Podcasts about south head

Join host Walt Cerrato as he sits down with Adam Hall, Head Girls Basketball Coach at Canton South High School.The Holding Court Podcast is presented by the Ohio High School Basketball Coaches Association.This podcast is available anywhere you listen to podcasts. Make sure to subscribe. Also, check us out here:linktr.ee/OHSBCAThis episode is powered by Fundraising University (Ohio). If you are looking to raise money for your program, Fundraising University (Ohio) is the way to go! For more information, visit https://fundraisingu.net/.

The Patriots face Millard North, tomorrow night.

On The Kenny & JT Show, we're joined by Don Nehlen, former Lincoln Lions quarterback, and head football coach for the McKinley Bulldogs and the Canton South Wildcats. Don will be inducted into the National High School Football Hall of Fame as part of its inaugural class this Sunday at Umstattd Hall.

ITL Hour 2: AFC South QB head-scratching storylines from Houston to Indy to Nashville. Landry presents the five biggest snitches in the history of sports. The HITS are LIT and there's good and bad news going on.

Peter and Ross visited the Vaucluse Car Club meet at The Gap on Sydney's South Head. YouTube sensation Niko turned up with a rockstar entrance in his Ferrari 812 GTS. Ross talks about the modifications to the original M3 to have it homologated for racing. Peter sees his first Morgan 3 wheeler in Australia with no room for him to get in. Ross ordered his new BMW XM and previews his upcoming European trip. Follow us on Instagram and email us alltorque@outlook.com.au

Coach joins the guys as the first guest of 2022. Coach Dahl, in his 11th season as head coach of the Storm, talked about his background, his team and how some of his top players have handled the pressure and expectations of the season ahead of the district tournament. --- Support this podcast: https://podcasters.spotify.com/pod/show/coachsportspod/support

Rodney District local board member Mark Dennis says the northern Auckland settlements of Helensville, Parakai, South Head and Kaukapakapa had to fend for themselves.

Author Larry Writer speaks to John Stanley about his new book The Shipwreck, which is an epic story about one of Australia's greatest maritime disasters, the wreck of the Dunbar. Larry's book illustrates how late at night on 20 August 1857, after an 81-day voyage from Plymouth, the Dunbar was caught by massive waves and storm-force winds near the cliffs of The Gap at Sydney's South Head and smashed to pieces on the rocks. All but one of the 123 passengers and crew perished. You can purchase his book online. See omnystudio.com/listener for privacy information.

A dramatic shot of beautiful South Head, Grand Manan made a cameo on the most recent episode of Saturday Night Live. Islander Dan Boyd talks about what it was like to see his hometown on the hit show.

Ryan and Trevor sat down with Coach Geary to preview his 2022 team. They also discussed winning his first state title in 2021 and got all nostalgic talking about old times. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/coachsportspod/support

Sep 24 Seg 5 Guy Rosenberg Elkhorn South Head Football Coach

Joining The Kenny & JT Show Thursday is Matt Dennison, the new head football coach of the Canton South Wildcats. Coach Dennison comes to South after several years as New Philadelphia’s head coach. Matt is the son of former Walsh and Akron head coach Jim Dennison.

Nov 6 Seg 5 Guy Rosenberg Elkhorn South Head Football Coach

Coach Greg Reed joins The Kenny & JT Show Thursday as his Wildcats prepare to host Mentor Lake Catholic in Division 4 playoff action Saturday night at Brechbuhler Stadium. It’s the Saturday WHBC Sarchione Ford game of the Week.

On this day in 1857, Sydney was visited by disaster when the clipper Dunbar was dashed against rocks on South Head. 121 people would die. One man would survive. See acast.com/privacy for privacy and opt-out information.

High school football practices begin for North Dakota Class 3A teams on Monday.  Fargo South head coach Tyler Kosel previews the upcoming season for the Bruins and how South is handling the new COVID-19 guidelines.  South opens the year on Friday, August 28 at Fargo Shanley.  North Dakota State University commit Sibomana Enock returns for his senior season. Enock was named an All-State defensive back in his junior season.  Kosel enters his fourth season as a head coach and has compiled a 17-13 overall record.  The Bruins have made the quarterfinal round of the playoffs every year since 1996, with their last state championship coming in 2013. LAST YEAR South finished 6-4 overall and lost to Bismarck Century 23-7 in the quarterfinals.    See omnystudio.com/listener for privacy information.

