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Dragons of Autumn Twilight… Ugh
by fitz	| Posted on April 8, 2008 September 4, 2008
Ok, so by now most of you know that there are a few things on my top 10 list… Among them are roleplaying games (like Dungeons and Dragons), cartoons, and movies. Well, I found a combination of the three that just made me want to cry, and not in a good way.
Yes, I'd read the reviews. Yes, I'd seen all the negative press… But it's like being drawn to the scene of an accident like a rubber-necker… I couldn't help but watch.
So when Netflix delivered Dragonlance: Dragons of Autumn Twilight to my mailbox, I was hopeful but knew deep inside it was a mistake to watch it. I should've listened to myself. It was a mistake. Ugh.
Here's the IMDB link.
Let's set the stage…
In the mid-1980s, Margaret Weis and Tracy Hickman created a new series of novels for TSR at the time, who was the steward of the Dungeons and Dragons franchise. This new series of novels focused on a small set of heroes in the land of Krynn who were fighting against evil dragons and gods. It was initially a trilogy — Dragons of Autumn Twilight, Dragons of Winter night, and Dragons of Spring Dawning. They were a sensation in the 80s. I have to admit to enjoying them in high school and college myself. And of course the authors went on to create other series in the Dragonlance worlds over the years, including the Lost Chronicles trilogy which started in 2006 and has its third book coming out this year.
[rating:1/4]
Now, I have also talked about the Dungeons and Dragons cartoon series from the 1980s that was pretty cheesy, yet had a good following. You can read my article about that series here. But that was the 1980s — full of grand stories, bad animation, and it was the norm for cartoons on television.
We're now in 2008. We've had amazing series come and go over the years. The Batman and Superman Animated series from the 1990s as a good example. And we seem to be in the waning period of great animation where companies are more interested in quantity than quality.
That unfortunately is what happened with this Dragonlance movie. It's definitely one of those cases where the books are SO much better than the movie.
You'd think that with a voice cast like they had, it would've turned out better. But I have to say that I suspect it was more the script than the actors (though they didn't do anything for me).
The voice acting included: Michael Rosenbaum, Kiefer Sutherland, Lucy Lawless, Michelle Trachtenberg, Jason Marsden, and Phil LaMarr. And for some reason they all just fell flat. I liked Tasslehoff Burrfoot (Marsden) and Fitzban (Neil Ross) but everyone else seemed to be sleepwalking.
The thing that really irked me though was the HORRID merging of 3D and 2D animation styles. I was watching a Justice League Unlimited episode the other night and struck by how smooth the 3D/2D transitions were as opposed to the Dragonlance movie.
The other thing that irked me was the fact that there was a lot of adult suggestive content in this movie. I really didn't need to see jiggling bosoms on an animated bar wench or really exposing clothing on some of the ladies in the background. Not that I'm a prude, but this is a cartoon for D&D, not Heavy Metal!!
Anyway… If you can't tell by now, I was totally disappointed in this movie. It blew chunks. I give it 1 out of 4 stars just for trying and failing by so large a margin.
What do you guys think? Let me know. Leave some comments!
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forged says:
Heavy Metal meets D&D … might make an interesting distraction …. but not necessarily a good adaptation of a particular trilogy of books.
I probably won't bother seeing this one, as I have pretty much avoided all the D&D related movies.
In general though, I think certain ideas work better in certain media contexts and not others. Although I have seen the same idea work well in books, comics, and animation media, this one may have just fallen flat due to execution.
Oh well, plenty of other fish in the sea. Thanks for the warning though.

redpajama_set_name: RedPajamaCommonCrawl


Brendan Fraser Net Worth: Brendan James Fraser is a Canadian-American actor. He is best known for playing Rick O'Connell in The Mummy trilogy (1999, 2001, 2008), and for his comedy and fantasy films, such as Encino Man (1992), George of the Jungle (1997), Bedazzled (2000), Looney Tunes: Back in Action (2003) and Journey to the Center of the Earth (2008). He has a net worth of $25 million.
How much is Brendan Fraser Worth?
Brendan Fraser is a Canadian-American film and stage actor who has a net worth $25 million. Many users ask us, What is Brendan Fraser Net Worth? for the sake of those users, we are providing the up to date estimated earnings on this page.
In a March 2013 court case, Brendan Fraser revealed to a judge that every month he loses $87,000 thanks alimony, mortgages and various other expenses. Fraser is seeking to have his alimony payments reduced and claims that he is no longer earning the mega-millions that came at the height of his fame. In the same court documents, Fraser listed his assets at $25 million and his monthly income at $205,704.
He also earns an additional $26,000 from investment income and has to pay $113,000 in "professional expenses" (lawyers, managers, agents). That leaves the Encino man with roughly $118,000 in monthly income before expenses. Fraser's monthly expenses include $50,000 alimony, $34,000 income taxes, $25,000 child support, $6000 property taxes, $5200 gardening, $5000 insurance, $5000 family support, $5000 mortgages… In total his expenses outweigh his monthly income by $87,000.
Brendan Fraser's Former Beverly Hills Home Is for Sale for $4.5 M. Listed for $4.5 million, this home is 9,335 square feet with three bedrooms and four baths.
Brendan Fraser has an estimated net worth of $25 million. He has accumulated his net worth from his career as a film and stage actor. Of Canadian origin, he started his acting career in the year 1990. He played the role of Rick O'Connell in the famous Mummy film series. His comedic roles have also been employed in various Hollywood movies such as George of the Jungle, Back in Action Encino Man, Looney Tunes:, Dudley Do-Right, Journey to the Center of the Earth and Inkheart. In dramatic roles, he took part in dramas such as the Crash. He also plays a role in the FilmAid International as a director.
Brendan Fraser was born in Indianapolis in Indiana. His parents are Carol Mary who was a sales counselor and the father is Peter Fraser who was a journalist. Brendan Fraser can speak fluent French. During his childhood, he managed to live in places such as Eureka, Seattle, California and Ottawa due to his parents who used to move a lot.
Hope you like this Brendan Fraser Networth article. If you like this, then please share it with your friends… This above post is all about the estimated earnings of Brendan Fraser. Do you have any queries, then feel free to ask via comment section.


