#william shayer

[romanticism-art-history]

The Gleaners Shirley, Hants painted by William Shayer (1788 - 1879)

#art #art history #artwork #culture #curators #history #museums #painting #romanticism #vintage #william shayer

[pwlanier]

William Shayer (1787-1879)

Figures resting outside a cottage

Signed W Shayer Senr (lower left)

Oil on canvas

Woolley and Wallis

[dailygenerated]

romanticism painting of a man follows a well trodden path, from which one can look over the river and see the town by william shayer

#ai art #stable diffusion

[briefninjastudent]

William Shayer (1787-1879), British genre and heraldic painter. Exh. RA, the Society of British Artists, etc.

South Coast Fisher Folk, undated, oil on canvas (private collection, via Leighton Fine Art).

#william shayer #British genre painting #fishing scene

[meisterdrucke]

Study of a Shorthorn by William Joseph Shayer Iona Antiques, London, UK

#William Joseph Shayer #fineart #art #painting #artwork #masterpiece #fineartprint #gallery #museum

[creadoresdebelleza]

William Shayer: La casa a mitad de camino, Thatcham (1848).

#1848 #William Shayer #Romanticismo #Paisajismo #Thatcham

[mateusmuller012]

Conversação

Arte: Conversation in a Glade is a painting by William Shayer 

Nas últimas horas os internautas ficaram estarrecidos com a notícia de que o ator Will Smith deu um “socão no beiço” de um humorista (era humorista? Nem sei quem é ele... mas enfim.). É como se a população do mundo tivesse ganhado um novo entretenimento para afastar o tédio.

Aliás, não é preciso ser um gênio para concluir que há cerca de 99,9% de chances daquilo tudo ter sido invenção para atrair as pessoas, visto que poucas pessoas estavam interessadas no evento de premiação (era um evento de premiação? Meu Deus! Como estou desatualizado!)

Mas isso me levou à uma reflexão. É assustador em como as pessoas passaram a ficar dependentes de assuntos para divulgar e debater nas redes sociais, como se a vida delas dependesse exclusivamente disso. É o famoso “Pão e Circo”. As pessoas podem estar tendo sua Liberdade confiscada, mas se distraindo com pão e circo elas nem irão perceber.

Na noite de ontem fui comprar algo para jantar e me apavorei com a seguinte situação: as pessoas que encontrei no estabelecimento estavam conversando apenas sobre o que está na moda! As mesmas notícias que vejo na TV e nas redes sociais o tempo inteiro. Diga-me: Isso não se parece com a perda da capacidade de pensar por si mesmo – de refletir sobre assuntos realmente relevantes?

E isso me levou a uma outra reflexão. Nesse mundo pós-moderno, onde estamos constantemente conectados com tudo o tempo inteiro, aumento o número de casos de ansiedade, de depressão e suicídio. Mas oras, o que leva a pessoas a estarem cada vez mais desanimadas com a vida? Seria o fato de elas estarem se preocupando com coisas banais e que não vão mudar em nada a vida delas? Aposto que essas pessoas seriam mais felizes se elas começassem a filtrar quais notícias são de fato relevantes e quais são inúteis para a vida delas.

É importante que tenha-se a conscientização de que o fato de um ator dar um “socão no beiço” de um outro alguém não vai mudar em absolutamente nada a vida das pessoas e que, por outro lado, um passeio no parque sem o celular tem um impacto significativo. Veja: não é porque uma música está em 1º lugar nas paradas que ela é uma música de qualidade – e muitas músicas, inclusive, tem a capacidade de arruinar o psicológico delas. Portanto, não há necessidade de sermos dependentes da elite global que nos diz o que devemos falar e ouvir. Aliás, experimente tirar um tempinho para ouvir músicas que nunca tocaram na rádio e veja a mágica acontecer.

Começar a pensar por si mesmo, dando pouca importância para o que acontece em Hollywood, na Disney, na Rede Globo, e começar a focar mais nas situações presentes no dia a dia. Ao invés de ouvir notícias, ouça seu filho/sua filha conversando, ouço o som de pássaros cantando­­­­, e veremos uma mágica acontecer: o número de pessoas felizes irá aumentar.

[ltwilliammowett]

HMS Alexander, a 74-gun third-rate ,shortly before striking her colours to the French squadron, 6 November 1794, by William Shayer 1819

On 13 March 1780, Alexander and HMS Courageaux captured the 40-gun French privateer Monsieur after a long chase and some exchange of fire. The Royal Navy took the privateer into service as HMS Monsieur.

