text:
Update for Nov. 13: NASA has unveiled new photos of Earth from Saturn by the Cassini spacecraft. See the images here: Saturn, Earth Shine in Amazing New Photo by NASA Probe
NASA has unveiled spectacular portraits of Earth and its moon from billions of miles away in images captured on Friday (July 19) and released today by the teams behind the agency's Cassini spacecraft at Saturn and its Messenger probe at Mercury.
In the photos from Saturn, Earth appears as a tiny pinprick of light amid the haunting rings and glowing sphere of Saturn, which Cassini has been orbiting since 2004. Though the picture doesn't show it, more than 20,000 people on Earth waved at Saturn at just the time the photo was taken, as NASA had coordinated a plan to involve as many Earthlings as possible in the portrait.
The cosmic picture took advantage of a rare total eclipse of the sun from Saturn, which allowed Cassini's sensitive cameras to image Earth without being damaged from looking directly toward the sun, which appears to lie very close to our planet from the perspective of Saturn. The photo shows Earth from a vantage point of 898 million miles (1.4 billion kilometers) away. [See the photos of Earth from Saturn and Mercury]
"We can't see individual continents or people in this portrait of Earth, but this pale blue dot is a succinct summary of who we were on July 19," Linda Spilker, Cassini project scientist at NASA's Jet Propulsion Laboratory in Pasadena, Calif., said in a statement. "Cassini's picture reminds us how tiny our home planet is in the vastness of space, and also testifies to the ingenuity of the citizens of this tiny planet to send a robotic spacecraft so far away from home to study Saturn and take a look-back photo of Earth."
In Messenger's portrait, Earth and its moon are both easily visible, though each is just a point of light. The photo was taken from orbit around Mercury, 61 million miles (98 million kilometers) away.
"That images of our planet have been acquired on a single day from two distant solar system outposts reminds us of this nation's stunning technical accomplishments in planetary exploration," Messenger principal investigator Sean Solomon of Columbia University's Lamont-Doherty Earth Observatory in Palisades, N.Y., said in a statement. "And because Mercury and Saturn are such different outcomes of planetary formation and evolution, these two images also highlight what is special about Earth. There's no place like home."
These aren't the first noteworthy portraits of our home in the cosmos.
On December 7, 1972, the crew of the Apollo 17 mission took the first full-view photo of Earth from space as the astronauts zoomed toward the moon. The photo, which became known as "The Blue Marble," is one of the most famous pictures ever shot. The "Pale Blue Dot," captured by NASA's Voyager 1 probe in 1990 from a record distance of 3.7 billion miles (6 billion kilometers) from Earth, is another classic.
In its nine years at Saturn, Cassini imaged Earth several times. This occasion, however, was the first time Earth's residents had been notified to pose for their picture ahead of time, though, scientists said.
The idea was embraced by many Earthlings, such as Sir Richard Branson, the billionaire founder of the private spaceflight firm Virgin Galactic. "Today we will all be photographed from a billion miles away: The Day The Earth Smiled," Branson wrote Friday on Twitter.
"It thrills me to no end that people all over the world took a break from their normal activities to go outside and celebrate the interplanetary salute between robot and maker that these images represent," Carolyn Porco, Cassini imaging team lead at the Space Science Institute in Boulder, Colo., said in a statement. "The whole event underscores for me our 'coming of age' as planetary explorers."
The Cassini mission launched in 1997 and arrived at the ringed planet in July 2004. It is expected to continue studying Saturn and its moons until 2017, when it will end its mission by crashing into Saturn's atmosphere.
Messenger was launched in August 2004 and in March 2011 became the first spacecraft to orbit Mercury.
Follow Clara Moskowitz on Twitter and Google+. Follow us @Spacedotcom, Facebook and Google+. Original article on SPACE.com.


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Psychokinetic Firearms By: Scrasamax
The ultra-rare and ultimate firearms favored by gun adepts, assassins, and snipers.
by Scrasamax
25xp1440 views
Saristreea Grenade By: Scrasamax
The cloud doesnt have much of a smell. It looks like fog until it's on you and then it's two late. A couple of sucking breaths and your chest is one fire and your eyes are bleeding. Terrible stuff, but if you think it is tough on the living, you should see what it does to the dead
PVT Thomas Quinn.
by Scrasamax
170xp8 replies
4731 views
1 HoH
Bolt of Twilight By: Kassil
A crossbow bolt crafted from the deepest shadows, which infects those struck with a terrible spiritual corruption.
by Kassil
195xp12 replies
6625 views
1 HoH
" <br /> The spirit of a creature trapped in amber cannot escape to it's afterlife / next incarnation / whatever. Such trapped spirits can be contacted by those who know the right rituals and magical power derived from them typically the power to control one individual of that species. Can by quite powerful if the creature is a colony insect (ant, bee, wasp, etc) simply control the queen and you command the whole colony."
" A rare branch of the arcane masters, encountered only among the deepest hill folk or ramshackle cabins, the Saucerer takes his power directly from the consumption of cheap liquor. Only the strongest, rankest, most nauseating of homebrewed alcohol will do, where it is instantly converted into mana available to the caster. Without a minimum level of inebriation, the Saucerer will be unable to cast any spells, as focus inhibits his spellcasting abilities."
" Molk Peruda is encountered by the PCs on the second day of their journey west from the salt-choked port of Quyn, as they prepare to explore the jungle. He appears a gaunt, wolfish man, with matted, dark hair that sprouts from his head in dreadlocks, contrasting with his well-oiled, blue-black, conical beard. His eyes are hidden ebon shards beneath thick arching brows, his nose, crooked, long, and reminiscent of a snout. His mouth is a thin, dark line, his teeth unseen even when he parts his lips to speak. His skin is the color of tallow, surprising perhaps for a renowned jungle guide, yet his natural helm of dreads and the jungle's canopy keeps the sun from bronzing his originally pale flesh. On his back are tattooed three women from the waist up, side-by-side, each resembling the other but of different ages. This is a tattoo of Molk's mother, sister, and daughter. His wife (don't bring her up to him!) was killed by marauding Qullan years ago, and appears as her own tattoo on his broad but sunken chest. His feet shockingly are turned around 180 degrees at the ankle, facing towards his back! A curse from a pernicious shaman. Molk walks feet backwards (he's used to it) and walks backwards, forwards. This can be very disconcerting and outright creepy to the PCs as he guides them through the rainforest. Slung from his back is an archer's quarrel of treated wood carved to resemble a stalking leopard, in his hand a re-curved composite bow of horn and sinew, with a pair of vivid, red eyes, each one painted on the opposite side of the hand-grip. In a leather sheath at his belt, hangs a falchion, its pommel adorned with a curved bird's head and beak."

subset: commoncrawl


text:
Gossip Folks
Missy Elliott (featuring Ludacris)
Top 40
Top 40
Top 40
Top 40
Gossip Folks
[People in background chatting]
Yo, yo yo move out of the way
We got missy Elliott coming through
Girl that is missy Elliott she lost a lot of weight
Girl I heard she eats one cracker a day
Oh well I heard the bitch was married to Tim and started fucking with Trina
I heard the bitch got hit with three zebras and a monkey
I can't stand the bitch no way
When I walk up in the piece
I ain't gotta even speak
I'm a bad mamajama goddammit motherfucker you ain't gotta like me
How you studying these hoes
Need to talk what you know
And stop talking bout who I'm sticking and licking jus mad it ain't yours
I know ya'll poor ya'll broke
Ya'll job jus hanging up clothes
Step to me get burnt like toast
Muthafuckas adios amigos
Halves halves wholes wholes
I don't brag I mostly boast
From the VA to the LA coast
Iffy kiffy izzy oh
Millze cillzan sillzome plilzay dilzzouble dilzutch!
My gizzirl!
Brillzing her izzin!
Izzo kizzay!
Izzall rizzight...
Izzo kizzay!
Izzall rizzight! Nizzow wizzee wilzzo-izzo-zee!
When I pull up in my whip
Bitches wanna talk shit
I'm driving I'm glad and I'm styling
in these muthafuckas eyes did you see it?
I'm gripping these curbs
Skuur, did ya heard
I love em, my fellas, my furs
I fly like a bird
Chicken heads on the prowl
Who you trying fuck now
Naw you ain't getting loud
Better calm down for I smack your ass down
I need my drums, bass, high hats
Has to be my snare strings horns and
I need my Tim sound
right, left
Izzy kizzy looky here
I don't go out my house shorty
You just waiting to see
Who gon roll up in the club and then report that next week
Just wanna see who I am fucking boy
Sniffing some coke
I know by the time I finish this line I'm a hear this on the radio
Yeah, uh huh, okay
Once upon a time in College Park
Where they live life fast and they scared of dark
There was a little nigga by the name of Cris
Nobody paid him any mind
No one gave a shit
Knowing he could rap
No one lifted a hands
So he went about his business and devised a plan
Made a CD and then he hit the block
50 thousand sold
Seven dollars a pop
Hold the phone
Three years later
Stepped out the swamp
With ten and a half gators
All around the world on the microphone
Leaving the booth smelling like Burberry cologne
Still riding chrome
Got bitches in the kitchen
Never home alone
And he's on the grind
Please let me know if he's on your mind
And respect you'll give me
Ludacris I live loud just like Timmy
Fuck, have to clear these rumors
I got a headache and it's not a tumor
Get up on my lap and get my head sucked tight
Sprayed so I never let the bed bugs bight
Hard to the core
Core to the rotten
Drop down turn around pick a bail of cotton (ya)
[People in the background chatting]
Yo, straight up Missy killed that shit tonight for real
I know I know, I don't even care about her being preganant by Michael Jackson
You know what we should do
We should go get her album when it come out
There she go, there she go, there she
Hiiiii Misssy
Hi Missy?
What's up fools?
You think I aint knowin yall broke Milli Vanilli
J.J. Fad wannabes aint over here gossiping bout me?
Yo how bout you buff these Pumas for 20 cents so your lights wont get cut off
You soggy breasts, cow stomachs
Yo take those baby GAP shirts off, too
You just mad cuz Payless ran out of plastic pumps for the after party
Yo by the way, go get my album


text:
MP6, the future of the WordPress Dashboard, has arrived on WordPress.com.
