Cecil

22 Apr 19
Madeinchertsey

When I am writing a story, one word would trigger another story. In my last post the trigger word was ‘Jersey’. By now I had become more interested in what I wore, and this jumper looked just the ticket. It was a ‘batwing style’, this meant the sleeves started at the cuffs and gradually swept […]

22 Apr 19
Macedon Public Library

Wednesday, April 24 3:00 p.m. At the Museum of Natural History, there’s a new exhibit. Larry Daley, who manages the night exhibit where the exhibits come to life because of the Tablet of Ahkmenrah, is in charge of the presentation. But when the exhibits go awry, Larry finds himself in trouble. He discovers that the […]

22 Apr 19
Atherton's Magic Vapour

Hello, and welcome to my 2019 A to Z Challenge! This year, I am giving you my personal list of  Golden Age Mystery Tropes. Particularly clue-tropes, and also those tropes that an experienced mystery reader finds herself using to solve the mystery without reference to the actual clues. For example, the experienced mystery reader ought […]

22 Apr 19
Writing What Matters

Thanks for joining me! Good company in a journey makes the way seem shorter. — Izaak Walton

22 Apr 19
Commercial News

https://runthetrap.com WHIPPED CREAM Is On The Brink Of Greatness [INTERVIEW] On the path to leaving behind a proud legacy, WHIPPED CREAM is on the brink of greatness. From being a competitive figure skater to becoming one of electronic music’s most brilliant producers, the journey of Caroline Cecil proved that you can amass to anything with […]

