99 Sentences With "conversation pieces" | Random Sentence Generator

We're women that love style and vintage and conversation pieces.

The Times Magazine's annual music issue includes blockbuster singles, critical darlings and conversation pieces.

That is how the most effective music videos function today: as time-stopping conversation pieces.

Meanwhile, if your Libra BFF is getting hitched, bring on the trinkets — they love conversation pieces, after all.

"They're conversation pieces," said Magnus Pettersen, who was fabricating the benches at Shelby Materials, a local concrete supplier.

"A lot of new ideas come from events like this, conversation pieces turn into more hit records," he said.

Others, particularly those attempting to look months into the future, are less legitimate news and more insignificant conversation pieces.

Shows like "Game of Thrones" or "The Walking Dead" are water-cooler conversation pieces — and they're all over social media.

I haven't seen anything as flashy as this badge before, and let's be real, I want to wear conversation pieces.

By the time she painted Soirée, Stettheimer had achieved her fully mature style of "conversation pieces" organized like theatrical sets.

As with Joey's ceramic speakers, these are conversation pieces, objets d'art that happen to work pretty well as gadgets to boot.

Ahead, you'll see some of the best conversation pieces from the show's past 10 years that will definitely get you in the Halloween spirit.

Listen to music — the blockbuster hits, critical darlings and conversation pieces of the moment — few of which take a direct route to the usual joys of pop.

While the Machinegun Camera and Minox will really only be conversation pieces, the Lomo LC-A and Nimlo 3D might well provide operators with some intriguing artistic inspiration.

We make sure you feel comfortable and that when you leave you see African art as beautiful and as conversation pieces that inspire thoughtful concentration to be fully appreciated.

"These coasters are great conversation pieces for our guests that come to experience cocktails and dinner in Off The Record," said Hay-Adams vice president and general manager Hans Bruland.

"These coasters are great conversation pieces for our guests that come to experience cocktails and dinner in Off The Record," Hay-Adams general manager Hans Bruland said in a statement.

Or maybe we're just witnessing the latest iteration of something that's been building through the "Star Wars" and "Harry Potter" movies and the tv-is-the-new-novel prestige conversation pieces.

Kasich's new conversation pieces range from HQ, the mobile trivia game, to YouTube celebrity Logan Paul (who entered the wider public consciousness after he filmed a video inside a Japanese "suicide forest").

At one point in the discussion with Brown, the senator acknowledged that all of the ideas being discussed on stage would remain conversation pieces if Democrats fail again to deliver at the ballot.

At 768 Fifth Avenue Alison Lou has conversation pieces, like Mr. Potato Head ear, eye, mouth and feet wire rings (starting at $21) from a holiday collaboration with Hasbro, at its new shop.

The impact of this narrative led to some of early America's most rigorous archaeology, as the quest to determine where these mounds came from became salacious conversation pieces for America's middle and upper classes.

In Scott's own bedroom, he focuses on memorabilia from his life and travels — like souvenirs from Bora Bora and the key to the city for Las Vegas — to add color and act as conversation pieces.

"Or do I commemorate this historic moment" he silently inquires of himself, switching to the just-as-fashion-backward DOW 20,000 baseball hat, both more likely conversation pieces than celebratory trophies not all that long ago.

The black-faced figures, with swollen red lips and handkerchiefs tied around their heads, were initially created during the late 19th and early to mid 20th centuries, and were specifically for a white audience, as comical conversation pieces.

Eventually, I realized that the profit from the digital sketches was a permission slip to do the next project — limited-edition letterpress prints for people to hang on their walls, where they serve as conversation pieces for financial advisers and their clients.

The 25 songs and artists below include blockbuster hits, critical darlings and inescapable conversation pieces, but few of them take a direct route to the usual joys of pop — the songs about dancing and boasting and sex and love, the ones about what a fantastic night everyone's about to have or what ecstasies they intend to find by the end of it.

Arthur Devis was a regional painter famous for his small conversation pieces, popular with the gentry of Cheshire. William Hogarth also worked in the genre, and parodied it in his print A Midnight Modern Conversation, which depicted a group of men whose conversation has degenerated into drunken incoherence. Johann Zoffany specialized in complicated conversation pieces, and most portraits by George Stubbs take this form, with horses and carriages in the composition. Joshua Reynolds would on request produce conversation pieces in the Grand Manner, and at his usual near-life scale.

The figure of the artist (bottom left) can also be seen. It was one of the first conversation pieces painted in Britain.

