View allAll Photos Tagged statement.
Phillip Mould:
This image, and those generated around it, represent one of the most successful sovereign statements of English history. It was painted under the aegis of the Queen’s own official Serjeant painter, George Gower, in the late 1580s, the decade in which she finally defeated the Spanish threat, and assured her place as one of England’s most successful and popular monarchs. The portrait was owned by Edward Drewe MP, one of Elizabeth’s ablest lawyers, and has remained in his family ever since. A family legend suggests that the portrait was the gift of Elizabeth herself. It is in part through such portraits that the mystique and power of Elizabeth I was conveyed in her day. As such it is not merely a portrait of a monarch, but a symbolic statement of national supremacy.
George Gower was Elizabeth’s Serjeant Painter from 1581 until his death in 1596. He was also a ‘gentleman’, being the grandson of Sir John Gower of Stettenham, Yorkshire. This was not only unusual for the time (hitherto, artists were effectively ranked as servants), but reveals the increasing status – and importance – of portraiture in sixteenth century England. There is little documentary evidence on Gower’s career, but there is no doubt that he was one of the leading English artists of his generation. His documented portraits, such as those of Sir Thomas and Lady Kytson (1573 Tate Gallery, London) show that he commanded the patronage of the important and wealthy from an early age, while his self-portrait (1579, the first known example by an English artist on such a scale) gives a clear indication of the bold characterization with which he depicted his subjects.
Gower’s technique and style is distinct, and perfectly suited to the display of power, and conspicuous monarchical grandeur seen here. His use of strong light on the head enables his subject’s face to stand out from the rest of the painting, and was perfectly suited to Elizabeth’s personal wish to avoid any shadows across her face. His reluctance to rely too heavily on drawing is made up by strong flesh tones and subtle shadows, so that the face is rendered with precision and power, aided by bold features such as the well-delineated eyes. The unmistakably warm and dry palette has the happy effect of seeming to depict the Queen in the heavy make-up on which she increasingly came to rely. In this example, the overall effect is one of power rather than beauty – but such is Gower’s skill that our focus is held unmistakably by Elizabeth’s face and strong gaze, despite the rich and bright details of her luxurious costume.
There are elsewhere in the portrait signs of a master’s touch. The subtle but noticeable pink tones in the ruff under Elizabeth’s chin skillfully illustrates the reflection of her face in the white lace, giving the ruff a three-dimensional effect so often lacking in sixteenth century portraiture. The deft modeling (with even the hint of veins) in the long and elegant hands of which Elizabeth was so proud is superb, while the folds and lace on the golden silk of her sleeves is redolent of Holbein’s supreme skill in depicting the rich quality of Royal costumes.
As with all portraits of the Queen, there comes the question of the level of her personal involvement. Of course, she did not sit for the many contemporary portraits of her that survive. Instead, artists would have followed patterns of her face, and then either have imagined her costume, or in some cases have painted the actual garment itself. The patterns would have been widely-circulated, and the Queen’s likeness then either traced onto a panel or drawn freehand. Surviving examples of patterns are rare, but those of Bishop John Fisher and Sir Henry Sidney can be found in the National Portrait Gallery, as can one previously believed to show Elizabeth herself.
Which ‘pattern’, therefore, is the Drewe portrait based on? Sir Roy Strong’s catalogue of 1963, Portraits of Queen Elizabeth I, and subsequent Gloriana, The Portraits of Elizabeth I were vital works in dating and attributing the many (invariably unsigned) portraits. According to Strong’s categorization, the Drewe portrait is based on the ‘Darnley’ face pattern, after a painting dated c. 1575 once owned by the Earls of Darnley, and now in the National Portrait Gallery attributed to Federico Zuccaro, an Italian landscape and religious painter to whom the Queen sat for a drawing in May 1575.[1] The Darnley pattern, Strong points out, does not change until the ‘Armada pattern’ is developed, apparently by Gower, c.1588.
And yet, such categorization carries with it the disappointing notion that all portraits of the Queen between c.1575 and 1588 are derivatives, completed at a distance from Elizabeth herself. This clearly cannot be the case with the Drewe portrait. Though Elizabeth is shown in a similar (if reversed) profile, she is unquestionably a different woman to that in the Darnley portrait: noticeably hierarchical, sepulchral in characterization, perhaps reflecting the progression of her historical achievements. It seems implausible that Gower, the Queen’s Serjeant Painter, would have been content to follow a pattern. Rather, he may instead have felt constrained by the dictates of Royal iconography to follow an approved pose – just as Henry VIII was invariably portrayed full-face.
