View allAll Photos Tagged Abstracted
One of a photo collection taken at the Pima Air & Space Museum in Tucson, Ariznoa. They have an amazing collection, and a friendly and knowledgeable staff. We had a great day there with the whole family. The kids love it… and so do the grown-ups. I had not been since I was a child… anyway. I hope you enjoy the image.
Abstracted Nude 2
by Koola Adams
Cubist Style Nude painting. Acrylic inks on paper. 30cm x 40cm
Based on the Modernists of the early 20th century, this painting epitomizes the Cubist style. Picasso and his contemporaries such as Braque, Modigliani and Giacometti have always been an rich source of inspiration not only through their use of dynamic forms and figurative representations but also the drama that exuded their art.
Frame and mount not included
Copyright reserved by the artist.
www.contemporary-artists.co.uk/paintings/abstracted-nude-2/
Contemporary Artists
My second choice of Award Badge for the HYPOTHETICAL AWARDS Urban Challenge.....featuring Urban building styles named after art movements...such as Gothic or Deco for example...can be abstracted
Put 3 sizes up to give a better idea
.just thought it might be a bit blurry for a Challenge icon when reduced to small but OK bigger
thanks for looking in.....appreciated....best bigger....hope you have a Great Sunday
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My Novel Unforgettable'
(This book is Dedicated to the future artist.)
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
Kei’s eyes finally rested on Kaori as red neon ran
on his forehead. Kei was dead drunk and abstracted
for a while, looking down at the lights and the
crowd of the town that came and went in silent. His
glance was too uncertain to trace slowly tracks of
stains on the old wall, not turned on Kaori.
Kaori was staring at Kei with steady eyes. The look
was like probing into Kei’s absent-mind to find out
what he was thinking. A long silence which did not
seem to melt for a long time continued for a while.
Kaori looked away from Kei and took a sip of
cocktail. Then Kaori said with a steady smile.
"Well, I feel like I’ve been alone here."
"I'm sorry…."
“I thought you are such a boy.”
"Such a boy? Might be right. I’m six years
younger than you.”
Kaori said once again with a smile, collecting
herself.
"Do you like drawing?”
“How about you? You smile naturally at a guy
pointing his camera at you?”
Kaori stopped smiling and bit her lower lip. She
gave a sulky face and her cheeks stiffened. After
taking a big deep breath, she looked at the intricate
illumination again. Any color shone clearly over
the white, clear, softly- swollen cheeks.
"I ...wanted to know music more."
"That's all." she added, and took a black hemp
jacket on the back of a chair. After she suddenly
stood up, a series of the high sound of high heels
was heard twice in Kei's ears.
Kaori passed through at a quick pace between
crowded tables. A couple at a table near the exit
looked back to see how things go when Kaori was
paying the bill. Kei ran after Kaori ignoring their
eyes.
The lukewarm chill hung in the air at the narrow
landing of the building. Kaori was looking up a
lamp of a descending elevator silently, with only
her eyes turned up. Kei blocked Kaori’s way in a
fluster.
“Sorry, I apologize. Today is the first time I met
you.…”
"You don’t to have to."
“Oh, I almost forgot …..” Kaori said, and opened
her handbag. Several paperbacks without the book
jackets and a white vanity bag were casually thrown
in it.
"This is for you.”
It was “The Stranger” by Camus. The color of the
cover has faded out to yellow. It was a book Kei
had finished reading it at 15 during the summer
vacation. Kei received it behind him and stuck it
into a pocket of 501 jeans. Then he got aggressive,
stepping back to avoid a door which was open.
"Hey, I am not Meursault.”
“Oh, you know him? As I thought, you are a good
reader. A painter knows everything?”
Kaori said so without giving eyes to Kei and looked
at the lights through the window. He always felt
that the lights in Shibuya is somewhat different
from Shinjyuku, perhaps a kind of different colors
are mixed with the lights in Shibuya. After Kei
looked at Kaori’s suit appearance again, he cast his
eyes down to the 501 jeans and the dirty Converse
sneakers. Obviously there was no point of contact
between Kaori and Kei. It is very hard to find
things in common. I am totally different creature,
different from those who enjoy drinking at a cozy
bar. Kei heaved a deep sigh to himself and looked
at Kaori who fell silent.
Kaori's forelock swayed feebly while going down
stairs. Her precocious look or manner that existed a
little while ago had disappeared completely. Kei
stared her in the profile. The surface of black pupil
swells with the thin transparent film, and the lights
of the town, which were inhaled, wavers dimly in
the back of her eyes. Kei's back was stuck out hard.