Zoffany painted a number of 'conversation pieces' featuring a violoncello – The Cowper-Gore family, Sharp Family, Morse & Cator family, and the family of Sir William Young. In c. 1780.

Charles Philips (c.1703–1747) was an English artist known for painting a number of portraits and conversation pieces for noble and Royal patrons in the mid-eighteenth century.

Peter Jacob Horemans was a versatile artist who practised in many genres: genre scenes, conversation pieces, portraits, hunting scenes and city views. His works provided an interesting record of everyday life in Munich during the Rococo period.

Conversation pieces, such as novel trinkets or artworks, may be used to stimulate continued conversation. In an online setting or virtual reality, an automated agent may be used to monitor and stimulate flagging conversation by suggesting topics.

Domenicus van Wijnen in the RKD He was a painter of historical allegories and conversation pieces. Several of the dozen or so paintings firmly attributed to him depict scenes of witchcraft. His painting The Temptation of Saint Anthony is in the National Gallery of Ireland.

Nikolai Vassilievich Ovchinnikov (October 14, 1918 in village of Mizhuli, Cheboksary Uezd - February 2004), is a Russian and Chuvash painter (historical and conversation pieces, landscapes), People's Artist of Russia and Chuvashia, Professor, Member of the National Academy of Sciences and Arts of the Chuvash Republic.

The Swing and Game of Shuttlecock (Neues Palais, Potsdam) are a pair of conversation pieces that defined her first period of work. Game of Shuttlecock was signed and dated in 1741. These two works were modeled off of Jean-Antoine Watteau and similar to those of Nicolas Lancret.

The Fortune Teller, 1631, Louvre According to the RKD Jacob influenced Willem Cornelisz Duyster and is known for genre works and military pieces, most notably conversation pieces in the manner of Pieter Codde and Dirck Hals.Jacob Jansz. van Velsen in the RKD One of his paintings was engraved by Pierre Aveline in 1755.

Johann Zoffany paints a group of Englishmen in Florence for the Grand Tour, united only by their wealth and love of art; unlike most conversation pieces, this was not a commissioned work. The genre was developed from 17th century portraiture in the Low Countries.Gaunt, William. (1964) A concise history of English painting.

Around 1742, Daniel Graham commissioned William Hogarth to paint a portrait of his children. Hogarth produced The Graham Children, one of his most successful conversation pieces (an informal group portrait of family or friends, often engaged in conversation or some other kind of activityGlossary: Conversation Piece. The National Gallery. Retrieved 7 December 2014.).

Females dancing in the Hawaiian Islands, 1822, hand-coloured lithograph after Louis Choris Jean-Augustin Franquelin (1798 – 1839), was instructed by Regnault, and became known through his works, representing scenes in public life, conversation-pieces, &c.;, which have often been copied. The painting of The Occupation of Brissac, by this artist, is at Versailles.

Far better are the two conversation pieces, The Dinner Party (ca. 1821) and The Tea Party (ca. 1824), owned by the Museum of Fine Arts, Boston. These have something of the exquisiteness of the so- called Little Dutchmen and they give fascinating glimpses of social life in Boston homes of the early 19th century.

John Savage after Laroon. Laroon became known for small portraits and conversation pieces. He also painted small pictures, on humorous or free subjects, in the style of Egbert van Heemskerk, some of which were engraved in mezzotint by Isaac Beckett and John Smith. He also made some etchings and mezzotints on similar subjects himself.

Nasmyth returned to Scotland where for the next few years he continued his career as a portraitist. He painted some works in the style of Ramsay, but most were conversation pieces with outdoor settings.Macmillan 1986, p.142 His portrait of Robert Burns, who became a close friend, is now in the Scottish National Gallery.

The eponymous game of Bone Tiles (gǔpái in Mandarin) is played in northern and central China and as far south as Hunan.Lai, C.P. A Chinese Domino Game: Tien Gow (天九 Heaven Nine) at CP's Conversation Pieces. Retrieved 6 April 2016. The name suggests that it is or became the default game played with dominoes in those regions.

Aqueduct Press was founded in 2004 by L. Timmel Duchamp. The company has focused on publishing speculative fiction which contains a feminist element. Since 2004 they have been publishing the Conversation Pieces which is written by many authors and contains chapbooks with poems, fiction and essays. Aqueduct Press has published multiple award-winning and short-list nominee titles.