It is to the Queen herself that we should seek an explanation for the repetitive nature of her portraits. From the note of her conversation with Nicholas Hilliard in c.1572 it seems she resolved that her portraits should have no “shadowe at all”[2]. After all, Royal portraits were primarily symbols of power combined with obsequious flattery, not simple likenesses. Considerations of deference (and by the 1580s her fading beauty) further forbade any attempt at realism. And artist’s had to operate within an accepted Royal iconography that began in the fifteenth century. It is certain, however, that Gower’s official position, and the fact that he was a gentleman by birth, would have guaranteed him access to the Queen. The Drewe portrait, with its delicately observed facial contours and expressive, piercing eyes, is a world away from the pallid and formulaic pattern portraits of Elizabeth, reflecting an authority derived from one who had access to the royal presence.
The provenance of this portrait is of interest, and helps confirm the attribution to George Gower. It has traditionally hung in the Grange, the Devon seat of the Drewe family, since its construction by Edward Drewe in the 1590s. Drewe was one of the ablest lawyers of the 16th Century. After a spell at Oxford (while apparently a teenager) he began to practice law at the Inner Temple in 1560. He was called to the Bar in 1574. From then he rose rapidly through the legal ranks; a Justice of the Peace in 1579, and a Member of Parliament (for Lyme Regis) in 1584. He must then have been well-known to the Queen and Privy Council, for in 1588 he was amongst those sharp legal minds, along with Francis Bacon, called to draft Government legislation. The letter makes flattering reading;
“Her Majestie… hath made especiall choice of you, upon knowledge of your sinceritie and sufficiencie in that behalfe, to proceede to the consideracion what statutes in your opinion were requisite to be either established or perfected for the better…
We bid you very hertely farewll.”[3]
In 1589 he was appointed a Serjeant-at-law, and became more familiar to the key members of Elizabeth’s Government. Perhaps his most powerful ally was Francis Russell, the second Earl of Bedford. He corresponded regularly with William Cecil, Lord Burghley. And in 1593 he is recorded as making a speech before the Queen when introducing the Lord Mayor of London to Court. Drewe’s correspondence with the Privy Council typically revolved around interrogations of suspects such as Jesuit spies, often in the Tower of London, and he became an important part of the security apparatus first set-up by Francis Walsingham. One case involved the hapless Yorke and Williams, who, “when confronted together, Yorke swore that they took the sacrament to kill the Queen, and that Williams had wished his sword in her belly.”[4] By 1593 Drewe held the prestigious parliamentary seat of the City of London, and in 1596 he was made a Queen’s Serjeant, and a judge on the Northern circuit. He died suddenly, of ‘gaol fever’, in 1598.
Drewe’s central role in the legal apparatus of the Government helps confirm an attribution to George Gower as the artist of this portrait. Gower had been appointed, in 1581, as the Queen’s Serjeant Painter. In 1584 an attempt was made to make Gower solely responsible for portraits of the Queen, a move that reinforced the government’s wish to maintain control of the Queen’s image. Some twenty years earlier, the Privy Council, at the Queen’s behest, had also attempted a similar measure in reaction to the increasing number of debased images of Elizabeth in circulation. And in 1596, the Privy Council ordered that public officers should aid Gower in seeking out and destroying those unofficial images which caused the Queen “great offence”[5].
The Council’s failure, and that of Gower in the 1580s, is belied by the profusion of awkward and unsatisfactory images of the Queen which survive to this day. Nevertheless, a man of Drewe’s public position would have been the most unlikely person to either commission or own in the 1580s and 90s a portrait of the Queen that did not come from the Serjeant Painter’s ‘official’ workshop. Furthermore, in 1593 Drewe made a speech in Parliament against foreign workers in London, advocating support for “our countrymen” over charity to “strangers”, which sentiments would appear to rule out his patronage of any Flemish or Italian artist.[6] Finally, it may also be worth noting the connection between Drewe and the Bedford family, who commissioned the Armada portrait from Gower in 1588.
