#F17E

[lillianleung]

Hino F17E Piston

#hino #diesel piston #pistons

[mllermanda]

So here is Day 3’s picture. No doubt Ryoma was pretty depressed right after his family died so knowing that his girl dies a while later must have sucked hard. I like to believe though that he keeps her spirits in mind and the positive messages that he tells the other students in V3, are words that his girl told him in the past. This is my version on how I think Hoshi’s girlfriend would look like as it’s based on an old pic of Ryoma that I made a long while ago: https://images-wixmp-ed30a86b8c4ca887773594c2.wixmp.com/f/98dc3aa3-5875-4f3d-9eca-f3132233dd7c/dc8qqhy-34f63618-f17e-483a-9cbc-6638a851c6a7.png/v1/fill/w_751,h_1063,q_70,strp/ryoma_hoshi_by_mllermanda_dc8qqhy-pre.jpg?token=eyJ0eXAiOiJKV1QiLCJhbGciOiJIUzI1NiJ9.eyJzdWIiOiJ1cm46YXBwOjdlMGQxODg5ODIyNjQzNzNhNWYwZDQxNWVhMGQyNmUwIiwiaXNzIjoidXJuOmFwcDo3ZTBkMTg4OTgyMjY0MzczYTVmMGQ0MTVlYTBkMjZlMCIsIm9iaiI6W1t7ImhlaWdodCI6Ijw9MTQ0OSIsInBhdGgiOiJcL2ZcLzk4ZGMzYWEzLTU4NzUtNGYzZC05ZWNhLWYzMTMyMjMzZGQ3Y1wvZGM4cXFoeS0zNGY2MzYxOC1mMTdlLTQ4M2EtOWNiYy02NjM4YTg1MWM2YTcucG5nIiwid2lkdGgiOiI8PTEwMjQifV1dLCJhdWQiOlsidXJuOnNlcnZpY2U6aW1hZ2Uub3BlcmF0aW9ucyJdfQ.jHzpeiIxUxcsPNnEWQUoLfwLsvSfhyq2QA9WrgJnRv4

#ryoma hoshi #ryoma hoshi week #day 3 #lover #AU #Dangan Ronpa #dangan ronpa vr3 #dangan ronpa v3 #past #fan art #video game fan art #visual novel fanart

[charlottecollerson]

World War I and Australian Art: Fighting for art in Australia

World War I had a significant impact on Australian society, being the first international war Australia would engage in on its’ own accord. The way in which this affected society’s function and Australia’s relationship with the world was profound. The art world, so inherently intertwined, held a mirror up to society during this time, reflecting this change. Socially, culturally, and economically, Australia had changed and many of these artists at the time were embracing this change, as well as the new influence of Modernism coming from across the world. However, some artists and art critics were hesitant to accept this change due to the nature of the works and the artists creating them. Within this essay, social, cultural, political, and economic influences within the interwar period will be examined to understand how Australian Modernism was shaped during this time.

Post World War I, women had been brought into the forefront of society, entering the workforce and other roles in greater numbers than ever before. With many male artists fighting overseas, women also documented the war from home, painting the strange world that was Australia during WWI. During the period of early modernism in Australian art, women were largely pioneering the movement (Hoorn 1992). The movement was dismissed as frivolous and lacking in talent due to this fact and many male artists neglected to engage in modernist techniques until the mid 1930s. In the words of art historian, Bernard Smith, ‘women played a greater part in forming contemporary taste in Australia than they have before or since’ (Williams 1995). Grace Cossington’s works examine women’s existence within the domestic sphere from a female perspective (Hoorn 1992) Women were central to Australian Modernism and the lack of appreciation of women as artists and proponents of a central art movement somewhat allowed female Modernists to develop in a way male artists could not (Hoorn 1992). Grace Cossington honed her skills in Post-Impressionism during the early 1900s, painting images of Australian life at the time. She gave scenes life, movement, stillness, and emotion, but neglected depth and instead opted for a flat plane existence for the image. The prince (1920) (Figure 1) shows what would be imagined as an extravagant scene, instead opting for the focus to be on the fact is a perspective, a little person in the crowd looking on, out of focus. Cossington did this in stark contrast to the way Australians had painted these scenes prior to Modernism. Cossington’s paintings, along with many other women’s, identified themselves as Modernist while straying from the masculine narrative Modernism is so often imagined as (Hoorn 1992).

