#drapers guild

[camillasgirl]

The Anointing Screen

The Anointing Screen has been designed and produced for use at the most sacred moment of the Coronation, the Anointing of His Majesty The King. The screen combines traditional and contemporary sustainable embroidery practices to produce a design which speaks to His Majesty The King’s deep affection for the Commonwealth. The screen has been gifted for the occasion by the City of London Corporation and City Livery Companies.

The Anointing takes place before the investiture and crowning of His Majesty. The Dean of Westminster pours holy oil from the Ampulla into the Coronation Spoon, and the Archbishop of Canterbury anoints the Sovereign on the hands, chest and head. It has historically been regarded as a moment between the Sovereign and God, with a screen or canopy in place given the sanctity of the Anointing.

The Anointing Screen was designed by iconographer Aidan Hart and brought to life through both hand and digital embroidery, managed by the Royal School of Needlework. The central design takes the form of a tree which includes 56 representing the 56 member countries of the Commonwealth. The King’s cypher is positioned at the base of the tree, representing the Sovereign as servant of their people. The design has been selected personally by The King and is inspired by the stained-glass Sanctuary Window in the Chapel Royal at St James’s Palace, which was gifted by the Livery Companies to mark the Golden Jubilee of Queen Elizabeth II in 2002.

The Anointing Screen is supported by a wooden pole framework, designed and created by Nick Gutfreund of the Worshipful Company of Carpenters. The oak wooden poles are made from a windblown tree from the Windsor Estate, which was originally planted by The Duke of Northumberland in 1765. The wooden poles have been limed and waxed, combining traditional craft skills with a contemporary finish.

At the top of the wooden poles are mounted two eagles, cast in bronze and gilded in gold leaf, giving the screens a total height of 2.6 metres and width of 2.2 metres. The form of an eagle has longstanding associations with Coronations. Eagles have appeared on previous Coronation Canopies, including the canopy used by Queen Elizabeth II in 1953. Equally, the Ampulla, which carries the Chrism oil used for anointing, is cast in the shape of an eagle.

The screen is three-sided, with the open side to face the High Altar in Westminster Abbey. The two sides of the screen feature a much simpler design with maroon fabric and a gold, blue and red cross inspired by the colours and patterning of the Cosmati Pavement at Westminster Abbey where the Anointing will take place. The crosses were also embroidered by the Royal School of Needlework’s studio team.

At the Coronation Service, the Anointing Screen will be held by service personnel from Regiments of the Household Division holding the Freedom of the City of London. The three sides of the screen will be borne by a Trooper and Guardsman from each of The Life Guards, Grenadier Guards, Coldstream Guards, Scots Guards, Irish Guards, and Welsh Guards.

The screen has been gifted for the Coronation by the City of London Corporation and participating Livery Companies, the City’s ancient and modern trade guilds. His Majesty The King is a keen advocate and supporter of the preservation of heritage craft skills, and the Anointing Screen project has been a collaboration of these specialists in traditional crafts, from those early in their careers to artisans with many years of experience.

The individual leaves have been embroidered by staff and students from the Royal School of Needlework, as well as members of the Worshipful Company of Broderers, Drapers and Weavers.

As well as heritage craft, contemporary skills and techniques have formed part of this unique collaboration. The outline of the tree has been created using digital machine embroidery by Digitek Embroidery. This machine embroidery was completed with sustainable thread, Madeira Sensa, made from 100% lyocell fibres.

The threads used by the Royal School of Needlework are from their famous ‘Wall of Wool’ and existing supplies that have been collated over the years through past projects and donations. The materials used to create the Anointing Screen have also been sourced sustainably from across the UK and other Commonwealth nations. The cloth is made of wool from Australia and New Zealand, woven and finished in UK mills.

The script used for the names of each Commonwealth country has been designed as modern and classical, inspired by both the Roman Trojan column letters and the work of Welsh calligrapher David Jones.

Also forming part of the Commonwealth tree are The King’s Cypher, decorative roses, angels and a scroll, which features the quote from Julian of Norwich (c. 1343-1416): ‘All shall be well and all manner of thing shall be well’.

