World Cup Women Body Paint

World Cup Women Body Paint

ANTIQUES & COLLECTING: DISCOVERING THE WORLD OF THE AESTHETES by vennasa lee

When I was browsing in Part Two of the August NEC Antiques Fair, I came across several aspects of the tea ceremony. They included serviettes in linen, sets of teaspoons from different periods and little sugar boxes dating from the 1930s, some marked "Made in Japan". But I also found a ceramic teapot and silver-plated tea kettle with a spirit burner. Both of these items were late 19th century examples of work known today as The Aesthetic Movement.
The teapot was very ugly. The basic colour was what we used to call "lavatory green", before the paint charts redefined it as "laurel". But at least it was perfect. It was over 100 years old and seemed an excellent buy at pounds 38. The tea kettle rested on its original trestle modelled in the rustic style suggesting twigs. It was very pleasing. On the cannonball body of the kettle itself were stylised bamboo leaves and the finial was a flower. It had a price tag of pounds 125 which seemed not over-expensive.
The Aesthetic Movement was a remarkable phase in British art and design. It affected everything from fashion clothing to wallpaper to porcelain; it included book design and it opened up a completely new freedom in the decorative arts.
The middle classes who took up the movement as a war cry were called the "Aesthetes". Along with Oscar Wilde, who was their leader, they believed that art should permeate every aspect of life, and their rallying cry was, Art for Art's Sake -- or Ars Gratia Artis -- a slogan which appears beneath the MGM roaring lion.
Oscar was one of its most industrious members and his work -- particularly Salome -- was illustrated by another Aesthete, Aubrey Beardsley. Prints from Salome were offered in London last week by Henry Sotheran, the Piccadilly book dealers for, reasonably, under pounds 200.
Aesthetic homes collected Japanese porcelain, and it was Wilde who lamented at one time the "difficulty of living up to one's blue and white china". And of course Wilde's flamboyant lifestyle, reflected in his brilliant plays, made him a focal point of the Aesthetic Movement.
From the languid women in Rossetti's paintings, to the sunflower motifs of Wilde himself, and the elegantly beautiful bookbindings of Charles Ricketts (available today from discerning book dealers at prices around pounds 80), the movement spread in every direction.
It touched upon silver and silverplate from all the great manufacturers; glass from James Powell and furniture by Godwin and Morris. Then there were hundreds of biscuit tins and bookbindings of a lesser kind which sat in many a drawing room among the potted palms and exotic flowers which were set against wallpapers, also from Morris, upon which might hang pencil drawings by Burne-Jones.
This was the period when there seems to have been a madness for blue and white china -- advocated for progressive Aesthetes by the painter, Whistler. The craze for it swept England and no aesthetic house was complete unless it had wallpapers and hangings by Morris, the odd painting by Whistler or Tissot, and of course blue and white china in abundance. Much of it came from Japan which at that time was just opening up to the West.
This was also the time when lacquered photograph albums appeared on drawing room tables filled with pictures of the family at Bognor or Weymouth, but also albums which contained views of Japan.
Many of these things -- especially blue and white china -- continues to fill the stands at many an antiques fair and some of the pieces are less than pounds 100.
It does give you an idea of the quantities of items from fire screens to kimonos and the other things I have mentioned which poured in from the East during the 19th century in order to satisfy fashionable appetites.
"I feel an irresistible desire to wander, and go to Japan", wrote Oscar, "where I will pass my youth, sitting under an almond tree, drinking amber tea out of a blue cup, and looking at a landscape without perspective." This was the time when the Queen Anne style was revived by British architects and it was the perfect model for the houses wherethe Aesthetes took up their abodes and where they were hell -bent upon living up to their teapots and fashionable blue and white ginger jars.
Even the names on the doorposts of these elegant houses reflected the arty theme. "Plesaunce", "Kirk Lees", and "Ye Denne" are just some examples.
Norman Shaw who was an architect in tune with the fashions of his time provided quaint "olde worlde" village settings in which middle class intellectuals could sip tea in the evening beneath a signed Burne-Jones print,perhaps depicting King Cophetua and The Beggar Maid. They may have passed the evening reading the poetry of Rossetti or Tennyson by the light of a Japanese lamp. Obviously, they were all dressed in advanced clothing which for women freed them from the corset and the whalebone collars of the time. Diamonds were out and smooth cabochon cut garnets, moonstones and opals were in. Gold was thought to be vulgar and so silver or platinum was the Aesthetic choice.
For two or three years Oscar Wilde was a great friend of Whistler and everyone who went to Whistler's studio to negotiate a painting found Wilde there, just as everyone who went out into polite society saw them together. This intimacy with the painter certainly gave Wilde the entree to the houses of all Whistler's artistic friends and his patrons. It was a charmed circle which encompassed the chi-chi world of the Grosvenor Gallery and the blue and white maniacs. These were also the people who went to Wilde's plays and probably tittered at his caricature of the upper class.
The Grosvenor Gallery was almost like a private club, the Aesthetes approved of the Hellenic themes used by artists such as Walter Crane and George Frederick Watts. There were homoerotic undertones to some of it. But for the advanced Aesthete this only heightened deliciously a feeling of nervous tension and in case an Aesthete grew a little nervous of his inclinations there were other artists to reassure him with rather murky summer landscapes which disturbed no one and sold well.
The whole movement was mocked by W S Gilbert in Patience, "To understand it, cling passionately to one another and think of faint lilies".
If you move within the Aesthetic mode today you will always come across anexample somewhere -- perhaps an etching, a ceramic piece, a book by Walter Crane or silver or paintings. One of the best places today to wander among these memories is the Fine Arts Society in New Bond Street, a gallery once described by the painter Walter Sickert as "The best art shop in London".