If you have a WordPress.com blog, visit Users -> Personal Settings in your blog's Dashboard and check "Enable experimental admin design (MP6)" now!
If you follow WordPress development, you may have heard that this was on the roadmap for WordPress 3.6, but was pushed back to WordPress 3.7. So, it will officially become the new Dashboard eventually, but there's plenty of time to try it out, get to know it, and fall in love with it as much as I have.
MP6 was designed to be less cluttered and more readable with clearer fonts and better contrast, and it's fully responsive across all devices. To sweeten the deal, MP6 also makes use of icon fonts to cut down on images, thus providing a slightly improved loading time.
You can easily switch back by unchecking the box at Users -> Personal Settings, but I encourage you to give it a day or two. It's a rather large design change, but it does retain the overall layout that you're all used to, so I'm confident that you'll love it too.
If you have a self-hosted WordPress blog, you can try the experimental Dashboard too with the MP6 plugin.
MP6 on WordPress.com is constantly being improved and you may notice a few spots in your Dashboard that still need to be brought up to MP6's new design standards, but if you have any feedback, please let us know!


text:
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text:
Very often, we got asked how traditional focus groups can be shifted to an online methodology. In our experience, the motivations for such a shift can be very different: saving travel costs to other regions or countries, an improved feasibility for certain target groups or methodological requirements for answering the research question at hand. Whatever your motivations are, you should be aware that online focus groups, like any other method, are no silver bullet to collecting qualitative data and have to match its purpose. We wrote the following text to help you assess the possibilities and limitations of online focus groups, whatever your individual research question may be.
Overview over the Method
Let's start with some general methodological considerations. The most obvious point is, that online focus groups do not rely on physical presence of its participants. Instead, all communication is mediated via a software and respondents can potentially connect from everywhere in the world. This allows you to include people from remote places but also poses a challenge to exert control over the interview situation.
Another fundamental consideration concerns whether you prefer synchronous communication (e.g. a video conference in real time) or asynchronous discussions over a longer period of time (e.g. a Market Research Online Community). This will have an impact on software requirements, securing the continued availability of research participants and of course the field time of your project.
You may even consider combining different methodologies in individual project modules, e.g. starting with a short introductory video conference for everyone and continuing with a one week community thereafter. All in all, the boundaries between different research formats are definitely less strict in an online methodology and can be adapted to your specific needs.
Finding the right Participants
Finding the right participants for online focus groups is definitely a topic in itself. For various reasons, we have made the best experiences with recruiting them from our online panels: we have extensive profile data for all our members to select the right target group, we can send reminders via all the established communication channels and our existing incentive system allows us to manage the gratifications in the most efficient way.
But let's go through these topics one by one.
Recruiting for online qualitative projects has two aspects: the right amount of recruited participants and the right profile of these users. Unfortunately, activity rates can vary a lot in qualitative online projects. This has mainly to do with the continued availability of participants during these typically longer field periods and selecting the right incentive model. As a rule of thumb, you should recruit twice as much participants as you effectively want to participate actively in your study. You will then end up with roughly four groups:
- No Shows, e.g. due to technical problems or lack of availability
- Lurkers / Silent Observers: people that log in to your community but don't contribute to the discussion
- Regular participants that contribute to the discussions but need constant activation by the moderator (extrinsic motivation)
- Active participants that contribute extensively to the discussions and have a lot of intrinsic motivation to participate
In order to find as many regular and active participants as possible, the recruitment process has to focus on two things: clarifying the general availability during the field period and identifying respondents that are highly motivated. For the latter, we have had good experiences with psychographic profiling. Especially people with high values in Openness and Extraversion in the OCEAN-Model seem to be a good match for online communities (This also has to be seen in the light of your research question, of course).
Therefore, the initial step for an online focus group is a short screening survey that identifies the right target group, assesses their motivation to contribute actively to the discussions and validates the availability of eligible participants.
Once you have your participant list together, you will have to start inviting them to the actual software / platform for your project. You should then try to make no-shows and lurkers become active members, and keep active members from becoming inactive. This is typically done with sending reminders to all established communication channels. If you are not working with the well-established channels of an online panel (e.g. email, SMS, push notification), this may become the hardest tasks of all and jeopardize the project as a whole.
Incentives may help you to give your participants a little push. Depending on the setup of the project, you should consider a base incentive for participating, but also additional incentives for accomplished milestones, active days in the community or completed tasks. We've also had good experiences with offering an additional reward for the most active participant at the end of a project. As you can see, managing the incentives for all participants can become quite complex. This is again why we recommend to use an online panel for recruiting the right participants. It will be one thing less to worry about.
Moderating online communities or video chats is definitely very different to doing the same in a traditional focus group facility. As all members of the chat or community are connecting from different places, it is harder to exert control over the interview situation. This affects motivating people who do not contribute enough, as well as dimming down those who dominate the discussion. However, this does not only depend on the skills of the moderator but should also be supported by the software. Most professional software kits offer the opportunity to check the activity level of all participants in a dashboard and take individual measures (e.g. private messages, muting of single members, etc.).
The workload for a moderator during a qualitative online project is also very different, especially if the project lasts a couple of days. Content will be posted at all times, which requires continuous monitoring of what is happening in a community. At the same time, moderators can start analysing the feedback while still being in the field. This allows them to adjust the questions and tasks and dig deeper into relevant aspects. Especially for large and longer-lasting communities, it might make sense to work with a team of two moderators to cope with all the feedback during the most active times.
It should have become clear already, that there is no one-size-fits all approach when shifting traditional focus groups to an online environment. This is reflected in a vast amount of different software providers and tools for online qualitative projects. While we don't want to single any of these providers out, we can still give you some general recommendations.
Let's start with the functionality. Some providers are specialized in one single method (e.g. video chats) and have optimized everything around that service (e.g. server performance). Other providers are more like a Swiss Army knife and offer many modules that can be used individually or may be combined over the course of a project. Typical modules are small polls, chats, discussion boards, web cam recordings, image and video upload, mood boards or collaborative whiteboards. Many providers also allow you to create pre-defined paths through an array of these tasks, e.g. having a discussion board until the evening, then pushing a small poll to everyone and once a participant has completed it allowing this individual to participate in a discussion board about another topic. Many software kits also allow you to define individual arrays for different segments of your participants. The possibilities for your research design are almost endless.
A second thing you should consider is the possibility to grant different user rights. The most common roles for qualitative online projects are:
- Participant: is allowed to participate in the project, but does not have access to the backend of the project.
- Moderator: can participate in the project, but has also access to the backend in order to analyse the feedback and assign new tasks. This role has also additional tools to moderate the group (e.g. gratification, muting participants)
- End Client: is not allowed to participate in the project and may have a restricted view on the contents and progress of the project (i.e. due to compliance with privacy and data protection).
- Admin: is allowed to change fundamental settings of the project (e.g. user rights) and can give technical support.
In some cases, not all of these roles are needed, while other cases may demand for additional roles.
A last major point to consider here are tools to facilitate the analysis for the moderator during and after the project. While an export of raw data is definitely a standard, there are many things that can make the moderator's life easier. As indicated above, some tools allow you to start the analysis and interpretation during the field period so you can enter into a deeper feedback loop with your community. Standardized dashboards about activity levels, frequent words and popular posts can help you to keep track of what's going on in your community. The possibility to tag and comment interesting posts for yourself in the backend and organizing your notes during the field time may be another way to go about it. These features can really make a big difference for the moderator.
The Interpretation
Last, but not least, a few words about the interpretation of such data. The data obtained in these projects is already digitalized and, in many cases, does not require transcription. This allows you to use other techniques than in traditional focus groups when analysing it. Sometimes counting frequencies of certain words or concepts makes sense, e.g. in word clouds. You'll probably have also more demographic background information about the respondents to analyse how single groups of people differ from each other. Try to make use of these opportunities to get deeper insights to your research question.
While the context in which all feedback is generated seems to be less controlled than in a local facility, you will probably also get a lot of authentic pictures and video snippets from the average lives of your participants. This material offers great opportunities to understand consumers in the context of their real lives.
Bottom line
In this article, we have tried to map the most important aspects to consider when switching focus groups to an online environment. Is everything possible? Certainly not! But there are also many new possibilities that can help us to get rich insights about consumers and a better understanding of their everyday lives.
If you have any question how we can assist with your project, don't hesitate to get in touch.


text:
Lots more in his DeviantArt Gallery, but sadly James doesn't sell his art online. Those two are going on the give-away board, though, so at least you can win them here!
UPDATE: The giveaway has ended!
Love them all! But I especially love Chewie and Threepio.
Jen, Q, and M
That Belle getting tattooed print is awesome!ReplyDelete
I love the Chewie and C3PO art work, so much fun!ReplyDelete
The Paper Pony's shop is closed :( Maybe they'll come back soon?ReplyDelete
We're up again. We just had the shop on vacation mode while we moved!Delete
The Belle is great, but probably not getting framed and displayed in your steam punk room, huh! I'm partial to Chewie, but my son is a Monsters fan too.Now off to the 6 Etsy tabs I opened. Thanks again!ReplyDelete
Chewie!!! Love love love! I love all these prints...just have to find more wall-space! Ach! Who needs family photos, anyway?ReplyDelete
Oh my goodness, I would *die* for that Belle getting tattooed print. She's my favourite princess, and I am a tattoo fanatic/hopefully-someday-artist!ReplyDelete
I love all of these!! But I think my favorite out of all of them are the otters (oh my goodness how ADORBS!) and the penguins print. I am a HUGE Star Wars fan and LOVE Darth with pet AT-AT! You find some of the coolest stuff!
PS also love the Chewie and Monsters Inc sketch. I wish I had just a fraction of the talent!!
Loved that Mononoke, just gorgeous.ReplyDelete
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Aww Christie's little Star Wars bots! Also I love the watercolor Tardis too. You always find the best art.ReplyDelete
Aww Christie's little Star Wars bots! Also I love the watercolor Tardis too. You always find the best art.ReplyDelete
I love the compass one!ReplyDelete
And again, you enable me to spend too much money on Etsy. XD I'm definitely going to have to buy some of those cut-outs.
(And yes please to the extra giveaways! Those are both adorable.)