This design has again been inspired by the Sanctuary Window in the Chapel Royal, St James’s Palace, created for Queen Elizabeth II’s Golden Jubilee in 2002. At the top of the screen is the sun, representing God, and birds including the dove of peace, which have all been hand embroidered by the Royal School of Needlework.

The dedication and blessing of the Anointing Screen took place earlier this week at the Chapel Royal, St James’s Palace, where it was officially received and blessed by the Sub-Dean and Domestic Chaplain to The King, Paul Wright, on behalf of The Royal Household.

#king charles lll #queen camilla #coronation

[broadwaydivastournament]

Broadway Divas Tournament: Round 2B

Annette Bening (1958) “ANNETTE BENING (Kate Keller) New York: King Lear (Shakespeare in the Park), Spoils of War (Second Stage), Costal Disturbances (Tony nomination, Clarence Derwent Award). Los Angeles: Ruth Draper Monologues, The Female of the Species, Hedda Gabler (Geffen Playhouse), The Cherry Orchard (Mark Taper Forum). San Francisco ACT Repertory Company: Our Town Macbeth. Films: The Grifters, Bugsy. The American President, American Beauty, Being J, The Kids Are All Right, The Seagull, 20th Century Women, Captain Marvel, The Report (fall 2019), Screen Actors Guild and Golden Globe awards, Emmy nominations and four Academy Award nominations. Graduate of San Francisco State University and A.C.T. Conservatory Training Program. Board member: The Actors Fund.” – Playbill bio from All My Sons, May, 2019.

Kelli O'Hara (1976) “KELLI O’HARA (Young Hattie/Ensemble). Broadway: Jekyll & Hyde after playing Emma in the national tour. Favorite credits: Christine in the Yeston/Kopit Phantom (Lucille Lortel Debut Award); Kitty in Where’s Charley?  At MTW; Lili in Carnival; and the title role in Naughty Marietta. She graduated from OCU and won the 1998 State Metropolitan Opera Auditions. Thanks to the family and Mrs. Birdwell. God is good.” – Playbill from Follies, June 2001. Playbill insert indicates she went on as Young Phyllis at this performance.

NEW PROPAGANDA AND MEDIA UNDER CUT: ALL POLLS HERE

"You know, looking at these production photos, I like Annette Bening as a brunette. Anyway, I sat a few rows behind her at this horrid little play reading a few weeks ago. She was there with Camryn Manheim, and frankly, I'd rather have watched them watching the show than watch the show myself."

"I continue to be in awe of this woman's unending beauty. A few weeks ago, I stage-doored after the final performance of Days of Wine and Roses, and she wafted outside looking like a million dollars in this silky little cami, her freckled chest on full display. Even in heels, she was maybe a head taller than me (4'7"), and I had the pleasure of gazing up at her in awe. She is a stunning woman, and that voice... It's a sexual experience."

Fuck it: extra Kelli propaganda (with Audra bonus) because this duet could wake me from the dead.

#broadwaydivastournament #broadway #tournament poll #broadway divas #theatre #annette bening #kelli o'hara #round 2b

[breha]

anne rice, pseudointellectual extraordinaire, managed to squeeze into the tale of the body thief references to: "sailing to byzantium" and "the dolls" by william butler yeats, a tale of two cities, anna karenina, the postman always rings twice, lolita, "the tyger" by william blake, a tree grows in brooklyn, "the thing on the doorstep" by h.p. lovecraft, "eyes of the mummy" by robert bloch, goethe's faust, jeffrey burton russell, mircea eliade, john milton, marcus aurelius, hart crane, george bernard shaw, diogenes, thomas aquinas, jacques maritain, pierre teilhard de chardin, dostoyevsky, albert camus, and john keats. at one point lestat uses the alias "sebastian melmoth," which was a pseudonym used by oscar wilde, itself a reference to melmoth the wanderer by charles maturin. later lestat goes by the last name "wilde." he also references othello and at one point asserts that he is "not time's fool." the alias "sheridan blackwood" might be a reference to sheridan dufferin given rice's interest in art, and i assume she got "alexander stoker" from bram. the movies that appear or are referenced are suspicion (1941), vice versa (1988), all of me (1984), the company of wolves (1984), beauty and the beast (1946), the dead (1987), it's a wonderful life (1946), and body and soul (1947). characters see or reference art by rembrandt (specifically the syndics of the draper's guild), picasso (three separate times), willem de kooning, jasper johns, andy warhol, monet, and edward hopper. there's also a reference to the actor rutger hauer. uhhh i think that's it but holler if you caught one i didn't

