #tweezermanslant #tweezermanca #tweezermanindonesia #tweezermangear #tweezermanspain

#tweezermanhk #tweezermanvippro #tweezerman #tweezermancanada #tweezermannipper #tweezermanme #tweezermanportugal #tweezermantools #tweezermantweezers #tweezerman_id #tweezermanукраина #dramaticlashes #lasheslasheslashes #googleplus

#tweezermanturns35 #tweezermanufacturer #tweezermanxglow #gmail #info #worldtradecenter #eyelashextensions #volumetweezers #russianvolume #lash #cils #cilios #mua #rzesy #lashartist #lashcoach #berlash #ciliosbrasil #ciliosbrasil #australialashextensions #borboletabeauty #pinkladylash #lashaffairbyjp #lashmakers #lashlineacademy #volumelashes #megavolumelashes #przedluzanierzes #tweezers #australialashextensions #australialashes #Sydneylashes #Melbournelashes #Brisbanelashes #Perthlashes #Adelaidelashes #GoldCoastlashes #volumetweezers #eyelashextensions #diamondgriptweezers #CentralCoastlashes #SunshineCoastlashes #Hobartlashes #Townsvillelashes #russianvolume #sydneylashartist #ruvol #eyelashextensionssydney #lashextensionssydney #wimperextensions #wimperlashextensions #vavalash #miamilashes #sobelashes #volumelashes #miami #sobe #lashtraining #miamivolumetraining #miamilashtraining #lashesmiami #eyelashesmiami #lashextensions #russianvolume #lashbox #lashmakersnation #lashheaven #przedluzanierzes #lashpromiami #lashpro #miamilashextensions #lashtrainingmiami #lashempire #lashtrainer #lashcastle #przedluzanierzes #eyelashextensions #lashesfordays #volumetweezers #tweezers #pinkladylash #borboletabeauty #melblashes #lashbarnorway #merakilashes #classiclashes #borbylashes #lashtrainer #lashaffairbyjp #eyelashextensionsmelbourne #bellalash #sugarlashpro #sobelashes #lasheducation #russianqueenlashes #lashempire #lashmaker #miamilashtraining #rzesywarszawa #laurabeauty #ilevellab

#volumetweezers #megavolumelashes #lashextensions #mavenlashes #lashartist #lovelashbase #diamondlashes #rzesyobjetosciowe #eyelashextensionsupplies #classiclashes #premiumlashes #bestlashes #lashschool #lashbarcph #volumetweezers #mavenartistry #lashclass #lashtraining #utahlashes #lashlift #classic #lashlove #sobelashes #volume #eyelashextensions #austinlashtraining #megavolumelashes #lashextensions #lashbarnorway #Londonlashpro #lashextensionsmelbourne #viplash #completelashes #secretlashes #luxglamco #lashdoll #rzęsy #lashtrainer #lashmaster #lashtools #russianvolume #lashartist #mua #lashaffairbyjparis #hollywoodlashes #wimperextension #austinlashes #eyelashextensions #обучениенаращиваниюресниц #брови #ресницы #материалыдлябровей #владикавказ #салоныкрасоты #материалыдлянаращиванияресниц #наращиваниересниц #наращиваниеволос #объемноенаращивание #глаза #lashesmoscow #пинцеты #классическоенаращивание

#материалыдлянаращиванияресниц #2dнаращиваниересниц #ресницы3d #тройнойобъем #объёмноенаращиваниересниц #реснички #цветныересницы #lashextensions #classiclashes #цветныересницы #обучениенаращиваниюресниц #брови #ресницы #материалыдлябровей #владикавказ #салоныкрасоты #материалыдлянаращиванияресниц #наращиваниересниц #наращиваниеволос #объемноенаращивание #глаза #lashesmoscow #пинцеты #классическоенаращивание #материалыдлянаращиванияресниц #2dнаращиваниересниц #ресницы3d #тройнойобъем #объёмноенаращиваниересниц #реснички #цветныересницы #classiclashes #цветныересницы

Pied kingfisher (Ceryle rudis), Renuka Lake, Sirmaur District, Himachal Pradesh

Precise Perspective with Shiva

Lauren Bell uses computer modeling to target precise radiotherapy treatment. Lauren works at Ingham Medical Research Institute in Liverpool and is currently studying a PhD in Physics.

Precise V5 RT black Pilot pen in my sketchbook

Read more...

The Postcard

 

A postally unused postcard that was published by Muse Productions of Stroud, and printed in England by Cotswold Printing.

 

The following information is provided on the divided back of the card:

 

'James McNeill Whistler

1834 - 1903

Variations in violet and grey -

Market Place, Dieppe 1885.

Watercolour on white paper.

21 cm x 12 cm

Private Collection.

 

Tate Gallery, London 1994

Musée d'Orsay, Paris 1995

National Gallery of Art, Washington 1995.'

 

Variations in Violet and Grey - Market Place, Dieppe

 

During Whistler's visit in 1885 to the Normandy seaside resort of Dieppe, he captured the busy market square from a high vantage point, and accentuated the liveliness of the scene by using his sheet in a vertical format.

 

The result was one of his most delightful and complex watercolors, filled with energy, variety, and interest despite its surprisingly small size.

 

The sheet offers a catalogue of the techniques Whistler had mastered by the mid-1880's, the zenith of his work in watercolor. Precise brushstrokes create picturesque figures gathered in the foreground, abstract dabs suggest the distant crowd, and delicate washes indicate old buildings around the square.

 

The title, "Variations in Violet and Grey," invokes both the musical associations that Whistler so often pursued in creating and naming his works, and his preference for harmonious arrangements distilled from the world of appearances.

 

Following the successful London exhibition of the watercolor in 1886, it was shown in Paris in 1887, to acclaim and appreciation by contemporaries such as Camille Pissarro, and in New York in 1889.

 

Its rich exhibition history enhancees its importance, which Whistler himself appears to have recognized.

 

James McNeill Whistler

 

James Abbott McNeill Whistler RBA, who was born in 1834, was an American painter in oils and watercolor, and printmaker, active during the American Gilded Age, and based primarily in the United Kingdom.

 

He eschewed sentimentality and moral allusion in painting, and was a leading proponent of "art for art's sake".

 

James' signature for his paintings took the shape of a stylized butterfly with an added long stinger for a tail.

 

The symbol combined both aspects of his personality: his art is marked by a subtle delicacy, while his public persona was combative.

 

He found a parallel between painting and music, and entitled many of his paintings "arrangements", "harmonies", and "nocturnes", emphasizing the primacy of tonal harmony.

 

Whistler's most famous painting, Arrangement in Grey and Black No. 1 (1871), commonly known as Whistler's Mother, is a revered and often parodied portrait of motherhood.

 

Whistler influenced the art world and the broader culture of his time with his aesthetic theories and his friendships with other leading artists and writers.

 

-- James Abbott Whistler - The Early Years

 

James Abbott Whistler was born in Lowell, Massachusetts on the 10th. July 1834, the first child of Anna McNeill Whistler and George Washington Whistler. He was the elder brother of Confederate surgeon William McNeill Whistler.

 

In later years, Whistler played up his mother's connection to the American South and its roots, and he presented himself as an impoverished Southern aristocrat, although it remains unclear to what extent he truly sympathized with the Southern cause during the American Civil War.

 

He adopted his mother's maiden name after she died, using it as an additional middle name.

 

James' father was a railroad engineer, and Anna was his second wife. James lived the first three years of his life in a modest house at 243 Worthen Street in Lowell, Massachusetts. The house is now the Whistler House Museum of Art, a museum dedicated to him.

 

James claimed St. Petersburg, Russia as his birthplace during the Ruskin trial:

 

"I shall be born when and where

I want, and I do not choose to be

born in Lowell."

 

Whistler was a moody child, prone to fits of temper and insolence, and he often drifted into periods of laziness after bouts of illness. His parents discovered that drawing often settled him down and helped to focus his attention.

 

The family moved from Lowell to Stonington, Connecticut in 1837, where his father worked for the Stonington Railroad. Three of the couple's children died in infancy during this period.

 

Their fortunes improved considerably in 1839 when his father became chief engineer for the Boston & Albany Railroad, and the family built a mansion in Springfield, Massachusetts, where the Wood Museum of History now stands.

 

-- James Whistler in Russia and England

 

The family lived in Springfield until they left the United States for Russia in late 1842 when James' father was recruited by Nicholas I of Russia to design a railroad in Russia.

 

The Emperor had learned of George Whistler's ingenuity in engineering the Canton Viaduct for the Boston & Albany Railroad, and he offered him a position to engineer the railway from Saint Petersburg to Moscow.

 

After moving to St. Petersburg, the young Whistler took private art lessons, then enrolled in the Imperial Academy of Arts at the age of eleven.

 

The young artist followed the traditional curriculum of drawing from plaster casts and occasional live models, revelled in the atmosphere of art talk with older peers, and pleased his parents with a first-class mark in anatomy.

 

In 1844, he met the noted artist Sir William Allan, who came to Russia with a commission to paint a history of the life of Peter the Great. Whistler's mother noted in her diary:

 

"The great artist remarked to me:

'Your little boy has uncommon

genius, but do not urge him

beyond his inclination.'"

 

In 1847–1848, James' family spent some time in London with relatives, while his father stayed in Russia. Whistler's brother-in-law Francis Haden, a physician who was also an artist, spurred his interest in art and photography. Haden took Whistler to visit collectors and to lectures, and gave him a watercolour set with instruction.

 

Whistler already was imagining an art career. He began to collect books on art, and he studied other artists' techniques. When his portrait was painted by Sir William Boxall in 1848, the young Whistler exclaimed that:

 

"The portrait is very much like me,

and a very fine picture. Mr. Boxall

is a beautiful colourist... It is a

beautiful creamy surface, and looks

so rich."

 

In his blossoming enthusiasm for art, at fifteen, he informed his father by letter of his future direction:

 

"I hope, dear father, you will

not object to my choice."

 

His father, however, died from cholera at the age of 49, and the Whistler family moved back to his mother's home town of Pomfret, Connecticut.

 

The family lived frugally and managed to get by on a limited income. James' art plans remained vague, and his future uncertain. His cousin reported that Whistler at that time was:

 

"... slight, with a pensive, delicate face,

shaded by soft brown curls... he had a

somewhat foreign appearance and

manner, which, aided by natural abilities,

made him very charming, even at that

age."

 

-- Whistler at West Point

 

Whistler was sent to Christ Church Hall School with his mother's hopes that he would become a minister. Whistler was seldom without his sketchbook, and was popular with his classmates for his caricatures.

 

However, it became clear that a career in religion did not suit him, so he applied to the United States Military Academy at West Point, where his father had taught drawing and other relatives had attended.

 

James was admitted to the highly selective institution in July 1851 on the strength of his family name, despite his extreme nearsightedness and poor health history.

 

However, during his three years there, his grades were barely satisfactory, and he was a sorry sight at drill and dress, known as "Curly" for his hair length which exceeded regulations.

 

Whistler bucked authority, spouted sarcastic comments, and racked up demerits. Colonel Robert E Lee was the West Point Superintendent and, after considerable indulgence toward Whistler, he had no choice but to dismiss the young cadet.

 

Whistler's major accomplishment at West Point was learning drawing and map making from American artist Robert W. Weir.

 

James' departure from West Point seems to have been precipitated by a failure in a chemistry exam where he was asked to describe silicon. He began by saying:

 

"Silicon is a gas."

 

As Whistler himself put it later:

 

"If silicon were a gas, I would

have been a general one day".

 

-- Whistler's First Job

 

After West Point, Whistler worked as draftsman mapping the entire U.S. coast for military and maritime purposes. However he found the work boring, and was frequently late or absent.

 

James spent much of his free time playing billiards and idling about, was always broke, and although a charmer, had little acquaintance with women.

 

After it was discovered that he was drawing sea serpents, mermaids, and whales on the margins of the maps, he was transferred to the etching division of the United States Coast Survey. He lasted there only two months, but he learned the etching technique which later proved valuable to his career.

 

At this point, Whistler firmly decided that art would be his future. For a few months he lived in Baltimore with a wealthy friend, Tom Winans, who even furnished Whistler with a studio and some spending cash.

 

The young artist made some valuable contacts in the art community and also sold some early paintings to Winans. Whistler turned down his mother's suggestions for other more practical careers, and informed her that with money from Winans, he was setting out to further his art training in Paris. Whistler never returned to the United States.

 

-- Whistler's Art Study in France

 

Whistler arrived in Paris in 1855, rented a studio in the Latin Quarter, and quickly adopted the life of a bohemian artist. Whistler preferred self-study and enjoyed the café life. Soon he had a French girlfriend, a dressmaker named Héloise.

 

He studied traditional art methods for a short time at the École Impériale and at the atelier of Charles Gleyre. The latter was a great advocate of the work of Ingres, and impressed Whistler with two principles that he used for the rest of his career: that line is more important than color, and that black is the fundamental color of tonal harmony.

 

Twenty years later, the Impressionists would largely overthrow this philosophy, banning black and brown as "forbidden colors," and emphasizing color over form.

 

While letters from home reported his mother's efforts at economy, Whistler spent freely, sold little or nothing in his first year in Paris, and was in steady debt.

