Pictures Of Drapes

pictures of drapes
  • (picture) a visual representation (of an object or scene or person or abstraction) produced on a surface; "they showed us the pictures of their wedding"; "a movie is a series of images projected so rapidly that the eye integrates them"
  • (picture) visualize: imagine; conceive of; see in one's mind; "I can't see him on horseback!"; "I can see what will happen"; "I can see a risk in this strategy"
  • Describe (someone or something) in a certain way
  • Form a mental image of
  • Represent (someone or something) in a photograph or picture
  • (pictural) pictorial: pertaining to or consisting of pictures; "pictorial perspective"; "pictorial records"
  • Let (oneself or a part of one's body) rest somewhere in a casual or relaxed way
  • Arrange (cloth or clothing) loosely or casually on or around something
  • (drape) arrange in a particular way; "drape a cloth"
  • Adorn, cover, or wrap (someone or something) loosely with folds of cloth
  • (drape) curtain: hanging cloth used as a blind (especially for a window)
  • (drape) the manner in which fabric hangs or falls; "she adjusted the drape of her skirt"

The Picture House Clare Street BS1
The Picture House Clare Street BS1
Memories of Bristol Cinema THE pretty little Clare Street Picture House BS1, which closed in 1927, may not have been the first cinema to open in Bristol, but was perhaps the first to offer a continuous performance. It was certainly one of the most comfortable and luxurious, opening in 1911, the year after the death of Edward VII in 1910. The film of the King's funeral was shown on a big screen at the Colston Hall, with everyone in black armbands, as they mourned the passing of this much-loved monarch. The great Colston Hall organ played Chopin's Funeral March , as his riderless horse and little dog Caesar, trailing his lead, ambled slowly along behind the draped coffin on the gun carriage. And when the lights went up, the audience were dabbing their eyes. But it was the Clare Street Picture House, with its interior covered in tapestries of 18th century ladies on floral swings beneath the trees, that was such a treat. The foyer, with its dim lighting and soft carpets, led either downstairs to the Oake Cafe, or upstairs to the rosy glow of the Wedgewood Room, with its little sandwiches, three-tiered cakestands and dainty slices of thin bread and butter. The waitresses wore light grey, with white muslin aprons and headbands, and even the walls seemed to match with their grey surfaces and white garlands. Downstairs in the Oake Cafe you could have hot buttered crumpets or, if your preferred, a tray of tea and cakes, brought to your seat by a waitress during the interlude. In the pit there was an orchestra, as of course the films were silent. Not until 1929, with The Jazz Singer , would sound come to the cinemas. A Clare Street Picture House programme for December 1911, in sturdy buff, price One Penny, lists these delights: The Rubber Industry in Malaysia; Beyond the Law - a nature film of rocky canyons and waterfalls; Gontran A Hero - a comedy; and The Trail of Books , a weepy about the adventures of a lost child. But the highlight of the programme was exclusive coverage of Captain Scott's journey to the South Pole, from his departure from New Zealand on the Terra Nova, through endless ice floes to the unloading at McMurdo Sound, the stacking of Cardiff coal bricks outside the Expedition hut, and having fun with the penguins. All of which ended in tragedy, of course. The prices of admission to the Picture House were six pence and one shilling, with children half-price before 5pm. Up in Park Row, the Jack Horner panto at the Prince's Theatre was playing that December to crowded houses and hearty laughter. Miss Winifred Ward was Jack, Doris Dean the Princess of Hearts, dancer Miss Stella was Charity, Marion Edwards the Fairy, Albert le Fre Simple Simon and Mr McNaughton the King of Hearts. Mr A Wellesley played the Queen, F Alandale the Knave of Hearts, Sam Polanski the Clever Teddy Bear and scores of pretty children danced and sang in the truly magnificent spectacle of Sugarland !
Moore, Albert Joseph (1841-1893) - 1867c. Draped Model (Metropolitan Museum of Art, New York City)
Moore, Albert Joseph (1841-1893) - 1867c. Draped Model (Metropolitan Museum of Art, New York City)
Black and white chalk; 14 9/16 x 8 in. Albert Joseph Moore was an English painter, known for his depictions of langourous female figures set against the luxury and decadence of the classical world. He was the youngest of the fourteen children of the artist William Moore of York who in the first half of the 19th century enjoyed a considerable reputation in the North of England as a painter of portraits and landscape. His first exhibited works were two drawings which he sent to the Royal Academy in 1857. A year later he became a student in the Royal Academy schools; but after working in them for a few months only he decided that he would be more profitably occupied in independent practice. During the period that extended from 1858 to 1870, though he produced and exhibited many pictures and drawings, he gave up much of his time to decorative work of various kinds, and painted, in 1863, a series of wall decorations at Coombe Abbey, the seat of the Earl of Craven; in 1865 and 1866 some elaborate compositions: The Last Supper and The Feeding of the Five Thousand on the chancel walls of the church of St. Alban's, Rochdale; and in 1868 A Greek Play, an important panel in tempera for the proscenium of the Queen's Theatre in Long Acre. In all his pictures, save two or three produced in his later boyhood, he avoided any approach to story-telling, and occupied himself exclusively with decorative arrangements of lines and color masses. The spirit of his art is essentially classic, and his work shows plainly that he was deeply influenced by study of antique sculpture; but he was not in any sense an archaeological painter, nor did he attempt reconstructions of the life of past centuries. Artistically he lived in a world of his own creation, a place peopled with robust types of humanity of Greek mould, and gay with bright-colored draperies and brilliant-hued flowers. As an executant he was careful and certain; he drew finely, and his color-sense was remarkable for its refinement and subtle appreciation. Few men have equalled him as a painter of draperies, and still fewer have approached his ability in the application of decorative principles to pictorial art.

pictures of drapes