#[ OF COURSE HE HAD TO ADD A CROSS COMMENTARY BETWEEN MY BLOGS ]

[captainseamech]

             “... What the hell is going on here? Why is there a fight over this Koopa??”

[culttvblog]

The Avengers: Double Danger

This is another series 1 episode of The Avengers which no longer exists. You can read a summary of the plot and two different revisions of the script here: https://dissolute.com.au/the-avengers-tv-series/series-1/118-double-danger.html This blog post is simply based around the original camera script, which I have read, and not Lucarotti's revised version, which I have not. The two variations of the script and the show being junked mean that there is a lot of confusion online about this, which I intend to add to with this post. Of course I'm also thinking that when I've read the revised script I could do another blog post if the mood takes me.

This is absolutely not a criticism but part of the confusion comes from the rather involved plot of this episode. To cut to the chase, a man who has stolen some diamonds and hidden them is assisted to escape from prison (this turns out to have been arranged by Steed), only to be shot by a rival gang. Dr Keel is forced to give him medical help before he dies of the wound, and the rest of the episode revolves around following the clues as to where he has hidden the diamonds and the ongoing double crosses between the two groups (who form the double danger of the title) looking for the diamonds. In fact at one point Steed says,

'Mace double crossed Bruton. And Mrs Mace double crossed her husband. Then you double crossed Bruton. And Bruton double crossed you. It's almost as complicated a politics.'

I don't, however want to give the impression that this plot is unnecessarily complicated. It is, of course, complicated and confusing, but I honestly think that's the point. I found the script a real page turner as I was reading it, and honestly this is the first series 1 episode that I've been able to say that about. By the end of it you don't know what's going on, but it's a nice confusion.

If that makes it sound like a farce, frankly I have found myself wondering whether that was intentional. I found myself laughing out loud as I was reading it on the canal bank this afternoon. However I have been unable to work out whether anyone else approaches the episode like this or if it was intended to be funny, because the online commentary is rather limited. I would love to hear if anyone else has found it funny.

In reality it almost certainly wasn't intended to be funny because the episode is very much one of the early two-against-the-underworld episodes. And they are very much up against the violent underworld, people who don't mind killing for diamonds, here. It raises intriguing questions about who or what Steed is, because he is clearly posing as an underworld fixer in arranging an escape from prison. However he says that he is arranging this on behalf of the insurance company who had insured the vanished diamonds. This is clearly a lurch into the classic Avengers unreality, because this seems an unnecessarily cloak and dagger way for an insurance company to carry on business. It is also clear that this is officially sanctioned because Steed communicates with his series one boss. Yet at the same time Steed is keen that Keel doesn't reveal his involvement in this to the police. Whether as merely a tactic to stop the inevitable complications caused by the constabulary or whether he is being slightly underhand, is not made clear. The questions it raised about Steed in my mind were one the things I most appreciated about it.

Double Danger was also a new experience (to me) because it was the first I have read where a significant role is given to Keel's assistant in the surgery, Carol Wilson, played by Ingrid Hafner. I tend to forget that the original intention was that Carol and Keel would be the two against the underworld but Steed somehow intruded into it. This episode is an interesting reminder of the original pairing; although notably it is Steed that Keel tells Carol to contact when it becomes clear to him that he is in trouble.

He communicates with her in a most fascinating way which I really don't think you would find on TV nowadays. The second set of villains have tricked him into being obliged to give medical help to the shot diamond thief, despite him telling them that he should really be in hospital. One of the gang goes back to the surgery with a list to give to Carol of things that Keel will need to try to keep the man alive. At the bottom of the list is the strange phrase 'Fonum equus', which Carol tells him is some medical preparation. Of course it is really pretend Latin for 'Phone the horse,' or rather Steed!

If you particularly want a criticism it is that you might find the light touch of this episode, verging on the humorous, incongruent with the weighty subject matter, which is otherwise a straightforward tale of crime and double crossing. Although I think it would be churlish to criticise.

This is another excellent series 1 episode of The Avengers which I would encourage readers to seek out, either in script form or the series of audio recordings by Big Finish.

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[moviesihaveseenbeforeiamdea-blog]

#1019 O Brother, Where Art Thou?

Source

Released: December 22, 2000

Directors: Joel & Ethan Coen

Written by: Joel & Ethan Coen

Starring: George Clooney, John Turturro, Tim Blake Nelson, Holly Hunter

Had I Seen It Before? Yes

SparkNotes Savior: Even though the movie says in the opening credits that it's based on Homer's Odyssey, the Coen brothers admitted in interviews that neither of them had ever read the epic. They instead relied on what they knew of the poem and what they've seen other people reference in their adaptations and interpretations of the work.

