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Three DL corporate white "big girls" (as categorized by everyone's favorite Facebook buff) take their train east under one of the many former DL&W signal bridges that still adorn the Pocono Mountain Route at Cobbs Gap.
What a gift it is to truly be together in the presence of another person, connected in a healthy, meaningful, mindful, validating, authentic, caring way, to be seen and accepted in a healing way.
_________________
Recently as I looked through some photos I’ve taken I noticed a few that I categorized and called “together” (it seems perhaps this has become a new, naturally occurring photo project)—they were photos of two dandelions or two leaves together at various stages of growth or decay. This reminded me of moments with a few people who are of incredible support to me, moments when I was not alone (feeling and/or being alone has often been my experience throughout my life and something I’d often been drawn to capture—the feeling of “alone”) and what a gift it is to truly be together in each other’s presence, connected in a healthy, meaningful, mindful, validating, authentic, caring way, to be seen and accepted in a healing way (which I believe also has some similarities to relationship with God) though it can be scary and overwhelming because it’s so unfamiliar to me. I’ve been thinking about this a lot as I look at, share a few of the “together” photos and notice and capture more “together” sightings I encounter. And it has taken me a significant amount of time to even been able to try to put the meaning I see in the photos into words because it is a very deep, foreign experience to me and I didn’t really have the words for it.
Excerpt from scotiabankcontactphoto.com/2022/core/vid-ingelevics-ryan-...:
Since 2019, Toronto-based artists Vid Ingelevics and Ryan Walker have charted the progression of the Port Lands Flood Protection Project, one of the most ambitious civil works projects in North America. This third series of photographs, presented on wooden structures along the Villiers Street median, focuses on the extraordinary operation of building a new mouth for the Don River and the careful methodology employed in the naturalization of a massive industrial brownfield.
The first photographic series that Ingelevics and Walker produced about this site, titled Framework (2020), captured the buildings and structures demolished to make way for the river excavation. This demolition allowed for the massive movement of soil captured in the second series, A Mobile Landscape (2021). How to Build a River documents how this soil removal made way for the river to be constructed using bio-engineering practices. It reveals the innovative bioengineering techniques used to construct this complex ecology and its multiple engineering layers, which will soon be invisible—either submerged underwater or beneath park surfaces—when the project is finished.
As the excavation has proceeded and workers have brought materials to the site and carefully categorized, prepared, and positioned them, Ingelevics and Walker have witnessed the river’s path quickly taking shape. The images in this series follow the rigorous steps taken to protect the new riverbed and future ecosystem, with multiple layers of sand, charcoal, and impermeable geosynthetic clay liner added to block contaminants caused by almost a century of housing fuel storage tanks in the Port Lands. The photographs capture the ways in which the new riverbanks (known as “crib walls”) were stabilized with logs, tree trunks, rocks, and coconut fibre material, and track the meticulous creation of future habitats for fish and birds.
Fish Habitat (2019) shows the development of a new riparian habitat, which includes coloured streamers strung across the water to deter geese from landing and eating vegetation that will provide food for fish. In Stratified River Ingredients (2021) a worker strides past stepped blankets of biodegradable coconut fabric, which will help hold the riverbank soil together until plant root systems are in place. In this series the new river comes to life. Its plants and banks, its roots and rocks and sands can all be seen coming together in Meander (2021). All of these innovative bioengineering techniques have been employed in similar projects around the world where nature is fast-tracked, but it’s unusual to have so many techniques applied simultaneously, and on such a vast scale.
At times during this massive project, something as small as an unidentified plant can halt construction. Transplanting #1 and #2 (2021) show crews salvaging plants for storage after strange, bulrush-like plants sprouted unexpectedly after 100 years of dormancy underground. These were likely remnants of the site’s original wetlands, which germinated when sunlight hit the excavated mud. Some of the plants were taken to a greenhouse laboratory at the University of Toronto, and others were transplanted to the Leslie Street Spit, located nearby along the waterfront. Even with the most meticulously planned naturalization processes, nature can still surprise us.
