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SOBHD Dress Code THIS COMPILATION IS COPYRIGHT of the SCOTTISH OFFICIAL BOARD of HIGHLAND DANCING
SOBHD Dress Code THIS COMPILATION IS COPYRIGHT OF THE SCOTTISH OFFICIAL BOARD OF HIGHLAND DANCING. PHOTOGRAPHS ARE COPYRIGHT OF RONNIE CAIRNS PHOTOGRAPHY. UNAUTHORISED COPYING IS PROHIBITED. SOBHD Dress Code This compilation of photographs should be viewed in conjunction with the SOBHD Dress Code document on www.sobhd.net/useful-information Highland Dances Highland outfit with waistcoat Arms by side Arms in 1st position Highland outfit with waistcoat Left side view Right side view Highland outfit with waistcoat Back view Pre-Premier dancers only • White blouse • worn with waistcoat; Full sleeves to the elbow with a lace ornamented front. • An upright stiff half inch lace trim may be attached to the back of the neck • Or plain white shirt worn with or without a tie. • Hose • White or plain coloured knee socks to match the kilt. • Hose can be full clan or diced red/white, blue/white or green/white. Highland Jacket Front view Back view with kilt and socks Highland outfit with jacket Side view Highland Jackets • A sleeveless blouse with lace front or a lace insert should be worn. The lace frills should be visible. • Not more than five ornamental Scottish embossed buttons on each side of the facings. • Full length sleeves may have a single row of not more than five silver or gold buttons at the vent. • If desired, ruffles (not more than 1 inch in depth) may be worn at the wrist, but they must be fastened to the sleeve. Male Highland Outfit Front view Jacket only Male Highland Outfit • Jacket – may be of velvet or cloth, in any colour and any recognised style of doublet. -
2021 Clothing & Foods Project Guidelines
OHIO STATE UNIVERSITY EXTENSION 2021 4-H Family & Consumer Science Projects Handbook For Ashtabula County 4-H Members, Advisors, and Parents OSU Extension - Ashtabula County 39 Wall St. Jefferson, OH 44047 440-576-9008 01.04.2021 ashtabula.osu.edu CFAES provides research and related educational programs to clientele on a nondiscriminatory basis. For more information: go.osu.edu/cfaesdiversity. Page 1 of 17 Clothing and Textile Science The Ohio 4-H clothing program helps develop knowledge, skills, and understanding about clothing appearance, purchasing, and construction. Projects are available for males and females with all levels of experience. Please refer to the individual project member guides for detailed information and consult your county Extension office for specific requirements related to local and state evaluation opportunities. Multiple Projects: 4-H members who take more than one clothing project must complete separate learning experiences related to each, including creating a separate, complete, Total Look outfit for each clothing project. Using items from two or more projects will not be considered as a completion of either project during evaluation. Repeating Projects: Members may repeat any project except Designed by Me and Sundresses and Jumpers. Members who repeat clothing projects should attempt new challenges each year such as doing more advanced experiments and surveys and sewing. Additional Opportunities: The County Fashion Board works to promote the sewing and clothing program through various events and activities. Youth work closely with adult volunteers to assist in the planning of clinics, workshops, project judging and the County Style Revue. Youth must have taken a clothing project for at least 2 years and be in at least 8th Grade to apply. -
Miss Lisa Brown's Guide to Dressing for a Regency Ball – Gentlemen's
