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paralleljulieverse · 5 years

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“One day I’ll be famous. I’ll be proper and prim...”

Sixty years ago, more or less to the week, the famed Italian painter Pietro Annigoni unveiled his latest masterwork: ‘Eliza’, Julie Andrews in ‘My Fair Lady’ (1959).

At the time, Annigoni was the most celebrated portraitist in the world. His dreamily romantic 1954-55 oil of Queen Elizabeth II catapulted the hitherto little known Italian painter to international fame (Wynne-Morgan: 17). Almost overnight, Annigoni became "the most sought-after portrait painter of the decade” (Shearer: 4) attracting a glittering line-up of celebrity subjects including Princess Margaret, Prince Philip, the Duchess of Devonshire, the Shah and Empress of Iran, the Maharani Gayatri Devi of Jaipur and Margot Fonteyn. His services were so in demand that he reportedly “had to refuse thousands of commissions –– 90 out of every 100 ––as the queues of VIPs waiting to be immortalised stretched around the world” (Turner: 8).

It was against this backdrop that Julie Andrews’s longtime manager, Charles ‘Uncle Charlie’ Tucker, approached Annigoni in 1958 with an invitation to paint his client who was riding triumphant at the time as the star of My Fair Lady. Tucker made the approach via a mutual friend –– Max Farber, an American newspaper editor and PR man who handled publicity for Annigoni’s first US exhibition in 1957 (Randolph: 6) –– which no doubt helped seal the deal (”Surprise”: 7). In his memoirs, Annigoni (1977) recalls:

Although I hardly knew who Julie Andrews was then, I agreed, but nearly a year went by before I was able to start the portrait. On the day I arrived in London, the manager Charles Tucker, took me to see the show and to meet the young actress. I was pleasurably surprised by both and decided there and then to paint her in the costume and character of Eliza Doolittle, the show’s Cockney flowergirl (121).

The meeting of these two disparate celebrities –– the serious, gruff Continental painter and the trilling English Rose –– was the stuff of PR dreams and it drew considerable media attention. “There’s no need to say she is very pretty,” Annigoni is reported to have remarked as he sized up his subject in her backstage dressing-room, “But I expect I shall need some 30 sittings before I am satisfied” (”Surprise”: 7).

In the end, Julie went to sit for the artist at his Chelsea studio exactly 28 times between April and June 1959 (Rydon: 5). Following these sessions, Annigoni would continue to work on the painting for hours, often late into the night. Ever the perfectionist, he even arranged for a copy of Julie’s flower-girl costume to be sent over from Drury Lane and worn by a model so he could hone the finishing touches (ibid.).

Throughout the more than two month period of the portrait’s production, Julie continued to perform in My Fair Lady, as well as prepare for her wedding to Tony Walton in mid-May. It was a pressured schedule that inevitably led to the odd timing mishap, a source of great irritation to the exacting Annigoni. When, on one occasion, Julie arrived at his studio more than twenty minutes late, the artist was so enraged he refused to answer the door, necessitating a diplomatic flurry of contrite telephone calls to smooth his ruffled ego (Andrews: 258; Annigoni: 121). “He was an arrogant man,” Julie recounts, “the epitome of the temperamental artist” who “demanded total dedication and punctuality” (Andrews: 258).

For all his irascibility, Annigoni in his memoirs looked back fondly on Julie as “a very sweet girl” (Annigoni: 121). He was especially grateful when, after complaining of a pain in his right arm, Julie arranged for a special house call from Tony Walton’s doctor-father who diagnosed “a cracked humerus” and “treated it successfully” (122). Annigoni was, by all accounts, equally pleased with the portrait itself, quietly considering it to be one of his finer works (Rydon: 5).

Once the commission was complete and the portrait delivered, the enterprising Tucker set about negotiating the sale of reproduction rights to select newspaper and magazine outlets. It was a canny move that not only helped recoup much of the initial £2000 commission fee but ensured optimal publicity for both the portrait and its star (Annigoni: 122). Images of the painting were carried in the international press as far away as Australia (“Annigoni’s Fair Lady”: 122). In October, Tucker licensed Woman’s Own –– a high-circulation magazine that had previously published several stories on Annigoni –– to run a lavish full-colour centrefold “presentation copy” of the portrait (”Star Feature”: 29-31). This special issue was strategically timed to coincide with the PR lead-up to Julie’s four-part BBC TV series in November/December 1959, the first episode of which featured Annigoni as a celebrity guest (Cottrell: 126). Tucker also floated plans –– ultimately unrealised, alas –– for future portraits of Julie as Guinevere in Camelot and “all the different characters of every show she has been in” (Private Correspondence to Max Farber, 21 April 1959; see also “’My Fair Lady’ Star”: 4).