The nutrient and anti-nutrient content of raw millet, fermented and germinated millet flour were followed during a germination of 48h and a fermentation of 72hrs. There was a significant decrease in the anti-nutritional factors with tannins from 0.357%, to 0.157%, phytates 0.144% to 0.074% and an increase in the cyanide 8.50ppm to 600ppm, oxalate 0.352% to 0.572%. Also, significant difference occurred in the nutritional levels, with an increase in carbohydrate from 45.61% to 67.81%, fat from 6.01% to 6.50%, protein 10.12% to 18.52 and crude fiber 0.95 to 1.50%. the difference in the nutrition value is an a loss dry matter levels during fermentation and germination which decreased the carbohydrate content in the fermented and germinated samples and increase the fat, fiber and protein content though by a slight and significance difference. It was concluded that is not necessary to prolong fermentation and germination and fermentation times would only result to loss of dry matter through respiration without corresponding significant overall nutritional benefits.
The term millet (Eleusine coracana) is used for any of several small seeded annual grasses that are opt important mainly in Asia, African and in semi—arid region. Millets are one of the cereals aside the major wheat, rice and maize. Millets are major foods sources for millions of people Especially those who line in hot, dry areas of the world. They are grown mostly in marginal areas under agricultural conditions in which major cereals fail to give substantial yields. (Adekwile 2012).
Five types of millets that are common, Setaria Italica, Pennisetum Typhodeum or Pennisteum Glausim (Pearl Millets), Eleusine Coracana (Finger Millet), Echinocloa Frumentecea and Pannicum Miliaccum (proso millet). Millet is processed in so many ways for preparation of various food products some of the primary process involved are dehulling and milling in order to produce flours, grits and dehulled whole grains. These intermediate products are used to prepare staple foods like cooked whole grains, thin and thick porridges, steam cooked products like Cousous and Zaki preparation of Tuwo and Fura. (Nkama et al, 1997).
Due to enzymatic breakdown of starch to sugars during germination, the viscosity and the bulk density of porridge made from sprouted grains are significantly lower. The terms sprouting, germination, malting and fermentation are used interchangeably to refer to the soaking of grains in water until saturated and then germinating them under controlled conditions like barley millets are malted (soaked) and germinated) for brewing purposes, however, fermentation and germination of millet seeds has been reported to improve the nutritional quality by increasing the contents and availability of essential nutrients, and this is not so in raw millet flour. (Obilana et al, 2002).
More so, long germination period result in significant losses in dry matter through respiration, which is undesirable. Millet fermented for 10hrs and germinated for 72 hrs last up to 9.5% dry matter. This loss of essential nutrient during germination needs to be minimized since very little research has been done on nutrient and anti-nutrient interaction during germinating of cereals (millets) especially finger millet (Eleusine corcana), this research focuses on nutritionally beneficial changes such as the lowering of anti-nutrients and increase in protein digestibi9lity compared with the loss of matter (AOAC 1995).
This work will have basically financial problem in the procurement of the raw materials, also in the running of the approximation analysis and ant-nutritional composition of the raw, fermented and germinated millet flour.
To know effect of fermentation and germination on the nutrient and anti-nutrient of millet which will help educate industries who use millet for production on which best method to work with.
The purpose of this work is to determine the nutrient and anti-nutrient composition of millet flour produced by three different methods.
Determination of the anti-nutrients o the three samples.
This work is of very importance because in carrying the necessary analysis on the raw, fermented and germinated millet flour to help check the best method of reducing the anti-nutrient and increasing the nutrient content.


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After Caravaggio.
New Haven and London, 2016. Cm. 26x20, pp. x-221, ill. 150 a col. n. t., tela e sovrac.
During the twenty years following Caravaggio's death, his revolutionary precedent inspired the creation of a remarkable body of paintings. Drawing together works by Bartolomeo Manfredi, Valentin de Boulogne, Nicolas Tournier, Nicolas Régnier, Cecco del Caravaggio, and the young Jusepe de Ribera, Michael Fried examines the nature of this later generation's engagement with Caravaggio. The magnitude and interest of their achievements have long been recognized, but existing scholarship has touched only the surface. Fried approaches his topic with seriousness and sophistication, revealing the density of meaning and sheer pictorial ambition in the works of the painters known as the Caravaggisti.
Accessibly written, this beautifully illustrated book combines an account of works by Manfredi, Valentin, Tournier, Regnier, and Ribera with a detailed case study of Cecco del Caravaggio's Resurrection (1619–20), and concludes by surveying a group of paintings by Guercino, a painter not counted among the Caravaggisti, but whose strategies in relation to the viewer aligned him with their interests. Fried moves with agility between broad and focused fields of vision. In his final remarks, he makes a compelling case for understanding these paintings in relation to the thought of René Descartes.
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Amazing Rare Things. The Art of Natural History in the Age of Discovery.
New Haven and London, 2015. Cm. 24x19, pp. 223, tavv. 88 e figg. 43 a col. n. t., br.
From the fifteenth century onwards, as European explorers sailed forth on grand voyages of discovery, their encounters with exotic plants and animals fanned intense scientific interest. Scholars began to examine nature with fresh eyes, and pioneering artists transformed the way nature was seen and understood. In Amazing Rare Things, renowned naturalist and documentary-maker David Attenborough joins with expert colleagues to explore how artists portrayed the natural world during this era of burgeoning scientific interest. The book focuses on an exquisite selection of natural history drawings and watercolors by Leonardo da Vinci, Alexander Marshal, Maria Sibylla Merian, and Mark Catesby, and from the collection of Cassiano dal Pozzo—works all held in the Royal Library at Windsor Castle. Attenborough and his coauthors offer lucid commentary on topics ranging from the 30,000-year history of human drawings of the natural world, to Leonardo's fascination with natural processes, to Catesby's groundbreaking studies that introduced Europeans to the plants and animals of North America. With 160 full color illustrations, this beautiful book will appeal to readers with interests that extend from art and science to history and nature.
America after the Fall. Painting in the 1930s. Edited by Judith A. Barter.
