Archive for September, 2017

Saturday 30th September 2017

Posted in Life the Universe and Other Things on September 30, 2017 by bishshat

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War Pigs

Black Sabbath

Generals gathered in their masses,
just like witches at black masses.
Evil minds that plot destruction,
sorcerer of death’s construction.
In the fields the bodies burning,
as the war machine keeps turning.
Death and hatred to mankind,
poisoning their brainwashed minds…Oh lord yeah!

Politicians hide themselves away
They only started the war
Why should they go out to fight?
They leave that role to the poor

Time will tell on their power minds
Making war just for fun
Treating people just like pawns in chess
Wait `till their judgement day comes, yeah!

Now in darkness, world stops turning,
ashes where the bodies burning.
No more war pigs have the power,
hand of god has struck the hour.
Day of judgement, god is calling,
on their knees the war pigs crawling.
Begging mercy for their sins,
Satan, laughing, spreads his wings…Oh lord, yeah!

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Huddersfield 0 Spurs 4

Harry Kane took his tally to 11 goals in a quite remarkable September as a quickfire flurry of goals in the first half again paved the way for our sixth successive away win in the Premier League and seventh in all competitions at Huddersfield Town on Saturday.

Kane’s lack of goals in August was well-documented, but he’s more than made up for it, his 11 Spurs strikes now fully eight clear of his best tally by the end of September in his first three seasons in the first team.

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Just like at West Ham last weekend – where Kane struck twice in four minutes – we were clinical with a one, two, three, three goals in 15 minutes to put us firmly in charge.

Kane made no mistake when Chris Lowe missed his clearance and left him with a free run at goal after nine minutes. Ben Davies then continued his fine form with the second goal, a clever finish on 16 minutes before Kane’s best, a quick spin and curler into the corner from the edge of the box for 3-0 on 24 minutes.

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Dele struck the post soon after and although Laurent Depoitre fired against the crossbar just before the break, the home team rarely threatened.

As if often the case in this scenario, the second half couldn’t quite match the first, although we finished in style when Moussa Sissoko came off the bench to tap home from Davies’ pass in injury time to open his Spurs account.

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That’s seven away wins on the spin in all competitions and six in the top flight – our best away sequence now in the Premier League era.

Thursday 28th September 2017

Posted in Life the Universe and Other Things on September 28, 2017 by bishshat

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Changes

Black Sabbath

I feel unhappy
I feel so sad
I lost the best friend
That I ever had
She was my woman
I loved her so
But it’s too late now
I’ve let her go
I’m going through changes
I’m going through changes
We shared the eve’s
We shared each day
In love together
We found a way
But soon the world
Had its evil way
My heart was blinded
Love went astray
I’m going through changes
I’m going through changes
It took so long
To realize
That I can still hear
Her last goodbyes
Now all my days
Are filled with tears
Wish I could go back
And change these years
I’m going through changes
I’m going through changes

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1500 cinemas across the globe were be able to relive the evening as Black Sabbath: The End Of The End, the live concert film shot at that final show at the Genting Arena, is shown. “To bring it all back home after all these years was pretty special,” say the band. “It was so hard to say goodbye to the fans, who’ve been incredibly loyal to us through the years. We never dreamed in the early days that we’d be here 49 years later doing our last show on our home turf.”

“What a journey we’ve all had,” adds Ozzy Osbourne. “It’s fucking amazing.”

Black Sabbath: The End Of The End was shown in cinemas for one night only, on September 28 this year. As well as the live footage, the film will include behind-the-scenes footage shot in the build-up to the final show, including studio footage of the band playing songs not featured in the live setlist.

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The End of The End chronicles the final tour from the band who forged the sound of metal – Black Sabbath. On 4th February, 2017, the band took to the stage in Birmingham, the city where it all began, to play the 81st and final gig of The End tour – bringing down the curtain on a career that spanned almost half a century.

The sold out show marked the culmination of a tour that had seen them play to well over a million fans in arenas across the globe. Since their beginnings in 1968, they created a sound that would form the basis of heavy metal, going on to influence bands all over the world – an influence which is still felt to this day.

The End of The End is the story of that final, emotionally-charged concert. Fans are taken into the heart of the action, up close and personal with the band on stage as they perform genre-defining hits, from Iron Man to Paranoid to War Pigs, amongst others. Sabbath also took the opportunity to spend some time in the studio, delivering a unique performance of some of their favourite songs.

This film gives fans an intimate glimpse into the band’s relationships and their banter with each other, with both individual and group recollections from Ozzy Osbourne, Tony Iommi and Geezer Butler. This is the final word from the greatest metal band of all time.

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Children Of The Grave

Black Sabbath

Revolution in their minds – the children start to march
Against the world in which they have to live
and all the hate that’s in their hearts
They’re tired of being pushed around
and told just what to do
They’ll fight the world until they’ve won
and love comes flowing through

Children of tomorrow live in the tears that fall today
Will the sun rise up tomorrow bringing peace in any way?
Must the world live in the shadow of atomic fear?
Can they win the fight for peace or will they disappear?

So you children of the world,
listen to what I say
If you want a better place to live in
spread the words today
Show the world that love is still alive
you must be brave
Or you children of today are
Children of the Grave, Yeah!

