#Painters in Melba | Explore Tumblr Posts and Blogs

clive-owen-and-the-knick · 4 years

Text

THE KNICK: haunting quality of a fever dream from which you didn’t want to wake

Typhoid Mary and the birth of ‘contact tracing’ – as seen in The Knick Want to know why ‘tracing asymptomatic carriers’ works? Then watch Steven Soderbergh's brilliant, gory historical drama

“ But Thack laid on his back was the perfect fade to grey. The Knick had finished as it started: with the haunting quality of a fever dream from which you didn’t want to wake. “

New York has been paralysed by a wave of deaths, caused by a fast-acting and unrelenting infection. It strikes indiscriminately, targeting the wealthy as ruthlessly as the downtrodden. Scariest of all, this is a hidden killer. By the time you discover you’re sick, it’s often too late. Survival is a roll of the dice.

Such is life as apprehensively lived in Manhattan today, indeed in the rest of the world. Which may explain why we’re all glued to movies such as Contagion and Outbreak, and Netflix’s documentary Pandemic: How to Prevent an Outbreak. But it was also a key plot point from a little-watched television drama that ran in 2014 and 2015. A storyline that was, in turn, based on the real-life case of a lethal outbreak in New York at the turn of the century.

Steven Soderbergh’s The Knick was the prestige-TV equivalent of one of your five-a-day. And it came just three years after he directed Contagion, about a Covid-19-style outbreak. More importantly, it was about the birth of modern medicine: the painful and gory gestation of practices we take for granted now.

Yet the Knick (now available on demand through Sky) explores advances in brain surgery, anaesthetics, infant mortality rates and, most significantly from a 2020 perspective, the battle against infectious diseases such as typhoid and tuberculosis, which we see claim a baby in its cot.

The setting is a baroque New York hospital, The Knickerbocker (based on a real hospital in Harlem which finally closed in 1979). The year was 1900: a time when moustaches were huge, syringes even bigger, and surgery had more to do with lopped-off limbs than hip replacements.

The Knick was a period caper with a very modern pulse. Soderbergh used it as a vehicle to address such eternal themes as addiction, racism and the struggle between head and heart (not to mention the importance of a perfectly maintained ’tache).

It starred Clive Owen, one of the go-to-actors for tortured intensity, as a maverick surgeon with the fantastically old-fashioned name of Dr John “Thack” Thackery. We see him forge ahead in areas such as skin grafting (he grafts skin from a patient’s arm to her nose), placenta previa surgery and hernia repair. He was a pioneer working in a time of unprecedented medical advancement.

As was the real-life surgeon upon whom he was loosely based. William Halsted was the house physician at New York Presbyterian Hospital, where he introduced such innovations as patient charts, and invented the painful-sounding Halsted mosquito forceps – “a ratcheted haemostat to secure and clamp bleeding vessels”. And he married the first nurse ever to wear gloves during an operation. He was, in addition, addicted to cocaine and morphine (then legally available), requiring a minimum cocaine intake of three-grammes daily.

With the cocaine and the clamps and the great facial hair, you can see why he was irresistible to Soderbergh and The Knick’s creators, Jack Amiel and Michael Begler. Their fictional version of Halsted was a classic flawed anti-hero. In a just world, Thack would have joined the ranks of the small screen’s great “difficult men”, alongside Tony Soprano, Walter White and Don Draper.

Thack was portrayed by Owen as charismatic, enigmatic, permanently dishevelled and moderately racist (there are tensions early on over the hiring of African-American doctor Dr. Algernon C. Edwards). He also romped with prostitutes – as was the fashion at the time – and began the day with enough cocaine to floor a camel.

With coronavirus bringing humanity to a stand-still, Thackery is ideal company for an extended binge-watch. The killer infection plot surfaces midway through the first of its two seasons. It doesn’t directly involve Thack. He is otherwise occupied taking drugs and cavorting with nurse Lucy (Eve Hewson, daughter of Bono).

Investigating the deaths are two second-string characters, Health Inspector Jacob Speight (David Fierro) and Cornelia Robertson (Julia Rylance), society lady and head of The Knick’s social welfare office. They discover all the households struck down with typhoid , a bacterial fever caused by a pernicious strain of salmonella, have one thing in common: a County Tyrone cook named Mary Mallon worked there.

But how could a cook spread typhoid, which cannot survive the high temperatures associated with preparing food? Eventually they work it out: she’s passing on the fever through her signature room-temperature dish of peach melba. This leads to another question: if she’s knowingly spreading typhoid all over the Upper East Side, why doesn’t she herself show symptoms?

The answer lies in a cutting-edge new theory: that some individuals carry and spread infection whilst themselves not developing symptoms. It’s a condition known as “asymptomatic”. Today, we all know what that entails, but at the time it wasn’t universally accepted within the medical profession.

Certainly, the characters in The Knick struggle to get their heads around it. “She must be a filthy thing and as sick as a cesspool,” Speight says to Robertson as they rush to stop Mary – “Typhoid Mary”, they’ve dubbed her – from serving another dose of lethal peaches.

How did they find her? By tracking down all those who fell ill, and then the people with whom they interacted, and overlaying the data points on a map of Manhattan. In other words, by “contact tracing” – a concept which might have sounded dreary a few months ago, but which today is on everyone’s lips.

In the final confrontation, they head her off at the kitchen, and she’s arrested attempting to flee. (Some might say that the American actress, Melissa McMeekin, should also be in the dock for her dreadful Irish accent, which suggests a heavy viral load of Darby O’Gill and the Little People.) Scientific ignorance, alas, wins the day. Just two episodes later, Typhoid Mary is freed, when the judge refuses to believe that someone could transmit a lethal fever while immune to its symptoms.

These are, more or less, the facts of the real-life case of Typhoid Mary, an immigrant from the Old Country estimated to have fatally spread the fever to more than 50 people (via her delicious ice-cream, however, not peach melba). Yet there was no Hollywood ending for her, despite press baron William Randolph Hearst helping fund her defence at trial. She avoided prison, as she does in The Knick, but the Typhoid Mary name followed her around. And, though she found work under a number of aliases, people continued to die in her vicinity.

Mallon was eventually sent back to North Brother Island in New York’s East River – where we she see her incarcerated in The Knick – and lived out the last 23 years of her life in enforced isolation. After her death from a stroke in 1938 at age 69, an autopsy revealed a gall bladder riddled with typhoid bacteria.