Kei tried to touch the tip of her finger which turned
white gripping the handrail hard. But he suddenly
stopped it. Kaori's lip was thinly open.
"You don't understand anything … But you are
saucy as if you know everything … you made me
wait for 30 minutes and … You don’t think about
how I felt when I came here, not even trying to
think … Get me irritated …Really disgusting!"
Kaori's lip trembled feebly. She turned round
slowly and hold Kei's chin up. The line of shredded
tears thinly extended over Kaori's cheeks. The
lights of Shibuya break lengthwise and flow over
her shaking hair. Kaori's muffled breath fell over
Kei's eyelid and stayed in his chest through her lips,
and a silence followed.
Her tears looked so sweet. The lines of lights fly up,
overlapping each other and fluttering over her
trembling hair.
Kaori slowly kept Kei's shoulder from her and
wiped tears with the back of her hand. She looked
like an innocent girl who has no cares.
“I just wanted to meet you. To know more about
you.”
“Why so much?"
"Ｗhy? You need such a reason?"
Kaori said after she breathed hard and took heart.
“Well, maybe, a guy of your age could not
understand words. Let me take to your room.”
Kei's room was on a small hill where you could
look down over Shinjyuku. A signboard of the
food company was still put inclined on the entrance
of Kei’s room which had remodeled an old
warehouse, and the iron plate was rust-colored in
parts.
Kei repainted the building all white with his father's
mediation. The building had been used as the
warehouse of a family restaurant, the subsidiary of
the company his father was working for. Therefore,
it was almost like a shelf, not the kitchen and there
were just one naked gas stove, a small kettle, and a
cheap frying-pan made in France. There was no
bathtub in a shower room, and a simple washroom
and a lavatory were installed.
Kaori came to the room dubiously seeing the
building, and kissed Kei lightly when the door
closed. After that, she stepped and entered the back
of the room at once. Kaori told Kei to turn on the
light, laughing in the high voice as an old board
creaked.
The room with the full light echoed with Kaori’s
alluring voice. As it was a warehouse, the ceiling is
far higher and wider than that in a standard
apartment. In the left side of the room, there is a
white bed which Kei painted and a wooden white
desk picked up at the garbage space. All these
looked small in the spacious room. The full wall on
the right side was buried to a ceiling with record
racks. The wall of several thousand records looked
down at Kaori.
Kaori approached slowly and traced it putting up
her index finger. Every time they walked, the
flooring creaked and made a small sound.
"How many you‘ve got?"
"Don’t know.”
Kei went to the kitchen at the corner of the room
through the living room, and poured water into a
kettle and put it on the stove.
"Can I pull out one piece?”
"Be sure to give it back.”
It was “Blue” by Joni Mitchell that Kaori pulled
out. It is an album Kei hated. Kaori turned the
jacket over, and ran her eyes over English letters on
it for a while. Then she pulled out the record from
the back. Kei’s sketch made a light sound at the
same time and fell down. It was a small scrap of a
memo pad covered with dust for a long time on his
father's desk.
"Your sketch?"
Kei nodded pouring the hot water into a cup. Kaori
took a sip of coffee passed by Kei and put the cup
on a small table at the center. Then she came near
to the record rack again and pulled out politely one
by one, and displayed every piece on the floor.
Kaori asked Kei arranging them.
"There are sketches in these?"
"Maybe."
"All of them?
Kaori stopped arranging them and turned around to
Kei. Kei nodded, putting his mouth to the lip of the
cup.
"Can I look at the sketches?”
"I f I say “No”, you would stop?”
Kaori put her heels at the wall and said, dropping
her shoulders. Her small feet which are contrary to
her height looked sweet to Kei.
"Why do you always fly at me?”
"Be sure to get them back."
Kaori politely pulled out the sketches from the
records laid out in the endmost line at the window,
pointing the lips, and put them on the jackets. Kaori
returned to the center of the room, repeating the
action, and looked at the spread sketches slowly.
The sketches were copies of the jackets. Some of
them were on scraps of a notebook, the back of a
leaflet, and the one drown on a scrap of a direct
mail that came to his parents’ place. Though the
qualities, the color, the size of paper varied, they
were well-balanced with his light touch of pencil.
When viewed from a distance, they looked a huge
work which could be displayed casually at the
entrance of a gallery where young people often
visit.
Kaori undid the knees she hold on the floor, and
leaked the voice of admiration. She took a cup in
both hands.
“Wow! That’s great! But, it seems to go beyond
just a copy of the jacket.”