Has Greg Webber been at this game longer than anyone else? Maybe not, but he sure has a ton of fascinating insights and excellent ideas surrounding the wave pool space. You can check him out on www.webberwavepools.com (https://webberwavepools.com/) Before we kicked off the interview Greg inferred to me that he had no problem in my drilling him about the fact that he essentially broadcasts the fact that his wave pools are the best in the world but none have been built. Well, hold your horses, hopefully, a Webber wave pool is taking shape in Orlando, Florida right now and a V-reef is under development near Perth, Australia. Webber Wave Pools show notesWe kick off with some light banter about girls and waves. Smacking into a German near Currumbin, Australia at 10 years of age. Right-hand rip banks at Bondi on a coolite surfboard (https://eos.surf/entries/coolite/) . Dead friends and absence of control when he was a kid and surfing at South Head, Sydney. Surf trips to Bali, Hawaii and getting Malaria in Indonesia. 11:30 Webber Wave Pools Thinking about wave machines and a video from a U.S. University kicked off the idea of getting a patent for his creations. Greg talks about patents and patent law and hints at his tussle with Kelly Slater. Webber Wave Pool's three different wave solutions: wave system, v-reef, v-wall. Greg quickly mentions Penrith Wave Pool. Ocean Sports Development (http://oceansportsdevelopment.com/) (Anthony Brown) is discussed in more detail. They have three projects, one of which is in Orlando, Florida hopefully breaking ground in January 2020. 40 wave pools from all wave tech makers by 2025. He talks about conical tubes and the foam ball itself. Cheaper wave pools will make them much more accessible and expand the sport a lot more. Webber wave pools create a Kelvin wake (https://en.wikipedia.org/wiki/Wake) similar to the wave behind a boat. V-Reefs at Triggs Beach near Perth, Australia and the benefits of V-reefs. An aside about "New Sarcasm" (https://kurungabaa.wordpress.com/2010/09/07/critic-at-large-the-new-sarcasm-by-nick-carroll-plus-response-by-mike-mantalos/) article. Back to V-reefs and how they fit into the bigger picture of floating cities which is a real thing. Oceanix (https://oceanix.org/) is spearheading the drive. The profit involved for developers in V-reefs and how they impact the property price of beachfront developments. An oversupply of waves... Greg mentions Tom Blake (https://eos.surf/entries/blake-tom/)

Nick Handley was able to catch up with Elkhorn South Head Coach Guy Rosenberg to talk about his team as they prepare for a big game against Omaha Westside.