 

To relieve the situation, he took to painting and selling copies from works at the Louvre, and finally moved to cheaper quarters. As luck would have it, the arrival in Paris of George Lucas, another rich friend, helped stabilize Whistler's finances for a while. In spite of a financial respite, the winter of 1857 was a difficult one for Whistler. His poor health, made worse by excessive smoking and drinking, laid him low.

 

Conditions improved however during the summer of 1858. Whistler recovered and traveled with fellow artist Ernest Delannoy through France and the Rhineland. He later produced a group of etchings known as "The French Set", with the help of French master printer Auguste Delâtre.

 

During that year, he painted his first self-portrait, Portrait of Whistler with Hat, a dark and thickly rendered work reminiscent of Rembrandt. However the event of greatest consequence that year was his friendship with Henri Fantin-Latour, whom he met at the Louvre.

 

Through Henri, Whistler was introduced to the circle of Gustave Courbet, which included Carolus-Duran (later the teacher of John Singer Sargent), Alphonse Legros, and Édouard Manet.

 

Also in this group was Charles Baudelaire, whose ideas and theories of "modern" art influenced Whistler. Baudelaire challenged artists to scrutinize the brutality of life and nature, and to portray it faithfully, avoiding the old themes of mythology and allegory.

 

Théophile Gautier, one of the first to explore translation qualities among art and music, may have inspired Whistler to view art in musical terms.

 

-- Whistler in London

 

Reflecting his adopted circle's banner of the Realism art movement, Whistler painted his first exhibited work, La Mère Gérard in 1858. He followed it by painting At the Piano in 1859 in London, which he adopted as his home, while also regularly visiting friends in France.

 

At the Piano is a portrait composed of his niece and her mother in their London music room, an effort which clearly displayed his talent and promise. A critic wrote:

 

"Despite a recklessly bold manner and

sketchiness of the wildest and roughest

kind, it has a genuine feeling for colour

and a splendid power of composition

and design, which evince a just

appreciation of nature very rare

amongst artists."

 

The work is unsentimental, and effectively contrasts the mother in black and the daughter in white, with other colors kept restrained in the manner advised by his teacher Gleyre. It was displayed at the Royal Academy the following year, and in many exhibitions to come.

 

In a second painting executed in the same room, Whistler demonstrated his natural inclination toward innovation and novelty by fashioning a genre scene with unusual composition and foreshortening. It later was re-titled Harmony in Green and Rose: The Music Room. This painting also demonstrated Whistler's ongoing work pattern, especially with portraits: a quick start, major adjustments, a period of neglect, then a final flurry at the finish.

 

After a year in London, James produced a set of etchings in 1860 called Thames Set, as counterpoint to his 1858 French set, as well as some early impressionistic work including The Thames in Ice.

 

At this stage, he was beginning to establish his technique of tonal harmony based on a limited, predetermined palette.

 

-- Whistler's Early Career

 

In 1861, after returning to Paris for a time, Whistler painted his first famous work, Symphony in White, No. 1: The White Girl. The portrait of his mistress and business manager Joanna Hiffernan was created as a simple study in white.

 

However, others saw it differently. The critic Jules-Antoine Castagnary thought the painting an allegory of a new bride's lost innocence. Others linked it to Wilkie Collins's The Woman in White, a popular novel of the time, or various other literary sources.

 

In England, some considered it a painting in the Pre-Raphaelite manner. In the painting, Hiffernan holds a lily in her left hand and stands upon a wolf skin rug (interpreted by some to represent masculinity and lust) with the wolf's head staring menacingly at the viewer.

 

The portrait was refused for exhibition at the conservative Royal Academy, but was shown in a private gallery under the title The Woman in White.

 

In 1863, it was shown at the Salon des Refusés in Paris, an event sponsored by Emperor Napoleon III for the exhibition of works rejected by the Salon.

 

Whistler's painting was widely noticed, although upstaged by Manet's more shocking painting Le déjeuner sur l'herbe. Countering criticism by traditionalists, Whistler's supporters insisted that the painting was "an apparition with a spiritual content," and that it epitomized his theory that art should be concerned essentially with the arrangement of colors in harmony, not with a literal portrayal of the natural world.

 

Two years later, Whistler painted another portrait of Hiffernan in white, this time displaying his newfound interest in Asian motifs, which he entitled The Little White Girl.

 

His Lady of the Land Lijsen and The Golden Screen, both completed in 1864, again portray his mistress, in even more emphatic Asian dress and surroundings.

 

During this period Whistler became close to Gustave Courbet, the early leader of the French realist school, but when Hiffernan modeled in the nude for Courbet, Whistler became enraged and his relationship with Hiffernan began to fall apart.

 

In January 1864, Whistler's very religious and very proper mother arrived in London, upsetting her son's bohemian existence and temporarily increasing family tensions. As he wrote to Henri Fantin-Latour:

 

"General upheaval!! I had to

empty my house and purify

it from cellar to eaves."

 

James also immediately moved Hiffernan to another location.

 

From 1866, Whistler made his home in Chelsea, London, an area popular with artists, firstly in Cheyne Walk, then an ill-fated move to Tite Street, and finally Upper Church Street.

 

-- Whistler's Later Career

 

In 1866, Whistler decided to visit Valparaíso, Chile, a journey that has puzzled scholars, although Whistler stated that he did it for political reasons. Chile was at war with Spain, and perhaps Whistler thought it a heroic struggle of a small nation against a larger one, but no evidence supports that theory.

 

What the journey did produce was Whistler's first three nocturnal paintings (which he originally termed "moonlights"): night scenes of the harbor painted with a blue or light green palette.

 

After he returned to London, James painted several more nocturnes over the next ten years, many of the River Thames and of Cremorne Gardens, a pleasure park famous for its frequent fireworks displays, which presented a novel challenge to paint.

 

In his maritime nocturnes, Whistler used highly thinned paint as a ground with lightly flicked color to suggest ships, lights, and shore line. Some of the Thames paintings also show compositional and thematic similarities with the Japanese prints of Hiroshige.

 

In 1872, Whistler credited his patron Frederick Leyland, an amateur musician devoted to Chopin, for his musically inspired titles:

 

"I say I can't thank you too much for the name

'Nocturne' as a title for my moonlights! You have

no idea what an irritation it proves to the critics

and consequent pleasure to me—besides it is

really so charming and does so poetically say

all that I want to say and no more than I wish!"

 

At that point, Whistler painted another self-portrait and entitled it Arrangement in Gray: Portrait of the Painter (circa 1872). He also began to re-title many of his earlier works using terms associated with music, such as a "nocturne", "symphony", "harmony", "study" or "arrangement", to emphasize the tonal qualities and the composition, and to de-emphasize the narrative content.

 

Whistler's nocturnes were among his most innovative works. Furthermore, his submission of several nocturnes to art dealer Paul Durand-Ruel after the Franco-Prussian War gave Whistler the opportunity to explain his evolving "theory in art" to artists, buyers, and critics in France.

 

His good friend Fantin-Latour, growing more reactionary in his opinions, especially in his negativity concerning the emerging Impressionist school, found Whistler's new works surprising and confounding. Fantin-Latour admitted:

 

"I don't understand anything there;

it's bizarre how one changes. I don't

recognize him anymore."

 

Their relationship was nearly at an end by then, but they continued to share opinions in occasional correspondence.

 

When Edgar Degas invited Whistler to exhibit with the first show by the Impressionists in 1874, Whistler turned down the invitation, as did Manet, and some scholars attributed this in part to Fantin-Latour's influence on both men.

 

-- Whistler's Portraits

 

The Franco-Prussian War of 1870 fragmented the French art community. Many artists took refuge in England, joining Whistler, including Camille Pissarro and Claude Monet, while Manet and Degas stayed in France.

 

Like Whistler, Monet and Pissarro both focused their efforts on views of the city, and it is likely that Whistler was exposed to the evolution of Impressionism founded by these artists, and that they had seen his nocturnes.

 

Whistler was drifting away from Courbet's "damned realism" and their friendship had wilted, as had his liaison with Joanna Hiffernan.

 

-- Whistler's Mother

 

By 1871, Whistler had returned to portraits and soon produced his most famous painting, the nearly monochromatic full-length figure entitled Arrangement in Grey and Black No.1, but usually referred to as Whistler's Mother.

 

A model failed to appear one day, according to a letter from his mother, so Whistler turned to his mother and suggested that he do her portrait. He had her stand at first, in his typically slow and experimental way, but that proved too tiring, so the seated pose was adopted. It took dozens of sittings to complete.

 

The austere portrait in his normally constrained palette is another Whistler exercise in tonal harmony and composition. The deceptively simple design is in fact a balancing act of differing shapes, particularly the rectangles of curtain, picture on the wall, and floor which stabilize the curve of her face, dress, and chair.

 

Whistler commented that the painting's narrative was of little importance, yet the painting was also paying homage to his pious mother. After the initial shock of her moving in with her son, she aided him considerably by stabilizing his behavior somewhat, tending to his domestic needs, and providing an aura of conservative respectability that helped win over patrons.

 

The public reacted negatively to the painting, mostly because of its anti-Victorian simplicity during a time in England when sentimentality and flamboyant decoration were in vogue.

 

Critics thought the painting a failed "experiment" rather than a work of art. The Royal Academy rejected it, but then grudgingly accepted it after lobbying by Sir William Boxall - but they hung it in an unfavorable location at their exhibition.

 

From the start, Whistler's Mother sparked varying reactions, including parody, ridicule, and reverence, which have continued to this day. Some saw it as "the dignified feeling of old ladyhood", "a grave sentiment of mourning", or a "perfect symbol of motherhood."

 

Others however employed it as a fitting vehicle for mockery. It has been satirized in endless variations in greeting cards and magazines, and by cartoon characters such as Donald Duck and Bullwinkle the Moose.

 

Whistler did his part in promoting the picture and popularizing the image. He frequently exhibited it, and authorized the early reproductions that made their way into thousands of homes.

 

The painting narrowly escaped being burned in a fire aboard a train during shipping. It was ultimately purchased by the French government, the first Whistler work in a public collection, and is now housed in the Musée d'Orsay in Paris.

 

During the Great Depression in the United States, the picture was billed as a "million dollar" painting, and was a big hit at the 1933–34 Chicago World's Fair. It was accepted as a universal icon of motherhood by the worldwide public, which was not particularly aware of or concerned with Whistler's aesthetic theories.

 

In recognition of its status and popularity, the United States issued a postage stamp in 1934 featuring an adaptation of the painting.

 

In 2015, New Yorker critic Peter Schjeldahl wrote:

 

"It remains the most important

American work residing outside

the United States."

 

Martha Tedeschi wrote:

 

"Whistler's Mother, Wood's American Gothic, Leonardo

da Vinci's Mona Lisa and Edvard Munch's The Scream

have all achieved something that most paintings -

regardless of their art historical importance, beauty, or

monetary value - have not: they communicate a specific

meaning almost immediately to almost every viewer.

These few works have successfully made the transition

from the elite realm of the museum visitor to the

enormous venue of popular culture."

 

-- Other Portraits by Whistler

 

Other important portraits by Whistler include those of Thomas Carlyle (historian, 1873), Maud Franklin (his mistress, 1876), Cicely Alexander (daughter of a London banker, 1873), Lady Meux (socialite, 1882), and Théodore Duret (critic, 1884).

 

In the 1870's, Whistler painted full-length portraits of his benefactor Frederick Leyland and his wife Frances. Leyland subsequently commissioned the artist to decorate his dining room.

 

Whistler had been disappointed over the irregular acceptance of his works for the Royal Academy exhibitions and the poor hanging and placement of his paintings. In response, Whistler staged his first solo show in 1874.

 

The show was notable and noticed, however, for Whistler's design and decoration of the hall, which harmonized well with the paintings, in keeping with his art theories. A reviewer wrote:

 

"The visitor is struck, on entering the gallery,

with a curious sense of harmony and fitness

pervading it, and is more interested, perhaps,

in the general effect than in any one work."

 

Whistler was not so successful a portrait painter as the other famous expatriate American John Singer Sargent. Whistler's spare technique and his disinclination to flatter his sitters, as well as his notoriety, may account for this. He also worked very slowly, and demanded extraordinarily long sittings.

 

William Merritt Chase complained of his sitting for a portrait by Whistler:

 

"He proved to be a veritable tyrant, painting

every day into the twilight, while my limbs

ached with weariness and my head swam

dizzily. 'Don't move! Don't move!' he would

scream whenever I started to rest."

 

By the time James gained widespread acceptance in the 1890's, Whistler was past his prime as a portrait painter.

 

-- Whistler's Technique

 

Whistler's approach to portraiture in his late maturity was described by one of his sitters, Arthur J. Eddy, who posed for the artist in 1894:

 

"He worked with great rapidity and long hours, but

he used his colours thin, and covered the canvas with innumerable coats of paint. The colours increased in

depth and intensity as the work progressed.

At first the entire figure was painted in greyish-brown

tones, with very little flesh colour, the whole blending

perfectly with the greyish-brown of the prepared

canvas.

Then the entire background would be intensified a

little; then the figure made a little stronger; then the

background, and so on from day to day and week to

week, and often from month to month. ... And so the

portrait would really grow, really develop as an entirety,

very much as a negative under the action of the chemicals

comes out gradually - light, shadows, and all from the

very first faint indications to their full values.

It was as if the portrait were hidden within the canvas,

and the master by passing his wands day after day

over the surface evoked the image."