As with much of Annigoni’s work during this period, the Julie Andrews portrait was well received by the public and middlebrow commentators –– “a breathtaking canvas” (Rydon: 7); “surely will rank...in the future with the famous ‘Mona Lisa’" (Cartmel: 16) –– but it proved far less pleasing to ‘serious’ art critics. Indeed, for the most part, the arts intelligentsia of the day took a pretty dim view of Annigoni. The artist’s predilection for representational classicism, coupled with his vocal opposition to then fashionable traditions of abstract modernism, made him an "isolated anachronism” in the post-war arts scene and a frequent target of critical scorn (Turner: 8). Many critics dismissed Annigoni as little more than a technically-accomplished draughtsman, a “purveyor of Old Masterish pastiche” (Rogers: 96).

When the Julie Andrews portrait was shown at the annual Royal Academy Summer Exhibition in 1960, many reviews were openly derisive. “I suppose it has a faded Victorian charm,” sniffed The Observer (Clutton-Brock: 19). “Signor Pietro Annigoni’s Julie Andrews in My Fair Lady...belong[s] in every fibre to the times and dull skill of late Victoriana,” echoed the Daily Mail (Jeannerat 1960: 7). While The Stage huffed: “With his oil of Julie Andrews in My Fair Lady, Pietro Annigoni could not have been more conventional and unexciting if he had tried with all his might” (”Not Much”: 21).

The intervening passage of time and the resurgence of interest in figurative portraiture has afforded a less jaundiced view of Annigoni and his place in art history. Following the artist’s death in 1988, his work was subject to a growing critical reassessment that saw him redeemed as an important figure of twentieth-century ‘classical realism’ (Lack: 50-59). A 1995 feature-length documentary mounted a passionate defence of Annigoni as “a prolific and complex artist...a philosopher with the skill to capture a person’s soul” (Bond and Smith). Major retrospectives of his work have since been held around the world and in 2008 a dedicated Annigoni museum was inaugurated in the artist’s native Florence.

It is a context that encourages renewed consideration of Annigoni’s portrait of Julie Andrews as a serious artwork. Pace knee-jerk dismissals of it as mere decorative Victoriana, close reading reveals that, beyond the attractive veneer –– what one critic sneeringly termed “the prettiness of the chocolate-box” (Jeannerat 1961: 3) –– lies a work of considerable intelligence and interpretive depth. For all his technical realism, Annigoni approached the practice of portrait painting as effectively that of an expressive character-study. “I have always painted to please myself,” he declared, “and interpret the sitter as I see and understand [them]” (Shearer: 4). A good portrait needs to be accurate but also communicative, he believed, an expression of character and moral quality beyond the mere impression of outward appearance. It’s an approach that orients his portraits to structural and conceptual duplexity: “he captures the soul of beautiful women...but he also catches the deeper side” (Sullivan: 92).

Here, it is worth recalling the ‘official’ title of Annigoni’s portrait of Julie: ‘Eliza’, Julie Andrews in ‘My Fair Lady’ (Jackson: 84). It suggests that, far from a simple depiction of a single physical subject, the portrait is in fact a complex study of plural subjects. It ‘portrays’ Julie Andrews –– in technically consummate, if idealised, likeness –– but in the guise of Eliza Doolittle, a celebrated character as reimagined in a contemporary hit musical. There are thus three interacting spheres or layers of representation in the work: real person, fictional character, and theatrical role. Looking at the portrait, the observer’s mind moves inexorably between all three, posing an interpretive conundrum: are we looking at an actress in character or a character as realised by an actress?

Taking the idea of layering further, the portrait, like much of Annigoni’s work, is quite literally a work of layers. As part of his commitment to traditionalism, Annigoni was noted for his exacting use of Quattrocento production techniques. Chief among these was the practice of tempera grassa whereby an artwork is painstakingly created on a chalk-gessoed panel through composite layers of pigment mixed with a binding agent, typically egg and oil, interspersed with coats of lacquer (Cookson: 43ff). It is a labour-intensive form of stratified image-construction that lends Annigoni’s paintings their characteristic luminosity with dynamic hues and complex interplay of shadows and light. It also enhances their disarming trompe l’oeuil effect where minutely detailed realism –– limpid eyes, flesh flushed with sanguine warmth, textured fabric–– and precise geometric perspectivalism combine to simulate a sense of perceptual depth that draws the eye in and across the painting’s spatial field and its various objects (Hoopes: 21).