It's the Christmas Special of The Sailing Rode Podcast and our gift to you is a collection of Christmas sailing stories. You can also listen to the show by searching for The Sailing Rode on iTunes Podcasts or at the following links: iPhone iTunes link Android Stitcher link Intro Chat Check out our Facebook page for pictures of us and the boat in the holiday boat parade Here is the Dude Ranch we are taking the boat to for our New Year Celebration Another great last minute Christmas Gift is the Audio Sailing Lessons from our friend Franz at The Sailing the Mediterranean Podcast.  Franz also created ASA101, ASA103 & ASA104 lessons, that can be downloaded instantly.  Click here to see all of the ASA lesson packages Send us your sailing Christmas stories and we can start preparing for next year!  Also send us pictures of your boat decorated up for Christmas.  Crew@TheSailingRode.com   Christmas Sailing Stories   Santa / St. Nicolas Sailing Story   I Saw Three Ships Come Sailing In  Thank you to  Matt Norris & The Moon for allowing us to play their version on the show.  Check out and buy their music. Christmas at Sea by Robert Louis Stevenson Thank you to Tom Lewis for allowing us to play his song of the poem on the show.  Check out and buy his music here. Christmas at Sea The sheets were frozen hard, and they cut the naked hand; The decks were like a slide, where a seaman scarce could stand; The wind was a nor'wester, blowing squally off the sea; And cliffs and spouting breakers were the only things a-lee. They heard the surf a-roaring before the break of day; But 'twas only with the peep of light we saw how ill we lay. We tumbled every hand on deck instanter, with a shout, And we gave her the maintops'l, and stood by to go about. Advertisement All day we tacked and tacked between the South Head and the North; All day we hauled the frozen sheets, and got no further forth; All day as cold as charity, in bitter pain and dread, For very life and nature we tacked from head to head. We gave the South a wider berth, for there the tide race roared; But every tack we made we brought the North Head close aboard: So's we saw the cliffs and houses, and the breakers running high, And the coastguard in his garden, with his glass against his eye. The frost was on the village roofs as white as ocean foam; The good red fires were burning bright in every 'long-shore home; The windows sparkled clear, and the chimneys volleyed out; And I vow we sniffed the victuals as the vessel went about. The bells upon the church were rung with a mighty jovial cheer; For it's just that I should tell you how (of all days in the year) This day of our adversity was blessèd Christmas morn, And the house above the coastguard's was the house where I was born. O well I saw the pleasant room, the pleasant faces there, My mother's silver spectacles, my father's silver hair; And well I saw the firelight, like a flight of homely elves, Go dancing round the china plates that stand upon the shelves. And well I knew the talk they had, the talk that was of me, Of the shadow on the household and the son that went to sea; And O the wicked fool I seemed, in every kind of way, To be here and hauling frozen ropes on blessèd Christmas Day. They lit the high sea-light, and the dark began to fall. 