In 1794, whilst returning to England in the company of HMS Canada after escorting a convoy to Spain, Alexander, under the command of Rear-Admiral Richard Rodney Bligh, fell in with a French squadron of five 74-gun ships, and three frigates, led by Joseph-Marie Nielly. In the Action of 6 November 1794 Alexander was overrun by the Droits de l'Homme, but escaped when she damaged the Droits de l'Homme’s rigging. Alexander was then caught by Marat, which came behind her stern and raked her. Then, the 74 gun third-rate Jean Bart closed in and fired broadsides at close range, forcing Bligh to surrender Alexander. In the meantime, Canada escaped. The subsequent court martial honourably acquitted Bligh of any blame for the loss of his ship.

The French took her to Brest and then into their French Navy under the name Alexandre. On 22 June 1795, she was with a French fleet off Belle Île when the Channel Fleet under Lord Bridport discovered them. The British ships chased the French fleet, and brought them to action in the Battle of Groix. During the battle HMS Sans Pareil and HMS Colossus recaptured Alexander. After the battle, HMS Révolutionnaire towed her back to Plymouth.

She took part in the Battle of the Nile in 1798, under the command of Captain Alexander Ball. She was the second ship to fire upon the French fleet, engaging the flagship, L'Orient. The Alexander sank three French ships before she had to withdraw due to a small fire on board. The Alexander was one of the few ships not carrying a detachment of soldiers.Northumberland, Alexander, Penelope, Bonne Citoyenne, and the brig Vincejo shared in the proceeds of the French polacca Vengeance, captured entering Valletta, Malta on 6 April.Alexander served in the navy’s Egyptian campaign between 8 March 1801 and 2 September, which qualified her officers and crew for the clasp “Egypt” to the Naval General Service Medal that the Admiralty issued in 1847 to all surviving claimants.

#naval art #HMS Alexander #18th Century #age of sail

[giallofever2]

1932

Il Dottor Miracolo Murders In The Rue Morgue (Universal Studios, 1932)

Producer: Carl Laemlle, Jr.

Associate Producer: E.M. Asher

Director: Robert Florey

Assistant Directors: Scott Beal, Joseph McDonough and Charles Gould

Screenplay: Ron Reed and Dale Van Every

Original Story: Edgar Allan Poe

Adaptation: Robert Florey

Additional Dialogue: John Huston

Scenario Editor: Richard Shayer

Art Director: Charles D. Hall

Set Designer: Herman Rosse

Recording Supervisor: C. Roy Hunter

Cinematography: Karl Freund

Editor: Milton Carruth

Supervising Film Editor: Maurice Pivar

Special Effects: John P. Fulton

Special Process: Frank D. Williams

Music Direction: Heinz Roemheld

Make-up: Jack P. Pierce

Technical Adviser: Howard Salemson

Running Time: 62 minutes

Copyright Number: LP2804, January 27 1932

Cast:

Sidney Fox: Mlle. Camille L’Espanaye

Bela Lugosi: Doctor Mirakle

Leon Waycoff: Piere Dupin

Bert Roach: Paul

Brandon Hurst: Prefect of Police

Noble Johnson: Janos, The Black One

D’Arcy Corrigan: Morgue keeper

Betty Ross Clarke: Mme. L’Espanaye

Arlene Francis: Woman of the streets

Edna Marion: Mignette

Charlotte Henry: Girl

Polly Ann Young: Girl

Herman Bing: Franz Odenheimer

Agostino Borgato: Alberto Montani

Harry Holman: Victor Albert Adolph Jules Hugo Louis Dupont, the landlord

Torben Meyer: The Dane

John T. Murray: Gendarme

Dorothy Vernon: Tenant

Christian J. Frank: Gendarme

Michael Visaroff: Mirakle’s sideshow barker

Ted Billings: Sideshow spectator

Charles T. Millsfield: Bearded man at the sideshow

Monte Montague: Workman/Gendarme

Charles Gemora: Erik the ape

Joe Bonomo: Stunt double for Charles Gemora

Harrison Green: Sideshow barker

Tempe Pigott: Crone

Iron Eyes Cody: Indian at sideshow

Charlotte Henry: Sideshow spectator

#il dottor miracolo #murders in the rue morgue #bela lugosi #edgar allan poe #horror movies #film horror #horrormovies #gothic horror #horror film #horrormovie #giallo fever #giallofever #italian cult #cult #cinema cult #italian giallo #italian sexy comedy #international cult #gialli #giallo

[stgeorgeantiquesetsy-blog]

Check out this item in my Etsy shop https://www.etsy.com/uk/listing/665073397/antique-19th-century-gilt-framed-oil

#WilliamShayer #Antiqueoilpainting #EnglishMasters #signed oil painting #signed #ws #William Shayer #antique oil painting #antique oil paintings #Signed Original #horse #dog #victorian oil painting #oil painting #painting #antique paintings #horse painting #dog painting #landscape painting #antique landscape painting

[romanticism-art-history]

The Young Anglers painted by William Shayer (1788 - 1879)

#art history #painting #art #artwork #museums #history #culture #vintage #curators #william shayer #romanticism

[pwlanier]

WILLIAM JOSEPH SHAYER

British

1811 - 1892

FOXHUNTING VIGNETTES

signed W.J. Shayer and dated 1870 (lower center)

oil on panel, diamond-shaped

Sotheby's

[berussagroup]

William Shayer Senior - landscape painter and figure painter

#william shayer senior

[slaphappylarry]

Tunnel and Cave Symbolism

In symbolism, there is often a manmade and naturally occurring equivalent. The tunnel is the manmade version of a cave, the sewer a sea cave.