#iwtv #vampire posting #i'm sorry i don't know why i did this. there's no use for this. i just love making lists #the show is really keeping in the spirit by making the paintings in the background/so many of the books identifiable #interesting that all the movies are either from the 80s (the last 10yrs relative to when the book was written) or the 40s #(anne rice's early childhood)

[claremont-psychiatric-hospital]

Prodigal Son + Rembrandt

Syndics of the Draper's Guild (1662) The Anatomy Lesson of Dr. Nicolaes Tulp (1632) St. Jerome in a Dark Chamber (1642) Self-Portrait in a Gorget (1629) Student at a Table by Candlelight (ca. 1642)

#prodigal son #malcolm bright #martin whitly #john watkins #aka (saint) #paul lazar #fbi supervisors & head profiler #more than one book about rembrandt's works appears in this series #so of course it was *impossible* to pick out specific paintings/scenes/characters for one-to-one comparisons #oh-so-many students at a table by candlelight #pilot #annihilator #q&a #alone time

[seriously-mike]

Welcome to the third installment of "Artists Through The AIs": this time, we're going way back to the classics with a certain young witch dressed up as a certain sorceress.

Due to odd behavior of the data model (the freshly updated Dreamshaper V7), I had to fiddle with the prompt. Namely, if emphasis was put on the "painting" part, the images were sprouting easels and/or heavy gilded frames every-goddamn-where, even with CLIP skip set at 2 instead of the usual 1. So "painting" was left at 1.0 weight, while "by X" was emphasised to 1.2. Other than that, the prompt is "embedding:kieshi3v with long (red hair):1.2, wearing long red medieval dress with corset, medieval castle exterior background, dramatic lighting, detailed, high definition", and the seed is 254762234227837. Negative prompt includes "((easel)), ((frame)), ((interior)), red eyes" in addition to my usual heavily magical list. So here we go.

Leonardo da Vinci - I'm having second thoughts about the background common for several of the renders, but there's enough distinction between them to highlight Leonardo's style. The main focus is skin shading and curly hair, as seen in Leonardo's depictions of Virgin Mary.

Caravaggio - deceptively similar to the previous one, but with a noticeable distinction: the deeper shadows and higher contrast, creating a very Caravaggian chiaroscuro.

Titian - asking for "Titian" and "Tiziano" generated very similar takes in a lamp-lit corridor with way too modern look and pretty much no similarity to the paintings you can view online.

It also appears that AI omits the paint and canvas textures from Renaissance paintings, something it didn't do with the impressionists previously. This is most probably due to less emphasis on the "painting" part, as I'm going to show you in another post. Moving most of the description two-three tokens down apparently also creates a new baseline with a window or portal (either fitted with a door or not) instead of an overcast outside shot.

Albrecht Durer - whether you spell him with an umlaut or not, the outcome is a generic take with a portal in the background. The umlaut just removes the door and gives Sabrina a handbag.

Lucas Cranach the Younger - what we have here is a miscommunication. If you ask for the art of Lucas Cranach, sure as shit you'll get your character in a black beret popularized by the elder one's paintings of German VIPs. However, the diametrically different interior characteristic of Renaissance painting and less pronounced effect of the embedded likeness of Kiernan Shipka makes me think that, once again, we're dealing with a "So you have heard of me" behavior.

Hans Holbein the Younger - once again, something's way off here. We have a similar Renaissance interior background with some traces of brushwork, less pronounced embedding and some odd lace bonnet, but nothing that would link the work to either of the two Holbeins. I think that we're dealing with the side effect of the prompt being knocked two further tokens down, but I'm not sure. It goes too far, particularly if you consider that differences between other images are much less pronounced.