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Tuesday 26th September 2017

Posted in Life the Universe and Other Things on September 26, 2017 by bishshat

 

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After The Thrill Is Gone

The Eagles

Same dances in the same old shoes
Some habits that you just can’t lose
There’s no telling what a man might use,
After the thrill is gone

The flame rises but it soon descends
Empty pages and a frozen pen
You’re not quite lovers and you’re not quite friends
After the thrill is gone, oh,
After the thrill is gone

What can you do when your dreams come true
And it’s not quite like you planned?
What have you done to be losing the one
You held it so tight in your hand well

Time passes and you must move on,
Half the distance takes you twice as long
So you keep on singing for the sake of the song
After the thrill is gone
After the thrill is gone

You’re afraid you might fall out of fashion
And you’re feeling cold and small
Any kind of love without passion
That ain’t no kind of lovin’ at all, well

Same dances in the same old shoes
You get too careful with the steps you choose
you don’t care about winning but you don’t want to lose
After the thrill is gone
After the thrill is gone
After the thrill is gone, oh
After the thrill is gone

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Apoel 0 Spurs 3

Harry Kane made it 11 goals in September for club and country with a perfect hat-trick to maintain our 100 per cent record in this season’s UEFA Champions League at APOEL in Cyprus on Tuesday night. The deadly front man came up with a crucial left-footed opener six minutes before the break to take the sting out of APOEL’s spirited charge before drilling in Moussa Sissoko’s pass with his right foot on 62 minutes, then completing his treble with a header five minutes later.

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That made it seven goals in five career Champions League appearances for our home-grown hitman, who has now scored in four consecutive ties in the competition dating back to Monaco away last November. APOEL did hit the woodwork through Igor de Camargo in the first period while Hugo Lloris had to make a couple of smart saves after the break, but we were always in control of the Group H tie.

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There was a nice moment six minutes from time, too, as young winger Anthony Georgiou, who is eligible to play for Cyprus, came on for his senior competitive debut in place of Sissoko. It means we’re on six points out of six in the group ahead of back-to-back matches with holders Real Madrid next month.

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The History of Love

A decade after its publication, Nicole Krauss’ best-selling novel The History of Love reaches the screen in a sprawling big-budget France-Canada co-production directed by Romanian-born Radu Mihaileanu. Ranging from prewar Poland to Chile and latter-day New York, the movie has something for everyone — and plenty to irritate, too. Neither art house, like most of Mihaileanu’s previous movies, nor mainstream storytelling, The History of Love casts its net wide and will need astute marketing to recoup its sizeable outlay, estimated at $20 million.

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The voiceover to the pre-credit sequence — “Once upon a time there was a boy. He lived in a village that no longer exists” — hints at folk-tale simplicity. But things rapidly become more complicated as the story of the doomed love affair between shtetl sweethearts Leo Gurski (Mark Rendall) and Alma Mereminski (former Bond girl Gemma Arterton) unfolds. Alma is packed off to New York by her parents, aware of the growing threat from Nazi Germany. When Leo arrives on the scene a few years later, having survived the Nazi invasion, he has kept his promise of remaining true to Alma. But he finds that she, believing him dead, has married and has two children, one with her husband and one the fruit of her idyll with Leo. She extracts a promise from him not to reveal to the boy that he is his father.

Leo’s tribulations as a young man are recounted in parallel with those of his much older self, played by Derek Jacobi — the film’s present day is the year 2006 — an octogenarian and retired locksmith living in a cramped apartment in New York’s Chinatown, the former Lower East Side (he prides himself on being “the last Jew in Chinatown”}.

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Another parallel strand tells the story of an adolescent girl, also called Alma (Sophie Nelisse), who lives in Brooklyn and yearns for a profound, unconditional love but is unable to believe in its possibility. She has earnest discussions on the nature of love with a young Russian-born immigrant called Misha (Alex Ozerov), to whom she is attracted but whose advances she rejects. She has a precocious 10-year-old brother, Bird (William Ainscough), so named because he once tried to fly out a window, who believes he is one of the Lamed Vav — the 36 Just Men who, according to the Talmud, keep the world on an even keel. Meanwhile, her widowed mother Charlotte (Torri Higginson) has received a mysterious offer to translate from Spanish into English a novel titled The History of Love. We later learn that it was in reality written in Yiddish by Leo Gurski during his time in the shtetl but appropriated and published by one of his boyhood friends under his own name. Meanwhile, Leo’s son has grown up to become a successful writer.

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If all this sounds unduly complex and difficult to follow, it is, and Mihaileanu himself has admitted as much. The doomed-love theme ramifies into a plethora of motifs including betrayal and loyalty, the binding nature of promises, the transmission of memory, survival, friendship and death. There are also graphic portrayals of the German advance into Poland and the programmed extermination of its Jewish population. This thematic complexity may be a richness to some audiences, a headache to others. The same applies to the humor, embodied largely by Bird and by Bruno Leibovitch (Elliott Gould), the friend who also somehow survives (though a late revelation renders this problematic) and engages in long kvetching sessions with Leo that frequently veer into oy-vey arm-waving stereotype territory.

