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High Resolution Wallpapers Biography
Wallpaper is the enigmatic onstage existence of Oakland music addict Eric Frederic. In another life, he fronts a prog-rock powerhouse (indie stalwarts Facing New York), but in this one, he's a pop-pushing kingpin as interested in art as artifice. The Wallpaper project began in early 2005 as tweaked satire, Frederic funneling his earliest influences (P-Funk, New Jack, East Bay rap) into two EPs of diced, digital beats and lyrics caricaturing the pop vernacular. But as the Hyphy hip-hop movement crested in Frederic's backyard, something changed. "I saw that classic Bay Area sound resurfacing," he says, "that same psychedelic, drippy, care-free, funky approach that reigned from Sly Stone to Digital Underground." He needed to pay tribute, and in a hail of house parties and homemade discs, Wallpaper was reborn as Ricky Reed, Frederic's disco-smashing doppelganger. This glitz 'n' grit champion of the groove has since become a gilded name in the underground, wooing crowds with a computerized croon, live reinventions of R&B classics, and tales of excess in the Information Age. Live, Wallpaper is joined by Arjun Singh on drums. They have blown spots alongside such notables as Subtle, Darondo, LA Riots, Electric Soft Parade, and Nino Moschella.
Wallpaper is a kind of material used to cover and decorate the interior walls of homes, offices, and other buildings; it is one aspect of interior decoration. It is usually sold in rolls and is put onto a wall using wallpaper paste. Wallpapers can come plain (so that it can be painted), textured (such as Anaglypta), with a regular repeating pattern design, or, much less commonly today, with a single non-repeating large design carried over a set of sheets.
Wallpaper printing techniques include surface printing, gravure printing, silk screen-printing, rotary printing, and digital printing. Wallpaper is made in long rolls which are hung vertically on a wall. Patterned wallpapers are designed so that the pattern "repeats" and pieces cut from the same roll can be hung next to each other so as to continue the pattern without it being easy to see where the join between two pieces occurs. In the case of large complex patterns of images this is normally achieved by starting the second piece halfway into the length of the repeat, so that if the pattern going down the roll repeats after 24 inches the next piece sideways is cut from the roll to begin 12 inches down the pattern from the first. The number of times the pattern repeats horizontally across a roll does not matter for this purpose.[1] A single pattern can be issued in several different colorways.
The main historical techniques are: hand-painting, woodblock printing (overall the most common), stencilling, and various types of machine-printing. The first three all date back to before 1700.[2]
Wallpaper, using the printmaking technique of woodcut, gained popularity in Renaissance Europe amongst the emerging gentry. The social elite continued to hang large tapestries on the walls of their homes, as they had in the Middle Ages. These tapestries added color to the room as well as providing an insulating layer between the stone walls and the room, thus retaining heat in the room. However, tapestries were extremely expensive and so only the very rich could afford them. Less well-off members of the elite, unable to buy tapestries due either to prices or wars preventing international trade, turned to wallpaper to brighten up their rooms.
Early wallpaper featured scenes similar to those depicted on tapestries, and large sheets of the paper were sometimes hung loose on the walls, in the style of tapestries, and sometimes pasted as today. Prints were very often pasted to walls, instead of being framed and hung, and the largest sizes of prints, which came in several sheets, were probably mainly intended to be pasted to walls. Some important artists made such pieces - notably Albrecht Dürer, who worked on both large picture prints and also ornament prints - intended for wall-hanging. The largest picture print was The Triumphal Arch commissioned by the Holy Roman Emperor Maximilian I and completed in 1515. This measured a colossal 3.57 by 2.95 metres, made up of 192 sheets, and was printed in a first edition of 700 copies, intended to be hung in palaces and, in particular, town halls, after hand-coloring.
Very few samples of the earliest repeating pattern wallpapers survive, but there are a large number of old master prints, often in engraving of repeating or repeatable decorative patterns. These are called ornament prints and were intended as models for wallpaper makers, among other uses.