“Actually a music jacket is made by a designer.
That means artist's intention does not exist. So, if I
revise the album as the record jacket, I would draw
in that way. I just wanted to show how I draw.
Lights go through a window pane and shone on the
room. John Lennon is facing the piano in a poster
with a paper tape peeled off. Kei was enchanted by
his singing posture in a monochrome.
Kei was gazing the poster for a while, and his knee
suddenly got warm. He felt Kaori's right hand. She
dropped words, looking at the spread jackets dimly
without seeing Kei.
“But.....Why?”
Kei watched Kaori whose voice sounded heavy. A
light shadow fell on her cheek.
"All pictures of women in the jackets are their
profiles.”
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My Novel >> Unforgettable'
(This book is Dedicated to the future artist.)
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
There are two reasons why a person faces the sea.
One, to enjoy a slice of shine in the sea like children bubbling over in the beach.
The other, to brush the dust of memory like an old man who misses old days, staring at the shine
quietly.
Those lead to only one meaning though they do not seem to overlap. It’s a rebirth.
I face myself to change tomorrow, a vague day into something certain.
That is the meaning of a rebirth.
I had a very sweet girlfriend when I was 18.
After she left, I knew the meaning of gentleness for the first time and also a true pain of loss. After
she left, how many times did I depend too much on her, doubt her, envy her and keep on telling lies
until I realized it is love?
I wonder whether a nobody like me could have given something to her who was struggling in the
daily life in those days. Giving something is arrogant conceit. It is nothing but self-satisfaction.
I had been thinking about such a thing.
However, I guess what she saw in me was because I had nothing. That‘s why she tried to see
something in me. Perhaps she found a slight possibility in me, a guy filled with ambiguous, unstable
tomorrow. But I wasted days depending too much on her gentleness.
Now I finally can convey how I felt in those days when we met.
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Fin.
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
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Profile.
In November 2014, we caught the attention of the party selected to undertake the publicity for a mobile phone that changed the face of the world with just a single model, and will conclude a confidentiality agreement with them.
steal-a.way-nifty.com/stealaway/2015/03/profile-march20.html
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Abstracted view at the end of a whacky week. Black swans and pelicans dropping in for the night form the backdrop with soft waterfowl sounds whooping and bopping across the lake.
Cow Green Reservoir is a 2-mile (3 km) long water reservoir forming part of the border between the historic counties of Westmorland and County Durham in northern England, built between 1967 and 1971 to supply the industries of Teesside.
The reservoir acts as a river regulation reservoir releasing water into the River Tees during dry conditions so that it can be abstracted further downstream. These regulated flows allow six further reservoir levels to be maintained and these in turn provide water for industry and domestic use.
Environmentally, this part of Upper Teesdale is of national importance and the plan to construct this reservoir had been strongly opposed by local conservationists, professional botanists and geologists, including botanist Margaret E. Bradshaw. Their main concern was the protection of the rich flora and fauna of the district and especially rare alpine plants like the unique Teesdale violet. In the end, about a tenth of this plant's habitat was destroyed by the completion of the reservoir. The remaining area was designated the Moor House-Upper Teesdale National Nature Reserve in 1969, from what was previously two separate nature reserves and is England's largest reserve of this type.
The reservoir's southern end, viewed from the dam
The reservoir lies within the North Pennines Area of Outstanding Natural Beauty and European Geopark. The North Pennines was designated as an AONB in 1988 and became Britain's first European Geopark in 2004.
A short distance downstream from the dam is Cauldron Snout waterfall.
Cow Green Reservoir is also the largest reserve of wild brown trout in the North East. Fishing is permitted at the rate of twelve fish per day per person.
The North Pennines is the northernmost section of the Pennine range of hills which runs north–south through northern England. It lies between Carlisle to the west and Darlington to the east. It is bounded to the north by the Tyne Valley and to the south by the Stainmore Gap.
Overview
The North Pennines was designated as an Area of Outstanding Natural Beauty (AONB) in 1988 for its moorland scenery, the product of centuries of farming and lead-mining, and is also a UNESCO Global Geopark. At almost 770 square miles (2,000 km2), it is the second largest of the 49 AONBs in the United Kingdom. The landscape of the North Pennines AONB is one of open heather moors between deep dales, upland rivers, hay meadows and stone-built villages, some of which contain the legacies of a mining and industrial past. The area has previously been mined and quarried for minerals such as barytes, coal fluorspar, iron, lead, witherite and zinc.