Those papercutting ones are gorgeous. Thanks for sharing your amazing finds as always.ReplyDelete
Kicking Cones (the otters and penguins) has a shop on Zazzle with lots o stuff 😀ReplyDelete
Math nerd here! I am a high school math teacher, in fact, and that Protracturtle is the cutest thing I've seen all week!ReplyDelete
Yay! Art giveaway time!ReplyDelete
The laser cutouts are simply gorgeous. I also love the watercolors.
On the wild card, I Chewie with C3PO has to be my fave. :)
punny art and math too, so fantastic!ReplyDelete
They're all so gorgeous! Chewie with C3PO is adorable.ReplyDelete
That paper cutting is lovely. I'm not a MLP fan, but I love their style.
I'd be interested in winning that Monsters U piece also!
:flail: That inked Belle! :flail:
Dude. I have to find that print. Oh and yes plz for the original art!
This comment has been removed by the author.ReplyDelete
I love that San art.
I'm also interested in the Chewie ACEO!
I keep staring at my walls trying to decide if it's worth dragging everything out of my room to repaint, or whether I should invest in new art and cover the walls that way. All of this loveliness makes the art idea sound even more appealing! I particularly like the turtles. Hee!ReplyDelete
Oh, there's some wonderful new art this month!!!! And I love the Chewie card. :)ReplyDelete
Squee! So cool!ReplyDelete
My art wall is hungry! I like "Belle", "Beaker & Honeydew", "Ariel's Headphones" and "Wall-E"!!ReplyDelete
Belle is my fave princess, but I'm pretty sure I can't go on breathing without the Princess Bride cutout!
Love, love, love! The 2 extras are some of my faves from the board.ReplyDelete
Inked Belle please. And Chewie and 3PO for the original art.ReplyDelete
Vader taking the At-At for a walk is fantastic...
Also the Marvel/DC cross over with Harley and Deadpool is adorbs.
'Dat Harley and cutepool! Also, that Chewie ACEO, I can't believe no one had snatchers up for a good home, which I would offer it :)ReplyDelete
I love the Wall-E art piece, and am also interested in the Monsters Inc one. Love your art round ups!ReplyDelete
I desperately want to see the Pony Place shop but it's closed :(ReplyDelete
Our shop was on vacation mode while we moved but it is up again! Hope you find something you like!Delete
I love the Little Chewie! but would gladly do any art.ReplyDelete
So much awesome art (as always!). Will definitely be looking at that Monsterbet book. And love the little Chewie. :)ReplyDelete
I love the Doctor Who Silhouette, it would be the perfect gift for my teenage cousin who is just developing her fandom.ReplyDelete
The baby Deadpool and Harley. How cute is that?! My best friend is a huge Deadpool, Spidey, and Batman/Girl fan, and is expecting a brand new geek girl in October. It's absolutely perfect for the nursery!ReplyDelete
I always look forward to your art posts. Love the paper art, and the Star Wars ones, of course :)ReplyDelete
I always get so excited when I see that the art post is up! ^_^
I love Christie's droids so much! And I'm still super in love with her Dogtor Who one on the Give-away board.
The watercolor Totoro is gorgeous, too! I finally watched the movie for the first time last week and it is soooo sweet!
Paper Pony is GORGEOUS! I'll have to bookmark her shop, for when she opens again.ReplyDelete
Our kid turned 11 last week and as part of his gift we're redoing his room a bit and one entire wall is just going to be random art of things he loves. So far the majority of his wish list is Star Wars, Superheroes (those Schoenholtz prints are up his alley), Minecraft, and hockey. I always show him your site, he's going to love so many of these. Looks like we may have to go Etsy shopping later. He LOVES Chewbacca, the Chewie and c3po would be a huge hit with him.ReplyDelete
I love your art posts - and since art isn't in the budget for us now, I hope I win your giveaway sometime!ReplyDelete
So much great art this time around! I need more walls!Delete
I just want to huggle Chewie and CP3O. Except I imagine that's hard, the print being 2D and crushable and all.
And I'm going to have to save up some money for one of those paper cuttings--I especially love the Princess Bride one. Gorgeous.
So much art!! I have so many favorites on the Art Board, and the 2 original pieces are amazing!ReplyDelete
love all of your art! as always. wish I had more wall space for sure. I didn't even get the stuff I bought last month framed yet!!! Would love the Katie Cook or Vernoica originals!!! xo
Renee Myers
I need to get Monsterbet for my son... reminds me of Zoophabets I had when i was a kid http://www.roberttallon.com/books3.htmlReplyDelete
Hoping this is my month! :-)ReplyDelete
Wow wow wow wow wow wow! So much good stuff this time! I LOVE both the paper cutting ones (Paper Ponies Etsy shop is temporarily closed, btw), but that princess bride one takes my breath away. I also really love the watercolor T.A.R.D.I.S. Katrina's stuff is so cute! (and Punny!). I just love your art round-ups!ReplyDelete
Please put my name in for your oh so generous art giveaway. Thanks, Jen!ReplyDelete
I love the Paper Pony - found them at the first MegaCon I went to in 2014, and bought my hubby a Poison Ivy for his man cave. This year I bought my mom a cute Ariel from them. I haven't quite been able to find a pony one that is just "perfect" for me, but their work is amazing. I also enjoy the silhouette paper art by Will Pigg that you shared! And, might have to pick up that Vader and his AT-AT one for my incoming munchkin in Dec :D Too cute!ReplyDelete
I would be proud to hang ANY of those on my wall! =)ReplyDelete
Oh gosh Cap is beautiful. And I need another TARDIS print like I need a hole in the head, but wow I want all of those too.ReplyDelete
The Belle is really cool but the otters!!! Still squeezing!!!
I'd also like the Wookie entry
Ahhh! This might be my favorite art round up so far. I had to like several artists just because they were so amazing. That papercraft! Ahh! Where am I going to find more wall space? must build additional walls.ReplyDelete
Love the array of art you inspire us with each month.
Chewie & C3PO and Mike & Sully are just the sweetest! I wouldn't say no to these sweet giveaways (or my choice of the board)!
I love the Belle print! SO glad you are feeling better!ReplyDelete
Another great haul of art goodness! Captain America is my all time favorite.ReplyDelete
Lovely picks as always! I have actually had my eye on the cute Chewbacca drawing on your board for a while. And others :)ReplyDelete
The protractor and compass animals are amazing! Thanks for sharing. And I love the Chewie/C3PO as well as the Mike and Sully art.ReplyDelete
I'm a big Captain America fan and that poster is stunning. As it is, I think I'm gonna have to pick up that Totoro print...ReplyDelete
I like everything!!ReplyDelete
So much amazing art!! I love the Chewie and C3PO by Katie Cook!!ReplyDelete
I've been a fan of your page for years, but this is the first time I've worked up the nerve to say anything. All of this artwork is amazing, especially The Princess Bride and The Otters. Thank you so much for sharing!ReplyDelete
Love your selection this month!ReplyDelete
Eeek!! I NEED that Vader walking his AT-AT for my new baby's room!! LOVE!!!!
And the wee Chewie with 3PO by Katie Cook would be great, too, so add me to that drawing! And now I'm off to drool on these artists' pages... :D
That Wind Waker one is AMAZING!! Jen, thank you so much for sharing all this awesome art with us!ReplyDelete
LOVE seeing The Paper Pony team get some attention; they are not only fantastic artists, but good people. And great partners for Cards Against Humanity.ReplyDelete
You always find such beautiful art! Maybe this month I'll be lucky enough to win :)ReplyDelete
I've already won, and won the thing I'd been lusting after forever, so you don't have to include me in the drawing. I just wanted to say that the Inked Belle is awesome and John needs to be proud to own it!! :)ReplyDelete
I hate to be that person, but it's Wind Waker, not Wind Walker.ReplyDelete
Those are all spectacular! Any of those would be a fabulous addition to our growing collection. =]
Harley and Deadpool! AH! They are all so neat. Thanks for sharing all your great finds.ReplyDelete
Aww that Chewie is adorable!!ReplyDelete
The cute tiny chewy!!
My current fave on the give away board is STILL the "It's a Star Wars" print that was put up a year+ ago. DC derby babes are pretty awesome too though.
I love tattoo Belle and everything else. My art wish list is increasing!ReplyDelete
lovely way to start my day :D that chewie is so cute though!!ReplyDelete
Badass tattooed Belle is badass. I may have to get my own tattoo referencing Beauty and the Beast someday. :DReplyDelete
I wanted to say thank you for showcasing Will Pigg. He is a friend of a really good friend and his work is amazing! He also has a show in Orlando on September 5th!ReplyDelete
I love the days when there is a new art roundup! You always find amazing things to share, so thank you. :) I looked through Will Pigg's Etsy apge and saw the most adorable lonely Stich art....ohmygosh I want that.
That Darth Vader walking the AT-AT is pretty cute, too.
Hmmm, I don't know. I like both those last two art originals. Mike and Sully are awesome and the Chewie/C3P0 are squishy-cute. :)
this is your most dangerous post of the month!! so much want
i also really like wee Chewbacca. . .
I love these posts. Thanks so much for them.
I've always loved that little Chewy ACEO.
Some amazing art here! I'm going to have to pic up a print of that Spider-Gwen portrait, I think, and that tattooed Belle is something else.ReplyDelete
I am always impressed by the art you find!ReplyDelete
Will Pigg's stuff is awesome!ReplyDelete
Oooh, so very shiny. I am in love with the paper silhouettes.ReplyDelete
Why was John embarrassed? Tiny Chewbacca would look great in my daughter's room right along with the tiny Batman and tiny Joker she already has.ReplyDelete
That Monsterbet book is too cute! Might have to get that for my little guy.ReplyDelete
I'm a longtime blog reader and first time commenter... please enter me in the drawing for the Chewie & C3PO and Mike & Sully prints, they are great! Also, more cat posts please! :o)ReplyDelete
Another beautiful roundup!!!ReplyDelete
I want some art!ReplyDelete
The art is amazing, but not as amazing as you!ReplyDelete
Glad you're doing better enough to look at art. But I am putting in my Mike & Scully love, please...ReplyDelete
Sooo many pretties :-)
And the Chewie one is totally cute
The Chewie&3PO is adorable! I also really like the watercolor TARDIS look, and those cute little punning drawings Katrina does (Protracturtle! Ah!) are just the best!ReplyDelete
Love them all! Must go and have a look at the "I like you a lottle" penguins now!