New Haven and London, 2016. Cm. 31x25, pp. 201, tavv. e figg. a col. e in nero n. t., cart. e sovrac.
Catalogo della mostra: Chicago, The Art Institute, 2016.
Through 50 masterpieces of painting, this fascinating catalogue chronicles the turbulent economic, political, and aesthetic climate of the 1930s. This decade was a supremely creative period in the United States, as the nation's artists, novelists, and critics struggled through the Great Depression seeking to define modern American art. In the process, many painters challenged and reworked the meanings and forms of modernism, reaching no simple consensus. This period was also marked by an astounding diversity of work as artists sought styles—ranging from abstraction to Regionalism to Surrealism—that allowed them to engage with issues such as populism, labor, social protest, and to employ an urban and rural iconography including machines, factories, and farms.
Seminal works by Edward Hopper, Grant Wood, Thomas Hart Benton, Georgia O'Keeffe, Aaron Douglas, Charles Sheeler, Stuart Davis, and others show such attempts to capture the American character. These groundbreaking paintings, highlighting the relationship between art and national experience, demonstrate how creativity, experimentation, and revolutionary vision flourished during a time of great uncertainty.
With essays by: Judith A. Barter, Sarah L. Burns, Teresa A. Carbone, Annelise K. Madsen, and Sarah Kelly Oehler.
Andy Warhol, Ai Weiwei. Edited by Max Delany and Eric Shiner.
New Haven and London, 2015. Cm. 28x22, pp. xvi-311, tavv. e ill. a col. e in nero n. t., tela.
Catalogo della mostra: Melbourne, National Gallery of Victoria, 2015.
Andy Warhol (1928–1987) and Ai Weiwei (b. 1957) are two of the most internationally renowned artists of the past 100 years, famous not only for their artwork but also for influencing the culture of their time. This exciting book is the first to consider the work of these artists alongside one another, in dialogue and in correspondence, to explore the artists' meticulous observations of modern and contemporary art, life, and politics. Andy Warhol's investigation of consumer society, fame, and celebrity offers thought-provoking points of connection with Ai Weiwei's interrogation of the relationship between tradition and modernity, the role of the individual to the state, questions of human rights, and the value of freedom of expression. Parallels also exist between the ways in which each artist transformed the understanding of artistic value and studio production, and redefined the role of the artist—as impresario, cultural producer, activist, and brand.
Alongside beautifully reproduced images by both artists—including works by Ai Weiwei published here for the first time—are illuminating essays by an international team of art experts, curators, and scholars that survey the scope of the artists' careers and interpret the significant impact of Andy Warhol and Ai Weiwei on modern art and contemporary life. This deluxe, collectible catalogue is available in three different, limited-edition colors.
Apethorpe. The Story of an English Country House. Edited by Kathryn A. Morrison.
New Haven and London, 2016. Cm. 30x25, pp. xiii-484, tavv. e ill. 486 a col. e in nero n. t., tela e sovrac.
This beautiful publication narrates the romantic biography of an architecturally significant country residence and its rescue from decline. Dating from the mid-15th century, Apethorpe in Northamptonshire was home to a succession of leading courtiers and politicians. At the command of King James I, the house was refurbished with a richly decorated state apartment. The suite, with its series of rare plaster ceilings and carved chimneypieces, unquestionably ranks as one of the finest—and least known—in Britain. In 2004, English Heritage rescued the house from ruin and has since restored it to much of its glory.
This book places Apethorpe in its wider historical and architectural context, comparing it with other Tudor and Jacobean houses. It sheds new light on the furnishing, decoration, and circulation patterns of state suites in country homes. Written by architectural and archeological experts from Historic England, this monograph, the first on Apethorpe, is illustrated with new and historical photographs, paintings, maps, engravings, and specially commissioned interpretive drawings that reveal how the house looked at key moments in its history.
Art and Love in Renaissance Italy. Edited by Andrea Bayer.
New Haven and London, 2008. Cm. , pp. xv-376, tavv. e ill. a col. e in nero n. t., tela e sovrac.
Catalogo della mostra: New York, The Metropolitan Museum of Art, 2008-2009.
Marriage and childbirth gifts are the point of departure. These range from maiolica, glassware, and jewelry to birth trays, musical instruments, and nuptial portraits. Bonds of love of another sort were represented in erotic drawings and prints. From these precedents, an increasingly inventive approach to subjects of love and marriage culminated in paintings by some of the greatest artists of the Renaissance, including Giulio Romano, Lorenzo Lotto, and Titian.
Many famous Italian Renaissance artworks were made to celebrate love and marriage. They were the pinnacles of a tradition---dating from the early Renaissance---of commemorating betrothal, marriage, and the birth of a child by commissioning extraordinary objects or exchanging them as gifts. This important volume is the first to examine the entire range of works to which Renaissance rituals of love and marriage gave rise and makes a major contribution to our understanding of Renaissance art in its broader cultural context. Some 140 works of art, dating from about 1400 to 1600, are discussed by a distinguished group of scholars and are reproduced in full color.
Art of Empire. The Roman Frescoes and Imperial Cult Chamber in Luxor Temple. Edited by Michael Jones and Susanna McFadden.
New Haven and London, 2015. Cm. 31x25, pp. xi-227, figg. 97 a col. e 54 in nero n. t., tela e sovrac.
The Luxor Temple of Amun-Re, built to commemorate the divine power of the pharaohs, is one of the iconic monuments of New Kingdom Egypt. In the 4th century C.E., the Roman Imperial government, capitalizing on the site's earlier significance, converted the temple into a military camp and constructed a lavishly painted cult chamber dedicated to the four emperors of the Tetrarchy. These frescoes provide fascinating insight into the political landscape of the late Roman Empire and, as the only surviving wall paintings from the tetrarchic period, into the history of Roman art. The culmination of a groundbreaking conservation project, this volume brings together scholars across disciplines for a comprehensive look at the frescoes and their architectural, archaeological, and historical contexts. More than 150 stunning illustrations present the paintings for the first time in their newly conserved state, along with a selection of 19th-century documentary watercolors. This remarkable publication illustrates how physical context, iconography, and style were used to convey ideology throughout Rome's provinces.