Rembrandt - as in the case of Caravaggio, the distinct part of this one is the chiaroscuro. There's also more pronounced detailing of the collar and shoulders of the dress, possibly inspired by the outfits in "The Anatomy Lesson of dr Tulp", "Syndics of the Drapers' Guild" and "The Night Watch".

Vermeer - there's no doubt. This is Vermeer. Two different seeds and I got two very similar mashups of "The Girl Reading A Letter", "The Girl With Pearl Earring" and "The Milkmaid". This goes so far against the prompt that we're dealing with a similar case to Simon Stalenhag from the first test.

Peter Paul Rubens - this one itches my brain something fierce. While scrolling through the renders, this one and four neighboring ones share the exact same position of white shift and a dark underbust corset, meaning they're merely slight variations on a baseline, but I swear that I've seen a similar painting of a long-haired man in a black doublet with frilly white collar and sleeves. Was that a Rubens? I have no idea (it wasn't Hals' "The Laughing Cavalier", though).

Diego Velazquez - this one is trying to do something. Once again, we have a portal in the background, but the character's position is slightly off the baseline and the palette is slightly muted.

Murillo - way too generic. The background is curiously off, as it's not a portal but a vaulted ceiling supported by pillars, but the pose is shared by four other renders, including the Rubens one, meaning it's sticking to the baseline fairly closely.

Francisco Goya - this is an odd one. It has nothing to do with Goya's works, but still, the pose is off the baseline, the background features brushwork and an abrupt switch from a near wall to a wider expanse with bizarre levitating architecture. I have no idea what's going on with it.

Eugene Delacroix - it's generic. Sure, the background features an open street with some people as opposed to the typical portal and lamp or chandelier, but the pose and outfit are kinda samey. What, no attempt to go anywhere near "Liberty Leading The People"?!

Jacques-Louis David - another generic one. I mean, what the fuck. If you look at David's corpus of works on Wikipedia, this could have been done entirely differently, yet we have an underbust corset, a portal and a light source in the background.

Thomas Gainsborough - finally something. Discernible brushwork, unusual contrast and lighting, and - as a bonus - the Strawberry Hill Gothic castle in the background make this one distinctive and consistent without plowing straight into obnoxious homage slash blatant plagiarism territory.

#stable diffusion #ai generated images #ai image generation #ai art generation #ai image

[travsd]

Go Dutch, Young Man: A Post for Dutch-American Friendship Day

I head this post with Rembrandt’s 1662 painting The Syndics of the Drapers Guild naturally because since 1911 the image has been used to represent Dutch Masters cigars, famously associated with the great Ernie Kovacs — a Hungarian who only smoked Cubans! There were a few different actors and suchlike I might have written about today but I found myself more jazzed about the fact that April 19 is…

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#Dutch #Dutch-American #Friendship Day #Netherlands #New Amsterdam #New Netherland #New York

[ceescedasticity]

A probably incomplete list of Tirion's guilds

In fact probably some of these have duplicate, competing guilds

Beekeepers Cowherds Drovers Fowlherds Herders Hostlers Shepherds Swineherds Drapers Dyers Fullers Menders Ropemaker Spinners Weavers Sculptors Earthmasons Masons Plumbers Stonemasons Watersmiths Brewers Butchers Cheesemakers Distillers Foragers Foresters Millers Spicers Vinters Weirkeepers (fish traps) Bookbinders Jewelers Potters Tailors Saddler Shoemakers Tanners Coppersmiths Goldsmiths Ironsmiths Metallurgists Nailmakers Tinsmiths Wiredrawers Drumwrights Drumwrights Flautists Harpers Lutenists Luthiers Pipers Reedwrights Coopers Engravers Fletchers Glassblowers Glaziers Jewelsmiths Lampwrights Lensmakers Locksmith Wheelwrights Astronomers Historians Linguists [Lambengolmor] Mathematicians Naturalists Clerks Consigners Copyists Mongers Taverners Carpenters Joiners Sawyers Turners Architects Lorimers (horse gear) Nedellers (needles) Painters Playwrights (includes anyone involved in production)

#a tolkien tag #reckless application of spackle

[pwlanier]

Nicolas de Staël (1914 - 1955), Composition, signed; signed and dated Octobre 1949 on the reverse, oil on canvas.