Following their documentation of the processes of destruction and removal required to prepare the site, this third series of work in Ingelevics and Walker’s multi-year project allows viewers to witness the construction of these new, interconnected habitats and structures. Their photographs offer glimpses into the makings of a highly creative built ecology, one that has looked to nature in order to artificially recreate it.
Installation by Choi Jeong Hwa, South Korea. Exhibit at Siam Discovery, Bangkok.
The artist declines to categorize his work, leaving the audience to define his pieces on a personal level. As his motto states: "Your heart is My art."
UNICEF defines street children as, "those who are of the street and on the street." In this study, the term street children refers to those children of 5 to 14 years of age who earn their living on the city streets and stay there for most, or all, of the day. They may or may not have parents or legal guardians. On a study says- street children were categorized into four groups: children of 5-14 years of age who work on the streets the whole day and
a) live on the streets without any family
b) live on the streets with their family
c) return to another family; and
d) return to their own family
El Parque Nacional Alerce Andino forma parte de la Reserva de la Biosfera Bosques Templados Lluviosos de Los Andes Australes.
Se ubica 40 km al sur de Puerto Montt por la Carretera Austral. Abarca la zona montañosa al sur del Lago Chapo entre el Seno y Estuario de Reloncavi por el Sur-Este y el Oceano Pacifico por Oeste. Cuenta con dos sectores para excursiones: Sector Correntoso proximo al Lago Chapo y el Sector Chaicas proximo a Lenca.
Entre sus principales atracciones es posible visitar mas de 40 hermosos lagos y lagunas de alta montaña, y principalmente sus 20.000 hectareas de primitivos bosques de Alerces milenarios, el Bosque Catedral. Este parque es el lugar donde es porsible visitar mas facilmente estos bosques que se caraterizan por crecer en zonas montañosas e inaccesibles tanto de la Cordillera de la Costa como de la Cordillera de los Andes de la Region de Los Lagos.
El Alerce (Fitzroya cupressoides) es el arból mas longevo del Hemisferio Sur, se ha encontrado arboles con mas de 4.000 años de antiguedad y puede llegar a alcanzar los 50 mts de altura. Es una conífera endémica de los bosques subantárticos sudamericanos, que crece principalmente en Chile y en menor proporción en algunas zonas de Argentina que se encuentra en peligro de extincion.
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Alerce Andino National Park is part of the Biosphere Reserve temperate rainforests of the southern Andes.
Located 40 km south of Puerto Montt on the Carretera Austral. It covers the mountainous area south of Lake Chapo between Sound and Reloncavi Estuary on the south-east and the Pacific Ocean to the West. There are two sectors for excursions: Sector Correntoso next to Lake Chapo and next to Lenca town Chaicas Sector.
Among its main attractions you can visit more than 40 beautiful langoons and high mountain lakes, and especially its 20,000 hectares of primitive forests of ancient Alerces, the Forest Cathedral. This park is the place where it is more easily possible to visit these forests are categorized by growing in mountainous and inaccessible slopes of the Cordillera de la Costa and the Andes of Los Lagos Region.
The Larch (Fitzroya cupressoides) is the oldest tree in the Southern Hemisphere, found trees with more than 4,000 years old and can reach the 50 meters high. It is a conifer endemic to the subantarctic forests of South America, which grows mainly in Chile and in smaller proportion in some areas of Argentina which is in danger of extinction.
Semi-desert scrubland, lacking glamour, is little-mourned as it is grazed and ploughed into oblivion, hence the IUCN's categorization of Stoliczka's Bushchat as Vulnerable, which is just one step away from Endangered. An arid country specialist, its home is disappearing through agricultural encroachment.
One can hope that conservation efforts to save the Great Indian Bustard, with which it shares a similar habitat preference, will also boost Stoliczka's numbers.
