From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #7865 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Wednesday, November 17 2021 Volume 14 : Number 7865 Today's Subjects: ----------------- Helps bladder control, colon, and your sex life ["Bladder Leakage" Subject: Helps bladder control, colon, and your sex life Helps bladder control, colon, and your sex life http://planhut.us/qd0rtug6AHSKigv2O39G7B_9bQQobPOy2Co0NSPJGW2WgQM5bQ http://planhut.us/KzZntKTiDatkmKKIWlZFI_bHvRFGT8PrOGJc0DA1WWBi0C3R1g seed oil tends to dry yellow and can change the hue of the color. Recent advances in chemistry have produced modern water miscible oil paints that can be used and cleaned up with water. Small alterations in the molecular structure of the oil creates this water miscible property. Supports for oil painting A square canvas rests on top of another with its back showing a thick frame of wood. Splined canvas The earliest oil paintings were almost all panel paintings on wood, which had been seasoned and prepared in a complicated and rather expensive process with the panel constructed from several pieces of wood, although such a support has a tendency to warp. Panels continued to be used well into the 17th century, including by Rubens, who painted several large works on wood. The artists of the Italian regions moved towards canvas in the early 16th century, led partly by a wish to paint larger images, which would have been too heavy as panels. Canvas for sails was made in Venice and so easily available and cheaper than wood. Smaller paintings, with very fine detail, were easier to paint on a very firm surface, and wood panels or copper plates, often reused from printmaking, were often chosen for small cabinet paintings even in the 19th century. Portrait miniatures normally used very firm supports, including ivory, or stiff paper card. Traditional artists' canvas is made from linen, but less expensive cotton fabric has been used. The artist first prepares a wooden frame called a "stretcher" or "strainer". The difference between the two names is that stretchers are slightly adjustable, while strainers are rigid and lack adjustable corner notches. The canvas is then pulled across the wooden frame and tacked or stapled tightly to the back edge. Then the artist applies a "size" to isolate the canvas from the acidic qualities of the paint. Traditionally, the canvas was coated with a layer of animal glue (modern painters will use rabbit skin glue) as the size and primed with lead white paint, sometimes with added chalk. Panels were prepared with a gesso, a mixture of glue and chalk. Modern acrylic "gesso" is made of titanium dioxide with an acrylic binder. It is frequently used on canvas, whereas real gesso is not suitable for canvas. The artist might apply several layers of gesso, sanding each smooth after it has dried. Acrylic gesso is very difficult to sand. One manufacturer makes a "sandable" acrylic gesso, but it is intended for panels only and not canvas. It is possible to make the gesso a particular color, but most store-bought gesso is white. The gesso layer, depen ------------------------------ Date: Mon, 15 Nov 2021 03:50:00 -0500 From: "Psychic Reading" Subject: What does your guardian angel want to reveal to you? What does your guardian angel want to reveal to you? http://hoponopono.co/C3pRtzJc5TugAM_Pmi0F8wc2yfe43aBnnhsPf7PQk6y8LPCt http://hoponopono.co/WfgSWH9p8Zv3K3nJ9Pdbih_l-OVVofWzv6fb7wP8LnpjZTyGUw reer at Oxford Courtyard of an early-modern sandstone building with a lawn at the centre. Brasenose College, Oxford, where Reynolds served as a fellow and tutor in Classics from 1957 to 1996 In 1954, Reynolds was elected to his first academic appointment, a research fellowship at The Queen's College, Oxford. During his three years there, he worked mainly on the Letters of Seneca the Younger, which would later form the basis of his reputation as a Latinist. In this period, he came under the influence of three textual critics working at Oxford: Neil Ripley Ker, Richard William Hunt, and R. A. B. Mynors, the senior chair of Latin at the university. They encouraged him to study the transmission of the text of Seneca. The post of Classics tutor at Brasenose College, Oxford, had fallen vacant after its incumbent, Maurice Platnauer, had become the college's new Principal. In 1957, after the end of his research fellowship, Reynolds was selected as Platnauer's replacement and duly elected to a tutorial fellowship. He was also appointed a University Lecturer in Greek and Latin Literature. He held both appointments for the rest of his academic career. Reynolds played an active part in the college's governing body, where, according to the Brasenose fellow and chemist Graham Richards, he "held a position of quiet authority". From 1985 to 1987, he served as Vice-Principal and, in 1997, as acting Principal of the college. He supported Brasenose's decision to become the first all-male college of the university to admit female students. In 1996 he was raised to the rank of a professor. In 1962, he married Susan Mary Buchanan, an optometrist and daughter of the Scottish town planner Colin Buchanan. Their wedding reception was held at Brasenose College, where Reynolds was jokingly given an exeat, a permission required by undergraduates to spend a night away from the college, by a student. They moved into Winterslow Cottage in the hamlet of Boars Hill near Oxford, which they later bought from the college. Reynolds and his wife had two daughters and a son. Reynolds was elected a Fellow of the British Academy in 1987. Over the course of his career, he held a number of visiting fellowships and professorships; he spent periods at the University of Texas at Austin, twice at the Institute for Advanced Study at Princeton, and