Love the old Mike a sully too :)
Wow, what a roundup! I can't even pick a favorite, everything looks so gorgeous and I need more walls in my house to hang things on. Love anything Star Wars and I want to take a closer look at those paper ponies and the watercolor Tardis is so beautiful and and and...ReplyDelete
One of my favorite time of the month... When Jen posts new art! Please pick for Chewie and 3POReplyDelete
What a great roundup! I really l ike the papercuts, those are just amazing and the work that goes into it! I love Katie Cook's Chewie!!! Though because my husband loves Monsters Inc so much, the Mike & Sully one is also just as awesome!ReplyDelete
Oh my goodness! I must have that Princess Bride paper art! Poor Will, I am going to cyber stalk him until it is back in his store.ReplyDelete
Oh heavens, so much geeky goodness : )
Gorgeous collection in the round up. On the board I love the Brian Kesinger Walking Your Octopus (and have loved is work for ages), but on the other hand, Baby Groot by Bianca Roman-Stumpff is absolutely adorable.ReplyDelete
That otter print is sooo cute! They are one of my favorite animals. Love the pun prints too :^) I like the Chewie & C3PO print for the bonus drawing.ReplyDelete
I have friends getting married in October, and I need to go purchase that Princess Bride paper art for them!
You always find the best things! I especially love tiny Chewie and 3P0
I'm down for any type of art! I always love your picks. Hopefully it could lighten up my drab dorm room. Back to college I go!
So much cuteness this month! Especially the little Chewie and C3POReplyDelete
Protracturtle! :)ReplyDelete
John, if you ever decide to get rid of Inked Belle, I PROMISE I will hang it! Love her, love the ink, LOVE!!! Some awesome rabbit holes to follow you down this month, Jen! Thanks! :-)ReplyDelete
Would love to pick out a zelda windbreaker one or the mike and sully one as a surprise for my younger brother!ReplyDelete
I love all of them this month!!!!!ReplyDelete
I love all of them this month!!!!!ReplyDelete
Loving that watercolor TARDIS!ReplyDelete
Love the Inked Belle! (And the two extra give-aways!)ReplyDelete
First choice: TARDIS Believe by Joshua Graham - someday I WILL get this!
Second: Travel by Tardis by Joshua Graham
Third: Rocketeer by Kate Carleton
Put me in the drawing for Chewie and C3PO
Eeep! Monsters University ❤😍
Spider Gwen was sick.
Those cut paper silhouettes are stunning!ReplyDelete
You always find the best stuff! I want so many of these :)ReplyDelete
Thank you again for an amazing roundup! I love seeing these...
Also, I'd love to give Chewie and C3PO a new home! :o)
Lovely stuff, as always! Count me in for the Monsters, Inc. drawing as well, please!ReplyDelete
That stag god print tho.... *drool*ReplyDelete
I love the art roundups!! I would love to get some more art for my wall! I love that chewy!ReplyDelete
Oh man! I spent the whole post going "I wish I had more money. But more importantly, I wish I had more wall space."ReplyDelete
I would *die* to have those Mononoke Prints in my room!ReplyDelete
so much yay! i honestly don't know which is my favorite! i'd love to have either the chewie and c3po or the mike and sully! and why hasn't anyone done a star wars monsters inc mashup yet? sullbacca and miked2 would be awesome!ReplyDelete
Those paper cutouts by Will are awesome! And the "I like you a lottle" print reminded me of something I learned just today: In Japanese, the kanji for "Indian summer" read "little spring". Isn't that just cute as heck?
BTW, I like Chewie (:
I love the Chewie by Katie Cook! My son is in the earliest stages of Star Wars and Chewie is his favorite (so far). Thanks for doing these giveaways.ReplyDelete
Monster book is insanely cute!ReplyDelete
Loving all the papercuts this round! They're a personal favorite of mine and I'm glad to see some amazing ones!ReplyDelete
I love the baby chewie by Katie Cook! also, the bell around the AT-ATs neck is adorableReplyDelete
-Inked Belle is my favorite!
-And those paper cuttings are just fabulous. I've only ever seen them when you post examples and they're always fabulous. So creative!
-Christie's droids are so stinkin' cute. I wonder what they're "talking" about? :)
-What?? Shut up right now! Paper cut Nightmare before Christmas? AND Princess Bride? Must have! They are so beautiful!!! If I had this on my wall I would never stop staring at it.
-EEK! Baby Vader? Baby Harlequin? You find the coolest stuff!
-I need "I love you a lotter" for my mama. :) She would "squee", as you would say.
--Piper P from Washington State
I think this is one of the most fabulous art roundups you've done. I love them all, now I have to check out all of these fantastic artists!ReplyDelete
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This is one of the best roundups yet! Thanks for introducing me to all these amazing artists. I'd love to win anything from the board, as well as the last two pictures! XOReplyDelete
I love that Harley Quinn and Deadpool print, They look so cute!ReplyDelete
I love that Harley Quinn and Deadpool print, They look so cute!ReplyDelete
I keep hoping I will get the Starwars/ Small World print. :)ReplyDelete
That Totoro watercolour is gorgeous! Makes me want to watch the movie again :)ReplyDelete
Squeee!!! Love all these prints. A great Art round up this month. Also I love the Star Wars print.ReplyDelete
My son would LOVE that Cap piece! (Also, that c3po is precious!)ReplyDelete
I'm a newbie here and have spent the last week reading the entire blog history whenever I could squeeze it in. Well worth the time.
Baby Vader is adorable! I'd frame it and give it to my big brother.
Love the 3 droids!ReplyDelete
Awesome roundup! Love the Star Wars watercolor. Can't wait to see the post from DragonCon!
Shelley, Lehi, UT
Those paper cut pieces are amazing!!! Oh my gosh I want to buy all of them!! I also love both the Chewy with C3PO and the Mike and Sully :)ReplyDelete
Wow, what a fabulous collection this month! I need a Star Wars print to add to my geeky gallery wall, and that Vader and At-At is so stinkin' cute! All those little pun-ny prints are so sweet, too! I'm really excited to wander the artists' booths at DragonCon this year and add to my collection, but I fear for my wallet!ReplyDelete
Great art as always, I'd love to win something.ReplyDelete
Love all your stuff. I really need the "Inked Belle" for my 20 yr old daughter. She just got her 4th tattoo to commemorate her 3 knee surgeries.ReplyDelete
Soo cute! Love the papercutting pieces - those are amazing.ReplyDelete
That picture of San is divine!ReplyDelete
Such unbelievably wonderful art!ReplyDelete
Loooove the otter one! (It'll be the theme for a baby shower I'm helping plan!!)ReplyDelete
Very cool. Especially love the retro super hero ones! And the Chewie/C3PO is a favorite. (Also a Mathnerd, so enjoyed the Protracturtle & Comp-ass. :) )ReplyDelete
So many new things to peruse! If you like paper cuttings, Brittney Lee is one of my favorite artists, https://www.etsy.com/listing/245181134/seahorse-print?ref=shop_home_active_7. Though she doesn't sell the originals. Also, (not paper cutting) I recently found this guy https://society6.com/andyfairhurst/prints. I really like his superhero kid prints. (I got the Thor kid as my phone case.)ReplyDelete
The tattooed Belle print is awesome, and I adore the Princess Bride papercut.ReplyDelete
As always, throwing my hat into the ring! *toss* Good luck, everyone!ReplyDelete
Love the Chewie and C3PO!ReplyDelete
I LOVE the As you wish paper cut, and the water color tardis! so beautiful! Such amazing craftsmanship!ReplyDelete
Man, I really need to put art in my budget. The As You Wish paper cutting MUST go on my living room wall! I'd also like to be entered in the extra drawings. They're both great!ReplyDelete
Love your art posts! You always find such amazing items.ReplyDelete
I love the paper crafts! The work that goes into them.... But I love, love, love Darth walking the Walker. So cute!!
Would love the C3PO and Chewbacca extra drawing
Wow, those black and white papercuts are astounding. I love the Princess Bride one! And I've always liked the Chewie and C3PO watercolor, so I would be happy to win that one!ReplyDelete
I'd love any of them!ReplyDelete
The Pony paper cut art is so pretty! I like the Chewie and C3PO too.ReplyDelete
I love everything, including those ACEOs. I want that Zelda papercut too (I know it's not on the board teehee)!ReplyDelete
We bought Will Pigg's "Sad Tardis" at Tampa Comic Con too! Love it!ReplyDelete
Totoro! :) I love all of the cool art you find.ReplyDelete
Harley and Deadpool together! That needs to be in my house.ReplyDelete
that as you wish papercut is tremendous! must have!!
thanks for sharing. love falling for new artists.
ahh these are all beautiful, you have such great taste! I don't know how you have ANY wallspace left!ReplyDelete
Love Love the paper cut outs. I have a TON of Chinese paper cut outs I need to do something with eventually. Also Chewy and C3PO are to adorable!ReplyDelete
would you be kind enough to enter me in the drawings? i would love to gift a dear friend with the little chewie and c3po!
thank you!
kim at vfgusa dotcom
The ponies and other paper art is amazing. They just pop.
And I love Katie Cook so please enter me in the bonus drawing!