Joseph van Aken, Saying Grace, c. 1720 He arrived in London from Antwerp in around 1720, accompanied by his brother Alexander (1701–57), and possibly also by an older brother called Arnold (d.1735/6). He initially painted genre scenes and conversation pieces, before becoming a specialist drapery painter in the mid-1730s.Manners and Morals, p.

He achieved considerable success with his historical and mythological works, his portraits and still lifes, often emulating the style of Chardin. But it was above all his genre paintings which attracted interest. In particular, his conversation pieces in the style of David Teniers the Younger ensured his popularity.Hervé Chayette, Le Vin à travers la peinture, Courbevoie, ACR, 1984, p.

Pentecostal Evangel was the official weekly magazine of the General Council of the Assemblies of God in the United States of America, with an average weekly circulation of approximately 200,000 worldwide. The weekly published inspirational features that focused on contemporary issues, biblical instruction and devotional guides, Christian news, and conversation pieces. The magazine's headquarters was located in Springfield, Missouri.

Family of Jan-Baptista Anthoine Gonzales Coques is primarily known as a painter of individual and family portraits, which he typically executed on a smaller scale than was common at the time. Although these small cabinet paintings have been referred to as conversation pieces, a type of elegant, informal group portrait that he is credited with inventing, recent scholarship has emphasised that his group portraits should be seen as narrative portraits rather than genre portraits, conversation pieces or merry companies. Despite his preference for smaller-scale cabinet paintings, Coques is reported to have made large-format portraits and history paintings (in collaboration with other painters) for the court at The Hague, the current whereabouts of which are not known. Finally, Coques collaborated in and organized the execution of so-called 'pictures of galleries'.

The phrase "conversation piece" later acquired a different meaning. It came to refer to objects that were perceived to be interesting enough to spark conversation about them. They provide a stimulus for prop-based conversation openers. The original conversation pieces sometimes depicted a group united in conversation about an object, which would typically be an item linked to science or scholarship.

His sculpture became increasingly complex. The search for a "fourth dimension" became evident in Adamo Secundus and David, small works with complex possibilities of disassembly. The sculptures of this period were so successful that in the United States they acquired the status of "conversation pieces". In 1968 Berrocal was made a Chevalier de l’Ordre des Arts et des Lettres by the French Minister of Culture, André Malraux.

From 1807 to 1813, he travelled throughout France, making contacts with fellow artists. From 1828 to 1829, he toured England and Scotland, receiving many commissions along the way and becoming enamored of the English "conversation pieces". He also favored a style known as "jusqu'aux genoux" (as far as the knees). After 1820, he eschewed detailed backgrounds in favor of simple tones that emphasized the face.

Samuel came to notice when he twice won the prestigious award from the Society of Artists for the best historical drawing. He had entered the Royal Academy's schools in 1770. Later he was given money for creating an improvement in the techniques for applying mezzotint grounds, although strangely there are no surviving examples of Samuel's art that use this technique. His work consisted of conversation pieces, whole length paintings and portraits.

A village landscape with a crowd of peasants and fishermen Only a small group of works by Jan Baptist Monteyne is recorded. The artist is known for genre scenes and landscapes. His genre works mainly depicted village scenes with many figures and conversation pieces. These compositions were influenced by the earlier Flemish genre works of David Teniers the Younger while his landscapes are indebted to the river landscapes of Jan Brueghel the Elder.

Horses in the Stable by Johann Baptist Dallinger von Dalling, Russian Museum, 1838 Riding school Johann Baptist Dallinger von Dalling (1782–1868) was an Austrian painter. A son of Johann Dallinger von Dalling, he was born in Vienna, and painted landscapes and animals in the old Dutch style, as well as portraits and conversation-pieces. Some of his works are in the Belvedere and Liechtenstein Galleries. He died at Vienna in 1868.

The Brockmans and the Temple Pond at Beachborough, by Haytley The Brockmans in the Temple at Beachborough, by Haytley Edward Haytley, a much-underrated English master, was commissioned to paint 'conversation pieces' of the Brockman family at Beachborough. These pieces show the family at leisure in their grounds, with various aspects of Beachborough featured in the background. The paintings are now housed at the National Gallery of Victoria, in Melbourne in Australia.

Civic Guardsmen from a company of the Crossbow Civic Guard Karel van Mander lauded Badens as an accomplished painter of history and portraits, and reported that he excelled in painting conversation pieces. He was also known for his tronies (portraits), paintings of horses and large history paintings.Marten Jan Bok and Sebastien Dudok van Heel, The Mysterious Landscape Painter Govert Janszn called Mijnheer (1577-c.1619), in: Amy Golahny, Mia M. Mochizuki, Lisa Vergara.