Geology
The North Pennines are formed from a succession largely of sedimentary rocks laid down during the Palaeozoic era, later intruded by the Whin Sill and affected by glaciation during the Quaternary period.
Mud and volcanic ash deposited during the Ordovician and Silurian periods were buried and subsequently faulted and folded during the Caledonian orogeny, the mudstone becoming slaty. These rocks which are between 500 and 420 million years old are now exposed along the great scarp which defines the western edge of the area and also in an inlier in upper Teesdale. Unseen at the surface but proved in boreholes is the Weardale Granite, a batholith emplaced as molten rock into the slates and other rocks around 400 million years ago. Its presence beneath the region results in it being an upland area since granite is relatively less dense and therefore ‘buoys up’ the North Pennines. This uplifted area is known as the Alston Block and is partly defined by major faults; the Stublick and Ninety-Fathom faults to the north and the Pennine Fault to the west. To the south is the Stainmore Trough.
Overlying the early Palaeozoic rocks and granite are a succession of limestones, shales and mudstones dating from the Carboniferous period. At this time the part of the Earth’s crust which would later become England lay in the equatorial zone and was covered from time to time by shallow tropical seas. Repeated cycles of inundation led to the development of a series of cyclothems; the laying down of layers of limestone, shale and sandstone with occasional coal seams.
Shortly afterwards, (c. 295 million years ago) molten rock once again intruded the sedimentary succession, this time resulting in the emplacement of the doleritic Whin Sill within the Carboniferous sequence. Known as whinstone locally, it baked the rocks with which it came into contact, resulting in the Sugar Limestone found in upper Teesdale. Cooling of the sill itself resulted in the formation of columnar joints, characteristic of its outcrop at places like High Cup. The sill has been dated at between 301 and 294 million years old thus straddling the Carboniferous/Permian boundary.
Around the start of the Permian period, about 290 million years ago, mineral-rich waters, associated with the still warm granite, circulated within the Carboniferous succession and gave rise to mineral-rich veins which have formed the basis of a lead mining industry since at least Roman times.
During the rest of this period and into the Triassic at the start of the Mesozoic era, desert sands characterised the area; these are now seen as the New Red Sandstone of the Vale of Eden, the eastern parts of which form the lower slopes of the Pennine scarp and are within the AONB. There is no bedrock of younger age to be found within the North Pennines; for much of the time since the deposition of the Triassic sandstones, it is likely the area was above sea level and subject to erosion.
A series of major global climate cycles during the current Quaternary period resulted in a series of ice ages, evidence for the last ice age is found within the North Pennines both in term of erosional and depositional features. Glacial till is widespread and drumlin are encountered, both indicative of the presence of moving ice within the landscape. It may be that some higher ground was not over-ridden by ice but remained exposed through subject to harsh climatic conditions. Glacial meltwater carved channels and rivers have continued to shape the landscape in the post-glacial era.
Economy
Besides farming, mining and quarrying have been a mainstay of the local economy over centuries. In 2013, a Canadian mining company were allowed to test drill for zinc around Allenheads and Nenthead. They said the region was sitting on a "world-class" deposit of zinc and predicted that a new mine in the area could produce 1,000,000 tonnes (980,000 long tons; 1,100,000 short tons) of zinc ore per year.
Natural history
In the North Pennines are: 40% of the UK's upland hay meadows; 30% of England's upland heathland and 27% of its blanket bog; 80% of England's black grouse (and also breeding short-eared owl, ring ouzel, common snipe and common redshank); 36% of the AONB designated as Sites of Special Scientific Interest; red squirrels, otters and rare arctic alpine plants; 22,000 pairs of breeding waders and one of England's biggest waterfalls – High Force. The area shares a boundary with the Yorkshire Dales National Park in the south and extends as far as the Tyne Valley, just south of Hadrian's Wall in the north.
The AONB is notable for rare flora and fauna, including wild alpine plants not found elsewhere in Britain. It is also home to red squirrels and diverse birds of prey. The impressive landscape of the North Pennines – from High Force on the River Tees to the sweeping valley of High Cup Gill above Dufton – are the product of millions of years of geological processes. The worldwide significance of the geology found in the area was recognised in 2003 when the AONB became Britain's first European Geopark. A year later the area become one of the founding members of the UNESCO-assisted Global Geopark family and in 2015 it was accorded official status as a UNESCO Global Geopark. Geoparks are areas with outstanding geological heritage where this is being used to support sustainable development.
