#shadbolt

[hjmarseille]

THE ROYAL NAVAL DIVISION DURING THE FIRST WORLD WAR

© IWM (Q 71074)

Officers of the Hood Battalion at Blandford Camp. Back row, left to right - Lieutenant Arthur “Oc” Asquith; Lieutenant Jacobs (battalion interpreter); Lieutenant Edmond Waller; Lieutenant Shadbolt. Middle row, left to right - Lieutenant Edward William Nelson; Lieutenant Rupert Brooke; Lieutenant W. M. Egerton; Lieutenant John Bigelow Dodge; Lieutenant William Denis Browne; Frederick Septimus Kelly; Lieutenant Charles Martin; Lieutenant Eric Gamage; Lieutenant Douglas Cassey; Lieutenant Ernest Nobbs (Quartermaster). Front row, left to right - Lieutenant J. C. Gilliard (Paymaster); Lieutenant John Ferguson; Lieutenant Commander Bernard Freyberg; Lieutenant Commander Raymond S. Parsons; Lieutenant Commander Alexander Graham (Adjutant); Lieutenant Colonel John Quilter; Lieutenant Commander W. F. Burnett; Lieutenant Commander J. Daglish; Lieutenant Colonel Charles Kennedy-Craufurd-Stuart; Lieutenant Maurice Hood; Lieutenant Commander H. C. Hedderwick.

[joshuahanksville]

these #Autumn colours are the best #shadbolt #shadboltpark

[wallpaperx]

http://wp.me/p6YrI4-3S4

The Majestic Power Of Ocean Waves By Luke Shadbolt

[cascadiafineart-blog]

Shadbolt Prints Are a B.C. Treasure

by Rachael Nakamura

Jack Shadbolt (1909-1988) is one of Canada’s most important artists and a premier advocate of regionalism in British Columbia. Shadbolt was born in England in 1909 but moved to Victoria with his family in 1921. His work, which focused on both social realism and abstraction, engaged with the themes of myth, ritual, transformation, and the interrelation between place and identity. In addition to being an influential painter, Shadbolt was also an educator who taught at the Vancouver School of Art for twenty-eight years prior to founding the Vancouver Institute of the Visual Arts with his wife Doris Shadbolt (1918-2003), herself a well-respected curator, author, and art educator.

During the late-1950s Jack Shadbolt’s work shifted towards an animated and nature-based abstraction, as seen with After Fire (Salmon Barbecue). Inspired by the tile work B.C. Binning created for the B.C. Electric Building located at 970 Burrard Street in Vancouver, Shadbolt employs a mosaic cubist-like grid while placing emphasis on both the colour and materiality of the paint. Through this grid Shadbolt abstracts a salmon carcass over a smoldering barbecue – imagery that not only speaks to the Pacific Northwest First Nations groups but also changes within and repercussions of the local fishing industry. As with many of Shadbolt’s other works After Fire (Salmon Barbecue) explores the intersections between nature and culture while drawing on the artist’s own experiences of the British Columbia landscape.

[soraya-pathman]

[e8experience-blog]

When Pete Shadbolt places two chips on a multi-touch table, and an oscillating line of light appears to connect them, a haunting howl is also emitted. Add another chip and another, and more connections and howls emerge. The whole thing pulsates almost like it's alive all the while emitting sound that change frequency as he moves the chips around and twists knobs on the table. We are playing with structures known as quantum graphs.