22 Apr 19
East Bay Times
If the prospect of five galleries filled with Old Master paintings sounds as exciting as a mandatory school field trip, you’re in for a surprise at San Francisco’s Legion of Honor museum. Thirty paintings and a number of prints by Peter Paul Rubens convey the Baroque spirit of his era  — as a Flemish artist who studied in Rome — and deliver it to museum visitors today with stunning emotional impact. The exhibit, “Early Rubens,” covers 1609-1621, and the title suggests that the artist, who lived until 1640, is preparing for a celebrated career. But his acclaimed style is already evident in this collection’s swirling dramatic action, intense color, bold contrast, and compositions that appear almost three-dimensional. It’s a theatrical style that one can imagine inspiring cinematic epics like “Samson and Delilah” — subjects used twice by Rubens, once in Technicolor by Cecil B. DeMille. And yes, Rubens’ Delilah, and other figures with shimmering flesh, show how the term “Rubenesque” evolved for ample female bodies. “Early Rubens,” running through Sept. 8, is collaboration between San Francisco’s Fine Arts Museums (the Legion of Honor and de Young) and the Art Gallery of Ontario in Toronto. It includes Rubens masterworks from both their collections:  “The Tribute Money” from San Francisco and the recently rediscovered “The Massacre of the Innocents” from Toronto. One newspaper’s preview of the exhibit pointed out that Europe’s museums are “packed to the rafters” with Rubens’ oversize paintings, and that the show gives Americans “a chance to wallow in the excess.” Although most of the works are more modest in size, three huge paintings greet visitors at the entry: “The Flight of Lot and His Family from Sodom,” “Daniel in the Lions’ Den” and “The Boar Hunt.” Aside from the dramatic subjects and vivid characterizations — even the lions have personalities — these three paintings show the breadth of the exhibit’s sources, from the National Gallery in Washington, D.C., to the Ringling Museum in Florida to the Fine Arts Museum in Marseille, France. Rubens himself was an international figure. His Protestant family fled Antwerp, Belgium, before he was born when the city became Catholic under Spanish Rule. He returned to Antwerp with his mother after his father’s death, apprenticed with three different artists, traveled to Italy to study, and served the Duke of Mantua as an artist and ambassador. After his mother’s death, he became a court painter — and a diplomat. Commissions for paintings brought enormous success and a studio with scores of assistants completing Rubens’ works. He was able to produce masterworks both for the Catholic Church and for Protestant patrons, notes Sasha Suda, co-curator of the exhibit with Kirk Nickel. Commercial success alone would not make Rubens renowned for four centuries. He was, as even a modest art directory puts it, “an inventive genius.” He studied Caravaggio and Correggio in Rome, took the passionate Baroque style home to Antwerp and added the North’s attention to intimate detail. No artist matched the shimmering, almost translucent flesh of many of his figures — particularly his depictions of Christ. One of the exhibit’s galleries, a section titled “The Life and Death of Christ,” encapsulates Rubens’ career and his mastery. Start with “The Annunciation,” the depiction of the Archangel Gabriel’s announcement to the Virgin Mary of Jesus’ impending birth: The precise expressions, swirling fabric of the two figures’ clothing and the lighting give dramatic weight to the episode for anyone viewing the painting, in the 1600s or today. Also in the gallery, “The Tribute Money” shows Christ’s confrontation with Jewish elders, so vividly reacting with amazement, curiosity or indifference. “Holy Family with Saint Elizabeth, Saint John, and a Dove,” portrays Christ and John the Baptist, as the exhibit caption points out, “handling the dove of the Holy Spirit with such familiarity that the bird has lost several feathers.” Even in this relatively modest-size exhibit, covering a portion of Rubens’ career, there is remarkable variety. The melodrama of the gallery with the theme “Allure and Transgression” is meant to shock and captivate with lifelike detail. “The Massacre of the Innocents” seems to spill victims out of the frame. “The Head of Medusa” is another “I can’t look/I must look” depiction. By the end of the exhibit, visitors may want to remind themselves that for Rubens’ patrons, these were familiar characters, settings and situations, and the paintings are only two-dimensional. “He told stories that demolished earlier storytelling,” curator Sasha Suda points out. In this exhibit, the stories still blaze with life. Contact Robert Taylor at rtaylorsf@aol.com. ‘EARLY RUBENS’ Through:  Sept. 8, 9:30 a.m.-5:15 p.m. Tuesday-Sunday Where: Legion of Honor in Lincoln Park, 34th Avenue and Clement Street, San Francisco Admission: $13-$28; 415-750-3600, legionofhonor.famsf.org
22 Apr 19
The Mercury News
If the prospect of five galleries filled with Old Master paintings sounds as exciting as a mandatory school field trip, you’re in for a surprise at San Francisco’s Legion of Honor museum. Thirty paintings and a number of prints by Peter Paul Rubens convey the Baroque spirit of his era  — as a Flemish artist who studied in Rome — and deliver it to museum visitors today with stunning emotional impact. The exhibit, “Early Rubens,” covers 1609-1621, and the title suggests that the artist, who lived until 1640, is preparing for a celebrated career. But his acclaimed style is already evident in this collection’s swirling dramatic action, intense color, bold contrast, and compositions that appear almost three-dimensional. It’s a theatrical style that one can imagine inspiring cinematic epics like “Samson and Delilah” — subjects used twice by Rubens, once in Technicolor by Cecil B. DeMille. And yes, Rubens’ Delilah, and other figures with shimmering flesh, show how the term “Rubenesque” evolved for ample female bodies. “Early Rubens,” running through Sept. 8, is collaboration between San Francisco’s Fine Arts Museums (the Legion of Honor and de Young) and the Art Gallery of Ontario in Toronto. It includes Rubens masterworks from both their collections:  “The Tribute Money” from San Francisco and the recently rediscovered “The Massacre of the Innocents” from Toronto. One newspaper’s preview of the exhibit pointed out that Europe’s museums are “packed to the rafters” with Rubens’ oversize paintings, and that the show gives Americans “a chance to wallow in the excess.” Although most of the works are more modest in size, three huge paintings greet visitors at the entry: “The Flight of Lot and His Family from Sodom,” “Daniel in the Lions’ Den” and “The Boar Hunt.” Aside from the dramatic subjects and vivid characterizations — even the lions have personalities — these three paintings show the breadth of the exhibit’s sources, from the National Gallery in Washington, D.C., to the Ringling Museum in Florida to the Fine Arts Museum in Marseille, France. Rubens himself was an international figure. His Protestant family fled Antwerp, Belgium, before he was born when the city became Catholic under Spanish Rule. He returned to Antwerp with his mother after his father’s death, apprenticed with three different artists, traveled to Italy to study, and served the Duke of Mantua as an artist and ambassador. After his mother’s death, he became a court painter — and a diplomat. Commissions for paintings brought enormous success and a studio with scores of assistants completing Rubens’ works. He was able to produce masterworks both for the Catholic Church and for Protestant patrons, notes Sasha Suda, co-curator of the exhibit with Kirk Nickel. Commercial success alone would not make Rubens renowned for four centuries. He was, as even a modest art directory puts it, “an inventive genius.” He studied Caravaggio and Correggio in Rome, took the passionate Baroque style home to Antwerp and added the North’s attention to intimate detail. No artist matched the shimmering, almost translucent flesh of many of his figures — particularly his depictions of Christ. One of the exhibit’s galleries, a section titled “The Life and Death of Christ,” encapsulates Rubens’ career and his mastery. Start with “The Annunciation,” the depiction of the Archangel Gabriel’s announcement to the Virgin Mary of Jesus’ impending birth: The precise expressions, swirling fabric of the two figures’ clothing and the lighting give dramatic weight to the episode for anyone viewing the painting, in the 1600s or today. Also in the gallery, “The Tribute Money” shows Christ’s confrontation with Jewish elders, so vividly reacting with amazement, curiosity or indifference. “Holy Family with Saint Elizabeth, Saint John, and a Dove,” portrays Christ and John the Baptist, as the exhibit caption points out, “handling the dove of the Holy Spirit with such familiarity that the bird has lost several feathers.” Even in this relatively modest-size exhibit, covering a portion of Rubens’ career, there is remarkable variety. The melodrama of the gallery with the theme “Allure and Transgression” is meant to shock and captivate with lifelike detail. “The Massacre of the Innocents” seems to spill victims out of the frame. “The Head of Medusa” is another “I can’t look/I must look” depiction. By the end of the exhibit, visitors may want to remind themselves that for Rubens’ patrons, these were familiar characters, settings and situations, and the paintings are only two-dimensional. “He told stories that demolished earlier storytelling,” curator Sasha Suda points out. In this exhibit, the stories still blaze with life. Contact Robert Taylor at rtaylorsf@aol.com. ‘EARLY RUBENS’ Through:  Sept. 8, 9:30 a.m.-5:15 p.m. Tuesday-Sunday Where: Legion of Honor in Lincoln Park, 34th Avenue and Clement Street, San Francisco Admission: $13-$28; 415-750-3600, legionofhonor.famsf.org
22 Apr 19
Tim's Cover Story