Art of the American Frontier. From the Buffalo Bill Center of the West. Foreword by Peter H. Hassrick.
New Haven and London, 2013. Cm. 26x31, pp. 174, ill. a col. e in nero n. t., cart. e sovrac.
Catalogo della mostra: Atlanta, High Museum of Art, 2013-2014.
The visual history of the American West calls to mind iconic artworks and nostalgia for the past. Art of the American Frontier presents more than 300 artworks and artifacts from 1830 to 1930, alongside a group of contemporary Western works, showcasing the premier collections of the Buffalo Bill Center of the West. The complicated history of westward expansion is presented through the iconography of the frontier, spanning Plains Indian materials, government survey photographs, and paintings by early artist-explorers. In the 20th century, a growing romance with the West is evident in the theatrics of Buffalo Bill Cody and his Wild West show, with its blend of popular culture and history that inspired numerous artists.
The dialogue between the historical West and the nostalgia for it can be seen in highlights including Timothy O'Sullivan's government survey photographs, Frederic Remington's rare Impressionist landscape studies, and charming wax sculptures by Charles Russell. Featuring three essays and ten brief expositions on a range of art, culture, and history topics, this generously illustrated catalogue provides a comprehensive overview of more than 100 years of art from the American West.
Artemisia Gentileschi. The Language of Painting.
New Haven and London, 2015. Cm. 26x21, pp. x-236, figg. a col. e in nero n. t., cart. e sovrac.
This beautifully illustrated and elegantly written book provides a revolutionary look at Artemisia Gentileschi's (1593-ca.1656) later career, refuting longstanding assumptions about the artist. The fact that she was semi-illiterate has erroneously led scholars to assume a lack of literary and cultural education on her part. Stressing the importance of orality in Baroque culture and in Artemisia's paintings, Locker argues for her important place in the cultural dialogue of the seventeenth century.
Arts & Crafts. Stained Glass.
New Haven and London, 2015. Cm. 29x25, pp. 354, figg. 269 a col. e in nero n. t., cart. e sovrac.
Beautifully illustrated and based on more than three decades of research, Arts & Crafts Stained Glass is the first study of how the late-19th-century Arts and Crafts Movement transformed the aesthetics and production of stained glass in Britain and America. A progressive school of artists, committed to direct involvement both in making and designing windows, emerged in the 1880s and 1890s, reinventing stained glass as a modern, expressive art form. Using innovative materials and techniques, they rejected formulaic Gothic Revivalism while seeking authentic, creative inspiration in medieval traditions. This new approach was pioneered by Christopher Whall (1849–1924), whose charismatic teaching educated a generation of talented pupils—both men and women—who produced intensely colorful and inventive stained glass, using dramatic, lyrical, and often powerfully moving design and symbolism. Peter Cormack demonstrates how women made critical contributions to the renewal of stained glass as artists and entrepreneurs, gaining meaningful equality with their male colleagues, more fully than in any other applied art. Cormack restores stained glass to its proper status as an important field of Arts and Crafts activity, with a prominent role in the movement's polemical campaigning, its public exhibitions, and its educational program.
Asia in Amsterdam. The culture of Luxury in the Golden Age. Edited by: Karina H. Corrigan, Jan van Campen, and Femke Diercks, with Janet C. Blyberg.
New Haven and London, 2015. Cm. 30x23, pp. 356, figg. a col. e in nero n. t., mz. tela.
Catalogo della mostra: Amsterdam, Rijksmuseum, 2015-2016.
This lavishly illustrated catalogue discusses the Asian luxury goods that were imported into the Netherlands during the 17th century and demonstrates the overwhelming impact these works of art had on Dutch life and art during the Golden Age. Written by a team of 30 international scholars, this volume presents seven essays and catalogue entries on 150 works of art, including Dutch and Asian paintings, textiles, ceramics, lacquer, furniture, silver, diamonds, and jewelry. From the Dutch settlements throughout Asia—including Indonesia, India, Sri Lanka, Malaysia, China, and Japan—Dutch maritime traders brought an astonishing range of luxuries back to the Netherlands. Dutch consumers were enthralled with these foreign goods, which brought new colors, patterns, and textures to their interiors and wardrobes. As seen in the book's many illustrations, Dutch artists also found inspiration in these objects and incorporated them into portraits, genre scenes, and particularly still-life paintings. Dutch artists and craftspeople also adapted distinctly Asian technologies, such as porcelain and lacquer, to create new works of art inspired by Asia. This catalogue weaves together the complex stories of these diverse works of art and presents fascinating portraits of the dynamic cities of Amsterdam and Batavia (Jakarta)—the Dutch trade center in Asia during the 17th century.
Aubrey Beardsley. A Catalogue Raisonné.
New Haven and London, 2016. 2 voll. cm. 30x26, pp. xxxi-519; xi-547, tavv. e ill. a col. e in nero n. t., tela e sovrac. in cof. fig.
This is the first book to bring together the recorded works of the English artist Aubrey Beardsley. Despite his early death from tuberculosis in 1898, at the age of 25, these amount to nearly 1100 completed works of art (plus many related sketches) as well as more than 100 sketches in his letters and the books he owned, and this book includes over 50 that have never previously been published.
In his brief career Beardsley made a defining contribution to Art Nouveau in Britain and abroad. He also influenced the early history of modern art, attracting the attention of the young Picasso, for example. His distinctive and innovatory graphic style, combined with highly provocative, often sexual subject matter, outraged critics and led to a period of intense notoriety. Beardsley's drawings span the grotesque, the delicately beautiful, the subtly erotic, and the frankly bawdy, and challenged the moral norms of Victorian society. They enthralled artists and art lovers the world over and continue to enthral today.
Baroque Naples and the Industry of Painting. The World in the Workbench.
New Haven and London, 2016. Cm. 28x22, pp. xi-339, tavv. e ill. 188 a col. e in nero n. t., tela e sovrac.