This movie is notable for two elements: a wildly successful soundtrack whose impact is contestably greater than the film's (which is often regarded as a minor work for the Coen brothers), and the fact that it was the first movie to be completely digitally color-corrected in post-production. The latter of these two achievements is what is important to remember about this movie, as it was the first to use a technique that is commonplace not even twenty years later.

As for the soundtrack, it was the first collaboration between T Bone Burnett and the Coen brothers with Burnett serving as the producer, though Burnett did make contributions to The Big Lebowski. Usual Coen collaborator Carter Burwell maintained some level involvement with the production, contributing what’s listed as “additional music” in the movie’s IMDb’s credits.

This is one of the last Coen brothers’ movies that I got around to watching. To me, it begins a new era of Coen movies that produced a string of lesser-reputed movies that charted a gradual decline in their quality, concluding with The Ladykillers, almost universally-regarded as their worst movie. I can’t speak to the specific level of quality in that movie as I haven’t yet seen it, but I’m fairly confident I’m not going to find an overlooked gem in that movie in the same way I did with The Man Who Wasn’t There. The return to form was No Country for Old Men, which you can see my entry for here.

George Clooney as Ulysses Everett McGill (Source)

I suspect O Brother’s inclusion on this list has more to do with those aspects of the film that gives it its influence more than as a testament to the quality of the film itself. I feel conflicted on this movie. When I first saw it about a year ago, I thought it was a quirky but solid movie that I appreciated. On a repeat viewing though, I found myself restless and wanting a little bit more. The movie has many excellent moments and elements to it—the cinematography by the consistently excellent Roger Deakins, the performances of the three leads, expert direction in the baptismal, siren, and Klan rally scenes—but it never adds up to anything much.

Much like their previous work, The Big Lebowski, characters pop in and out of the story with such fluidity that it’s best not to try and get attached to them in the way that a movie like Fargo naturally facilitated. But, unlike Lebowski, the structure of the story is more in need of a rounded cast. In Lebowski, the point of it was to send-up noir films and adopting the noir movie’s tendency towards characters as archetypal roles suited it well. O Brother seems, at times, to be searching for something more to tell in its story, positioning itself half-heartedly in a variety of different roles: adventure story, redemption tale (Everett’s quest for his family), societal commentary on Depression-era Mississippi, and homage to the epic. The movie lacks a compelling villain, though the black-clad sheriff is introduced as a specter of evil in a similar way that would be employed more successfully with Anton Chigurh in No Country, he never amounts to much and is used so sparingly it’s easy to forget he’s an element at all.

The Coens are noted for their typical pattern of following drama with comedy (Raising Arizona after Blood Simple., The Big Lebowski after Fargo, Burn After Reading after No Country for Old Men), though there have been deviations from the formula and the occasional tonally-ambiguous film thrown in there to keep things from being too predictable. O Brother is one of those tonally-ambiguous movies, much like A Serious Man, but rather than reveling in that ambiguity, it whips back and forth between tones so quickly that it’s easy to be uncertain how to react to certain moments in the movie. 

This movie struggles to commit to anything, much like its lead, George Clooney’s Ulysses Everett McGill. But unlike McGill’s disarming charm, O Brother’s constant winking throughout thematically important scenes becomes exhausting. Maybe the comparisons between the plot and production go further than that. Much as the three leads go off in search of a treasure that doesn’t exist, the Coens have gone headfirst into the production of a movie they’re never quite able to find. This is maximal-Coen, throwing everything they are capable of at the wall and not giving a shit about what sticks.

Christy Taylor, Musetta Vander, and Mia Tate as the Sirens (Source)

This isn’t to say that it’s a bad movie, it’s just one that’s easy to break the spell of. There’s too much going on and it rarely comes together in a satisfying way. In many ways, O Brother is a precursor to a much, much stronger movie the brothers would eventually make with Inside Llewyn Davis, one of their crowning masterpieces and one of my favorites, and one that I look forward to watching again for this blog. Both movies are intensely period-focused, soundtrack heavy movies following the plight of a troubled man who invites trouble into his life, with nods to the Odyssey (though Llewyn’s are mercifully subdued, with the strongest nod coming from the name of the missing cat: Ulysses).