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Overall, Mihaileanu’s direction is uneven and it’s tempting to speculate on what a filmmaker less intensely preoccupied with Jewish themes — such as Gravity director Alfonso Cuaron, who was initially slated to helm — might have made of it. The elements touching on the refugee experience are well-handled, in particular the arrival of a shipload of emigrants as they contemplate the 1940s New York skyline. However, the central relationship between Leo and his lost love never really resonates, and the most moving moment in the film comes in the closing stages when the narratives involving the older Leo and the younger Alma finally come together.

Monday 25th September 2017

Posted in Life the Universe and Other Things on September 25, 2017 by bishshat

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Paris, Texas is a 1984 road movie directed by Wim Wenders and starring Harry Dean Stanton, Dean Stockwell, Nastassja Kinski, and Hunter Carson. The screenplay was written by L.M. Kit Carson and playwright Sam Shepard, while the distinctive musical score was composed by Ry Cooder. The film was a co-production between companies in France and West Germany, and was shot in the United States by Robby Müller.

The plot focuses on an amnesiac named Travis (Stanton) who, after mysteriously wandering out of the desert, attempts to reunite with his brother (Stockwell) and seven-year-old son (Carson). After reconnecting with his son, Travis and the boy end up embarking on a voyage through the American Southwest to track down Travis’ long-missing wife (Kinski).

At the 1984 Cannes Film Festival, the film won the Palme d’Or from the official jury, as well as the FIPRESCI Prize and the Prize of the Ecumenical Jury. It went on to win other honors and critical acclaim.

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Travis Henderson walks alone through the South Texas desert, then stumbles into a building and loses consciousness. A German doctor examines him and determines he is mute, but discovers he possesses a telephone number and calls it. The call is answered by Walt Henderson, Travis’ brother from Los Angeles. Walt has not seen or had contact with Travis for four years, and agrees to travel to Terlingua, Texas, to retrieve him. His French wife, Anne, is concerned about the matter, as they have adopted Travis’ son Hunter, with Hunter’s biological mother Jane also missing. Walt reaches Terlingua, and finds Travis wandering from the clinic where he was found. The two brothers begin driving back to Los Angeles. When Walt becomes increasingly frustrated with Travis’ muteness, Travis finally utters the name “Paris”, asking to go there. Walt mistakenly assumes he means Paris, France. Farther down the road, Travis shows Walt a photograph of empty property in Paris, Texas, which he had purchased, believing he was conceived in that town.

The Hendersons reach Los Angeles, and Travis is reunited with Anne and Hunter. Hunter, aged seven, has very little memory of his father, and is wary of Travis until the family watches home movies from days when they were all together. Hunter realizes that Travis still loves Jane. As Hunter and Travis become reacquainted, Anne reveals to Travis that Jane has had contact with her, and makes monthly deposits into a bank account for Hunter. Anne had traced the deposits to a bank in Houston. Travis imagines he can possibly see Jane if he is at the Houston bank on the day of the next deposit, only a few days away. He acquires a new vehicle and borrows money from Walt. When he tells Hunter he is leaving, Hunter wishes to go with him, though he does not have Walt or Anne’s permission.

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Travis and Hunter drive to Houston, while Hunter recounts the Big Bang and the origins of Earth. When they arrive at the Houston bank, Hunter identifies his mother in a car, making a drive-in deposit. He calls for Travis via walkie-talkie, and they follow her car to the peep-show club where she works. While Hunter waits outside, Travis goes in, finding the business has rooms with one-way mirrors, where clients only converse with the strippers through a telephone. He eventually sees Jane, though she cannot see him, and leaves.

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The next day, Travis leaves Hunter at the Méridien Hotel in downtown Houston, with a message that he feels obliged to reunite mother and son, as he is guilty of separating them in the first place. Travis returns to the peep show. Seeing Jane again, and with her seemingly unaware of who he is, he tells her a story, ostensibly about other people. He describes a man and younger girl who meet, marry and have a child. The man descends into alcoholism, while the young wife suffers from baby blues and dreams of leaving the family. The man had also dreamed of withdrawing to an unknown place “without language or streets”. A fire in a trailer home after an incident of domestic abuse finally parted the family. Jane realizes she is speaking to Travis, and he tells her Hunter is in Houston and needs his mother. Jane has longed to be reunited with her boy, and enters the hotel room where Hunter is waiting, while Travis watches from the parking lot. He climbs into his vehicle and drives away.

Sunday 24th September 2017

Posted in Life the Universe and Other Things on September 25, 2017 by bishshat

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Titans 33  Seahawks 27

For about two quarters Sunday, the Seahawks looked like themselves — the offense was struggling while the defense was keeping the game close, a formula that looked like it might be just enough once again.
Then, in a dizzying and ultimately dismaying second half, they became almost unrecognizable.
Tennessee not only beat Seattle 33-27, but the Titans dropped the Seahawks to 1-2 with a second road defeat already this season. It came despite Seattle’s vain efforts at a comeback at the end. And it left quarterback Russell Wilson insisting afterward that everything will still turn out just fine.

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“It wasn’t going to be easy,’’ Wilson said. “Tennessee is a great football team. They are going to be really good all year long. … I don’t think we have to go searching anywhere like we are not a good football team or thinking any thoughts like that. We are a great football team. We played a great team today. … There’s no panic in this room. We have been through it all. We just have to continue to believe in what we are doing and how we are doing it. We just have to continue to stay the course and we believe that it will happen for us.’’