This was the first film to use the technique developed by Sproxton and Lordan of "animating puppet characters to spontaneous, realistic conversations, rather than prepared scripts...It impressed producer Jeremy Isaacs, who commissioned five five- minute films [entitled Conversation Pieces] for the newly established Channel 4 in London. Animated Documentary explains "Confessions of a Foyer Girl and Down and Out were based on eavesdropped conversations and pair documentary sound with stop motion animation of Plasticine figures.

Aardman also created the title sequence for The Great Egg Race and supplied animation for the multiple award-winning music video of Peter Gabriel's song "Sledgehammer".Peter Gabriel, 'Sledgehammer' (1986) – The 30 All-TIME Best Music Videos Time. Retrieved 23 November 2011 They produced the music video for the song "My Baby Just Cares For Me" by Nina Simone in 1987. Later Aardman produced a number of shorts for Channel 4, including the Conversation Pieces series.

These he himself valued highly, and they are among his best book illustrations. In the following years he turned his attention to the production of small "conversation pieces" (i.e., groups in oil of full-length portraits from high). Among his efforts in oil between 1728 and 1732 were The Fountaine Family (c.1730), The Assembly at Wanstead House, The House of Commons examining Bambridge, and several pictures of the chief actors in John Gay's popular The Beggar's Opera.

A selection was exhibited at Tate Britain March–August 2007. The archive is now catalogued, digitized and preserved there. In October–December 2006, a retrospective exhibition curated by Lucia Farinati took place at Rome’s Sound Art Museum showing a selection of Audio Arts releases and adding a new sound art by Furlong: Conversation Pieces, a reworking/remixing of preview Furlong interviews, making famous interviewees respond to each other by the magic of cut-up. See SlashSeconds.org.

It was later confirmed that it would release for that platform in Japan. In a first for the series, the team wanted to have a simultaneous worldwide release for the title, and so were developing the localized version alongside the original. This process proved exhausting. The team were able to make the skits, the game's extra conversation pieces, fully voice in the western version, which they were not able to do for Abyss or Symphonia because of time constraints.

The Talking Jesus Clock. The inexpensiveness of modern speech technology has allowed manufacturers to include talking clock capabilities into a wide range of products. Many of these are intended as conversation pieces or speak merely for the entertainment of hearing sounds or words spoken by an inanimate object. Such timepieces include Darth Vader clocks, calculators with time features, and even a painting of Leonardo da Vinci's The Last Supper that announces the time on the hour along with a quote from Jesus.

There is active interest in collecting Canadian Scouting memorabilia, even after youth have completed their years in the program. In addition to merit badges and awards that are worn on the uniform, youth often collect souvenir patches that may be displayed off the uniform; for example, they are often sewn onto campfire blankets or ponchos. Uniform badges will frequently find their way onto these items as well, as youth progress through the program, and are popular conversation pieces at Jamborees and campfires.

In some respects the Orrery and Air Pump subjects resembled conversation pieces, then largely a form of middle- class portraiture, though soon to be given new status when Johann Zoffany began to paint the royal family in about 1766. Given their solemn atmosphere however, and as it seems none of the figures are intended to be understood as portraits (even if models may be identified), the paintings can not be regarded as conversation pieces.Waterhouse (1978), pp. 215–216, 270, 285–286.

This address was where she worked, and later resided, until the end of her life. It was here that she developed her style for which she became well known and popular. Typically her oil paintings illustrated elaborate English architectural interiors used as settings for groups of finely-drawn Eighteenth, or early Nineteenth Century figures in detailed Georgian costume. They were created from her imagination as conversation pieces to which it was mainly left for the vendors or owners to provide titles.

Self-Portrait, 1748 William Keable (or Keeble) (1715–1774) was an English painter of portraits and conversation pieces. He was the son of John and Ann Keable and baptised at Cratfield, Suffolk in October 1715. His main period of success as an artist was in the 1740s and 1750s; he was a member of the St Martin’s Lane Academy in 1754. He specialised in the painting of portraits, especially of American colonists, particularly from Charleston, South Carolina, who were visiting London.

Ellin Devis (December 1746 - February 1820) was a schoolmistress and author of The Accidence (1775), a popular eighteenth-century grammar. She came from an artistic family - her father Arthur was known for his "conversation pieces" and her brother Arthur for historical portraits. According to Carol Percy, The Accidence “seems to have been the first English grammar directed exclusively to a female audience.” Despite being written for girls, Devis’s grammar was recommended by her peers as a general introduction to Robert Lowth’s Short Introduction to English Grammar (1762).

