Best HD Walpapers 2013,2014&2015

Saturday, 31 August 2013

Nice Walpaper 2013 Pics Images Photos Pictures

Nice Walpaper Biography
source(google.com)
Around 4000 B.C., the earliest known form of "paper" was introduced: Egyptian papyrus.

Wallpaper actually began in ancient China, first because the Chinese invented paper, and secondly because they glued rice paper onto their walls as early as 200 B.C.

In 105 A.D., the Chinese court official Ts'ai Lun, invented papermaking from textile waste, i.e. from rags. This was the birth of paper as we know it today.

Some time in the 8th century, several Chinese prisoners with papermaking skills worked under Arabs, who in turn, spread the knowledge of papermaking throughout the Middle East.

By the 10th century, Arabians were substituting linen fibers for wood and bamboo, creating a finer sheet of paper. Paper now reached a much higher quality level.

During 12th century, papermaking had spread throughout Europe.

The earliest European pictorial block prints were religious souvenirs known today as "helgen". The oldest known, a representation of the Virgin, is dated 1418. It is now in the Royal Library at Brussels. This type of printing method may have also been used by the Chinese as early as the 5th century.

Jean Bourdichon painted 50 rolls of paper with angels on a blue background for Louis XI of France in 1481. King Louis ordered the portable wallpaper because he found it necessary to move frequently from castle to castle. Other well-heeled Europeans commissioned artists to paint paper for their walls, but real wallpaper can hardly be said to have existed till the advent of the printing press.

The earliest know fragment of European wallpaper that still exists today was found on the beams of the Lodge of Christ's College in Cambridge, England and dates from 1509. It is an Italian inspired woodcut pomegranate design printed on the back of a proclamation issued by Henry VIII. The paper is attributed to Hugo Goes, a printer in York.

A guild of paperhangers was first established in France in 1599.

Jean-Michel Papillon, a French engraver and considered the inventor of wallpaper, started making block designs in matching, continuous patterns in 1675, and wallpaper as we know it today was on its way.

The oldest existing example of flocked wallpaper comes from Worcester and was created in approximately 1680.

The manufacturing methods developed by the English are significant, and the products from 18th century London workshops became all the rage. At first, fashion conscious Londoners ordered expensive hand painted papers that imitated architectural details or materials like marble and stucco, but eventually wallpapers won favor on their own merits. Borders resembling a tasseled braid or a swag of fabric were often added, and flocked papers that looked like cut velvet were immensely popular.

Wallpaper came to America in 1739, when Plunket Fleeson began printing wallpaper in Philadelphia.

In early America, colonials copied European fashions. After the Revolutionary War, Americans set up workshops of their own. Paper was all the fashion, from neoclassical looks to rambling roses. American firms made their share of patriotic "commemorative" papers, which we have come to know from trunk linings and bandboxes.

In 1778, Louis XVI issued a decree that required the length of a wallpaper roll be about 34 feet.

Frenchmen, Christophe-Philippe Oberkampf invented the first machine for printing wallpaper in 1785. Frenchmen, Nicholas Louis Robert invented a way to make an endless roll of wallpaper around the same time.

In 1798, lithography was invented by Alois Senefelder in Solnhofen, Germany.

By the 1800s, French scenic papers printed with hand-carved blocks, some taking as many as 5,000 blocks to produce, were popular.

In 1839, the English invented a four color surface printing machine with designs hand-cut on cylinders that could print 400 rolls a day. It was invented by the Charles Harold Potter of the calico printing firm Potters & Ross of Darwen in Lancashire, England.

By 1850, eight color printing was available and in 1874, the twenty color printing machine was invented.

In 1879, gravure printing, also known as Intaglio, was invented by Karl Keitsch in Austria.

In 1888, Ferdinand Sichel developed the first ready-to-use wallpaper paste.

In 1890, flexographic printing is invented in England.

Wallpaper pasting machines first appeared around the turn of the 20th century.

Silkscreen printing is said to have originated in Japan and China between 960-1280. Although, it was first patented in England by Samuel Simon in 1907. The first mechanical silkscreen machine was invented in 1920.

