[136238] in SIPB IPv6
This Changes Everything - Trump Hands Millions Massive IRS Gift
daemon@ATHENA.MIT.EDU (Gold Guide)
Wed Dec 11 07:11:30 2024
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Date: Wed, 11 Dec 2024 13:10:27 +0100
From: "Gold Guide" <GoldGuide@slimtea.click>
Reply-To: "Trump Victory Gift" <TrumpVictoryGift@slimtea.click>
To: <sipbv6-mtg@charon2.mit.edu>
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This Changes Everything - Trump Hands Millions Massive IRS Gift
http://slimtea.click/pC1jz-nC-NbpHzgyNyvRsxUgQFNdwan073Q8ut6RtO1UIx4
http://slimtea.click/1vczjcTRxhEt8ilpWE789QDWIVwD7MyGcf8E43RjPGoMec8
yal Academy of Arts had been moved from Somerset House to Trafalgar Square, he hoped to use larger paintings to grab the attention of an increased crowd, a task for which the relatively small Regulus was unsuited.
While Turner was known for often making extreme modifications to his paintings, especially on varnishing days, Regulus is the only case which has either a written or visual description. The English artist John Gilbert observed the event, which he described in a letter to Director of the National Portrait Gallery George Scharf 45 years later, in 1882. The letter was then published by Scharf's successor Lionel Cust, who published it in the 1895 edition of The Magazine of Art. Gilbert claims that Turner used two hog tools to drive flake-white paint into the centre of the canvas to create a misty effect, following ruled lines he had drawn to mark the rays of the Sun. He also notes that at an angle, the Sun seemed to bulge out due to the a
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<title>Newsletter</title>
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<div style="color:#fefefe; font-size:8px">yal Academy of Arts had been moved from Somerset House to Trafalgar Square, he hoped to use larger paintings to grab the attention of an increased crowd, a task for which the relatively small Regulus was unsuited. While Turner was known for often making extreme modifications to his paintings, especially on varnishing days, Regulus is the only case which has either a written or visual description. The English artist John Gilbert observed the event, which he described in a letter to Director of the National Portrait Gallery George Scharf 45 years later, in 1882. The letter was then published by Scharf's successor Lionel Cust, who published it in the 1895 edition of The Magazine of Art. Gilbert claims that Turner used two hog tools to drive flake-white paint into the centre of the canvas to create a misty effect, following ruled lines he had drawn to mark the rays of the Sun. He also notes that at an angle, the Sun seemed to bulge out due to the a</div>
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