 

-- Whistler's Printmaking

 

Whistler produced numerous etchings, lithographs, and dry-points. His lithographs, some drawn on stone, others drawn directly on "lithographie" paper, are perhaps half as numerous as his etchings.

 

Some of the lithographs are of figures slightly draped; two or three of the very finest are of Thames subjects - including a "nocturne" at Limehouse; while others depict the Faubourg Saint-Germain in Paris, and Georgian churches in Soho and Bloomsbury in London.

 

The etchings include portraits of family, mistresses, and intimate street scenes in London and Venice. Whistler gained an enormous reputation as an etcher. Martin Hardie wrote:

 

"There are some who set him beside Rembrandt,

perhaps above Rembrandt, as the greatest master

of all time. Personally, I prefer to regard them as

the Jupiter and Venus, largest and brightest

among the planets in the etcher's heaven."

 

James took great care over the printing of his etchings and the choice of paper. At the beginning and end of his career, he placed great emphasis on cleanness of line, though in a middle period he experimented more with inking and the use of surface tone.

 

-- Whistler's Butterfly Signature and Painting Settings

 

Whistler's famous butterfly signature first developed in the 1860's out of his interest in Asian art. He studied the potter's marks on the china he had begun to collect, and decided to design a monogram of his initials.

 

Over time this evolved into the shape of an abstract butterfly. By around 1880, he added a stinger to the butterfly image to create a mark representing both his gentle, sensitive nature and his provocative, feisty spirit.

 

He took great care in the appropriate placement of the image on both his paintings and his custom-made frames. His focus on the importance of balance and harmony extended beyond the frame to the placement of his paintings in their settings, and further to the design of an entire architectural element, as in the Peacock Room.

 

-- The Peacock Room

 

Harmony in Blue and Gold: The Peacock Room is Whistler's masterpiece of interior decorative mural art. Painted in 1876–1877, it is now considered a high example of the Anglo-Japanese style.

 

Frederick Leyland left the room in Whistler's care to make minor changes, "to harmonize" the room whose primary purpose was to display Leyland's china collection.

 

James painted over the original paneled room designed by Thomas Jeckyll (1827–1881), in a unified palette of brilliant blue-greens with over-glazing and metallic gold leaf.

 

Whistler let his imagination run wild, however:

 

"Well, you know, I just painted on. I went on -

without design or sketch - putting in every

touch with such freedom ... And the harmony

in blue and gold developing, you know, I forgot

everything in my joy of it."

 

James completely painted over 16th.-century Cordoba leather wall coverings first brought to Britain by Catherine of Aragon that Leyland had paid £1,000 for.

 

Having acquired the centerpiece of the room, Whistler's painting of The Princess from the Land of Porcelain, American industrialist and aesthete Charles Lang Freer purchased the entire room in 1904 from Leyland's heirs, including Leyland's daughter and her husband, the British artist Val Prinsep.

 

Freer then had the contents of the Peacock Room installed in his Detroit mansion. After Freer's death in 1919, The Peacock Room was permanently installed in the Freer Gallery of Art at the Smithsonian in Washington, D.C. The gallery opened to the public in 1923.

 

A large painted caricature by Whistler of Leyland portraying him as an anthropomorphic peacock playing a piano, and entitled The Gold Scab: Eruption in Frilthy Lucre – a pun on Leyland's miserliness and fondness for frilly shirt fronts – is in the permanent collection of the Fine Arts Museums of San Francisco.

 

-- Whistler and the Ruskin Trial

 

In 1877 Whistler sued the critic John Ruskin after the critic condemned his painting Nocturne in Black and Gold: The Falling Rocket. Whistler exhibited the work in the Grosvenor Gallery, an alternative to the Royal Academy exhibition, alongside works by Edward Burne-Jones and other artists.

 

Ruskin, who had been a champion of the Pre-Raphaelites and J. M. W. Turner, reviewed Whistler's work in his publication Fors Clavigera on the 2nd. July 1877. Ruskin praised Burne-Jones, while he attacked Whistler:

 

"For Mr. Whistler's own sake, no less than for

the protection of the purchaser, Sir Coutts

Lindsay (founder of the Grosvenor Gallery)

ought not to have admitted works into the

gallery in which the ill-educated conceit of

the artist so nearly approached the aspect

of willful imposture.

I have seen, and heard, much of Cockney

impudence before now; but never expected

to hear a coxcomb ask two hundred guineas

for flinging a pot of paint in the public's face."

 

Whistler, seeing the attack in the newspaper, replied to his friend George Boughton:

 

"It is the most debased style

of criticism I have had thrown

at me yet."

 

He then went to his solicitor and drew up a writ for libel, which was served to Ruskin. Whistler hoped to recover £1,000 plus the costs of the action. The case came to trial the following year after delays caused by Ruskin's bouts of mental illness, while Whistler's financial condition continued to deteriorate.

 

The case was heard in the Exchequer Division of the High Court on the 25th. and 26th. November 1878, before Baron Huddleston and a special jury. Counsel for John Ruskin, Attorney General Sir John Holker, cross-examined Whistler:

 

Holker: "What is the subject of Nocturne in

Black and Gold: The Falling Rocket?"

 

Whistler: "It is a night piece, and represents

the fireworks at Cremorne Gardens."

 

Holker: "Not a view of Cremorne?"

 

Whistler: "If it were A View of Cremorne it

would certainly bring about nothing but

disappointment on the part of the beholders.

It is an artistic arrangement. That is why I call

it a nocturne. ..."

 

Holker: "Did it take you much time to paint

the Nocturne in Black and Gold? How soon

did you knock it off?"

 

Whistler: "Oh, I 'knock one off' possibly in a

couple of days – one day to do the work and

another to finish it ..."

 

Holker: "The labour of two days is that for

which you ask two hundred guineas?"

 

Whistler: "No, I ask it for the knowledge

I have gained in the work of a lifetime."

 

Whistler had counted on many artists to take his side as witnesses, but they refused, fearing damage to their reputations. The other witnesses for him were unconvincing, and the jury's own reaction to the work was derisive.

 

With Ruskin's witnesses being more impressive, including Edward Burne-Jones, and with Ruskin absent for medical reasons, Whistler's counterattack was ineffective. Nonetheless, the jury reached a verdict in favor of Whistler, but awarded a mere farthing in nominal damages, and the court costs were split.

 

The cost of the case, together with huge debts from building his residence ("The White House" in Tite Street, Chelsea, designed with E. W. Godwin, 1877–8), bankrupted him by May 1879, resulting in an auction of his work, collections, and house.

 

Stansky notes the irony that the Fine Art Society of London, which had organized a collection to pay for Ruskin's legal costs, supported him in etching "The Stones of Venice" (and in exhibiting the series in 1883), which helped recoup Whistler's costs.

 

Whistler published his account of the trial in the pamphlet Whistler v. Ruskin: Art and Art Critics, included in his later The Gentle Art of Making Enemies (1890), in December 1878, soon after the trial.

 

Whistler's grand hope that the publicity of the trial would rescue his career was dashed as he lost rather than gained popularity among patrons because of it. Among his creditors was Leyland, who oversaw the sale of Whistler's possessions.

 

Whistler made various caricatures of his former patron, including a biting satirical painting called The Gold Scab, just after Whistler declared bankruptcy. Whistler always blamed Leyland for his financial downfall.

 

-- Whistler's Later Years

 

Anna Lea Merritt wrote:

 

"It is always a delight to remember that actually

once Mr. Whistler was really shy! Those who had

the pleasure of hearing his first Ten O'Clock must

remember that when he came before his rather

puzzled and distinguished audience, there were

a few minutes of very palpable stage fright."

 

After the trial, Whistler received a commission to do twelve etchings in Venice. He eagerly accepted the assignment, and arrived in the city with girlfriend Maud Franklin, taking rooms in a dilapidated palazzo they shared with other artists, including John Singer Sargent.

 

Although homesick for London, he adapted to Venice and set about discovering its character. He did his best to distract himself from the gloom of his financial affairs and the pending sale of all his goods at Sotheby's.

 

He was a regular guest at parties at the American consulate, and with his usual wit, enchanted the guests with verbal flourishes such as:

 

"The artist's only positive virtue

is idleness - and there are so

few who are gifted at it."

 

His new friends reported, on the contrary, that Whistler rose early and put in a full day of effort. He wrote to a friend:

 

"I have learned to know a Venice in

Venice that the others never seem

to have perceived, and which, if I

bring back with me as I propose,

will far more than compensate for

all annoyances, delays & vexations

of spirit."

 

The three-month assignment stretched to fourteen months. During this exceptionally productive period, Whistler finished over fifty etchings, several nocturnes, some watercolors, and over 100 pastels - illustrating both the moods of Venice and its fine architectural details.

 

Furthermore, Whistler influenced the American art community in Venice, especially Frank Duveneck (and Duveneck's "boys") and Robert Blum who emulated Whistler's vision of the city and later spread his methods and influence back to America.

 

Back in London, the pastels sold particularly well, and James quipped:

 

"They are not as good as I

supposed. They are selling!"

 

James was actively engaged in exhibiting his other work, but with limited success. Though still struggling financially, he was heartened by the attention and admiration he received from the younger generation of English and American painters who made him their idol, and eagerly adopted the title "pupil of Whistler".

 

Many of them returned to America and spread tales of Whistler's provocative egotism, sharp wit, and aesthetic pronouncements - establishing the legend of Whistler, much to his satisfaction.

 

In January 1881, his mother Anna Whistler died. In her honour, he publicly adopted her maiden name McNeill as a middle name.

 

Whistler published his first book, Ten O'Clock lecture in 1885, a major expression of his belief in "art for art's sake". At the time, the opposing Victorian notion reigned, namely, that art, and indeed much human activity, had a moral or social function.

 

To Whistler, however, art was its own end, and the artist's responsibility was not to society, but to himself, to interpret through art, and to neither reproduce nor moralize what he saw. Furthermore, he stated:

 

"Nature is very rarely right, and

must be improved upon by the

artist, with his own vision."

 

Though differing with Whistler on several points, including his insistence that poetry was a higher form of art than painting, Oscar Wilde was generous in his praise, and hailed the lecture as a masterpiece:

 

".... not merely for its clever satire and amusing

jests ... but for the pure and perfect beauty of

many of its passages ... for that he is indeed one

of the very greatest masters of painting, in my

opinion. And I may add that in this opinion Mr.

Whistler himself entirely concurs."

 

Whistler, however, thought himself mocked by Oscar Wilde, and from then on, public sparring ensued leading to a total breakdown of their friendship, precipitated by a report written by Herbert Vivian. Later, Wilde "symbolically murdered Whistler", basing Basil Hallward, the murdered artist in his novel The Picture of Dorian Gray, on Whistler.

 

Whistler joined the Society of British Artists in 1884, and on the 1st. June 1886, he was elected president. The following year, during Queen Victoria's Golden Jubilee, Whistler presented to the Queen, on the Society's behalf, an elaborate album including a lengthy written address and illustrations that he made.

 

Queen Victoria so admired "the beautiful and artistic illumination" that she decreed henceforth, "that the Society should be called Royal."

 

This achievement was widely appreciated by the members, but soon it was overshadowed by the dispute that inevitably arose with the Royal Academy of Arts.

 

Whistler proposed that members of the Royal Society should withdraw from the Royal Academy. This ignited a feud within the membership ranks that overshadowed all other society business. In May 1888, nine members wrote to Whistler to demand his resignation. At the annual meeting on the 4th. June 1888, he was defeated for re-election by a vote of 18–19, with nine abstentions.

 

Whistler and 25 supporters resigned, while the anti-Whistler majority (in his view) was successful in purging him for his "eccentricities" and "non-English" background.

 

With his relationship with Maud Franklin unraveling, Whistler suddenly proposed to Beatrice Godwin (also called Beatrix or Trixie), a former pupil and the widow of his late friend, architect Edward William Godwin.

 

Through his friendship with Godwin, Whistler had become close to Beatrice, whom Whistler painted in the full-length portrait titled Harmony in Red: Lamplight.

 

By the summer of 1888 Whistler and Beatrice appeared in public as a couple. At a dinner Louise Jopling and Henry Labouchère insisted that they should be married before the end of the week.

 

The marriage ceremony was quickly arranged; as a member of Parliament, Labouchère arranged for the Chaplain to the House of Commons to marry the couple. No publicity was given to the ceremony to avoid the possibility of a furious Maud Franklin interrupting the marriage ceremony.

 

The marriage took place on August 11, 1888, with the ceremony attended by a reporter from the Pall Mall Gazette, so that the event received publicity. The couple left soon after for Paris, to avoid any risk of a scene with Maud.

 

Whistler's reputation in London and Paris was rising, and he gained positive reviews from critics and new commissions. His book The Gentle Art of Making Enemies was published in 1890 with mixed success, but it afforded helpful publicity.

 

In 1890 James met Charles Lang Freer, who became a valuable patron in America, and ultimately his most important collector.

 

Around this time, in addition to portraiture, Whistler experimented with early colour photography and with lithography, creating a series featuring London architecture and the human figure, mostly female nudes.

 

He contributed the first three of his Songs of Stone lithographs to The Whirlwind, a Neo-Jacobite magazine published by his friend Herbert Vivian. Whistler had met Vivian in the late 1880's when both were members of the Order of the White Rose, the first of the Neo-Jacobite societies.

