Cartoon Pictures For Drawing Biography
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Epifania (Italian - Epiphany) is a cartoon or full-scale drawing in black chalk by Michelangelo, produced in Rome around 1550–1553. It is 2.32 metres tall by 1.65 m wide, and is made up of 26 sheets of paper.
composition shows the Virgin Mary, with the Christ child sitting between her legs. An adult male figure to the right, probably St Joseph, is pushed away by Mary. In front of him is the infant St John the Baptist. The adult figure standing to Mary's left is unidentified, as are other figures only just visible in the background. Michelangelo repeatedly changed the composition and its forms, as is apparent in the cartoon's alterations. The composition was originally thought to be of the Three Kings, which may be the reason for the title, but is now understood as referring to Christ's siblings mentioned in the Gospels (explained by Saint Epiphanias—another possible source for the title—as Joseph's sons by a previous marriage, and hence Mary's stepsons, leaving their marriage unconsummated—hence her pushing Joseph away—and Mary forever a virgin).Michelangelo's biographer Ascanio Condivi used this cartoon for an unfinished painting. A 19th-century Scottish collector, John Malcolm of Poltalloch, bought it for only £11 0s 6d. and, on John's death in 1893, his son John Wingfield Malcolm gave it to the British Museum.[1] Parliament voted £25,000 to purchase the rest of his collection for the museum two years later. The cartoon is on display in Gallery 90 of the Museum.Hibernia as a national personification representing Ireland appeared in numerous cartoon and drawings, especially in the nineteenth century.As depicted in frequent cartoons in Punch, a magazine outspokenly hostile to Irish nationalism,Epifania (Italian - Epiphany) is a cartoon or full-scale drawing in black chalk by Michelangelo, produced in Rome around 1550–1553. It is 2.32 metres tall by 1.65 m wide, and is made up of 26 sheets of paper.The composition shows the Virgin Mary, with the Christ child sitting between her legs. An adult male figure to the right, probably St Joseph, is pushed away by Mary. In front of him is the infant St John the Baptist. The adult figure standing to Mary's left is unidentified, as are other figures only just visible in the background. Michelangelo repeatedly changed the composition and its forms, as is apparent in the cartoon's alterations. The composition was originally thought to be of the Three Kings, which may be the reason for the title, but is now understood as referring to Christ's siblings mentioned in the Gospels (explained by Saint Epiphanias—another possible source for the title—as Joseph's sons by a previous marriage, and hence Mary's stepsons, leaving their marriage unconsummated—hence her pushing Joseph away—and Mary forever a virgin).Michelangelo's biographer Ascanio Condivi used this cartoon for an unfinished painting. A 19th-century Scottish collector, John Malcolm of Poltalloch, bought it for only £11 0s 6d. and, on John's death in 1893, his son John Wingfield Malcolm gave it to the British Museum.[1] Parliament voted £25,000 to purchase the rest of his collection for the museum two years later. The cartoon is on display in Gallery 90 of the Museum.Hibernia as a national personification representing Ireland appeared in numerous cartoon and drawings, especially in the nineteenth century.As depicted in frequent cartoons in Punch, a magazine outspokenly hostile to Irish nationalism, Hibernia was shown as "Britannia's younger sister". She is an attractive, vulnerable girl. She is threatened by manifestations of Irish nationalism such as the Fenians or the Irish National Land League, invariably depicted as brutish, ape-like monsters. Unable to defend herself, Hibernia turns to the strong, armoured Britannia for defence. John Tenniel, now mainly remembered as the illustrator of "Alice in Wonderland", produced many such depictions of Hibernia.At times nationalist publications (such as the Land League and Parnell's United Ireland newspaper) did use the image of Hibernia. However, possibly because of the pro-union publications' adoption of the "helpless" image of Hibernia, nationalist publications would later use Erin and Kathleen Ni Houlihan as personifications of Irish nationhood. (Although Irish Nationalists did continue to use the terms "Hibernia" and "Hibernian" in other contexts, such as the Ancient Order of Hibernians).Nicolas Clerihew Bentley (14 June 1907 – 14 August 1978) was a British author and illustrator, best known for his humorous cartoon drawings in books and magazines in the 1930s and 1940s. The son of Edmund Clerihew Bentley (inventor of the clerihew verse form), he was given the name Nicholas but opted to change the spelling.He married Barbara Hastings (1908–1989), a writer of children's books and the daughter of Sir Patrick Gardiner Hastings on 17 October 1934, and they had one child, Arabella in 1943.