In the Victorian era, rooms paraded print upon print, mostly in garish colors, and the advent of machine-made wallpaper put the cabbage rose and arabesque patterns within the budget range of practically every home. Artisans such as Louis Comfort Tiffany and William Morris and their lyrical interpretations of nature, hand-printed by the wood block method, came to symbolize Art Nouveau. The Victorian Era, as one would expect, was a grand time for wallpaper featuring over embellished designs featuring somber colors, but it was in the roaring '20s that wallpaper really took the spotlight for the first time. Known as the Golden Age of Wallpaper, some 400 million rolls were sold during that period.

In 1936, cellulose derivative Carboxymethylcellulose (CMC) made its market debut as Henkel-Zellkleister Z 5, a paste powder that was soluble in cold water.

After World War II, the entire industry was revolutionized with the appearance of plastic resins which offered stain resistance, washability, durability and strength.

In 1974, the National Guild of Professional Paperhangers was established in the United States.

Modernism frowned on embellishments, so wallpaper fell into disfavor during much of this century. But as the 20th century ebbs and the bane of cookie-cutter homes and sterile work environments is upon us, some have rediscovered the romance and beauty of patterned walls.

Recent advances in digital, photo, and printing technologies have allowed modern printing facilities to replicate historic papers and other digital media on a variety of substrates.

Of course, one should no longer talk about wallpaper. Now it's wallcoverings, for technology has stepped in and created products that incorporate miracle compounds that make them washable, long lasting, pre-pasted, and yet so true to the best of history's worldly arts. So, companies can reproduce any style of any period. And unlike the costly fresco paintings, tapestries and hand-painted papers of the past, today's wallcoverings are very affordable.

Nice Walpaper 2013 Pics Images Photos Pictures

Walpaper 2013 Pics Images Photos Pictures

Walpaper Biography
source(google.com)
For most of its history wallpaper has been the poor relation of the decorative arts: because it is fragile, ephemeral, and easy to replace it has often disappeared from the historical record. The history of wallpaper has been based largely on those pieces which have passed into archives and museum collections, supplemented by those papers that survive in historic buildings, and those represented in pictorial records of interiors.

Wallpaper has generally been thought of as background rather than foreground (with some notable exceptions such as Chinese papers and the early 19th-century French scenic decorations). Nevertheless, its role in the overall decorative scheme is a vital one, and the choice of wallpaper affects the mood and style of a room, and may influence the choice of other furnishings. The wallpaper itself may be indicative of the function of a room, and will often reflect the age, status or gender of its inhabitants or habitual occupants. William Morris recognised the importance of wallpaper when he advised in one of his lectures;

'Whatever you have in your rooms think first of the walls for they are that which makes your house and home, and if you do not make some sacrifices in their favour you will find your chambers have a kind of makeshift, lodging-house look about them…'
Yet divergent opinions about wallpaper were apparent from the beginning. Some considered it to be attractive, clean and durable, whereas others regretted that the fashion for wallpaper had supplanted other methods of wall-decoration. This widespread and continuing ambivalence towards wallpaper can, to a large extent, be attributed to wallpaper’s essentially imitative character. It is almost always designed to look like something else – tapestry, velvet, chintz, silk drapery, linen, wood, masonry, a mural. For much of its history wallpaper has appeared (at least at first sight) to be something other than merely printed paper, and as an affordable substitute for more costly materials it has never quite thrown off the taint that comes from being a cheap imitation.

Several 19th-century novelists have employed the motif of wallpaper to characterise those who reject honesty and integrity in favour of sham and show. In Hardy’s Far From the Madding Crowd, set in the 1840s, the handsome vain flashy Sergeant Troy, newly married to Bathsheba Everdene and thus in possession of Weatherbury Farm House, explicitly rejects the honesty and integrity that the un-modernised house represents. He complains:

'A rambling gloomy house this…I feel like new wine in an old bottle here. My notion is that sash-windows should be put in through-out, and these old wainscoted walls brightened up a bit; or the oak cleaved quite away and walls papered.'
Likewise, the new Mrs Gibson, in Mrs Gaskell’s Wives and Daughters (1866), tries to impose her own values in the home of her husband, and stepdaughter Molly. Eager to pet and please her daughter Cynthia who will shortly be arriving from 'pretty, gay France' she determines that she will 'new-furnish' her bedroom, and Molly’s too, though the latter objects to her much-loved familiar furnishings with their associations of a happier past being ousted by 'a little French bed, and a new paper, and a pretty carpet.' The author makes explicit Mrs Gibson’s concern for appearances above all else when she explains to Molly that her room must be re-decorated, even against her will, so that people will not say that her stepmother has slighted her but indulged her own daughter.