The Knick itself would submit to the inevitable after two seasons and just 20 episodes. And yet despite low ratings, it wasn’t necessarily an obvious candidate for cancellation. The critics loved it, and Soderbergh, one of the most instinctive filmmakers since Spielberg, made it quickly and cheaply for HBO offshoot Cinemax. (Incredibly cheaply, in fact, considering the realism with which he brought to life turn-of-the-century New York.)

He shot each 10-part series in just 73 days – roughly one instalment per week. That’s a decent clip when churning out a 20-minute sitcom. But to produce gorgeous prestige TV in that time-frame was remarkable. The Knick, which was shot on location in New York, looked incredible. While clearly set in the past, there’s something grippingly vivid and urgent about it. It’s the very opposite of starched, stagey period telly such as Downton Abbey and HBO’s own Boardwalk Empire.

That’s because Soderbergh filmed in natural light as far as possible. He was able to do so thanks to cutting-edge RED digital cameras, equipped with new “Dragon” sensors designed to work in low levels of light. Even when it was grim and gloomy outside, he could shoot using natural light. “Every once in a while, an actor would walk onto the set and say, “Are you guys bringing any light in?’” Soderbergh told Fast Company in 2014. “And we’d go, 'No, that’s it'.”This produced the occasional strange side-effect. Looking back over footage, for instance, Soderbergh would suddenly sense something amiss. He’d freeze the frame and zoom in. And there it was: because of the fading light, the actors’ pupils were massively dilated.

Bravura directing was accompanied by powerhouse acting from Owen. As far back as his break-out 1990s hit Croupier, he was always a coiled spring when on screen. All that repressed tension spewed to the surface in his portrayal of Thackery, a brilliant man wrestling perpetually with demons. “It was very, very challenging and very, very demanding, and Steven [is] really fast and very concentrated,” Owen said in a 2014 interview with Indiewire. “We did the 10 hours in just over 70 days, or seven days an episode. There’s some incredibly difficult technical stuff there. All the operation stuff that’s logistically very difficult… Sometimes we’d shoot up to 13 or 14 pages a day."And yet, Soderbergh was supposed to have retired when he made The Knick. In 2012 the director of Out of Sight and Ocean’s Eleven had publicly stepped away from filmmaking. A few months later, he received a pilot script by comedy writers Amiel and Begler. His ambition at the time was to become a painter – a mission he expected to occupy all his free time over the next several years. “I was aware that the 10,000 hours required to become just good would take years of steady, applied focus,” he said. “I was basically ready to do that. I was taking painting lessons from [naturalistic wildlife artist] Walton Ford and having a great time learning things, talking to him and watching him work.”

When he read the screenplay for The Knick, and was riveted from the opening page. “I was the first person to get ahold of the script for The Knick and I just couldn’t let that pass through my fingers. It’s about everything I’m interested in. Everything. I was the first person to see it. And I thought, 'I have to do this'.”

Amiel and Begler had knocked around the industry writing disposable chuckle-fests such as the 2004 Kate Hudson vehicle Raising Helen. The idea for The Knick came when Begler had a turn of poor health. “I was having medical issues. I was researching alternative medicine, and was also frustrated,” he recalled to Indiewire in 2010. “I was thinking: What were my options 100 years ago? I can go online and find out so much different information now. Too much, even.

“But what do you do in 1900? On a whim, Jack and I just bought a couple of medical textbooks from eBay. We opened them and it was just incredible. And yes, it was a horror show. I couldn’t believe the things I was reading: people drinking turpentine to help a perforated intestine.

“My jaw hit the ground. The further we dove into this world, the more crazy s--- we saw. There was too much good stuff here. Once we saw that it was about medicine, then we started to look at what the world of 1900 was like. The world was changing so fast, with so much to play with.”

That “crazy s---” was searingly translated to the screen. The Knick is striking in that it’s set in a world only a few steps removed from ours. Thackery and his colleagues are recognisably modern doctors, not medieval quacks or shamans. Yet their practices also feel like butchery by another name. As antiseptically filmed by Soderbergh, The Knick often has the unflinching quality of an avant-garde horror film.

Thackery injecting cocaine into his genitals (all his other veins having collapsed) and performing a bowel operation using “a revolutionary clamp of his own design” are, for instance, among the highlights of the pilot. Episode four, meanwhile, sees the good doctor trying to save a woman from a botched self-administered abortion. The three-minute sequence contains more gore than all the Saw movies laid end-to-end.

The Knick finished in bravura fashion, too. As season two came to a conclusion, it was unclear if it would be renewed. So Soderbergh gave Thackery a wonderfully ambivalent send off. He recklessly attempts surgery on himself – without an anaesthetic – only for the experiment to go awry. There are a lot of entrails and lots of blood.

“My peripheral vision seems to be going… body temperature has begun to drop,” he says. “This is it… this is all we are.” And then his life flashes before him. Has the most brilliant surgeon of his era expired on his own operating table?

Soderbergh later revealed the plan was to kill off the character and that a third season of The Knick would have time-jumped to the 1940s (he wanted to film it in black-and-white). But Thack laid on his back was the perfect fade to grey. The Knick had finished as it started: with the haunting quality of a fever dream from which you didn’t want to wake.

https://www.telegraph.co.uk/tv/0/typhoid-mary-birth-contact-tracing-seen-knick/

#CliveOwen TheKnick 1900 DrThackery LucyElkins #clive owen #the knick #just another Tuesday at The Knick #typhoid mary #steven soderbergh #awesome article #fever dream

4 notes · View notes

jghouse-asia-pacific · 2 years

Photo

New Post has been published on https://www.jg-house.com/2022/05/06/woman-angola/

The Woman from Angola

Turning toward an open door to a small office at the foot of a wide staircase, the Flemish woman disappeared into the office without warning. Equally quickly, a very young, maybe 19 or 20 years old, Flemish man wearing a blue suit with a yellow shirt and modish green tie took the place of the woman. He appeared before Sylvere and Melba like an apparition, as if by magic.

“Here in our beautifully designed museum,” started the young man, speaking earnestly in French while escorting Sylvere and Mabel to the staircase, “you’ll see a mix of classical and contemporary art unlike any you’ve ever seen before.” The youth smiled at his guests while leading them up the stone steps. “As part of our collection containing more than 50,000 works of art spanning the Middle Ages to the present,” he continued, “you’ll have the opportunity to view masterpieces by Dirk Bouts, Jef Lambeaux, and Constantin Meunier in addition to works by lesser known but also talented artists from the region we call Flanders.”