Note: Executed in 1949, the richly impastoed Composition exemplifies Nicolas de Staël’s unique form of abstraction. According to the artist, “one simply cannot think of any object whatsoever, because there are simultaneously so many objects that the ability to take them in falters and fades” (Nicolas de Staël quoted in: Denys Sutton, Nicolas de Staël, Paris 1960, p. 61). Proceeding from this prismatic concept of material reality, de Staël pursued an evocatively abstract style that ultimately developed to incorporate representational elements. In many ways, the present work anticipates the mimetic content of de Staël’s later corpus; only a short distance separates it, for example, from Agrigente (1953) at the Kunsthaus, Zurich. Composition equally boasts an impressive provenance, hailing from a superlative private collection of nineteenth and twentieth-century art, assembled by eminent Swedish surgeon Philip Sandblom and his wife Grace over a period of seventy years. Including the finest works by modern masters such as Delacroix, Cézanne, Seurat, Picasso, and Mondrian, over time the Sandblom Collection has donated several masterpieces to the National Museum and Moderna Museet in Stockholm.

Composition epitomises the transformation that de Staël’s painting underwent in 1949, whereby dramatic, stormy, and more clearly cubist-influenced compositions achieved a new tranquillity and simplification. This distinction marks the arrival of de Staël’s mature idiom, first based upon the organisation of irregular geometric shapes into contrasting, often architecturally delineated, fields of colour. In March of 1950, the Musée National d’Art Moderne in Paris acquired a similarly transitional painting, Composition (Les Pinceaux) of 1949. In keeping with his staunch independence from artistic groups and movements, de Staël requested this work be exhibited outside of the galleries devoted to abstract art, and instead above the main staircase. He did nevertheless seek out mentors, foremost among them Georges Braque, his neighbour in Paris during the 1940s. Following de Staël’s death, Braque expressed deep admiration for his friend: “De Staël was a painter; he had the true sense of painting… he was always seeking freedom. He succeeded in evolving. Basically, painting is like love. It is direct, it is power. And it was that way for de Staël” (Georges Braque quoted in: ibid., p. 20).

In January of 1949, de Staël travelled back to Brussels, the city of his orphaned youth, and visited Amsterdam and The Hague where he particularly admired the heavy admixtures of black pigment in paintings by Rembrandt van Rijn and Frans Hals. The palette of black, red, and golden yellows that composes so many of Rembrandt’s self-portraits, and other classic paintings like The Jewish Bride (circa 1667) or Syndics of the Drapers’ Guild (1662) in Amsterdam’s Rijksmuseum, is immediately evident in Composition. Like The Jewish Bride, the present work’s brighter passages contrast directly with a mass of deep green-black pigment occupying nearly half the canvas, a formal arrangement strikingly like that of Rembrandt’s newly wedded pair. De Staël’s emulation of earlier Dutch chiaroscuro is equally matched by heavy modelling, achieved through liberal use of a palette knife. Much like Rembrandt, de Staël chose high-quality materials and only employed oil paint, in contrast to contemporaries like Jean Dubuffet who experimented by incorporating unorthodox materials like sand or sawdust.

Following the artist’s death, British art historian Douglas Cooper wrote: “de Staël was unique among the painters of his generation in that he stood out against an easy-going acceptance of the non-figurative aesthetic and insisted on the responsibility of any serious painter to try and reconcile the pattern of abstract forms and arbitrary colours, which are the constituent elements of every picture, with the facts of a visual experience” (Douglas Cooper, ‘Nicolas de Staël: In Memoriam’, The Burlington Magazine, Vol. 98, No. 638, May 1956, p. 140). Composition testifies to this drive, evincing de Staël’s place among the foremost modern painters of the Twentieth Century.