Annigoni’s portrait work is equally characterised by a parallel layering of compositional form. Much like his Renaissance masters, the artist typically sets his subjects in and against a background rich with symbolic import. His celebrated 1954-55 painting of the Queen, for example, was as famous for its romantic depiction of the young monarch resplendent in her ceremonial robes as for the fact that she appears Diana-like towering triumphant over a sylvan English landscape at misty dawn, gazing into “the light of...a new Elizabethan age” (Wynne-Morgan: 17).

In the case of the Julie Andrews portrait, Annigoni chose to depict his subject against a backdrop of peeling theatre posters. Such was the importance of this background to Annigoni’s vision that he reportedly scoured London to obtain historical playbills from the very date Shaw’s original production of Pygmalion, the source text for My Fair Lady, opened at His Majesty’s Theatre on April 11, 1914 (Rydon: 5). Cracked and peeling in burnished hues of faded gold and green, the backdrop is clearly redolent of age and historical memory. In fact, the curled strips of paper look not unlike autumn leaves falling with the passage of time. Combined with the work’s classical style and bronzed patina, it strikes a decided note of wistful, even melancholic, longing. But what redeems the endeavour from being a simple exercise in sentimental nostalgia –– a common criticism of Annigoni’s work –– is that this elegiac reference to times-gone-by sits within a broader frame of markedly mixed temporalities.

In a way that neatly parallels the painting’s fusion of representational levels mentioned above, the portrait conjoins past, present and future in convoluted, and ultimately irresolvable, ways. Out of the golden past of Edwardian theatrical history, Shaw’s Eliza –– herself a resurrection of the ancient Greek figure of Galatea –– is reborn anew in My Fair Lady, the contemporary hit show of the painting’s ‘present’ in the late-1950s. That she is embodied here in the form of Julie Andrews, a then-tender 23-year old on the cusp of global superstardom, adds additional layers of futurity to the mix –– as does the fact that Annigoni chose to paint Julie in Eliza’s early flower-girl guise where she is still dreaming of an as-yet-unknown “loverly” tomorrow.*

The multi-levelled temporality of the portrait was not lost on commentators at the time of the painting’s unveiling:

Annigoni has painted Julie Andrews, who created the leading musical ‘My Fair Lady’ but it is Shaw’s eternal Eliza (46 years old next year––the first performance was in April 1914) who shines through...The portrait was commissioned by Miss Andrews’ manager, Mr Charles Tucker. The woebegone waif, clutching her purse shawl, with her melting mouth and a tear n her cheek, will hand in house. Until he dies. He has willed the portrait to Miss Andrews, a legacy of her first fame (“Annigoni’s ‘Fair Lady’”: 122).

This 1959 prediction as to the ‘future’ of the portrait was close to the spirit, if not quite the letter, of what transpired. After hanging for many years in Tucker’s London office, the painting was eventually put up for auction at Sotheby’s in late-1975 where it generated considerable interest (Hickey: 9).* Following spirited bidding, the painting sold at fall of hammer to an anonymous bidder for £7000 (£60,000 in inflation adjusted prices) (Jackson: 84; Walker: 11). The bidder was subsequently revealed to be a proxy advocating on behalf of Blake Edwards who had bought the portrait as a gift for his wife. So, in the end, ‘Eliza’, Julie Andrews in ‘My Fair Lady’ came back full circle to its subject who, in her own words, is “thrilled to own it and it hangs in my home” (Andrews: 258).

Notes:

* Some commentators have pointed out that the portrait contains another coincidental allusion to the star’s future as one of the playbills glimpsed in the background appears to spell out the half-hidden words: The Sound of... “How prophetic!” notes Julie (Andrews: 258).

** Several sources, including Annigoni himself (1977: 122), state that the painting was put up for sale by Tucker’s widow after his death. The Sotheby’s catalogue does indeed list “Mrs Charles L. Tucker” as the lot consignor but Tucker was still alive in 1975––he passed four years later in 1979––so his wife’s name was possibly used for taxation purposes (”Obituary”: 6). In her memoir, Julie alludes to the fact that she and Tucker had a gradual professional alienation which resulted in a change of management sometime in the mid-60s (Andrews: 221). She also mentions apropos the auction that: “I heard that Charlie asked whether [the portrait was being bought] on my behalf, and he seemed happy when the fact was confirmed” (Andrews: 258).