Letchworth Village, NY – While walking the grounds of this abandoned mental instiution I counted at least 5 different basketball courts. That just seemed like a lot of basketball for a few hundred mentally ill people (the population eventually swelled into the thousands). After reading about the dreadful living conditions here I wonder just how much use any of these courts actually got. I’ve read where they categorized the patients into 3 groups of feeble-mindedness: the morons, the imbeciles, and the idiots. I am not making this up. Maybe that’s how they chose sides for the basketball games? I shouldn’t joke, it’s really very sad.
As simplistic as this looks, it's a good touchup from the original shot. I was headed south to Shibuya from Shinjuku on this day to examine areas for nighttime shoots. En route to Miyashita Park, I was temporarily halted by a railroad crossing. I was desperate to bend my knees (I was very out of shape this far into the venture), so I was quite relieved. And as a Saikyo line train was coming by, it hit me to get a couple motion blur shots (at least I think it was the Saikyo. I tried to color code it on the metro map, the only other green line is the Yamanote line and that's categorized as a "lighter green").
I laid my camera down on a black box close, but not too close, to the barrier to line up the shot. Yeah, it's one singular long barrier as opposed to 2, peculiar design choice but I like it. Perhaps I was still a bit closer then I should've been cause the driver honked at me as he reached the crossing. It startled me for a second before I readjusted my camera again and got the shot. I don't blame the guy for doing that, incase he did end up hittin' me that was trouble he didn't want, I get it.
But again, even with that the image is fairly normal beyond that, so allow me to tell you what was fixed. As is the normal rule with slower shutter shots everything else was unnecessarily bright. So I had highlights, diffraction, and ofcourse the ever accursed white sky, all of which were swiftly dealt with. Because this was not an intended destination I didn't stick around after this train left to get a more solid image. But for some odd reason, sometimes very normal shots, no matter the context, seem to do well on flickr so what the hell?
A fancy collection on display by the proud collectors who travel, search, catch, categorize, study, document, photograph, mount, trade and explain everything you wanted to know about beetles. From Open Doors of the Canadian Museum of Nature, presenting chrisina resplendens (Boucard) beetle.
El Parque Nacional Alerce Andino forma parte de la Reserva de la Biosfera Bosques Templados Lluviosos de Los Andes Australes.
Se ubica 40 km al sur de Puerto Montt por la Carretera Austral. Abarca la zona montañosa al sur del Lago Chapo entre el Seno y Estuario de Reloncavi por el Sur-Este y el Oceano Pacifico por Oeste. Cuenta con dos sectores para excursiones: Sector Correntoso proximo al Lago Chapo y el Sector Chaicas proximo a Lenca.
Entre sus principales atracciones es posible visitar mas de 40 hermosos lagos y lagunas de alta montaña, y principalmente sus 20.000 hectareas de primitivos bosques de Alerces milenarios, el Bosque Catedral. Este parque es el lugar donde es porsible visitar mas facilmente estos bosques que se caraterizan por crecer en zonas montañosas e inaccesibles tanto de la Cordillera de la Costa como de la Cordillera de los Andes de la Region de Los Lagos.
El Alerce (Fitzroya cupressoides) es el arból mas longevo del Hemisferio Sur, se ha encontrado arboles con mas de 4.000 años de antiguedad y puede llegar a alcanzar los 50 mts de altura. Es una conífera endémica de los bosques subantárticos sudamericanos, que crece principalmente en Chile y en menor proporción en algunas zonas de Argentina que se encuentra en peligro de extincion.
------------------------------------
Alerce Andino National Park is part of the Biosphere Reserve temperate rainforests of the southern Andes.
Located 40 km south of Puerto Montt on the Carretera Austral. It covers the mountainous area south of Lake Chapo between Sound and Reloncavi Estuary on the south-east and the Pacific Ocean to the West. There are two sectors for excursions: Sector Correntoso next to Lake Chapo and next to Lenca town Chaicas Sector.
Among its main attractions you can visit more than 40 beautiful langoons and high mountain lakes, and especially its 20,000 hectares of primitive forests of ancient Alerces, the Forest Cathedral. This park is the place where it is more easily possible to visit these forests are categorized by growing in mountainous and inaccessible slopes of the Cordillera de la Costa and the Andes of Los Lagos Region.