Once the young man started talking, he didn’t stop, delivering impressive details about the museum’s place in the culture of the region. He moved briskly, leading Sylvere and Mabel through a series of rooms with works of art in all sizes, from enormous paintings on canvas to tiny sculptures of metal. Sylvere, who had allowed Melba to put her arm through his again, could tell the young man was trans-gender and gay. But, most of all, Sylvere was confused. The events of the day made no sense. In none of the rooms did Sylvere see any tourists. It was clear the young man, who had given his name as Lorenzo, was not rushing them but proceeding at a fast pace through the nearly empty museum. Most likely Lorenzo was under strict orders to deliver Sylvere to Carolina and Anna by a designated time.

Melba, silent as she held onto Sylvere’s arm, didn’t mention her bosses or anything else. At one point, while passing under an archway from one room to another, she accepted two bottles of water from the outstretched hand of a museum attendant. She gave one to Sylvere. In an ornate room, two meters away from a wall displaying the works of the Flemish painter Dirk Bouts, Sylvere saw a small group of young men and women, undoubtedly students in Leuven for a summer program, gathered around a man in his mid 50s, a professor. The man, speaking in Flemish, was delivering a talk.

Woman in Subway Station

Sylvere, turning away, took a drink from the bottle of water in his hand. He couldn’t understand Flemish, with the exception of those words equivalent to their counterparts in English.

Sylvere already had consumed more water throughout the day than he had drunk during the entire previous day. It occurred to him that Melba was not going to ask him any more questions or press him for more details about Claudette. He was relieved. Still he didn’t understand it. He knew she had many more questions. He also knew he could tell her exactly where Claudette was. His intuition told him, though, he should not. It warned him that his information about Claudette’s whereabouts somehow would wind up in the hands of Serge and, then, Anthony and, next, Anthony’s henchman, Quentin.

Abruptly, Lorenzo stopped, ceasing not only his brisk pace but also his other dramatics. “And now we will step outside to our splendid rooftop terrace,” Lorenzo announced, smiling broadly, opening one of the two glass doors in front of him, and standing to one side. Melba passed through, gently propelling Sylvere forward.

“Lorenzo is right,” Sylvere said softly in Kikongo, emerging onto an expansive, flat area of elaborate stone with a sweeping view of the ancient buildings in the historical center of Leuven. “It is a splendid rooftop terrace.” Immediately before him, Sylvere could see four distinct groups of people on four different parts of the stone terrace. Each group appeared to have no more than five people. Sylvere noticed the face of Carolina in one of the groups, but before he had time to scan the crowd for other familiar faces, he felt a hand on his arm as Lorenzo led him to a tall circular table on one side of the deck.

It was hot outside. Shielding the people on the terrace from the onslaught of the sun, though, was an awning made of a heavy, dark fabric and covering the front half of the open space. A young woman wearing a short black skirt without stockings and a white, button-down shirt appeared holding a round tray in one hand. She was a waitress.

“Passe une bonne journée, monsieur,” Lorenzo said. He walked away. His green tie waved in the warm air behind him.

“Something to drink?” the waitress asked, coming close to Sylvere. She spoke in French.

“Like what?” Sylvere replied. Melba, too, was gone.

“Whatever you feel like,” the waitress replied. She flashed a smile, showing all of her teeth, large and white. “Beer—or a glass of wine?”

Young Woman next to Road

Sylvere thought he would like one of the beers for which Belgians were famous. But he decided against it. He didn’t feel he had the luxury to drink alcohol.

“No,” Sylvere replied. “An espresso.” He paused. “A double.”

As the waitress departed, Sylvere turned his head to scan the nearby groups. Instead he saw a familiar figure blocking his view. A woman in her mid 40s and of mixed African and European descent joined him at his table. It was Anna, the heiress. She looked exotic. Sylvere realized he hadn’t been able to see her clearly in the dim light of the restaurant a couple of hours earlier. Now he noticed she carried a laptop computer in one hand. She set the computer on the white table cloth and looked at him for several moments. Her face displayed, as it had displayed at the restaurant, a warm smile.

“We’re making preparations for a permanent collection of contemporary African art at the museum in Tervuren,” Anna said finally, speaking in French, “with regular rotations of the works by artists we like.” She looked in the direction of one of the groups of people standing nearby. “Carolina is over there now providing additional details to the museum administrators and the local civic leaders,” Anna continued, directing her gaze at Carolina. “She’ll finalize the plans later.” Anna brought her gaze back to Sylvere’s face. “I’d like to launch our new initiative with the latest paintings by an artist whose works I greatly admire,” Anna added. “You’ve heard of Kwesi Botchway?”

Sylvere was about to respond negatively, but decided he had no reason to feign ignorance of the famous artist from Accra, Ghana. In fact, he owned several of the man’s early pencil drawings, which he had been told now were worth a considerable sum. He nodded, opening his mouth to speak, then hesitated.

The waitress re-appeared, placing a small white cup with a small white saucer on the table top in front of Sylvere.

Instead of answering Anna, Sylvere picked up the cup, raised it to his lips, and emptied its contents down his throat. The waitress disappeared.

“Sylvere,” Anna began, now wearing a serious expression on her face and looking intently into Sylvere’s face, “I realize you still haven’t decided whether or not to trust us.” She paused. She seemed to be gauging his reaction to her statement. Then she said: “But you must share with us the information you have about Claudette. You can save her life.”

Sylvere looked back at Anna, remembering Chérubin’s parting words in front of L’inizio: “I have things to discuss.” He recalled Justin Kabumba’s last text message: “The woman in Rurimba is Claudette.”

Anna picked up the computer from the table top, but she didn’t move her gaze from Sylvere’s face. “When you see the photos on this computer,” she said, “you will have no doubts about the threat posed by Anthony and his people.” She looked around before returning her gaze to Sylvere again. “The threat is right here, right now,” Anna emphasized. In his mind’s eye, Sylvere pictured Serge outside L’inizio. Anna glanced to her left and appeared to make eye contact with a young woman. “Please go back to your hotel room in Tervuren,” Anna said, turning back to Sylvere, “and stay in your room until the evening.” Suddenly, Sylvere was aware of Melba by his side. “We’ll talk more at the party this evening,” Anna added, allowing the features of her face to form a smile. She turned and walked toward Carolina. Two large men approached the table, the same men who had accompanied Sylvere and Melba from L’inizio to the museum.

Melba led Sylvere toward the set of double-glass doors. Sylvere looked up into Melba’s face. When he glanced over his left shoulder, he saw the two large men following closely behind. The German carried a laptop computer in one hand. The African showed no expression. But his eyes grew dull, as if they had died. Sylvere was a prisoner.