MMiissss LLiissaa BBrroowwnn’’ss GGuuiiddee ttoo DDrreessssiinngg ffoorr aa RReeggeennccyy BBaallll –– GGeennttlleemmeenn’’ss EEddiittiioonn (and remove string!) Shave Jane Austen & the Regency face every Wednesday and The term “Regency” refers to years between 1811 Sunday as per regulations. and 1820 when George III of the United Kingdom was deemed unfit to rule and his son, later George Other types of facial hair IV, was installed as his proxy with the title of were not popular and were “Prince Regent”. However, “Regency Era” is often not allowed in the military. applied to the years between 1795 and 1830. This No beards, mustaches, period is often called the “Extended Regency” goatees, soul patches or because the time shared the same distinctive culture, Van Dykes. fashion, architecture, politics and the continuing Napoleonic War. If you have short hair, brush it forward into a Caesar cut style The author most closely associated with the with no discernable part. If your Regency is Jane Austen (1775-1817). Her witty and hair is long, put it into a pony tail engaging novels are a window into the manners, at the neck with a bow. lifestyle and society of the English gentry. She is the ideal connexion to English Country Dancing as Curly hair for both men and each of her six books: Pride and Prejudice , Sense women was favored over straight and Sensibility , Emma , Persuasion , Mansfield Par k hair. Individual curls were made and Northanger Abbey, feature balls and dances. with pomade (hair gel) and curling papers. Hair If you are unable to assemble much of a Regency wardrobe, you can still look the part by growing your sideburns The Minimum and getting a Caesar cut If you wish to dress the part of a country gentleman hairstyle. -
H-France Review Volume 11 (2011) Page 1
H-France Review Volume 11 (2011) Page 1 H-France Review Vol. 11 (October 2011), No. 220 Jill Carrick, Nouveau Réalisme, 1960s France, and the Neo-avant-garde. Topographies of Chance and Return. Aldershot and Burlington: Ashgate Publishing, 2010. xii + 184 pp. B&w illustrations, facsimilies, plan, bibliography and index. $104.95 U.S. (hb). ISBN 978-0-7546-6141-2 Review by Sarah Wilson, Courtauld Institute of Art This is a fascinating book: the first critical exposé in English of French critic Pierre Restany’s Nouveau réalisme movement, baptised in 1960, which ran parallel to American Pop but was ambivalent about Americanisation, a highly political issue. It was only in 2007 that a major exhibition at the Grand Palais did justice to the group as a whole, following a retrospective at the Musée de la Ville de Paris in 1986; the Centre Pompidou has recently staged a series of superb monographic shows of Nouveau Réaliste artists: Yves Klein, Jacques Villeglé and Arman. Like Pop, this movement broke from traditional School of Paris painting or sculpture which kept to traditional materials and modernist aesthetics of representation and abstraction. It introduced what Restany called la prise sociologique du réel: a ‘sociological’ engagement with real life into art, in the living presence of Marcel Duchamp, dada inventor of the ‘readymade’ before the First World War. Restany’s show ‘40 degrees above Dada’ of May 1961 acknowledges this paternity. To visual art one can add the new emphasis on ‘things’ in the French novel or the writings of Georges Perec, and the theoretical emphasis of ‘everyday life’ in Henri Lefebvre or the young Pierre Bourdieu; a heady ambient discourse that distinguishes Nouveau Réalisme from the pragmatic relations with objects of contemporary American artists such as Robert Rauschenburg. -
Kilt Accesories
KILT ACCESORIES A375 A377 A378 A379 A380 Navy Scotland Rugby top Scotland 100%cotton Saltire St Andrews A380A Alba or Scottish Heavy wool crew necks Saltire Rugby Tops all cotton stone washed Cross cotton T.shirt polyester anti pile sweatshirts M to XL £45 fleeces 38” to 44”£140 46” to 52”£160 White Thistle 1 size baggy sizes 38” to 46” & sizes 36” to 46” chest colours: navy, kilt navy/green mix, mid blue, blue/ S to 2XL colours: denim blue, Yellow Lion Rampant colours: navy, purple, green or grey mix, mid grey, kilt green mix, donkey brown, mid grey, green £15 dark grey brown, natural, grey/brown mix, aran white. £45 £60 Top option £60 KILT CARRIERS WATERPROOF CAPE SHIRTS Houstons Bat Wing Shirts Houstons Standard Collar Shirts Poly/Cotton. Fly front. Double cuff. Poly/Cotton. Fly front. Double cuff. White or black. White or black. White 14”-18”£29.95 18½”-23”£35 White 14”-18”£29.95 18½”-23”£35 A381 Black 14”-18”£35 18½”-23”£40 Black 14”-18”£35 18½”-23”£40 Tips on caring for A382 Both styles can be worn with Ruch Cravats. your kilt Washable £25 or Silk £35. A381 DeLux carry carries kilt, 100 Colours + Tartan from £85. jacket with all accessories. Grey or Navy £85 SHIRTS A382 Roll up kilt with A384 pleats to outside, Keep your kilt outfit from the rain, like a sausage and with an Inverness cape in heavy put in a Kilt waterproof nylon material. Carry shoulder £38 Colours: black, navy, dark green, grey, royal, red WING 30” to 52” £90 COLLAR JABOT SHIRT A383 Extra detachable hood +£5 TUNIC SHIRT STANDARD COLLAR Wood Kilt clamp Pouch to carry cape +£5 hangers, great Special capes + 25% Jabot & Cuffs only Piscador Dress Shirts for hanging SH388 can wear on top of tunic shirt. -