He has produced a number of extended projects working with residents of public housing estates across Europe.Grant H. Kester, Conversation Pieces: Community and Communication in Modern Art, University of California Press, 2004, p91. Examples include Pat Purdy and the Glue Sniffers' Club (1981-2), The Kids are in the Street (1981-2) and Are You Good Enough for the Cha Cha Cha? (1982), about, respectively, wasteland outside the Avondale estate in West London, a skateboard park near a Brixton housing estate, and a London punk music club.

Some people keep conversation pieces for this purpose. Judy Ringer's We Have to Talk: A Step-By-Step Checklist for Difficult Conversations points out that an entirely different set of openers may be used for sensitive conversations, e.g. about employee performance, in which a main goal may be to avoid putting the person on the defensive. These openers often take the form of ridiculous statements, such as "I have something I’d like to discuss with you that I think will help us work together more effectively".

While van den Bossche’s works include the occasional individual and group portrait, the bulk of his output explored the various genre subjects that had been introduced in Flemish and Dutch painting in the 17th century. The preferred subjects of his genre paintings were picture galleries and artist studios, which were also the preferred themes of his master Gerard Thomas. He also painted alchemists in their laboratories, guardroom scenes, conversation pieces, merry companies and doctor visits. His teacher's style was evident in van den Bossche’s work.

Van der Laemen was born in Antwerp. According to Houbraken he made merry companies and conversation pieces together with his son Christoffel. Jacob van der Laemen Biography in De groote schouburgh der Nederlantsche konstschilders en schilderessen (1718) by Arnold Houbraken, courtesy of the Digital library for Dutch literature According to the RKD in 1604 he became master of the Guild of St. Luke in his native Antwerp.Jacob van der Laemen in the RKD In 1610–1611 he was given permission by the guild to sell paintings on the Meir (Antwerp).

Prince Ernest, later King of Hanover (1771–1851), by William Beechey, c. 1797–1802 Beechey was admitted to the Royal Academy Schools in 1772, where he is thought to have studied under Johan Zoffany. He first exhibited at the Academy in 1776. His earliest surviving portraits are small-scale full-length and conversation pieces which are reminiscent of Zoffany. In 1782, he moved to Norwich, where he gained several commissions, including a portrait of Sir John Wodehouse and a series of civic portraits for St. Andrew's Hall, Norwich.

The known work of Duchatel is quite limited. Very few works by the artist are signed and only several others fully documented. Duchatel's portraits are regularly misattributed to other portrait painters of his time such as Gillis van Tilborgh, Charles Emmanuel Biset, Jacob van Oost, and Gonzales Coques. His small family portraits and conversation pieces are close to those of Gonzales Coques, an artist who is referred to as the 'little van Dyck' because of his artistic proximity to and emulation with Anthony van Dyck.Ursula Härting, Review of Marion Lisken-Pruss, Gonzales Coques (1614-1684).

Peter Cowie suggests that "Allen breaks up his extended shots with more orthodox cutting back and forth in conversation pieces so that the forward momentum of the film is sustained." Bernd Herzogenrath notes the innovation in the use of the split-screen during the dinner scene to powerfully exaggerate the contrast between the Jewish and the gentile family. Although the film is not essentially experimental, at several points it undermines the narrative reality. James Bernardoni notes Allen's way of opening the film by facing the camera, which immediately intrudes upon audience involvement in the film.

Wootton may have begun life as a page to the family of the Dukes of Beaufort. His earliest surviving dated work is the equine portrait Bonny Black (1711). He remained active until his death in 1764, based in the capital of English horse racing at Newmarket, and producing large numbers of portraits of horses and also conversation pieces with a hunting or riding setting. He acquired a classicising landscape style based on that of Gaspard Dughet, which he used in some pure landscape paintings, as well as views of country houses and equine subjects.

He shared the same preference for depicting luxurious bourgeois rooms and conversation pieces, that showcased his patrons' social superiority. These interiors were adorned with the symbols of genteel politeness, artistic discernment, fashion and wealth to highlight that his sitters possessed material wealth as well as social graces. Like other Flemish artists of his time, van den Bosche was mindful of the prevailing preference in the market for French and Parisian art and adapted his Flemish style to conform to Paris tastes.Martin Dunford, Phil Lee, 'Belgium and Luxembourg', Rough Guides, 2002, p.