England and France were leaders in European wallpaper manufacturing. Among the earliest known samples is one found on a wall from England and is printed on the back of a London proclamation of 1509. It became very popular in England following Henry VIII's excommunication from the Catholic Church - English aristocrats had always imported tapestries from Flanders and Arras, but Henry VIII's split with the Catholic Church had resulted in a fall in trade with Europe. Without any tapestry manufacturers in England, English gentry and aristocracy alike turned to wallpaper.
During the Protectorate under Oliver Cromwell, the manufacture of wallpaper, seen as a frivolous item by the Puritan government, was halted. Following the Restoration of Charles II, wealthy people across England began demanding wallpaper again - Cromwell's regime had imposed a boring culture on people, and following his death, wealthy people began purchasing comfortable domestic items which had been banned under the Puritan state.
n 1712, during the reign of Queen Anne, a wallpaper tax was introduced which was not abolished until 1836. By the mid-eighteenth century, Britain was the leading wallpaper manufacturer in Europe, exporting vast quantities to Europe in addition to selling on the middle-class British market. However this trade was seriously disrupted in 1755 by the Seven Years War and later the Napoleonic Wars, and by a heavy level of duty on imports to France.
In 1748 the British Ambassador to Paris decorated his salon with blue flock wallpaper, which then became very fashionable there. In the 1760s the French manufacturer Jean-Baptiste Réveillon hired designers working in silk and tapestry to produce some of the most subtle and luxurious wallpaper ever made. His sky blue wallpaper with fleurs-de-lys was used in 1783 on the first balloons by the Montgolfier brothers.[2] The landscape painter Jean-Baptiste Pillement discovered in 1763 a method to use fast colours.
Hand-blocked wallpapers like these use hand-carved blocks and by the 18th century designs include panoramic views of antique architecture, exotic landscapes and pastoral subjects, as well as repeating patterns of stylized flowers, people and animals.
In 1785 Christophe-Philippe Oberkampf had invented the first machine for printing coloured tints on sheets of wallpaper. In 1799 Louis-Nicolas Robert patented a machine to produce continuous lengths of paper, the forerunner of the Fourdrinier machine. This ability to produce continuous lengths of wallpaper now offered the prospect of novel designs and nice tints being widely displayed in drawing rooms across Europe.[3]
Wallpaper manufacturers active in England in the 18th c. included John Baptist Jackson[2] and John Sherringham.[4] Among the firms established in 18th c. America: J. F. Bumstead & Co. (Boston), William Poyntell (Philadelphia), John Rugar (New York).[2]
High-quality wallpaper made in China became available from the later part of the 17th century; this was entirely handpainted and very expensive. It can still be seen in rooms in palaces and grand houses including Nymphenburg Palace, Łazienki Palace, Chatsworth House, Temple Newsam, Lissan House, and Erddig. It was made up to 1.2 metres wide. English, French and German manufacturers imitated it, usually beginning with a printed outline which was coloured in by hand, a technique sometimes also used in later Chinese papers.
19th century
[edit]France and America
Towards the end of the 18th century the fashion for scenic wallpaper revived in both England and France, leading to some enormous panoramas, like the 1804 20 strip wide panorama, Sauvages de la Mer du Pacifique (Savages of the Pacific), designed by the artist Jean-Gabriel Charvet for the French manufacturer Joseph Dufour et Cie showing the Voyages of Captain Cook.[5] This famous so called "papier peint" wallpaper is still in situ in Ham House, Peabody Massachusetts.[6] It was the largest panoramic wallpaper of its time, and marked the burgeoning of a French industry in panoramic wallpapers. Dufour realized almost immediate success from the sale of these papers and enjoyed a lively trade with America. The Neoclassical style currently in favour worked well in houses of the Federal period with Charvet's elegant designs. Like most 18th century wallpapers, the panorama was designed to be hung above a dado.