Hello there! This week our blog features a novelty rock song, Wooly Bully. We will first discuss the original by Sam the Sham and the Pharoahs. Next, we will review a cover of this song by Joan Jett and the Blackhearts, and we will finish with a cover by Los Pacaminos. Sam the Sham and […]

22 Apr 19
Trash Free Maryland

Maryland becomes first state to ban foam food containers

22 Apr 19
Site Title

The easiest way to backup and share your files with everyone. تجول داخل صندوق وارد حديث وأكثر تنظيمًا. سجل الدخول وابدأ استكشاف الأدوات التنظيمية Fans Will Not Be Happy About This Male R&B Singer Calling Out Beyoncé, SZA And Cardi B Hip-Hop Reacts To The Tragic Death Of Leah LaBelle Camping La Torre del Sol. […]

22 Apr 19
Onarcade

The new month is almost upon us, and Hulu users are probably looking for some new content to watch on the streaming service. Luckily, Hulu has revealed what’s coming for May, and there are plenty of movies and TV series for you to check out. On May 1, Hulu will be releasing a bunch of […]

22 Apr 19
Onarcade

The new month is almost upon us, and Hulu users are probably looking for some new content to watch on the streaming service. Luckily, Hulu has revealed what’s coming for May, and there are plenty of movies and TV series for you to check out. On May 1, Hulu will be releasing a bunch of […]

22 Apr 19
Bear Leader One

The weeks after Cecil-Con have been devoted towards fixing issues that were discovered during play testing. We will have a detailed list on all of that below. Moving forward we want to continue setting up controller support. right now we are in the phase of mapping out the controller. We want the game to feel […]

22 Apr 19
Poem Elf

    Song by Frank O’Hara   Is it dirty does it look dirty that’s what you think of in the city   does it just seem dirty that’s what you think of in the city you don’t refuse to breathe do you   someone comes along with a very bad character he seems attractive. […]

22 Apr 19
Onarcade

The new month is almost upon us, and Hulu users are probably looking for some new content to watch on the streaming service. Luckily, Hulu has revealed what’s coming for May, and there are plenty of movies and TV series for you to check out. On May 1, Hulu will be releasing a bunch of […]