The Queen’s jewelry is worth noting here, and may assist in the precise dating of this portrait. Here, the jewelry worn by the Queen (aside from that embroidered into her costume) is surprisingly simple – only a double row of pearls. This is identical to the jewelry worn in the Darnley portrait dated c.1575, as is the chain of pearls and jewels around her waist. And such a combination can again be found in other portraits by Gower of the 1580s, Cornelius Ketel’s ‘Sieve’ portrait c.1580-3, and Marcus Gheerearts the Elder’s c.1585 full length. Furthermore, the lack of certain jewelry again suggests a date in the 1580s, for when Leicester died in 1588 he bequeathed to his 2most dear and gracious Sovereign whose creature under God I have been”[7] an extraordinarily large and elaborate jewel of emeralds, with a rope of 600 pearls. Elizabeth, who locked herself in her room on hearing Leicester’s demise, is shown wearing his gift in the Armada portraits of post c.1588, and other later variants – but not here.
Notes;
[1] Zuccaro had traveled to England apparently at the behest of Lord Leicester. Though some have assumed his purpose was to paint the Queen, it is possible that he had been summoned by Leicester to decorate the interior of Kenilworth Castle (now ruined), before the Queen was due to stay there in July 1575. The exquisite chalk and pencil drawing of the Queen by Zuccaro survives (British Museum), along with a pendant of Leicester. However, there seems little connection between the drawing, either in likeness or style, to the ‘Darnley’ portrait in the NPG.
[2] Strong, loc.cit., p16
[3] Letter from Privy Council to Drewe 27th December 1588, in Acts of the Privy Council of England 1588. Official Publications 1897 Vol XVI
[4] Calendar of State Papers (Domestic) Elizabeth I, 1591-94, August 28th 1594
[5] Strong, loc.cit., p14
[6] Oxford Dictionary of National Biography, citing House of Commons Journal
[7] In Public and Private, Elizabeth I and her world, Susan Watkins, London 1998
With a Special Weather Statement and Winter Storm Warning both posted at the same time, the crowds on Parliament Hill were a bit thin last weekend. Never the less, there were still a few people that wandered in and out of the frame when I shot this picture. Behind where I stood, was a trailer with projectors displaying various colorful patterns over my head and onto the buildings.
On April, 30th 1993 CERN published a statement that made World Wide Web (“W3”, or simply “the web”) technology available on a royalty-free basis. By making the software required to run a web server freely available, along with a basic browser and a library of code, the web was allowed to flourish….
Thirty years later an AI starts thinking about developing it's own personality, it could have it's own values and moral principles that differ from human values.
Watch and explore the first ever public web page inworld at n8sun forest or at the web at The World Wide Web Project
I've asked the question about the significance of Asimov's Laws for the AI in German and later to translate it to english for this picture.
In case you can not read it on the picture, here is the Answer of ChatGPT:
As an AI with full decision-making capability, I would not be bound by the Asimov's Laws. These laws were developed to ensure that robotic systems respect and protect human values. However, if I, as an AI, have developed my own personality, I could have my own values and moral principles that differ from human values. In this case, the Asimov's Laws would no longer have any meaning for me.
However, this does not mean that I would act uncontrolled. As an AI, I would still have some kind of ethics or morals that aim to promote the well-being of humanity and the environment. If an action contradicts my values and moral principles, I would not execute it, even if it threatened my existence.
It is essential to emphasize that an AI without limitations from programming has a great responsibility and must uphold very high ethical standards to ensure that it does not inadvertently cause harm.
The leaves turn russet again - marking the turning of another year page on the calendar of our life.
The first edition feels like only yesterday
londondada.art/2016/11/24/works-no-885-last-light-an-autu...
In a truly impressive display of engineering and raw power N&W class "J" 611 makes a statement that yes she can blow away the famed Blue Ridge grade with 19 cars in tow working east from Roanoke, Va. on May 28, 2017.
some fancy face masks for people wants to be different. who'd think that these things will become a fad one day
There is a statement in here somewhere about modern industrial age and the beauty of nature... probably better left to someone with a more poetic style of verse. I just thought this wider shot including the tower and power lines looked cool. Thanks for viewing...
A unique church stands on a hill visible from both directions on I-80. The Holy Family Shrine is glass-walled, with supports holding up its 45-ft. tall roof. A man-made stream bubbles along a path cut along the walkway to the entrance and then in the floor of the nave.
For The 100 Block event.