Peter Angelis was born at Dunkirk in 1685. After learning the rudiments of art in his native town, he visited Flanders and Germany, and spent some time at Antwerp, where he was made a master of the Guild of St. Luke, in 1715-16; and at Düsseldorf, where he had the opportunity of educating himself by studying the paintings in the Electoral Gallery. He painted conversation-pieces, and landscapes with small figures, into which he often introduced fruit and fish. In about 1719 he moved to England where he met with great success and stayed for sixteen years.

Other early productions by Arnold from 1768 to 1770 display both originality and ingenuity; this includes a centre seconds watch wound up by depressing the pendant once a day. The movement of this watch was also fully jewelled with a temperature compensation device and a ruby stone cylinder escapement.Crott Auctions Mannheim 2008.Patek Phillipe Museum, Geneva These watches were made as demonstrations of Arnold's talent and, in terms of style and substance, were similar to other "conversation pieces" being made at the same time as those being produced for James Cox and made primarily for export to the East.

Illustrated drinking cups, often in pairs, were intended as dinner-party conversation pieces. Roman artwork on pottery, glass and wall-paintings with sexual acts represented were popular and were intended to be seen by all sections of society. The Romans had no word for homosexuality and the images on the Warren Cup provide an important insight into this aspect of their culture. One side of the Warren Cup depicts a "bearded man" and a "beardless youth" engaging in anal sex in a reclining position, with the youth lowering himself using a strap or sash to be penetrated.

Since 2013 Malusardi has been collaborating regularly with theatre and movie director Marco Filiberti, leading with him some dance workshops for actors, with the final creation of the shows Conversation Pieces and the more recent Arcadia, an all-round theatre play reaching an ultimate synthesis between acting and dance. In summer 2014 she was invited to Hamlyn School, in Florence, to lead a choreographic atelier for the creation of the piece Re- Fractions, and in summer 2015 she collaborated with the Ashkenazy Ballet Center for an intensive choreographic workshop together with M° Alexander Stepkine and M° Anthony Basile.

Jane Nasmyth was born in Edinburgh in 1787 to Barbara Foulis and Alexander Nasmyth. Alexander Nasmyth and Barbara Foulis (the sister of Sir James Foulis, 7th Baronet of Woodhall) had married on 3 January 1786, and were living in Edinburgh where Alexander worked as a painter. Jane was the eldest of eight children: Jane, Barbara, Margaret, Elizabeth, Anne, Charlotte, Patrick, and James. Alexander Nasmyth worked as a portrait artist and painter of outdoor conversation pieces in the late 1780s, painting and befriending the poet Robert Burns and establishing the Nasmyth school of landscape painting in his home at 47 York Place, Edinburgh.

Some areas of emphasis of the collection are small group portraits, known as "conversation pieces", including those by Hogarth, Gainsborough, Johan Zoffany and Arthur Devis; landscape paintings by Gainsborough, Richard Wilson, Constable, Richard Parkes Bonington and Turner; and British sporting and animal paintings, featuring George Stubbs, John Wootton, Benjamin Marshall, and Alfred Munnings. Other genres include marine paintings, represented by Samuel Scott and Charles Brooking; London cityscapes; travel art from India, scenes of Shakespearean plays, and portraits of actors. Sculptors represented include Louis-Francois Roubiliac, Joseph Nollekens, Francis Chantrey, Jacob Epstein, and Henry Moore. The collection of 20,000 drawings and watercolors and 31,000 prints features British sporting art and figure drawings.

These included the paintings The Roscommon Dragoon, The Irish Volunteer and The Angler. John Singer Sargent promoted Orpen's work and he soon built a lucrative reputation, in both London and Dublin, for painting society portraits. Mrs St. George, (1912), and Lady Rocksavage (1913), both demonstrate Orpen's ability to produce the swagger portraits that Edwardian high society greatly valued. Group portraits of a type known as conversation pieces were also hugely popular and Orpen painted several, most notably The Cafe Royal in London (1912), and Homage to Manet (1909), which showed Walter Sickert and several other artists and critics seated in front of Edouard Manet's Portrait of Eva Gonzalies.

Bardwell initially earned his living initially as a painter of decorative panels for his family's business in Bungay, Suffolk. His earliest known portraits are two conversation pieces dated 1736; one, possibly showing the Brewster family of Beccles, is in the collection of the Geffrye Museum. In 1746 he was commissioned by the artillery company in Norwich to paint a portrait of William Crowe (who became mayor the following year), breaking the monopoly on civic portraiture in the city held until then by the German-born John Theodore Heins. It became the first of nine portraits by Bardwell that were to be hung in St Andrew's Hall in Norwich.