I’ll save my piece about Llewyn for when I watch that movie on its own, but another thing I want to touch on is the difference in how O Brother and Llewyn approach their soundtracks. In O Brother, I believe all of the songs are synced up with pre-recorded tracks, and it shows. There’s a disconnect between the people singing and the music being produced. And while the songs are often beautiful and evocative of a kind of pre-rock American music that simply doesn’t get much due anymore, they lose their ability to carry dramatic weight with the enforced superficiality of audio syncing. Llewyn wisely eschews the approach, having almost all the performances done by the actors in the movie while being filmed. It is a wonderful directorial choice and produces some moments in that movie that literally left me speechless.

Maybe this movie would have worked better had the brothers actually read the Odyssey and understood which elements to follow thematically instead of literally (in particular the diversion into Big Dan Teague (John Goodman) felt like something that should’ve been left in the DVD extras). I don’t know though because like the brothers, I’ve never read the Odyssey. I wouldn’t say this is disposable Coens, but it needn’t be an essential viewing experience for anyone but Coen enthusiasts. The movie is worth watching, and would even be a solid movie for a lesser director, but the strength of the brothers’ career diminishes what could’ve been a great movie.

Final thoughts:

With all the classic books I’ve admitted to having never read throughout the course of these entries, I’d like to take a moment to protest that I actually do read a lot, promise! In the unlikely chance I bump into a series of movies on this list based on Haruki Murakami books, I’ll be able to prove it.

One thing the Coens did manage to accomplish with this movie is producing a few moments that demonstrated how vicious and absurd life in the Deep South could be. Pete being strung up in the dark by the Sheriff and threatened with a hanging is terrifying. And though the Klan rally scene portrays the Klansmen as zealous buffoons, there’s still room allowed in the brothers’ direction to convey that, stupid or not, their militarism and rituals are still uncomfortable. 

This movie missed an opportunity to look at the lives of black Americans in the South. For a region even more defined by its racial histories than others, it feels bizarre that the Coens would choose to make a story set in the midst of all that and then largely eschew it. Tommy is a wasted character, from a combination of bad acting, bad writing, and bad direction Chris Thomas King is never able to do much with a thankless role, and so the movie’s only black characters of any prominence ends up as more set dressing. 

George “Baby Face” Nelson is another wasted character in this movie, and a slightly more subdued version of him would probably have been more at home in Miller’s Crossing than here.

Recommended reading: As I Lay Dying, by William Faulkner; Miller’s Crossing, and that sweet, sweet soundtrack.  

[atticusblog2016-blog]

New Post has been published on Atticusblog

New Post has been published on https://atticusblog.com/blogger-couple-find-inspiration-in-their-cool-copenhagen-apartment/

Blogger couple find inspiration in their cool Copenhagen apartment

Maria Jernov makes a living running a blog approximately style, following the latest developments and knowing approximately some thing’s going on with the massive style corporations and the most high-priced brands. So that you’d think her domestic, in the coronary heart of Copenhagen, Denmark, would comprise fashion designer furnishings and all of the ‘right’ manufacturers. However, in this secure attic condo, highly-priced furnishings and famous designs are almost nonexistent. In fact, the 23-yr-antique fashion blogger and her boyfriend, Sebastian Barrett, have made a virtue of redecorating their home with secondhand furniture, which they repair or paint themselves to create a personal contact.audio blog definition.

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“I don’t need to be too secure in my decor,” Jernov says. “Yes, Eames chairs are 8504ca0e3fb5bfcdbdf1e8263f0c30ef, and if someday I want them, I’ll get them. However, to me, it’s extra essential to follow my age and my budget by way of developing something I find cool and a laugh. And, honestly, maximum of the portions I have at domestic are things I’ve sourced and made into my own.” Houzz at a glance Who lives here: Maria Jernov, Danish fashion blogger and the creator of the Maria Jernov website, and her boyfriend, Sebastian Barrett, who writes a blog for men referred to as Jesus Sebastian; each is 23 Region: Copenhagen, Denmark.best 10 free blog sites. Length:732 rectangular ft (sixty-eight square meters); one bedroom, one lavatory

In case you ask Jernov what the maximum vital factor about her home is, the answer will be: making it at ease.

“My home needs to be warm. There must be lots of blankets and cushions, and the coach desires to be very at ease,” she says. “I’m able to in no way discover myself in a single of those white-field homes with a daybed, as it’s impossible to sit on a sofa and watch Television and clearly relax.