The Larch (Fitzroya cupressoides) is the oldest tree in the Southern Hemisphere, found trees with more than 4,000 years old and can reach the 50 meters high. It is a conifer endemic to the subantarctic forests of South America, which grows mainly in Chile and in smaller proportion in some areas of Argentina which is in danger of extinction.
Although he is often described as the first and most influential post-modern artist, the unparalleled scope and diversity of Robert Rauschenberg’s work defies categorization. The acclaimed painter, sculptor, photographer, printmaker and performer was pioneering figure in contemporary art, employing an unusually wide range of mediums, techniques, and subject matter in his practice. Rauchenberg established his unique visual vocabulary early on and soon became known for his use of unexpected techniques and materials. His complex compositions and use of three-dimensional collage blurred the line between painting and sculpture.
Some argue that chimpanzees should be categorized in the same genus as humans, Homo, based on the fact that chimpanzees and humans diverged only 4 to 6 million years ago (Groves 2001). The implications of changing the taxonomical categorization could have enormous impacts on how chimpanzees are perceived and the rights extended to them. For example, by categorizing chimpanzees as Homo, it might be considered unethical to keep them in zoos or use them in research.
When I first kissed my bride some 41 years ago this week, I knew that she was the one for me. One of the many aspects that attracted me to her was her sweet, caring, kind demeanor. The first time I said something to her that could be categorized in the arena of a “smart-ass” comment, she came right back at me…guns a blazing! Truth be told, I loved it and remember thinking to myself that “Oh…it’s on!”
Little did I know then just how much of my…lets call it spice…would rub off on my bride over the years. In her defense, she did marry a sailor and for 16 years she not only had me to contend with me, but all my squidly friends. All the while raising two boys who both are genetically “spicey” as well.
Certainly not often enough, but every once in a while, I will spontaneously grab my bride and slow dance to a random song on the radio or TV. A few years ago, we were at home and Art Garfunkel’s rendition of “I only have eyes for you” started to play. I snatched up my bride for a dance. At the end of the song, I gave her a “nice” …just a bit better kiss than one might share with a relative. In my defense…it wasn’t my best work, but it was appropriate for the moment. Then I said something that I have regretted every day since.
Before I explain, I need to add some context to this tale. For our internet deprived generation, Greentree Skateland was the place to go to have something to do on the weekends and meet up with the opposite sex in our pre-driving years. I don’t know if it was intentional or not, but for some odd reason (I think the kids removed the light bulbs) the far back, right corner of the rink was really dark and had benches against the wall. It was a pretty good make out place (I have been told) and would only empty out when they played a couples only slow song. Every night and without exception, if you were there for more than an hour they would play “I only have eyes for you.” Jo and I went to the skating rink many times in our youth, but never met.
So…What stupid thing did I say…just after our kiss, I looked her in the eyes and said “I bet you never kissed the boys at the skating rink like that” to which little Mrs. Spice grabbed my face and laid a very passionate (I must give her props…GREAT) kiss on my lips. She then evilly smiled and said “No, I kissed them like that!”
I just stood in shock as she victoriously strutted away.
While editing this photo of a Whitetail buck taken back in November of 2020, “I only have eyes for you” came over my iPods. I have a love/hate relationship with that song now, but I laughed out loud based on the timing as I am sure I looked just like this deer when Joann walked away.
For the record...both of us have confessed that neither of us have ever kissed anyone at Greentree Skateland nor been in the dark area. If true, this makes my fishing comment and Jo's response just another example of her spice!
Irving R. Bacon (1875-1962)
Pen and ink with graphite on paper
Executed during Bacon’s Munich period of study at the Royal Academy.
Irving Roscoe Bacon was born in Fitchburg, Massachusetts on November 29, 1875.
Bacon studied with Wm Chase, F. Luis Mora, and at the Royal Academy in Munich. He spent most of his career in Michigan where he was personal artist for Henry Ford.
He died in El Cajon, CA on Nov. 21, 1962.