With the story's strongest focus being the musical about Tiny Cooper, Tiny Dancer, the chapters that are enumerated for Will Grayson 2 all follow a written dialogue that echoes that of a script, with character names preceding a colon before their dialogue is written in the text. The conversations before Will Grayson 2 meets Will Grayson 1 echo that of a chatroom instant message, with usernames and special nicknames for the characters preceding each of the conversation pieces. The text is written this way to help the reading audience relate to the happenings of the story better, by familiarizing the way that each chunk of dialogue is received.

Since the 1990s she has produced a series of projects, and criticized the state of social and political affairs from a feminist perspective in her works. Parallel to her practice, she led the translation of two important texts, Suzanne Lacy’s Mapping the Terrain: New Genre Public Art and Grant Kester’s Conversation Pieces: Community and Communication in Modern Art, into Chinese. In 2007, she organized a conference “Art and Public Sphere: Working in Community”—and later edited a volume of the same title—to unite local practitioners, theorists, and officials. She is also an art teacher, and heads the Graduate Institute of Interdisciplinary Art at National Kaohsiung Normal University in Kaohsiung.

Portrait of a Family (1740), by Joseph Francis Nollekens When first in England, Nollekens worked on making copies from Watteau and Panini. He also carried out decorative works at Stowe House for Lord Cobham, and painted pictures for the Marquess of Stafford at Trentham Hall. Nollekens found a major patron in Richard Child, 1st Earl Tylney, for whom he painted conversation pieces, fêtes champêtres, and similar works, usually set in the gardens of Wanstead House. Several of these were included in the sale held at Wanstead in 1822, one, an Interior of the Saloon at Wanstead, with an assemblage of ladies and gentlemen, fetching a high price for the time.

She spent the next four years at the Stettin Theatre where she worked under the artistic direction of Edgar Hein, especially in respect of conversation pieces, and quickly became a favourite with audiences. In the first part of 1858 she signed up with the Court Theatre in Wiesbaden where for the next three years she concentrated on tragic roles. In November 1859 Lina Fuhr retired from the Berlin Hofbühne Theatre and married an Eye Doctor. In Summer 1860 Ida Pellet made her first appearance at the Hofbühne, at this stage as a guest performer and a competitor for the vacancy left by Miss Fuhr who had been the theatre company's leading tragic heroine.

Thus the Fornasetti atelier was born. Today internationally renowned for the production of finely crafted furniture and accessories, it is a supreme example of the principle of "practical madness", where creativity is in perfect harmony with and inextricably linked to the utility of the object and the technical process through which it is made tangible. Precious porcelains, sophisticated pieces of furniture and furnishing accessories form the heart of the incredible variety of its output, which spans art and design: conversation pieces, visions to contemplate, but at the same time objects to be used. "It has always been my notion not to make one-off pieces, but series of items": a true statement of principle.

He was one of the first wave of British born painters of 'conversation pieces' along with contemporaries such as William Hogarth and Charles Philips. These are works that depict groups of friends, families and acquaintances often engaging in a variety of genteel activities such as playing cards or taking tea. Some of Hamilton's pieces depict gatherings of artists and craftsmen such as the Rose and Crown Club itself. Much of what is known of Hamilton is derived from the notebooks of George Vertue, who knew him well and was a fellow member, both of the convivial group that met at the Rose and Crown as well as the Club of Artists depicted by Hamilton in 1735, that met at the King's Arms in New Bond Street.

The painting was one of a number of British works challenging the set categories of the rigid, French-dictated, hierarchy of genres in the late 18th century, as other types of painting aspired to be treated as seriously as the costumed history painting of a Classical or mythological subject. In some respects the Orrery and Air Pump subjects resembled conversation pieces, then largely a form of middle-class portraiture, though soon to be given new status when Johann Zoffany began to paint the royal family in about 1766. Given their solemn atmosphere however, and as it seems none of the figures are intended to be understood as portraits (even if models may be identified), the paintings can not be regarded as conversation pieces.Waterhouse (1978), pp.

Lovers in a landscape Petrus Johannes van Reysschoot was a prolific painter who painted genre scenes, sporting scenes, landscapes, portraits and Christian religious subjects. He painted fête galantes and fête champêtres, which were inspired by the work of the French painter Jean-Antoine Watteau. These works typically featured figures in ball dress or masquerade costumes disporting themselves amorously in parkland settings. An example is the Fête champêtre with ladies seated by a tree and figures from the commedia dell'arte (Christie's London, South Kensington 30 October 2002 lot 86).Petrus Johannes van Reysschoot (Attributed to), A fête champêtre with ladies seated by a tree and figures from the commedia dell'arte at Christie’s Van Reysschoot was much in demand for his sporting conversation pieces.