The second largest city in 17th-century Europe, Naples constituted a vital Mediterranean center in which the Spanish Habsburgs, the clergy, and Neapolitan aristocracy, together with the resident merchants, and other members of the growing professional classes jostled for space and prestige. Their competing programs of building and patronage created a booming art market and spurred painters such as Jusepe de Ribera, Massimo Stanzione, Salvator Rosa, and Luca Giordano as well as foreign artists such as Caravaggio, Domenichino, Artemisia Gentileschi, and Giovanni Lanfranco to extraordinary heights of achievement. This new reading of 17th-century Italian Baroque art explores the social, material, and economic history of painting, revealing how artists, agents, and the owners of artworks interacted to form a complex and mutually sustaining art world. Through such topics as artistic rivalry and anti-foreign labor agitation, art dealing and forgery, cultural diplomacy, and the rise of the independently arranged art exhibition, Christopher R. Marshall illuminates the rich interconnections between artistic practice and patronage, business considerations, and the spirit of entrepreneurialism in Baroque Italy.
Beauty and Identity. Islamic Art from the Los Angeles County Museum of Art.
New Haven and London, 2016. Cm. 29x24, pp. 308, tavv. e ill. a col. n. t., tela e sovrac.
Catalogo della mostra: Dhahran, King Abdulaziz Center for World Culture, 2016.
This exquisitely illustrated volume features 150 works from the Los Angeles County Museum of Art's rich holdings of Islamic art. The objects – including brilliantly glazed pottery, enameled and gilded glass, inlaid metalwork, carved ornamental stone and wood, sumptuous woven textiles, and vividly illuminated and superbly written manuscripts and single pages – span the area extending from southern Spain to northern India, and range in date from the 7th century up to the modern era. Full-color plate images are accompanied by descriptions in both English and Arabic, organized chronologically and thematically. Among the book's essays is an illustrated narration of the museum's recently conserved Damascus Room. Published here for the first time, this stunning room retains its original brightly painted surfaces. Beautiful and authoritative, this book is an essential guide to global Islamic art.
Becoming an Architect in Renaissance Italy. Art, Science, and the Career of Baldassarre Peruzzi.
New Haven and London, 2015. Cm. 29x25, pp. 221, ill. 165 a col. e in nero n. t., cart. e sovrac.
A leading architect of the Italian Renaissance, Baldassarre Peruzzi (1481–1536) has, until now, been a little-known, enigmatic figure. A paucity of biographical documentation and a modest number of surviving buildings, coupled with an undeservedly critical assessment by Giorgio Vasari (1511–1574), have long cast Peruzzi's career in shadow. With Becoming an Architect in Renaissance Italy, Ann C. Huppert taps into a known, but neglected resource—Peruzzi's autograph drawings—and reveals the full scope and artistic mastery of Peruzzi's work and its enduring influence.
Extraordinary not only in their beauty and design inventiveness, but also in the varied representational techniques and practical mathematics noted within them, Peruzzi's drawings record an evolving artistic process. Reassessing his architectural masterworks, Huppert also explores lesser-known work: his studies of Roman antiquity, realized paintings and unrealized buildings, as well as engineering projects. Huppert shows that Peruzzi anticipated modern representational methods and scientific approaches in architecture, and pinpoints the moment when architecture began to emerge as a profession distinct from the other arts.
Bernard Berenson. A Life in the Picture Trade.
New Haven and London, 2013. Cm. 22x15, pp. 328, figg. in nero n. t., cart. e sovrac.
When Gilded Age millionaires wanted to buy Italian Renaissance paintings, the expert whose opinion they sought was Bernard Berenson, with his vast erudition, incredible eye, and uncanny skill at attributing paintings. They visited Berenson at his beautiful Villa I Tatti, in the hills outside Florence, and walked with him through the immense private library—which he would eventually bequeath to Harvard—without ever suspecting that he had grown up in a poor Lithuanian Jewish immigrant family that had struggled to survive in Boston on the wages of the father's work as a tin peddler. Berenson's extraordinary self-transformation, financed by the explosion of the Gilded Age art market and his secret partnership with the great art dealer Joseph Duveen, came with painful costs: he hid his origins and felt that he had betrayed his gifts as an interpreter of paintings. Nevertheless his way of seeing, presented in his books, codified in his attributions, and institutionalized in the many important American collections he helped to build, goes on shaping the American understanding of art today. This finely drawn portrait of Berenson, the first biography devoted to him in a quarter century, draws on new archival materials that bring out the significance of his secret business dealings and the way his family and companions—including his patron Isabella Stewart Gardner, his lover Belle da Costa Greene, and his dear friend Edith Wharton—helped to form his ideas and his legacy. Rachel Cohen explores Berenson's inner world and exceptional visual capacity while also illuminating the historical forces—new capital, the developing art market, persistent anti-Semitism, and the two world wars—that profoundly affected his life.
Bernini's Beloved. A Portrait of Costanza Piccolomini.
New Haven and London, Yale University Press, 2012. Cm. 26x18, pp. ix-260, figg. 124 a col. e in nero n. t., cart. e sovrac.
Blanche of Castile Queen of France.
New Haven and London, 2016. Cm. 24x15, pp. xi-455, ill. 30 a col. f. t., tela e sovrac.
This is the first modern scholarly biography of Blanche of Castile, whose identity has until now been subsumed in that of her son, the saintly Louis IX. A central figure in the politics of medieval Europe, Blanche was a sophisticated patron of religion and culture. Through Lindy Grant's engaging account, based on a close analysis of Blanche's household accounts and of the social and religious networks on which her power and agency depended, Blanche is revealed as a vibrant and intellectually questioning personality.
Caravaggio & his Followers in Rome.
New Haven and London, 2011. Cm. 28x23, pp. x-333, tavv. e ill. a col. n. t., tela e sovrac. Catalogo della mostra: Ottawa, The National Gallery of Canada, 2011.
Cézanne and the Modern. Masterpieces of European Art from the Pearlman Collection. Edited by: Jane Friedman, Sharon Herson, and Audrey Walen.
New Haven and London, 2014. Cm. 30x25, pp. xv-303, tavv. e figg. a col. e in nero n. t., tela e sovrac. Catalogo della mostra: Oxford, Ashmolean Museum of Art and Archaelogy, 2014.
Charles Percier. Architecture and Design in an Age of Revolutions. Edited by Jean-Philippe Garric.
