Posts Tagged ‘British’
Ed Stratton and Sarah Martin need cannabis to ease the symptoms of serious illness. While the British government sells British manufactured cannabis medicines to other countries, it continues to deny it to its own patients. Some are now traveling to the Netherlands for their cannabis medicine. Countries such as Germany and Denmark purchase Sativex, made by GW Pharmaceuticals, as pain and spasm relieving medicine. Sativex is a cannabis tincture, effectively a new strain of SKUNK in a bottle. The tax payer should not be asked to support the growth of a benign plant and manufacture of a medicine that can be grown for free. Basic common sense and medical guidance will allow the patient to treat themselves safely in their own homes. Sarah is now the British representative for the the International Association of Cannabinoid Medicines (IACM) and recently delivered a presentation at a convention in Bonn, Germany.
Video Rating: 4 / 5
Buy: TV On The Radio – Will Do goo.gl TV On The Radio – Nine Types Of Light In Stores April 12, 2011 Lyrics: It might be impractical to seek out a new romance We won’t know the actual if we never take the chance I’d like to collapse with you and ease you against this song I think we’re compatible, I see that you think I’m wrong Chorus But, any time will do, my love Any time will do, no choice of words will break me from this groove Any time will do, my love Any time will do, what choice of words will take me back to you? Ohhh ooooh Your love makes a fool of you, you can’t seem to understand A heart doesn’t play by rules and love has it’s own demands But I’ll be there to take care of you if ever you should decide But you don’t want to waste your life In the middle of a lovesick lullaby Chorus But, any time will do, my love Any time will do, no choice of words will break me from this groove Any time will do, anekatips my love Any time will do, what choice of words will take me back to you? Ohhh ooooh Oh my reddest rose, caldera (?) set it off How your fire grows hermosa, caldera Glistening through your fussed blows careen your caldera Set it off, as your body flows the second hand flashes, passes over your skin like time Anytime will do, my love Anytime will do, my love Anytime will do, my love Anytime will do, my love Anytime will do No choice of words will break me from this rule Anytime will do No choice of words will break me from this rule Anytime will do No choice of …
Video Rating: 4 / 5
Edward’s mom died six days after his birth and his housekeeper Ann Sampson mainly raised him. Burne-Jones started his education from 1844 with King Edward VI Grammar School, Birmingham, graduating to the Birmingham School of Art during 1848-52. Edward then studied theology at Exeter College, Oxford, where he also befriended enterprising English artist William Morris (1834-96).
All through their learning years, both the artists derived inspiration from the works of an English artist and the co-founder of the Pre-Raphaelite Movement Dante Gabriel Rossetti (1828-82). In 1856, Morris founded Oxford and Cambridge Magazine, for which he roped in Rossetti as a contributor. Through this interface, Morris & Burne-Jones came quite close to Rossetti and all inspired, decided to pursue artistry as career. In 1860, Burne-Jones married the British artist Georgiana “Georgie” MacDonald (1840-1920), one of his school friends’ sister. The couple had two sons and one daughter.
Edward had close association with the later stages of the Pre-Raphaelite Movement (started 1848). Immense imagination and elaboration marked Jones’ early artistic career, which includes several pen and ink drawings on vellum such as ‘Waxen Image’ (1856). His first oil also dates back to 1856. In 1857, he created stained glass work of a series of cartoons, for Bradfield College. In 1858, Edward illustrated a cabinet with the Prioress’s Tale from Geoffrey Chaucer’s Canterbury Tales. In 1857, along with Morris and others, Edward worked for Rossetti’s Oxford Union fresco painting project. This assignment proved a disaster as the whole group was untrained in the style and the work started coming off during production itself. In 1859, Edward traveled to Italy and came back inspired and rejuvenated.
His artistic life took upswing when he became a founding partner in Morris, Marshall, Faulkner & Company (1861-75). Here, he worked closely with William Morris (1834-96) on a broad spectrum of Decorative Arts mediums and styles. Through his stint at the company, Burne-Jones was instrumental in reviving Stained Glass Art in England. Some of his works in the field can be seen at Birmingham Cathedral and St Martin’s Church in Brampton, Cumbria. Edward extended his artistry to ceramics tiles, jewelry, tapestries, mosaics, and book illustrations too.