Following WWI, Australia and the world’s economy was thriving. Companies had many new inventions and plenty of public interest to back them. Australians were thrilled about the modernisation of domestic life. The new technology and opportunity changed lives and created a sense of excitement. Artists depicted this in their works, this new economic climate, along with development that came with it (Coppel 1995). Many artists had moved to Sydney from Melbourne, the former hub of artistic expression within Australia, and others moved overseas to experience the works of other Modernist painters in Europe (Speck 2014). The development in Sydney became a focus for a lot of artists and The Sydney Harbour Bridge was one of these developments. Dorrit Black’s painting The Bridge (1930) (Figure 2) drew controversy over its unconventional nature. Her somewhat Cubist approach to perspective was unlike any depiction of Australian landscape or cityscape before it. Having moved to London in the 1920s, she had witnessed new ways of depicting landscape and colour (Speck 2014). Another symbol of the new technology emerging was the linocut. Claude Flight, a pioneer of the linocut print, believed modern art should ‘reflect the energy of the modern age’ (Leaper 2016). Those influenced by him included Margaret Preston who famously produced works of Australian flora in linocut print (Figure 3). She was a proponent of the Modernist idea of art for the ‘everyman’, promoting the accessibility of art. Her linocuts were easily printed and reproduced, making them able to be put in homes and used on textiles. She wrote in Art in Australia, ‘The easiest way to understand modern art is to buy an example and live with it. Custom makes consciousness’ (Preston 1929, quoted by AGNSW). The techniques used and the images depicted showed an economic shift in Australian society, changing the way art progressed in the early 1920s.

Modern art had begun flowing into Australia by the 1920s but the climate it entered was not so welcoming. After the horrors of World War I, anything considered too heavily European-influenced was regularly looked upon in a negative light. Modernism proved to be polarising in its nature and had garnered many critics, along with its fans. The warfare between Modernism and Conservative values went on relentlessly. A renewed sense of nationalism could be felt post World War I and this idea of the ‘stoic, hard-working Australian’ was seen to be under threat from Modernism (Underhill 1991). Those that opposed the movement regularly cited the ‘deviant’ nature the works and artists as their reasoning for opposition (Snell 1987). Norman Lindsay was a key proponent of Modernism in Australia and sought to have his works exhibited by the South Australian Society of Artists in 1924 (Snell 1987). However, three of his eleven submissions were rejected for obscenity and he subsequently withdrew his submission entirely, then hiring the gallery next door (Lindsay & Wingrove 1990). Lindsay’s exhibition was highly successful and was a direct rejection of the reactionary Conservative movement at the time.  In particular, his works including powerful images of female nudity drew controversy (Figure 3). Sydney Ure Smith, an art publisher and promoter at the time, was quoted to have said ‘it’s not so much what he does, it’s the awful ideas he puts into your head’ (Underhill 1991). From that point onwards, the war between Conservatives and Modernism continued, becoming a political pawn. Robert Menzies supported the opening of the Australian Academy of Art in 1937, run by the conservatives of the art world, while, H.V. Evatt, on the other side, supporting the Contemporary Art Society (Snell 1987). This scandalisation of Modernist art had created a split in the art world and, beyond this, fuel for cultural and political fire in Australia. The works, however, would become integral in the history of Australian art, regardless of the reviews it received from critics at the time.

The Modernist movement within Australia continues to be important in Australian history today. The artists and their works tell a story of a young society and its development in the early 20th century. A number of factors impacted the growth and prevalence of Modernist art in Australia at the time. These included the bringing of women to the forefront as artists, consumers and workers, the new technology being rapidly developed at the time, and the scandalisation of art and modernism, garnering the interest of the public. Modernism thrived in a difficult environment during both wars, but within Australia, the inter-war period created a climate in which it would become a focus of both artists and the public, fixing itself firmly within the history of Australian Art.

REFERENCES

Coppel, Stephen. 1995. Linocuts Of The Machine Age. [Aldershot]: Scolar Press.

Hoorn, Jeanette. 1992. "Misogyny And Modernist Painting In Australia: How Male Critics Made Modernism Their Own". Journal Of Australian Studies 16 (32): 7-18. doi:10.1080/14443059209387082.

Leaper, Hana. 2016. "‘Old-Fashioned Modern’: Claude Flight's Lino-Cuts And Public Taste In The Interwar Period". Modernist Cultures 11 (3): 389-408. doi:10.3366/mod.2016.0147.

Lindsay, Norman, and Keith Wingrove. 1990. Norman Lindsay On Art, Life, And Literature. Lucia, Qld., Australia: University of Queensland Press.

Preston, Margaret, Art in Australia, 1929, quoted in Art Gallery New South Wales, “Margaret Preston, art and life,” http://www.artgallery.nsw.gov.au/sub/preston/artist_1920.html

Snell, T and Curtin University of Technology for the Dept. of Visual Arts (1987). Scandalized : public perceptions of the arrival and emergence of modernism in Australian art. [video] Available at: https://echo360.org.au/media/1b8add4f-f17e-4788-ab71-e2b63454fcc1/public [Accessed 8 Mar. 2019].

Speck, Catherine. 2014. "Dorrit Black: Unseen Forces, Art Gallery Of South Australia, 14 June – 7 September 2014". Australian And New Zealand Journal Of Art 14 (2): 214-216. doi:10.1080/14434318.2014.973009.

Underhill, Nancy D. H. 1991. Making Australian Art 1916-49. Melbourne: Oxford University Press.

Williams, John F. 1995. The Quarantined Culture: Australian Reactions To Modernism, 1913-1939. Cambridge: Cambridge University Press.

#ww1 #australian art #art writing #art research #writing

[jayefeather]

10 years later: The April 16, 2011 tornado outbreak in Va.

