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A QUEENS guardsman (SCOTS) saw red when a giggling student took the mickey out of him outside a royal palace by mimicking his actions - and went on the ATTACK.
Columbian student Nick Ibarra, 23, began larking about for pal Suzanne Cadosch, 22, who was videoing the armed guard on duty in his bearskin and red tunic.
As the guardsman marched up and down as he stood sentry duty outside St James Palace in front of dozens of tourists, laughing Nick marched alongside him.
He had heard that the famed royal guards never leave their post unless a threat to the royals presents itself. But he got the shock of his life when this one lost his cool and quick marched over to him and clipped him round the back of the head and aimed a boot at him.
Then according to Nick he pushed him away with his SA-80 semi automatic rifle while letting out a furious roar.
Unfortunately Nicks student pal Suzanne was so shocked and scared she stopped videoing the soldiers attack.
She said:I just thought Oh My God hes got a gun and hes going for Nick and he grabbed him and tried to boot him and we were so shocked we just ran away fast.
You often see people pulling faces at the guards and standing beside them for photos and marching along with them but obviously this soldier didnt find it funny.
In hindsight I can understand the soldier losing his cool but it was very frightening indeed she said.
Nick, who is studying English in Oxford, Oxon, said: I felt this huge hand on my collar and managed to avoid a boot up the backside but he was growling like a bear.
I was worried because he had a bayonet on his gun and didnt want that going somewhere painful! He pushed me away with the gun and I just ran for it, he said.
The guardsman was on sentry duty at St James Palace which is the senior Palace of the Sovereign and is where the Princess Royal and Princess Alexandra reside.
The St James Detatchment of The Queens Guard mounts sentry duty there daily and Clarence House where Prince Charles and his sons live is within St Jamess environs.
A Queens guardsman, on being shown the video, said: On one hand you can understand him wanting to put a hobnailed size 12 up the guys backside for taking the p**s.
But on the other hand he will be in hot water for losing his cool when he should have ignored it. He should have gone back into his sentry box and just stood guard.
But he will no doubt feel very satisfied at putting this oik to flight, he said.
Jean-Léon Gérôme (May 11, 1824 – January 10, 1904) was a French painter and sculptor in the style now known as Academicism. The range of his oeuvre included historical painting, Greek mythology, Orientalism, portraits and other subjects, bringing the Academic painting tradition to an artistic climax.
Jean-Léon Gérôme (pronounced zhon lay on zhay rome) was born at Vesoul (Haute-Saône), he went to Paris in 1840 where he studied under Paul Delaroche, whom he accompanied to Italy (1843–1844). He visited Florence, Rome, the Vatican and Pompeii, but he was more attracted to the world of nature. Taken by a fever, he was forced to return to Paris in 1844. On his return he followed, like many other students of Delaroche, into the atelier of Charles Gleyre and studied there for a brief time. He then attended the Ecole des Beaux-Arts. In 1846 he tried to enter the prestigious Prix de Rome, but failed in the final stage because his figure drawing was inadequate.
He tried to improve his skills by painting The Cockfight (1846), an academic exercise depicting a nude young man and a lightly draped girl with two fighting cocks and in the background the Bay of Naples. He sent this painting to the Salon of 1847, where it gained him a third-class medal. This work was seen as the epitome of the Neo-Grec movement that had formed out of Gleyre's studio (such as Henri-Pierre Picou (1824–1895) and Jean-Louis Hamon), and was championed by the influential French critic Theophile Gautier.
Gérôme abandoned his dream of winning the Prix de Rome and took advantage of his sudden success. His paintings The Virgin, the Infant Jesus and St John (private collection) and Anacreon, Bacchus and Cupid (Musée des Augustins, Toulouse, France) took a second-class medal in 1848. In 1849 he produced the paintings Michelangelo (also called In his studio) (now in private collection) image of the painting and A portrait of a Lady (Musée Ingres, Montauban).
In 1851 he decorated a vase, later offered by Emperor Napoleon III of France to Prince Albert, now part of the Royal Collection at St. James's Palace, London. He exhibited Bacchus and Love, Drunk, a Greek Interior and Souvenir d'Italie, in 1851; Paestum (1852); and An Idyll (1853).