In 1864, Edward was elected as an associate of the Society of Painters in Water Colors. He displayed here his very competent work ‘The Merciful Knight’ (1863) that established him as an artist. Until 1870, he kept displaying his watercolor works at the same gallery. Following a controversy over his painting ‘Phyillis and Demophoon’ (1870), he resigned from the membership.
During 1870-77, the artist exhibited only a couple of times. During this phase, he produced many famous paintings, including ‘Chant d’amour’ (1868-73), ‘The Days of Creation’ (1870-76), ‘Briar Rose’ series (1871-73), ‘The Beguiling of Merlin’ (1872-77), ‘Laus Veneris’ (1873-75), ‘Pan and Psyche’ (1874), ‘the Pygmalion series’ (1875-78), the ‘Mirror of Venus’ (1875), and ‘the Golden Stairs’ (1876-80). In 1877, Edward displayed three of these paintings at the Grosvenor Gallery, London. The exhibition proved a turning point for the artist’s career and he was declared the frontrunner of the European Aesthetic Movement of the nineteenth century. Until 1884, he kept exhibiting at the gallery, wowing the viewers each time.
Edward Burne-Jones was elected as an associate of the Royal Academy, London, in 1885. In 1887, he displayed for the first and the last time at the Academy. The painting on the show was ‘The Depths of Sea’ (1887). The work represented a mermaid with a youth whom she fell in love with. In 1893, the artist resigned from the Academy. In 1896, he completed his most famous woodcut design ‘Chaucer’ for Morris’ Kelmscott Press (1891-98), London. Morris’ death in 1896, shocked Edward, and his health started declining. The artist eventually died on June 17, 1898.
Annette Labedzki received her BFA at the Emily Carr College of Art and Design in Vancouver, B.C. Canada. She has more than 25 years experience. She is the founder and developer of an online art gallery featuring original art from all over the world. Please visit the website at http://www.Labedzki-Art.com. It is a great site for art collectors to buy original art. Artists can join for free and their image upload is unlimited.
Article from articlesbase.com
Some cool Dylan Thomas images:
In My Craft or Sullen Art
In my craft or sullen art
Exercised in the still night
When only the moon rages
And the lovers lie abed
With all their griefs in their arms,
I labor by singing light
Not for ambition or bread
Or the strut and trade of charms
On the ivory stages
But for the common wages
Of their most secret heart.
Not for the proud man apart
From the raging moon I write
On these spindrift pages
Nor for the towering dead
With their nightingales and psalms
But for the lovers, their arms
Round the griefs of the ages,
Who pay no praise or wages
Nor heed my craft or art.
Janice Goodman and Peter Winant join Robert Aubry Davis as they discuss the first exhibition to explore Victorian era British photography and Pre-Raphaelite paintings, Pre-Raphaelite Lens, which features 100 photos and 20 paintings and is on display at the National Gallery of Art through January 30th.
The origins of the Wiccan Tradition have long been a subject of debate amongst practitioners and scholars alike.
See the rest here:
WICCA MAGICKAL BEGINNINGS – A Study of the Possible Origins of the …
Named after the London-based Arts and Crafts Exhibition Society founded in 1888, the Arts and Crafts movement began initially as an ideological reaction to the de-humanizing effects of late 19th-century industrialization. Essential aims were to revive a medieval guild system with high standards of craftsmanship, to instill a pride of craft and to make truth to materials the basis of design. Early proponents (John Ruskin, William Morris and CFA Voysey) espoused joy of labor and a return to simplified, honest forms. Stylized motifs, refined surfaces and proto-Art Nouveau lines were admirably realized in the work of Charles Robert Ashbee and Archibald Knox who eventually abandoned all stylistic imitations to forge a new design vocabulary. Part of the Modernism Web site, featuring objects from the collection of the Minneapolis Institute of Arts, this video was originally produced in 1999. www.artsmia.org