Offers handmade yixing teapots and accessories from Yixing, China.

Article Source: http://www.earticlesonline.com/Article/ANTIQUES---COLLECTING--DISCOVERING-THE-WORLD-OF-THE-AESTHETES/545762

World Cup Women Body Paint

The toils of being a woman Compensation claims and all by Katy Lassetter-6647

If you are a woman you will be well aware of the daily toils we undergo as the fairer gender. Not only are we faced with the trials and tribulations of menstruation and the responsibility of keeping our male counterparts in order but we also get images of flawless super models thrust in our faces on a regular basis.

Whether we are watching the television, visiting the cinema, flicking through the glossies or simply walking down the street, slim, long legged, well-turned out, sun-kissed women (and men) are at every turn.

But looking good isn't as simple and as risk-free as it first may seem. A variety of compensation claims resulting from people who were attempting to beautify themselves have been reported in the media of late and as the Western World becomes increasingly fascinated with skin care, hair products and tanning booths it is thought that personal injury claims of this nature are set to rise.

You couldn't make this stuff up
While you would think that cosmetics are designed for use on the skin and they should be allergen free and clearly labelled as such, there are so many different types of soap, hand cream, and perfume on the market that it is unlikely that all of these are safe against personal injury.

Skin rashes, inflammation and burn injuries are the most common injuries reported as caused by cosmetics. These can leave lasting effects including both physical and emotional scarring.

There was a case reported during the Fifa World Cup 2006 where two teenage football supporters painted their faces in the style of the England flag and ended up having serious allergic reactions. After returning home from the game their faces began to burn and swell up where they had been wearing the face paint. One girl woke up the next morning unable to see, meaning she missed out on taking some of her GCSE exams. It turned out that the Netto supermarket where the paints were purchased had previously received complaints about the products and should have withdrawn the paints from sale. The girls' parents continued to pursue product liability compensation claims.

Compensation claim awards for scarring can range from 1,300 for a single noticeable scar or several superficial scars to legs, arms or hands to 7,500 for a number of noticeable laceration scars or a single disfiguring scar to similar areas. Facial disfigurement qualifies for significantly higher awards when successful compensation claims are made. The most severe scarring in a relatively young woman where cosmetic effect is very disfiguring and the psychological reaction serious can reach awards of up to 53,000.

Hair today gone tomorrow
Those that work in the beauty industry are also at risk of sustaining workplace injuries. There have been numerous cases of hairdressers making compensation claims for dermatitis, a dry, itchy, irritating skin condition to the hands which can be caused by exposure to irritants used in shampoos and colours.

A health and safety expert for the hair and beauty industry has stated, "Up to 80% of hairdressers suffer from skin damage.

"Compared to workers in the metal trade, printers and vehicle body repairers hair and beauty is the industry where the most cases of dermatitis occur.

"Speak to any hairdresser or beautician and ask them what the most important tool of their job is and the answer has to be their hands! It stands to reason that protecting them form dermatitis makes perfect sense."

Where using substances that cause dermatitis is unavoidable, it is the responsibility of salon owners to provide their staff with protective gloves and failure to do this could mean that employees are at risk of injury and the employer faces having a hefty compensation claim made against them. For more information visit http://www.hse.gov.uk/hairdressing/.

