As the Joyce Theater curtain descends at the end of the Sarasota Ballet's production of Frederick Ashton's "Valses Nobles et Sentimentales," a softly dazzling masterstroke of choreography is still occurring.
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The grandstand with its flags and gingerbread porches did not so much rise behind this encampment as fall athwart it, rung down like a theater curtain painted with a fairy-tale scene.
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The removal of a Picasso tapestry from New York's Four Seasons restaurant in 2014, for instance, sparked a chorus of protests, even though Picasso had created the canvas originally as a theater curtain long before it arrived at the Seagram Building.
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But he also caused a flap among preservationists and restaurant fans in 2014 when he sought the removal of an artwork he did not own, a 19-by-20-foot theater curtain painted by Picasso that had hung in the Four Seasons restaurant at the Seagram Building since it opened in 1959.
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They are the least costly kind of theater curtain to construct and are relatively simple to operate.
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Pathy worked as a theater curtain painter and a makeup man with no vocation education. He later graduated in fine arts from Government College of Arts and Crafts Khallikote. Pathy also studied in Utkal University and later in Visva-Bharati University.
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He was born in Livorno. As a boy he trained as a decorative painter of frescoess. He was part of the group of artist attending the Caffè Bardi in Livorno. He painted the theater curtain or sipario of the Teatro Goldoni in Livorno.
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He also frescoed a number of palaces. He painted for the church of San Antonio in Buenos Aires, Argentina.Fondazione San Carlo, biography of Manzini. He decorated the ceilings and theater curtain (sipario) for the Teatro Comunale of Modena, now known as the Teatro Comunale Luciano Pavarotti.
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In 1839, he was nominated vice-director and professor at the Accademia of Modena; and later director to replace Pisani. He continued to be active, painting the sipario (theater curtain) of the Teatro Comunale. For the contessa Boschetti di Modena he painted two large canvases depicting Abraham banishes Hagar, and the Tobiolo.
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He painted the theater curtain (sipario) for the Theater at Arezzo. He died at Florence in 1798. His best work is the Esther before Ahasuerus for the basilica of San Martino in Alzano Maggiore, near Bergamo. His son Raffaele who was also training as an artist died in Florence at 22 years of age.
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He also completed many private portraits. He also made drawings for the Last Night of Nero, inspired by the drama of Pietro Cossa, and pursued as a design for a sipario (theater curtain), exhibited at Turin in 1875, and at a hall of the Carrara Academy. ‘‘Dizionario degli Artisti Italiani Viventi: pittori, scultori, e Architetti.’’, by Angelo de Gubernatis.
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When rigged with an operating line, they may be motorized or operated manually. They are referred to as walk-draw or walk-along curtains when rigged without an operating line. When opened and closed manually with an operating line, they are called manual curtains. They are the least costly kind of theater curtain to construct and relatively simple to operate.
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Lucatelli painted some of the panels and medallions from the alcoves surrounding the main seating. In 1881, the theater was restored by Luigi Fontana, and rededicated to the native musician Nicola Vaccaj. The ceiling was frescoed to depict Apollo and the muses in Olympus. The former sipario or theater curtain depicted illustrious persons from Tolentino, including Francesco Filelfo and Niccolò Mauruzi, burned during a fire in 2008.
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He was born in Vicenza and initially trained at the Academy of Fine Arts of Venice under Teodoro Matteini. He was later elected instructor of design for the Academy. He travelled widely both within Italy and France, Belgium, England, Russia, and Germany. He submitted an entry for the theater curtain (sipario) for the Fenice theater of Venice, but completed such works for theaters in Trieste, Sinigallia, Corfu, and Ravenna.
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Guerrini was a pupil of Francesco Boccacino. He painted a Decollation of St John the Baptist for the Oratory of San Girolamo in Cremona. In 1746, he painted a History of a Franciscan Saint for the convent of San Pietro in Cremona. In 1747, he painted five saints for the parish church of Paderno Ponchielli, and a sipario (theater curtain), now lost, for the Teatro Concordia (now Ponchielli).
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A variation on the Austrian is the waterfall curtain. Instead of horizontal festoons, the curtain has vertically running pleats like a traditional theater curtain, but it still gathers from the bottom in a number of swags. The waterfall has a pipe batten along the bottom edge to ensure the lines rise evenly. It is somewhat similar to a Roman shade, but with only one batten and vertical pleats.
