From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #9452 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 Friday, August 5 2022 Volume 14 : Number 9452 Today's Subjects: ----------------- How crazy Putin may try to act just to scare the West... ["STRESS" Subject: How crazy Putin may try to act just to scare the West... How crazy Putin may try to act just to scare the West... http://blackoutsusa.sa.com/bgOsFPtgWM1Uit9_ONdCkiKjxgoV9U97p6dlU9aKfLprWCxRSg http://blackoutsusa.sa.com/_fQV_y2fgy5ZD_9mMn5q-UvifnDVct1MwGq0YKToenuh3FXqmA s born in 1787, the son of a York baker and miller. On 8 October 1798, at the age of 11, he was apprenticed as a printer to Robert Peck of Hull, publisher of local newspaper the Hull Packet. On completing his seven-year apprenticeship he moved at the age of 18 to London, with the intention of becoming a history painter in the tradition of the Old Masters. Strongly influenced by the works of Titian and Rubens, he submitted paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received scant attention when exhibited. In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra). The painting was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, at that time the most prestigious honour available to an artist. He became well respected for his ability to capture flesh tones accurately, and for his fascination with contrasts in skin tones. In the decade following the exhibition of Cleopatra Etty tried to replicate its success by painting nude figures in biblical, literary and mythological settings. Although some nudes by foreign artists were held in private English collections, the country had no tradition of depicting unclothed figures and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in paintings of nudes, and the reaction of uneducated audiences to these paintings caused concern throughout the 19th century. Many critics condemned his repeated depictions of female nudity as indecent, although his portraits of m ------------------------------ Date: Thu, 4 Aug 2022 09:42:54 -0400 From: "Peoplewhiz Ad" Subject: Re: Your Public Record may have been updated Re: Your Public Record may have been updated http://peopleswhiz.sa.com/5iMjUEMW-kdtsUBu8ff6f6o6JF4abZXNNHVW-XGjwdQ-I1R8TA http://peopleswhiz.sa.com/K6X2PEyGf952mykdfutpdREWwb-rFHsfQcOG1ih6Wg9CUQtbMg itical opinion concerning The World Before the Flood was divided when the painting, along with two other of Etty's works, was exhibited at the 1828 Royal Academy Summer Exhibition. Some reviewers were intensely critical of the piece. A writer in the Literary Gazette called the painting a "deadly sin against good taste", describing the background as "unnecessarily harsh and crude" with "much to blame and lament" and the dancing figures "outrageous", complaining that the women reminded him not of Paradise Lost, but of the scantily clad witches in Robert Burns's Tam o' Shanter. An anonymous critic in the Monthly Magazine disparaged the "writhings and twinings" of the painting's subjects, describing them as "as close to the unpardonable limits as anything that has lately appealed to the public eye". This same writer disapproved of the dark skin tones of some of the figures, arguing that "the brown visage of the gipsey gives but a dingy image of the roses and lilies that, from time immemorial, have made the charm of British beauty." The correspondent for The London Magazine felt that although the painting was "in many respects worthy of admiration ... is a spirit, a boldness, and a startling effect," the work was poorly executed overall. Its depiction of women drew particular ire: "the expression of the faces is vapid; the features rather homely; the limbs, though not ill-drawn, have not that finish and play of the muscles, which alone give lightness and elasticity. They seem lifted up with difficulty, and ready to fall." The review upbraided Etty as an arti ------------------------------ Date: Thu, 4 Aug 2022 09:33:28 -0400 From: "Bug-Free Bliss" Subject: Best Option For Summer Best Option For Summer http://bugbulb.ru.com/6T5uvxqJpy8Tise56j_LEvh3wH7z6Kh-iPjAExMqzRjsdpiZ0w http://bugbulb.ru.com/wTc0Nve5yTJOU3s_32VlnbFl0TS8CZ53ONUlr1rkZNBItObW ntred on a group of six scantily-clad women dancing, while a group of men watch. The women's cheeks are flushed both with the exertion of their dancing and with their lustful attempts to seduce the watching men. The men "let their eyes rove without rein", each choosing the woman he wants to be with. At the left, five men eye the six dancing women. Three of the men discuss their choice of women, while the other two watch the dancing group alone. The male figure closest to the viewer, a seated black man, had previously appeared as a soldier in The Triumph of Cleopatra. A sixth man has made his choice, and lunges forward to grab the arms of a bare-breasted dancing woman. In the centre, the women dance. Their interlocked arms and hands create a pattern at the centre of the canvas, which acts as the focus of the painting. To the right of the central group of dancers a young man drags another woman away from the group of dancers, to join a pair of lovers who lie down together at the right of the painting. Across the entire width of the background, a darkening sky and oncoming storm clouds