canal bio biography channel

The Biography Channel is being replaced by a network devoted to the most fascinating person in the world: you

Following more than a decade of ironically trying to figure out who it was, the Biography Channel is going away next summer, A&E has announced, ending the ill-defined reality network it launched in 1999 as a home for its once-popular Biography series. As the years passed, and as viewers only came to be interested in people’s life stories if they involved murders or ghosts, Biography Channel renamed itself “Bio” and loaded up on shows about the paranormal and the mob in an increasingly familiar, desperate bid to keep up. And now that identity crisis will result in its total rebranding as FYI—an upscale lifestyle network with a “younger and more modern sensibility,” according to a press release, which also says FYI stands for “for your inspiration, for your imagination, or for your innovation.”

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But definitely not “for your information,” as network president Jana Bennett says FYI will offer viewers “a less prescriptive, more adventurous approach to their taste, space, social life and look,” rather than the staid, dictatorial imposition of useful facts. “Gone are the days where consumers are looking for experts to instruct them how to live,” Bennett says of this new age and generation, which prefers television that validates its self-aggrandizement, rather than forcing them to consider other people and their “knowledge.”

FYI has yet to announce any actual programming, but considering the press release’s talk about the channel “reflecting how people actually live their lives,” and its equally vague pronouncements of FYI being “a personalized experience for each viewer,” it’s possible FYI won’t air anything but a blank screen, thereby allowing people to just stare into their TVs like a mirror.

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Canal Bio Latinoamerica

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The Biography Channel (o simplemente bio.) es un canal de televisi�n digital estadounidense propiedad de A&E que transmite series de televisi�n hom�nimas. Una versi�n del canal transmitido en ONO y Telef�nica en Espa�a y en Sky Digital y televisi�n por cable en el Reino Unido, a versi�n del canal tambi�n es transmitido en Canad� propiedad de Rogers Media y en Australia. En 2007 fue lanzada una versi�n en alem�n y en espa�ol para Latinoam�rica de Biography Channel. en Espa�a recibe el nombre de BIO. El canal de las biografias. Biography Channel empez� a transmitir en 1999. Adem�s de los programas biogr�ficos, la cadena ha estado transmitiendo programas ficticios no biogr�ficas vistos anteriormente en A&E, incluyendo Murder, She Wrote y The Adventures of Sherlock Holmes, aunque dejaron de transmitir en 2007. Series Biography Enigma Mysteries of the Bible Notorious Screen Goddesses The Unexplained In the Mind of... Midsomer Murders I Survived... Urban Legends Shatner's Raw Nerve Series ficticias Agatha Christie's Poirot The Adventures of Sherlock Holmes Murder, She Wrote.  Fuente

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Canaletto was a famous Italian artist best known for his depictions of the city of Venice, which captured the beauty of this historic location. His cityscapes were famed for their handling of perspective and attention to detail.

The artist’s success in capturing the essence of his hometown quickly gained favor with European art collectors who encouraged him to travel elsewhere and broaden his oeuvre. He accepted the challenge, and was prolific in England for a number of years, helping to spread his reputation further afield whilst also bringing new architectural styles into his work.

Despite the huge number of artists who have traveled to Venice to capture its majestic beauty, Canaletto’s scenes remain instantly recognisable as his own. His skilled use of light and perspective would also influence other artists in this genre, all across the continent.

Canaletto was born on the 18th of October 1697, in the Italian city of Venice. His father, Bernardo Canal, was an established painter himself and would offer a route into the industry once his son had started to show some potential.

His mother was Artemisia Barbieri, but relatively little is known about her. The family were involved in theater design, which provided a steady stream of income, but their true passion lay in producing detailed city scenes, sometimes known as Veduta. The young Canaletto was tasked with helping out his father in designing theater stages as a means to developing his technical ability, whilst also potentially being able to provide for himself in later years.

The artist then gained work in Rome in his early twenties on some new theater productions but was already starting to be drawn towards cityscape oil painting as his true passion. Unlike other members of his family, he hoped he might be able to support himself financially with this medium alone, once his reputation has been established.

Whilst learning most from his father, he also studied the work of Giovanni Paolo Pannini in great detail. Having broken from his father’s direct control, Canaletto would now train and study alongside other artists in the same genre, and combine the various strengths of his colleagues with his own. As a sign of his early success, Canaletto was already selling his cityscapes by the mid-1720s, whilst still a relatively young man.

Switch to England

Canaletto was able to court collectors from all across Europe from the comfort of Venice, thanks to the cultural lure of this stunning city. English art enthusiasts snapped up many of his works, and also convinced him to produce smaller versions which were easier to transport and more commercially viable back in the UK.

The artist would spend the next two decades capturing the finest parts of the city in resplendent detail, safe in the knowledge that his customers would likely purchase each and every piece. Sadly, political instability in the 1740s made it harder for foreign collectors to visit and purchase his work, and so whilst his style was still very much in vogue, he was not sure if he could continue to profit financially from his work.

Consequently, he made the wise decision to relocate to England, where he could directly tap into his largest market, whilst also potentially widening the scope of his oeuvre to include other cities and cultures. This risky maneuver worked out well for the artist, who lived in England from 1746 to 1755. He focused mainly on scenes around London, but also captured picturesque locations around the rest of England, including Warwick Castle.

Having worked tirelessly in Venice and England for more than three decades, the artist’s work started to lose its inventiveness and some critics deemed the artist to be completing his commissions without quite the same passion as he once displayed. He chose to return to Venice by this point, but his strong influence in both cities was already established.