Another of the North Pennines' oddities is that it is home to England's only named wind, the Helm Wind. It has caught out many walkers traversing the plateaux around Cross Fell, the Eden Valley fellside, and the valleys between Alston and Dufton.
Recreation
One of the many walking routes in the North Pennines is Isaac's Tea Trail, a circular route of 37 miles (60 km) around the area, running from Ninebanks via Allendale, Nenthead and Alston. In addition to this, a large section of the Pennine Way falls in the AONB, including one of the most celebrated stretches through Teesdale, a lush valley with dramatic river scenery including the twin attractions of High Force and Cauldron Snout.
Culture
The great English poet W. H. Auden spent much time in this area and some forty poems and two plays are set here. Auden visited the area in 1919 and "five years later was writing poems about Alston Moor and Allendale." He referred to the region as his "Mutterland", his "great good place", and equated it with his idea of Eden. Scores of Pennine place-names are found in his work, including Cauldron Snout and Rookhope.
Visitor centre
There is a small visitor centre at Bowlees which aims to provide a gateway to Upper Teesdale and the wider North Pennines AONB.
Abstracted Nude
by Koola Adams
bist Style Nude painting. Acrylic inks on paper. 30cm x 40cm
Based on the Modernists of the early 20th century, this painting epitomizes the Cubist style. Picasso and his contemporaries such as Braque, Modigliani and Giacometti have always been an rich source of inspiration not only through their use of dynamic forms and figurative representations but also the drama that exuded their art.
Frame and mount not included
Copyright reserved by the artist.
www.contemporary-artists.co.uk/paintings/abstracted-nude/
Contemporary Artists
Acrylic, Correction fluid and paint markers on A4 Paper 29.7x21cm
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Mirrored & Abstracted images of a Merc Limo flooded with extra colour ...... seems to be a bit of a stand off
Thanks a lot for looking in .... hope you have a Brilliant Day
On the night of July 3, 2022 I sat in my daughters front yard that overlooks the city of Dubuque, Iowa. The fireworks are shot over the Mississippi River at quite a distance from where we were watching them being fired up into the night sky. I used many settings on my camera, sports, landscape, creative auto. etc. I got some amazing images that make many of the fireworks look abstract and not your usual fireworks display. Photo Images credited to Vickie L Klinkhammer of Vickielynne Photography & Designs(VLP&Designs). Images may appear on wearableart and home essentials. www.vlpdesiogns.com
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5 Comments on Instagram:
coughlinlaura: What app?
nashworld: Tangled
7mrsjames: Nice!
nashworld: #tangledfx
One of a photo collection taken at the Pima Air & Space Museum in Tucson, Ariznoa. They have an amazing collection, and a friendly and knowledgeable staff. We had a great day there with the whole family. The kids love it… and so do the grown-ups. I had not been since I was a child… anyway. I hope you enjoy the image.
"Έλα λοιπόν απ' την αρχή να ζήσουμε τα χρώματα
Ν' ανακαλύψουμε τα δώρα του γυμνού νησιού
Ρόδινοι και γαλάζιοι τρούλοι θ' αναστήσουν το αίσθημα
Γενναίο σαν στήθος το αίσθημα έτοιμο να ξαναπετάξει
Έλα λοιπόν να στρώσουμε το φως
Να κοιμηθούμε το γαλάζιο φως στα πέτρινα σκαλιά του Αυγούστου..."
Οδυσσέας Ελύτης, Προσανατολισμοί.
An abstracted maternity photo, more on the edge than my general work. It's important to have a variety of work ranging from the traditional to the highly abstract.
(Of the many show's I've attended through the years,...this wall, is one of my favorite "Walls")
NATURE ABSTRACTED
It is easiest to point to “American-ness” in Modern painting in works by artists who turned their attention to the landscapes of the United States. These subjects were American by default. Particularly distinctive locations, such as the dramatic views of New Mexico that fascinated Georgia O’Keeffe and Marsden Hartley, served as the basis for a long standing tradition of American landscape painting. The Modernists tried to infuse their work with the spirit of these sites, not simply to record the visual details of the topography. They veered away from traditional representation, emphasizing selected elements and eliminating others to convey the essence and power of these places.
Part of Exhibit: Modern Times: American Art 1910-1950
From jazz and the jitterbug to assembly lines and skylines: the early twentieth century was a time of great social, artistic, and technological change. Artists responded with a revolutionary language of shapes and colors. See how Georgia O’Keeffe, Marsden Hartley, Jacob Lawrence, and others challenged convention and forged bold new styles to fit the times.
From the Placard: The Philadelphia Museum of Art, PA