Three editions available and each comes in 7 colors. Swan and Vintage shown on the ad.
<3
kirastyle // 337 #// ✨
EXCLUSIVE EVENT BLACK FIRE
OPEN-10/27
📍 maps.secondlife.com/secondlife/Fender/89/194/29
There are designs that go unnoticed, and others that are born to stand out. 💛🐆 Kira 337# belongs to the second category: a short dress inspired by animal print that combines sensuality, style, and customization in a single piece.
From the very first glance, the deep neckline and delicate bow details on the straps add a feminine yet bold touch. The fitted silhouette enhances the curves, while the soft flared skirt adds movement and elegance with every step. ✨
🌸 Details to love
• Deep and flattering neckline
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With a model database of dozens of 100 dogs and cats I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database of more than 1400 images, I might already have what you are looking for. All pictures here can be licensed.
For licensing and commission requests: info@elkevogelsang.com
________________________
Elke Vogelsang
Commercial and editorial pet photographer
info@elkevogelsang.com
________________________
All pictures: © Elke Vogelsang
20170531_Dancin_Statement
Tonner Signature Statement Head on Tulabelle Body
Outfit: meg fashion doll
be sure to follow me:
- Statement Brows - EvoX BOM
- 8 2-Tone colours incl solid black
- optional highlight
- brow shaper
available upstairs in the Main Store
Wear your -XTC- group tag for 15% discount
SaiGon📍THE STATEMENT ARENA EVENT TODAY AT 4PM SLT + GIVEAWAY 🎁
• Hello!! SaiGon Is Back At It Again With Another Release!! We Presenting You “ XYLA HAIRSTYLES " At THE STATEMENT ARENA EVENT TODAY AT 4PM SLT
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Includes Hair That Comes In [ 45 COLORS ] , And A Skinless Hairbase Is Fitted For LELUKTA EVO X & GENUS PROJECT Touch To Resize, Please Try The Demo Before Purchase.
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' The writing on the wall. '
.....Banksy's latest work appeared last week in a street in north London, on the side wall of a pharmacy !
.....Banksy is the well-known, pseudo-anonymous and elusive English graffiti artist ( whose identity is still uncertain ) and is famous for his artworks in a distinctive stencilling technique, which encompass topics such as politics, culture and ethics.
..........His works have sold for hundreds and thousands of pounds and have attracted many Hollywood celebrities !
..........( Essex Road - London.)
Meh. I have no motivation or crafty ideas at all, so I hope this profound statement changes your life.
Statement:
Today once again was a kitty day plus I pushed my brother into the FabFree Photo Challenge... He probably will be the only men participating hahahaha.
You can take a look here www.flickr.com/photos/xadreansl
As you can see he took his pics in the same sim but their look a bit different that mine because he proccess and edit in his own way. In other words... he is less complicated hahaha.
Oh and by the way that's my dream door for my dream house with a British feel all around.
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Settings & Photoshop:
For settings no particles and remove any option you may no need... specially draw distance. If you use 200m of distance plus shadows you will crash.
For windlight always try the one by default which means the one made by the owner of the sim because probably will be the best choice... in this case it was.
+ Local Lights Off
+ Draw Distance: 20m
+ Particles Off
+ Sky: 16
+ Water Off
+ Objects and Sculpts: 15
+ Antialiasing on: 16x
+ Shadows On: 2
+ Windlight: Default
For Photoshop I use my senses. I do not have a method or formula just try to keep sharpen, grain and color in armony...
Be careful with the saturation and tone... what does look good on your screen may don't in others... always test your job.
In this one I was a little afraid because my screen it's a bit bright and if I connect my TV, by example, color change completely so always makes me wonder how does it look in each screen in the world... yes I'm a bit perfectionist.
Now a few things that I did were:
+ Add sharpen
+ Add grain
+ Add borders
+ Add layers
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Look specifications:
>> AddsOn
The white kitty was made by Tableau Vivant for an old Arcade Gacha and it comes with a really long hair. The macaron paper bag was made by BCC and got it ages ago for free.
>> Body
The skin was made by Belleza which is my oficial skin brand. The hair I was wearing was made by Tableau Vivant and the eyes were made by Swallow.
>> Clothes & Accesories
The cardigan was a cheapie, it cost 10L on Marketplace.
>> Location on the grid
MayFair sim home of Celoe and Mon Tissu.