Storm 1. Storm 1. Tornado damage in a forest area of 50-year-old trees in Dinwiddie County. from Google Alert - water damage https://www.google.com/url?rct=j&sa=t&url=https://richmond.com/weather/10-years-later-the-april-16-2011-tornado-outbreak-in-va/collection_1d1340f4-f17e-50be-925f-412270f6df2d.html&ct=ga&cd=CAIyGmM1ODA0ODI0ZWVkYWI2OWU6Y29tOmVuOlVT&usg=AFQjCNGKNUe1-Px_Al5G8jaKZJpku34W3w

#IFTTT #Google Alert - water damage

[cinziacreazioni]

Vi stanno piacendo tantissimo! ❤ Palline natalizie per rendere unico il vostro albero di natale o come regalo per i vostri cari/amici personalizzabili ❄⛄🎄❤❤ 📲 Info whatsapp: [phone] #ideenatale #ideanatale #pallinanatale #pallibenatale #segnapostonatalizio #natale2020 #mercatininatale2020 #alberodinatale #idealberodinatale #stelladinatale #idearegalonatale #regalinatale #regalinataleeconomici #fuoriportanatalizio #ghirlandanatalizia #pallinenatale #pallinanatalepersonalizzata #christmasball #pallinanatalegatto #pallinanatalecane (presso Messina, Italy) https://www.instagram.com/p/CG9cuJ-F17E/?igshid=1htggwfwr3v68

#ideenatale #ideanatale #pallinanatale #pallibenatale #segnapostonatalizio #natale2020 #mercatininatale2020 #alberodinatale #idealberodinatale #stelladinatale #idearegalonatale #regalinatale #regalinataleeconomici #fuoriportanatalizio #ghirlandanatalizia #pallinenatale #pallinanatalepersonalizzata #christmasball #pallinanatalegatto #pallinanatalecane

[shaking-lily]

#poland

[dorothyroussel-blog]

Hello Sir, I am a professional graphic designer . I have 4 year experience in adobe photo shop and adobe illustrator. I worked before in many advertising companies. provide you high quality design . I am able to design any kind of Work.

#Parasite #AbdülhamidHan #marmaray

[mtgdays]

【比較】ガドウィックトーブランは強いし、アヤーラヨルヴォもよく見るし、リンデンもイラストが上手い

732 名無しプレイヤー＠手札いっぱい。 (ﾜｯﾁｮｲ da81-e23S [59.158.38.217])[sage] 2019/12/11(水) 21:01:30.84 id:VvQqXgmY0 やっと同色マナ3点クリーチャー4枚揃った。トーブランも含めて・・・ まあリンデンおばちゃんは別にいらんかったけど 734 名無しプレイヤー＠手札いっぱい。 (ﾜｯﾁｮｲWW f17e-HZ3I [122.102.179.67])[sage] 2019/12/11(水) 21:06:07.53 id:jltpYT8H0 リンデンはテーロスで白単信心と共に輝く時が来るんだ 735 名無しプレイヤー＠手札いっぱい。 (ﾜｯﾁｮｲWW 5a03-MmhO [61.197.53.248])[sage] 2019/12/11(水) 21:07:49.72 id:EJEaevQE0 それより適したやつがでて枠…

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[pmseck1-blog]

Magic Man Swag

https://audio-ssl.itunes.apple.com/itunes-assets/Music5/v4/ae/b6/e6/aeb6e600-df52-f17e-35f5-461d59ef128b/mzaf_5754196250919154188.plus.aac.p.m4a

By Rappin’ Roy

Download now from Itunes

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[kobbymichael]

Black Sherif - Destiny

Black Sherif – Destiny

Black Sherif – Destiny. Young and talented Ghanaian musician Black Sherif starts the new month with a new tune tagged “Destiny”.

The song was produced by Dusha Billions.

Download and enjoy it below.

https://www.hitz360.com/files/uploads/2020/09/Black-Sherif-destiny.mp3

DOWNLOAD MP3

Also Check Out:

Khalifina – Dangerous Flow ft. Black Sherif

Black Sherif – Money (Remix) ft Amg Armani x Tulenkey

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[dorothyroussel-blog]

Hello Sir, I am a professional graphic designer . I have 4 year experience in adobe photo shop and adobe illustrator.

[renovations-uws]

Emerald Sanded Brown Microfiber Dual Reclining Loveseat with Console by Emerald Home Furnishings

Today:$812.99

https://www.overstock.com/Home-Garden/Emerald-Sanded-Brown-Microfiber-Dual-Reclining-Loveseat-with-Console/13291894/product.html?recset=f7a05b68-f17e-48fa-8919-497b85538cc7&refccid=NZ4UWZBCESAJDDSJJVXVIPHXCM&recalg=926,924&recidx=7

[deanharkness]

https://www.redbubble.com/people/deanus/works/27176892-white-seahorse?grid_pos=63&p=t-shirt&rbs=73bf584e-f17e-46e6-b302-ecce745111ec&ref=artist_shop_grid&style=womens Seahorse design T-shirt #memory #seahorse

#seahorse #memory