In 1852 Gérôme received a commission by Alfred Emilien Comte de Nieuwerkerke, Surintendant des Beaux-Arts to the court of Napoleon III, for the painting of a large historical canvas, the Age of Augustus image of the painting. In this canvas he combines the birth of Christ with conquered nations paying homage to Augustus. Thanks to a considerable down payment, he was able to travel in 1853 to Constantinople, together with the actor Edmond Got. This would be the first of several travels to the East : in 1854 he made another journey to Turkey and the shores of the Danube, where he was present at a concert of Russian conscripts, making music under the threat of a lash.
In 1854 he completed another important commission of decorating the Chapel of St. Jerome in the church of St. Séverin in Paris. His Last communion of St. Jerome in this chapel reflects the influence of the school of Ingres on his religious works.
To the exhibition of 1855 he contributed a Pifferaro, a Shepherd, A Russian Concert, The Age of Augustus and Birth of Christ. The last was somewhat confused in effect, but in recognition of its consummate rendering the State purchased it. However the modest painting, A Russian Concert (also called Recreation in the Camp) was more appreciated than his huge canvases.
In 1856 he visited Egypt for the first time. This would herald the start of many orientalist paintings depicting Arab religion, genre scenes and North African landscapes.
Gérôme's reputation was greatly enhanced at the Salon of 1857 by a collection of works of a more popular kind: the Duel: after the Masked Ball (Musée Condé, Chantilly), Egyptian Recruits crossing the Desert, Memnon and Sesostris and Camels Watering, the drawing of which was criticized by Edmond About.
In 1858 he helped to decorate the Paris house of Prince Napoléon Joseph Charles Paul Bonaparte in the Pompeian style. The prince had bought his Greek Interior (1850), a depiction of a brothel also in the Pompeian manner.
Phryne before the Areopagus, 1861In Caesar (1859) Gérôme tried to return to a more severe class of work, the painting of Classical subjects, but the picture failed to interest the public. Phryne before the Areopagus, King Candaules and Socrates finding Alcibiades in the House of Aspasia (1861) gave rise to some scandal by reason of the subjects selected by the painter, and brought down on him the bitter attacks of Paul de Saint-Victor and Maxime Du Camp. At the same Salon he exhibited the Egyptian Chopping Straw, and Rembrandt Biting an Etching, two very minutely finished works.
He married Marie Goupil (1842–1912), the daughter of the international art dealer Adolphe Goupil. They had four daughters and one son. Upon his marriage he moved to a house in the Rue de Bruxelles, close to the music hall Folies Bergère. He expanded it into a grand house with stables with a sculpture studio below and a painting studio on the top floor.
Gérôme was elected, on his fifth attempt, a member of the Institut de France in 1865. Already a knight in the Légion d'honneur, he was promoted to an officer in 1867. In 1869 he was elected an honorary member of the British Royal Academy. The King of Prussia Wilhelm I awarded him the Grand Order of the Red Eagle, Third Class. His fame had become such that he was invited, along with the most eminent French artists, to the opening of the Suez Canal in 1869.
Reception of Le Grand Condé at Versailles (1878)The theme of his Death of Caesar (1867) was repeated in his historical canvas Death of Marshall Ney, that was exhibited at the Salon of 1867, despite official pressure to withdraw it as it raised painful memories. He returned successfully to the Salon in 1874 with his painting Eminence grise (Museum of Fine Arts, Boston). In 1896 he painted Truth Rising from her Well, an attempt to describe the transparency of an illusion. He therefore welcomed the rise of photography as an alternative to his photographic painting. In 1902 he said "Thanks to photography, Truth has as last left her well".
Jean-Léon Gérôme died in his atelier on 10 January 1904. He was found in front of a portrait of Rembrandt and close to his own painting "The Truth". At his own request, he was given a simple burial service without flowers. But the Requiem Mass given in his memory was attended by a former president of the Republic, most prominent politicians, and many painters and writers. He was buried in the Montmartre Cemetery in front of the statue Sorrow that he had cast for his son Jean who had died in 1891.
He was the father-in-law of the painter Aimé Morot.