Spelling List 2019-2020 for Elementary, Middle and Junior High School Students in Grades 3-8
Spelling List 2019-2020 For elementary, middle and junior high school students in grades 3-8 camera estimate tenacity University Interscholastic League allergy heartily nonentity Foreword The spelling contest is designed to give students exposure to a wide variety of vocabulary words. Preparation for this contest should include instruction in the rules of the English language, definitions and root words. In addition to learning to spell proficiently, contestants will learn to write clearly and to properly capitalize words. Word Lists This bulletin contains three lists, each of which is a source of words for the UIL spelling contests. Divisions are by grade, as follows: (1) Grades 3 and 4; (2) Grades 5 and 6; (3) Grades 7 and 8. The words have been selected to supplement state-adopted texts. The authority for all words is Merriam Webster’s Intermediate Dictionary. Approximately 20 percent of the test words come from sources other than the UIL spelling lists. Dictionary The Merriam Webster’s Intermediate Dictionary is the official source for the UIL spelling and dictionary skills competitions at the elementary and junior high levels. The dictionary can be purchased from Texas Educational Paperbacks, 3824 Cedar Springs Rd., #202, Dallas, TX 75219-4168; 800-443-2078; fax: 800.437.7070; web: www.tepbooks.com. Alternate spellings When an alternate spelling exists, students are required to spell only one variant. Acceptable alternatives in the bulletin are listed together and separated by commas. Alternate endings are shown in parentheses as follows: blond (e). Page 2 • UIL A+ Spelling Word List 2019-2020 Capitalization Where it is correct to start a word with a capital or lowercase letter, it will be shown as follows: alligator (A). -
The Careful Crafting of a Utopia: Yves Klein and the Anthropometric Event
The Careful Crafting of a Utopia: Yves Klein and the Anthropometric Event of March 9, 1960 Sarah M. Bartlett Washington and Lee University Department of Art and Art History Honors Thesis in Art History March 25, 2016 I have neither given nor received any unacknowledged aid on this thesis. Sarah M. Bartlett ACKNOWLEDGEMENTS I am hugely indebted to my parents, who offered me tremendous encouragement over the past ten months. Without their support, I never would have been able to spend hours poring over Yves Klein’s writings this past August at the Yves Klein Archives in Paris. My love affair with the artist’s work only grew because of their help. In addition, I would like to thank Mabel Tapia for her guidance and careful assistance during my visit to the Yves Klein Archives. She graciously directed me towards countless invaluable resources and allowed me to view a wide variety of original manuscripts and drawings. Of course, I must thank Professor Melissa R. Kerin for the countless hours of guidance she offered throughout this process. This project would not have been the same without her support, and I am forever indebted to her for motivating me to produce the best possible thesis. Thank you. TABLE OF CONTENTS INTRODUCTION……………………………………………………………………1 CHAPTER ONE…………………………………………………………………….10 “AN ATOMIC ERA” I. RECONSTRUCTING IDENTITY: The Fall of Vichy France and the Rise of Consumer Culture II. RELIGION AFTER WORLD WAR II: Questioning the Institutions of the Past III. THE GLOBAL AVANT-GARDE: The Birth of Performance Art CHAPTER TWO……………………………………………………………………27 “COME WITH ME INTO THE VOID” I. -
Retrospective Is Curated by Toby Kamps with Dr