New Haven and London, 2016. Cm. 29x25, pp. 303, figg. a col. e in nero n. t., cart.
Catalogo della mostra: New York, The Bard Graduate Center Gallery, 2016-2017.
Handsomely designed and richly illustrated, this publication surveys the magnificent spectrum of projects undertaken by French architect and interior designer Charles Percier (1764–1838). After gaining an illustrious reputation for supervising the scenery at the Paris Opéra during the French Revolution, Percier was later appointed by Napoleon Bonaparte. With the Emperor's support, he developed the opulent versions of neoclassicism closely associated with the Napoleonic era, and now known as Directoire style and Empire style. Percier worked on the renovation or redecoration of many of France's royal palaces, including the Louvre, the Tuileries, and the chateaux of Malmaison, Saint-Cloud, and Fontainebleau. The full scope and variety of Percier's design projects are revealed in this book, which also includes archival material detailing Percier's relationships with patrons and peers.
Christen Kobke. Danish Master of Light.
New Haven and London, Yale University Press, 2010. Cm. 27x23, pp. 128, ill. 86 a col. n. t., tela e sovrac. Catalogo della mostra: Londra, National Gallery, 2010.
Cosmè Tura of Ferrara. Style, Politics and the Renaissance City, 1450-1495.
New Haven and London, 1998. In-8¡, pp. xi-207, tavv. e ill. 117 a col. e in nero n. t., tela e sovrac.
Daughter of Venice. Caterina Corner, Queen of Cyprus and Woman of the Renaissance.
New Haven and London, 2015. Cm. 25x18, pp. xi-347, figg. 69 a col. e in nero n. t., tela e sovrac. Caterina Corner, a Venetian noblewoman and the last Queen of Cyprus, led a complex and remarkable life. In 1468, Corner married King Jacques II Lusignan of Cyprus at the behest of her family, whose ambitions matched those of the Venetian republic anxious to extend its empire. In the first year of her reign, pregnant and widowed, she became regent for the kingdom. This study considers for the first time the strategies of her reign, negotiating Venetian encroachment, family pressures, and the challenges of female rule. Using previously understudied sources, such as her correspondence with Venetian magistracies, the book shows how Corner marshalled her royal authority until and beyond her forced abdication in 1489. The unique perspective of Corner's life reveals new insights into Renaissance imperialism, politics, familial ambition, and conventions of ideal womanhood as revealed in the portraits, poetry, and orations dedicated to her.
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Seeking Review
Winnipeg In-Home Music Tuition Service Successfully Diverting Children Away From Games Consoles
Maj2019-05-01T22:40:23+00:00
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Winnipeg Canada – Academy Music, a home tuition service that inspires and educates children about the joys of playing a musical instrument is pleased to announce that they are receiving a lot of praise from parents who are thrilled with their children's musical progress. But perhaps just as importantly, the highly talented and passionate team of teachers are not only teaching the children how to play an instrument, they are also helping them to develop a passion for music.
For many teenagers, their life is focused almost entirely on the internet, or endlessly playing computer game consoles, and for some parents, this is a concern. Although computer games have been shown to improve hand-eye coordination, the benefits are minimal compared to the skills acquired from learning how to play a musical instrument.
Academy Music inspires a passion and confidence in their students, which encourages them to work hard, learn discipline, appreciate and enjoy the music. Many parents of the children have commented that when given a choice their children are increasingly choosing to practice on their musical instrument of choice, in preference to playing the games console.
"Learning how to play a musical instrument is a skill that will stay with you for a lifetime," said Shawn Coughlin of Academy Music. "All of our instructors are passionate about music, and the young people understand this, and it becomes infectious. For us it is not just about teaching them how to play a musical instrument; it is about learning discipline, focus, and determination. We are confident that these skills, once learned will not only help them to play their instrument of choice but will also benefit them at exam time and into their chosen career. The parents of the children we teach are delighted with the transformation of their child, and happy that they are choosing not to spend as much time playing computer games."
Shawn Coughlin founded the Academy of Music in 1990. Having taught himself already for many years in a variety of settings, Shawn saw a need for in-home lessons and started in September of 1990 offering in-home piano and guitar lessons. Since then, the company has grown to include voice, violin & drum lessons! Shawn is classically trained going through the Royal Conservatory Piano program and is well versed in jazz and contemporary styles. He started teaching piano at the age of 16 and has never stopped. He is a former junior high and high school band teacher, and besides teaching piano, Shawn is a professional pianist, accompanist, composer, church music director & piano tuner-technician. For more information about the company and the various services that they provide, visit their website at https://www.academymusic.ca.
SOURCE: MAGIC PR [Link]
About Academy of Music
The Academy of Music was founded by Shawn Coughlin our music Director in 1990. Having taught himself already for many years in a variety of settings, Shawn saw a need for in home lessons and started in September of 1990…
Contact Academy of Music
109 Greendell Ave
MB R2M 2R2
https://www.academymusic.ca/


"To be honest I don't really understand what that means," he laughs. "I take it in a complementary way I suppose; it's nice to be recognised in some kind of dimension". Anyone who's heard his tunes will notice the incredible complementary sounds he manages to produce seemingly out of thin air. "Being in a rare groove / funk live band had a massive impact on my drum programming and the basslines," he says, of his days playing bass in a funk band when he was a mere14 years old, but it was the seminal rave act of the 90's, The Prodigy, that inspired Walker to buy a sampler.
Throughout the 90's, Walker made his living by working as an engineer for various DJs and producers. It was here his technique caught the ear of LTJ Bukem, who asked him to do work for Good Looking Records, and then later he worked with James Lavelle and DJ Shadow at Mo Wax on the U.N.K.L.E. project. "It was good to be around those kinds of people, to see how they worked, to hear music through their ears. You can sit in the same room with these people, and learn how they perceive music, the sounds that turn them on. And you see different methods of work, some people use different studio, or different kit, and it's fascinating to work with these other people", he says of his time spent with these doyens of dance music.