'All hands to loose top gallant sails,' I heard the captain call. 'By the Lord, she'll never stand it,' our first mate, Jackson, cried. … 'It's the one way or the other, Mr. Jackson,' he replied. She staggered to her bearings, but the sails were new and good, And the ship smelt up to windward just as though she understood. As the winter's day was ending, in the entry of the night, We cleared the weary headland, and passed below the light. And they heaved a mighty breath, every soul on board but me, As they saw her nose again pointing handsome out to sea; But all that I could think of, in the darkness and the cold, Was just that I was leaving home and my folks were growing old.   Jeremy Brown and Jeannie Teal by Gordon Bok- Buy it on Amazon or join Amazon Prime and listen to it via Prime Music streaming: Join Amazon Prime Music - The Only Music Streaming Service with Free 2-day Shipping - 30-day Free Trial Try Amazon Prime 30-Day Free Trial, Get Free 2 day Shipping and Watch Thousands of Movies and TV Shows, also includes Amazon Music Streaming Shop Amazon - Give the Gift of Amazon Prime to Fellow Sailor Please help us Support Podcast We need your help to spread the word about the Podcast.  Please share the podcast with your sailing & cruising friends and ask them to subscribe on iTunes or Stitcher.  You can send them these links: iPhone iTunes link: https://itunes.apple.com/us/podcast/the-sailing-rode/id1033604152 Android Stitcher link: http://www.stitcher.com/podcast/the-sailing-rode It also helps when you share the podcast links on social media and sailing forums. Patreon If you enjoy the podcast, you can also support us on our Patreon site and get some special rewards. Check it out at this link: https://www.patreon.com/TheSailingRode How it works:  Patreon is designed for content creators, like us.  We make podcasts and videos about sailing and you can help support our creations by signing up for a small fee per podcast.  You can set a maximum monthly amount so if we release a lot of podcasts in one month, you still only pay your maximum amount.  It is kind of like giving us a tip or buying us a drink after a good show. Amazon Store Please use our Amazon Affiliate link for anything you buy on Amazon or look at over 90 items we have in our TSR Amazon store.  We use all the items on our boat and include notes of why we like them.  We also added over 40 sailing and cruising books we recommend.  You pay the same low Amazon price and we get a small commission. Please like or follow us on Youtube, Facebook, Twitter, and Instagram  We will follow you too! Send us your feedback on the show and any show topic ideas to Crew@TheSailingRode.com We wish you fair winds and hope to see you on the water soon. Thanks for listening!   –  Steve & Brandy The Sailing Rode Sailing Podcast Music Credits:   Santa Claus is coming to town 2.0(Ska One man band cover) by Skafur is licensed under a Creative Commons   I Saw Three Ships - Music ⓒ - Audionautix O Christmas Tree (O Tannembaum) by Juan Pablo Bello is licensed under a Creative Commons Licence.  