***

#Africa, #Europe, #LifeCulture #Africa, #Art, #Beauty, #Culture, #Europe

#Africa #art #beauty #culture #Europe

0 notes

angel-princess-anna · 7 years

Text

Downton Abbey - References to Historical Figures + References to Other Fictional Characters and Works

The following are two lists; one are real people who where mentioned on Downton Abbey, and the other is fictional characters and works that were also mentioned in the show. I complied these two lists together (because sometimes I had to research what was indeed being referenced!). As I didn’t know if I’d ever been sharing these lists, I don’t have the episode numbers listed out, but they do go in order by mention.

Real Historical Figures Mentioned in Downton

* means that the person was not contemporary of the characters and there for famous or well-known to them. Others without it may not be known personally by them, but are their contemporaries. Some of these have made it to the character list, if for sure they did indeed know the Crawleys, or other any other major character.

- Lucy Rothes (Titanic survivor, friend of the Crawleys) - John Jacob "JJ" Astor (business man who died on Titanic, friend of the Crawleys) - Madeleine Astor (not mentioned by name, but as JJ's wife, Titanic survivor, Cora did not like her) - Sir Christopher Wren* (architect, designed the Dower House) - David Lloyd George (politician and Prime Minister starting in 1916) - William the Conqueror* - Mark Twain* (author) - Queen Mary (wife of King George V) [mentioned in S1, appears in S4CS] - Queen Catherine of Aragon* - Oliver Cromwell* - Bishop Richard de Warren* - Anthony Trollope* (author; he would have been somewhat contemporary, died in 1882) - Piero della Francesca* (painter) - Franz Anton Mesmer* (scientist) - Thomas Jefferson* (politician, inventor, third president of the United States) - Léon Bakst (Russian painter and scene- and costume designer) - Sergei Diaghilev (another Russian artist) - Edith Vane-Tempest-Stewart, Marchioness of Londonderry (sounds like the Crawleys did attend her parties from time to time) - Emily Davison (suffragist) - Herbert Henry "H.H." Asquith (politician and Prime Minister until 1916) - Kaiser Wilheim (ruler of Germany; Sir Anthony personally visited him a few times) - Vincenzo Bellini* (composer) - Gioachino Rossini* (composer) - Giacomo Puccini* (composer) - Karl Marx* (philosopher) - John Ruskin* (social thinker and artist; he would have been somewhat contemporary, died in 1900) - John Stuart Mill* (philosopher) - Franz Ferdinand, Archduke of Austria - Guy Fawkes* - Gavrilo Princip (member of the Black Hand and Franz Ferdinand's assassin) - H.G. Wells (author) - Major General B. Burton - Heinrich Schliemann* (German businessman archaeologist, died in 1890; deleted scene mention) - General Douglas Haig (later a field marshal) - Belshazzar* (King of Babylon) - Mabel Normand (actress) - Plantagenets* - Eugene Suter (hair stylist) - Alexander Kerensky (Russian political leader) - Vladimir Lenin (Russian communist revolutionary) - Florence Nightingale* (nurse; died 1910) - Czar Nicholas II and the Romanov family (ruler of Russia) - Jack Robinson (footballer; he stopped playing in 1912) - Frederick Marryat* (author) - George Alfred "G.A." Henty* (author; he would have been somewhat contemporary, died in 1902) - Maximilien Robespierre* (French revolutionary) - Marie Antoinette* (French queen) - Erich Lundendorff (German commander) - Sylvia Pankhurst (suffragist) - Jack Johnson (boxer) - Commander Harold Lowe (Fifth Officer of the Titanic; if P. Gordon was really Patrick, he would have known him personally) - Theda Bara (actress) - Robert Burns* (poet, read by Bates; name is not uttered on screen, but it is clear on book cover) - Jules Verne* (author; he would have been somewhat contemporary, died in 1905) - Marion Harris (singer of "Look for the Silver Lining"; name is not uttered on screen) - Edward Shortt (Home Secretary from 1919-1922) - Cosmo Gordon Lang, Archbishop of York (one of the first actual historical figures in the show; married Matthew and Mary, visited Downton Abbey for dinner) - King George V (king of England) [mentioned in S3E1, appears in S4CS] - Charles Melville Hays (president of the Grand Trunk Railway that Robert invested in; died on the Titanic) - Robert Baden-Powell (founder of the Boy Scouts) - Lady Maureen Dufferin (socialite, friend of the Crawleys) - Georges Auguste Escoffier (famous chef and restaurateur) - Marie-Antoine Carême* (famous chef) - Queen of Sheba* - Napoleon Bonaparte* - The Bourbons* - The Buffs* (famous army regiment; "steady the Buffs" popularized by Kipling) - Croesus* (king of ancient Lydia; mention several times starting in S3 and through S4) - Thomas Edwin "Tom" Mix (Wild West picture star) - Dr. Samuel Johnson* (English writer; quote paraphrased by Carson) - Jean Patou (dress designer; maker of Edith's S3 wedding dress in-show) - Lucy Christiana, Lady Duff-Gordon (dress designer of "Lucille"; a survivor of the Titanic) - The Marlboroughs (famous family; mentioned like the Crawleys knew them personally, Sir Anthony did) - The Hapburgs* (rulers of the Holy Roman Empire) - Maud Gonne (English-born Irish revolutionary) - Isabella Augusta, Lady Gregory (Irish revolutionary) - Constance Georgine Markievicz, Countess Markievicz (Irish revolutionary and politician) - Lady Sarah Wilson (née Churchill) (female war correspondent) - Gwendolen Fitzalan-Howard, Duchess of Norfolk (real person and friend of Violet's) - Pope Benedict XV - Lillian Gish (actress) - Ivy Close (actress) - Alfred the Great* (9th century ruler of England) - Oscar Wilde* (author; he would have been somewhat contemporary, died in 1900) - Nathaniel Hawthorne* (author) - Charles Ponzi - Walter Scott* (author) - Charles Dickens* (author) - Virgina Woolf (author, one of the first actual historical figures in the show, was not actually mentioned though, just a background guest at Gregson's party) - Roger Fry (artist, one of the first actual historical figures in the show, was not actually mentioned though, just a background guest at Gregson's party) - Sir Garnet Wolseley* - Phyllis Dare (singer and actress) - Zena Dare (singer and actress, sister to Phyllis) - Maurice Vyner Baliol Brett (the second son of the 2nd Viscount Esher, Zena Dare's husband) - King Canute* (Cnut the Great, norse king) - Nellie Melba (opera singer, one of the few actual historical figures in the show) - Al Jolson (singer) - Christina Rossetti* (poet) - Marie Stopes (feminist doctor