There is also risk of sustaining personal injury when using a home hair dye kit. Each pack should plainly state that a patch test is required before application of the product to ensure an allergic reaction doesn't occur. If a consumer uses a hair colour product without performing a patch test it is unlikely that they will be able to make a personal injury compensation claim if they have an allergic reaction unless it can be proven in a court of law that the instructions provided by the manufacturer were unclear or that the manufacturer was at fault in some other way.

Compensation awards for damage to hair range from 2,150 to 6,000 and the level awarded will depend on the extent of damage and how long it takes for the hair to grow back.

Your hair could also be damaged by a defective styling device. One of the most controversial hair styling implements when it comes to compensation claims are GHD straightening irons. There have been numerous cases reported where GHDs have caught alight without warning.

When Paula South's GHDs sparked and caught fire in her hand she contacted the company to make a product liability complaint and was told that the incident was a result of wear and tear. She was lucky to escape serious personal injury, as was another consumer who went to bed with her GHD straightners plugged into the wall but switched off at the unit only to wake up in a flame engulfed bed, smoke filled room with a pair of melted down GHDs where she had left them. BBC's Watchdog investigated the company that advertise this product as 'a new religion for hair' and found serious faults in some of their models.

A heated issue
Sun beds are another worry for the modern woman. Many of us have become conscious about the risk of the sun's rays and opt to cover up during the warmer months to postpone those signs of aging just a little bit longer. Instead we have turned to sun beds and tanning booths; the convenience of the year-round sun tanning device that is available at every street corner to satisfy our needs.

However, many are still unaware of the potential hazards that a couple of weekly sessions at your local tanning salon can have. Malignant melanoma of the skin is a significant cause of cancer deaths and research has indicated a possible association between skin cancer and sun beds.

There are other personal injuries that you could sustain in a tanning salon. Over exposure to the ultra violet radiation can lead to severe burn injuries and damage to the eyes.

According to the Royal Environmental Health Institute of Scotland (REHIS), there are more sun bed salons in Scotland per head of population than in any other part of the UK. From 1995 to 2005 Scotland had a 300% increase in cases of malignant melanoma, which causes 100 deaths in each MSP constituency every year.

When it comes to making a compensation claim against a tanning salon you will need to establish that your personal injury was the fault of the salon. For example, you may have to prove that a sun bed was faulty and that salon staff were aware of this or that staff failed to supervise your use of a sun bed adequately.

To avoid sustaining personal injury and finding yourself in a position where you need to instruct personal injury solicitors to make a no win no fee compensation claim it is best that you aware of the health risks involved with each treatment and product you intend to use. You should always follow recommendations for application/exposure times and carry out patch tests where necessary because a few extra minutes out of your day could save you a lot of pain and suffering in the future.

This article may be published on another website free of charge, on the condition that a link is provided from this article to our website: http://www.the-claim-solicitors.co.uk

Online personal injury compensation claim specialists, with a 97% claim success rate. Call 0800 197 32 32 or visit http://www.the-claim-solicitors.co.uk/personal-injury/personal-injury-causes.htm for more details.

Article Source: http://www.earticlesonline.com/Article/The-toils-of-being-a-woman-Compensation-claims-and-all/144387