In symbolism, there is often a manmade and naturally occurring equivalent. The tunnel is the manmade version of a cave, the sewer a sea cave.

Other examples:

The pool is the manmade equivalent of a pond. This symbolism is utilised by Helen Simpson in her short story “Up At A Villa“.

The atrium is the manmade equivalent of Heaven / sky.

The cathedral is a manmade attempt at a forest.

The cauldr…

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#mythology #symbolism

[vm4vm0]

Fires - Life is Better Blonde from Natalie Erika James on Vimeo.

Consumed by a virtual reality set in a reimagined 1950s, a player’s longing for motherhood transcends the rules of the game.

Directed by Natalie Erika James - nejames.com & Ben Morgan Produced by Emma Haarburger & Logan Davies

Best Cinematography at SoundKILDA, St Kilda Film Festival CLIPPED Music Video Festival, VIVID Sydney, 2017 Hollyshorts Film Festival, 2017 Szczecin European Film Festival, 2017 Woodengate Film Festival, 2017 Bucharest Shortcut Cinefest, 2017 - Best Music Video - Best Cinematography Byron Bay International Film Festival, 2017

Production Company: Fiction Film Company – fiction.net.au

Starring: Jem Nicholas, Emi Canavan, Elias Nixon-Luke, Ashlee Anne Scotland

Cinematographer: Charlie Sarroff – charliesarroff.com Camera Operator: Hugh Turral

Production Designer: Maddie Latomanski Wardrobe: Sophie Woodward 1st AD: Baris Ulusoy, Tomas Zagoda

1st AC: Nick Forster 2nd AC: Aydin Bozkurt, Rainer Kelly Gaffer: Guillermo Perez-Pedraza Best Boy: William Thomson, Tom Ohehir, Hudson Sowada

Hair & Makeup / SFX Makeup: Lou McLaren Art Department Assistants: Nikita Dunovits-Ferrier, Sasha Heath, Liv Bunting Wardrobe Assistant: Sabine Battel VR Glasses Designer: Jake Robb 3D Printer: Thing Lab

SFX Supervisor: John Sanderson SFX Assistant: Sam Deal

Stunt Coordinator: Warwick Sandler Stunt Double: Kate Angus Stunt Assistant: Jade Amantea, Hayden Stewart, James McCready Safety Supervisor: Danny Woodrow Paramedic: Robert Gorman

VFX: Louis Nikolovski Editor: Natalie Erika James, Benjamin Morgan Colourist: Chris Reynolds – Retrobox – retrobox.com.au

Production Assistants: Carla Giurleo, Bianca Perillo Stills: Robert Geary BTS Videographer: Callum Harrison, Irany Turral

Nannybot: Jem Nicholas VR Gamer: Emi Canavan Baby: Elias Nixon Luke Stranger Nannybot: Ashlee Anne Scotland

Thanks: Stephen James, Sasha Heath, Darcy Prendergast, Florence Holmes, Truce Films, Alexander Brown, Guy & Rachel Nixon Luke, Olivia Townsend, Tom Ohehir, Rob and Anne-Marie Hanson

Special Thanks: The Estate of the Late Werner Haarburger and the Haarburger Family Shayer Group, Pentridge Prison - pentridgecoburg.com.au

[gussolomonsjrtest]

NEW CREATORS AT ABT

The program on Wednesday, October 23, comprised ballets by one recent and two new dance makers for the company, and the dancers seemed energized by the spirit and the rigor of the new works. There are no radical departures in form, but these younger choreographers have a feel for what the dancers are technically capable of and don’t hesitate to exploit their strengths.

The company’s initiative to promote women dance makers has changed the power dynamics onstage and fostered more of a balance of control in the dancing. Yes, the women still get lifted and supported by men, but they’re no longer passively compliant. Sometimes they ask for what they want and get it. With this current initiative to increase both the racial diversity and the pool of women choreographers in ballet, there seems to be a welcome generational shift to greater equality of control for ballerinas.

As if to prove the point, the program opens with James Whiteside’s debut ballet for the company, featuring a high-powered cast – Calvin Royal III (African-American), Joo Won Ahn (Asian), Aran Bell, Devon Teuscher, Catherine Hurlin, Isadora Loyola, Katherine Williams, and Stephanie Williams. “New American Romance,” is set to “Suite Bergamasque” for piano solo by Claude Debussy, played flawlessly by Jacek Mysinski, live.

