![]() She puts her northern foot in it, constantly, by pronouncing “eau de toilette” as “eau de toilet”, and says things like, “I look like a boiled egg in a tea cosy!” when trying on bobble hats. ![]() Barbara is an “ooh, what am I like?” character – a bit ditsy, a bit naive, but a powerhouse of charisma. Nothing about this drama much bothers to reinvent the wheel. “We’re not trying to pick you up for mucky sex,” he insists, when he spots this “blond bombshell” at the bar. Then, finally, she finds herself a real-life old-fashioned showbiz agent in the form of Rupert Everett, hamming it up a storm. “She’s from up north,” sighs her manager, before telling her off and trying to squash her plucky northern spirit, like everyone else.Įventually, she ticks off every item in the “single woman in the 1960s” list: she gets a salt-of-the-earth flatmate, Marge, who hangs her pants up in the kitchen to dry she has an encounter with a less-than-chivalrous gentleman who promises to show her a good night out she does some nightclub work that edges more towards glamour than glamorous. She gets a job in a department store selling hats to rich women, who do not appreciate her bluntness when she is asked for her opinion on what these hats actually look like. It isn’t long before fate intervenes, though having the face of Gemma Arterton probably helps her along the way.īarbara is a funny woman, not that anyone in London initially gets it much more than they did in Blackpool. “I’d love to get paid to muck about,” she says, wistfully. She watches Lucille Ball on the television at the launderette, and dreams about her future. Barbara spreads her wings and flees to London, where she hopes to become a performer of some kind. In the way that modern series about bygone eras often do, Funny Woman wages a gratifying, ahead-of-its-time war against sexism on all fronts. If this is the kind of world she is living in, then Barbara is having none of it. “No thanks, I’ll just make the rest up,” he says, sleazily, like the good fictional TV journalist that he is. “I am here, if you want to ask me anything?” she suggests to a local reporter, after she has just been crowned Miss Blackpool Belle, 1964. She may be in line to marry the best-looking butcher in Blackpool, but the trouble is that nobody is interested in what she has to say. Gemma Arterton is Barbara Parker, a beauty queen from the rock factory who loves radio comedy and having a laugh with her dad. Over six episodes, this charming adaptation of the popular 2014 Nick Hornby novel Funny Girl has taken its new, more mature name and blossomed into a colourful romp through the swinging 60s. The pin pricks can be seen clearly along the outlines of the drawing.F unny Woman (Sky Max) is a little bit Mrs Maisel and a little bit Carry On. ![]() However, there are some fine examples of this technique, such as Raphael’s Young man asleep on the ground (1504 pictured). ![]() This procedure – known as “pricking” or “pouncing” – often damaged the paper and many cartoons do not survive as a result. More on this below… How does it work?ĭuring the Renaissance, artists transferred their designs to the wall or canvas by making pin pricks along the outlines of a drawing and then rubbing powder or dust across the back of the sheet to create a mirror image of the composition. “Squaring up”, a method still used by artists today, was developed by the Egyptians at least 5,000 years ago. While Maclise copied his cartoon by eye (as did Raphael in The Sacrifice at Lystra pictured) there were other scaling techniques which had been around for thousands of years. In his Waterloo cartoon, Daniel Maclise RA was drawing on a medium with its origins in Renaissance fresco painting. The word we use today comes from the Italian cartone, which simply means a large sheet of paper or card. While the word cartoon usually refers to an animation or a funny drawing, in an art historical context it can also refer to a full-scale preparatory drawing for a fresco, oil painting or a tapestry. What is it, and why is it called a cartoon? ![]()
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