Exhibits:
Royal Academy, 1909 (medal)
National Academy of Design (New York City), 1910-12
Pennsylvania Academy of the Fine Arts, 1911, 1912
Art Institute of Chicago, 1911, 1912
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Examples of Bacon's paintings can be seen here: www.thehenryford.org/collections-and-research/digital-col...(Irving%20Reuben),%201875-1962&years=0-0&perPage=10&pageNum=1&sortBy=relevance
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FROM THE WEBSITE OF THE HENRY FORD:
Irving R. Bacon worked for Henry Ford as an artist. His work ranged from cartoons in the Ford Times to paintings of artifacts and events at the Edison Institute. His papers include photographs, drawings, and correspondence related to his career with Ford Motor Company and the Edison Institute.
Biographical / Historical Note
Born in 1875 in Fitchburg, Massachusetts, Irving Bacon received his early art training from Joseph Gies at the Art School of the Detroit Museum of Art.
Much of his early work concentrated on illustrations and cartoons, and often his artwork reflected the influence of his travels to the American West.
From 1894 to 1900 he worked as an illustrator at the Detroit Evening News and the Detroit Free Press. He first met Henry Ford through a mutual acquaintance in 1898, when he rode to Royal Oak and back to Detroit on Woodward Avenue in Henry's new automobile.
In 1902 he went to New York City to study at the Chase School of Art and to illustrate for Harper's Weekly and McClure's.
In 1906 he went to the Royal Academy in Munich and studied under Heinrich von Zugel, a noted animal painter. It was there where Bacon acquired his talent for painting landscapes and portraits.
After returning to Detroit in 1910, he once again met Henry Ford, who by this time was a millionaire. Henry became interested in art largely due to the interest and talent of his own son, Edsel.
He purchased a landscape scene from Bacon-a painting, which, according to Bacon, was "certainly not a masterpiece." It was after this meeting that Bacon gained permission from Henry to utilize his large estate for landscape paintings.
In 1913 he received a generous gift of money from his friend Harold Wills (a Ford executive), and once again returned to Munich for further study. His stay was cut short, however, due to the start of World War I.
Upon returning to Detroit, he realized the need for a steady salary in order to adequately support his wife and six children, so he met again with Henry Ford and soon became an employee of the Ford Motor Company, drawing cartoons for the Ford Times and later, illustrations for The Dearborn Independent.
Henry loved Bacon's cartoons, an area of work which Bacon wanted to discontinue. According to Bacon, "That class of work seemed to conflict with my high aims of art. Little did I realize at the time that I was beginning a thirty three year stretch of work for Henry Ford and his great organization that eventually would wean me away from the art world."
Working for Henry at the Ford Motor Company, and later the Edison Institute, Bacon's tasks included painting scenes and portraits that were of great interest to Henry Ford and his Museum and Village. These included portraits of Ford's family and friends, Noah Webster, Luther Burbank, Mark Twain, Dr. George Washington Carver, Stephen Foster, John Burroughs, and others.
He was also responsible for creating paintings of the artifacts located at the institute, and he also acted as stage designer for the Museum's theater.
His interest in photography and motion pictures led him to become the head of the Photographic Department for several years. Bacon retired from the Edison Institute in 1948, and moved to Miami with his second wife. He died in 1962 at the age of 86.
This collection is mainly composed of photographs, drawings, and some correspondence related to Bacon's career with the Ford Motor Company and the Edison Institute. The series within this collection are accordingly arranged to the different aspects involved with the work of Henry Bacon.
There are five series in the collection, the Golden Jubilee painting, Irving Bacon personal materials, Greenfield Village and Henry Ford Museum, Henry Ford related work, and Dearborn Independent.