James Whiteside’s NEW AMERICAN ROMANCE. (center) Aran Bell, (clockwise from top right) Calvin Royal III, Isadora Loyola, Stephanie Williams, Devon Teuscher, Catherine Hurlin, Katherine Williams, and Joo Won Ahn. photo by Rosalie O’Connor

The work – nicely organized into four movements separated by blackouts – is a look at the choreographer’s unique take on romantic love, one that steers clear of Hollywood sentimentality. A duet for Catherine Hurlin and Aran Bell – the closest thing to a traditional “romantic” pas de deux – demands total trust with spectacular lifts that literally flip Hurlin repeatedly and surprisingly over Bell’s powerful arms and climaxes in a risky, one-handed overhead press. No saccharine love affair this!

Katherine Williams, Isadora Loyola, and Stephanie Williams are best buds, tipping on their pointes in mutual support, copying each other’s motifs in canon, and shimmying their shoulders in liberated defiance. Whiteside underlines the women’s power by having Katherine Williams do a chain of entrechats and all three, tours to the knee, which they pull off without batting an eye.

Movement Three introduces romantic gender diversity, when, after starting as a lovey-dovey duet for Teuscher and Ahn, it veers into the unexpected, when Royal enters and becomes the object of both their affections. They end up with their bodies draped atop of each other in a discreetly passionate threesome.

(l-r): Calvin Royal III, Joo Won Ahn, and Devon Teuscher in James Whiteside’s NEW AMERICAN ROMANCE photo by Erin Baiano

Brandon Stirling Baker bathes the piece in washes of cool light, and costumes provided by Primadonna are sweetly romantic, long, blue tutus on the women and blousy, light blue shirts and dark tights for the men, accentuating the irony of Whiteside’s wry deconstruction of traditional romance. It’s a structurally clear and teasingly inventive debut that promises more to come.

Gemma Bond’s world premiere, “A Time There Was” draws its moods from Benjamin Britten’s acerbic “Suite on English Folk Songs” – whence the title – and his “Fugue and Variations on a Theme of Frank Bridge.” David LaMarche conducts with his customary brio. Sylvie Rood’s costumes are body-hugging but ornate bodices that suggest Renaissance attire; sleeves get added for some of the women and skirts made of streamers for some of the men. Serena Wong is the lighting designer, starting the piece dramatically by silhouetting the cast of fifteen against the cyclorama.

The ballet is divided into five sections that each feature a different couple with background attendants – Cassandra Trenary and Cory Stearns, Katherine Williams and Tyler Maloney, Zimmi Coker and Gabe Stone Shayer, Stearns and Teuscher, finally Isabella Boylston and Whiteside. The action whizzes by, dense and fast-paced, so distinctions among the characters are a matter for later reflection. A slow tempo passage generally greets the entrance of each subsequent featured couple, but the texture of the dancing throughout is similar, making it hard to parse in a single viewing.

But the movement has a youthful exuberance and freshness, and the costumes liven the space with changing color palettes, as dancers rush on and offstage. The final ”Fugue and Finale,” features Boylston partnered by Whiteside and brings the ballet to a quiet, pensive close, with them drifting offstage together.

(l-r): James Whiteside and Isabella Boylston in Gemma Bond’s A TIME THERE WAS. photo by Rosalie O’Connor

I imagine Jessica Lang’s “Garden Blue” (2018) to be set in a bright garden, saturated in Nicole Pearce’s sunny lighting. But although bright colors predominate in the costumes, none is actually blue. The three couples wear sleek unitards in electric colors; Aran Bell and Catherine Hurlin in red/orange, Thomas Forster and Brittany Degrofft in canary yellow, and Blaine Hoven and Skylar Brandt in fuchsia; the fourth woman, Hee Seo’s unitard is white with green patches.

(l-r): Hee Seo with Catherine Hurlin, Thomas Forster, Blaine Hoven, Aran Bell, Skylar Brandt, and Brittany DeGrofft in Jessica Lang’s GARDEN BLUE. photo by Rosalie O’Connor

The costumes are by Sarah Crowner, as is the setting, which consists of three sturdy wooden forms that look like the whirlybirds that fall from maple trees; two are onstage and a third, hangs above. The music is the first three movements of Antonin Dvořák’s “Piano Trio No. 4 in E Minor.” Dancers’ repeated tiny flutters of arms suggest insects’ wings. The dancers rearrange the set pieces throughout, sheltering and concealing dancers, and reshaping the space. Seo flits about like the boss of the six, making things happen. Lang’s ballet like the other two are welcome, lyrical additions to the ABT repertory.

Gus Solomons jr, © 2019