 

In 1891, with help from his close friend Stéphane Mallarmé, Whistler's Mother was purchased by the French government for 4,000 francs. This was much less than what an American collector might have paid, but that would not have been so prestigious by Whistler's reckoning.

 

After an indifferent reception to his solo show in London, featuring mostly his nocturnes, Whistler abruptly decided he had had enough of London. He and Trixie moved to Paris in 1892, and resided at n° 110 Rue du Bac, Paris, with his studio at the top of 86 Rue Notre Dame des Champs in Montparnasse.

 

He felt welcomed by his old Paris friends Monet, Auguste Rodin, Henri de Toulouse-Lautrec, as well as Stéphane Mallarmé, and he set himself up a large studio.

 

James was at the top of his career when it was discovered that his wife Trixie had cancer. They returned to London in February 1896, taking rooms at the Savoy Hotel while they sought medical treatment. He made drawings on lithographic transfer paper of the view of the River Thames, from the hotel window or balcony, as he sat with her. She died a few months later.

 

In 1899, Charles Freer introduced Whistler to his friend and fellow businessman Richard Albert Canfield, who became a personal friend and patron of Whistler's. Canfield owned a number of fashionable gambling houses in New York and Rhode Island, including Saratoga Springs and Newport, and was also a man of culture with refined tastes in art.

 

Canfield owned early American and Chippendale furniture, tapestries, Chinese porcelain and Barye bronzes; he also possessed the second-largest and most important Whistler collection in the world prior to his death in 1914.

 

In May 1901, Canfield commissioned a portrait from Whistler; he started to pose for Portrait of Richard A. Canfield in March 1902. According to Alexander Gardiner, Canfield returned to Europe to sit for Whistler at the New Year in 1903, and sat every day until May 16, 1903.

 

Whistler was ill and frail by this time, and the work was his last completed portrait. The deceptive air of respectability that the portrait gave Canfield caused Whistler to call it 'His Reverence'. The two men were in correspondence from 1901 until Whistler's death.

 

A few months before his own death, Canfield sold his collection of etchings, lithographs, drawings and paintings by Whistler to the American art dealer Roland F. Knoedler for $300,000. Three of Canfield's Whistler paintings hang in the Frick Museum in New York City.

 

In the final seven years of his life, Whistler did some minimalist seascapes in watercolor and a final self-portrait in oil. He corresponded with his many friends and colleagues. Whistler founded an art school in 1898, but his poor health and infrequent appearances led to its closure in 1901.

 

-- Whistler's Death

 

James died in London on the 17th. July 1903, six days after his 69th. birthday. He was laid to rest in Chiswick Old Cemetery in west London, adjoining St. Nicholas' Church, Chiswick.

 

-- Whistler The Man

 

Whistler was the subject of a 1908 biography by his friends, the husband-and-wife team of Joseph Pennell and Elizabeth Robins Pennell, printmaker and art critic respectively.

 

The Pennells' vast collection of Whistler material was bequeathed to the Library of Congress. The artist's entire estate was left to his sister-in-law Rosalind Birnie Philip. She spent the rest of her life defending his reputation and managing his art and effects, much of which eventually was donated to Glasgow University.

 

Whistler had a distinctive appearance, short and slight, with piercing eyes and a curling mustache, often sporting a monocle and the flashy attire of a dandy.

 

He affected a posture of self-confidence and eccentricity. He often was arrogant and selfish toward friends and patrons. A constant self-promoter and egoist, he relished shocking both friends and enemies.

 

Though he could be droll and flippant about social and political matters, he always was serious about art, and often invited public controversy and debate to argue for his strongly held theories.

 

Whistler had a high-pitched, drawling voice and a unique manner of speech, full of calculated pauses. A friend said:

 

"In a second you discover that he is not

conversing - he is sketching in words,

giving impressions in sound and sense

to be interpreted by the hearer."

 

Whistler was well known for his biting wit, especially in exchanges with his friend and rival Oscar Wilde. Both were figures in the Café society of Paris, and they were often the "talk of the town".

 

They frequently appeared as caricatures in Punch, to their mutual amusement. On one occasion, young Oscar Wilde attended one of Whistler's dinners, and hearing his host make some brilliant remark, apparently said, "I wish I'd said that", to which Whistler riposted, "You will, Oscar, you will!"

 

In fact, Wilde did repeat in public many witticisms created by Whistler. Their relationship soured by the mid-1880's, as Whistler turned against Wilde and the Aesthetic Movement. When Wilde was publicly acknowledged to be a homosexual in 1895, Whistler openly mocked him.

 

Whistler revelled in preparing and managing his social gatherings. As a guest observed:

 

"One met all the best in Society there—the people

with brains, and those who had enough to appreciate

them. Whistler was an inimitable host. He loved to be

the Sun round whom we lesser lights revolved ...

All came under his influence, and in consequence,

no one was bored, no one dull."

 

In Paris, Whistler was friends with members of the Symbolist circle of artists, writers and poets that included Stéphane Mallarmé and Marcel Schwob. Schwob had met Whistler in the mid-1890's through Stéphane Mallarmé; they had other mutual friends, including Oscar Wilde (until they argued) and Whistler's brother-in-law, Charles Whibley.

 

Whistler was friendly with many French artists, including Henri Fantin-Latour, Alphonse Legros, and Gustave Courbet. He illustrated the book Les Chauves-Souris with Antonio de La Gandara. He also knew Édouard Manet and the Impressionists, notably Claude Monet, and Edgar Degas.

 

As a young artist, he was a close friend of Dante Gabriel Rossetti, a member of the Pre-Raphaelite Brotherhood. His close friendships with Monet and poet Stéphane Mallarmé, who translated the Ten O'Clock lecture into French, helped strengthen respect for Whistler by the French public.

 

Whistler was friendly with his fellow students at Gleyre's studio, including Ignace Schott, whose son Leon Dabo Whistler later would mentor.

 

Whistler's lover and model for The White Girl, Joanna Hiffernan, also posed for Gustave Courbet. Historians speculate that Courbet used her as the model for his erotic paintings Le Sommeil and L'Origine du Monde, possibly leading to the breakup of the friendship between Whistler and Courbet.

 

During the 1870's and much of the 1880's, Whistler lived with his model and mistress Maud Franklin. Her ability to endure long, repetitive sittings helped Whistler develop his portrait skills.

 

He not only made several excellent portraits of her, but she was also a helpful stand-in for other sitters. Whistler had two daughters by Maud Franklin: Ione (born circa 1877) and Maud McNeill Whistler Franklin (born 1879).

 

Maud sometimes referred to herself as 'Mrs. Whistler', and in the census of 1881 gave her name as 'Mary M. Whistler'.

 

Whistler had several extramarital children, of whom Charles James Whistler Hanson (1870–1935) is the best documented. After Whistler parted from his mistress Joanna Hiffernan, she helped to raise Hanson, even though his mother was the parlour maid, Louisa Fanny Hanson.

 

In 1888, Whistler married Beatrice Godwin, whom he called Beatrix or Trixie. She was the widow of his friend E. W. Godwin, the architect who had designed Whistler's White House, and the daughter of the sculptor John Birnie Philip and his wife Frances Black.

 

Beatrix and her sisters Rosalind Birnie Philip and Ethel Whibley posed for many of Whistler's paintings and drawings; with Ethel Whibley modeling for Mother of Pearl and Silver: The Andalusian (1888–1900).

 

The first five years of their marriage were very happy, but her later life was a time of misery for the couple, due to her illness and eventual death from cancer. Near the end, she lay comatose for much of the time, completely subdued by morphine, given for pain relief. Her death was a heavy blow that Whistler never quite overcame.

 

-- Whistler's Legacy

 

Whistler was inspired by and incorporated many sources in his art, including the work of Rembrandt, Velázquez, and ancient Greek sculpture in order to develop his own highly influential and individual style.

 

He was adept in many media, with over 500 paintings, as well as etchings, pastels, watercolors, drawings, and lithographs.

 

Whistler was a leader in the Aesthetic Movement, promoting, writing, and lecturing on "art for art's sake." With his pupils, he advocated simple design, economy of means, the avoidance of over-labored technique, and the tonal harmony of the final result.

 

Whistler has been the subject of many major museum exhibitions, studies, and publications. Like the Impressionists, he employed nature as an artistic resource.

 

Whistler insisted that it was the artist's obligation to interpret what he saw, not to be a slave to reality, and to "bring forth from chaos glorious harmony".

 

During his life, he influenced many artists throughout the English-speaking world. Whistler had significant contact and exchanged ideas and ideals with Realist, Impressionist, and Symbolist painters. The artist Walter Sickert was his pupil, and the writer Oscar Wilde was his friend.

 

Whistler's Tonalism had a profound effect on many American artists, including John Singer Sargent, William Merritt Chase, Henry Salem Hubbell, Willis Seaver Adams (whom he befriended in Venice) and Arthur Frank Mathews.

 

Whistler met Mathews in Paris in the late 1890's; he took Whistler's Tonalism to San Francisco, spawning a broad use of that technique among turn-of-the-century California artists.

 

Whistler was also a major influence on the 1880's Heidelberg School movement in Australia, otherwise known as Australian impressionism. As American critic Charles Caffin wrote in 1907:

 

"Whistler did better than attract a few followers

and imitators; he influenced the whole world of

art.

Consciously or unconsciously, his presence is

felt in countless studios; his genius permeates

modern artistic thought."

 

During a fourteen-month stay in Venice in 1879 and 1880, Whistler created a series of etchings and pastels that not only reinvigorated his finances (this was after he had declared bankruptcy following the Ruskin trial), but also re-energized the way in which artists and photographers interpreted the city - focusing on the back alleys, side canals, entrance ways, and architectural patterns - and capturing the city's unique atmospherics.

 

In 1940 Whistler was commemorated on a United States postage stamp when the U.S. Post Office issued a set of 35 stamps commemorating America's famous authors, poets, educators, scientists, composers, artists, and inventors: the Famous Americans Series.

 

The Gilbert and Sullivan operetta Patience pokes fun at the Aesthetic movement, and the lead character of Reginald Bunthorne is often identified as a send-up of Oscar Wilde, though Bunthorne is more likely an amalgam of several prominent artists, writers, and Aesthetic figures.

 

Bunthorne wears a monocle and has prominent white streaks in his dark hair, as did Whistler.

 

Novelist Henry James had become well enough acquainted with Whistler to base several fictional characters on "the queer little Londonized Southerner," most notably in Roderick Hudson and The Tragic Muse.

 

Whistler also appeared as one of Henry James's most attractive minor characters, the sculptor Gloriani in The Ambassadors, whose personality, way of life, and even home were closely based on Whistler.

 

George du Maurier's 1894 novel Trilby has a character, Joe Sibley, "the idle apprentice," who was meant to depict Whistler. Whistler threatened to sue, and in subsequent editions the character was replaced by another.

 

Whistler was also the model for a character in Marcel Proust's novel, In Search of Lost Time — the painter Elstir.

 

Whistler was the favorite artist of singer and actress Doris Day. She owned and displayed an original etching of Whistler's Rotherhithe and two of his original lithographs, The Steps, Luxembourg Gardens, Paris and The Pantheon, from the Terrace of the Luxembourg Gardens.

 

Whistler achieved worldwide recognition during his lifetime, including:

 

- 1884: elected an honorary member of the Royal Academy of Fine Arts in Munich.

 

- 1892: made an officer of the Légion d'Honneur in France.

 

- 1898: became a charter member and first president, International Society of Sculptors, Painters and Gravers.

 

A statue of James McNeill Whistler by Nicholas Dimbleby was erected in 2005 at the north end of Battersea Bridge on the River Thames in London.

 

Kathakali (Malayalam: കഥകളി, kathakaḷi; Sanskrit: कथाकळिः, kathākaḷiḥ) is a stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

 

HISTORY

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'.

 

Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called 'Manipravaalam'), has also helped the literature of Kathakali sound more transparent for the average audience.

 

As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to Nritham, Nrithyam and Natyam.

 

KATHAKALI PLAYS

Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.

 

The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Panchali), Keechakavadham (another story of Bhima and Panchali, but this time during their stint in disguise), Kiratham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like Kuchelavrittam, Santanagopalam, Balivijayam, Dakshayagam, Rugminiswayamvaram, Kalakeyavadham, Kirmeeravadham, Bakavadham, Poothanamoksham, Subhadraharanam, Balivadham, Rugmangadacharitam, Ravanolbhavam, Narakasuravadham, Uttaraswayamvaram, Harishchandracharitam, Kacha-Devayani and Kamsavadham.

 

Recently, as part of attempts to further popularise the art, stories from other cultures and mythologies, such as those of Mary Magdalene from the Bible, Homer's Iliad, and William Shakespeare's King Lear and Julius Caesar besides Goethe's Faust too have been adapted into Kathakali scripts and on to its stage. Synopsis of 37 kathakali stories are available in kathakalinews.com.

 

MUSIC

The language of the songs used for Kathakali is Manipravalam. Though most of the songs are set in ragas based on the microtone-heavy Carnatic music, there is a distinct style of plain-note rendition, which is known as the Sopanam style. This typically Kerala style of rendition takes its roots from the temple songs which used to be sung (continues even now at several temples) at the time when Kathakali was born.