Courtesy Alain Truong

[sairceketli]

Rembrandt van Rijn, The Sampling Officials of the Drapers’ Guild (1662)

[simonstamenovic]

Self-portrait as naked lady in The Syndics of the Amsterdam Drapers' Guild by Rembrandt/Gentlemens Club by Mundo Art History Series, Jaimie Warren

#jaimie warren #art history series #photography #.png

[lana--world]

Top 10 Richest Actresses In The World 2024

1. Jami Gertz -$3.2 Billion

She is well known for her her roles in films like The Lost Boys, Less than Zero, etc., and she is the owner of the Atlanta Hawks NBA team. She performs in TV shows as well.

2. Mary-Kate and Ashley Olsen -$500 Million

The Olsen twins are American actors who also work as designers of clothing. These sisters were on the list since they began acting when they were quite young. At just six months old, they began working. Michelle Tanner played the first part in the Full House 2 sequel. When they reached adulthood, they developed a passion for fashion design and achieved great success in the industry.

3. Reese Witherspoon -$420 Million

American actress Reese, a two-time Golden Globe Award winner, is also a producer. Also, she has established herself as the highest-paid actress in the world. She is the owner of the clothing line Draper James as well as the production company Hello Sunshine. Reese has a $420 million net worth, which is also in the millions.

4. Victoria Principal -$400 Million

Vicki Ree Principal, a Hollywood actress best known for her roles in soap opera series, goes by both names. Before 2001, she worked as an actor. She then began her career as a producer, business owner, and writer. She was inspired to develop Principal Secret, a line of skincare products, by her interest in beauty treatments.

5. Jessica Alba -$390 Million

She began her acting and business careers in Hollywood when she was just 13 years old. In 2011, she founded The Honest Company, a business that distributes baby and household goods. She became known as the most stunning woman in the world thanks to numerous magazines.

6. Jennifer Aniston -$320 Million

She received numerous honors throughout her life, including a Primetime Emmy Award, two Screen Actors Guild Awards, and a Golden Globe Award. She started ranking among the highest-paid actresses after the 1990s. She was a California native who made 320 million dollars in her lifetime.

7. Julia Roberts -$255 Million

Julia has a number of prominent roles in films, such as Mystic Pizza and Steel Magnolias. She is renowned for being the first actress to receive a 20 million dollar salary for a film. She excels as an actor in a variety of genres, including romantic comedies, dramas, thrillers, and action movies.

8. Sandra Bullock -$250 Million

The most paid actress in 2010 was a producer who was also an actress from Virginia. The Times magazine ranked her as the most influential person in 2010. She was also awarded People magazine’s title of “Most Beautiful Woman” for 2015. Bullock, who is now 58, began her career in 1987 with a minor part in Hangmen. Sanford Meisner, an American actor, was Bullock’s teacher. She ranked eighth on the list of the richest actresses in the world in 2023 with a net worth of $250 million.

9. Julia Louis-Dreyfus -$250 Million

Julia is the most successful actress in terms of comedy, producing, and acting, having won eleven Emmys, a Golden Globe, nine Screen Actors Guild awards, and five American Comedy Award titles. In 2016, she was also named Time’s most important person. She is renowned for her outstanding performance in the comedic television series Saturday Night.

10. Jane Fonda -$200 Million

A political activist known as “Hanoi Jane” after appearing in a photograph atop a North Vietnamese anti-aircraft gun while visiting Hanoi. She spoke out for women throughout this time. She managed to win several Honors throughout her acting career, including the Academy Award, Primetime Emmy Award, etc.

[flurryheaven]

2024 Costume Designers Guild Awards Excellence in Short Form Design - Nominations

American Horror Story: Delicate - Official Teaser Commercial Costume Designer: Paula Bradley Assistant Costume Designer: Shannon Campbell

Blink 182: Dance With Me - Music Video Costume Designer: Jule Vogel Assistant Costume Designer: Mynka Draper

Great Acting or Great Taste: Pepsi - Commercial Costume Designer: Heather Allison

Jack's New Angle: Doritos - Super Bowl Commercial Costume Designer: Trayce Gigi Field Assistant Costume Designer: Rochelle Carino