It looked like it might Sunday when Wilson first led an 86-yard drive to put Seattle up 7-6 late in the first half and then a 75-yarder to start the second half and put the Seahawks up 14-9. But then came three Tennessee touchdowns on three consecutive possessions, all on big plays.

The first was a 55-yard pass from Marcus Mariota to Rishard Matthews on a play when Seattle’s Frank Clark jumped offsides. That gave the Titans a free play and appeared to maybe distract the Seahawks, who seemed to be waiting for a whistle. Instead, Mariota threw a short pass to Matthews who broke free for the touchdown.

“Although we practice that constantly there is a mental moment in there that you can relax,’’ Carroll said. “You think they are going to blow the whistle and they didn’t.’’

It was the second time this season an opponent has scored on a free play with Green Bay doing it in Week 1 on a 32-yard Aaron Rodgers pass to Jordy Nelson.

Then came a 24-yard pass from Mariota to tight end Jonnu Smith, who lined up as fullback on the play and blew past linebacker Michael Wilhoite and into the open for an easy score. “We missed coverage on the wheel route,’’ Carroll said. “It was a clear responsibility.’’ Then came the stunner — a 75-yard touchdown gallop by DeMarco Murray on a play that began looking like not much and turned into the longest run the Seahawks have allowed under Carroll.

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DeMarco Murray’s 75-yard touchdown run was the longest allowed by the Seattle defense since Frank Gore had an 80-yarder against the Seahawks in 2009. That was before Pete Carroll was hired in January 2010.

K.J. Wright and Kam Chancellor missed chances to get Murray near the line of scrimmage and he then wove his way down the field, outrunning Jeremy Lane and Richard Sherman into the end zone to put Tennessee ahead 30-14. “Eliminating the frustration,’’ Chancellor said of what needs to happen. “Eliminating the bickering with other teams, eliminating the extra exertion of energy that we don’t need. Need to conserve the energy for each play so your brains can think. That, and just tackling better.’’

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What defensive players didn’t use as an excuse was how long they were on the field early — the Seattle offense punted after its first six possessions — and the fact it was 88 degrees at kickoff. “Fatigue shouldn’t be an issue,’’ said Wright. “We just can’t let it. No matter how long we are out there, we’ve got to finish. Man up and find a way to get off the field.’’ Tennessee’s 195 yards rushing were more than the Seahawks gave up in any game since 2013. Last season they led the NFL in allowing just 3.4 yards per carry. Seattle is allowing 5.3 yards per carry this season.

“I think we played a really good game until a couple of busted plays,’’ insisted defensive lineman Michael Bennett. “We jumped offsides more than we needed to. The plays they scored on us were pretty much just miscommunication and in the wrong position and I think those are things we can bounce back from. …

“We can go back to the tape and see it wasn’t something physical, it wasn’t like we were dominated, it was just miscommunication, a lack of concentration, and those are things we can go back and fix and that’s what we are going to do.’’

Saturday 23rd September 2017

Posted in Life the Universe and Other Things on September 23, 2017 by bishshat
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Harry Kane’s quickfire double laid the foundations for victory in a typically tense derby against West Ham on Saturday.
We’d had the lion’s share of possession in the first half-hour and then hit the Hammers with a one-two in the space of four minutes.
The first goal was a lightning break from Andy Carroll’s loose pass, the pace of the transition from Christian Eriksen to Dele Alli to Kane heading home something to behold.
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The second goal wasn’t far away, created by Jan Vertonghen, Dele denied by Joe Hart and Kane there to roll home the rebound from the edge of the box.
We were well in control and it was no suprise when Eriksen drilled home the third after Kane had struck the post with a free-kick on the hour. The midfielder is now the highest Danish scorer in Premier League history.
West Ham hit back through Chicharito and we heaped pressure on ourselves when Serge Aurier was sent off for a second bookable offence 20 minutes from time.
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To be honest, we looked more likely to score on the break but Cheikhou Kouyate headed home three minutes from time to up the ante even more. This time, we stood firm to take a deserved three points.
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Friday 22nd September 2017

Posted in Life the Universe and Other Things on September 23, 2017 by bishshat

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The last day of Overdale School.

Thursday 21st September 2017

Posted in Life the Universe and Other Things on September 21, 2017 by bishshat

Overdale Junior School

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All week long we have had brilliant young students from  Overdale Junior School Leicester visiting Compton Verney looking at landscapes for a project they are doing.  #TakeOnePicture. They have all been so excited seeing the artworks for real rather than on the page or on the internet.

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Pierre-Jacques Volaire was born in a large family of painters from Toulon (his grandfather Jean Volaire was a painter decorator in the arsenal, his father Jacques Volaire 2 official painter of the city), and in 1754 until 1762, the collaborator of Claude Joseph Vernet for his series of Ports of France . The influence of Vernet will mark a part of Volaire’s production, especially its marines.