Walker is looking forward to touring, with the possibility of hitting Australia towards the end of this year. Whilst he has only been DJing for the last year or so, he believes he could pull off a live performance similar to the Roni Size Reprazent live show. "I admire the whole Roni Size live thing, I find that absolutely ingenious. That's one of the few rare examples of studio sequencing stuff being performed live. And still a lot of people can't emulate that. That's the benchmark," he says. "I have enough tracks that I've written in the last 9 years, so I feel I'd be able to go up onstage and give and interesting set. I've got enough back catalogue, and good singers and performance people that I believe in to feel it's the shape of a good show," he says. But whether it's a DJ or live set, Illian Walker's show would be one that is worth hearing.
Check out Ils Y4K mix out soon through Distinctive Breaks, and keep your eye out for a possible tour towards the end of this year.


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Regionalismo (arte)
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English News >> Asian Age >> headines
Saturday, 24 Aug, 12.36 pm Asian Age
Govt to review surcharge on super-rich in 2022: Sitharaman
Govt increased surcharge from 15 per cent to 25 per cent on taxable income between Rs 2 crore and Rs 5 crore.
New Delhi: Ruling out any immediate review of enhanced surcharge on super rich, Finance Minister Nirmala Sitharaman on Friday said the matter will be looked into only in 2022, when the country will celebrate the 75th anniversary of independence.
In the 2019-20 Budget, the government increased surcharge from 15 per cent to 25 per cent on taxable income between Rs 2 crore and Rs 5 crore, and from 15 per cent to 37 per cent for income above Rs 5 crore.
Following the increase in surcharge, the effective income tax rate for individuals with taxable income of Rs 2-5 crore has gone up to 39 per cent from 35.88 per cent and for those above Rs 5 crore to 42.7 per cent.
"I would like to clearly say that marking the 75th anniversary of India's independence and immediately on reaching that stage we want to review the surcharge on the HNIs (High Net worth Individuals)," she said when asked if the government is considering to remove enhanced surcharge on super rich as well.
The government on Friday decided to withdraw the enhanced surcharge on long term and short term capital gains arising from share sale and futures and option in order to encourage investment in the capital market.
The withdrawal would lead to revenue loss of Rs 1,400 crore to the exchequer, Revenue Secretary Ajay Bhushan Pandey told reporters.
"As regard to specific reference to high net worth individual, the moment we finish the 75th anniversary of India's independence, we shall review and take a call," she added.
Commenting on the decision, EY India Tax Partner Sameer Gupta said that while this is a much anticipated announcement, the scope of the full coverage is to be seen. It is not clear what is the implication for instance on other items of capital gains like gains on debt securities and derivatives, he added.
Hopefully, surcharge on gains on these instruments and items of income should also get addressed, he noted.
Disclaimer: This story is auto-aggregated by a computer program and has not been created or edited by Dailyhunt. Publisher: Asian Age
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The TSB could not determine the cause of the accident due to the absence of flight recording systems on board the aircraft. Investigation by TSB found that the pilot did not have the recent night flying experience Transport Canada requires for carrying passengers at night.
The Transportation Safety Board of Canada (TSB) is recommending the mandatory installation of lightweight flight recording systems for all commercial and private business aircraft. The TSB is also concerned with Transport Canada's oversight of private business aircraft operations. Both are addressed in the investigation report released Thursday into the 2016 fatal loss of control accident involving a Cessna Citation 500 in British Columbia.
On October 13, 2016, a privately operated Cessna Citation 500 departed Kelowna Airport, British Columbia, on a night instrument flight rules flight to Alberta with a pilot and three passengers on board. Shortly after departing, the aircraft left controlled flight and entered a steep descending turn until it hit the ground. All four people on board were fatally injured, and the aircraft was destroyed by impact forces and a post-impact fire.
The TSB could not determine the cause of the accident due to the absence of flight recording systems on board the aircraft, but the most plausible explanation is that the pilot experienced spatial disorientation and left controlled flight shortly after takeoff. Investigation by TSB found that the pilot did not have the recent night flying experience Transport Canada (TC) requires for carrying passengers at night.
"We don't like having to say 'We don't know' when asked what caused an accident and why," TSB Chair Kathy Fox said. "This is why we are calling today for the mandatory installation of lightweight flight recording systems on commercial and private business aircraft not currently required to carry them."
TSB was also concerned by TC's approach to oversight of Canadian private business aviation, having found in its investigation that there was no record of this aircraft operator ever having been inspected by TC. As a result, TC was unaware of safety problems in its operation.
TC has said it will begin conducting targeted inspections of private business operators this month, and TSB will continue to monitor this issue.


Is The Saying 'No Pain, No Gain' Accurate?
Question: Is The Saying 'No Pain, No Gain' Accurate?
Answer: The saying "no pain, no gain" is not entirely accurate when you're talking about physical therapy. The goal of any physical therapy program is, of course, to not cause more pain, and in fact, we're hoping to alleviate your pain.
What some patients experience is some discomfort after physical therapy sessions because we're using muscles in a different way, we're strengthening weaker muscles, we're teaching you different ways to move. And it would be similar to something you would experience after going to the gym and working out hard, and then you experience the following day or the day after that some delayed muscle soreness.
Of course, if you experience any pain while you're with the physical therapist, let him or her know, and we'll work to provide other treatment techniques that won't irritate or exacerbate your pain. And if you experience pain that is not allowing you to carry out your daily functions or is lingering longer than you thought it would, of course, let your physical therapist know.
Next: When Is It Appropriate To Use Ice Or Heat To Treat Pain?
Previous: What Types Of Physical Therapy Are Used To Treat Pain?


Comfort is high on the agenda throughout pregnancy, making these maternity jeans a simple must-have. Cut with a stylish super skinny fit with added stretch, design features include a built-in soft touch over bump band to accommodate your growing bump and provide additional coverage. Double raw hem detailing provides an edgy finish. Two pockets are also featured to the back. Inside Leg: 71cm.
Denim: 70% Cotton 25% Polyester 3% Viscose 2% Elastane. Jersey: 81% Cotton 12% Polyester 7% Elastane.