Madonna X Vanity Fair: The Enlightenment - Short Film Costume Designer: B. Åkerlund

#costume designers awards #nominations #costume design #costumes

[taruntravell]

Hidden Gems of the Rijksmuseum: Uncovering Lesser-Known Treasures

The Rijksmuseum tours in Amsterdam is renowned for its vast collection of art and historical artifacts, and while many visitors flock to see its most famous works, there are numerous lesser-known treasures that deserve recognition. Here are some hidden gems you should uncover when visiting the Rijksmuseum tickets:

"The Merry Family" by Jan Havickszoon Steen: This charming and lively painting by Jan Havickszoon Steen offers a glimpse into the daily life of a Dutch family. It's a delightful, genre scene filled with details that tell a story within the painting.

"The Night Watch" by Rembrandt (Nachtwacht): While not entirely a hidden gem, this masterpiece by Rembrandt often overshadows other works in the museum. Pay close attention to the characters and their individual expressions; it's an intricate work of art that reveals more with every viewing.

"The Windmill at Wijk bij Duurstede" by Jacob van Ruisdael: This landscape painting showcases the Dutch countryside and the dramatic effects of wind and light. It's a beautiful example of Dutch Golden Age painting.

"The Wardens of the Amsterdam Drapers' Guild, Known as 'The Syndics'" by Rembrandt: This striking portrait of five men who served as guardians for the drapers' guild is a testament to Rembrandt's exceptional skill in capturing the personalities of his subjects.

"The Threatened Swan" by Jan Asselijn: This dramatic painting of a swan defending its nest is a powerful depiction of the protective instinct in nature. The swan's outstretched wings and the looming threat add intensity to the scene.

"The Meagre Company" by Frans Hals: Frans Hals was a master of capturing lively and animated group portraits. "The Meagre Company" showcases his talent, with a group of militiamen engaged in a toast and conversation.

"The Jewish Bride" by Rembrandt: While Rembrandt's "Night Watch" gets most of the attention, "The Jewish Bride" is an intimate and emotionally rich portrait that's well worth your time.

"The Threatened Swan" by Jan Asselijn: This dramatic painting depicts a swan defending its nest, and the tense atmosphere makes it a captivating work of art.

"The Milkmaid" by Johannes Vermeer: While not entirely hidden, this exquisite Vermeer painting is often overshadowed by other works in the museum. It captures a simple, yet beautiful moment in daily life.

"Marten Soolmans and Oopjen Coppit" by Rembrandt: These life-size, full-length portraits of a wealthy couple are stunning examples of portraiture during the Dutch Golden Age. The meticulous attention to detail and luxurious attire make them stand out.

When you visit the Rijksmuseum, take your time to explore these lesser-known treasures and immerse yourself in the rich history and artistry of the Dutch Golden Age. You'll discover that the museum has much more to offer beyond its most famous pieces.

#Rijksmuseum tours #Rijksmuseum tickets

[buxberg]

En 2017, Brie a joué dans la comédie biographique The Disaster Artist de James Franco, ainsi que dans le drame biographique The Secret File de Steven Spielberg avec Meryl Streep et Tom Hanks

Le film a été nominé pour deux Oscars, dont celui du meilleur film.  En janvier 2021, le thriller The Promising Girl avec Carey Mulligan est sorti.  Bree a joué le rôle de Madison dans le film.  Le film raconte l'histoire d'une fille qui mène une double vie et qui est sûre qu'il n'y a rien de plus séduisant que la vengeance.

Époux est Dave Franco (Dave Franco; né le 12 juin 1985), acteur, scénariste, réalisateur et producteur américain.  Après cinq ans de relation, ils se sont mariés en mars 2017.

Bree a travaillé comme animatrice lors de fêtes pour enfants et a également joué sur la scène de théâtres locaux en Californie - "Odyssey", "Write-Act" et "Rubicon".  Son travail le plus célèbre au Rubicon Théâtre était le rôle de Margot dans Le journal d'Anne Frank et d'Ophelia dans la tragédie de Shakespeare Hamlet, pour laquelle Alison a reçu le prix Indy.