twice at Cornell University. From 1975 to 1987, he was co-editor of The Classical Review. Retirement and death Reynolds retired from his teaching duties in 1997, one year after being appointed to a professorship. Around this time, he was diagn ------------------------------ Date: Sun, 14 Nov 2021 07:05:40 -0500 From: "The Joint Whisperer" Subject: 30-sec fix for Bone on Bone Knee Pain 30-sec fix for Bone on Bone Knee Pain http://snakezshed.us/2lLwf0EbKgUuwXXWXJG2HFyMYbYvZCyXaInpb7XKTUZ6OfZATg http://snakezshed.us/GmdCufDTuFF5q5uXOhWrVvOIh27C7ytDEVbPVJNMoSft2KDikg arliest known surviving oil paintings are Buddhist murals created circa 650AD in Bamiyan, Afghanistan. Bamiyan is an historic settlement along the silk road and is famous for the Bamiyan Buddhas, a series of giant statues, behind which rooms and tunnels are carved from the rock. The murals are located in these rooms. The artworks display a wide range of pigments and ingredients, and even included the use of a final varnish layer. The refinement of this painting technique and the survival of the paintings into the present day suggests that oil paints had been used in Asia for some time before the 7th century. Most European Renaissance sources, in particular Vasari, falsely credit northern European painters of the 15th century, and Jan van Eyck in particular, with the "invention" of oil paints However, Theophilus (Roger of Helmarshausen?) clearly gives instructions for oil-based painting in his treatise, On Various Arts, written about 1125. At this period, it was probably used for painting sculptures, carvings and wood fittings, perhaps especially for outdoor use. Outdoor surfaces and surfaces like shieldsbboth those used in tournaments and those hung as decorationsbwere more durable when painted in oil-based media than when painted in the traditional tempera paints. However, early Netherlandish painting with artists like Van Eyck and Robert Campin in the early and mid-15th century were the first to make oil the usual painting medium, and explore the use of layers and glazes, followed by the rest of Northern Europe, and only then Italy. Such works were painted on wooden panels, but towards the end of the 15th century canvas began to be used as a support, as it was cheaper, easier to transport, allowed larger works, and did not require complicated preliminary layers of gesso (a fine type of plaster). Venice, where sail-canvas was easily available, was a leader in the move to canvas. Small cabinet paintings were also made on metal, especially copper plates. These supports were more expensive but very firm, allowing intricately fine detail. Often printing plates from printmaking were reused for this purpose. The increasing use of oil spread through Italy from Northern Europe, starting in Venice in the late 15th century. By 1540, the previous method for painting on panel (tempera) had become all but extinct, although Italians continued to use chalk-based fresco for wall paintings, which was less succe ------------------------------ Date: Sun, 14 Nov 2021 04:32:49 -0500 From: " Exclusive TV Offer" Subject: #1 Brand of Cordless Snow Blowers #1 Brand of Cordless Snow Blowers http://carbofixn.co/1g2wpZZ6RDgo87V_5GX0urd6fWrRVJ6kfYsm98vIye0Ez7vvxA http://carbofixn.co/SeW8KhcGFDmaoPpVIEXUyZolvtkXy5tk7vvUmOjf2X0DrArkBQ ring this stay, the extreme weather and storms of the prairies inspired Curry to paint Tornado over Kansas, which he finished by fall of 1929. Curry's widow stated he had never witnessed a tornado in person, but he was likely familiar with accounts of tornadoes' destructive power. Photographs of a June 2, 1929, tornado passing through Hardtner, Kansas, were the first to clearly capture a tornado's shape and likely served as visual guidance for Curry's tornado in Tornado over Kansas. The funnel shape seen in one photograph closely resembles that of the painting's tornado, and another photograph of the tornado approaching a barn is believed to have inspired the painting's compositional layout. Storms and tornadoes were not new to Curry; such natural disasters had frightened him ever since he was a child. He said that Tornado over Kansas was based on early life experiences when his family "used to beat it for the cellar before the storm hit." The art historian Irma Jaffe posited that Curry's Christian religious upbringing led to his construing natural disasters as signs of God's punishment. Thus, Jaffe saw Tornado over Kansas as one of Curry's attempts at controlling his fears through artistic expression. Natural disasters are a common motif in Curry's art. He sketched the ruins of Winchester, Kansas, following a May 1930 tornado, and made watercolors of horses panicked by lightning, an Oklahoma dust storm, and the aftermath of floods along the Kansas River during the summers of 1929 and 1930. Curry's 1929 painting Storm over Lake Otsego was painted shortly after Tornado over Kansas, and has figures comparable to those of its predecessor. His 1930 work After the Tornado depicts an unharmed and smiling doll seated in a chair amid the wreck of a house recently destroyed by a tornado. In 1932, Curry produced a series of lithographs known as The Tornado, which show a family taking shelter from a coming storm. One impression from the set was sold for $13,750 in 2020, while others are held by museums including the Metropolitan Museum of Art, the National Gallery of Art, and the Whitney Museum of American Art. Curry's 1934 landscape Line Storm contains a cloud system similar to that in Tornado over Kansas. Furthermore, a tornado reappears behind the abolitionist John Brown in the painter's 1937b1942 mural Tragic Prel ------------------------------ End of alt.music.moxy-fruvous digest V14 #7865 **********************************************