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In 1762 Volaire settled in Rome , became a member of the Academy of Saint – Luc and knight. But competition in the art market determined him to settle in Naples in 1767, where he will remain from now on. It is a specialty of the representations of the Vesuvius in eruption. The volcano is then in full activity and Naples attracts the travelers of the ” Grand Tour ” (English, French, Germans, Russians) who constitute the clientele of the artist. Volcano will decline volcano eruptions from different points of view and in different formats. The success of his paintings encouraged competition among painters such as Jacob Philipp Hackert , Wütky ,Joseph Wright of Derby or Pietro Antoniani , and gives birth to the end of the xviii th century to the Neapolitan gouaches Pietro Fabris , Giovanni Battista Lusieri and Saverio Della Gatta .

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Volaire invented a kind of landscape that is no longer Vernet’s, nor neoclassical , but can be described as picturesque by the drama and color that characterize pre-Romantic landscapes . As for the subject itself, the eruption of the volcano, it suited the taste of the end of the xviii th century to natural disasters and the upheaval of the world.

During the 18th century, there was a growing appreciation for the beauty and a fear of nature. This developed into the Romantic School of Art. The school was mainly founded on the principle that nature is huge, powerful, and wild; man should be wary and afraid of the natural world. However, there was a certain quality of beauty in this terror. For example, natural catastrophes such as floods, storms, earthquakes, fires, avalanches, and erupting volcanoes inspire fear, but at the same time, these disasters demonstrated the raw beauty in natural chaos. Much of Romanticism paintings would take the form of landscapes in the visual arts (Hibberd). The first romantic paintings appeared in England during the 1760’s. The majority to these paintings however depicted wild landscapes and natural occurrences such as violent storms (“Romanticism”). Volaire was a relatively influential artist who used this kind of style. Volaire was known for painting volcanic activity; more specifically, Volaire painted Mount Vesuvius erupting. That is to say, Volaire painted more than one Mount Vesuvius eruption painting.

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But, lets examine the romantic components presented in Volaire’s “The Eruption of Mt. Vesuvius”. First off, the Volcano is the focus of the piece, and it is erupting at night. Volaire has vividly painted the fire being belched from the volcano top and streaming down the sides, illuminating the dark night around it. Secondly, the contrast of the cool night and the hot volcanic fire gives the painting a deeper beauty rather than if the volcano was erupting during the day. Next, lets zoom in to pay close attention to what is happening at the base of the volcano; at the base is the actual city of Pompeii. Notice how the lava flawlessly seems to gently ooze and cover the city, first by filling the streets, and secondly by lapping over the roofs as the flow becomes more thick. Finally, notice how the ash cloud is painted. At the center of action, the eruption, the plume seems to be hostile and inflamed; it seems to be almost electric and excited. By contrast the cloud seems to become cooler and gentler, almost like a cool wispy blanket as it moves over the water and towards the moon. These four components of “The Eruption of Mt. Vesuvius” categorize the piece as an example of romanticism. The contrasts and details both inspire terror, as one imagines the great volcano belching its fiery contents, and serene beauty, as the lava moves gracefully over the town and cools over the calm and still bay. Volaire’s bold contrasts and artistic technique proved to influence other successful artists.

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The artistic style of the 17th century was characterized by baroque painting (“Art”). However, Pierre-Jacques Volaire painted “The Eruption of Mt. Vesuvius” in 1777. Even though the painting was finished almost a century after the end of the widespread use of the baroque school, “The Eruption of Mt. Vesuvius” still has elements of this powerful school. For a painting to be considered Baroque, there must be an overly dramatic expression of deep and profound emotion. Figures in the works of art would adore deeply over exaggerated faces, usually in terror, agony, happiness, or depression. The school is most commonly associated with religious paintings which depict various stories from the bible in great emotional detail (“The Baroque”). Nevertheless, the movement spread to non-religious forums such as Volaire’s work. To see the baroque element of “The Eruption of Mt. Vesuvius”, you have to examine the bottom of the painting. If you pay close attention to the people on the ramp heading to the docks, you can clearly see the Baroque elements at play. Along the ramp, we can clearly see different deep expressions of terror as citizens are fleeing with their hands raised and clothes flying behind them as the run for the ships. In addition to terror, we can see other people stopping to stare in amazement at the scene unfolding around them.

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When you look at Pierre- Jacques Volaire’s “The Eruption of Mt. Vesuvius”, you can see that Volaire has incorporated the social discussion of differing viewpoints into his work. The conversation is that events can take on different meanings and significance depending on your experience. There are three perspectives used in this work: the citizens in close proximity and in the city of Pompeii, the people who are waiting to board ships at the harbor, and those people who are already on the ships. To those people close in proximity and in the city of Pompeii, there is no beauty in the eruption. From their perspective the eruption is their death, and they can see no beauty in this event. If you look closely at the gates of Pompeii, the blurry figures fleeing the city seem to be clamoring away as chaos ensues. For those who are experiencing misfortune, there is no beauty; they only see the destructive power of nature. What is interesting is the perspective of those who have fled Pompeii and are waiting to board ships. These people can see the beauty of nature, as they are at a distance; however, not to long ago they were running in complete panic from the ash cloud and lava. They are the ones who can truly grasp the idea of natures beauty and power. One way that you can tell this is by observing a solemn figure holding what resembles a scroll up in the air to the eruption.This figure is enjoying the beauty while remembering the feeling of fear that he had experienced earlier. Finally, the people on the ships have the polar opposite perspective of those people who are still in the city of Pompeii; these people are outside observers who are watching from safety. They most certainly understand that the lava is a terrifying and horrifying force, however they are most likely only seeing the raw beauty behind the eruption.