Return to Venice

The artist continued to paint right up until his death, and would rely more on his imagination than he did in the earlier parts of his career. Canaletto experimented with other genres such as landscape art, but would not find much success with these. His most profitable days were clearly behind him, as this brought about some financial difficulties, though he remained highly regarded in Venice and was still seen as an inspiration to the younger generation of artists.

Within his studio alone, he counted the likes of Bernardo Bellotto, Francesco Guardi, Michele Marieschi, Gabriele Bella, and Giuseppe Moretti who would all go on to have successful careers of their own. Canaletto passed away on the 19th of April, 1768 at the age of 70.

Masterpieces

From his large oeuvre, many of Canaletto’s most famous paintings are based on the locations that they cover. His Stonemason's Yard from around 1725 is perhaps his most highly regarded early work, whilst The Entrance to the Grand Canal, Venice , 1730 captures the essence of his work in Italy.

Over in England, there was Westminster Abbey with a Procession of the Knights of the Bath as well as The River Thames with St. Paul's Cathedral on Lord Mayor's Day which are most memorable from his decade working in the country.

Canaletto created a profitable market for his work, and was much loved for the incredible detail found in his charming depictions of Venice and London. His approach heralded others to join this genre, but he will always be considered the leading light in the Veduta art form. Many of the paintings that he sold to English collectors remain in the UK today, keeping his reputation strong here as well as in his native Venice.

Many other artists were also inspired by his work to travel to Venice, even if their own styles were somewhat different to his, with his detailed depictions of the city’s stunning architecture serving as a great promotional tool for this cultured region.

Article Author

Tom Gurney in an art history expert. He received a BSc (Hons) degree from Salford University, UK, and has also studied famous artists and art movements for over 20 years. Tom has also published a number of books related to art history and continues to contribute to a number of different art websites. You can read more on Tom Gurney here.

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Florida Frontiers “The Cross Florida Barge Canal”

Ever since 16th century Spanish explorers realized that Florida was a large peninsula, people have dreamed of finding or creating a “shortcut” linking the Atlantic Ocean to the Gulf of Mexico.

By the early 19th century, a series of politicians and businessmen envisioned cutting a canal from one side of Florida to the other, creating a direct path for commercial boat traffic across the top of the peninsula.

The Cross Florida Barge Canal would save three days of travel for ships if they didn’t have to go all the way around the peninsula, and could instead cut right through the middle of the state.

In 1935, the Army Corps of Engineers made plans for the Gulf Atlantic Ship Canal, a 30-foot deep waterway that would allow large vessels to cross the state through Ocala.

“As a result of a threat to the aquifer, issues of salt water intrusion, there will be a turn towards creating a barge canal, only 12-feet deep,” says David Tegeder, co-author of the book “Ditch of Dreams: The Cross Florida Barge Canal and the Struggle for Florida’s Future.”

Proponents of the Cross Florida Barge Canal planned a series of locks and dams that would allow a commercial waterway to be created from Jacksonville to Yankeetown, a community north of Tampa and west of Ocala.

With the Great Depression of the 1930s, construction began on the Cross Florida Barge Canal as a way to stimulate the economy and provide jobs. As part of his New Deal program, President Franklin D. Roosevelt approved a five million dollar allocation of federal funds for the project.

“In September of 1935, 6,000 men are going to descend upon Ocala, Florida, and begin this construction,” says Tegeder. “Ocala is now a boomtown. There’s rapid growth. In one week the city issues ten liquor licenses as a measure of that optimism, and prosperity begins.”

Efforts to ensure that canal workers were being treated fairly were met with violence. In 1936, a labor organizer named George Timmerman came to Ocala to see that workers had reasonable compensation and safe working conditions.

“He is captured, roughed up, and found in the woods crucified, tied to a tree with his lips sewn shut, as a warning that labor activism will not be tolerated on the canal,” says Steven Noll, co-author of “Ditch of Dreams.” “After that, Mr. Timmerman disappears from the historical record.”

The African American community of Santos, about six miles south of Ocala, was decimated by the canal project.

“It is an African American community built around both Saturday night jook joints and Sunday afternoon churches,” says Noll. “It is wiped off the map in the 1930s by the canal. The canal is never built there, but the land is taken from these people either through eminent domain or purchased for pennies on the dollar, and the town is basically destroyed.”

Environmental concerns stalled completion of the canal for several decades. Federal funding allowed construction to resume in 1964, with President Lyndon Johnson presiding over the ground breaking ceremony. By this time, national defense had joined job creation as a rationale for building the Cross Florida Barge Canal.

“The national defense angle is that the canal will provide a sheltered waterway for protection, especially for oil tankers as they traverse the waters from the oil fields of Texas and Oklahoma to the refineries of New York,” says Noll. “They will not be able to be victims to the predatory operations of enemy submarines, whoever they might be.”

Marjorie Harris Carr led a group of environmentalists who successfully argued that the Ocklawaha River must be preserved and construction of the canal stopped. Their arguments were fueled by the use of a gigantic, destructive machine called “the Crusher,” that decimated Florida’s natural landscape.

“This thing could mow down six 80-foot cypress trees in one swath,” says Tegeder. “It basically cleared about an acre an hour.”

By the time President Richard Nixon halted construction of the canal in 1971, seventy-five million dollars had been spent on the project, and it was approximately 28 percent completed.

Today, the Marjorie Harris Carr Cross Florida Greenway provides hiking and biking trails on the remnants of the Cross Florida Barge Canal.

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