 

As with the acting style, Kathakali music also has singers from the northern and southern schools. The northern style has largely been groomed by Kerala Kalamandalam in the 20th century. Kalamandalam Neelakantan Nambisan, an overarching Kathakali musician of those times, was a product of the institute. His prominent disciples include Kalamandalam Unnikrishna Kurup, Kalamandalam Gangadharan, Kalamandalam P.G. Radhakrishnan, Rama Varrier, Madambi Subramanian Namboodiri, Tirur Nambissan, Kalamandalam Sankaran Embranthiri, Kalamandalam Hyderali, Kalamandalam Haridas, Subramanian, Kalanilayam Unnikrishnan and Kalamandalam Bhavadasan. The other prominent musicians of the north feature Kottakkal Vasu Nedungadi, Kottakkal Parameswaran Namboodiri, Kottakkal P.D. Narayanan Namboodiri, Kottakkal Narayanan, Kalamandalam Anantha NarayananKalamandalam Sreekumar Palanad Divakaran, Kalanilayam Rajendran, Kolathappilli Narayanan Namboodiri, Kalamandalam Narayanan Embranthiri, Kottakkal Madhu, Kalamandalam Babu Namboodiri, Kalamandalam Harish and Kalamandalam Vinod. In the south, some of whom are equally popular in the north these days, include Pathiyur Sankarankutty. Southerner musicians of the older generation include Cherthala Thankappa Panikker, Thakazhi Kuttan Pillai, Cherthala Kuttappa Kurup, Thanneermukkam Viswambharan and Mudakkal Gopinathan.

 

PERFORMANCE

Traditionally, a Kathakali performance is usually conducted at night and ends in early morning. Nowadays it isn't difficult to see performances as short as three hours or fewer. Kathakali is usually performed in front of the huge Kalivilakku (kali meaning dance; vilakku meaning lamp) with its thick wick sunk till the neck in coconut oil. Traditionally, this lamp used to provide sole light when the plays used to be performed inside temples, palaces or abodes houses of nobles and aristocrats. Enactment of a play by actors takes place to the accompaniment of music (geetha) and instruments (vadya). The percussion instruments used are chenda, maddalam (both of which underwent revolutionary changes in their aesthetics with the contributions of Kalamandalam Krishnankutty Poduval and Kalamandalam Appukutty Poduval) and, at times, edakka. In addition, the singers (the lead singer is called “ponnani” and his follower is called “singidi”) use chengila (gong made of bell metal, which can be struck with a wooden stick) and ilathalam (a pair of cymbals). The lead singer in some sense uses the Chengala to conduct the Vadyam and Geetha components, just as a conductor uses his wand in western classical music. A distinguishing characteristic of this art form is that the actors never speak but use hand gestures, expressions and rhythmic dancing instead of dialogue (but for a couple of rare characters).

 

ACTING

A Kathakali actor uses immense concentration, skill and physical stamina, gained from regimented training based on Kalaripayattu, the ancient martial art of Kerala, to prepare for his demanding role. The training can often last for 8–10 years, and is intensive. In Kathakali, the story is enacted purely by the movements of the hands (called mudras or hand gestures) and by facial expressions (rasas) and bodily movements. The expressions are derived from Natyashastra (the tome that deals with the science of expressions) and are classified into nine as in most Indian classical art forms. Dancers also undergo special practice sessions to learn control of their eye movements.

 

There are 24 basic mudras—the permutation and combination of which would add up a chunk of the hand gestures in vogue today. Each can again can be classified into 'Samaana-mudras'(one mudra symbolising two entities) or misra-mudras (both the hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

 

The main facial expressions of a Kathakali artist are the 'navarasams' (Navarasas in anglicised form) (literal translation: Nine Tastes, but more loosely translated as nine feelings or expressions) which are Sringaram (amour), Hasyam (ridicule, humour), Bhayanakam (fear), Karunam (pathos), Roudram (anger, wrath), Veeram (valour), Beebhatsam (disgust), Adbhutam (wonder, amazement), Shantam (tranquility, peace). The link at the end of the page gives more details on Navarasas.

 

One of the most interesting aspects of Kathakali is its elaborate make-up code. Most often, the make-up can be classified into five basic sets namely Pachcha, Kathi, Kari, Thaadi, and Minukku. The differences between these sets lie in the predominant colours that are applied on the face. Pachcha (meaning green) has green as the dominant colour and is used to portray noble male characters who are said to have a mixture of "Satvik" (pious) and "Rajasik" (dark; Rajas = darkness) nature. Rajasik characters having an evil streak ("tamasic"= evil) -- all the same they are anti-heroes in the play (such as the demon king Ravana) -- and portrayed with streaks of red in a green-painted face. Excessively evil characters such as demons (totally tamasic) have a predominantly red make-up and a red beard. They are called Red Beard (Red Beard). Tamasic characters such as uncivilised hunters and woodsmen are represented with a predominantly black make-up base and a black beard and are called black beard (meaning black beard). Women and ascetics have lustrous, yellowish faces and this semi-realistic category forms the fifth class. In addition, there are modifications of the five basic sets described above such as Vella Thadi (white beard) used to depict Hanuman (the Monkey-God) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

 

NOTABLE TRAINING CENTRES & MASTERS

Kathakali artistes need assiduous grooming for almost a decade's time, and most masters are products of accomplished institutions that give a minimum training course of half-a-dozen years. The leading Kathakali schools (some of them started during the pre-Independent era India) are Kerala Kalamandalam (located in Cheruthuruthy near Shoranur), PSV Natya Sangham (located in Kottakal near Kozhikode), Sadanam Kathakali and Classical Arts Academy (or Gandhi Seva Sadan located in Perur near Ottappalam in Palakkad), Unnayi Varier Smaraka Kalanilayam (located in Irinjalakuda south of Thrissur), Margi in Thiruvananthapuram, Muthappan Kaliyogam at Parassinikkadavu in Kannur district and RLV School at Tripunithura off Kochi and Kalabharathi at Pakalkkuri near Kottarakkara in Kollam district, Sandarshan Kathakali Kendram in Ambalapuzha and Vellinazhi Nanu Nair Smaraka Kalakendra in Kuruvattor. Outside Kerala, Kathakali is being taught at the International Centre for Kathakali in New Delhi, Santiniketan at Visva-Bharati University in West Bengal, Kalakshetra in Chennai and Darpana Academy in Ahmedabad among others. PadmaSree Guru Chengannur Raman Pillai mostly known as 'Guru Chengannur'was running a traditional Gurukula Style approach to propagate Kathakali.

 

‘Guru Chengannur” is ever renowned as the Sovereign Guru of Kathakali. His precision in using symbols, gestures and steps were highest in the field of Kathakali. Guru Chegannur's kaththi vesham, especially the portrayal of Duryodhana enthralled the audience every time he performed. A master of the art, he found immense happiness and satisfaction in the success and recognition of his disciples.

 

Senior Kathakali exponents of today include Padma Bhushan Kalamandalam Ramankutty Nair, Padma Shri Kalamandalam Gopi, Madavoor Vasudevan Nair, Chemancheri Kunhiraman Nair, Kottakkal Krishnankutty Nair, Mankompu Sivasankara Pillai, Sadanam Krishnankutty, Nelliyode Vasudevan Namboodiri, Kalamandalam Vasu Pisharody, FACT Padmanabhan, Kottakkal Chandrasekharan, Margi Vijayakumar, Kottakkal Nandakumaran Nair, Vazhenkada Vijayan, Inchakkattu Ramachandran Pillai, Kalamandalam Kuttan, Mayyanad Kesavan Namboodiri, Mathur Govindan Kutty, Narippatta Narayanan Namboodiri, Chavara Parukutty, Thonnakkal Peethambaran, Sadanam Balakrishnan, Kalanilayam Gopalakrishnan, Chirakkara Madhavankutty, Sadanam K. Harikumaran, Thalavadi Aravindan, Kalanilayam Balakrishnan, Pariyanampatta Divakaran, Kottakkal Kesavan, Kalanilayam Gopi and Kudamaloor Muralikrishnan. The late titan actor-dancers of Kathakali's modern age (say, since the 1930s) include Pattikkamthodi Ravunni Menon, Chenganoor Raman Pillai, Chandu Panicker, Thakazhi Guru Kunchu Kurup, Padma Shri Kalamandalam Krishnan Nair, Padma Shri Vazhenkada Kunchu Nair, Kavalappara Narayanan Nair, Kurichi Kunhan Panikkar, Thekkinkattil Ramunni Nair, Padma Shri Keezhpadam Kumaran Nair, Kalamandalam Padmanabhan Nair, Mankulam Vishnu Namboodiri, Oyur Kochu Govinda Pillai, Vellinezhi Nanu Nair, Padma Shri Kavungal Chathunni Panikkar, Kudamaloor Karunakaran Nair, Kottakkal Sivaraman, Kannan Pattali, Pallippuram Gopalan Nair, Haripad Ramakrishna Pillai, Champakkulam Pachu Pillai, Chennithala Chellappan Pillai, Guru Mampuzha Madhava Panicker, and Vaikkom Karunakaran.

 

Kathakali is still hugely a male domain but, since the 1970s, females too have made entry into the art form on a recognisable scale. The central Kerala temple town of Tripunithura has, in fact, a ladies troupe (with members belonging to several part of the state) that performs Kathakali, by and large in Travancore.

 

KATHAKALI STYLES

Known as Sampradäyaṃ(Malayalam: സമ്പ്രദായം); these are leading Kathakali styles that differ from each other in subtleties like choreographic profile, position of hand gestures and stress on dance than drama and vice versa. Some of the major original kathakali styles included:

 

Vettathu Sampradayam

Kalladikkodan Sampradyam

Kaplingadu Sampradayam

 

Of late, these have narrowed down to the northern (Kalluvazhi) and southern (Thekkan) styles. It was largely developed by the legendary Pattikkamthodi Ravunni Menon (1881-1949) that is implemented in Kerala Kalamandalam (though it has also a department that teaches the southern style), Sadanam, RLV and Kottakkal. Margi has its training largely based on the Thekkan style, known for its stress on drama and part-realistic techniques. Kalanilayam, effectively, churns out students with a mix of both styles.

 

OTHER FORMS OD DANCE & OFFSHOOTS

Kerala Natanam is a kind of dance form, partly based on Kathakali techniques and aesthetics, developed and stylised by the late dancer Guru Gopinath in the mid-20th century. Kathakali also finds portrayal in Malayalam feature films like Vanaprastham, Parinayam, Marattam, and Rangam. Besides documentary films have also been shot on Kathakali artistes like Chenganoor Raman Pillai, Kalamandalam Krishnan Nair, Keezhpadam Kumaran Nair, Kalamandalam Ramankutty Nair, Kalamandalam Gopi and Kottakkal Sivaraman.

 

As for fictional literature, Kathakali finds mention in several Malayalam short stories like Karmen (by N.S. Madhavan) and novels like Keshabharam (by P.V. Sreevalsan). Even the Indo-Anglian work like Arundhati Roy's Booker prize-winning The God of Small Things has a chapter on Kathakali, while, of late, Anita Nair's novel, Mistress, is entirely wrapped in the ethos of Kathakali.

 

Similar musical theater is popular in Kasaragod and the coastal and Malenadu regions of Karnataka, viz. Yakshagana. Though Yakshagana resembles Kathakali in terms of its costume and makeup to an extent, Yakshagana is markedly different from Kathakali as it involves dialogues and method acting also the narration is in Kannada, wherein philosophical debates are also possible within framework of the character. As per records the art form of Yakshagana was already rooted and well established at the time of Sri Manavedan Raja. There is possibilities of its significant influence in formation of Kathakkali as the troupe of performers of "Krishnanattam" designed the basic costume of the art form already established in other parts of south India including Males playing the female roles (until more recently).

 

Kottayam thamburan's way of presenting kathakali was later known as Kalladikkoden sambradayam. Chathu Paniker,the introducer of Kallikkoden Sambrathayam, stayed in Kottayam for five years with Kottayam Thamburan's residence and practiced Kalladikkoden Sambrathayam. Then he returned to his home place. After a short period Chathu Paniker reached Pulapatta as instructed by Kuthiravattath nair. That was around the year ME 865. Many deciples from Kadathanadu, Kurumbra nadu, Vettathu nadu, Palakkadu and Perumpadappu studied kathakali(Kalladikkoden Sambrathayam ) By that time Chathu Paniker was an old man. Some years later he died from Pulapatta.

 

NOTED KATHAKALI VILLAGES & BELTS

There are certain pockets in Kerala that have given birth to many Kathakali artistes over the years. If they can be called Kathakali villages (or some of them, these days, towns), here are some of them: Vellinezhi, Kuruvattoor, Karalmanna, Cherpulassery, Kothachira, peringode, sreekrishnapuram Kongad and Ottapalam in Palakkad district, Vazhenkada in Malappuram district, Thichur or Tichoor, Guruvayur, Thiruvilwamala and Irinjalakuda in Thrissur district, Tripunithura, Edappally, Thekkan Chittoor in Ernakulam district and Kuttanad, Harippad belt in Alappuzha district besides places in and around Thiruvanathapuram in south Travancore and Payyannur in north Malabar.