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It is no wonder that Pierre- Jacques Volaire choose to paint the destruction of the City of Pompeii, Volaire was enamored with the beautiful violence of volcanoes. In fact, in 1764 Volaire moved to Naples, Italy and lived right across from Mount Vesuvius (Hamilton). Mount Vesuvius was the pinnacle of natural beauty and terror in the eyes of Volaire making it the perfect subject for his work in the Romantic school of art. Volaire used the destruction of the city of Pompeii, the sublimity and awesome power of nature, the drama of the baroque school, and the idea of differing perspectives to create his masterpiece, “The Eruption of Mt. Vesuvius”.

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Mount Vesuvius has erupted many times. The famous eruption in AD 79 was preceded by numerous others in prehistory, including at least three significantly larger ones, the best known being the Avellino eruption around 1800 BC which engulfed several Bronze Age settlements. Since AD 79, the volcano has also erupted repeatedly, in 172, 203, 222, possibly in 303, 379, 472, 512, 536, 685, 787, around 860, around 900, 968, 991, 999, 1006, 1037, 1049, around 1073, 1139, 1150, and there may have been eruptions in 1270, 1347, and 1500.[19] The volcano erupted again in 1631, six times in the 18th century (especially in 1779 and 1794), eight times in the 19th century (notably in 1872), and in 1906, 1929 and 1944. There have been no eruptions since 1944, and none of the eruptions after AD 79 were as large or destructive as the Pompeian one.

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The eruptions vary greatly in severity but are characterized by explosive outbursts of the kind dubbed Plinian after Pliny the Younger, a Roman writer who published a detailed description of the 79 AD eruption, including his uncle’s death.
On occasion, eruptions from Vesuvius have been so large that the whole of southern Europe has been blanketed by ash; in 472 and 1631, Vesuvian ash fell on Constantinople (Istanbul), over 1,200 kilometres (750 mi) away. A few times since 1944, landslides in the crater have raised clouds of ash dust, raising false alarms of an eruption.

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Carlo Bonavia (died 1788) was an Italian painter known for idyllic landscape paintings, engravings and drawings. He was active from 1740 until his death. He is thought to be from Rome, but worked in Naples from about 1751 to 1788. He was trained in the Neapolitan landscape tradition of Salvator Rosa (1615–1673) and Leonardo Coccorante (1680–1750), but was much more strongly influenced by the work of Claude Joseph Vernet, who visited Naples in 1737 and 1746.

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Bonavia’s paintings share with Vernet’s a rococo palette of pale blues, creamy yellows, pinks and soft green, as well as an atmospheric, rather than analytical, approach to landscape. Like Vernet, Bonavia painted capricci in which real features of the Neapolitan countryside were placed in imaginary settings. Bonavia’s idyllic landscapes were popular souvenirs of the Grand Tour. Among his patrons were Lord Brudenell and Count Karl Joseph Firmian, the Austrian ambassador to Naples 1753-8. Bonavia had a very successful career and was praised by Pietro Zani in his Enciclopedia Metodica Critico Ragionata delle Belle Arte (1794) as a fine painter of views and history subjects.

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Caspar van Wittel or Gaspar van Wittel (born Jasper Adriaensz van Wittel, Italian 1652 or 1653, Amersfoort – September 13, 1736, Rome) was a Dutch painter and draughtsman who had a long career in Rome. He played a pivotal role in the development of the genre of topographical painting known as veduta.
He is credited with turning topography into a painterly specialism in Italian art.

Van Wittel was born into a Roman Catholic family. His father was a cart maker.Caspar studied painting in Amersfoort with the relatively obscure Thomas Jansz van Veenendaal for 4 or 5 years and then with the better known Matthias Withoos for 7 years.

His first extant works were made in Hoorn in 1672 to where he had fled after the French invasion and occupation of Amersfoort in the Rampjaar. He returned to Amersfoort where he was active until 1674, the year in which he left for Italy together with his friend Jacob van Staverden, another pupil of Withoos.

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Like his former teacher Withoos, he joined the Bentvueghels, an association of mainly Dutch and Flemish artists working in Rome. His nickname in the Bentveughels was “Piktoors” (Pitch-torch) or “Toorts van Amersfoort” (Torch of Amersfoort).
He was also nicknamed ‘Gasparo dagli Occhiali’ (Gaspare with the spectacles). He worked in Rome together with the Flemish painter Abraham Genoels and may even have been his pupil. Other collaborators included Hendrik Frans van Lint who would become one of the leading vedute painters in the first half of the 18th century.

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In 1697 van Wittel married Anna Lorenzani. His first son Luigi was born in 1700. Luigi became a famous architect and used the italianized family name of Vanvitelli. A second son was born in 1702.

Van Wittel spent almost all his life in Italy where he arrived in 1674 and died in 1736. He lived mainly in Rome but, particularly between 1694 and 1710, he also toured the country and painted in Florence, Bologna, Ferrara, Venice, Milan, Piacenza, Urbino, and Naples. He became member of the Accademia di San Luca in Rome in 1711. He made his last dated work in 1730.