John Eyre (print after) Walter Preston (engraver) Absalom West (publisher), Port Jackson Harbour, in New South Wales: with a distant view of the Blue Mountains. Taken from South Head 1812 from Views in New South Wales, Sydney: West, 1812–14. Engraving, printed in black ink, from one copper plate, on paper, 22.2 x 37.9 cm (printed image), 27.4 x 40.5 cm (plate-mark). Purchased 2005.

'Sydney Heads', the only known Sydney subject by the artist, is a product of von Guérard's first and only excursion into New South Wales in November 1859, when he visited Sydney, the Blue Mountains and the Illawarra region. The painting was worked up in his studio in Melbourne six years later, most likely on the basis of a preparatory drawing now in the State Library of New South Wales, Sydney. Von Guérard's atmospheric rendering of this light-filled scene, together with his sensitive and precise depiction of topographical detail and human activity within a tightly controlled composition, makes 'Sydney Heads' one of his finest paintings. Von Guérard reverted to the composition of the drawing in his 1865 painting of the view - flattening the foreground slope and decreasing the North/South breadth of the Harbour and scale of the hills beyond Manly to increase a sense of space and grandeur. Addition of a tree to the left of Vaucluse Bay provided a picturesque framing device, whilst he also transformed the rough heathland of his 1860 painting to elegantly grassed slopes - perhaps to appeal to a contemporary preference for countryside of a more tamed, European appearance. Details such as the group of figures around a fire at right, added foreground interest - improving the overall balance of the composition. He bathed the scene with the rose-tinted light of late afternoon, clearly intending an altogether more luminous and poetic impression than in his painting of 1860. Von Guérard's painting, 'Sydney Heads' 1865, with its combination of elevated sentiment and remote and wild, yet partly civilised subject, relates to both homestead portraits and wilderness views in his oeuvre. As such the work takes its place within a wider international context of European artistic engagement with newly colonised lands, finding particular parallels for example with the contemporaneous work of the 'Hudson River School' artists in America. As Joan Kerr, Australian colonial art historian, comments in the catalogue to The Artist and the patron exhibition (1988), picturing the harbour 'was an almost obligatory subject for amateur and professional alike…This was not only "the most beautiful harbour in the world" it was the first sight of the new land for many arrivals and the first step towards regaining the ancestral home for many departures'. In Eugene von Guérard's 'Australian Landscapes', containing twenty four colour lithographs of landscape views (published by Hamal and Ferguson, c.1867 - 68), plate XXII 'Sydney Heads, New South Wales' is described thus; 'From the summit of a knoll on the roadside from Sydney to the narrow promontory known as the South Head, is visible the lovely prospect depicted by our artist ... The road to the South Head is deservedly a favourite drive with the inhabitants of Sydney, and the stranger passing over it for the first time experiences a succession of demands upon his admiration, as each bend in the road discloses to him some new combination of sea and shore and sky, each lovelier than the last'. The various extant versions of the painting and the lithograph which was the last work to be completed of the subject by von Guérard, offer a number of interpretations of the pencil drawing. Focusing on what has been described as one of several classic views encompassing Sydney Harbour's quintessential qualities, and painted by innumerable artists, von Guérard's 'Sydney Heads' depicts a broad sweep of landscape from Vaucluse Bay on the left to Watson's Bay and Sydney Heads at the right, with the road to the South Head in the foreground. Despite partial screening by vegetation and buildings, the accuracy of his transcription of the view may be confirmed today from the vicinity of 'Johnston's Lookout' in Vaucluse, the probable viewpoint for the artist's preparatory drawing. However, whilst clearly concerned with accurately and informatively depicting a view already well known for its 'picturesque' synthesis of grandeur and beauty, von Guérard also aimed to transcend mere topography. Von Guérard scholar Candice Bruce suggests that during the artist's training at the Kunstakademie in Dusseldorf (c.1839 - c.1846) he probably saw the work of the principal German Romantic painter Caspar David Friedrich, whose style and mood his work later evoked, and became familiar with treatises by the main exponents of German Romanticism, Carl Gustav Carus (1789-1869) and 'Novalis' [dates]. The influence of von Guérard's earlier teacher in Rome, Giovannibattista Bassi - who taught in the traditions of Salvator Rosa, Poussin and Claude - also encouraged an interest in concepts of 'the sublime' and 'the picturesque' in art. In the newly established landscape class at the Academy, von Guérard was encouraged to go on long sketching trips in pursuit of the new naturalism or 'Naturegetreue wiedergabe' (a response true to nature). For the German Romantic landscape painter, each painting was an 'Erdlebensbildnis' or painting of the life of the earth, in which a focus on the microcosmic details of nature led to an awareness of the macrocosmic presence of the soul of the world. No detail was inessential. Hence von Guérard's attention to detail, visible particularly in the painting of the foreground trees and shrubs, which was typical of his practice, and demonstrated the specific influence of the German 'Nazarene' painters with whom he had also enjoyed some contact in Rome. A key belief of the German Romantic painters was that painting should be an expression of personal insight into the divine qualities perceived in nature. In 'Sydney Heads', von Guérard celebrated with semi-religious reverence, the sublime beauty of the scene. Selecting an elevated viewpoint affording a panorama of the harbour and its surrounds, the artist aimed to inspire a sense of awe and wonder in the viewer by accentuating the vastness of the sky and by implication, suggesting the great expanses of the world beyond. [Helen Campbell, 'Eugene von Guérard - Sydney Heads 1865', Australian Collection Focus Series, AGNSW, 1999]