 

AWARDS FOR KATHAKALI ARTISTS

Sangeet Natak Akademi Awardees - Kathakali (1956–2005)

Nambeesan Smaraka Awards—For artistic performances related kathakali{1992-2008}

 

KATHAKALI ATTAMS (ELAKI ATTAMS)

Attams or more specifically "elaki attams" are sequences of acting within a story acted out with the help of mudras without support from vocal music. The actor has the freedom to change the script to suit his own individual preferences. The actor will be supported ably by Chenda, Maddalam, and Elathalam (compulsory), Chengila (not very compulsory).

 

The following are only some examples. 'Kailasa Udharanam' and 'Tapas Attam' are very important attams and these are described at the end. Two of the many references are Kathakali Prakaram, pages 95 to 142 by Pannisheri Nanu Pillai and Kathakaliyile Manodharmangal by Chavara Appukuttan Pillai.

 

VANA VARNANA: BHIMA IN KALYANA SAUGANDHIKA

Modern man looks at the forest, indeed the birthplace of primates, with a certain wonder and a certain respect. Kathakali characters are no exception.

 

When Pandavas were living in the forest, one day, a flower, not seen before, wafted by the wind, comes and falls at the feet of Panchali. Exhilarated by its beauty and smell, Panchali asks Bhima to bring her more such flowers. To her pleasure Bhima is ready to go at once. But Panchali asks him what he shall do for food and drink on the way. Bhima thinks and says "Food and Drink! Oh, this side glance (look) of yours. This look of longing. This look of anticipation. The very thought fills me up. I don't need any food and drink at all. Let me go." He takes his mace and off he goes. Ulsaham (enthusiasm) is his Sdhayi Bhavam (permanent feature).

 

"Let me go at once in search of this flower," says Bhima. "The scented wind is blowing from the southern side. Let me go that way." After walking some distance he sees a huge mountain called Gandhamadana and three ways. He decides to take the middle one which goes over the mountain. After going further "The forest is getting thicker. Big trees, big branches in all directions. The forest looks like a huge dark vessel into which even light can not penetrate. This is my (Bhima's) way. Nothing can hinder me." So saying he pulls down many trees. Sometimes he shatters the trees with his mace. Suddenly he sees an elephant. "Oh! Elephant." He describes it. Its trunk. Sharp ears.

 

The itching sensation in the body. It takes some mud and throws on the body. Oh good. Then it sucks water and throws on the body. Somewhat better. Slowly it starts dosing even though alert at times. A very huge python is approaching steadily. Suddenly it catches hold of the elephant's hind leg. The elephant wakes up and tries to disengage the python. The python pulls to one side. The elephant kicks and drags to the other side. This goes on for some time. Bhima looks to the other side where a hungry lion is looking for food. It comes running and strikes the elephants head and eats part of the brain and goes off. The python completes the rest. "Oh my god, how ruthless!" says Bhima and proceeds on his way.

 

UDYANA VARNANA: NALA IN NALACHARITHAM SECOND DAY

Descriptions of gardens are found in most dance forms of India and abroad. These are also common in Kathakali.

 

Newly married Nala and Damayanthi are walking in the garden. When Nala was lovingly looking at Damayanthi a flower falls on her. Nala is overjoyed and thinks that this is a kindness nature has shown on his wife. Nala says "On seeing the arrival of their queen, the trees and climbers are showing happiness by dropping flowers on you." He tells her, "See that tree. When I used to be alone the tree used to hug the climber and seemingly laugh at my condition." Then he looks at the tree and says, "Dear Tree, look at me now. See how fortunate I am with my beautiful wife."

 

Both wander about. A bumblebee flies towards Damayanthi. Immediately Nala protects her face with a kerchief. He looks at the bee and then at Damayanthi. He says, "On seeing your face the bee thought it was a flower and came to drink the nectar." Nala and Damayanthi listen to the sounds coming out of the garden. Damayanti says, "It appears that the whole garden is thrilled. The flowers are blooming and smiling. Cuckoos are singing and the bees are dancing. Gentle winds are blowing and rubbing against our bodies. How beautiful the whole garden looks." Then Nala says that the sun is going down and it is time for them to go back and takes her away.

 

SHABDA VARNANA: HANUMAN IN KALYANA SAUGANDHIKAM

While Bhima goes in search of the flower, here Hanuman is sitting doing Tapas with mind concentrated on Sri Rama.

 

When he hears the terrible noises made by Bhima in the forest he feels disturbed in doing his Tapas. He thinks "What is the reason for this?" Then the sounds become bigger. "What is this?" He thinks, "The sounds are getting bigger. Such a terrible noise. Is the sea coming up thinking that the time is ripe for the great deluge (Pralaya). Birds are flying helter-skelter. Trees look shocked. Even Kali Yuga is not here. Then what is it? Are mountains quarreling with each other? No, That can't be it. Indra had cut off the wings of mountains so that they don't quarrel. Is the sea changing its position? No it can't be. The sea has promised it will not change its position again. It can't break the promise." Hanuman starts looking for clues. "I see elephants and lions running in fear of somebody. Oh a huge man is coming this way. Oh, a hero is coming. He is pulling out trees and throwing it here and there. Okay. Let him come near, We will see."

 

THANDEDATTAM: RAVANA IN BALI VADHAM

After his theranottam Ravana is seen sitting on a stool. He says to himself "I am enjoying a lot of happiness. What is the reason for this?" Thinks. "Yes I know it. I did Tapas to Brahma and received all necessary boons. Afterwards I won all ten directions. I also defeated my elder brother Vaishravana. Then I lifted Kailas mountain when Siva and Parvathi were having a misunderstanding. Parvathi got frightened and embraced Siva in fear. Siva was so happy he gave a divine sword called Chandrahasa. Now the whole world is afraid of me. That is why I am enjoying so much happiness." He goes and sits on the stool. He looks far away. "Who is coming from a distance. he is coming fast. Oh, it is Akamba. Okay. Let me find out what news he has for me."

 

ASHRAMA VARNANA: ARJUNA IN KIRATHAM

Arjuna wants to do Tapas to Lord Siva and he is looking a suitable place in the Himalayan slopes. He comes to place where there is an ashram. Arjuna looks closely at the place. "Oh. What a beautiful place this is. A small river in which a very pure water is flowing. Some hermits are taking baths in the river. Some hermits are standing in the water and doing Tapsas. Some are facing the Sun. Some are standing in between five fires." Arjuna salutes the hermits from far. He says to himself "Look at this young one of a deer. It is looking for its mother. It seems to be hungry and thirsty. Nearby a female tiger is feeding its young ones. The little deer goes towards the tigress and pushes the young tiger cubs aside and starts drinking milk from the tigress. The tigress looks lovingly at the young deer and even licks its body as if it were its own child. How beautiful. How fulfilling."

 

Again he looks "Here on this side a mongoose and a serpent forgetting their enmity are hugging each other. This place is really strange and made divine by saints and hermits. Let me start my Tapas somewhere nearby."

 

A sloka called "Shikhini Shalabha" can be selected instead of the above if time permits.

 

AN ATTAM BASED ON A SLOKA

Sansrit slokas are sometimes shown in mudras and it has a pleasing and exhilarating effect. Different actors use slokas as per his own taste and liking. However, the slokas are taught to students during their training period. An example is given below.

 

Kusumo Kusumolpatti Shrooyathena Chathushyathe

Bale thava Mukhambuje Pashya Neelolpaladwayam

 

Meaning a flower blooming inside another flower is not known to history. But, my dear, in your lotus like face are seen two blue Neelolpala flowers (eyes).

 

A CONVERSATION BASED ON A SLOKA

Sanskrit slokas can also be used to express an intent. One such example is a sloka used by Arjuna addressed to Mathali the charioteer in Kalakeya Vadham. Sloka:

Pitha: Kushalee Mama hritha Bhujaam

Naatha Sachee Vallabha:

Maatha: kim nu Pralomacha Kushalinee

Soonurjayanthasthayo

Preethim va Kushchate Thadikshnavidhow

Cheta Samutkanuthe

Sutha: tvam Radhamashu Chodaya vayam

Dharmadivam Mathala

 

Meaning: The husband of Indrani and the lord of gods my father - Is he in good health? His son Jayantha - Is he strictly following the commands of his father? Oh, I am impatient to see all of them.

 

SWARGA VARNANA: ARJUNA IN KELAKEYA VADHAM

Arjuna goes to heaven on the invitation of his father, Indra. After taking permission from Indrani he goes out to see all the places in Swarga. First he sees a building, his father's palace. It is so huge with four entrances. It is made of materials superior to gold and jewels of the world. Then he goes ahead and sees Iravatha. Here he describes it as a huge elephant with four horns. He is afraid to touch it. Then he thinks that animals in Swarga can't be cruel like in the world and so thinking he goes and touches and salutes Iravatha. He describes the churning of the white sea by gods and demons with many details and how Iravatha also came out of the white sea due to this churning.

 

He walks on and sees his father's (Indra's) horse. It is described as being white and its mane is sizzling like the waves of the white sea from which it came. He touches and salutes the horse also. Then he goes to see the river of the sky (or milky way). He sees many birds by this river and how the birds fly and play is shown.

 

Then he sees the heavenly ladies. Some are collecting flowers, and one of them comes late and asks for some flowers for making garland. The others refuse. She goes to the Kalpa Vriksha and says "please give me some flowers." Immediately a shower of flowers occurs which she collects in her clothes and goes to make garlands chiding the others. "See... I also got flowers." After this he sees the music and dance of the heavenly ladies. First it starts with the adjustments of instruments Thamburu, Mridangam, Veena. Then the actual music starts along with the striking of cymbals. Then two or three types of dances are shown. Then comes juggling of balls. It is described by a sloka thus:

 

Ekopi Thraya Iva Bhathi Kandukoyam

 

Kanthayaa: Karathala Raktharaktha:

Abhrastho Nayanamareechi Neelaneelo

Popular belief is that kathakali is emerged from "Krishnanattam", the dance drama on the life and activities of Lord Krishna created by Sri Manavedan Raja, the Zamorin of Calicut (1585-1658 AD). Once Kottarakkara Thampuran, the Raja of Kottarakkara who was attracted by Krishnanattam requested the Zamorin for the loan of a troupe of performers. Due to the political rivalry between the two, Zamorin did not allow this. So Kottarakkara Thampuran created another art form called Ramanattam which was later transformed into Aattakatha. Krishnanaattam was written in Sanskrit, and Ramanattam was in Malayalam. By the end of 17th century, Attakatha was presented to the world with the title 'Kathakali'. Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called ), has also helped the literature of Kathakali sound more transparent for the average audience. As a part of modernising, propagating, promoting and popularizing Kathakali, the International Centre for Kathakali at New Delhi has taken up a continuing project since 1980 of producing new plays based on not only traditional and mythological stories, but also historical stories, European classics and Shakespeare's plays. Recently they produced Kathakali plays based on Shakespeare's Othello and Greek-Roman mythology of Psyche and Cupid.

 

Even though the lyrics/literature would qualify as another independent element called Sahithyam, it is considered as a component of Geetha or music, as it plays only a supplementary role to

Bhumau Talcharana Naghamshu Gaurgaura:

 

Meaning One ball looks like three balls. When it is in the hands of the juggler, it takes the redness of the hands, when it goes up it takes the blueness of the eyes, when it strikes the ground it becomes white from the whiteness of the leg nails. Once a juggled ball falls down. Then she, the juggler, somehow manages to proceed and remarks "See.. how I can do it".

 

At one time a garment slips from a lady's body and she adjusts the cloth showing shameful shyness (Lajja). Then the ladies go in for a Kummi dance. As Arjuna was enjoying this dance, suddenly somebody calls him. Arjuna feels scared. "Oh God, where am I?" he says and beats a hasty retreat.

 

TAPAS ATTAM: RAVANA IN RAVANA ULBHAVAM

[Background: Mali, Sumali and Malyavan were three brothers ruling Sri Lanka. During a war between them and Indra, Indra requested help from Lord Vishnu and as a consequence Lord Vishnu killed Mali. Sumali and Malyavan escaped to Patala. Kaikasi was the daughter of Sumali. She wandered in the forest. She belong three boys through a great sage called Vishravassu. (Vishravassu had an earlier son called Vaishravana who became the richest among all people.) The eldest boy of Kaikasi was Ravana followed by Kumbhakarna and Vibhishana.]

 

SCENE 1

When Ravana was a young boy (Kutti Ravana vesham), one day he was sleeping on his mothers lap in a place called madhuvanam. At that time Kaikasi sees Vaishravana flying overhead in his vimana (mythical aeroplane). She thinks “Oh, that is Vaishravana, technically a brother of my son who is sleeping on my lap. He is rich and strong. My son is so poor and weak. While thinking thus a drop of tear from her eyes drops on Ravana’s face. Ravana suddenly wakes up and sees his mother crying. When he knew the reason he could not bear it. He says he is going to do tapas to Brahma to get boons so that he will be strong and rich.

 

SCENE 2

(The tapas itself is shown as a part of autobiographical narration of adult ravana)

 

Ravana (adult Ravana, not kutti Ravana) is sitting on a stool. He thinks “Why am I so happy? How did I become so rich and strong? Oh yes. It is because of the tapas I did. What made me do the tapas? When I was a young boy, one day I was sleeping on my mother’s lap in a place called Madhuvanam. A drop of tear from her eyes falls on my face. I asked her why she was crying. She said she saw Vaishravana flying overhead in his vimana (plane). She told me Vaishravan was a brother of mine now flying in a plane. He is rich and strong. I am so poor and weak. When I heard this comparison between me and my brother, I could not bear it. I am going to do tapas to Brahma to get boons so that I will be strong and rich.