Sources:

Andrews, Julie. Home: A Memoir of My Early Years. London: Weidenfeld & Nicolson, 2008.

Annigoni, Pietro and Wright, Robin. An Artist’s Life. London: W.H. Allen, 1977.

“Annigoni’s Fair Lady.” The Sydney Morning Herald. 11 October 1959: 122.

Bond, Richard and Smith, Stephen. Annigoni: Portrait of an Artist [DVD], Italy/Canada: Artatak/Rainbow Films, 1994.

Cartmel, Frank B. “Splendid.” Daily Express. 1 October 1959: 16.

Clutton-Brock, Alan. “New Non-Conformists.” The Observer. 1 May 1960:18-19.

Cookson, Dawn. Painting with Annigoni: A Halcyon Decade as a Student in Florence 1958-68. London : Unicorn Press, 2000.

Cottrell, John. Julie Andrews: The Story of a Star. London: Arthur Barker, 1968.

“Fair Deal.” The Guardian. 13 November 1975: 6.

Hickey, William. “Under the Hammer: Annigoni’s Fair Lady.” Daily Express. 29 October 1975: 9.

Hoopes, Donelson F. Pietro Annigoni: A Retrospective Exhibition. New York: Brooklyn Museum, 1969.

Jackson, Anne, ed. Art at Auction, The Year at Sotheby Park Bernet, 1975-1976. New York: Rizzoli, 1976.

Jeannerat, Pierre. “Christ at Cookham...the Epitaph of Genius.” Daily Mail. 29 April 1960: 7.

_________. “Just Chocolate (Annigoni flavour) Likenesses.” Daily Mail. 26 April 1961: 3

Lack, Richard. "Classical Realism: The Other Twentieth Century," Utne Reader. July /August 1989: 50-59.

Laws, Frederick. “Annigoni’s 1961 Old Masters So Depressing.” Daily Herald. 26 April 1961: 39.

McIlhany, Sterling. “Pietro Annigoni: Contemporary Florentine Master.” American Artist. 36: 359, June 1972: 24-30.

“’My Fair Lady’ Star Seen as Fairest of Them All.” The Age. 18 November 1959: 4.

“Not Much at the Academy.” The Stage. 5 May 1960: 21.

“Obituary: Charles L. Tucker Dies; Impressario [sic].” Hartford Courant. 14 May 1979: 6.

Randolph, Nancy. “Chit-Chat.” Daily News. 11 December 1957: 6.

Rogers, Malcolm. From Elizabeth I to Elizabeth II: Master Drawings from the National Portrait Gallery. London: Art Services International, 1993.

Shearer, Lloyd. “The Ladies Love His Portraits.” Parade. 5 January 1958: 4.

“Star Feature: Annigoni’s Portrait of Julie Andrews.” Woman’s Own. 3 October 1959: 29-31.

Sullivan, Robert. “Pietro Paints the Queen.” Daily News. 5 June 1955: 92.

“Surprise for Julie: Annigoni arrives to paint her.” Daily Express. 16 April 1959:

Turner, Francesca. “Annigoni: Isolated Anachronism.” Evening Post. 9 May 1977: 8.

Walker, John. “Meet...Understated Superstar.” Observer Magazine. 6 June 1976: 10-11.

Welles, John. “Meet Julie Andrews: Understated Superstar.” The Observer Magazine. 6 June 1976:

Wynne-Morgan, David. “Painter of the Queen: Annigoni, a Dazzling Story of Success.” The Age Literary Supplement. 15 December 1956: 17.

Zeri, Federico. Italian Paintings: Florentine School: A Catalogue of the Collection of the Metropolitan Museum of Art. New York: MMA, 1971.

#julie andrews #Pietro Annigoni #My Fair Lady #eliza doolittle #portrait #artist #charles tucker #musical theatre #west end #Broadway #1959 #art #painting

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esonetwork · 4 years

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Timestamp: Tenth Doctor Specials and Tenth Doctor Summary

New Post has been published on https://esonetwork.com/timestamp-tenth-doctor-specials-and-tenth-doctor-summary/

Timestamp: Tenth Doctor Specials and Tenth Doctor Summary

Doctor Who: Tenth Doctor Specials and Tenth Doctor Summary

The Tenth Doctor Specials were a great but short run.