High Resolution Wallpapers Biography
Wallpaper is the enigmatic onstage existence of Oakland music addict Eric Frederic. In another life, he fronts a prog-rock powerhouse (indie stalwarts Facing New York), but in this one, he's a pop-pushing kingpin as interested in art as artifice. The Wallpaper project began in early 2005 as tweaked satire, Frederic funneling his earliest influences (P-Funk, New Jack, East Bay rap) into two EPs of diced, digital beats and lyrics caricaturing the pop vernacular. But as the Hyphy hip-hop movement crested in Frederic's backyard, something changed. "I saw that classic Bay Area sound resurfacing," he says, "that same psychedelic, drippy, care-free, funky approach that reigned from Sly Stone to Digital Underground." He needed to pay tribute, and in a hail of house parties and homemade discs, Wallpaper was reborn as Ricky Reed, Frederic's disco-smashing doppelganger. This glitz 'n' grit champion of the groove has since become a gilded name in the underground, wooing crowds with a computerized croon, live reinventions of R&B classics, and tales of excess in the Information Age. Live, Wallpaper is joined by Arjun Singh on drums. They have blown spots alongside such notables as Subtle, Darondo, LA Riots, Electric Soft Parade, and Nino Moschella.
Wallpaper is a kind of material used to cover and decorate the interior walls of homes, offices, and other buildings; it is one aspect of interior decoration. It is usually sold in rolls and is put onto a wall using wallpaper paste. Wallpapers can come plain (so that it can be painted), textured (such as Anaglypta), with a regular repeating pattern design, or, much less commonly today, with a single non-repeating large design carried over a set of sheets.
Wallpaper printing techniques include surface printing, gravure printing, silk screen-printing, rotary printing, and digital printing. Wallpaper is made in long rolls which are hung vertically on a wall. Patterned wallpapers are designed so that the pattern "repeats" and pieces cut from the same roll can be hung next to each other so as to continue the pattern without it being easy to see where the join between two pieces occurs. In the case of large complex patterns of images this is normally achieved by starting the second piece halfway into the length of the repeat, so that if the pattern going down the roll repeats after 24 inches the next piece sideways is cut from the roll to begin 12 inches down the pattern from the first. The number of times the pattern repeats horizontally across a roll does not matter for this purpose.[1] A single pattern can be issued in several different colorways.
The main historical techniques are: hand-painting, woodblock printing (overall the most common), stencilling, and various types of machine-printing. The first three all date back to before 1700.[2]
Wallpaper, using the printmaking technique of woodcut, gained popularity in Renaissance Europe amongst the emerging gentry. The social elite continued to hang large tapestries on the walls of their homes, as they had in the Middle Ages. These tapestries added color to the room as well as providing an insulating layer between the stone walls and the room, thus retaining heat in the room. However, tapestries were extremely expensive and so only the very rich could afford them. Less well-off members of the elite, unable to buy tapestries due either to prices or wars preventing international trade, turned to wallpaper to brighten up their rooms.
Early wallpaper featured scenes similar to those depicted on tapestries, and large sheets of the paper were sometimes hung loose on the walls, in the style of tapestries, and sometimes pasted as today. Prints were very often pasted to walls, instead of being framed and hung, and the largest sizes of prints, which came in several sheets, were probably mainly intended to be pasted to walls. Some important artists made such pieces - notably Albrecht Dürer, who worked on both large picture prints and also ornament prints - intended for wall-hanging. The largest picture print was The Triumphal Arch commissioned by the Holy Roman Emperor Maximilian I and completed in 1515. This measured a colossal 3.57 by 2.95 metres, made up of 192 sheets, and was printed in a first edition of 700 copies, intended to be hung in palaces and, in particular, town halls, after hand-coloring.
Very few samples of the earliest repeating pattern wallpapers survive, but there are a large number of old master prints, often in engraving of repeating or repeatable decorative patterns. These are called ornament prints and were intended as models for wallpaper makers, among other uses.