 

I made five different types of fires (while doing tapas gods are approached through Agni the god of fire). Then I started my tapas. I asked my brothers to stand guard and also keep the fires burning. Then I fully concentrated on tapas. Time passed but Brahma did not appear. I looked. Why is Brahma not appearing? I doubled my concentration. Time passed. Brahma is not appearing. Still not appearing? I cut one of my heads and put it in the fire. Waited, Brahma did not come. One more head rolls. Still no Brahma comes. Heads roll and roll. No Brahma. Only one head is left. First I thought of stopping my tapas. But no! Never! That will be an insult to me and my family. It is better to die than stop. Also when I die Brahma will be judged as being partial. With great determination I swung the sword at my last neck, when, lo and behold, suddenly Brahma appeared and caught my hand. I looked at him with still un-subsided, but gradually subsiding anger. Brahma asked me what boons I wanted. I asked for a boon that I should win all the worlds and have all the wealth and fame and that I should not be killed except by man. I also asked him to give boons for my brothers.

 

In the next scene Ravana asks Kumbhakarna and Vibhishana what boons they got. Unfortunately Kumbhakarna’s tongue got twisted while asking for boon and he got ‘sleep’ instead of becoming the ‘king of gods’. Ravana laughed it off. As for Vibhishana, he being a bhaktha of Vishnu, asked for Vishnu’s blessings and got it. Ravana laughs it off and also decides to conquer all the worlds and starts preparing his grand army for the big conquest of the worlds.

 

[This method of presentation with a peculiar sequence has a tremendous dramatic affect. The main actor redoes a small part of what happened to kutti Ravana vesham, and this gives a view of the high contrast between the boy and the man Ravana. Similarly the presence of Kumbhakarna and Vibhishana in the subsequent scene offers a good smile on the face of the viewer at the end of the play.]

 

KAILASA UDDHARANAM: RAVANA IN BALI VIJAYAM

[Background and Previous scene: After receiving the boons, and widening his kingdom in all directions, Ravana lives in Sri Lanka with great pomp and splendor. One day he sees Saint Narada approaching his palace singing songs in praise of him ‘Jaya jaya Ravana, Lanka Pathe’. Happily he receives Narada and seats him next to him. After telling Narada about the victory of his son Indrajith on Indra, Ravana tells Narada “Now there is nobody on earth or other worlds who can fight with me”. To this Narada replies “ Very true indeed, but there is one huge monkey called Bali who says he can defeat you. He even said that you are just like a blade of grass to him. Well let him say what he wants. You are unbeatable.” Then Narada says ‘let us go there and see him’. Both decide to go. But Ravana takes his famous sword called “Chandrahasam”. Then Narada asks the history of this sword. Ravana’s Attam Starts.]

 

Ravana says “I received this sword from Lord Siva. It happened thus. Once when I was conquering new places and expanding my empire I happened to be going across the Kailasa mountain. The plane got stuck on the mountain unable to move forward. I got down from the plane and looked at the mountain. (Looks from one end to the other first horizontally and then vertically.) So huge it was. Then I decided to lift it with my bare hand and keep it aside and move forward. I started sticking my hands under it one by one. Then I tried to lift it. It doesn’t move. I put more force and more force. It moved just a bit. I pushed harder and harder, slowly it started moving then again and again and it moved easily. Then I lifted it up with my hands and started juggling it (exaggeration evident).

 

“At that particular time Lord Siva was quarreling with his wife Parvathi. Why did they fight? The story is as follows. Parvathi had gone for enjoying swimming and bathing in some beautiful pond. At that time Siva opened his jata (disheveled long hair) and called Ganga for some entertainment after asking Ganapathi and Subramania to go for some errands. Somehow becoming suspicious, right at that time, Parvathi came back in a hurry with wet clothes and saw Siva with Ganga. Siva was wondering what to do and it was at that time that Ravana started lifting the Kailasa. When Kailasa started shaking Parvathi got scared and ran to Siva and hugged him. So the quarrel ended and Siva was happy. “As a reward Siva called me and gave me this famous Chandrahasa sword.”

 

Then Narada and Ravana leave to meet Bali. Ravana wanted to take the sword along with him, but Narada suggested that the sword is not required for teaching a lesson to Bali who is after all an unarmed monkey.

 

WIKIPEDIA

Precise Perspective with Shiva

Juan Pablo Arredondo Mexico Tour 2017: Juan Pablo Arredondo - guitar, Hernan Hecht - Drums, Alonzo Lopez Valdes - Bass

Precise Perspective with Shiva

Precise Monoblock Axes

Healthy Machine Head System

Push Button Needle Change Type

Torque Head/Cartridge

Quick Coupler

Sterilization can be done with High-temperature and High-pressure repeatedly

One Year Manufacturer Warranty

Nerium oleander most commonly known as oleander or nerium, is a shrub or small tree cultivated worldwide in temperate and subtropical areas as an ornamental and landscaping plant. It is the only species currently classified in the genus Nerium, belonging to subfamily Apocynoideae of the dogbane family Apocynaceae. It is so widely cultivated that no precise region of origin has been identified, though it is usually associated with the Mediterranean Basin.

 

Nerium grows to 2–6 metres (7–20 feet) tall. It is most commonly grown in its natural shrub form, but can be trained into a small tree with a single trunk. It is tolerant to both drought and inundation, but not to prolonged frost. White, pink or red five-lobed flowers grow in clusters year-round, peaking during the summer. The fruit is a long narrow pair of follicles, which splits open at maturity to release numerous downy seeds.

 

Nerium contains several toxic compounds, and it has historically been considered a poisonous plant. However, its bitterness renders it unpalatable to humans and most animals, so poisoning cases are rare and the general risk for human mortality is low. Ingestion of larger amounts may cause nausea, vomiting, excess salivation, abdominal pain, bloody diarrhea and irregular heart rhythm. Prolonged contact with sap may cause skin irritation, eye inflammation and dermatitis.

 

Description

Oleander grows to 2–6 metres (7–20 feet) tall, with erect stems that splay outward as they mature; first-year stems have a glaucous bloom, while mature stems have a grayish bark. The leaves are in pairs or whorls of three, thick and leathery, dark-green, narrow lanceolate, 5–21 centimetres (2–8 inches) long and 1–3.5 cm (3⁄8–1+3⁄8 in) broad, and with an entire margin filled with minute reticulate venation web typical of eudicots. The leaves are light green and very glossy when young, maturing to a dull dark green.

 

The flowers grow in clusters at the end of each branch; they are white, pink to red, 2.5–5 cm (1–2 in) diameter, with a deeply 5-lobed fringed corolla round the central corolla tube. They are often, but not always, sweet-scented. The fruit is a long narrow pair of follicles 5–23 cm (2–9 in) long, which splits open at maturity to release numerous downy seeds.

 

Taxonomy

Nerium oleander is the only species currently classified in the genus Nerium. It belongs to (and gives its name to) the small tribe Nerieae of subfamily Apocynoideae of the dogbane family Apocynaceae. The genera most closely related thus include the equally ornamental (and equally toxic) Adenium G.Don and Strophanthus DC. - both of which contain (like oleander) potent cardiac glycosides that have led to their use as arrow poisons in Africa. The three remaining genera Alafia Thouars, Farquharia Stapf and Isonema R.Br. are less well-known in cultivation.

 

Synonymy

The plant has been described under a wide variety of names that are today considered its synonyms:

 

Oleander Medik.

Nerion Tourn. ex St.-Lag.

Nerion oleandrum St.-Lag.

Nerium carneum Dum.Cours.

Nerium flavescens Spin

Nerium floridum Salisb.

Nerium grandiflorum Desf.

Nerium indicum Mill.

Nerium japonicum Gentil

Nerium kotschyi Boiss.

Nerium latifolium Mill.

Nerium lauriforme Lam.

Nerium luteum Nois. ex Steud.

Nerium madonii M.Vincent

Nerium mascatense A.DC.

Nerium odoratissimum Wender.

Nerium odoratum Lam.

Nerium odorum Aiton

Nerium splendens Paxton

Nerium thyrsiflorum Paxton

Nerium verecundum Salisb.

Oleander indica (Mill.) Medik.

Oleander vulgaris Medik.

 

Etymology

The taxonomic name Nerium oleander was first assigned by Linnaeus in 1753. The genus name Nerium is the Latinized form of the Ancient Greek name for the plant nẽrion (νήριον), which is in turn derived from the Greek for water, nẽros (νηρός), because of the natural habitat of the oleander along rivers and streams.

 

The origins of the species name are disputed. The word oleander appears as far back as the first century AD, when the Greek physician Pedanius Dioscorides cited it as one of the terms used by the Romans for the plant. Merriam-Webster believes the word is a Medieval Latin corruption of Late Latin names for the plant: arodandrum or lorandrum, or more plausibly rhododendron (another Ancient Greek name for the plant), with the addition of olea because of the superficial resemblance to the olive tree (Olea europea) Another theory posited is that oleander is the Latinized form of a Greek compound noun: οllyo (ὀλλύω) 'I kill', and the Greek noun for man, aner, genitive andros (ἀνήρ, ἀνδρός). ascribed to oleander's toxicity to humans.

 

The etymological association of oleander with the bay laurel has continued into the modern day: in France the plant is known as "laurier rose", while the Spanish term, "Adelfa", is the descendant of the original Ancient Greek name for both the bay laurel and the oleander, daphne, which subsequently passed into Arabic usage and thence to Spain.

 

The ancient city of Volubilis in Morocco may have taken its name from the Berber name alili or oualilt for the flower.

 

Distribution and habitat

Nerium oleander is either native or naturalized to a broad area spanning from Northwest Africa and Iberian and Italian Peninsula eastward through the Mediterranean region and warmer areas of the Black Sea region, Arabian Peninsula, southern Asia, and as far east as Yunnan in southern parts of China. It typically occurs around stream beds in river valleys, where it can alternatively tolerate long seasons of drought and inundation from winter rains. N. oleander is planted in many subtropical and tropical areas of the world.

 

On the East Coast of the US, it grows as far north as Virginia Beach, while in California and Texas miles of oleander shrubs are planted on median strips. There are estimated to be 25 million oleanders planted along highways and roadsides throughout the state of California. Because of its durability, oleander was planted prolifically on Galveston Island in Texas after the disastrous Hurricane of 1900. They are so prolific that Galveston is known as the 'Oleander City'; an annual oleander festival is hosted every spring. Moody Gardens in Galveston hosts the propagation program for the International Oleander Society, which promotes the cultivation of oleanders. New varieties are hybridized and grown on the Moody Gardens grounds, encompassing every named variety.

 

Beyond the traditional Mediterranean and subtropical range of oleander, the plant can also be cultivated in mild oceanic climates with the appropriate precautions. It is grown without protection in warmer areas in Switzerland, southern and western Germany and southern England and can reach great sizes in London and to a lesser extent in Paris due to the urban heat island effect. This is also the case with North American cities in the Pacific Northwest like Portland, Seattle, and Vancouver. Plants may suffer damage or die back in such marginal climates during severe winter cold but will rebound from the roots.

 

Ecology

Some invertebrates are known to be unaffected by oleander toxins, and feed on the plants. Caterpillars of the polka-dot wasp moth (Syntomeida epilais) feed specifically on oleanders and survive by eating only the pulp surrounding the leaf-veins, avoiding the fibers. Larvae of the common crow butterfly (Euploea core) and oleander hawk-moth (Daphnis nerii) also feed on oleanders, and they retain or modify toxins, making them unpalatable to potential predators such as birds, but not to other invertebrates such as spiders and wasps.

 

The flowers require insect visits to set seed, and seem to be pollinated through a deception mechanism. The showy corolla acts as a potent advertisement to attract pollinators from a distance, but the flowers are nectarless and offer no reward to their visitors. They therefore receive very few visits, as typical of many rewardless flower species. Fears of honey contamination with toxic oleander nectar are therefore unsubstantiated.

 

Leaf scorch

A bacterial disease known as oleander leaf scorch (Xylella fastidiosa subspecies sandyi) has become a serious threat to the shrub since it was first noticed in Palm Springs, California, in 1992. The disease has since devastated hundreds of thousands of shrubs mainly in Southern California, but also on a smaller scale in Arizona, Nevada and Texas. The culprit is a bacterium which is spread via insects (the glassy-winged sharpshooter primarily) which feed on the tissue of oleanders and spread the bacteria. This inhibits the circulation of water in the tissue of the plant, causing individual branches to die until the entire plant is consumed.

 

Symptoms of leaf scorch infection may be slow to manifest themselves, but it becomes evident when parts of otherwise healthy oleanders begin to yellow and wither, as if scorched by heat or fire. Die-back may cease during winter dormancy, but the disease flares up in summer heat while the shrub is actively growing, which allows the bacteria to spread through the xylem of the plant. As such it can be difficult to identify at first because gardeners may mistake the symptoms for those of drought stress or nutrient deficiency.

 

Pruning out affected parts can slow the progression of the disease but not eliminate it. This malaise can continue for several years until the plant completely dies—there is no known cure. The best method for preventing further spread of the disease is to prune infected oleanders to the ground immediately after the infection is noticed.