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The artists perform with vintage microphones as a 1980s soul music trio in front of the stage's jazz theater curtain. They alternate front-man roles as they sing and use coordinated movements. During the performance, Mane gives a rose to a woman in the audience and Black performs his "signature 'Zeze' dance move". Clips of the trio drinking champagne and celebrating with women are intercut with them singing the song.
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When Momo jumps, the player can visibly see her underwear. Momo also needs to be wary of photographers in the theatre audience, who are determined to get a peek under her miniskirt. If one is successful, Momo will be "embarrassed" (stunned) for a short period of time. Additionally, one of the images that appears on the theater curtain (at the beginning and end of some acts) is Momo wearing only a towel.
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In 1810, along with brothers Antonio and Francesco, he helped complete two scenes and a theater curtain (sipario) for a theater in Macerata. Luigi was named honorary associate of the Bolognese Academy of Fine Arts, and described as an ornamental painter. In later years, his brother Antonio was to describe the collaboration between the three brothers, Luigi, Francesco, and himself, as respectively: ornamentation, figure painting, and design.Memoria di Bologna, biography on Luigi Basoli, by Roberto Martorelli.
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Photoplay Magazine was unenthusiastic in its review of Broadway Scandals: "If this picture appeared six months ago, it would have looked better, for it is a late entrant in the line of love stories back of the theater curtain." Egan and Myers did well in their roles, while "Sally O'Neil tries hard."Kreuger, Miles ed. The Movie Musical from Vitaphone to 42nd Street as Reported in a Great Fan Magazine (New York: Dover Publications) p 127.
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He mainly painted frescoes, including one in the ceiling (1838) of the Sala degli Esperimenti (Hall of Experiments) in the Collegio di San Giovannino, found adjacent to the Church of San Giovannino degli Scolopi, Florence. The fresco depicts Christian religion reveals science.Also see description in La Sapienza ispirata dalla religione: pitture nella sala degli esperimenti nel Collegio delle Scuole Pie Fiorentine, by Numa Pompilio Tanzini, published 1838. Sarti also painted the sipario (theater curtain) of the Teatro della Piazza Vecchia.
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He displayed artistic talent while still very young and, at the age of twelve, helped create a painting of a lion on a local theater curtain. He began his formal art studies at the Kunstakademie Dresden with Eduard Bendemann then, in 1849, moved to Düsseldorf, where he took over a painting class from the retiring Theodor Hildebrandt at the Kunstakademie Düsseldorf. In 1868, he was named a Professor, to replace the late Karl Ferdinand Sohn. During these years, he travelled extensively.
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He studied under Pietro Benvenuti at the Academy of Fine Arts in Florence. Among his works was the fresco of Ercole and Jole in the salon of the Palazzo Borghese in Florence. He painted the sipario theater curtain of the Niccolini Theater in Florence with a depiction of a passage from the poetry of Pulci, La giostra di Lorenzo il Magnifico col Borromeo sulla piazza di Santa Croce. He painted an oil canvas depicting the Adoration of the Magi for the church of Santa Felicita in Florence.
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The rusticated portico is surmounted by a balustrade upholding pilasters, that lead to a tympanum with the coat of arms of the city. The frieze reads Teatro Comunale del Giglio. The name giglio or lily derives from the fleur-de-lis emblem (?), that was part of the Bourbon heraldic shield of the reigning duchess, Maria Luisa of the House of Bourbon. In the early 19th century, the interiors were painted by Luigi Gatani, while the sipario or theater curtain was painted by Federico Tarquini.
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Guide to Art of Caserta, short biography. Among the works that have been lost are a canvas of The Annunciation for the church of Mater Dei; a theater curtain (sipario) for the Teatro San Carlo (1844); some decorations for the Villa Favorita at Ercolano; three canvases depicting the Creation for the Museo zoologico of the University of Capua; and the ceiling decorations for the great hall of Royal Metereologic Observatory at Vesuvius.Treccani Encyclopedia, Dizionario Biografico degli Italiani - Volume 68 (2007), by Rosalba Dinoia Maldarelli died in Naples in 1858.
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The theater was inaugurated on 3 October 1814, under the patronage of doctor and entrepreneur, Antonio Contavalli, in a lot that once formed part of the Carmelite convent affiliated with the church of San Martino. The engineer was Giovanni Battista Martinetti and the architect was Giuseppe Nadi. The entrance was the stairwell entrance to the monastery, but the three-story newly built hall, seating up to 800 attendees, and the theater curtain were decorated with paintings by Antonio Basoli. Other portions were decorated by Pietro Fancelli, Luigi Cini, Ridolfo Fantuzzi, and Mauro Berti.