England and France were leaders in European wallpaper manufacturing. Among the earliest known samples is one found on a wall from England and is printed on the back of a London proclamation of 1509. It became very popular in England following Henry VIII's excommunication from the Catholic Church - English aristocrats had always imported tapestries from Flanders and Arras, but Henry VIII's split with the Catholic Church had resulted in a fall in trade with Europe. Without any tapestry manufacturers in England, English gentry and aristocracy alike turned to wallpaper.
During the Protectorate under Oliver Cromwell, the manufacture of wallpaper, seen as a frivolous item by the Puritan government, was halted. Following the Restoration of Charles II, wealthy people across England began demanding wallpaper again - Cromwell's regime had imposed a boring culture on people, and following his death, wealthy people began purchasing comfortable domestic items which had been banned under the Puritan state.
n 1712, during the reign of Queen Anne, a wallpaper tax was introduced which was not abolished until 1836. By the mid-eighteenth century, Britain was the leading wallpaper manufacturer in Europe, exporting vast quantities to Europe in addition to selling on the middle-class British market. However this trade was seriously disrupted in 1755 by the Seven Years War and later the Napoleonic Wars, and by a heavy level of duty on imports to France.
In 1748 the British Ambassador to Paris decorated his salon with blue flock wallpaper, which then became very fashionable there. In the 1760s the French manufacturer Jean-Baptiste Réveillon hired designers working in silk and tapestry to produce some of the most subtle and luxurious wallpaper ever made. His sky blue wallpaper with fleurs-de-lys was used in 1783 on the first balloons by the Montgolfier brothers.[2] The landscape painter Jean-Baptiste Pillement discovered in 1763 a method to use fast colours.
Hand-blocked wallpapers like these use hand-carved blocks and by the 18th century designs include panoramic views of antique architecture, exotic landscapes and pastoral subjects, as well as repeating patterns of stylized flowers, people and animals.
In 1785 Christophe-Philippe Oberkampf had invented the first machine for printing coloured tints on sheets of wallpaper. In 1799 Louis-Nicolas Robert patented a machine to produce continuous lengths of paper, the forerunner of the Fourdrinier machine. This ability to produce continuous lengths of wallpaper now offered the prospect of novel designs and nice tints being widely displayed in drawing rooms across Europe.[3]
Wallpaper manufacturers active in England in the 18th c. included John Baptist Jackson[2] and John Sherringham.[4] Among the firms established in 18th c. America: J. F. Bumstead & Co. (Boston), William Poyntell (Philadelphia), John Rugar (New York).[2]
High-quality wallpaper made in China became available from the later part of the 17th century; this was entirely handpainted and very expensive. It can still be seen in rooms in palaces and grand houses including Nymphenburg Palace, Łazienki Palace, Chatsworth House, Temple Newsam, Lissan House, and Erddig. It was made up to 1.2 metres wide. English, French and German manufacturers imitated it, usually beginning with a printed outline which was coloured in by hand, a technique sometimes also used in later Chinese papers.
19th century
[edit]France and America
Towards the end of the 18th century the fashion for scenic wallpaper revived in both England and France, leading to some enormous panoramas, like the 1804 20 strip wide panorama, Sauvages de la Mer du Pacifique (Savages of the Pacific), designed by the artist Jean-Gabriel Charvet for the French manufacturer Joseph Dufour et Cie showing the Voyages of Captain Cook.[5] This famous so called "papier peint" wallpaper is still in situ in Ham House, Peabody Massachusetts.[6] It was the largest panoramic wallpaper of its time, and marked the burgeoning of a French industry in panoramic wallpapers. Dufour realized almost immediate success from the sale of these papers and enjoyed a lively trade with America. The Neoclassical style currently in favour worked well in houses of the Federal period with Charvet's elegant designs. Like most 18th century wallpapers, the panorama was designed to be hung above a dado.
High Resolution Wallpapers
High Resolution Wallpapers
High Resolution Wallpapers
High Resolution Wallpapers
High Resolution Wallpapers
High Resolution Wallpapers
High Resolution Wallpapers
High Resolution Wallpapers
High Resolution Wallpapers
High Resolution Wallpapers
High Resolution Wallpapers
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