 

The responsible pathogen was identified as the subspecies sandyi by Purcell et al., 1999.

 

Cultivation

Nerium oleander has a history of cultivation going back millennia, especially amongst the great ancient civilizations of the Mediterranean Basin. Some scholars believe it to be the rhodon (rose), also called the 'Rose of Jericho', mentioned in apocryphal writings (Ecclesiasticus XXIV, 13) dating back to between 450 and 180 BC.

 

The ancient Greeks had several names for the plant, including rhododaphne, nerion, rhododendron and rhodon. Pliny confirmed that the Romans had no Latin word for the plant, but used the Greek terms instead. Pedanius Dioscorides states in his 1st century AD pharmacopeia De Materia Medica that the Romans used the Greek rhododendron but also the Latin Oleander and Laurorosa. The Egyptians apparently called it scinphe, the North Africans rhodedaphane, and the Lucanians (a southern Italic people) icmane.

 

Both Pliny and Dioscorides stated that oleander was an effective antidote to venomous snake bites if mixed with rue and drunk. However, both rue and oleander are poisonous themselves, and consuming them after a venomous snake bite can accelerate the rate of mortality and increase fatalities.

 

A 2014 article in the medical journal Perspectives in Biology and Medicine posited that oleander was the substance used to induce hallucinations in the Pythia, the female priestess of Apollo, also known as the Oracle of Delphi in Ancient Greece. According to this theory, the symptoms of the Pythia's trances (enthusiasmos) correspond to either inhaling the smoke of or chewing small amounts of oleander leaves, often called by the generic term laurel in Ancient Greece, which led to confusion with the bay laurel that ancient authors cite.

 

In his book Enquiries into Plants of circa 300 BC, Theophrastus described (among plants that affect the mind) a shrub he called onotheras, which modern editors render oleander: "the root of onotheras [oleander] administered in wine", he alleges, "makes the temper gentler and more cheerful".

 

The root of onotheras [oleander] administered in wine makes the temper gentler and more cheerful. The plant has a leaf like that of the almond, but smaller, and the flower is red like a rose. The plant itself (which loves hilly country) forms a large bush; the root is red and large, and, if this is dried, it gives off a fragrance like wine.

 

In another mention, of "wild bay" (Daphne agria), Theophrastus appears to intend the same shrub.

 

Oleander was a very popular ornamental shrub in Roman peristyle gardens; it is one of the flora most frequently depicted on murals in Pompeii and elsewhere in Italy. These murals include the famous garden scene from the House of Livia at Prima Porta outside Rome, and those from the House of the Wedding of Alexander and the Marine Venus in Pompeii.

 

Carbonized fragments of oleander wood have been identified at the Villa Poppaea in Oplontis, likewise buried by the eruption of Mount Vesuvius in 79 AD. They were found to have been planted in a decorative arrangement with citron trees (Citrus medica) alongside the villa's swimming pool.

 

Herbaria of oleander varieties are compiled and held at the Smithsonian Institution in Washington, D.C., and at Moody Gardens in Galveston, Texas.

 

Ornamental gardening

Oleander is a vigorous grower in warm subtropical regions, where it is extensively used as an ornamental plant in parks, along roadsides and in private gardens. It is most commonly grown in its natural shrub form, but can be trained into a small tree with a single trunk. Hardy versions like white, red and pink oleander will tolerate occasional light frost down to −10 °C (14 °F), though the leaves may be damaged. The toxicity of oleander renders it deer-resistant and its large size makes for a good windbreak – as such it is frequently planted as a hedge along property lines and in agricultural settings.

 

The plant is tolerant of poor soils, intense heat, salt spray, and sustained drought – although it will flower and grow more vigorously with regular water. Although it does not require pruning to thrive and bloom, oleander can become unruly with age and older branches tend to become gangly, with new growth emerging from the base. For this reason gardeners are advised to prune mature shrubs in the autumn to shape and induce lush new growth and flowering for the following spring. Unless they wish to harvest the seeds, many gardeners choose to prune away the seedpods that form on spent flower clusters, which are a drain on energy. Propagation can be made from cuttings, where they can readily root after being placed in water or in rich organic potting material, like compost.

 

In Mediterranean climates oleanders can be expected to bloom from April through October, with the heaviest bloom usually occurring between May and June. Free-flowering varieties like 'Petite Salmon' or 'Mont Blanc' require no period of rest and can flower continuously throughout the year if the weather remains warm.

 

In cold winter climates, oleander is a popular summer potted plant readily available at most nurseries. They require frequent heavy watering and fertilizing as compared to being planted in the ground, but oleander is nonetheless an ideal flowering shrub for patios and other spaces with hot sunshine. During the winter they should be moved indoors, ideally into an unheated greenhouse or basement where they can be allowed to go dormant. Once they are dormant they require little light and only occasional watering. Placing them in a space with central heating and poor air flow can make them susceptible to a variety of pests – aphids, mealybugs, oleander scale, whitefly and spider mites.

 

Colors and varieties

Oleander flowers are showy, profuse, and often fragrant, which makes them very attractive in many contexts. Over 400 cultivars have been named, with several additional flower colors not found in wild plants having been selected, including yellow, peach and salmon. Many cultivars, like 'Hawaii' or 'Turner's Carnival', are multi-colored, with brilliant striped corollas. The solid whites, reds and a variety of pinks are the most common. Double flowered cultivars like 'Mrs. Isadore Dyer' (deep pink), 'Mathilde Ferrier' (yellow) or 'Mont Blanc' (white) are enjoyed for their large, rose-like blooms and strong fragrance. There is also a variegated form, 'Variegata', featuring leaves striped in yellow and white. Several dwarf cultivars have also been developed, offering a more compact form and size for small spaces. These include 'Little Red', 'Petite White', 'Petite Pink' and 'Petite Salmon', which grow to about 8 feet (2.4 m) at maturity.

 

Toxicity

Oleander has historically been considered a poisonous plant because of toxic compounds it contains, especially when consumed in large amounts. Among these compounds are oleandrin and oleandrigenin, known as cardiac glycosides, which are known to have a narrow therapeutic index and are toxic when ingested.

 

Toxicity studies of animals concluded that birds and rodents were observed to be relatively insensitive to the administered oleander cardiac glycosides. Other mammals, however, such as dogs and humans, are relatively sensitive to the effects of cardiac glycosides and the clinical manifestations of "glycoside intoxication".

 

In reviewing oleander toxicity cases seen in-hospital, Lanford and Boor concluded that, except for children who might be at greater risk, "the human mortality associated with oleander ingestion is generally very low, even in cases of moderate intentional consumption (suicide attempts)." In 2000, a rare instance of death from oleander poisoning occurred when two toddlers adopted from an orphanage ate the leaves from a neighbor's shrub in El Segundo, California. Because oleander is extremely bitter, officials speculated that the toddlers had developed a condition caused by malnutrition, pica, which causes people to eat otherwise inedible material.

 

Effects of poisoning

Ingestion of this plant can affect the gastrointestinal system, the heart, and the central nervous system. The main effect of cardiotoxic glycosides is positive inotropy. Glycosides bind to the sarcolemma transmembrane ATPase of cardiac muscle cells and compete with K+ ions, inactivating the enzyme. This results in an accumulation of Na+ and Ca2+ ions into the cardiac muscle cells, leading to stronger and faster heart contractions. Moreover, the increased amount of extracellular K+ ions may lead to lethal hyperkalemia. Therefore, clinical features of oleander poisoning are similar to digoxin toxicity and include nausea, diarrhea, and vomiting due to stimulation of the area postrema of the medulla oblongata, neuropsychic disorders, and pathological motor manifestations. Cardiotoxic glycosides are also responsible for stimulating the vagus nerve (leading to sinus bradycardia) and the phrenic nerve (leading to hyperventilation), and lethal brady- and tachyarrhythmias, including asystole and ventricular fibrillation. Oleander poisoning can also result in blurred vision, and vision disturbances, including halos appearing around objects. Oleander sap can cause skin irritations, severe eye inflammation and irritation, and allergic reactions characterized by dermatitis.

 

The severity of the intoxication can vary based on the quantity ingested and an individual's physiological response, as well as the time of symptom onset after oleander ingestion: they can rapidly occur after drinking teas prepared with oleander leaves or roots or develop more slowly due to the ingestion of unprepared plant parts.

 

Treatment

Poisoning and reactions to oleander plants are evident quickly, requiring immediate medical care in suspected or known poisonings of both humans and animals. Induced vomiting and gastric lavage are protective measures to reduce absorption of the toxic compounds. Activated carbon may also be administered to help absorb any remaining toxins. Further medical attention may be required depending on the severity of the poisoning and symptoms. Temporary cardiac pacing will be required in many cases (usually for a few days) until the toxin is excreted.

 

Digoxin immune fab is the best way to cure an oleander poisoning if inducing vomiting has no or minimal success, although it is usually used only for life-threatening conditions due to side effects.

 

Drying of plant materials does not eliminate the toxins. It is also hazardous for animals such as sheep, horses, cattle, and other grazing animals, with as little as 100 g being enough to kill an adult horse. Plant clippings are especially dangerous to horses, as they are sweet. In July 2009, several horses were poisoned in this manner from the leaves of the plant. Symptoms of a poisoned horse include severe diarrhea and abnormal heartbeat. Aśvamāra (अश्वमार) in Sanskrit refers to this plant, meaning Aśva ‘horse’ and Māra ‘killing’. There is a wide range of toxins and secondary compounds within oleander, and care should be taken around this plant due to its toxic nature. Different names for oleander are used around the world in different locations, so, when encountering a plant with this appearance, regardless of the name used for it, one should exercise great care and caution to avoid ingestion of any part of the plant, including its sap and dried leaves or twigs. The dried or fresh branches should not be used for spearing food, for preparing a cooking fire, or as a food skewer. Many of the oleander relatives, such as the desert rose (Adenium obesum) found in East Africa, have similar leaves and flowers and are equally toxic.

 

Research

Drugs derived from N. oleander have been investigated as a treatment for cancer, but have failed to demonstrate clinical utility. According to the American Cancer Society, the trials conducted so far have produced no evidence of benefit, while they did cause adverse side effects.

 

Culture

In a research study done by Haralampos V. Harissis, he claims that the laurel the Pythia is commonly depicted with is actually an oleander plant, and the poisonous plant and its subsequent hallucinations are the source of the oracle's mystical power and subsequent prophecies. Many of the symptoms that primary sources such as Plutarch and Democritus report align with results of oleander poisoning. Harissis also provides evidence claiming that the word laurel may have been used to describe an oleander leaf.

 

Folklore

The toxicity of the plant makes it the center of an urban legend documented on several continents and over more than a century. Often told as a true and local event, typically an entire family, or in other tellings a group of scouts, succumbs after consuming hot dogs or other food roasted over a campfire using oleander sticks. Some variants tell of this happening to Napoleon's or Alexander the Great's soldiers.

 

There is an ancient account mentioned by Pliny the Elder in his Natural History, who described a region in Pontus in Turkey where the honey was poisoned from bees having pollinated poisonous flowers, with the honey left as a poisonous trap for an invading army. The flowers have sometimes been mis-translated as oleander, but oleander flowers are nectarless and therefore cannot transmit any toxins via nectar. The actual flower referenced by Pliny was either Azalea or Rhododendron, which is still used in Turkey to produce a hallucinogenic honey.

 

Oleander is the official flower of the city of Hiroshima, having been the first to bloom following the atomic bombing of the city in 1945.

 

In painting

 

Oleander was part of subject matter of paintings by famous artists including:

 

Gustav Klimt, who painted "Two Girls with an Oleander" between 1890 and 1892.

Vincent van Gogh painted his famous "Oleanders" in Arles in 1888. Van Gogh found the flowers "joyous" and "life-affirming" because of their inexhaustible blooms and vigour.

Anglo-Dutch artist Sir Lawrence Alma-Tadema incorporated oleanders into his classically inspired paintings, including "An Oleander" (1882), "Courtship", "Under the Roof of Blue Ionian Weather" and "A Roman Flower Market" (1868).

"The Terrace at Méric (Oleanders)", an 1867 Impressionist painting by Frédéric Bazille.

In literature, film and music

Janet Fitch's 1999 novel White Oleander is centered around a young Southern California girl's experiences growing up in foster care after her mother is imprisoned for poisoning an ex-boyfriend with the plant. The book was adapted into a 2002 film of the same name starring Michelle Pfeiffer and Alison Lohman.

In the 17th century AD Farsi-language book the Jahangirnama, the Mughal emperor Jahangir passes a stream overgrowing with oleanders along its banks. He orders the nobles in his train to adorn their turbans with oleander blossoms, creating a "field of flowers" on their heads.

Steely Dan's 1973 song "My Old School" contains the line "Oleanders growing outside her door, soon they're gonna be in bloom up in Annandale" in the second verse. It has been theorized that this reference is either a metaphor for a harmful relationship, or marijuana, which is the subcontext of the song.

The Yeasayer song "I Am Chemistry" contains the refrain "My momma told me not to fool with oleander, and never handle the deadly quaker buttons again".

Indie rock band Mother Mother has a song called "Oleander" on their 2011 album Eureka.

In video games

Red Dead Redemption 2 features a deadly plant, oleander sage, which may be used to craft poisonous weapons, and is based on nerium oleander.

1 2 ••• 45 46 48 50 51 ••• 79 80