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Pietro Fabris (active 1740 – 1792) was a painter of Italian descent, active in England and Naples. Pietro is best known for work he completed for the dilettante geologist, the diplomat Sir William Hamilton, which included a number of engravings based on his paintings that depicted contemporary volcanic activity collected in two books, Observations on Mount Vesuvius, Mount Etna, &c. (London, 1774) and Campi Phlegraei: Observations on the Volcanoes of the Two Sicilies (Naples, 1776). He also painted some soires sponsored by Hamilton, including one that included a young Mozart at the harpsichord. In other works he produced for sale, he painted Bamboccianti scenes, genre paintings of local folk in native garb at work or play.

The biography of Fabris is poorly documented. He is suspected to have been born in England to a Venice-trained stage set designer called Jacobo Fabris. Pietro, as a young man, was patronized by the diplomat Hamilton to accompany him and visually reproduce for him on his jaunts to visit the volcanic sites in Mount Etna, Mount Vesuvius, and Lipari islands. His paintings and drawings were exhibited in 1768 in the London Free Society and in 1772 in the London Society of Artists of Great Britain. Fabris became acquainted with painter Antonio Joli in Naples.

Chalmers, James, active 1852-1857; The 'Eagle Tavern', Hammersmith, London

J Charmers The Eagle Tavern.

This painting features a tavern in Hammersmith, London. It was commissioned by the landlord Mr Bott perhaps to commemorate changing the name from ‘The Lady of the Lake Inn’ to ‘The Eagle’. It is a wonderful depiction of Victorian life.
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Mr Bott and his son are standing at the top of steps that lead to the front door. Positioned in the middle of the painting, higher than all the other characters, they appear very important. Mr Bott is wearing an apron to show he is hard working, while his son wears what could be a school uniform. A manservant is waiting to greet people to this popular place. The advert for the coffee shop in the tavern window

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In the foreground are people from all walks of life: rich and poor, young and old. Mr Bott appears to look over them all. This painting not only shows how the Inn is the centre of the community but is also a successful advertisement. We discover that the Eagle Inn has a tea garden, coffee room and shop and Mr Bott makes a special drink called London Porter.

Chalmers, James, active 1852-1857; Hincheslea House, Brockenhurst

Hincheslea House, Brockenhurst

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Tuesday 19th September 2017

Posted in Life the Universe and Other Things on September 20, 2017 by bishshat

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The West Midlands Volunteer Awards were developed in 2016 to recognise and reward the invaluable role and significant contribution made by volunteers to the museums in the region. Volunteers are widely credited with being the life blood of many museums, generously giving their time, amounting to thousands of hours of support per year. They bring energy, enthusiasm and expertise to all areas of museum life and the awards are a chance for everyone to hear their stories and to acknowledge and celebrate their achievements.

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Spurs 1 Barnsley 0

Dele Alli’s second-half goal was enough to book our place in the next round of the Carabao Cup as we edged past Barnsley at Wembley Stadium on Tuesday evening.
The England midfielder was on hand in the 65th minute to convert from close range to finally pierce the Tykes’ resolute back line in this third round tie, giving us the victory we deserved on the balance of play.

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A fairly uneventful first half saw Juan Foyth and Fernando Llorente both head over from Kieran Trippier corners while Barnsley’s Liam Lindsay went close at the other end with a flicked header from another corner.
We were thankful to Michel Vorm for keeping the game goalless just 20 seconds after the interval when he produced a wonderful stop to deny Ike Ugbo from 15 yards out, before we started to get a grip on the game. Dele had a shot deflected just wide after excellent build-up play from Foyth, who was very impressive throughout, before Barnsley goalkeeper Adam Davies kept out a Harry Winks effort.

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The opening goal arrived when Moussa Sissoko and Trippier combined to set up Dele, who was alert to the latter’s low cross into the box and prodded home from six yards. Davies denied substitute Georges-Kevin Nkoudou and Heung-Min Son twice in the closing stages, but Dele’s goal did the job.
The draw for the fourth round is on Wednesday evening, after Manchester United’s tie with Burton Albion.

Monday 18th September 2017

Posted in Life the Universe and Other Things on September 18, 2017 by bishshat

I had a interview for job at St Johns Museum in Warwick today. Pretty intense stuff..see how it goes?

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I had to choose an object off the table and produce a lesson plan to deliver to primary children. I chose the what what described as WWI entrenching tool but was in fact WWII entrenching tool stamped 1941 WD.

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The Grotto at Pozzuoli was a 700-metre long tunnel built by the Roman emperor Nerva, which linked Naples with nearby Pozzuoli. It was believed to be the burial place of the Roman poet, Virgil, and his tomb can be seen to the left of the entrance to the grotto. Van Wittel produced twelve versions of this composition in order to satisfy popular demand.

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Gaspar van Wittel (known as Gaspare Vanvitelli) The Grotto of Pozzuoli, with Virgil’s Tomb 1702

The tunnel was built during the reign of Augustus connecting Neapolis (ancient Naples) to Pozzuoli and Baiae. The tunnel is over 700 metres (2,300 ft) in length and between 4 to 6 metres (13 to 20 ft) wide. The height varies from 7 to 30 metres (23 to 98 ft). Until the beginning of the 20th century the tunnel could be used to travel from Naples to Baiae.