“I want humans to recognize that we stay right here and we’re at ease, so things are allowed to be out in the open. I don’t want it to be overly neat and tidy,” she adds.

  Running a blog and Its Types

A blog is a form of a website in which gadgets are posted on an ordinary basis that’s normally organized in chronological order from the latest post at the top of the web page to the older posts in the direction of the lowest. The time period blog is clearly a shortened form of a blog. Including an article to an existing blog is referred to as ‘Running a blog’. Character article on a weblog is called ‘weblog posts’ and the person who writes and posts these blog posts is known as a ‘blogger’.

Blogs are regularly written on a specific subject matter about which the bloggers might be involved. It may be something from recipes to photography, books, journey, style, beauty, lifestyle, or any of the blogger’s interests. It can be something that someone can think about and is probably interested in sharing his / her perspectives on that topic with the human beings that share similar pastimes and views. This way people can research, share thoughts, make friends or even do business with people with similar pursuits. A blog typically consists of text, hypertext, images, and hyperlinks. There are numerous kinds of blogs. Let’s have a look at a few of them.

• Non-public Blogs- the Non-public blog is a diary or a commentary written and maintained by means of a Person. these usually entice only a few readers. But now Private bloggers have grown to a huge volume and their content is examined by using a large variety of humans. these Non-public bloggers have become well-known, each inside the digital world in addition to in the actual international.

• Group Blogs or Collaborative Blogs- It is a sort of blog where the posts are written, maintained, and posted via multiple creators. It’s miles often set by using already hooked up bloggers who percentage the equal view if you want to lessen the pressure of keeping a popular internet site and additionally to draw a bigger wide variety of readers.

• Company and Organizational blogs- these blogs are typically non-public and are used for commercial enterprise, non-income companies or for authorities purposes. Blogs that may only be used internally by personnel are called Corporate blogs. those are normally used to communicate information approximately business enterprise rules or strategies. The organization may additionally use publicly available blogs for advertising and marketing functions.

Shopping for A Domestic As A Newly Married Couple

Even as the house Shopping for struggles of unmarried couples is 9aaf3f374c58e8c9dcdd1ebf10256fa5, the method isn’t always clear-cut for married couples both. After tying the knot, many newlyweds appearance forward to shopping for a Domestic collectively. However, before you begin scanning property listings and searching for the right lavatory suite, make certain you sit down collectively and ask every other that residence Buying questions.

What are your financial history and credit score rating?

On the start of a relationship, couples talk all of the time, from tune to travel and the whole thing in between. However, as a married couple, you must have a critical communication approximately your budget and credit score ratings.best all inclusive resorts for couples.

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At the same time as a few couples may have already discussed their credit ratings, others remember it a taboo topic of debate. If one man or woman has a credit score that is substantially lower than their partners, it is able to have an effect on the couple’s chances of securing a mortgage to shop for assets, or at a minimum affect the potential to get an attractive hobby price on a mortgage.

Discussing your credit score scores with every other earlier than arranging to fulfill with a loan lender is crucial. By understanding your credit score you have got the threat to working on repairing any credit troubles earlier than you apply to get a loan. If you don’t know your credit score, you may touch your credit card business enterprise to see if you could get right on entry to your score at no cost, or use a web credit score take a look at a business enterprise.

The Apartment

Every time I’m asked to name my preferred movie, I continually locate myself unable to provide the harmless enquirer an immediate solution. As someone who has lengthy prided himself on being a movie buff, I have to admit that flunking a query which must, in all honesty, be an ice-breaking slam-dunk, is deeply unimpressive. In my defense, I’ve in the end whittled the choice down to three!

The primary contender is, perhaps, a instead too obvious one: Citizen Kane, (1941), boy wonder Orson Welles’ technical excursion-de-pressure that reshaped the boundaries of Cinema and which reigned very best as the movie critics’ remaining choice for half of a century or extra, till Hitchcock’s psychological potboiler Vertigo (1958) dethroned it in Sight and Sound’s definitive 2012 ballot.

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The 0.33 pretender to the throne on the fast listing, edging out Powell and Pressburger’s celebrity-crossed romance A Matter of Existence and Loss of life (1946), Stanley Kubrick’s thoughts-boggling meditation on mankind 2001: A Area Odyssey (1968) and Giuseppe Tornatore’s nostalgic love-letter to the movies Cinema Paradiso (1988), is Billy Wilder’s Oscar-winning comedy-drama The Condo (1960). No longer as properly referred to as a number of the movies stated above, for positive, however No longer a left-area preference either, being one of the few High-quality-Photo winners to have reinforced its reputation over time, offering at No 80 inside the present day American movie Institute’s (AFI) poll of the 100 greatest American films.