Wols: Retrospective is curated by Toby Kamps with Dr. Ewald Rathke. This exhibition is generously supported by the National Endowment for the Arts; Anne and Bill Stewart; Louisa Stude Sarofim; Michael Born Alfred Otto Wolfgang Schulze to a prominent Berlin family Zilkha; Skadden, Arps; and the City of Houston. on May 27, 1913, the artist spent his childhood in Dresden. Despite obvious intelligence, Wols failed to complete school, and in 1932, not long after the death of his father, with whom he had a contentious relationship, he moved to Paris in an attempt to break away from his bourgeois roots. Except for a brief stint in Spain, he remained in France until his untimely death in 1951. The story of Wols’s dramatic trans- PUBLIC PROGRAMS formation from sensitive, musically gifted German youth to eccentric, Panel Discussion near-homeless Parisian artist is legendary. So too are accounts of his Thursday, September 12, 2013, 6:00 p.m. many adventures and misadventures during the tumult of wartime Following introductory remarks by Frankfurt-based scholar Dr. Ewald Europe: his marriage to the fiercely protective Romanian hat maker Rathke, Curator of Modern and Contemporary Art Toby Kamps is joined Gréty Dabija; his grueling incarceration as an expatriate at the outset by art historians Patrycja de Bieberstein Ilgner, Archivist at the Karin and of the war and subsequent moves across rural France; his late-night Uwe Hollweg Foundation, Bremen, Germany; and Katy Siegel, Professor perambulations in liberated Paris; and his ever-worsening alcoholism, of Art History at Hunter College, New York, and Chief Curator of the Wols, Selbstporträt (Self-Portrait), 1937 or 1938, modern print. -
Sigrid Ruby the Give and Take of American Painting in Postwar Western Europe
The American Impact on Western Europe: Americanization and Westernization in Transatlantic Perspective Conference at the German Historical Institute Washington, D.C., March 25–27, 1999 Sigrid Ruby The Give and Take of American Painting in Postwar Western Europe www.ghi-dc.org/conpotweb/westernpapers/ruby.pdf ©Sigrid Ruby 1 The Give and Take of American Painting in Postwar Western Europe (Sigrid Ruby) The standard narrative of 20th century art maintains that with the advent of abstract expressionism in the late 1940s American painting for the very first time made a genuine contribution to the course of Western art history. This at first sight eurocentristic narrative relies on the conceptualization of modern art as an evolutionary process, mainly conditioned by the esthetic qualities of the autonomous art work and urged on by successive vanguard movements. Pointing out its formal inventiveness and radical newness, its painterly grandeur, purity of means, and artistic self-consciousness, art historical writing has naturalized abstract expressionism as an integral part - if not the climax or glorious finale1 - of the modernist adventure. In 1970, the American art critic Irving Sandler published „Abstract Expressionism. The Triumph of American Painting.“2 The book perpetuated the by then well- established modernist interpretation of abstract expressionism, but the somewhat self-congratulatory title suggests a bias which became crucial for a revisionist reading of this „triumph“ in the following years. Max Kozloff‘s article „American Painting During the Cold War,“3 Eva Cockroft’s „Abstract Expressionism. Weapon of the Cold War,“4 and, especially, Serge Guilbaut’s book „How New York Stole the Idea of Modern Art“5 are landmarks of a new, materialist approach in dealing with post- 1945 art history and its American contribution. -
The Body in Art
THE BODY IN ART MEDIATION FORM INTRODUCTION First subjected to aesthetic canons, the represented body gradually freed itself from classical values. The modern era marks a challenge to the ideal of beauty, even freeing itself from representation. From then on, the body was distorted, dislocated, stylized, transformed, shaking up the pictorial and sculptural representation of the 20th century. Beyond the representation itself, the body becomes a tool, a trace and an imprint, the artist puts his own body into play. This visit through the works in the permanent collection allows us to follow the changes in this major subject of 20th century art. Duration of the tour • Primary School 1H • Middle School 1H • High School / College 1H Objectives • To discover the different representations of the human body • Discover color as a component of the 2 artwork • Learn to understand an artwork • Familiarization with the specific