Both Gaskell and Hardy articulate a commonplace view of the period, which held wallpaper in high regard. In both these instances a new wallpaper is advocated by those who are shallow and false, in-comers with no attachment to the past or to the values cherished by other morally superior characters. These literary details confirm wallpaper’s long association with deception and illusion, and with the rejection of tradition and integrity. In France too we find wallpaper implicitly associated with a rejection of history and tradition: Madame de Genlis (in 1760) bemoaned the frivolous ephemeral fashion for English wallpapers which had driven the Gobelin tapestries out of style. Wallpaper itself comes to stand for a decline in values, both moral and social:

'In the old days, when people built, they built for two or three hundred years; the house was furnished with tapestries made to last as long as the building; the trees they planted were their children’s heritage; they were sacred woodlands. Today forests are felled, and children are left with debts, paper on their walls, and new houses that fall to pieces!'

Wallpaper becomes a metaphor for dishonesty and dissembling, for the ephemeral as opposed to the secure and lasting, and for the valuing of appearance over substance.

It is perhaps no surprise that debates around the morality of ornament – especially on wallpaper – came to prominence at just that time when the invention of machine-printing and the repeal of the excise duty on printed paper had put wallpaper within the reach of quite modest households. Wallpaper, which had by the early 19th century established itself as a luxurious and elegant commodity, was suddenly commonplace. It therefore became important to differentiate between chaste, ‘honest’ and proper design on the one hand, and the cheap gaudy excesses of popular taste on the other. As wallpaper became a standard decoration in working class homes it became less fashionable in wealthier households, and even those who designed wallpapers – notably William Morris and C.F.A. Voysey – often preferred to use other kinds of wallcovering, or none at all.

Despite these debates and controversies on the themes of taste and class, wallpaper has proved to be a most durable fashion, and has been appreciated as an expensive and luxurious decoration, as well as a ‘make-do’ substitute. It is often associated with cleanliness and comfort, and has become a kind of short-hand symbol for home and domesticity, readily co-opted by writers, artists, and advertisers. In her story The Yellow Wallpaper, Charlotte Perkins-Gilman memorably employed wallpaper to symbolise the claustrophobia and repressive control that a creative woman might experience within the confines of her home and family. In recent years, artists wishing to recreate or explore aspects of home and identity within the context of the art gallery or museum have often chosen to design and make wallpaper because of its inherent associations with domestic life.

With the exception of the sturdy embossed wallcoverings such as Anaglypta, wallpaper is generally an ephemeral material. Whereas furniture and textiles often survive, and pass from one generation to the next, wallpaper is frequently damaged, covered over or removed altogether. It has generally been the easiest and, relatively speaking, the cheapest aspect of interior decoration to replace, and thus it is the least likely to survive. This is unfortunate because wallpaper is the most eloquent embodiment of changing fashions, vivid evidence of an individual’s taste, and the fundamental framework of any new scheme of decoration.

The serious academic study of wallpaper, and by association the collecting and preserving of historic papers, did not begin in earnest until the early 20th century. Inevitably, museum collections and the papers that have been preserved in situ tend to be the best of their kind, and therefore in many respects the least typical.

Walpaper 2013 Pics Images Photos Pictures

Walpapers 2013 Pics Images Photos Pictures

Walpapers Biography
source(google.com)
The Chinese glued rice papers onto their walls as early as 200 BC - but this was not wallpaper as we know it today. Paper as a wall covering was first used by the working classes in Britain and in Europe as a substitute for costly materials. Frenchmen, Christophe-Philippe Oberkampf invented the first machine for printing wallpaper in 1785. Frenchmen, Louis Robert invented a way to make an endless roll of wallpaper around the same time. The earliest wallpapers in England and France were hand painted or stenciled.
Philadelphia had become the center of wallpaper production in the United States by the end of the eighteenth century, although French influence continued to dominate the design of domestic papers. Subjects ranged from commemorative and panoramic scenes to designs drawn from architecture and nature, like the garland adorning these two tromp l'oeil columns in the photo to the right.

Walpapers 2013 Pics Images Photos Pictures