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Camille escapes by a skylight and barely makes the theater curtain call of the performance, which Sonia attends. Afterwards in a bar Arthur pretends to pursue Sonia while taking an impression of her very valuable diamond ring, which he later replaces with a worthless duplicate. In despair at this deceit, Sonia asks Camille for help. She goes round to Arthur's flat and offers him a simple deal: he can choose to either spend the night with her and never see her afterwards, or to have her walk out on the spot.
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In 1883, he exhibited that painting in Rome. Among his watercolors: Mezzogiorno; Dal Colosseo (1884, exhibited at Mostra of Fine Arts in Turin); and the sketch San Carlo ai Catinari. In 1873, accompanied by Mario De Maria, Paolo Bedini, and Raffaele Faccioli, Serra travelled to the International Exposition of Vienna. In 1874 he travels to Turin, and meets Marco Calderini, and the next year wins another three-year stipend. In 1875, after three years, Serra finished his Allegory of the Arts for the sipario (theater curtain) for Theater of Fabriano.
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He was born and died in Rome, where he was a pupil of Tommaso Minardi at the Accademia di San Luca in Rome. He became a professor of painting at the academy. The Accademia was then under the direction of Vincenzo Cammuccini. He painted large allegories for the ceiling and theater curtain of the Teatro dell'Aquila in Fermo, depicting respectively the Invocation at Olympus with Jove, Juno, three graces and six dancing nocturnal hours listening to the music of Apollo and Harmony consigns its scepter to the Genius of Fermo.
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In 1917, returning to the New York circuit, his stage name was changed to Fred Allen so that he would not be offered the same low salary that theater owners had been accustomed to paying him in his early career. His new surname came from Edgar Allen, a booker for the Fox theaters.Allen, Fred, Much Ado About Me, Little brown & Co., 1956, pg. 203 In 1922, Allen commissioned comic-strip artist Martin Branner to cover a theater curtain with an elaborate mural painting depicting a cemetery with a punchline on each gravestone.
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The choir was also enclosed and glazed pocket doors with early stained glass decals were installed. A dramatic theatrical stage was constructed at the back of the large open meeting room with a spectacular hand painted theater curtain which remains there today. The building was dedicated by members of that Grange on August 1, 1919 and the lofty 17’ ceiling, gothic windows, moldings and wainscoting remain intact from this time period. This building has been privately owned since 2007 and continues to be a meeting place for the West Stockbridge Grange which still houses their ceremonial artifacts there.
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Stevens became artistic director of the Lakewood Theater for eight years, and also served as vice president of Curtain Up Enterprises, the non-profit operating company of the Lakewood Theater. Curtain Up received a grant from the Maine State Council on Arts and Humanities in early 1986 which enabled it to subsidize concerts and plays for children, and also to form its own children's theatre group, the Magic Machine. Around 1982 Stevens created an improvisational theatre group for the students of Skowhegan Area High School. Teens 'N Theatre was designed as an alternative to formal lectures on family planning.
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His father was in the service of the Venitgnano family, who patronized his early studies at the Neapolitan Academy of Fine Arts, then under the guidance of Vincenzo Camuccini. He painted an altarpiece of San Carlo Borromeo provides Viaticum to Plague Victim for the Church of San Carlo all'Arena. After 1850, he was named to replace Tito Angelini as the professor of Design at the Neapolitan Academy, besting out Di Napoli and Raffaele Postiglione in a contest for the position.F. Napier, page 39 He painted the Sipario or theater curtain, for the teatro San Carlo with Muses, Homer, poets, and musicians (1854) to replace the original curtain by Giuseppe Cammarano that had burned in a fire.
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As the theater curtain rises on an English country estate, Mary Dundreary (Laura Keene) is helping her forgetful father, Lord Dundreary (Ned Emerson), to locate a misplaced letter, which turns out to be from a backwoods American cousin, Asa Dundreary (Harry Hawk), announcing his imminent visit to Dundreary Manor to settle some "ancient business." Overhearing news of the visit of a presumably wealthy American, Lady Mountchessington schemes with her daughter Gussy to secure Asa's hand in marriage. Arriving as if on cue, Asa confounds the pair with a coarse tale of "herding possum" on the frontier. Abraham Lincoln laughs heartily at the frontiersman's mannerisms, so comically resonant with his own public persona.
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