and author of Married Love) - George III* (ruler of England) - Lord Byron* - Arsène Avignon (chef at Ritz in London, actual historical figure in the show) - Louis Diat (chef at Ritz in New York) - Jules Gouffé* (famous chef) - King of Sweden (whoever it was when Violet's husband was alive) - Rudolph Valentino (actor) - Agnes Ayres (actress) - Lord Robert Henley, 1st Earl of Northington* (Lord Chancellor and abolitionist) - Albert B. Fall (US senator and Secretary of the Interior) - King Ludwig* (I’m assuming of Bavaria) - John Ward MP (liberal politician, actual historical figure in the show) - Admiral John Jellicoe, 1st Earl Jellicoe (Royal Navy, Blake and Tony served under him) - Benjamin Baruch Ambrose (bandleader at the Embassy Club, his band appears on-screen but it's not pointed out who he is) - The Prince of Wales (David, who became Edward VIII when King) - Freda Dudley Ward (socialite and mistress of the above) - The Queen of Naples* - Wat Tyler* (leader of the 1381 Peasants' Revolt in England) - Edmond Hoyle* (writer of card rules) - Ramsay MacDonald (Prime Minister Jan-Nov 1924) - Archimedes* - Boudicca* (Queen of the British Iceni tribe) - Rosa Luxemburg (Revolutionary) - Charles I* - Douglas Fairbanks (movie star) - Jack Hylton (English band leader) - Edward Molyneux (fashion designer; Cora has a fitting with him in S5E3) - The Brontë Sisters* (Charlotte, Emily, and Anne, all authors. Anne's work The Tenant of Wildfell Hall was the charade answer in S2CS.) - Leo Tolstoy* (author) - Nikolai Gogol* (author) - Elinor Glyn (author of romantic fiction) - Czar Alexander II - Prince Alfred (son of Queen Victoria) - Grand Duchess Maria (wife of Alfred, daughter of the czar) - Peter Carl Fabergé (Russian jeweller) - Ralph Kerr (officer in the Royal Navy; Mabel mentions a man by this name as a friend) - Keir Hardie (Scottish socialist, died in 1915) - The Moonella Group (formed a nudist colony in 1924 in Wickford, Essex) - John Singer Sargent (American painter, died in 1925) - Rudyard Kipling (author and poet - often quoted starting in S1, but first mentioned by name in S5) - Mary Augusta Ward (Mrs. Humphrey Ward - author; I'm not adding her to the character list, died in 1920) - Adolf Hitler - Pola Negri (film star) - John Barrymore (actor [Drew Barrymore's grandfather]) - King Richard the III (of England)* - Hannah Rothschild and Lord Rosebery (British socialites Violet knew; Hannah died in 1890) - General Reginald Dyer - Lytton Strachey (supposedly was at Gregson's party) - Niccolo Machiavelli* - Adrienne Bolland (aviatrix) - The Fife Princesses (as listed by Sir Michael Reresby) - Duke of Arygll (as listed by Sir Michael Reresby) - The Queen of Spain (as listed by Sir Michael Reresby) - Lady Eltham (Dorothy Isabel Westenra Hastings) - King John* - Neville Chamberlain (Minister of Health in 1925, later Prime Minister; appears on-screen in S6E5) - Anne de Vere Cole (Neville Chamberlain's wife. Fictitiously, she is Robert's father's goddaughter. Her father is mentioned has having served in the Crimean War with Robert's) - Horace de Vere Cole (Anne de Vere Cole's brother) - Joshua Reynolds* (painter) - George Romney* (painter) - Franz Xaver Winterhalter* (painter) - Sir Charles Barry* (real architect of Highclere, cited here as one as Downton Abbey) - Tsar Nicholas I* - Teo (or Tiaa)* - Amenhotep II* - Tuthmosis IV* - King Charles* - Clara Bow (actress) [To my knowledge, the Ripon election candidates in S1E6 were not real people, as were not always the case for military personnel Robert referred to.] Fictional Characters and Works Mentioned in Downton - Long John Silver (referenced by Thomas) - Andromeda, Perseus, Cepheus (Greek mythology) (referenced by Mary) - Sydney Carton (A Tale of Two Cities) (referenced by Robert) - Princess Aurora, and later Sleeping Beauty (the ballet I presume) (referenced by Robert) - Horatio (Hamlet; Thomas quotes a line in a deleted scene) - "Gunga Din" (poem by Kipling; quoted by Bates and later quoted by Isobel) - Little Women (referenced by Cora) - The Lost World - Elizabeth and her German Garden (book given to Anna by Molesley) - Wind in the Willows (referenced by Violet) - "If You Were the Only Girl in the World" (sung by Mary, Matthew and cast) - "The Cat That Walked By Itself" (short story by Kipling; quoted by Matthew) - Iphigenia (Greek mythology, may be referenced in The Iliad but I cannot confirm) - Uncle Tom Cobley ("Widecombe Fair") (referenced by Sybil) - Alice and the Looking Glass - "The Rose of Picardy" (only a few strains played, possibly the John McCormack version which was out in 1919) - Zip Goes a Million and "Look for the Silver Lining" (song played by Matthew) - The Tenant of Wildfell Hall (title used in The Game) - Tess of the d'Urbervilles and Angel Clare (referenced by Mary) - Lochinvar (from Sir Walter Scott) (referenced by Martha) - "Jesu, Joy of Man's Desiring" (played at Mary and Matthew's wedding) - "Let Me Call You Sweetheart" (sung by Martha and cast) - "Dashing Away with the Smoothing Iron" (English folk song sung by Carson) - Way Down East (film) - The Worldings (film) - "Molly Malone" (Irish song) - The Scarlet Letter (referenced by Isobel) - Lady of the Rose (musical) - The Lady of Shalott (ballad) - The Puccini pieces from S4E3 - The jazz pieces from S4E4 sung by Jack Ross ("A Rose By Any Other Name") - The Sheik (film) - The jazz pieces from S4E6 sung by Jack Ross ("Wild About Harry") - "The Second Mrs Tanqueray" (play and films) (referenced by Edith) - "The Sword of Damocles" (Greek myth) - Dr. Fu Manchu - Mrs. Bennett (Pride and Prejudice) - A vague allusion to Wuthering Heights (talking about the Brontë sisters and moors) (referenced by Rose) - Vanity Fair and Becky Sharp (Molesley reads this with Daisy) - "It's a Long Way to Tipperary" (sung by Denker) - "The Fall of the House of Usher" (short story by Edgar Allen Poe) - Madame Defarge (A Tale of Two Cities) - Ariadne (Greek mythology) - "Cockles and Mussels" (Spratt sings a few bars in S6E5; this is also called "Molly Malone") - Elizabeth Bennett and Pemberley (Pride and Prejudice) (referenced by Violet) - Mr Squeers (Nicholas Nickleby) (referenced by Bertie) - The Prisoner of Zenda (adventure novel by Anthony Hope) (referenced by Tom) - "The course of true love never did run smooth" (quote from A Midsummer Night's Dream) Not included are proverbs or sayings (which Anna says a lot of), nor Biblical references. Do note that there's a lot of scenes with the characters reading, but we don't know exactly what.