[1]Nicholas Clerihew Bentley was born in Britain on 14 June 1907, at Highgate in London. He was educated at University College School where he left at the age of 17, having decided that his academic abilities would not take him to university. He then enrolled at Heatherley's School of Fine Art, a prestigious private college, but left after a few months. After leaving Heatherley's, Bentley worked without pay as a clown in a circus. When this job ended, he was a film extra; and during the General Strike of 1926 he worked on the London Underground.[1]It was at this time that Bentley sold his first drawing to his godfather, G. K. Chesterton. He had a commission to draw illustrations for a trade newspaper called Man and his clothes in 1928, and his first regular job as an illustrator was in the publicity department of Shell. Bentley worked for Shell for three years but disliked working in advertising. In 1930 Hilaire Belloc (who was a friend of his father) invited him to illustrate his book New Cautionary Tales. The good critical reception of this book and its illustrations allowed him to go freelance.[1]During the 1930s Bentley illustrated works ranging from J. B. Morton to Damon Runyon. His most famous drawings were to illustrate T. S. Eliot's Old Possum's Book of Practical Cats, but he illustrated more than 70 books in the course of a long career. He customarily used the byline "Nicolas Bentley drew the pictures". His favourite illustration work was for his own books and he considered himself primarily an author. One of his best-known books, Ready Refusals, or, The White Liar's Engagement Book gives a quotation for every day of the year drawn from a surprisingly wide range of sources together with an appropriate illustration. He also wrote and illustrated Golden Sovereigns – and some of lesser value – from Boadicea to Elizabeth II (1970), a humorous book about the English/British monarchy.Bentley had enrolled as an auxiliary fireman in 1938 and served in the London Fire Brigade during World War II. He illustrated How to be an Alien (1946) by George Mikes.After the war he took a few regular cartooning jobs including on Time and Tide (1952–54) and drawing pocket cartoons for the Daily Mail from 1958. He gave this job up in 1962, complaining that it put too much strain on him. In later life he was the illustrator for Auberon Waugh's Diary in Private Eye and contributed other cartoons to the magazine.He moved to Downhead, near Shepton Mallet in Somerset.[1] He died on 14 August 1978 in the Royal United Hospital, Bath, Somerset.[1]His autobiography, A Version of the Truth, was published in 1960. On his death, Auberon Waugh wrote in Private Eye: "Nick was a gentle, modest, humorous man, with none of the usual characteristics of the highly individual genius which inspired his quiet professionalism and supreme technical ability."[citation needed] Hibernia was shown as "Britannia's younger sister". She is an attractive, vulnerable girl. She is threatened by manifestations of Irish nationalism such as the Fenians or the Irish National Land League, invariably depicted as brutish, ape-like monsters. Unable to defend herself, Hibernia turns to the strong, armoured Britannia for defence. John Tenniel, now mainly remembered as the illustrator of "Alice in Wonderland", produced many such depictions of Hibernia.At times nationalist publications (such as the Land League and Parnell's United Ireland newspaper) did use the image of Hibernia. However, possibly because of the pro-union publications' adoption of the "helpless" image of Hibernia, nationalist publications would later use Erin and Kathleen Ni Houlihan as personifications of Irish nationhood. (Although Irish Nationalists did continue to use the terms "Hibernia" and "Hibernian" in other contexts, such as the Ancient Order of Hibernians).Nicolas Clerihew Bentley (14 June 1907 – 14 August 1978) was a British author and illustrator, best known for his humorous cartoon drawings in books and magazines in the 1930s and 1940s. The son of Edmund Clerihew Bentley (inventor of the clerihew verse form), he was given the name Nicholas but opted to change the spelling.He married Barbara Hastings (1908–1989), a writer of children's books and the daughter of Sir Patrick Gardiner Hastings on 17 October 1934, and they had one child, Arabella in 1943.[1]Nicholas Clerihew Bentley was born in Britain on 14 June 1907, at Highgate in London. He was educated at University College School where he left at the age of 17, having decided that his academic abilities would not take him to university. He then enrolled at Heatherley's School of Fine Art, a prestigious private college, but left after a few months. After leaving Heatherley's, Bentley worked without pay as a clown in a circus. When this job ended, he was a film extra; and during the General Strike of 1926 he worked on the London Underground.