Oh man, that chewie/3pO print is perfect for my star wars art wall!! Also, that windwaker paper print? Wow. But, let's be honest all of the art you feature makes me go wow.ReplyDelete
i forgot to say that i would absolutely LOVE to be entered in the bonus chewie and c3po drawing.
i couldn't find the princess bride piece on etsy so i messaged the seller. he quickly replied saying buy the han and leia papercut, then mention in the comments that you want the as you wish one instead. same price! #whew
I adore the Chewie print, and I love your blog :)ReplyDelete
Tell John not to be embarrassed, that Belle print is lovely! Although maybe I do want him to be embarrassed so it will get added to the board. Nope, even though I want it, I still have to go with advising non-embarrassment. Tell him to pretend he's in Europe where sensuality and showing skin isn't seen as shameful. ;-)ReplyDelete
There's something extra sweet and charming about a jingle bell on an AT-AT collar! I think that's my favorite in this art roundup. Oh, and if I'm a lucky winner, I think I would choose the Mike & Sully picture.ReplyDelete
As usual, you pick great art! LOVE the papercuts! I also like both of the bonus drawings!ReplyDelete
I so very much love your taste. Thanks for sharing all of this with us. I think it's amazing that you take the time to promote independent artists. I love both the prints, but I would pick Mike and Sully...Monsters INC is one of my all time favourite movies. xoReplyDelete
I missed entering last month, so I am definitely entering for all three this month please! :D I *love* the Chewie print especially!!ReplyDelete
Oh, the cute! Thinking, though, that my daughter might be ready to "go pro." She made a paper pony for her sister that's every bit as nice as those.... Skeptical Mom is now a bit less skeptical. (And I'll take Chewie, if I can....)ReplyDelete
Beautiful art picks. So many to choose from. :DReplyDelete
I love both the pieces, but the Mike and Sully one strikes me especially close to the heart, since my now-husband (of three weeks!!!) proposed to me while I was wearing Monsters Inc. pajama pants. (It was Christmas morning, okay? Who gets dressed on Christmas morning?)ReplyDelete
I love them both!!ReplyDelete
Aww, the droids are so cute! And Grimer!ReplyDelete
I love Vader walking the AT-AT! It's so cute! And I would love the Chewie print. My husband loves Star Wars (I'm more of a Trekkie) and I'd love to get that for his office :)ReplyDelete
Octopus Dance!ReplyDelete
Lots of cute additions this month!ReplyDelete
Still waiting for the amazing Supergirl print! So pretty :)ReplyDelete
My Darth Vader loving daughter would go nuts over the Darth Vader walking the AT-AT!ReplyDelete
Oh my goodness, some adorable pieces! That Midna. One of these days I'm going to get picked. ;-D Thanks for sharing!ReplyDelete
I think I need to get the Princess Bride paper cut for my wall...ReplyDelete
Thank, Jen! These are all so great! They make me want to pull out my colored pencils!
I adore everything from Katie Cook (still sad I didn't get "Ima cake inna cup"). Would love to have Chewwie.
Keep up the fun art scouting!
Please be respectful when commenting; dissenting opinions are great, but personal attacks or hateful remarks will be removed. Also, including a link? Then here's your html cheat sheet: <a href="LINK ADDRESS">YOUR TEXT</a>


text:
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text:
2014 Jaguar F-Type video teaser drops ahead of Paris motor showWed, 19 Sep 2012
Readers have spotted both V6- and V8-powered examples of the upcoming Jaguar F-Type hiding in plain sight in the western United States. Spy photos might not satisfy our craving for detailed specifications on the sleek roadster—we won't know much more until the car debuts at the 2012 Paris motor show—but they have convinced us that the new Jaguar will be pleasing to the eye.
The above teaser video suggests that the F-Type will be as attractive in motion as it is in still photos. The dramatic voiceover by Jaguar engineer Ian Hoban gives us a bit of insight into the design rationale behind the creation of the new roadster—although, frankly, we wish he'd have kept quiet and simply let the car's engine do the talking.
The 2012 Paris motor show—or Mondail de l'Automobile, as it is officially known––will take place Sept. 27 through Oct. 14. It occurs every two years, alternating with the Frankfurt motor show in Germany. Paris is a showcase for the latest in design, but automakers will also be showing off their latest concept cars, green cars and supercars.
By null


text:
Six Nations 2013: Warburton and Alun Wyn Jones train with Wales
Last updated on .From the section Rugby Union
Sam Warburton and Alun Wyn Jones took a full part in training on Monday ahead of Wales' Six Nations clash in Italy.
Warburton, Wales' Grand Slam skipper in 2012, missed the 16-6 victory over France with a shoulder injury.
Lock Jones has returned to the Wales squad after also being out with a shoulder injury, since November.
"They are looking pretty healthy, but the final decision is with Rob [Howley] and the physios if they pass them fit," said defence coach Shaun Edwards.
Howley, the interim Wales coach, announced last week that the side which beat France will remain the same for the trip to Rome, but Warburton and Jones could both return on the bench, with Howley confirming the replacements on Tuesday.
Warburton missed out on selection for the win in Paris after he picked up a 'stinger' shoulder injury (nerve damage) in the 30-22 defeat to Ireland in Cardiff.
Justin Tipuric replaced Warburton at open-side flanker and impressed sufficiently to retain his place, while Ryan Jones - who took over as captain - also performed strongly at blind-side.
Lock Alun Wyn Jones suffered a shoulder injury during the autumn defeat to Argentina, but made his return to action for the Ospreys as a replacement in their win over Ulster on 8 February.
The return of the experienced 27-year-old, who has won 67 caps, is a major boost for Wales, who are without second-rows Bradley Davies and Luke Charteris through injury.
But Jones's Ospreys colleague Ian Evans and Dragons lock Andrew Coombs have both impressed in the second row so far this campaign.


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Viewing Charts for Cluster, Service, Role, and Host Instances
For cluster, service, role, and host instances you can see dashboards of charts of various metrics relevant to the entity you are viewing. While the metrics displayed are different for each entity, the basic functionality works in the same way.
Thetab for clusters and the Status tab for a service, role, or host display dashboards containing a limited set of charts.
The Status page Charts Library tab displays a dashboard containing a much larger set of charts, organized by categories such as process charts, host charts, CPU charts, and so on, depending on the entity (service, role, or host) that you are viewing.
A custom dashboard is displayed by default when you view the Status tab for an entity. You can switch between custom and default dashboards by using the edit button to the upper right of the chart.
Displaying Information from Charts
There are various ways to display information from charts.
- Click the icon at the top right to see a menu for opening the chart in the Chart Builder or exporting its data.
- Change the size of a chart on a dashboard by dragging the lower-right corner of the chart.
- Hovering with the mouse over a stream on a chart (for example, a line on a line chart) opens a small pop-up window that displays information about that stream. Move the mouse horizontally to see the data values change in the small pop-up window, based on the time represented at the mouse's position along the chart's horizontal axis. Click any stream within the chart to display a larger pop-up window that includes additional information for the stream at the point in time where the mouse was clicked. At the bottom of the large pop-up window is a button for viewing the Cloudera Manager page for the entity (service, host, role, query, or application) associated with the chart, if applicable (View Service, View Host, and so on). Click the button View Entity Chart to display a chart for the stream on its own page. If the chart displays more than one stream, the new chart displays only the stream that was selected when the button was clicked.
- The chart page includes an editable text field containing a default title based on the select statement that was used to create the chart. This title will be used if you save the chart as a dashboard. Type a new title for the chart into this field, if desired.
Exporting Data from Charts
- Click Export JSON to display the chart data in JSON format in a new browser window.
- Click Export CSV to open a Save dialog box enabling you to save the data as a CSV file, choose a program to open the CSV, or open the file with your system's default program for editing and displaying CSV files.
Adding and Removing Charts from a Dashboard
Minimum Required Role: Configurator (also provided by Cluster Administrator, Full Administrator)
- With a custom dashboard, the menu displayed by clicking the icon at the top right includes the selection Remove for users with the required roles. The Remove button does not appear in the menu when the default dashboard is used because the default dashboard does not allow removing the original charts. Use the edit button to the upper right of the chart to switch between custom and default dashboards.
- Charts can also be added to a custom dashboard. Click the icon at the top right and click Add to Dashboard. You can add the chart to an existing dashboard by selecting Add chart to an existing custom or system dashboard and selecting the dashboard name. Add the chart to a new dashboard by clicking Add chart to a new custom dashboard and enter a new name in the Dashboard Name field.
Creating Triggers from Charts
Minimum Required Role: Full Administrator
- For many charts, the menu opened with the icon will also include Create Trigger. Triggers allow you to define actions to be taken when a specified condition is met. For information on creating triggers, see Triggers.


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Arnolfini Portrait
|The Arnolfini Portrait
|Jan van Eyck
|Oil on oak panel of 3 vertical boards
|82.2 cm × 60 cm (32.4 in × 23.6 in); panel 84.5 cm × 62.5 cm (33.3 in × 24.6 in)
|National Gallery, London
The Arnolfini Portrait (or The Arnolfini Wedding, The Arnolfini Marriage, the Portrait of Giovanni Arnolfini and his Wife, or other titles) is a 1434 oil painting on oak panel by the Early Netherlandish painter Jan van Eyck. It forms a full-length double portrait, believed to depict the Italian merchant Giovanni di Nicolao Arnolfini and his wife, presumably in their residence at the Flemish city of Bruges.
It is considered one of the most original and complex paintings in Western art, because of its beauty, complex iconography,[1] geometric orthogonal perspective,[2] and expansion of the picture space with the use of a mirror.[3][4] According to Ernst Gombrich "in its own way it was as new and revolutionary as Donatello's or Masaccio's work in Italy. A simple corner of the real world had suddenly been fixed on to a panel as if by magic... For the first time in history the artist became the perfect eye-witness in the truest sense of the term".[5] The portrait has been considered by Erwin Panofsky and some other art historians as a unique form of marriage contract, recorded as a painting.[6] Signed and dated by van Eyck in 1434, it is, with the Ghent Altarpiece by the same artist and his brother Hubert, the oldest very famous panel painting to have been executed in oils rather than in tempera. The painting was bought by the National Gallery in London in 1842.
Van Eyck used the technique of applying several layers of thin translucent glazes to create a painting with an intensity of both tone and colour. The glowing colours also help to highlight the realism, and to show the material wealth and opulence of Arnolfini's world. Van Eyck took advantage of the longer drying time of oil paint, compared to tempera, to blend colours by painting wet-in-wet to achieve subtle variations in light and shade to heighten the illusion of three-dimensional forms. The wet-in-wet (wet-on-wet), technique, also known as alla prima, was highly utilized by Renaissance painters including Jan van Eyck.[7] The medium of oil paint also permitted van Eyck to capture surface appearance and distinguish textures precisely. He also rendered the effects of both direct and diffuse light by showing the light from the window on the left reflected by various surfaces. It has been suggested that he used a magnifying glass in order to paint the minute details such as the individual highlights on each of the amber beads hanging beside the mirror.
The illusionism of the painting was remarkable for its time, in part for the rendering of detail, but particularly for the use of light to evoke space in an interior, for "its utterly convincing depiction of a room, as well of the people who inhabit it".[8] Whatever meaning is given to the scene and its details, and there has been much debate on this, according to Craig Harbison the painting "is the only fifteenth-century Northern panel to survive in which the artist's contemporaries are shown engaged in some sort of action in a contemporary interior. It is indeed tempting to call this the first genre painting – a painting of everyday life – of modern times".