#downton abbey #resources

69 notes · View notes

wallpaperpainter · 4 years

Text

The 10 Reasons Tourists Love Large Artwork For Dining Room | Large Artwork For Dining Room

A$AP Ferg is allotment of a hip hop aggregate whose associates all use the aforementioned prefix in their names. The A$AP Mob’s brand stands for Consistently Strive and Prosper, and while giving AD a video bout of his New Jersey home recently, Ferg reflected on how he’s auspiciously lived up to his moniker appropriately far.

“It’s altered from actuality an close burghal kid,” says the Harlem built-in of activity in the house, which he’s endemic for about a year. “Like all of the noise—it’s absolute quiet [here]. When I’m traveling the apple and I’m affair all of these altered bodies and I’m afraid a lot of hands, there’s a lot of noise. I’m on date all the time. It’s consistently air-conditioned to appear aback to a abode that’s absolute arctic and tranquil. This is my safe haven. “

The “Shabba” rapper’s abode has acceptable bones, with white bank abutting adjoin fleet dejected walls, acme molding, and a broiler in the active room. It is in the decor—and abnormally in the art—where Ferg’s adroitness shines through. The moment guests access the home, they are greeted by a affectation featuring a chicken painting by Jay West (a beginning artisan and longtime acquaintance of Ferg’s), a KAWS “Companion” doll, a bronze of a pigeon which was a allowance from streetwear artist Jeff Staple, a carve by Daniel Arsham, and souvenirs from Ferg’s campaign to Liberia.

The dining allowance revolves about a custom-built table with analogous benches and chairs. White with chicken curve active through it, it has the actualization of actuality carved out of stone, and Ferg describes the artful as “real antic Flintstones vibes.” The adjoining active allowance additionally revolves about a bright centerpiece, a ample rug Ferg had custom-built in the angel of a painting he created afterwards his ancestor died in 2003. Hand fabricated in Nepal, the rug took over nine months to complete, and appearance silk, wool, and gold wire.

In the video, Ferg additionally gets abysmal about accepting to break in the abode due to the advancing COVID-19 pandemic. “This quarantine, it aloof basically makes me absolutely reflect and anticipate about the times I didn’t absolutely accept [time] to absorb with my ancestors and friends. I anticipate about what absolutely affairs and counts in life. All the money in the apple couldn’t bulk to aloof actuality with your family.”

Story continues

During these adverse times, Ferg has been accomplishing his allotment to accord back. He afresh helped bear 300 commons from Melba’s Restaurant (a basic in his home neighborhood) to workers at Harlem Hospital. He additionally gives a nod to accepted contest in the video for his new song, “Value,” interspersing shots of

The 10 Reasons Tourists Love Large Artwork For Dining Room | Large Artwork For Dining Room – large artwork for dining room | Encouraged to my personal blog site, in this period I am going to demonstrate concerning keyword. And from now on, here is the primary photograph:

wall art for dining room contemporary – eliasdecordesign | large artwork for dining room

What about graphic earlier mentioned? will be of which remarkable???. if you think maybe therefore, I’l t show you a few photograph all over again under:

So, if you would like secure these wonderful photos regarding (The 10 Reasons Tourists Love Large Artwork For Dining Room | Large Artwork For Dining Room), press save link to download the pictures in your laptop. They are prepared for obtain, if you like and want to have it, click save symbol in the web page, and it will be instantly down loaded in your laptop computer.} At last if you need to find new and the latest photo related with (The 10 Reasons Tourists Love Large Artwork For Dining Room | Large Artwork For Dining Room), please follow us on google plus or bookmark this page, we attempt our best to provide daily up grade with all new and fresh shots. We do hope you love keeping here. For most updates and latest information about (The 10 Reasons Tourists Love Large Artwork For Dining Room | Large Artwork For Dining Room) photos, please kindly follow us on tweets, path, Instagram and google plus, or you mark this page on book mark section, We attempt to provide you with update periodically with fresh and new pictures, like your exploring, and find the ideal for you.

Here you are at our site, articleabove (The 10 Reasons Tourists Love Large Artwork For Dining Room | Large Artwork For Dining Room) published . At this time we’re delighted to declare we have discovered an extremelyinteresting topicto be pointed out, that is (The 10 Reasons Tourists Love Large Artwork For Dining Room | Large Artwork For Dining Room) Most people attempting to find details about(The 10 Reasons Tourists Love Large Artwork For Dining Room | Large Artwork For Dining Room) and of course one of them is you, is not it?

Abstract Art, Acrylic Colorful Art, Canvas Art, Large Art on .. | large artwork for dining room

10 Affordable Ideas for Large Wall Decor | Dining room wall decor .. | large artwork for dining room

Large Wall Art & Big Canvas Prints | iCanvas – large artwork for dining room | large artwork for dining room

Big Appetite: 10 Dining Rooms With Large Scale Art | Apartment Therapy – large artwork for dining room | large artwork for dining room

More Oversized Art – I’ll Never Tire of This | Home decor .. | large artwork for dining room

10 Dining Rooms Featuring Artworks That Make All The Difference – large artwork for dining room | large artwork for dining room

Big Appetite: 10 Dining Rooms With Large Scale Art | Decoración de .. | large artwork for dining room

The post The 10 Reasons Tourists Love Large Artwork For Dining Room | Large Artwork For Dining Room appeared first on Painter Legend.

Painter Legend https://www.painterlegend.com/wp-content/uploads/2020/05/wall-art-for-dining-room-contemporary-eliasdecordesign-co-large-artwork-for-dining-room.jpg

#Wallpaper #large art for dining room #large art prints for dining room #large artwork for dining roo

0 notes

dutch-and-flemish-painters · 7 years

Photo

Petrus van der Velden, photo taken 9 July 1896 by Francis Lawrence Jones.