'Sydney Heads', the only known Sydney subject by the artist, is a product of von Guérard's first and only excursion into New South Wales in November 1859, when he visited Sydney, the Blue Mountains and the Illawarra region. The painting was worked up in his studio in Melbourne six years later, most likely on the basis of a preparatory drawing now in the State Library of New South Wales, Sydney. Von Guérard's atmospheric rendering of this light-filled scene, together with his sensitive and precise depiction of topographical detail and human activity within a tightly controlled composition, makes 'Sydney Heads' one of his finest paintings. Von Guérard reverted to the composition of the drawing in his 1865 painting of the view - flattening the foreground slope and decreasing the North/South breadth of the Harbour and scale of the hills beyond Manly to increase a sense of space and grandeur. Addition of a tree to the left of Vaucluse Bay provided a picturesque framing device, whilst he also transformed the rough heathland of his 1860 painting to elegantly grassed slopes - perhaps to appeal to a contemporary preference for countryside of a more tamed, European appearance. Details such as the group of figures around a fire at right, added foreground interest - improving the overall balance of the composition. He bathed the scene with the rose-tinted light of late afternoon, clearly intending an altogether more luminous and poetic impression than in his painting of 1860. Von Guérard's painting, 'Sydney Heads' 1865, with its combination of elevated sentiment and remote and wild, yet partly civilised subject, relates to both homestead portraits and wilderness views in his oeuvre. As such the work takes its place within a wider international context of European artistic engagement with newly colonised lands, finding particular parallels for example with the contemporaneous work of the 'Hudson River School' artists in America. As Joan Kerr, Australian colonial art historian, comments in the catalogue to The Artist and the patron exhibition (1988), picturing the harbour 'was an almost obligatory subject for amateur and professional alike…This was not only "the most beautiful harbour in the world" it was the first sight of the new land for many arrivals and the first step towards regaining the ancestral home for many departures'. In Eugene von Guérard's 'Australian Landscapes', containing twenty four colour lithographs of landscape views (published by Hamal and Ferguson, c.1867 - 68), plate XXII 'Sydney Heads, New South Wales' is described thus; 'From the summit of a knoll on the roadside from Sydney to the narrow promontory known as the South Head, is visible the lovely prospect depicted by our artist ... The road to the South Head is deservedly a favourite drive with the inhabitants of Sydney, and the stranger passing over it for the first time experiences a succession of demands upon his admiration, as each bend in the road discloses to him some new combination of sea and shore and sky, each lovelier than the last'. The various extant versions of the painting and the lithograph which was the last work to be completed of the subject by von Guérard, offer a number of interpretations of the pencil drawing. Focusing on what has been described as one of several classic views encompassing Sydney Harbour's quintessential qualities, and painted by innumerable artists, von Guérard's 'Sydney Heads' depicts a broad sweep of landscape from Vaucluse Bay on the left to Watson's Bay and Sydney Heads at the right, with the road to the South Head in the foreground. Despite partial screening by vegetation and buildings, the accuracy of his transcription of the view may be confirmed today from the vicinity of 'Johnston's Lookout' in Vaucluse, the probable viewpoint for the artist's preparatory drawing. However, whilst clearly concerned with accurately and informatively depicting a view already well known for its 'picturesque' synthesis of grandeur and beauty, von Guérard also aimed to transcend mere topography. Von Guérard scholar Candice Bruce suggests that during the artist's training at the Kunstakademie in Dusseldorf (c.1839 - c.1846) he probably saw the work of the principal German Romantic painter Caspar David Friedrich, whose style and mood his work later evoked, and became familiar with treatises by the main exponents of German Romanticism, Carl Gustav Carus (1789-1869) and 'Novalis' [dates]. The influence of von Guérard's earlier teacher in Rome, Giovannibattista Bassi - who taught in the traditions of Salvator Rosa, Poussin and Claude - also encouraged an interest in concepts of 'the sublime' and 'the picturesque' in art. In the newly established landscape class at the Academy, von Guérard was encouraged to go on long sketching trips in pursuit of the new naturalism or 'Naturegetreue wiedergabe' (a response true to nature). For the German Romantic landscape painter, each painting was an 'Erdlebensbildnis' or painting of the life of the earth, in which a focus on the microcosmic details of nature led to an awareness of the macrocosmic presence of the soul of the world. No detail was inessential. Hence von Guérard's attention to detail, visible particularly in the painting of the foreground trees and shrubs, which was typical of his practice, and demonstrated the specific influence of the German 'Nazarene' painters with whom he had also enjoyed some contact in Rome. A key belief of the German Romantic painters was that painting should be an expression of personal insight into the divine qualities perceived in nature. In 'Sydney Heads', von Guérard celebrated with semi-religious reverence, the sublime beauty of the scene. Selecting an elevated viewpoint affording a panorama of the harbour and its surrounds, the artist aimed to inspire a sense of awe and wonder in the viewer by accentuating the vastness of the sky and by implication, suggesting the great expanses of the world beyond. [Helen Campbell, 'Eugene von Guérard - Sydney Heads 1865', Australian Collection Focus Series, AGNSW, 1999]