The grouping ran from December 2008 to January 2010 – effectively, the year of 2009 – and helped to create David Tennant’s farewell tour. It was accompanied by the Doctor Who Prom (which included a mini-episode called Music of the Spheres) and The Wedding of Sarah Jane Smith.

It was unique for exploring the darker side of the Tenth Doctor, following from the bittersweet victory of Journey’s End and evolving on what started in The Runaway Bride and the concept of the Time Lord’s unrestrained power.

In some fan circles, these episodes are looked down upon because they are so different in spirit from the zany friendly nature of the previous three series. I feel that they perform a great service in terms of a war veteran who is trying to make amends for the things he’s done while trying desperately to avoid any further destruction.

That’s where we are with The Next Doctor and Planet of the Dead. The Doctor has just lost Donna and closed the loop with Rose, and that cuts him to the quick. By the time we reach The Waters of Mars, he’s been traveling for a while without a companion, which we have seen established before as a really bad thing for him. Without the balance of a companion, the Doctor believes that he can solve anything with his power as the last of the Time Lords.

All of this culminates in his temper tantrum at the time of his fatal radiation exposure in The End of Time. He wants to do so much more. In fact, he needs to. It is a primal, emotional necessity to make up for whatever he did in the Time War. He still does the right thing in saving Wilf, and then turns his need on its head by using his remaining time to help those he loves.

In that, the Doctor is redeemed for his flirtations with darkness Time Lord Victorious, and presumably for his role in the Time War. He’s done so much good that maybe, just maybe, he can finally rest.

From that perspective, I love this set of stories with the exceptions that I have previously noted. Particularly with the portrayal of the Master in The End of Time.

The Tenth Doctor Specials collection comes in at an average of 4.4. That’s fourth all-time for the Timestamps Project, coming in behind the classic Ninth Series, the new era’s Series Four, and the Eighth Doctor’s run. It’s just ahead of both Series One and Series Three.

The Next Doctor – 4 Planet of the Dead – 5 The Waters of Mars – 5 Dreamland – 3 The End of Time – 5

Series One (Revival Era) Average Rating: 4.4/5

Following tradition…

The First Doctor was a wise grandfather, the Second a sly jester, the Third a secret agent scientist, the Fourth an inquisitive idealist, the Fifth an honorable humanitarian, the Sixth a squandered cynic, the Seventh a curious schemer, the Eighth a classical romantic, the Ninth a hopeful healing veteran…

…and the Tenth Doctor is a bargaining humanitarian.

The Tenth Doctor continues the work of the Ninth on Kübler-Ross model of grief. The Ninth worked through Denial and Anger, while the Tenth Doctor picked up with Bargaining and worked into Depression (with added bits of Anger since, let’s face it, this model is not perfectly linear).

He tried to stop the bad things from happening, always looking for a way out. But when those bad things finally happened, he was so very sorry. As mentioned before, he was always looking to even the score for watching Gallifrey burn, and he wanted to do so much more before his death.

We can only hope that the Eleventh Doctor finds Acceptance.

I started watching Doctor Who with the Ninth Doctor back in 2008, but the Tenth was always “my” Doctor. Watching these stories again with the full context of the franchise behind me has been a joy.

Series 2 – 4.1 Series 3 – 4.3 Series 4 – 4.6 Specials – 4.4

Ninth Doctor’s Weighted Average Rating: 4.34

Ranking (by score) 1 – Eighth (4.50) 2 – Tenth (4.34) 3 – Ninth (4.30) 4 – Third (4.00) 5 – Second (3.67) 6 – Fourth (3.67) 7 – Seventh (3.54) 8 – First (3.41) 9 – Fifth (3.20) 10 – Sixth (2.73)

Ranking (by character) 1 – Tenth Doctor 2 – Second Doctor 3 – Ninth Doctor 4 – Eighth Doctor 5 – Third Doctor 6 – Fourth Doctor 7 – Seventh Doctor 8 – First Doctor 9 – Fifth Doctor 10 – Sixth Doctor

I’ve mentioned this before: Those top seven spaces on the character ranking are really, really, really close. I have been tempted to make them a a tie for first place since I would gladly watch any of those stories at any time, but that would be taking the easy way out. It’s far more challenging to actually rank them.