Jan van Eyck's characteristic Early Netherlandish style depicts the scene with a stunning amount of detail. The painting is generally in very good condition, though with small losses of original paint and damages, which have mostly been retouched. Infrared reflectograms of the painting show many small alterations, or pentimenti, in the underdrawing: to both faces, to the mirror, and to other elements.[9] The couple is shown in an upstairs room with a chest and a bed in it during early summer as indicated by the fruits on the cherry tree outside the window. The room probably functioned as a reception room, as it was the fashion in France and Burgundy where beds in reception rooms were used for seating, except, for example, when a mother with a new baby received visitors. The window has six interior wooden shutters, but only the top opening has glass, with clear bulls-eye pieces set in blue, red and green stained glass.[9]
The two figures are very richly dressed; despite the season both their outer garments, his tabard and her dress, are trimmed and fully lined with fur. The furs may be the especially expensive sable for him and ermine or miniver for her. He wears a hat of plaited straw dyed black, as often worn in the summer at the time. His tabard was more purple than it appears now (as the pigments have faded over time) and may be intended to be silk velvet (another very expensive item). Underneath he wears a doublet of patterned material, probably silk damask. Her dress has elaborate dagging (cloth folded and sewn together, then cut and frayed decoratively) on the sleeves, and a long train. Her blue underdress is also trimmed with white fur.[9]
Although the woman's plain gold necklace and the rings that both wear are the only jewellery visible, both outfits would have been enormously expensive, and appreciated as such by a contemporary viewer. There may be an element of restraint in their clothes (especially the man) befitting their merchant status – portraits of aristocrats tend to show gold chains and more decorated cloth,[9] although "the restrained colours of the man's clothing correspond to those favoured by Duke Phillip of Burgundy".[10]
The interior of the room has other signs of wealth; the brass chandelier is large and elaborate by contemporary standards, and would have been very expensive. It would probably have had a mechanism with pulley and chains above, to lower it for managing the candles (possibly omitted from the painting for lack of room). The convex mirror at the back, in a wooden frame with scenes of The Passion painted behind glass, is shown larger than such mirrors could actually be made at this date – another discreet departure from realism by van Eyck. There is also no sign of a fireplace (including in the mirror), nor anywhere obvious to put one. Even the oranges casually placed to the left are a sign of wealth; they were very expensive in Burgundy and may have been one of the items dealt in by Arnolfini. Further signs of luxury are the elaborate bed-hangings and the carvings on the chair and bench against the back wall (to the right, partly hidden by the bed), also the small Oriental carpet on the floor by the bed; many owners of such expensive objects placed them on tables, as they still do in the Netherlands.[9][10] There existed a friendship between Giovanni Arnolfini and Philip the Good who sent his court painter Jan van Eyck to portray Arnolfini Double. The relation possibly began with a tapestry order including the images of Notre Dame Cathedral in return of a good payment.[7]
The view in the mirror shows two figures just inside the door that the couple are facing. The second figure, wearing red, is presumably the artist although, unlike Velázquez in Las Meninas, he does not seem to be painting. Scholars have made this assumption based on the appearance of figures wearing red head-dresses in some other van Eyck works (e.g., the Portrait of a Man (Self Portrait?) and the figure in the background of the Madonna with Chancellor Rolin). A dog is an early form of the breed now known as the Brussels griffon.[9]
The painting is signed, inscribed and dated on the wall above the mirror: "Johannes de eyck fuit hic 1434" ("Jan van Eyck was here 1434"). The inscription looks as if it were painted in large letters on the wall, as was done with proverbs and other phrases at this period. Other surviving van Eyck signatures are painted in trompe-l'œil on the wooden frame of his paintings, so that they appear to have been carved in the wood.[9][11]
Identity of subjects[edit]
In their book published in 1857, Crowe and Cavalcaselle were the first to link the double portrait with the early 16th century inventories of Margaret of Austria. They suggested that the painting showed portraits of Giovanni [di Arrigo] Arnolfini and his wife.[12] Four years later James Weale published a book in which he agreed with this analysis and identified Giovanni's wife as Jeanne (or Giovanna) Cenami.[13] For the next century most art historians accepted that the painting was a double portrait of Giovanni di Arrigo Arnolfini and his wife Jeanne Cenami, but a chance discovery published in 1997 established that they were married in 1447, thirteen years after the date on the painting and six years after van Eyck's death.[14]
It is now believed that the subject is either Giovanni di Arrigo or his cousin, Giovanni di Nicolao Arnolfini, and a wife of either one of them. This is either an undocumented first wife of Giovanni di Arrigo or a second wife of Giovanni di Nicolao, or, according to a recent proposal, Giovanni di Nicolao's first wife Costanza Trenta, who had died perhaps in childbirth by February 1433.[15] In the latter case, this would make the painting partly an unusual memorial portrait, showing one living and one dead person. Details such as the snuffed candle above the woman, the scenes after Christ's death on her side of the background roundel, and the black garb of the man, support this view.[15] Both Giovanni di Arrigo and Giovanni di Nicolao Arnolfini were Italian merchants, originally from Lucca, but resident in Bruges since at least 1419.[11] The man in this painting is the subject of a further portrait by van Eyck in the Gemäldegalerie, Berlin, leading to speculation he was a friend of the artist.[16]
Scholarly debate[edit]
In 1934 Erwin Panofsky published an article entitled Jan van Eyck's 'Arnolfini' Portrait in the Burlington Magazine, arguing that the elaborate signature on the back wall, and other factors, showed that it was painted as a legal record of the occasion of the marriage of the couple, complete with witnesses and a witness signature.[17] Panofsky also argues that the many details of domestic items in the painting each have a disguised symbolism attached to their appearance. While Panofsky's claim that the painting formed a kind of certificate of marriage is not accepted by all art historians, his analysis of the symbolic function of the details is broadly agreed, and has been applied to many other Early Netherlandish paintings, especially a number of depictions of the Annunciation set in richly detailed interiors, a tradition for which the Arnolfini Portrait and the Mérode Altarpiece by Robert Campin represent the start (in terms of surviving works at least).[18]
Since then, there has been considerable scholarly argument among art historians on the occasion represented. Edwin Hall considers that the painting depicts a betrothal, not a marriage. Margaret D. Carroll argues that the painting is a portrait of a married couple that alludes also to the husband's grant of legal authority to his wife.[19] Carroll also proposes that the portrait was meant to affirm Giovanni Arnolfini's good character as a merchant and aspiring member of the Burgundian court. She argues that the painting depicts a couple, already married, now formalizing a subsequent legal arrangement, a mandate, by which the husband "hands over" to his wife the legal authority to conduct business on her own or his behalf (similar to a power of attorney). The claim is not that the painting had any legal force, but that van Eyck played upon the imagery of legal contract as a pictorial conceit. While the two figures in the mirror could be thought of as witnesses to the oath-taking, the artist himself provides (witty) authentication with his notarial signature on the wall.[20]
Jan Baptist Bedaux agrees somewhat with Panofsky that this is a marriage contract portrait in his 1986 article "The reality of symbols: the question of disguised symbolism in Jan van Eyck's Arnolfini Portrait." However, he disagrees with Panofsky's idea of items in the portrait having hidden meanings. Bedaux argues, "if the symbols are disguised to such an extent that they do not clash with reality as conceived at the time ... there will be no means of proving that the painter actually intended such symbolism."[21] He also conjectures that if these disguised symbols were normal parts of the marriage ritual, then one could not say for sure whether the items were part of a "disguised symbolism" or just social reality.[21]
Craig Harbison takes the middle ground between Panofsky and Bedaux in their debate about "disguised symbolism" and realism. Harbison argues that "Jan van Eyck is there as storyteller ... [who] must have been able to understand that, within the context of people's lives, objects could have multiple associations", and that there are many possible purposes for the portrait and ways it can be interpreted.[22] He maintains that this portrait cannot be fully interpreted until scholars accept the notion that objects can have multiple associations. Harbison urges the notion that one needs to conduct a multivalent reading of the painting that includes references to the secular and sexual context of the Burgundian court, as well as religious and sacramental references to marriage.
