Foreign-born workers on New York’s fruit and dairy farms have sequestered themselves to avoid the administration’s deportation net.
Luis Enrique Gomez García, a lumber mill worker, was held briefly at a detention center with his daughters. Their grandmother, Dámaris Dalila González, helps care for them while their mother remains in detention.
Claire Shipman, the university’s acting president, noted the absence of Mahmoud Khalil, a graduate who continues to be detained by immigration authorities.
Big deals to sell chips to the U.A.E. and Saudi Arabia have divided the U.S. government over whether they could be remembered for shipping cutting-edge A.I. overseas.
Not content with adorning the walls of their mansions with paintings, some of the nobility covered them with tapestries, for which artists like Francisco Goya were employed to create cartoons. They were expensive, and those who still aspired to fortunes used wallpaper instead. That could be hand-painted, or more usually printed, and became sufficiently popular by the time of Oliver Cromwell in the middle of the seventeenth century to be a bone of contention with his Puritan government.
During the eighteenth century, Britain became the largest manufacturer of wallpaper in Europe, largely because it lacked the tapestry factories that had been established for other royal courts, and for the period 1712-1836 England even had a wallpaper tax.
Because paper could only be produced in relatively small sheets, early wallpaper had to be assembled from many of those. For example, Albrecht Dürer’s woodblock print of The Triumphal Arch for the Holy Roman Emperor Maximilian I in 1516-1518, required a total of 195 woodblocks printed onto 36 separate sheets of paper.
Wallpaper came of age and appeared on the walls of many more homes when paper could be produced in long rolls using the Fourdrinier process in the early nineteenth century.
The first of Augustus Egg’s narrative series Past and Present from 1858 shows an ordinary middle-class drawing room, with a deep-coloured heavily patterned wallpaper typical of this Victorian setting.
Edgar Degas (1834–1917), Interior (‘The Rape’) (1868-9), oil on canvas, 81.3 x 114.3 cm, Philadelphia Museum of Art, Philadelphia, PA. Wikimedia Commons.
In Edgar Degas’ famously enigmatic Interior from 1868-69, the wallpaper is lighter and floral, matching the pattern on the lampshade, and making an association with the woman.
Édouard Muller (1823-1876), The Garden of Armida (1854), block-printed wallpaper, 386.1 x 335.3 cm, Philadelphia Museum of Art, Philadelphia, PA. Wikimedia Commons.
This exquisite wallpaper designed by Édouard Muller in 1854 is now in the Philadelphia Museum of Art, its five long rolls forming a trompe l’oeil of this enchanted garden from Torquato Tasso’s epic poem Jerusalem Delivered.Trompe l’oeils like this became popular, and have their origins in frescos painted on the walls of Roman villas in classical times. While a fresco was a costly one-off, improvements in printing made such wallpapers more widely available in the later nineteenth century.
Camille Pissarro (1830–1903), Still Life: Apples and Pears in a Round Basket (1872), oil on canvas, 45.7 x 55.2 cm, Princeton University Art Museum, Princeton, NJ. Wikimedia Commons.
Camille Pissarro painted a few delightful still lifes, among them this Still Life: Apples and Pears in a Round Basket from 1872, which ingeniously adds floating flowers from the wallpaper in its background.
Gustave Caillebotte (1848–1894), Mademoiselle Boissière Knitting (1877), oil on canvas, 65.1 x 80 cm, Museum of Fine Arts, Houston, TX. Wikimedia Commons.
Gustave Caillebotte’s portrait of Mademoiselle Boissière Knitting from 1877 is one of the first in which he might be said to be painting in Impressionist style. Its east Asian inspired wallpaper is typical of increasingly popular designs of that period.
Harold Gilman’s early Edwardian Interior from about 1907 shows the drawing room of his family home in the Rectory at Snargate, with the artist’s youngest sister as model. This wallpaper has a more complex design to make it appear less regular.
Wallpapers in the home of Pierre Bonnard make cameo appearances in several of his paintings, and usually feature bold stripes of colour, as seen in his famous Bowl of Milk from 1919. Although it looks informal if not spontaneous, this painting is the result of deliberate compositional work, and attention to details such as the form of the pillars on the balcony outside. In its informality is formality, in the model’s pose, the layout of the table settings, and the echoing verticals in the window and wallpaper.
Édouard Vuillard (1868–1940), Madame Vuillard Sewing (1920), oil on cardboard, 33.7 x 35.8 cm, National Museum of Western Art 国立西洋美術館 (Kokuritsu seiyō bijutsukan), Tokyo, Japan. Wikimedia Commons.
When Édouard Vuillard painted his mother Madame Vuillard Sewing in 1920, he returned to a more Nabi style, and a wallpaper with a simple and bold pattern.
Eric Ravilious (1903–1942), Farmhouse Bedroom (1939), watercolour, further details not known. Wikimedia Commons.
Further into the twentieth century, even bolder patterns appear in some of Eric Ravilious’ interiors, such as this Farmhouse Bedroom from 1939.
憋气的场景看多了（这里感谢姜武的爹味演绎^^），以至于会觉得，这算不算是电影不足的地方？——电影把生活环境描写得过于极端了，很多典型的生活困境，和典型的油腻男气息，都集中在一起。在我的想象里，这会让一些观影的人，因为自己并没有这么惨，而为自己找一些不出走的理由？譬如，很多家里老公会做饭，会给老婆打伞，多数家庭至少言语和睦，偶尔也能一起出去旅行，躺在床上刷手机的当然也不止是老公，女人也很多……于是，人们把电影和自己的现实一对比，哦，原来我没有那么惨，所以我没有出走，也是 ok 的。
① POL，也就是最常见的大号「煤气罐」，准确地说，叫「液化石油气罐」。我这边日常可以买到的，有 3.7kg 和 8.5kg 两种容积。大的更划算，但我的床板下面只能放进小号的，换一瓶气大约 $20，Bunnings 和很多加油站都有换。
还有一种 LCC 27 接口，是 POL 的升级版。近年来政府渐渐把 POL 气罐，升级成更安全的 LCC 27 接口。这个是向下兼容的：原先用在 POL 上的管线，仍然可以拧进 LCC 27 的气罐；反之则不行，LCC 27 专用的管线，不能用在 POL 气罐上。所以，使用 POL 的管线，就不必在乎每次换到的气罐，是旧接口还是新接口。
② 3/8″ BSP-LH，另一种大号石油气罐的接口，通常只有专门的户外型房车才会使用。加油站很少见，更换气瓶也远不如 POL 方便。可以很方便地改成 POL，户外店有转接头卖（$15）。
③ UNEF 1″ / BOM，北美常见的一磅重的绿气罐，北美的加油站和便利店到处都是，但澳洲和中国很少，只有专门户外店才有。
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