Next up, we change Doctors and showrunners.

UP NEXT – Doctor Who: The Eleventh Hour

The Timestamps Project is an adventure through the televised universe of Doctor Who, story by story, from the beginning of the franchise. For more reviews like this one, please visit the project’s page at Creative Criticality.

#Doctor Who #Tenth Doctor #Timestamps Project

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womprat99 · 4 years

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Timestamp: Tenth Doctor Specials and Tenth Doctor Summary

Doctor Who: Tenth Doctor Specials and Tenth Doctor Summary

The Tenth Doctor Specials were a great but short run.

It was…

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#Doctor Who #Ninth Doctor #Russell T Davies

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tracieforro50-blog · 6 years

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anupsingh11-blog · 5 years

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Care Womens Centre is a renowned pioneering fertility centre. In the ten years seeing that they began, have helped many thousands of people end up mother and father. It is positioned at Vijay Nagar, Indore, Madhya Pradesh. Patients from all parts of the country or even neighbouring states go to the clinic for its high fashionable of treatment services and for its high fulfillment rate in scientific treatment. It turned into commenced with the imaginative and prescient to help childless couples enjoy the pleasure of parenthood.

The health facility caters to the scientific wishes of the affected person with complete willpower, precision, and care. With great affected person care and a music report of high IVF success charge, Care Womens Centre has end up the choice of couple seeking fertility treatment from all over the world. Backed by a group of expert docs and staff, they take a sensible method towards medical conditions and strives to provide the first-class provider with the maximum compassion. Medical employees at the sanatorium have sizable stories for coping with complex infertility cases and to address high-hazard conditions in ladies.

Elawoman gives you options to Book Your First Appointment FREE. Check Reviews, IVF Cost, IVF Success rates, Fees, Address, Contact Number for all treatments Elawoman offers.

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shanujey82-blog · 6 years

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Is Surrogacy Legal in Bangalore | ElaWoman

Indian Surrogacy Law Centre is the only expert impartial legal consultancy company in India specialising sincerely on the law regarding human reproductive sciences, surrogacy felony tips and fertility prison suggestions. We assist childless couples from everywhere within the global to navigate via the darkish emotional passages of surrogacy, egg donation and embryo donation Is Surrogacy Legal in Bangalore.

We are pioneers within the prison fields concerning assisted reproductive era tactics which includes IVF, surrogacy, 1/3 birthday celebration donors and embryo donations. The firm has an extensive exercise in regards to global surrogacy preparations and has been assisting childless couples from everywhere in the globe on complicated personal international law problems.

Indian Surrogacy Law Centre become based in the 12 months 2008, at a time while the Indian legal fraternity was in large part unaware of the criminal issues touching on the fertility law. The firm emerge as aimed toward growing a center of criminal excellence within the reproductive sciences, greater specifically, the global regulation troubles that arose therefrom.

We Is Surrogacy Legal in Bangalore, have been part of the area of interest challenge of fertility regulation even preceding to its inception in India. Indian Surrogacy Law Centre has represented an array of clients, which encompass unmarried, gay and right away supposed dad and mom, Indian surrogate moms and fertility clinics across the usa. We have generally used a differential method in all our strolling and had been involved in high quotient subjects.

Is Surrogacy Legal in Bangalore at Indian Surrogacy Law Centre. He is a brand new generation crook consultant with substantial exercise on new technological know-how tendencies. He has created a niche exercise for himself with the resource of concentrating on the fast developing prison guidelines touching on assisted reproductive sciences together with surrogacy and distinctive IVF troubles. He has an brilliant exercising specialising in surrogacy laws. He has addressed Indian and International Forums on surrogacy felony suggestions in India. He has authored several articles on surrogacy prison suggestions in India. He has received the primary parental order in India for a single figure who carried out parenthood through surrogacy.

What is a Surrogate domestic?

Surrogate domestic is a place in which surrogates are looked after in terms in their clinical, dietary and leisure dreams. It is designed to ensure total protection to surrogate mothers. This lets in them to enjoya non violent surroundings thereby growing a conducive surroundings forthe developing fetus.

Benefits of surrogate home

At Surrogate Home proper care of surrogate mothers is enthusiastic about the assist of the clinical professionals on a everyday foundation. Here are a number of the appreciating blessings of the surrogate domestic listed as underneath, Positive lifestyle adjustments may be added within the lives of surrogate moms, and thus, the recurring of the respective women may be created and observed as properly.