Lorne Campbell in the National Gallery Catalogue sees no need to find a special meaning in the painting: "... there seems little reason to believe that the portrait has any significant narrative content. Only the unnecessary lighted candle and the strange signature provoke speculation."[23] He suggests that the double portrait was very possibly made to commemorate a marriage, but not a legal record and cites examples of miniatures from manuscripts showing similarly elaborate inscriptions on walls as a normal form of decoration at the time. Another portrait in the National Gallery by van Eyck, Portrait of a Man (Leal Souvenir), has a legalistic form of signature.[11]
Margaret Koster's new suggestion, discussed above and below, that the portrait is a memorial one, of a wife already dead for a year or so, would displace these theories. Art historian Maximiliaan Martens has suggested that the painting was meant as a gift for the Arnolfini family in Italy. It had the purpose of showing the prosperity and wealth of the couple depicted. He feels this might explain oddities in the painting, for example why the couple are standing in typical winter clothing while a cherry tree is in fruit outside, and why the phrase "Johannes de eyck fuit hic 1434" is featured so large in the centre of the painting. Herman Colenbrander has proposed that the painting may depict an old German custom of a husband promising a gift to his bride on the morning after their wedding night. He has also suggested that the painting may have been a present from the artist to his friend.[24]
In 2016, French physician Jean-Philippe Postel, in his book L'Affaire Arnolfini, agreed with Koster that the woman is dead, but he suggested that she is appearing to the man as a spectre, asking him to pray for her soul.[25]
Interpretation and symbolism[edit]
Figures and marriage[edit]
It is thought that the couple are already married because of the woman's headdress. A non-married woman would have her hair down, according to Margaret Carroll.[26] The placement of the two figures suggests conventional 15th century views of marriage and gender roles – the woman stands near the bed and well into the room, symbolic of her role as the caretaker of the house and solidifying her in a domestic role, whereas Giovanni stands near the open window, symbolic of his role in the outside world. Arnolfini looks directly out at the viewer; his wife gazes obediently at her husband. His hand is vertically raised, representing his commanding position of authority, whilst she has her hand in a lower, horizontal, more submissive pose. However, her gaze at her husband can also show her equality to him because she is not looking down at the floor as lower-class women would. They are part of the Burgundian court life and in that system she is his equal, not his lowly subordinate.[27]
The symbolism behind the action of the couple's joined hands has also been debated among scholars. Many point to this gesture as proof of the painting's purpose. Is it a marriage contract or something else? Panofsky interprets the gesture as an act of fides, Latin for "marital oath". He calls the representation of the couple "qui desponsari videbantur per fidem" which means, "who were contracting their marriage by marital oath".[28] The man is grasping the woman's right hand with his left, which is the basis for the controversy. Some scholars like Jan Baptist Bedaux and Peter Schabacker argue that if this painting does show a marriage ceremony, then the use of the left hand points to the marriage being morganatic and not clandestine. A marriage is said to be morganatic if a man marries a woman of unequal rank.[29] However, the subjects originally thought by most scholars to be represented in this painting, Giovanni Arnolfini and Giovanna Cenami, were of equal status and rank in the courtly system, so the theory would not hold true.[29] On the opposite side of the debate are scholars like Margaret Carroll. She suggests that the painting deploys the imagery of a contract between an already married couple giving the wife the authority to act on her husband's behalf in business dealings.[30] Carroll identifies Arnolfini's raised right hand as a gesture of oath-taking known as "fidem levare", and his joining hands with his wife as a gesture of consent known as "fides manualis".[31]
Although many viewers assume the wife to be pregnant, this is not believed to be so. Art historians point to numerous paintings of female virgin saints similarly dressed, and believe that this look was fashionable for women's dresses at the time.[32] Fashion would have been important to Arnolfini, especially since he was a cloth merchant. The more cloth a person wore, the more wealthy he or she was assumed to be. Another indication that the woman is not pregnant is that Giovanna Cenami (the identification of the woman according to most earlier scholars) died childless,[33] as did Costanza Trenta (a possible identification according to recent archival evidence);[15] whether a hypothetical unsuccessful pregnancy would have been left recorded in a portrait is questionable, although if it is indeed Costanza Trenta, as Koster proposed, and she died in childbirth, then the oblique reference to pregnancy gains strength. Moreover, the beauty ideal embodied in contemporary female portraits and clothing rest in the first place on the high valuation on the ability of women to bear children. Harbison maintains her gesture is merely an indication of the extreme desire of the couple shown for fertility and progeny.[34]
There is a carved figure as a finial on the bedpost, probably of Saint Margaret, patron saint of pregnancy and childbirth,[35] who was invoked to assist women in labor and to cure infertility, or possibly representing Saint Martha, the patroness of housewives.[36] From the bedpost hangs a brush, symbolic of domestic duties. Furthermore, the brush and the rock crystal prayer-beads (a popular engagement present from the future bridegroom) appearing together on either side of the mirror may also allude to the dual Christian injunctions ora et labora (pray and work). According to Jan Baptist Bedaux, the broom could also symbolize proverbial chastity; it "sweeps out impurities".[37][38]
The small medallions set into the frame of the convex mirror at the back of the room show tiny scenes from the Passion of Christ and may represent God's promise of salvation for the figures reflected on the mirror's convex surface. Furthering the Memorial theory, all the scenes on the wife's side are of Christ's death and resurrection. Those on the husband's side concern Christ's life. The mirror itself may represent the eye of God observing the vows of the wedding. A spotless mirror was also an established symbol of Mary, referring to the Holy Virgin's immaculate conception and purity.[35] The mirror reflects two figures in the doorway, one of whom may be the painter himself. In Panofsky's controversial view, the figures are shown to prove that the two witnesses required to make a wedding legal were present, and Van Eyck's signature on the wall acts as some form of actual documentation of an event at which he was himself present.
According to one author "The painting is often referenced for its immaculate depiction of non-Euclidean geometry",[39] referring to the image on the convex mirror. Assuming a spherical mirror, the distortion has been correctly portrayed, except for the leftmost part of the window frame, the near edge of the table and the hem of the dress.[40]
Other objects[edit]
The little dog may symbolize fidelity (fido), loyalty,[35] or alternatively lust, signifying the couple's desire to have a child.[41] Unlike the couple, he looks out to meet the gaze of the viewer.[42] The dog could be simply a lap dog, a gift from husband to wife. Many wealthy women in the court had lap dogs as companions, reflecting the wealth of the couple and their position in courtly life.[43] The dog appears to be a Griffon terrier, or perhaps a Bolognese dog.[44]
The green of the woman's dress symbolizes hope, possibly the hope of becoming a mother. Its intense brightness also indicates wealth, since dyeing fabric such a shade was difficult and expensive.[45] Her white cap could signify purity or her status as married. Behind the pair, the curtains of the marriage bed have been opened; the red curtains might allude to the physical act of love.
The single candle in the left-front holder of the ornate six-branched chandelier is possibly the candle used in traditional Flemish marriage customs.[35] Lit in full daylight, like the sanctuary lamp in a church, the candle may allude to the presence of the Holy Ghost or the ever-present eye of God. Alternatively, Margaret Koster posits that the painting is a memorial portrait, as the single lit candle on Giovanni's side contrasts with the burnt-out candle whose wax stub can just be seen on his wife's side, in a visual play on a common metaphor: he lives on, she is dead.[46]
The cherries present on the tree outside the window may symbolize love. The oranges which lie on the window sill and chest may symbolize the purity and innocence that reigned in the Garden of Eden before the Fall of Man.[35] They were uncommon and a sign of wealth in the Netherlands, but in Italy were a symbol of fecundity in marriage.[47] More simply, the fruit could be a sign of the couple's wealth, since oranges were very expensive imports.
The male subject's over-shoes, called pattens, were a covering for indoor footwear that were made as protection from the outdoor elements. The idea that he has taken his off may imply that he would no longer stray, hinting at his fidelity towards his wife, potentially signifying that, for religious reasons, he would not remarry after her death. This is further used as proof that the female subject was painted posthumously, which is a theory widely accepted.
In January 2018 the woman's dress was the subject of the BBC Four programme A Stitch in Time with fashion historian Amber Butchart.[48]
The provenance of the painting begins in 1435 when it was dated by van Eyck and presumably owned by the sitter(s). At some point before 1516 it came into the possession of Don Diego de Guevara (d. Brussels 1520), a Spanish career courtier of the Habsburgs (himself the subject of a fine portrait by Michael Sittow in the National Gallery of Art). He lived most of his life in the Netherlands, and may have known the Arnolfinis in their later years.[49]
By 1516 he had given the portrait to Margaret of Austria, Habsburg Regent of the Netherlands, when it shows up as the first item in an inventory of her paintings, made in her presence at Mechelen. The item says (in French): "a large picture which is called Hernoul le Fin with his wife in a chamber, which was given to Madame by Don Diego, whose arms are on the cover of the said picture; done by the painter Johannes." A note in the margin says "It is necessary to put on a lock to close it: which Madame has ordered to be done." In a 1523–4 Mechelen inventory, a similar description is given, although this time the name of the subject is given as "Arnoult Fin".[49]
In 1530 the painting was inherited by Margaret's niece Mary of Hungary, who in 1556 went to live in Spain. It is clearly described in an inventory taken after her death in 1558, when it was inherited by Philip II of Spain. A painting of two of his young daughters, Infantas Isabella Clara Eugenia and Catalina Micaela of Spain (Prado), commissioned by Philip clearly copies the pose of the figures. In 1599 a German visitor saw it in the Alcazar Palace in Madrid. Now it had verses from Ovid painted on the frame: "See that you promise: what harm is there in promises? In promises anyone can be rich." It is very likely that Velázquez knew the painting, which may have influenced his Las Meninas, which shows a room in the same palace.[49] In 1700 the painting appeared in an inventory after the death of Carlos II with shutters and the verses from Ovid.
The painting survived the fire in the Alcazar which destroyed some of the Spanish royal collection, and by 1794 had been moved to the "Palacio Nuevo", the present Royal Palace of Madrid. In 1816 the painting was in London, in the possession of Colonel James Hay, a Scottish soldier. He claimed that after he was seriously wounded at the Battle of Waterloo the previous year, the painting hung in the room where he convalesced in Brussels. He fell in love with it, and persuaded the owner to sell. More relevant to the real facts is no doubt Hay's presence at the Battle of Vitoria (1813) in Spain, where a large coach loaded by King Joseph Bonaparte with easily portable artworks from the royal collections was first plundered by British troops, before what was left was recovered by their commanders and returned to the Spanish.
Hay offered the painting to the Prince Regent, later George IV of the United Kingdom, via Sir Thomas Lawrence. The Prince had it on approval for two years at Carlton House before eventually returning it in 1818. Around 1828, Hay gave it to a friend to look after, not seeing it or the friend for the next thirteen years, until he arranged for it to be included in a public exhibition in 1841. It was bought the following year (1842) by the recently formed National Gallery, London for £600, as inventory number 186, where it remains. By then the shutters had gone, along with the original frame.[49]
- ^ Ward, John. "Disguised Symbolism as Enactive Symbolism in Van Eyck's Paintings". Artibus et Historiae, Vol. 15, No. 29 (1994), pp. 9–53
- ^ Elkins, John, "On the Arnolfini Portrait and the Lucca Madonna: Did Jan van Eyck Have a Perspectival System?". The Art Bulletin, Vol. 73, No. 1 (March 1991), pp. 53–62
- ^ Ward, John L. "On the Mathematics of the Perspective of the "Arnolfini Portrait" and similar works of Jan van Eyck", Art Bulletin, Vol. 65, No. 4 (1983) p.680
- ^ Seidel, Linda. "Jan van Eyck's Arnolfini Portrait": Business as Usual?". Critical Inquiry, Vol. 16, No. 1 (Autumn, 1989), pp. 54–86
- ^ Gombrich, E.H., The Story of Art, p. 180, Phaidon, 13th edn. 1982. ISBN 0-7148-1841-0
- ^ Harbison, Craig. "Sexuality and Social Standing in Arnolfini's Double Portrait". Renaissance Quarterly, Vol. 43, No. 2 (Summer, 1990), pp. 249–291
- ^ a b "The Arnolfini Portrait by Jan van Eyck". Articonog.