According to Houbraken he was the brother of the painter Frans Hals and was specialized in small paintings of "conversation pieces" or "merry companies" (Dutch: Gezelschapjes), scenes of small groups drinking and enjoying themselves. The Haarlem writer Samuel Ampzing mentions both brothers in his Praise of Haarlem with a poem stating that both brothers were exceptional; Frans painting his portraits "awake", and Dirck painting his figures "purely". Dirck Hals Biography in De groote schouburgh der Nederlantsche konstschilders en schilderessen (1718) by Arnold Houbraken, courtesy of the Digital library for Dutch literature According to the RKD he worked in Leiden in 1641 and 1648, and was an influence on the painters Nathaniel Bacon, Johann Hulsman, and Willem Cornelisz Duyster.Dirck Hals in the RKD His son Anthonie also became a painter.

Adrian's plays are driven by character and dialogue rather than narrative; they are conversation pieces, usually between two characters, which feature highly stylised language used to a jarring, sometimes surreal, effect. In No Charge for the Extra Service (1979), the bereaved central characters, Elizabeth Spriggs and Nigel Stock, brought together by a dating agency, converse in a formal, almost artificial manner that belies the uncomfortable and disturbing truths they reveal about themselves throughout the course of the play. This emphasis on dialogue leaves Adrian's characters constantly seeking a connection with each other, bolstered by the desire to be understood. 'The Man' in Evelyn desperately wants his declarations of love towards his mistress to be acknowledged, while Hugh Burden's disturbed mental patient in 1981's Passing Through attempts to piece together his broken past by engaging lonely signalman Patrick (Harry Towb) in meandering conversation.

Ochtervelt's contemporaries included Vermeer, Ter Borch, and De Hooch. Despite his prolific work, he was ignored by the three major 17th century art bibliographers, Andre Felibien, Jochaim Sandrart, and R. de Piles. He was first mentioned by Arnold Houbraken, a biographer of Dutch Golden Age painters, who wrote that "Jakob Ugtervelt was a pupil of N. Berchem during the same period as "Pieter de Hooge" (Hooch), who was famed for his interior conversation pieces with lords and ladies, but without much perspective in his backgrounds, which takes a certain amount of mathematical insight and skill." Jakob Ugtervelt Biography in De groote schouburgh der Nederlantsche konstschilders en schilderessen (1718) by Arnold Houbraken, courtesy of the Digital library for Dutch literature The way this comment was written leaves the reader questioning whether Houbraken thought Hooch or Ochtervelt painted perspective poorly.

The professors were scientific clergymen with strong reputations, and at Cambridge science had developed as natural theology, but there was no unified scientific establishment. The quarterly review magazines turned to them for commentary on the book, but demonstrating that it was superficial was difficult when its range of topics meant experts being drawn into superficial responses outside their own area of intensive expertise. William Whewell refused all requests for a review to avoid dignifying the "bold, speculative and false" work, but was the first to give a response, publishing Indications of a Creator in mid February 1845 as a slim and elegant volume of "theological extracts" from his writings. His aim was to inform superficial London society used to skimming books as conversation pieces and lacking properly prepared minds to deal with real philosophy and real science, and he avoided mentioning Vestiges by name.

The Golden Menagerie (Luath Press Ltd, 2004) :“Allan Cameron’s The Golden Menagerie is a work almost impossible to classify, although it is just possible to fit this marriage of fantastic invention and reflections on the human predicament and our times, not without a hint of autobiography, into the capacious container called ‘the novel’. In some ways it recalls the conversation pieces of Thomas Love Peacock, although the invention is more fantastic. Whatever we call it, it is consistently fascinating and readable, the work of a writer of high intelligence who has a stylish way with words.” Eric Hobsbawmilgarrulo, The Golden Menagerie , Retrieved 21 March 2013 :“Cameron’s work is neither deliberately obscure, nor is it solemn history or pompous tract á la Aleister Crowley. The Golden Menagerie treads, flies, chatters and barks that fine, aureate line between pretentiousness and patronization which is drawn from the fact that the author knows his stuff and relishes the ‘telling’ of it as though he were a reader coming across the work for the very first time.