Petrus van der Velden (5 May 1837 – 11 November 1913), who is also known as Paulus van der Velden was a Dutch artist who spent much of his later career in New Zealand.

Petrus van der Velden was born in Rotterdam; his parents were Jacoba van Essel and Joannes van der Velden, a warehouse manager. Petrus began drawing lessons at around the age of 13 and subsequently apprenticed as a lithographer. In 1858 he founded a lithographic printing company in Rotterdam with business partner J. G. Zijderman. The earliest known paintings by van der Velden date to around 1864; in 1867 he wound up the printing business and began painting and exhibiting full time. He studied at the academies in Rotterdam and Berlin. He registered at the Academy of Art, Rotterdam in 1868. After a stay on the island of Marken (1871–73) he lived in or near The Hague until 1888 and was part of the Hague School in artistic and stylistic origins. During this period he painted mainly genre scenes such as The Dutch Funeral (1872, collection of the Christchurch Art Gallery) and the Old Cellist (1887, The Hague, Gemeentemus.); he also produced some landscapes, for example Snow on the Sand Dunes (1889–90, collection of the Museum of New Zealand Te Papa Tongarewa). His work of this period displays a tension between Naturalism and Romantic Realism in the style of Jozef Israëls.

In 1890 van der Velden emigrated to New Zealand with his wife and children (one daughter and two sons), aged 53. He arrived in Christchurch, where he stayed until 1898. It was during the 1890s that van der Velden discovered Otira Gorge on the West Coast, which provided him with his most successful and enduring subject. The first trip took place in January-February 1891 and the primary work produced was Waterfall in the Otira (aka Mountain Stream) (1891). Van der Velden treated the Otira landscape as an opportunity to evoke the sublime, and sought out appropriate opportunities to depict it.

By 1894 van der Velden had taken on students, among whom were Sydney Lough Thompson, Robert Procter, Cecil Kelly, Elizabeth Kelly, Leonard Booth, and Raymond McIntyre. His teaching method placed emphasis on acquiring an intimate acquaintance with the subject by doing a great many drawings and studies.

Van der Velden and family sailed to Sydney in April 1898. Little is known of his time in Sydney, although a work painted in Christchurch, Disillusioned (also known as The sorrowful future) was sold to the Art Gallery of New South Wales for £400. Sophia van der Velden died in Australia on 1 May 1899. Their daughter Riek returned to New Zealand in 1890. Van der Velden spent the first three months of 1901 living at the Carrington Hospital for Convalescents at Camden outside Sydney.

In Sydney van der Velden met his second wife, Australia Wahlberg. In January 1904 he and Australia departed for Wellington, New Zealand: they were married in Wellington two weeks after their arrival, on 4 February. Their son Noel was born on Christmas Day, 1905 but died 26 days later. A second child, the couple’s daughter Melba (named for Dame Nellie Melba, who the painter greatly admired) was born in May. During a visit to Auckland van der Velden contracted bronchitis and died of heart failure on 11 November 1913. He was buried in an unmarked grave in Waikaraka cemetery; Australia and Melba van der Velden returned to Sydney in 1914.

#Petrus Van der Velden #19th #netherlands #australia #photography #history

29 notes · View notes

opera-ghosts · 3 years

Text

Jean Lassalle (Baritone) (Lyon, France 14. 12. 1847 - Paris, France 7. 9. 1909) He was the son of a silk trader. He left Lyon and went to Parisand wanted to become a painter. He studied singing at the Conservatoire National in Parisunder the pedagogue Novelli. He made his debut in 1886 at the Opera House in Lüttich as Saint Bris in ‘’Huguenots’’ of G. Meyerbeer. After his appearances at the opera houses of Lille, Toulouse, Hague and Brussels, he joined in 1872 to the Grand Opéra in Paris, where he made his debut as Wilhelm Tell in G. Rossini’s opera of the same name. Through long years he belonged to the most prominent members of this opera house. Especially he was appreciated at the Covent Garden, where he appeared in the 1879-1881 and 1888-1893 seasons in the parts like the Fliegenden Holländer, Telramund and Hans Sachs. In 1890 he sang at the Paris Opéra-Comique in a gala performance of ‘’Carmen’’ with Jean de Reszke and Nellie Melba. Then in the 1892-1898 (with interruptions) seasons he was a famed member of the Metropolitan Opera in New York. Here he made debut in January, 1892 in as Nelusco in ‘’L'Africaine’’ of G. Meyerbeer. At the Metropolitan Opera his repertoire included Don Giovanni, the title part in ‘’Hamlet’’ of A. Thomas, Valentin in ‘’Faust’’ of C. Gounod, Escamillo in ‘’Carmen’’, Nevers in ‘’Huguenots’’, Telramund, Hans Sachs and Wolfram in ‘’Tannhäuser’’. Then he returned to France and some years appeared in Paris, but since 1901 devoted himself to teaching and received in 1903 a professorship of the Conservatoire de Paris. Jean Lassale counted as one of the most significant Baritons of his epoch, who was compared many times to his predecessor, the famous Jean-Baptiste Faure. His son Robert Lassalle, became a known tenor, who was trained by his father and J. Isnardon.

5 notes · View notes

if-you-fan-a-fire · 7 months

Text

"OPEN GODFREY TRIAL FOR ARMED ROBBERY," Toronto Star. February 20, 1934. Page 1. --- Accused Faces Three Charges in County Criminal Court To-day ---- With a true bill charging attempted murder, returned against him recently by the winter assizes grand jury, George F. Godfrey came before Judge Parker, in county criminal court to-day, for trial on three counts of armed robbery.

He is charged with assault and robbery on Dec. 30, of Peter Cadieux, driver for the New Method Laundry, theft of $90 on Dec. 16 from George Earhardt, driver for Langley's Ltd., and theft of $125, the property of Bertram Keith, Melba Painter on Nov. 2. from Dr. Austin A. Staley, first crown witness, said he had treated Cadieux for severe head wounds.

Cadieux, describing the alleged robbery on Scarborough Beach Blvd.. just south of Queen St. E., told the court that when he returned to his truck, after making a delivery, two men in the rear compartment grabbed him and started hitting him over the head with a weapon.

When he screamed, he said, one of them placed a hand over his mouth. The other had a revolver in his hand.

After one of his assailants had taken the driver's seat, Cadieux related, and had driven to Glenmanor Dr., he started shouting again and the man driving said several times to "shoot him."

At a police lineup Cadieux had identified one assailant "by his voice" but he was not positive of Godfrey's identity, however.