[1]It was at this time that Bentley sold his first drawing to his godfather, G. K. Chesterton. He had a commission to draw illustrations for a trade newspaper called Man and his clothes in 1928, and his first regular job as an illustrator was in the publicity department of Shell. Bentley worked for Shell for three years but disliked working in advertising. In 1930 Hilaire Belloc (who was a friend of his father) invited him to illustrate his book New Cautionary Tales. The good critical reception of this book and its illustrations allowed him to go freelance.[1]During the 1930s Bentley illustrated works ranging from J. B. Morton to Damon Runyon. His most famous drawings were to illustrate T. S. Eliot's Old Possum's Book of Practical Cats, but he illustrated more than 70 books in the course of a long career. He customarily used the byline "Nicolas Bentley drew the pictures". His favourite illustration work was for his own books and he considered himself primarily an author. One of his best-known books, Ready Refusals, or, The White Liar's Engagement Book gives a quotation for every day of the year drawn from a surprisingly wide range of sources together with an appropriate illustration. He also wrote and illustrated Golden Sovereigns – and some of lesser value – from Boadicea to Elizabeth II (1970), a humorous book about the English/British monarchy.Bentley had enrolled as an auxiliary fireman in 1938 and served in the London Fire Brigade during World War II. He illustrated How to be an Alien (1946) by George Mikes.After the war he took a few regular cartooning jobs including on Time and Tide (1952–54) and drawing pocket cartoons for the Daily Mail from 1958. He gave this job up in 1962, complaining that it put too much strain on him. In later life he was the illustrator for Auberon Waugh's Diary in Private Eye and contributed other cartoons to the magazine.He moved to Downhead, near Shepton Mallet in Somerset.[1] He died on 14 August 1978 in the Royal United Hospital, Bath, Somerset.[1]His autobiography, A Version of the Truth, was published in 1960. On his death, Auberon Waugh wrote in Private Eye: "Nick was a gentle, modest, humorous man, with none of the usual characteristics of the highly individual genius which inspired his quiet professionalism and supreme technical ability."[citation needed]
Source(Google.com.pk)
Epifania (Italian - Epiphany) is a cartoon or full-scale drawing in black chalk by Michelangelo, produced in Rome around 1550–1553. It is 2.32 metres tall by 1.65 m wide, and is made up of 26 sheets of paper.
composition shows the Virgin Mary, with the Christ child sitting between her legs. An adult male figure to the right, probably St Joseph, is pushed away by Mary. In front of him is the infant St John the Baptist. The adult figure standing to Mary's left is unidentified, as are other figures only just visible in the background. Michelangelo repeatedly changed the composition and its forms, as is apparent in the cartoon's alterations. The composition was originally thought to be of the Three Kings, which may be the reason for the title, but is now understood as referring to Christ's siblings mentioned in the Gospels (explained by Saint Epiphanias—another possible source for the title—as Joseph's sons by a previous marriage, and hence Mary's stepsons, leaving their marriage unconsummated—hence her pushing Joseph away—and Mary forever a virgin).Michelangelo's biographer Ascanio Condivi used this cartoon for an unfinished painting. A 19th-century Scottish collector, John Malcolm of Poltalloch, bought it for only £11 0s 6d. and, on John's death in 1893, his son John Wingfield Malcolm gave it to the British Museum.[1] Parliament voted £25,000 to purchase the rest of his collection for the museum two years later. The cartoon is on display in Gallery 90 of the Museum.Hibernia as a national personification representing Ireland appeared in numerous cartoon and drawings, especially in the nineteenth century.As depicted in frequent cartoons in Punch, a magazine outspokenly hostile to Irish nationalism,Epifania (Italian - Epiphany) is a cartoon or full-scale drawing in black chalk by Michelangelo, produced in Rome around 1550–1553. It is 2.32 metres tall by 1.65 m wide, and is made up of 26 sheets of paper.The composition shows the Virgin Mary, with the Christ child sitting between her legs. An adult male figure to the right, probably St Joseph, is pushed away by Mary. In front of him is the infant St John the Baptist. The adult figure standing to Mary's left is unidentified, as are other figures only just visible in the background. Michelangelo repeatedly changed the composition and its forms, as is apparent in the cartoon's alterations. The composition was originally thought to be of the Three Kings, which may be the reason for the title, but is now understood as referring to Christ's siblings mentioned in the Gospels (explained by Saint Epiphanias—another possible source for the title—as Joseph's sons by a previous marriage, and hence Mary's stepsons, leaving their marriage unconsummated—hence her pushing Joseph away—and Mary forever a virgin).Michelangelo's biographer Ascanio Condivi used this cartoon for an unfinished painting. A 19th-century Scottish collector, John Malcolm of Poltalloch, bought it for only £11 0s 6d. and, on John's death in 1893, his son John Wingfield Malcolm gave it to the British Museum.