'Sydney Heads', the only known Sydney subject by the artist, is a product of von Guérard's first and only excursion into New South Wales in November 1859, when he visited Sydney, the Blue Mountains and the Illawarra region. The painting was worked up in his studio in Melbourne six years later, most likely on the basis of a preparatory drawing now in the State Library of New South Wales, Sydney. Von Guérard's atmospheric rendering of this light-filled scene, together with his sensitive and precise depiction of topographical detail and human activity within a tightly controlled composition, makes 'Sydney Heads' one of his finest paintings. Von Guérard reverted to the composition of the drawing in his 1865 painting of the view - flattening the foreground slope and decreasing the North/South breadth of the Harbour and scale of the hills beyond Manly to increase a sense of space and grandeur. Addition of a tree to the left of Vaucluse Bay provided a picturesque framing device, whilst he also transformed the rough heathland of his 1860 painting to elegantly grassed slopes - perhaps to appeal to a contemporary preference for countryside of a more tamed, European appearance. Details such as the group of figures around a fire at right, added foreground interest - improving the overall balance of the composition. He bathed the scene with the rose-tinted light of late afternoon, clearly intending an altogether more luminous and poetic impression than in his painting of 1860. Von Guérard's painting, 'Sydney Heads' 1865, with its combination of elevated sentiment and remote and wild, yet partly civilised subject, relates to both homestead portraits and wilderness views in his oeuvre. As such the work takes its place within a wider international context of European artistic engagement with newly colonised lands, finding particular parallels for example with the contemporaneous work of the 'Hudson River School' artists in America. As Joan Kerr, Australian colonial art historian, comments in the catalogue to The Artist and the patron exhibition (1988), picturing the harbour 'was an almost obligatory subject for amateur and professional alike…This was not only "the most beautiful harbour in the world" it was the first sight of the new land for many arrivals and the first step towards regaining the ancestral home for many departures'. In Eugene von Guérard's 'Australian Landscapes', containing twenty four colour lithographs of landscape views (published by Hamal and Ferguson, c.1867 - 68), plate XXII 'Sydney Heads, New South Wales' is described thus; 'From the summit of a knoll on the roadside from Sydney to the narrow promontory known as the South Head, is visible the lovely prospect depicted by our artist ... The road to the South Head is deservedly a favourite drive with the inhabitants of Sydney, and the stranger passing over it for the first time experiences a succession of demands upon his admiration, as each bend in the road discloses to him some new combination of sea and shore and sky, each lovelier than the last'. The various extant versions of the painting and the lithograph which was the last work to be completed of the subject by von Guérard, offer a number of interpretations of the pencil drawing. Focusing on what has been described as one of several classic views encompassing Sydney Harbour's quintessential qualities, and painted by innumerable artists, von Guérard's 'Sydney Heads' depicts a broad sweep of landscape from Vaucluse Bay on the left to Watson's Bay and Sydney Heads at the right, with the road to the South Head in the foreground. Despite partial screening by vegetation and buildings, the accuracy of his transcription of the view may be confirmed today from the vicinity of 'Johnston's Lookout' in Vaucluse, the probable viewpoint for the artist's preparatory drawing. However, whilst clearly concerned with accurately and informatively depicting a view already well known for its 'picturesque' synthesis of grandeur and beauty, von Guérard also aimed to transcend mere topography. Von Guérard scholar Candice Bruce suggests that during the artist's training at the Kunstakademie in Dusseldorf (c.1839 - c.1846) he probably saw the work of the principal German Romantic painter Caspar David Friedrich, whose style and mood his work later evoked, and became familiar with treatises by the main exponents of German Romanticism, Carl Gustav Carus (1789-1869) and 'Novalis' [dates]. The influence of von Guérard's earlier teacher in Rome, Giovannibattista Bassi - who taught in the traditions of Salvator Rosa, Poussin and Claude - also encouraged an interest in concepts of 'the sublime' and 'the picturesque' in art. In the newly established landscape class at the Academy, von Guérard was encouraged to go on long sketching trips in pursuit of the new naturalism or 'Naturegetreue wiedergabe' (a response true to nature). For the German Romantic landscape painter, each painting was an 'Erdlebensbildnis' or painting of the life of the earth, in which a focus on the microcosmic details of nature led to an awareness of the macrocosmic presence of the soul of the world. No detail was inessential. Hence von Guérard's attention to detail, visible particularly in the painting of the foreground trees and shrubs, which was typical of his practice, and demonstrated the specific influence of the German 'Nazarene' painters with whom he had also enjoyed some contact in Rome. A key belief of the German Romantic painters was that painting should be an expression of personal insight into the divine qualities perceived in nature. In 'Sydney Heads', von Guérard celebrated with semi-religious reverence, the sublime beauty of the scene. Selecting an elevated viewpoint affording a panorama of the harbour and its surrounds, the artist aimed to inspire a sense of awe and wonder in the viewer by accentuating the vastness of the sky and by implication, suggesting the great expanses of the world beyond. [Helen Campbell, 'Eugene von Guérard - Sydney Heads 1865', Australian Collection Focus Series, AGNSW, 1999]