#toronto #county police court #scarborough #attempted murder #armed robbery #armed robbers #carjacking #armed with a revolver #carjackers #truck driver #great depression in canada #crime and punishment in canada #history of crime and punishment in canada

0 notes

brookstonalmanac · 1 year

Text

Birthdays 5.19

Beer Birthdays

Frederick Metz (1832)

John Hinchliffe (1850)

Josephus Petrus Van Ginderachter (1889)

Esmond Bulmer (cider maker; 1935)

Sabine Weyermann (1958)

Five Favorite Birthdays

Andre the Giant; wrestler, actor (1946)

Lily Cole; model, actor (1988)

Edward de Bono; inventor, writer, physician (1933)

Jim Lehrer; television journalist (1934)

Pete Townsend; rock guitarist, songwriter (1945)

Famous Birthdays

Kemel Ataturk; Turkish politician, menagerie owner (1881)

Bruce Bennett; actor (1906)

Nora Ephron; writer (1941)

James Fox actor (1939)

Jessica Fox; actor (1983)

Lorraine Hansberry; playwright (1930)

Johns Hopkins; philanthropist (1795)

Grace Jones; pop singer, actor (1952)

Jacob Jordaens; Flemish painter (1593)

Nancy Kwan; actor (1939)

Peter Mayhew; actor, comedian, "Chewbacca" (1944)

Nellie Melba; Australian opera singer, toast inventor (1861)

Sarah Peale; artist (1800)

Jodi Picoult; writer (1966)

Joey Ramone; rock singer (1952)

Tom Scott; saxophonist (1948)

Martyn Ware; pop keyboardist (1956)

Victoria Wood; comedian (1953)

Malcolm X; activist (1925)

#Birthdays

0 notes

abramsbooks · 7 years

Photo

RECIPE: Greek Salad on the Grill (from Salad for President by Julia Sherman)

This salad proves that rules are meant to be broken. I have always considered the classic Greek salad to be the Platonic ideal. I balk at fancy upgrades since the cheap red wine vinegar, Kalamata olives, and romaine are fundamental to the dish. Hell, I even prefer dolmas (stuffed grape leaves) from a can to those from the deli counter.

Then one day I had a few vegetarian dolmas left over in the fridge, and I tossed them on the grill to warm them up. The oil-marinated leaves crisped, the rice steamed and softened inside, and I had somehow managed to improve upon my favorite snack. With the rules out the window, I tossed all the veggies on the grill (save the cucumbers and tomatoes), and it worked. It’s not a replacement for the fresh Greek salad, but with the old-school Greek diners becoming a thing of the past, this is a fun variation to make at home.

Serves 4 Prep Time: 15 minutes

4 hearts of romaine, bottoms trimmed, cut in half lengthwise

1 small red onion, cut into rounds ¼ inch (6 mm) thick

Extra-virgin olive oil

Kosher salt and freshly ground black pepper

1 teaspoon dried oregano

One 6-ounce (170-g) slab sheep’s milk feta cheese, 1 inch (2.5 cm) thick

¼ cup (50 g) Kalamata olives

8 to 10 canned or fresh vegetarian stuffed grape leaves (dolmas)

1 medium ripe heirloom tomato, cored and cut into 1-inch (2.5-cm) chunks

2 to 3 small Kirby or Persian cucumbers, cut into 1-inch (2.5-cm) pieces

4 or 5 oil-packed anchovy llets (optional but highly recommended)

Pepperoncini (optional)

Red wine vinegar

Sea salt

Breadsticks or Melba toast (optional)

Prepare a charcoal fire, heating until the coals turn white.

While the coals are heating, brush the romaine and onion rounds with oil and season with kosher salt, pepper, and the oregano. Place the feta and and the olives on a rectangular piece of aluminum foil and fold the edges upward to create a shallow boat. Drizzle them with oil (see Note).

Spray the grill grate with cooking-spray oil or brush with vegetable oil.

Place the stuffed grape leaves, romaine, onion, and feta/olive packet on the grill and cook until the vegetables have a nice light char on all sides, 4 to 5 minutes total. The feta should be warm throughout. Remove from the grill with tongs.

On a large platter, make a bed of the grilled romaine (keeping the halves intact) and top with the tomato, cucumbers, grilled onion, olives, and stuffed grape leaves. Cut the feta into 1-inch (2.5-cm) cubes and toss them on top. Drizzle the whole mess generously with oil and season very lightly with sea salt (the olives, feta, and anchovies add lots of salt) and black pepper to taste.

Top with the anchovies and pepperoncini, if using. Serve with red wine vinegar and oil on the side (you can also dress the salad for your guests, but I like to do it myself), and breadsticks or Melba toast if you want to make a nod to the salad’s roots.

Note: Tossing the cheese on the grill is optional, but it’s a nice way to warm it up before serving. Feta cheese sticks to the grill, so be sure to use tinfoil if you decide to do this step.

The creator of the immensely popular Salad for President blog presents a visually rich collection of more than 75 salad recipes, with contributions and interviews by artists/creative professionals like William Wegman, Tauba Auerbach, Laurie Anderson, and Alice Waters.

Julia Sherman loves salad. In the book named after her popular blog, Sherman encourages her readers to consider salad an everyday indulgence that can include cocktails, soups, family style brunch dishes, and dinner-party entrées. Every part of the meal is reimagined with a fresh, vegetable obsessed perspective. This compendium of savory recipes will tempt readers in search of diverse offerings from light to hearty: Collard Chiffonade Salad with Roasted Garlic Dressing and Crouton Crumble, Heirloom Tomatoes with Crunchy Polenta Croutons, or Flank Steak and Bean Sprouts with Miso-Kimchi Dressing. On the lighter end there are Grilled Hearts of Palm with Mint and Triple Citrus, Persimmon Caprese, and fresh Blood Marys. The recipes, while not exclusively vegetarian, are vegetable-forward and focused on high-quality seasonal produce. Sherman also includes insider tips on pantry staples and growing your own salad garden of herbs and greens.

Salad—with its infinite possibilities—is a game of endless combinations, not stifling rules. And with that in mind, Salad for President offers a window into how artists approach preparing their favorite dishes. She visits sculptors, painters, photographers, and musicians in their homes and gardens, interviewing and photographing them as they cook. Utterly unique in its look into the worlds of food, art, and everyday practices, Salad for President is at once a practical resource for healthy, satisfying recipes and an inspiring look at creativity.

For more information, click here.

#abramsbooks #abrams books #salad for president #salad for president cookbook #salad for president book #julia sherman #recipe #free recipe #grilled greek salad #greek salad #recipe friday #recipefriday

3 notes · View notes