World Cup Women Body Paint

ANTIQUES & COLLECTING: DISCOVERING THE WORLD OF THE AESTHETES by vennasa lee

When I was browsing in Part Two of the August NEC Antiques Fair, I came across several aspects of the tea ceremony. They included serviettes in linen, sets of teaspoons from different periods and little sugar boxes dating from the 1930s, some marked "Made in Japan". But I also found a ceramic teapot and silver-plated tea kettle with a spirit burner. Both of these items were late 19th century examples of work known today as The Aesthetic Movement.
The teapot was very ugly. The basic colour was what we used to call "lavatory green", before the paint charts redefined it as "laurel". But at least it was perfect. It was over 100 years old and seemed an excellent buy at pounds 38. The tea kettle rested on its original trestle modelled in the rustic style suggesting twigs. It was very pleasing. On the cannonball body of the kettle itself were stylised bamboo leaves and the finial was a flower. It had a price tag of pounds 125 which seemed not over-expensive.
The Aesthetic Movement was a remarkable phase in British art and design. It affected everything from fashion clothing to wallpaper to porcelain; it included book design and it opened up a completely new freedom in the decorative arts.
The middle classes who took up the movement as a war cry were called the "Aesthetes". Along with Oscar Wilde, who was their leader, they believed that art should permeate every aspect of life, and their rallying cry was, Art for Art's Sake -- or Ars Gratia Artis -- a slogan which appears beneath the MGM roaring lion.
Oscar was one of its most industrious members and his work -- particularly Salome -- was illustrated by another Aesthete, Aubrey Beardsley. Prints from Salome were offered in London last week by Henry Sotheran, the Piccadilly book dealers for, reasonably, under pounds 200.
Aesthetic homes collected Japanese porcelain, and it was Wilde who lamented at one time the "difficulty of living up to one's blue and white china". And of course Wilde's flamboyant lifestyle, reflected in his brilliant plays, made him a focal point of the Aesthetic Movement.
From the languid women in Rossetti's paintings, to the sunflower motifs of Wilde himself, and the elegantly beautiful bookbindings of Charles Ricketts (available today from discerning book dealers at prices around pounds 80), the movement spread in every direction.
It touched upon silver and silverplate from all the great manufacturers; glass from James Powell and furniture by Godwin and Morris. Then there were hundreds of biscuit tins and bookbindings of a lesser kind which sat in many a drawing room among the potted palms and exotic flowers which were set against wallpapers, also from Morris, upon which might hang pencil drawings by Burne-Jones.
This was the period when there seems to have been a madness for blue and white china -- advocated for progressive Aesthetes by the painter, Whistler. The craze for it swept England and no aesthetic house was complete unless it had wallpapers and hangings by Morris, the odd painting by Whistler or Tissot, and of course blue and white china in abundance. Much of it came from Japan which at that time was just opening up to the West.
This was also the time when lacquered photograph albums appeared on drawing room tables filled with pictures of the family at Bognor or Weymouth, but also albums which contained views of Japan.
Many of these things -- especially blue and white china -- continues to fill the stands at many an antiques fair and some of the pieces are less than pounds 100.
It does give you an idea of the quantities of items from fire screens to kimonos and the other things I have mentioned which poured in from the East during the 19th century in order to satisfy fashionable appetites.
"I feel an irresistible desire to wander, and go to Japan", wrote Oscar, "where I will pass my youth, sitting under an almond tree, drinking amber tea out of a blue cup, and looking at a landscape without perspective." This was the time when the Queen Anne style was revived by British architects and it was the perfect model for the houses wherethe Aesthetes took up their abodes and where they were hell -bent upon living up to their teapots and fashionable blue and white ginger jars.
Even the names on the doorposts of these elegant houses reflected the arty theme. "Plesaunce", "Kirk Lees", and "Ye Denne" are just some examples.
Norman Shaw who was an architect in tune with the fashions of his time provided quaint "olde worlde" village settings in which middle class intellectuals could sip tea in the evening beneath a signed Burne-Jones print,perhaps depicting King Cophetua and The Beggar Maid. They may have passed the evening reading the poetry of Rossetti or Tennyson by the light of a Japanese lamp. Obviously, they were all dressed in advanced clothing which for women freed them from the corset and the whalebone collars of the time. Diamonds were out and smooth cabochon cut garnets, moonstones and opals were in. Gold was thought to be vulgar and so silver or platinum was the Aesthetic choice.
For two or three years Oscar Wilde was a great friend of Whistler and everyone who went to Whistler's studio to negotiate a painting found Wilde there, just as everyone who went out into polite society saw them together. This intimacy with the painter certainly gave Wilde the entree to the houses of all Whistler's artistic friends and his patrons. It was a charmed circle which encompassed the chi-chi world of the Grosvenor Gallery and the blue and white maniacs. These were also the people who went to Wilde's plays and probably tittered at his caricature of the upper class.
The Grosvenor Gallery was almost like a private club, the Aesthetes approved of the Hellenic themes used by artists such as Walter Crane and George Frederick Watts. There were homoerotic undertones to some of it. But for the advanced Aesthete this only heightened deliciously a feeling of nervous tension and in case an Aesthete grew a little nervous of his inclinations there were other artists to reassure him with rather murky summer landscapes which disturbed no one and sold well.
The whole movement was mocked by W S Gilbert in Patience, "To understand it, cling passionately to one another and think of faint lilies".
If you move within the Aesthetic mode today you will always come across anexample somewhere -- perhaps an etching, a ceramic piece, a book by Walter Crane or silver or paintings. One of the best places today to wander among these memories is the Fine Arts Society in New Bond Street, a gallery once described by the painter Walter Sickert as "The best art shop in London".

Offers handmade yixing teapots and accessories from Yixing, China.

Article Source: http://www.earticlesonline.com/Article/ANTIQUES---COLLECTING--DISCOVERING-THE-WORLD-OF-THE-AESTHETES/545762

2010 World Cup Body Painting

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