[1] Parliament voted £25,000 to purchase the rest of his collection for the museum two years later. The cartoon is on display in Gallery 90 of the Museum.Hibernia as a national personification representing Ireland appeared in numerous cartoon and drawings, especially in the nineteenth century.As depicted in frequent cartoons in Punch, a magazine outspokenly hostile to Irish nationalism, Hibernia was shown as "Britannia's younger sister". She is an attractive, vulnerable girl. She is threatened by manifestations of Irish nationalism such as the Fenians or the Irish National Land League, invariably depicted as brutish, ape-like monsters. Unable to defend herself, Hibernia turns to the strong, armoured Britannia for defence. John Tenniel, now mainly remembered as the illustrator of "Alice in Wonderland", produced many such depictions of Hibernia.At times nationalist publications (such as the Land League and Parnell's United Ireland newspaper) did use the image of Hibernia. However, possibly because of the pro-union publications' adoption of the "helpless" image of Hibernia, nationalist publications would later use Erin and Kathleen Ni Houlihan as personifications of Irish nationhood. (Although Irish Nationalists did continue to use the terms "Hibernia" and "Hibernian" in other contexts, such as the Ancient Order of Hibernians).Nicolas Clerihew Bentley (14 June 1907 – 14 August 1978) was a British author and illustrator, best known for his humorous cartoon drawings in books and magazines in the 1930s and 1940s. The son of Edmund Clerihew Bentley (inventor of the clerihew verse form), he was given the name Nicholas but opted to change the spelling.He married Barbara Hastings (1908–1989), a writer of children's books and the daughter of Sir Patrick Gardiner Hastings on 17 October 1934, and they had one child, Arabella in 1943.[1]Nicholas Clerihew Bentley was born in Britain on 14 June 1907, at Highgate in London. He was educated at University College School where he left at the age of 17, having decided that his academic abilities would not take him to university. He then enrolled at Heatherley's School of Fine Art, a prestigious private college, but left after a few months. After leaving Heatherley's, Bentley worked without pay as a clown in a circus. When this job ended, he was a film extra; and during the General Strike of 1926 he worked on the London Underground.[1]It was at this time that Bentley sold his first drawing to his godfather, G. K. Chesterton. He had a commission to draw illustrations for a trade newspaper called Man and his clothes in 1928, and his first regular job as an illustrator was in the publicity department of Shell. Bentley worked for Shell for three years but disliked working in advertising. In 1930 Hilaire Belloc (who was a friend of his father) invited him to illustrate his book New Cautionary Tales. The good critical reception of this book and its illustrations allowed him to go freelance.[1]During the 1930s Bentley illustrated works ranging from J. B. Morton to Damon Runyon. His most famous drawings were to illustrate T. S. Eliot's Old Possum's Book of Practical Cats, but he illustrated more than 70 books in the course of a long career. He customarily used the byline "Nicolas Bentley drew the pictures". His favourite illustration work was for his own books and he considered himself primarily an author. One of his best-known books, Ready Refusals, or, The White Liar's Engagement Book gives a quotation for every day of the year drawn from a surprisingly wide range of sources together with an appropriate illustration. He also wrote and illustrated Golden Sovereigns – and some of lesser value – from Boadicea to Elizabeth II (1970), a humorous book about the English/British monarchy.Bentley had enrolled as an auxiliary fireman in 1938 and served in the London Fire Brigade during World War II. He illustrated How to be an Alien (1946) by George Mikes.After the war he took a few regular cartooning jobs including on Time and Tide (1952–54) and drawing pocket cartoons for the Daily Mail from 1958. He gave this job up in 1962, complaining that it put too much strain on him. In later life he was the illustrator for Auberon Waugh's Diary in Private Eye and contributed other cartoons to the magazine.He moved to Downhead, near Shepton Mallet in Somerset.