The Seiano cave is named after Lucius Aelius Sejanus, prefect of Tiberius, who according to tradition, commissioned its enlargement in the first century AD. The first tunnel was built by architect Lucius Cocceius Auctus for Agrippa during the civil war between Octavian and Sextus Pompeius in c.37 BC to connect the villa Vedius Pollio and other patrician villas of Pausilypon to the ports of Puteoli and Cumae. The tunnel is one of a number of such works in the Naples area built by Cocceius.

Fallen into disuse and forgotten over the centuries, it was discovered by chance during work on a new road in 1841 and immediately brought to light and made viable by the will of Ferdinand II of Bourbon, becoming a destination for tourists. During the Second World War it was used as a bomb shelter for the inhabitants of Bagnoli; the war and some landslides during the fifties put it back into a state of neglect.

It was superseded by two modern tunnels in the early 20th century. Today it has been restored as an archaeological site. According to medieval legend, the tunnel was built by Virgil in a single night!

Virgil was the object of literary admiration and veneration before his death. In the following centuries and particularly in the Middle Ages his name became associated with legends of miraculous powers and his tomb the object of pilgrimages and pagan veneration. At the time of Virgil’s death, a large bay tree was near the entrance. According to a local legend, it died when Dante died, and Petrarch planted a new one; because visitors took branches as souvenirs the second tree died as well.

When Virgil died at Brindisi in 19 BCE, he asked that his ashes be taken back to his villa just outside Naples. There a shrine was created for him, and sacred rites were held every year on his birthday. He was given the rites of a hero, at whose tomb the devout may find protection and counsel. Virgil’s tomb became a place of pilgrimage for many centuries, and Petrarch and Boccaccio found their way to the shrine. Presently, the tomb serves as a tourist attraction, and still contains a tripod burner originally dedicated to Apollo. There are no human remains in the tomb, however, as Virgil’s ashes were lost while being moved during the Middle Ages.

The tunnel passes beneath the Posillipo hill and connects Naples with the so-called Phlegrean Fields and the town of Pozzuoli along the road known as the via Domiziana. The tunnel is over 700 metres long. The eastern entrance (that is, on the Naples side) is in the part of Naples known as Piedigrotta (“at the foot of the grotta”); the western end is in the area now called Fuorigrotta (“outside the grotta”). The Piedigrotta entrance is now enclosed within an archaeological park, and the site of the villa of Vedius Pollio, and later imperial villa. The site is also noteworthy for the presence of the so-called Virgil’s tomb, as well as the tomb of the Italian poet Giacomo Leopardi. Three secondary tunnels end in openings overhanging the bay, providing light and ventilation.

The Phlegraean Fields  are a large volcanic area situated to the west of Naples, Italy. It was declared a regional park in 2003. Lying mostly underwater, the area of the caldera consists of 24 craters and volcanic edifices. Hydrothermal activity can be observed at Lucrino, Agnano and the town of Pozzuoli. There are also effusive gaseous manifestations in the Solfatara crater, the mythological home of the Roman god of fire, Vulcan. This area is monitored by the Vesuvius Observatory.

Virgil’s tomb  is a Roman burial vault in Naples, said to be the tomb of the poet Virgil (October 15, 70 BC – September 21, 19 BC). It is located at the entrance to the old Roman tunnel known as the grotta vecchia or cripta napoletana in the Piedigrotta district of the city, between Mergellina and Fuorigrotta. It is a small structure, with a small dome of rocks located at the top of the park.

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Below is the view of the Temple of Hera at Paestum near Salerno, south of Naples, reflects the revival of interest in the exceptionally well-preserved Greek temples there, which became popular destinations for Grand Tourists of the day. Fabris depicts the second of two temples at Paestum dedicated to Hera, goddess of fertility, dating from around 450 BC.

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Pietro Fabris The Temple of Hera at Paestum Late 1770

The second Temple of Hera was built around 460–450 BC, just north of the first Hera Temple. It was once mistakenly thought to be dedicated to Poseidon. The columns do not have the typical 20 flutes on each column, but have 24 flutes. The Temple of Hera II also has a wider column size and smaller intervals between columns. The temple was also used to worship Zeus and another deity, whose identity is unknown. There are visible on the east side the remains of two altars, one large and one smaller. The smaller one is a Roman addition, built when a road leading to a Roman forum was cut through the larger one. It also is possible that the temple originally was dedicated to both Hera and Poseidon; some offertory statues found around the larger altar are thought to demonstrate this identification.

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Hera is the goddess of women and marriage in Greek mythology and religion. She is the daughter of the Titans Cronus and Rhea. Hera is married to her brother Zeus and is titled as the Queen of Heaven. One of her characteristics is her jealous and vengeful nature against Zeus’s other lovers and offspring and against the mortals who cross her. Hera is commonly seen with the animals she considers sacred including the cow, lion and the peacock. Portrayed as majestic and solemn, often enthroned, and crowned with the polos (a high cylindrical crown worn by several of the Great Goddesses), Hera may hold a pomegranate in her hand, emblem of fertile blood and death and a substitute for the narcotic capsule of the opium poppy. Scholar of Greek mythology Walter Burkert writes in Greek Religion, “Nevertheless, there are memories of an earlier aniconic representation, as a pillar in Argos and as a plank in Samos.”