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Based near Crawley, covering Surrey / West Sussex / Essex & Kent. Prices starting from £650 -Album & Digital packages in Traditional or Storybook styles. -Fun Studio Photo Booth - Great fun after the first dance with all props supplied. -Coverage from the home, venue, service & reception including first dance & evening celebrations are part of most packages -Mixing the best of formals and relaxed styles so you enjoy your wedding day and also capture the important guests from your day in a friendly yet professional way. -Digital options available with our Wedding USB -Storybook Design Service -If you have got married overseas and have a disc with the correct licence we can design a wonderful storybook album for you.
Having a plan B is essential, plan A is always ideal but to move over to a plan B smoothly on the day can help the couple still enjoy their day without stressing. Photos may need to be scaled down depending on the space inside but you make the best of the day, having brollys can make it fun in some cases.


I'm currently in the midst of experiencing a little taste of what it may feel like to be an "empty nester" down the road in the not-to-distant future. With my "bird" — my son — off to encampment for Civil Air Patrol for the next week; it's only my hubs and I and our little dog-daughter, Lola, holding down the fort here, so to speak. Things are quiet when a child is not around; a little too quiet. Now, there's no hungry belly in the middle of the summer day to prepare some lunch for; no need to check my phone in the evening for texts letting me know that he's on his way home from biking with his friends, or that he'll be staying out for another half hour. There's no one watching a little TV on the couch and offering me a chipper "Hi Mom! How was your day!?" when I walk in from work on these blazingly hot, dog-day afternoons, and no one to mildly frustrate with my requests to take the garbage bins out and put them next to the curb for the next day's pick-up, at the most inopportune time. There's a smidgen less brightness in our home this week, a little less light. What can I say? I'm a mom, through and through. Our boy is off right now, "roughing it" in his own right with his fellow cadets, and I wait here in eager anticipation of his return at the end of this forever-dragging-on week. I wait with anxiousness to wrap my arms around him again and give him a big squeeze and tell him that I love him; I wait with baited breath to let him know how proud of him I am for getting through a surely uncomfortable-at-times week, and to simply show him that he is cherished. But there's a certain peacefulness also present in my anticipation, a gentle sweetness in basking in it a little. Because, though it's difficult to wait for the end of something to come and for a reunion to take place, when it does, it just tastes that much better — appreciation sets in, and a fullness of enjoyment takes place. It reminds me a little about how it feels to have to wait to taste some sweet, chewy, white chocolate-raspberry "platinum blondie" bars as they bake away in the oven, slowly rising and getting ever-closer to being the perfect sweet treat, as I squat next to the oven door and eagerly peer at them through the little window as they go through their process. My, can anticipation be sweet, indeed.
Just as it is true with certain moments in life, there is such wonderfully rich anticipation to be found when we create with food. We wait for months for this warmer season to arrive, a season that is replete with bountiful fruits and colorful offerings — fresh offerings — so that we can take a little pleasure in reuniting with them and enjoying their sweet flavors while they last for just a little while. Tempting desserts are dreamed up and then prepared, and we anticipate just what they'll taste like once they're perfectly ready for us to partake in them. The characteristic of each ingredient is scrutinized in the imagination — the fragrant vanilla, the creamy white chocolate, the tart, fresh raspberries — all blending together to form the total experience of eagerly waiting for and then finally getting to enjoy something of the sweet sort, in all of its fullness and perfection.
So as I wait in eager anticipation for my "bird" to return back the nest, and as I create and prepare a decadently delectable summer-inspired batch of White Chocolate-Raspberry "Platinum Blondie" Bars with gorgeously red, fresh summer raspberries, I'll try my very best to just enjoy this present moment of slight longing; because making good friends with anticipation — basking in it a little — makes the completed experience a delightfully sweet one for the soul at the end of it all.
-Preheat the oven to 350°, and line a 11 x 7 x 1.5 inch glass baking dish (or 2 quart) with a piece of foil that over-hangs slightly over the sides of the baking dish, and lightly mist with cooking spray.
-In a small bowl, combine the flour, the baking powder and the salt, stir to blend, and set these dry ingredients aside for just a moment.
-To prepare your batter, add the sugar and the eggs to a medium size bowl, and with a hand-held mixer, beat the two together on medium-high speed for about 2 minutes, or until a very pale yellow, and thick and creamy.
-Next, add the melted butter to the egg/sugar mixture a little at a time, and using a spatula or wooden spoon, blend it into the eggs/sugar until completely incorporated; add in the vanilla extract, and stir to combine.
-Next, add the flour/baking powder/salt mixture into the eggs/sugar/butter mixture, and stir to combine; once almost completely blended, add in 6 ounces of the white chocolate chips, and fold those in to incorporate them completely.
-Pour about half of the batter into the foil-lined baking dish, then top that as evenly as possible with the chopped raspberries; pour the remainder of the batter over the raspberries, then very gently and carefully "swirl" the batter to blend it with the berries, being careful not to break up the berries too much more.
-Bake the blondies for 36-38 minutes, or until a toothpick inserted into the center comes out clean and the blondies are lightly golden on top; allow to cool for about 10 minutes in the baking dish, then using the over-hanging foil, lift the blondies out of the baking dish and allow them to cool completely.
I love the drizzle of white chocolate. these bars sound delish!
Nice recipe. Thank you and have a safe day.
These are quick, easy, beautiful and (most importantly) delicious! Thanks for another great recipe!
It's my pleasure, Lauren – thanks for stopping by to let me know you enjoyed these yummies!
I was looking for a dessert for my father-in-law's birthday. I wanted something with white chocolate and raspberries as he loves both! I feel like you wrote this recipe just for him 🙂 Can't wait to try it!
Can I use brown sugar instead of granulated sugar ?
Hi Farheen, certainly use anything that you prefer; may be a bit darker and moister, but that should still work.
Do you think frozen berries would work? I'm thinking put them in frozen, so they would release liquid as they bake?
I recently tried these in an attempt to recreate the blondies that were served as part of dessert table at our wedding (I won't say it too loudly but I think these may just be better than the ones we had at our wedding!).
Hi Catherine, I'm thrilled you enjoyed these so much! (I'm totally tickled that you say they may even been a little better than the ones at your wedding 😉…) Thank you so much for sharing your experience with the frozen berries, as well.