Galocha Cultural

segunda-feira, 3 de março de 2025

Vista do Indianapolis Traction Terminal / Terminal de Tração de Indianápolis, Estados Unidos

Vista do Indianapolis Traction Terminal / Terminal de Tração de Indianápolis, Estados Unidos
Indianápolis - Estados Unidos
Fotografia

The Indianapolis Traction Terminal was a major interurban train station in downtown Indianapolis, Indiana. It was the largest interurban station in the world and at its peak handled 500 trains per day and seven million passengers per year. The station opened in 1904 and remained in use until 1941, when interurban operation ended. It continued to serve as a bus station until 1968 and was demolished in 1972. The Hilton Indianapolis now stands at its location. Trecho de texto da Wikipédia.
Nota do blog: Data 1907 / Autoria não obtida.

Indianapolis Traction Terminal / Terminal de Tração de Indianápolis, Estados Unidos

Indianápolis - Estados Unidos

Import Post Card Co.

Fotografia - Cartão Postal

Nota do blog: Data efetiva não obtida (cartão postal circulado em 20/05/1908).

Retrato de Mulher Jovem (Retrato de Mujer Joven) - Rembrandt Harmenszoon van Rijn e Ateliê

Retrato de Mulher Jovem (Retrato de Mujer Joven) - Rembrandt Harmenszoon van Rijn e Ateliê
Museu Nacional de Belas Artes , Buenos Aires, Argentina
OST - 81x65 - 1932

Nota do blog: Imagens 1 a 2, data 2024, crédito para Jaf / Imagem 3, data não obtida, crédito para Museu Nacional de Belas Artes.

domingo, 2 de março de 2025

Pinguim 2024 - The Penguin

Série de TV

Estados Unidos - 58 minutos

Poster da série

Atriz Mary Ure, Escócia

Fotografia

Born 1933 in Glasgow, British actress Mary Ure made her London debut as Amanda in “Time Remembered” (1954). She first appeared on screen in Storm Over The Nile (1955) playing the love interest of hero Anthony Steel. She played a leading role as Alison Porter in John Osborne’s new play Look Back in Anger (1956). She and Osborne married and in 1958, she was in the Broadway production of Look Back in Anger and earned a Tony Award nomination for Best Dramatic Actress.
Ure was the second Scottish-born actress (after Deborah Kerr) to be nominated for an Academy Award, for her role in the 1960 film Sons and Lovers. After 1968’s Where Eagles Dare it would be three years before Ure’s next and last film appearance, in 1971’s A Reflection of Fear.

Her growing alcoholism affected her stage career to the point that she was fired from the 1974 pre-Broadway production of Love for Love and was replaced by her understudy, Glenn Close. Her last screen appearance was on TV in The Break (1974). She was found dead, aged 42, from an accidental overdose of alcohol and barbiturates. Texto do Vintage Everyday.

Nota do blog: Data década de 50/60 / Autorias não obtidas.

Praça São Salvador, Campos dos Goytacazes, Rio de Janeiro, Brasil

Campos dos Goytacazes - RJ

Foto Chic

Fotografia - Cartão Postal

Nota do blog: Data não obtida.

Praça General Osório / Praça Osório, Curitiba, Paraná, Brasil

Praça General Osório / Praça Osório, Curitiba, Paraná, Brasil
Curitiba - PR
AH
Fotografia - Cartão Postal

Destaque para o chafariz da praça Osório, obra da Fonderies d'Art du Val d'Osne.
Nota do blog: Data não obtida / Fotografia de Armin Henkel.

Propaganda "Gillette Safety Razor", 1901, Gillette, Estados Unidos

Propaganda "Gillette Safety Razor", 1901, Gillette, Estados Unidos
Fotografia - Cartão Postal

This visual text is an advertisement for Gillette brand safety razors. Disposable safety razors were introduced by Gillette in 1901, as a replacement for safety razors that required stropping and honing, a process of sharpening the razor that took considerable time.
Before the introduction of this product, straight razors and fixed-blade safety razors dominated the market, though required considerable time to be used properly and safety. Gillette is one of the largest and most successful razor companies in the world, having been established with the introduction of this safety razor in 1901. To attract men to the revolutionary product, Gillette employed ads like this to ensure a more convenient and effective razor. This particular advertisement is most likely directed at men, who require the actual shaving, and women, who most likely buy the shaving products for their partners.
The ad employs irony in its image dominated by a baby shaving. It creates an actual representation of the saying “soft as a baby,” creating the humorous image of a baby shaving to attain the soft skin it already has. Viewers draw a connection a natural connection to the razor held by the child: that the razor can make anyone's skin baby-soft. The depiction of the baby is also typical of vintage ads, featuring a plump, white child with rosie cheeks. The smile, bonnet, and bib complete the image of the "ideal" baby. While this has little to do with shaving, it certainly associates positivity with the razor.
The ad also makes bold claims of “no stropping,” and “no honing,” very time-consuming and difficult practices required for permanent razors. The word “safety” is also emphasized, sounding much more inviting than the popular straight razors, otherwise known as “cut-throat razors.” These claims are backed by the company name below, lending credibility to the organization in charge of the product. The ad is simple to understand, makes clear claims, and is humorous, all of which make for effective marketing. Texto do Vintage Everyday.

Nota do blog 1: Cartão postal de propaganda da Gillette.
Nota do blog 2: Data circa 1901 / Crédito para Gillette.

O Homem da Flor Amarela / O Poeta Hidalgo (El Hombre de la Flor Amarilla / El Poeta Hidalgo) - Emilio Pettoruti

Museu Nacional de Belas Artes , Buenos Aires, Argentina

OST - 81x65 - 1932

Nota do blog: Imagens 1 a 5, data 2024, crédito para Jaf / Imagem 6, data não obtida, crédito para Museu Nacional de Belas Artes.

Casa de Bombas / Aguas Corrientes, Recoleta, Buenos Aires, Argentina

Buenos Aires - Argentina

Fotografia - Cartão Postal

Vista de la Casa de Bombas, edificio que dotaba de agua corriente a Buenos Aires hasta la inauguración de la Planta San Martín, en Belgrano. Después que el edificio fuera demolido en 1932, se instaló en su lugar la actual sede del Museo Nacional de Bellas Artes.

Nota do blog: Data circa 1900 / Autoria não obtida.