There are caretakers present on the surrogate houses. These people make sure that the surrogate mothers are sorted within the first-class possible methods. Proper eating behavior and hygiene is maintained on a ordinary basis for higher highbrow and physical health of surrogates.

Surrogate houses have a non violent atmosphere to provide complete intellectual rest. A exciting surroundings is essential for the healthy boom of the fetus. This guarantees that the ladies staying at the surrogate domestic can receive a non violent surroundings with the assist of music, giggling club periods, in addition to positivity commands from the experts gift there.

The physical contact of the surrogate mom with her husband is prevented in a extremely good manner with the help of the Surrogate Home.

In case of an emergency with a surrogate mother, medical examiners and required facilities are provided to the girls as and while required.

Mannat Fertility Clinic Marathahalli

Mannat Fertility Clinic Marathahalli is an IVF Clinic primarily based in Marathahalli, Bangalore and turned into set up in 2010. This medical institution is armed with the modern day system, contemporary labs and a pretty-skilled clinical body of employees. Mannat Fertility Clinic panel consists of Gynaecologists, Obstetricians and Fertility Experts. This sanatorium appoints every clinical personnel very discreetly and guarantees its affected person protection and luxury. By gaining years of enjoy, they'll be imparting unmatched healthcare treatment to their sufferers. This health center offers a complete variety of services like Freezing, Egg and Sperm Donation, Blastocyst Transfer, Intrauterine insemination (IUI), In Vitro Fertilization (IVF) remedy and Surrogacy options. Dr. Archana Agarwal visits Mannat Fertility Clinic.

Dr. Archana Agarwal

Dr. Archana Agarwal is a gynecologist and infertility professional in Bangalore with over decades of revel in. She finished her MBBS in 1991 from MLB Medical College, Jhansi and DGO in 1997 from ICMCH, Kolkata. She is a distinguished member of Karnataka Medical Council, Indian Fertility Society (IFS), Indian Society for Assisted Reproduction (ISAR) and European Society of Human Reproduction and Embryology (ESHRE). Dr. Archana Agarwal received the Global Business Service Excellence Awards by way of Primetime Media in 2014. Dr. Archana focuses on gynecology treatments like In Vitro fertilization (IVF), Donor Insemination Surrogacy, Endometrial Biopsy, Laparoscopy, Hysterectomy and Egg Donor offerings. She is currently schooling at Mannat Fertility Clinic based in Marathahalli and Sahakar Nagar in Bangalore. If you're looking for similarly facts about Dr. Archana Agarwal, then you could visit elawoman.Com

Milann Fertility Center Kumara Park

Milann Fertility Center Kumara Park is one among India’s primary chain of fertility facilities with Seven gadgets in Bangalore, one each in New Delhi, Chandigarh, Mumbai and Ahmedabad. Formerly known as Bangalore Assisted Conception Center (BACC) Healthcare, it end up rebranded as Milann – The Fertility Center, whilst BACC Healthcare entered right into a strategic partnership with HCG Hospitals. Established in 1989 to provide couples access to superior scientific evaluation and treatment options in the area of Assisted Reproduction (IVF treatment & IUI treatment), Milann has been redefining excessive-tech fertility care in India. Milann as an enterprise enables the imminent collectively of like-minded clinical specialists to make the pleasant practices in fertility care available to all. With medical experts who have publish-doctoral Fellowship and drastically educated in assisted reproduction together with reproductive endocrinology, ovarian biology, reproductive immunology and the genetics of fertility, Milann has a technological element over its competition.

Spearheaded by means of Dr Kamini Arvind Rao Bangalore, a main obstetrician and infertility specialist and recipient of the Padma Sri Award, Milann offers comprehensive healthcare offerings to girls, encompassing pre-pregnancy making plans, pregnancy and put up-shipping. Among Dr. Kamini Rao’s early contributions to the sphere are the status quo of South India‘s first Semen Bank, India’s First SIFT Baby and South India’s first infants born thru ICSI (Intra Cytoplasmic Sperm Injection) similarly to through Laser Assisted Hatching. Across a systematic and studies career spanning three a long term, Dr. Kamini Rao has been a mentor to a huge extensive kind of fertility professionals while serving as a beacon of want to hundreds of infertile couples. Milann has been identified and offered for its IVF treatment expertise thru Frost & Sullivan. It turned into additionally provided India's Best Fertility and IVF middle in 2016.