Elle a reçu une grande renommée et reconnaissance en tant que Trudy Campbell dans la série télévisée Mad Men.  Situé dans les années 1960, l'histoire est centrée sur l'agence de publicité fictive Sterling Cooper, située sur la prestigieuse Madison Avenue de New York.  L'histoire se concentre sur la vie de son directeur créatif Don Draper et de ses collègues.  Les employés du prestigieux bureau de Madison Avenue, à la recherche de l'éclat extérieur de la vie, souffrent de vide intérieur et se disent "fous".  En tant que l'un des membres de la distribution d'ensemble de la série, pour ce rôle en 2009, Alison a reçu le prix American Screen Actors Guild Award dans la nomination "Best Cast in a Drama Series".

#cinéma #unfilmcouleur #film #comportementhumaines #actionshumaines #joie #plaisir #aventures #lesdessinsanimés #buxberg

[lunajunctionvintage]

Check out this listing I just added to my Poshmark closet: 60s Vintage Sharkskin Wide Necktie Lot of 2 LOUD Colorful Ties Geeky Funky VFG.

[helpdude]

New York Times workers are going on strike for the first time in 52 years

The workers of the American newspaper New York Times have announced a 24-hour walkout program to demand a salary increase and various benefits. This walkout program will be held on Thursday local time. The New York Times is facing its first major strike since 1970. Quoting the company, BBC Online reported today that such a decision by the staff is very disappointing. But New York Times is ready to publish the magazine for the readers without any hassle. Labor discontent in the United States is on the rise due to rising costs of living. Just then, the New York Times union workers announced the strike. Union members say that despite challenges in the media business, the organization is able to meet their demands. New York Times sports reporter Kevin Draper said, 'We are fortunate to work at one of the most profitable media outlets. The proposal made by the organization for the employees is a little better than what I got last time. More than 1,100 members of the union representing the New York News Guild have announced a 24-hour walkout today local time. Famous film critic Ao Scott is also among them. Last year my rent increased by 8 percent. So what will be the benefit if the company increases my salary by 2.8 percent. Andrea Zagata, Senior Staff Editor, New York Times At the end of last year, the New York Times employed about 5,000 staff, including more than 2,000 journalists. Kevin Draper said New York Times international workers are not unionized. The strike will not include staff covering World Cup football news. In 2017, the New York Times' dollar revenue decreased due to advertising from Google. Since then, the company has moved away from Google ads and relied on readers to become subscribers (subscriptions). At the end of last year, the New York Times employed about 5,000 staff, including more than 2,000 journalists. By the end of last year, the New York Times had hired about 5,000 staff, including more than 2,000 journalists. File photo: AFP Since the expiration of the previous contract in March 2021, the owners and workers have been at odds over salaries, wage increases, retirement and health care policies and work such as home offices. Last Tuesday, there was a discussion between them for about 12 hours. The company has agreed to increase the salary. The firm says guaranteed pay will increase by 3 percent in 2023-24. However, the company has rejected the claim of pension benefits. New York Times deputy managing editor Cliff Levy said in an e-mail message to employees last Tuesday, "The union was not satisfied with our proposal." So we want News Guild to join us to solve this issue. The union demanded that the starting salary of the job should be 65 thousand US dollars. And in 2023-24, the salary of the employees should be increased by 5.5 percent. However, the New York Times proposed salary hike is not commensurate with the cost of living. According to the union, the starting salary of the job should be 65 thousand US dollars. And in 2023-24, the salary of the employees should be increased by 5.5 percent. New York Times senior staff editor Andrea Zagata said, 'Last year my rent increased by 8 percent. So what will be the benefit if the company increases my salary by 2.8 percent. But the company is spending a huge amount on salaries of other executives, stock buybacks and dividends. News Guild-CWA President John Schleuse said that 6,500 media workers have become members of the union in the last 5 years. Workers at two smaller newspapers, The Fort Worth Star-Telegram and The Pittsburgh Post-Gazette, recently went on an indefinite strike. John Schleuse also said he is optimistic that the New York Times' strong financial position will allow workers to meet demands for better benefits. Read the full article

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