vocabulary of art A STEPSA OF THE VISIT Based on this information, the teacher will have to make a choice of steps according to the level of the class and the availability of the artworks in the room. The stages can be adjusted at the convenience of the teachers. The arrival preparation form must be completed. Step 1: Representation of the body Step 2: emancipation of the body Step 3: the body at work B RELATEDA KNOWLEDGE A STEPSA OF THE VISIT STEP 1: REPRESENTATION OF THE BODY With modernity, artists are trying to shake up the traditional codes of representation of the body. Attacking figurative codes, beauty, proportion and ideas of likelihood, the artists propose a completely different range of images based on industrial and modern production techniques. -
A+Guide+In+General+Culture+For+The
Before starting… a few short definitions What is an artistic movement? Each artistic movement corresponds to a precise historic period. Literature or fine arts more particularly belong to the history in which artists find their inspiration and who themselves influence history. A movement can propose: A new vision of art A new aesthetics A vision of society which is questioned through art An artistic movement is not restricted to a region or a country but it can spread from a continent to the whole world. The borders between movements are often blurred: they follow or oppose each other, sometimes they overlap. An artistic movement can be initiated by one or several artists who can produce a manifesto about it or by a critic, a journalist or a historian who writes a definition which sets it apart from other contemporary works. School or movement? A school is a voluntary gathering of artists and authors who share the same ideas and the same aesthetic project. A movement is an ideological community with a wider geographical range which is established a posteriori, usually by an art critic. What is art? It is difficult to define art. Here are some guidelines for reflection. How does a work become “a work of art?” Are there special criteria? A work reaches the status of “work of art” through a consensus and recognition by the institutions. “The authentic work of art is the one which is recognized as such and for which its creator deserves to be recognized as an artist. Thus, they are both recognized by public opinion which is itself orientated by experts’ judgment, a legitimate instance of legitimation” Pierre Bourdieu wrote. -
The Ideology and Praxis of Nouveau Réalisme, RIHA Journal 0051
RIHA Journal 0051 | 10 August 2012 Poetic Recuperations: The Ideology and Praxis of Nouveau Réalisme Wood Roberdeau Editing and peer review managed by: Caroline Arscott, The Courtauld Institute of Art, London Reviewers: Jill Carrick, Anthony Gardner Abstract Taking previously un-translated writings of critic Pierre Restany as a primary source, this article demonstrates how his vision for the Nouveau Réaliste movement of the 1950s and 1960s demands a detailed and theoretical (rather than historically contextual) exploration of its attempt to reconcile visual art with the quotidian. Accordingly, Bürger's criticism of the historical and neo-avant-gardes is weighed against theories of aesthetics and politics from Adorno to Rancière. In addition, Heidegger's work on the art object, alongside Benjamin's interest in Hölderlin, serves to inform an analysis of Restany's investment in a concept of the 'poetry of the real'. Individual works by Niki de Saint- Phalle, Daniel Spoerri and Yves Klein are also investigated as exemplars of the Nouveau Réaliste ideology. My interest in Restany's life and work stems from recent art world concentrations on the banal or 'infra-ordinary' and its relation to similar concerns within sociology. Contents Introduction Revaluating the Neo-avant-garde Aesthetics and Politics Countertopographies Mining the Poetic Intuitive Gestures Everyday Deviance Introduction [1] The subject of the everyday is a popular one in many fields, and one that is so expansive that it is nearly impossible to pinpoint any definitive characteristic for its long-time incorporation within the visual arts. If viewed through a sociological lens however, it becomes less difficult to understand the potential for reciprocity between high culture and the mundane.