Dr Kamini Arvind Rao Bangalore

Dr. Kamini Arvind Rao is a pioneer infertility physician within the field of Assisted Reproduction in India. She is the founder and director of Milann, The Fertility Center in Kumara Park, Bangalore. Dr. Kamini completed her MBBS, DGO in Preventive Medicine and Social Medicine, FRCOG from Royal College of Obstetricians and Gynecologists, London in 1978, 1984 and 1986. She focuses on In Vitro fertilization (IVF), Intrauterine insemination (IUI), Ovarian Physiology, and Reproductive Endocrinology. She has a chief contribution in installed order of first semen monetary organization in South India and Laser assisted hatching. Dr. Kamini moreover started out out using Intracytoplasmic Sperm Injection (ICSI) for start of babies.

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raining-v-coffee · 8 years

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Random Who fic recs

These are fics that I don’t really have enough of one genre to make a full rec post, but they were just to fantastic to not share.

*Multichapter ~my notes

Side Quest

Harry is collecting equipment for the Doctor when he runs into an adventure of his own. Can he foil the evil Dr. Richards, while at the same time helping the Doctor and Sarah fend off an alien invasion they somehow never quite have the time to explain properly to him?

~This is really quite a fantastic story. Most of the time people use Harry as a sidekick, or plot device. It is nice to see him being written as competent.

The People You Meet

Maria Jackson had had just about enough of aliens for the one day, thank you. Especially since these aliens had succeeded in stealing them from Earth. Fortunately for her, she and the boys weren't the only prisoners they were holding.

The Boy Who Touched Time

Clyde's mum always said that if you died in a dream, you'd die in real life. He died and regenerated nine times in his dreams, but he kept waking up the next morning. Post "The Wedding of Sarah Jane Smith"

The light that you shine can be seen

Rose thought she was alone in this universe. But Time Lords turn up when you least expect it.

~Rose/Susan fic.

Clarification

It is a truth universally acknowledged that Captain Jack Harkness is hard to forget. So why does one conquest never remember his name?

The Lady's Quickening WIP

What Martha felt for the Doctor was not an ordinary, physical attraction. It was something deep in her soul, or mind, that seemed to pull her towards him and his magnificent spaceship. Now she just has to find out what it is.

~Timelady!Martha

Rising WIP

Lily is an amnesiac. She woke up in a hospital at the age of roughly sixteen (guessed at by a doctor), and since then has been helped along by a few mysterious benefactors. She knows certain things, about the universe and about herself, and still has a good deal of general knowledge, but no memories or physical records.

She's been having some weird dreams since she woke up, and she doesn't understand where she came from. But she knows there was more to her life before this, which is living in London on the Powell Estate, working in a shop and barely making enough to eat.

And then, four and a half years after she showed up, a strange man bursts in on her boring workday…and blows up her job, before asking her to travel the stars with him.

AU, Doctor/OFC, Ninth Doctor/Lily, All Doctors/Lily eventually.

Music of the Spheres*

The Doctor, Martha, and Jack rewound time during the Master's takeover of Earth, but all those memories from the Year That Wasn't had to go somewhere--and Luke Smith, with all his untapped telepathic/telekinetic potential, ends up making an unfortunately good lightning rod. Especially after a mysterious company snatches him up for experiments like they do with other enhanced humans, although in this case they've bitten off a little more than they can chew, because Luke is different...and his mother will do anything to get him back. Originally written in 2008 for dw_cross on LJ and sporadically (although not substantively) edited a few times between then and last year. It's a crossover with Heroes, but the vast majority of it is in the general Doctor Who universe. Canon through Doctor Who season 4 (so, Torchwood "Exit Wounds" and Sarah Jane Adventures "The Lost Boy" as well), and probably season 2 of Heroes.

~This is one of those fics that include so many different things that I can’t place it into a definite list.

Kira's Adventures: The Change - Re-Written* WIP

Kira was your average high school girl. That is, she was. Everything changed when one mysterious storm stole her away, leaving her in the Doctor's world without explanation. Now she must figure out how to live in a world of adventure, and come to terms with the fact that she'll never see her friend's or family again. Add in the fact that her body seems to be going through some odd changes... just what is happening to her?

~This is actually part of a series.

To my Master Post of Doctor Who fic recs <3

I also have rec lists for Harry Potter and Naruto.

#doctor who #doctor who fic recs #the doctor #classic who #fic recs

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