presage the destruction that the dancers are unwittingly about to bring upon themselves. In a preliminary study for The World Before the Flood now in the York Art Gallery, the broad structure is similar to that of the finished work, but the focus is more strongly on the central group of women. In Etty's oil sketch and in preliminary drawings the right-mos ------------------------------ Date: Thu, 4 Aug 2022 05:53:07 -0400 From: "Coverlastic Sofa@sofacover.za.com" Subject: Renew your couch in couple of minutes Renew your couch in couple of minutes http://sofacover.za.com/eZhlX_2-RdcJnbUqNwJoniqMVL3EbZDiLVkKbnh40KwWDJXF2g http://sofacover.za.com/m58rRHBlLtrzZ_ac2_nkFgZ7fIg23Fl3oYO15lujG8HvygVM4Q ring the winter of 1346b47 the English army shrank, possibly to as few as 5,000 men at some points. This was due to: many soldiers' terms of service expiring; a deliberate reduction by Edward for reasons of economy; an outbreak of dysentery in Neuville which caused major loss of life;[note 2] and widespread desertion. Despite his reduced numbers, between mid-November and late February Edward made several attempts to breach the walls with trebuchets or cannon, or to take the town by assault, either from the land or seaward sides; all were unsuccessful. During the winter the French made great efforts to strengthen their naval resources. This included French and mercenary Italian galleys and French merchant ships, many adapted for military use. During March and April, more than 1,000 long tons (1,000 t) of supplies were run into Calais without opposition. Philip attempted to take the field with his army in late April, but the French ability to assemble in a timely fashion had not improved since the autumn and by July it had still not fully mustered. Taxes proved ever more difficult to collect, with many towns using all available funds to reinforce their walls or equip their militia, and much of the nobility crippled by debt they had accumulated paying for the previous nine years of war. Several French nobles suggested to Edward that they may switch their allegiance. Inconclusive fighting occurred in April and May: the French tried and failed to cut the English supply route to Flanders, while the English tried and failed to capture Saint-Omer and Lille. In June the French attempted to secure their flank by launching a major offensive against the Flemings; this was defeated at Cassel. Early in 1347 Edward took step ------------------------------ Date: Thu, 4 Aug 2022 07:47:32 -0400 From: "Fortnite Shopper Gift Opportunity" Subject: BONUS: $90 Fortnite Gift Card Opportunity BONUS: $90 Fortnite Gift Card Opportunity http://fortnitesurvey.sa.com/7uHrHfJxykXVTmcMCBxJY9nRAKEPMOTHzufVR5zSu4Y8oRkaGA http://fortnitesurvey.sa.com/KzInCb4d5Z-JQjqdGfMC8YU7-3fLOcq-TRTUgTT51UCU9vEOYg ty's painting is a Bacchanalian scene, centred on a group of six scantily-clad women dancing, while a group of men watch. The women's cheeks are flushed both with the exertion of their dancing and with their lustful attempts to seduce the watching men. The men "let their eyes rove without rein", each choosing the woman he wants to be with. At the left, five men eye the six dancing women. Three of the men discuss their choice of women, while the other two watch the dancing group alone. The male figure closest to the viewer, a seated black man, had previously appeared as a soldier in The Triumph of Cleopatra. A sixth man has made his choice, and lunges forward to grab the arms of a bare-breasted dancing woman. In the centre, the women dance. Their interlocked arms and hands create a pattern at the centre of the canvas, which acts as the focus of the painting. To the right of the central group of dancers a young man drags another woman away from the group of dancers, to join a pair of lovers who lie down together at the right of the painting. Across the entire width of the background, a darkening sky and oncoming storm clouds presage the destruction that the dancers are unwittingly about to bring upon themselves. In a preliminary study for The World Before the Flood now in the York Art Gallery, the broad structure is similar to that of the finished work, but the focus is more strongly on the central group of women. In Etty's oil sketch and in ------------------------------ Date: Thu, 4 Aug 2022 12:32:41 -0400 From: "Blurred Vision" Subject: Brilliant Doctor Shocks and Restores Perfect Vision Forever Brilliant Doctor Shocks and Restores Perfect Vision Forever http://visisharps.sa.com/4RWeyajvL-VVHz3dN_qQSXt0pjQkipAv1irzvX7etdpu4GTyjw http://visisharps.sa.com/JZH9Wp-YQ4Hgt7YK-DDzk3gQHWBxgUfcvdeKqQwmIw1ExyL8sQ he earliest 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. This technique of binding pigments in oil, first seen in the Bamiyan cave paintings of South Asia, was later brought to Europe about 900 years later, in the 15th century. Europeans adopted the technique with Early Netherlandish painting in Northern Europe, and later, during the Renaissance, oil painting techniques had almost completely replaced the earlier use of tempera paints in the majority of Europe. 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 ------------------------------ End of alt.music.moxy-fruvous digest V14 #9452 **********************************************