[1] He died on 14 August 1978 in the Royal United Hospital, Bath, Somerset.[1]His autobiography, A Version of the Truth, was published in 1960. On his death, Auberon Waugh wrote in Private Eye: "Nick was a gentle, modest, humorous man, with none of the usual characteristics of the highly individual genius which inspired his quiet professionalism and supreme technical ability."[citation needed] Hibernia was shown as "Britannia's younger sister". She is an attractive, vulnerable girl. She is threatened by manifestations of Irish nationalism such as the Fenians or the Irish National Land League, invariably depicted as brutish, ape-like monsters. Unable to defend herself, Hibernia turns to the strong, armoured Britannia for defence. John Tenniel, now mainly remembered as the illustrator of "Alice in Wonderland", produced many such depictions of Hibernia.At times nationalist publications (such as the Land League and Parnell's United Ireland newspaper) did use the image of Hibernia. However, possibly because of the pro-union publications' adoption of the "helpless" image of Hibernia, nationalist publications would later use Erin and Kathleen Ni Houlihan as personifications of Irish nationhood. (Although Irish Nationalists did continue to use the terms "Hibernia" and "Hibernian" in other contexts, such as the Ancient Order of Hibernians).Nicolas Clerihew Bentley (14 June 1907 – 14 August 1978) was a British author and illustrator, best known for his humorous cartoon drawings in books and magazines in the 1930s and 1940s. The son of Edmund Clerihew Bentley (inventor of the clerihew verse form), he was given the name Nicholas but opted to change the spelling.He married Barbara Hastings (1908–1989), a writer of children's books and the daughter of Sir Patrick Gardiner Hastings on 17 October 1934, and they had one child, Arabella in 1943.[1]Nicholas Clerihew Bentley was born in Britain on 14 June 1907, at Highgate in London. He was educated at University College School where he left at the age of 17, having decided that his academic abilities would not take him to university. He then enrolled at Heatherley's School of Fine Art, a prestigious private college, but left after a few months. After leaving Heatherley's, Bentley worked without pay as a clown in a circus. When this job ended, he was a film extra; and during the General Strike of 1926 he worked on the London Underground.[1]It was at this time that Bentley sold his first drawing to his godfather, G. K. Chesterton. He had a commission to draw illustrations for a trade newspaper called Man and his clothes in 1928, and his first regular job as an illustrator was in the publicity department of Shell. Bentley worked for Shell for three years but disliked working in advertising. In 1930 Hilaire Belloc (who was a friend of his father) invited him to illustrate his book New Cautionary Tales. The good critical reception of this book and its illustrations allowed him to go freelance.[1]During the 1930s Bentley illustrated works ranging from J. B. Morton to Damon Runyon. His most famous drawings were to illustrate T. S. Eliot's Old Possum's Book of Practical Cats, but he illustrated more than 70 books in the course of a long career. He customarily used the byline "Nicolas Bentley drew the pictures". His favourite illustration work was for his own books and he considered himself primarily an author. One of his best-known books, Ready Refusals, or, The White Liar's Engagement Book gives a quotation for every day of the year drawn from a surprisingly wide range of sources together with an appropriate illustration. He also wrote and illustrated Golden Sovereigns – and some of lesser value – from Boadicea to Elizabeth II (1970), a humorous book about the English/British monarchy.Bentley had enrolled as an auxiliary fireman in 1938 and served in the London Fire Brigade during World War II. He illustrated How to be an Alien (1946) by George Mikes.After the war he took a few regular cartooning jobs including on Time and Tide (1952–54) and drawing pocket cartoons for the Daily Mail from 1958. He gave this job up in 1962, complaining that it put too much strain on him. In later life he was the illustrator for Auberon Waugh's Diary in Private Eye and contributed other cartoons to the magazine.He moved to Downhead, near Shepton Mallet in Somerset.[1] He died on 14 August 1978 in the Royal United Hospital, Bath, Somerset.[1]His autobiography, A Version of the Truth, was published in 1960. On his death, Auberon Waugh wrote in Private Eye: "Nick was a gentle, modest, humorous man, with none of the usual characteristics of the highly individual genius which inspired his quiet professionalism and supreme technical ability."[citation needed]
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