- ^ Dunkerton, Jill, et al., Giotto to Dürer: Early Renaissance Painting in the National Gallery, page 258. National Gallery Publications, 1991. ISBN 0-300-05070-4
- ^ a b c d e f g Campbell 1998, 186–191 for all this section, except as otherwise indicated.
- ^ a b Harbison 1991, 37
- ^ a b c Campbell 1998, 174–211
- ^ Hall 1994, 4; Crowe and Cavalcaselle 1857, 65–66
- ^ Weale 1861, 27–28; Campbell 1998, 193
- ^ Campbell 1998, 195
- ^ a b c Koster 2003. Also see Giovanni Arnolfini for a fuller discussion of the issue
- ^ See the Giovanni Arnolfini article for the portrait.
- ^ Panofsky 1934
- ^ Harbison 1991, 36–39
- ^ Carroll 1993
- ^ Carroll 2008, 13–15
- ^ a b Bedaux 1986, 5
- ^ Harbison 1990, 288–289
- ^ Campbell 1998, 200
- ^ Colenbrander 2005
- ^ Postel 2016
- ^ Carroll 1993, 101
- ^ Harbison 1990, 282
- ^ Panofsky 1970, 8
- ^ a b Bedaux 1986, 8–9
- ^ Carroll 2008, 12–15
- ^ Carroll 2008, 18
- ^ Hall 1994, 105–106
- ^ Harbison 1990, 267
- ^ Harbison 1990, 265
- ^ a b c d e Panofsky 1953, 202–203
- ^ Harbison 1991, 36–37
- ^ Bedaux 1986, 19
- ^ Harbison 1991, 36
- ^ Levin 2002, 55
- ^ A. Criminisi, M. Kempz and S. B. Kang (2004). Reflections of Reality in Jan van Eyck and Robert Campin. Historical Methods 37(3).
- ^ as the art historian Craig Harbison has argued
- ^ Harbison 1991, 33–34
- ^ Harbison 1990, 270
- ^ Panofsky, Erwin (March 1934). "Jan van Eyck's Arnolfini Portrait". The Burlington Magazine for Connoisseurs. 64 (372): 118. JSTOR 865802 – via JSTOR.
- ^ St. Clair, Kassia (2016). The Secret Lives of Colour. London: John Murray. p. 214. ISBN 9781473630819. OCLC 936144129.
- ^ Koster
- ^ The orange blossom remains the traditional flower for a bride to wear in her hair.
- ^ "BBC Four - A Stitch in Time, Series 1, Arnolfini". BBC.
- ^ a b c d Campbell 1998, 175–178 for all this section
- Bedaux, Jan Baptist, "The reality of symbols: the question of disguised symbolism in Jan van Eyck's Arnolfini portrait", Simiolus: Netherlands Quarterly for the History of Art, volume 16, issue 1, pages 5–28, 1986, JSTOR
- Campbell, Lorne, The Fifteenth Century Netherlandish Paintings, London: National Gallery, 1998, ISBN 0-300-07701-7
- Carroll, Margaret D., "In the name of God and profit: Jan van Eyck's Arnolfini portrait", Representations, volume 44, pages 96–132, Autumn 1993, JSTOR
- Carroll, Margaret D., Painting and Politics in Northern Europe: Van Eyck, Bruegel, Rubens, and their Contemporaries, University Park, PA: Pennsylvania State University Press, 2008, ISBN 0-271-02954-4
- Colenbrander, Herman Th., "'In promises anyone can be rich!' Jan van Eyck's Arnolfini double portrait: a 'Morgengave'", Zeitschrift für Kunstgeschichte, volume 68, issue 3, pages 413–424, 2005, JSTOR
- Crowe, Joseph A. and Cavalcaselle, Giovanni B., The Early Flemish Painters: Notices of their Lives and Works, London: John Murray, 1857
- Hall, Edwin, The Arnolfini Betrothal: Medieval Marriage and the Enigma of Van Eyck's Double Portrait, Berkeley: University of California Press, 1994, ISBN 0-520-08251-6. The text is also available from the California Digital Library.
- Harbison, Craig, "Sexuality and social standing in Jan van Eyck's Arnolfini double portrait", Renaissance Quarterly, volume 43, issue 2, pages 249–291, Summer 1990, JSTOR
- Harbison, Craig, Jan van Eyck, The Play of Realism, Reaktion Books, London, 1991, ISBN 0-948462-18-3
- Koster, Margaret L., "The Arnolfini double portrait: a simple solution", Apollo, volume 158, issue 499, pages 3–14, September 2003
- Levin, Janna, How the Universe Got Its Spots: Diary of a Finite Time in a Finite Space, Random House 2002 ISBN 1-4000-3272-5
- Panofsky, Erwin, "Jan van Eyck's Arnolfini Portrait", The Burlington Magazine for Connoisseurs, volume 64, issue 372, pages 117–119 + 122–127, March 1934, JSTOR
- Panofsky, Erwin, Early Netherlandish Painting, its Origins and Character (Volume 1), Cambridge: Harvard University Press, 1953
- Panofsky, Erwin, "Jan van Eyck's Arnolfini portrait", in Creighton, Gilbert, Renaissance Art, New York: Harper and Row, pages 1–20, 1970
- Postel, Jean-Philippe, L'Affaire Arnolfini, Arles: Actes Sud, 2016
- Weale, W.H. James, Notes sur Jean van Eyck, London: Barthès and Lowell, 1861 (In French)
Further reading[edit]
|External video
|Van Eyck's Portrait of Giovanni Arnolfini and his Wife, Smarthistory
- Hicks, Carola, Girl in a Green Gown: The History and Mystery of the Arnolfini Portrait, London: Random House, 2011, ISBN 0-7011-8337-3
- Ridderbos, Bernhard, in Early Netherlandish Paintings: Rediscovery, Reception and Research, eds. Bernhard Ridderbos, Henk Th. van Veen, Anne van Buren, pp. 59–77, 2005 (2nd edn), Getty/Amsterdam University Press, ISBN 9053566147 9789053566145, google books
- Seidel, Linda, "'Jan van Eyck's Portrait': business as usual?", Critical Inquiry, volume 16, issue 1, pages 54–86, Autumn 1989, JSTOR


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Fintan Warfield -Youth, Arts & LGBT Rights
Fintan Warfield is a Senator and former Mayor of South Dublin County Council and was a Sinn Féin councillor for the Templeogue-Terenure local electoral area.
He has been active in local politics since the age of sixteen. He attended St. Mac Dara's Community College and continues to play Gaelic football for St. Judes GAA Club in Templeogue. At the age of 17, he moved to Galway City where he graduated with a Bachelor of Arts in Film & Television.
Following college, he was delighted to perform extensive tours with Derek Warfield & The Young Wolfe Tones throughout the United States. From a young age, he had a keen interest in Ireland's cultural heritage of arts and music. He is currently a voluntary chairperson of the Civic Theatre. Their mission is to mount an artistic and challenging programme of contemporary and classical work in theatre, dance, opera and music for the community of South Dublin County.
He has been active in the campaign to achieve equality for members of the LGBT community and for their children. He has spoken out in relation to marriage equality and various other issues affecting lesbian, gay, bisexual, and trans people in Ireland. He also works closely with the Walkinstown-Greenhills Resource Centre. The facility coordinates a local approach to drug prevention and provides support services to young people who are affected by drug and alcohol abuse.
He believes that politics is about empowering communities and affording people the space to work together to improve services and facilities for residents. He has a good knowledge of the issues facing local neighbourhoods and he works tirelessly in an effort to enhance the community.


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Bohuslav Martinů
d. 28 August 1959, Liestal, Switzerland
Martinu was born on 8 December 1890 in a room at the top of a church tower in Policka, a small town in the Bohemian-Moravian highlands (his cobbler father, Ferdinand, was also a bell-ringer and fire-watcher). Martinu showed early promise as a violinist and was composing when barely into his teens. In 1906 the citizens of Policka collected the funds to send him to the Conservatoire in Prague, but Martinu's academic career was not a success.
By the age of 20, while earning his living as an orchestral violinist, Martinu was composing prolifically and maintained this productivity for the rest of his life. The first important influence on his music was Claude Debussy, followed by Stravinsky, but soon an individual voice began to emerge, characterised by motoric, insistent rhythmic patterns and a natural, folklike melodiousness.
In 1923 Martinu moved to Paris where he studied with Albert Roussel and, in 1931, married Charlotte Quennechen, whose work as a dressmaker supported him while he continued to compose. Although he now seemed settled in Paris for good, he was becoming more aware of his Czech roots, and Czech themes and Czech authors featured prominently in his music. The threatened German invasion of Czechoslovakia prompted a work of protest, the powerful Double Concerto for two string orchestras, piano and timpani – perhaps the best of the many concerti grossi he composed in the 1930s. With the Nazi invasion of France in 1940 Martinu and his wife fled before the advancing troops, escaping to the United States via Spain and Portugal.
In 1942 Martinu began the first of what were to be six symphonies, the first five written at the rate of one a year – although, of course, he was, as always writing much else besides. A succession of teaching posts gave him some financial security, but a fall from a balcony in 1946 resulted in serious injury and high medical bills, and a temporary interruption in his ability to write music.
Martinu had been considering a return to Czechoslovakia since the end of the Second World War, but the seizure of power by the Communists in 1948 forced him to the reluctant conclusion that he might never see his homeland again. In the early 1950s he again began to spend more time in Europe and moved to Nice in 1953, returning to America two years later to take up a teaching position at the Curtis Institute in Philadelphia; by now he was again composing as prolifically as before his accident. His post at the Curtis Institute lasted only a year: in 1956, eager to be back in Europe, he accepted a teaching post in Rome, at the American Academy of Music, and the following year he gratefully took advantage of a generous offer by the Swiss conductor and maecenas Paul Sacher and moved to Sacher's estate in Switzerland. There he lived until his death on 28 August 1959.
Bohuslav Martinu is published by Boosey & Hawkes.
This biography can be reproduced free of charge in concert programmes with the following credit: Reprinted by kind permission of Boosey & Hawkes


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A couple of images from the bike lane at Main and Broadway
I reported the debris to the DPW Friday, and they sent me an email yesterday saying that they'd have someone take care of it. Hopefully they'll sweep up some of the gravel while they're at it.
They fixed some potholes along here in the car lanes, and the gravel from the patches is really bad in the bike lane.


text:
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