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Wilder, an Austrian Jew with an exclusive hinterland that few may want to suit, even in Hollywood! (journalist, screenwriter and male escort just for starters), had departed Vienna the day after the Reichstag fire and become desperately seeking to out-run the Nazi tide that becomes threatening to engulf Europe (his Mom, Stepfather, and Grandmother could all die at Auschwitz). Arriving in The USA in 1934, a penniless refugee who ought to barely talk a word of English, he directly fell in love along with he adopted u. S . – No longer that you’d always comprehend it from watching his films which, greater often than Now not, solid a jaundiced eye over American mores. Slippery insurance salesmen with homicide on their thoughts in Double Indemnity (1944), Hollywood gigolo’s latching on to yesterday’s stars in Sundown Side road (1950), reduce-throat newspapermen yearning their huge destroy in Ace in the Hollow (1951) and the faceless nebbish citing the rear inside the corporate rat-race (The Apartment) 1960, all got the Wilder remedy, however properly.cheap studio for rent bedroom.

Wilder had honed his mastery of the screenwriting craft beneath the tutelage of legendary director Ernst Lubitsch (Wilder’s watchword was always ‘how would Lubitsch do it’), co-scripting Greta Garbo’s well-known comedy Ninotchka (1939), with his screenwriting accomplice Charles Brackett. The movie, to no-one’s surprise, became a runaway achievement and earned Wilder his lengthy dreamed of crack at directing. Wilder hit his stride proper away, a fact confirmed by way of his assured coping with of the shocking film noir Double Indemnity, (however, of course, his tortuous relationship with the novelist Raymond Chandler, drafted in with the aid of Paramount to replace a piqued Brackett).

[kiamaartgallery]

Jeanne Jacquemin, c 1893

Jeanne Jacquemin (Marie-Jeanne Coffineau)  was born in Paris in 1863 to Marie Emélie Boyer and was adopted by Lord Juliette Boyer and Louise Coffineau in 1874. However, details of her upbringing are sketchy and conflicting, and it isn’t known what formal training she may have had in drawing, painting or print making.

In 1881 she married a naturalist illustrator (who was also an alcoholic), Edouard Jacquemin.  After they separated Jeanne lived with engraver Auguste-Marie Lauzet in Sévres on the outskirts of Paris, from about 1893. Through both Jacquemin and Lauzet she met a number of artists (including Puvis de Chavannes) and poets and developed an interest in Symbolism and the occult.

She first became known as a writer, when from June 1890 onwards she wrote commentaries on a number of writers and painters of the time for Art et Critique – she was particularly interested in Symbolist and Decadent literature. Many of the themes and images that she referenced in her writing appeared later in her own pastels.  (Approximately 40 of the works that she exhibited during her lifetime were pastels, and unfortunately few remain.)

Like many other Symbolists, Jacquemin saw a close correlation between literature, music and the visual arts. She responded to the poetic and mystic delights of the texts in her commentaries, saying that “her ear keeps the music of poems long after the reading“. She also wrote that “I see images [from the poems] mount before my eyes” and that she wanted to “try to fix some of her visions“.

From 1892,  with other Symbolists and Post Impressionists, she participated in a series of Peintres Impressionnistes et Symbolistes exhibitions, which were held between 1891 and 1897.

The catalogues of these exhibitions show that Jacquemin was both well represented and well received by some of the most significant critics of the time. Rémy de Gourmont from the Mercure de France wrote that her “overall effect produces something that is full of the new” with traces of “dreaminess” in blue-green luminosities” and impressions of “androgynous figures left to float like the unhealthy, yet adorable haze of desire around those heads so infinitely tired of living“.

Gourmet compares the dreaminess in her work to fellow Symbolists Gustave Moreau and Odilon Redon, and her work is similar in style to  Puvis de Chavannes. There is also an echo of Paul Gauguin in some of her works.

Jeanne Jacquemin, Daydream (Reverie), 1894

Jeanne Jacquemin, La Douloureuse et glorieuse couronne, 1892

Most of her paintings can be easily identified by the sad figures – usually waif-like or gaunt women in anguished or dreamlike states – which appear to haunt her paintings. She mostly used subdued tones in her pastels which adds to their subtlety .

Daydream (or Reverie), above left,  appears to be typical of her work, with a solitary, somewhat melancholic or pensive, figure set in front of a landscape. Blues and purples feature in the background, as do the  strawberry blonde hair and blue-green eyes, which are thought to be similar to the artist’s own features. Does the use of the garland of flowers suggest a Christ like quality? It was not unusual for her male Symbolist counterparts to explore the theme of the self as Christ, and Jacquemin may have also chosen to do so. The second image above ( La Douloureuse et Glorieuse Couronne) is certainly suggestive of this motif, with the crown of thorns and eyes raised to the heavens.

Puvis De Chavannes St. Genevieve Bringing Supplies to the City of Paris after the Siege

Jeanne Jacquemin, Le Coeur de l’eau, 1892

Odilon Redon, Christ on the Cross, 1897

Gustave Moreau, Venice

Paul Gauguin, Te aa no areois (The Seed of the Areoi), 1892

  One critic, writer and poet Jean Lorrain, was particularly taken by Jacquemin’s art, that he felt might be used to mirror his own interests, which also included the occult. As a result, they collaborated on a short story, Conte de Noel. Written by Lorrain and accompanied by five lithographs by Jacquemin, it was published in 1894. Lorrain’s support for her during the 1890s may assisted in her public recognition. For example, in 1893, she was invited to represent France in the tenth Les XX exhibition in Brussels, where she showed five works. Unfortunately, the close relationship between the two deteriorated and her reputation suffered as a result.

As well as her paintings, Jacquemin also produced a number of charcoal drawings and prints (lithographs) which were not as widely exhibited.

Jeanne Jacquemin, Saint Georges, 1898

Perhaps the best known is a colour lithograph, Saint Georges, c 1898, which appeared in L’Estampe Modern that year. The description of print in the magazine read,

“This print represents the young and valiant knight of Cappadocia, sweet as a virgin but strong as a lion, who is described in the Golden Legend as fighting and killing the dragon who was preparing to devour the daughter of the King of Libya. Thus, this heroic character inspired the traditions of many peoples, and since the time of the Crusades he has been known as the patron saint of the armies”.

Jeanne Jacquemin, Marjolaine de la purete, c1893, lithograph with chine colle

Jeanne Jacquemin, Cup of Delight,(Coupe de suavité), 1894

Jean Jacquemin, Sketch, c1893

Jeanne Jacquemin, Another nightmare also tormented her, 1894, lithograph

Jeanne Jacquemin, She would wander, full of uneasiness, 1894, lithograph

Jeanne Jacquemin, And the Queen ended up being afraid.., 1894, lithograph.

Jeanne Jacquemin, It was this princess of the swamps.., 1894, lithograph.

  It has been said that many of her works are self portraits, and there is certainly a similarity in the facial structure in a several of the paintings and prints shown on this page. Even the Saint Georges lithograph appears, if not female, at least androgynous.

Not a great deal is known about Jeanne Jacquemin or her work from the late 1890’s onwards. After nursing Lauzet until his death in 1898, she married Lucien Pautrier, and perhaps she chose to no longer exhibit, or it may have been the acrimony between herself and Lorrain (including a very public law suit) and the death of Lauzet which resulted in her being hospitalised for a short time that led to her being less interested in art. She divorced Pautrier in 1921, and married occultist Paul Sédir later in the same year, suggesting that she maintained her interest in the occult throughout her life time.

Jacquemin is thought to have died in 1938.

Primary Source: Jeanne Jacquemin: A French Symbolist, Leslie Stewart Curtis, Woman’s Art Journal, Vol. 21, No. 2 (Autumn, 2000 – Winter, 2001), pp. 1+27-35

 This blog is just a short excerpt from my art history e-course, Introduction to Modern European Art  which is designed for adult learners and students of art history.

This interactive program covers the period from Romanticism right through to Abstract Art, with sections on the Bauhaus and School of Paris,  key Paris exhibitions, both favourite and less well known artists and their work, and information about colour theory and key art terms. Lots of interesting stories, videos and opportunities to undertake exercises throughout the program.

If you’d like to see some of the  Australian artwork you’ll find in my gallery, scroll down to the bottom of the page. You’ll also find many French works on paper and beautiful fashion plates from the early 1900s by visiting the gallery.

          Jeanne Jacquemin – Symbolist artist and writer Jeanne Jacquemin, c 1893 Jeanne Jacquemin (Marie-Jeanne Coffineau)  was born in Paris in 1863 to Marie Emélie Boyer and was adopted by Lord Juliette Boyer and Louise Coffineau in 1874.