Series I, Golden Jubilee painting: This series is comprised of pamphlets, notes, lists, correspondence, and photographs related Bacon’s painting entitled "Celebration of the Golden Jubilee of the Invention of the Incandescent Electric Light" also known as the "The Dedication of the Edison Institute of Technology." The Golden Jubilee occurred on October 21, 1929. It is arranged by the sub-series Printed material (1929), Correspondence (1936-1937), and Photographs (dates unknown, but assumed to be between 1920-1938). The photographs, which are mainly portraits of the individuals who attended the events of October 21, 1929, were obtained by Bacon in the years 1936-1938, for the purpose of recreating the dinner scene, some seven to nine years previous. Over 400 individuals attended this dinner, ranging from Henry Ford's personal friends to contemporary world business and political leaders. The number of dinner guests eventually included in Bacon's painting numbered 266. The filing arrangement for the Photographs subseries was left in much the same way that Bacon had organized it, which was by seating arrangements. He categorized his filing system according to "Tables," "Arches," and "Individuals Standing" e.g., Table 1, Arch 1, etc.
Series II, Irving Bacon personal materials: In this series are various materials (1907-1957) which apparently were kept for the personal use and interest of Mr. Bacon. A large portion of this series, theater interests, contains materials on early theater and film actors/actresses. The majority of the materials within this series are photographs, unless otherwise noted.
Series III, Greenfield Village and Henry Ford Museum: This series is an assortment of photographs, mixed with notes and sketches related to subjects found at Greenfield Village and Henry Ford Museum. Bacon collected photographs of the various subjects in order to study them and eventually create a likeness within his own paintings.
Series IV, Henry Ford related work: This series is an example of yet another type of work that Bacon undertook as an employee of Henry Ford. It reflects the personal interests of Henry Ford. Included are miscellaneous printed materials, photographs, sketches, and maps (photographed). The folders have retained the original titles given by Bacon himself.
Series V, Dearborn Independent: Irving Bacon's artwork created for the Dearborn Independent is found within this series (approximately 1925-1935). These oversized materials consist mainly of sketches, prints, and color drawings.
Less
Collection Details
Object ID: 84.1.1657.0
Creator: Bacon, Irving R. (Irving Reuben), 1875-1962
Inclusive Dates: 1863-1957
Size: 4.4 cubic ft. and 4 oversize boxes 7.8 cubic ft. (17 boxes) [Collection Survey]
Language: English
From the website of The Henry Ford in Dearborn, Michigan. www.thehenryford.org/collections-and-research/digital-col...
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From the website of The Henry Ford in Dearborn, Michigan. www.thehenryford.org/collections-and-research/digital-col...
Just a little snappy!
Some shadows and highlights tossed on and that's all~
I bought some cute static AO from Oracul with like 300 animations sub categorized with like sits/stands/ground sits!
I love me some static~ <3
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*Boon
*Body Co
*Mon Tissu
Taken by Irene, my daughter. Photo donated to Images of Joy. Posted by Linda
** Natural colors, camera settings**
" Explore '' #201 on the week from 18.9.08.
Thank you CVDias for your information.
The Peacock Lake was a fan-shaped lake with multiple colors of blue, green, yellow, brown and white. With these multiple colors, thus the name it belongs.
It is one of the cascading lakes in ' Nine-Clan Villages' or Jiuzhaigou.
The calcium salts bind sediments and 'purify' the lake so making the water crystal clear and bluish green in color.
The 'Nine-Clan Villages' was inhabited by various Tibetan and Qiang peoples for centuries
Now, the Jiuzhaigou Valley ( 九寨溝) is a nature reserve in the north of Sichuan, a province in south western China. It is known for its many multi-level waterfalls and colorful lakes, and was declared a UNESCO World Heritage Site in 1992.
It belongs to the category V (Protected Landscape)in the IUCN system of protected area categorization.
**Thank you, friends of Flickr, for your kind comments and encouragement **
Excerpt from nbto.com:
What are the untold stories, secrets and conversations about places you think you know? EVERTHING I WANTED TO TELL YOU captures complex narratives of Scarborough’s diversity, nuance and resilience.
During the day, the Scarborough Civic Centre is used as a government building where constituents are counted and categorized. For one night on Nuit Blanche, Hiba Abdallah will use the building to explore deeply personal stories of Scarborough residents: their enthusiasms, anxieties and histories. The stories will be displayed as a large-scale text installation projected directly onto the 90-foot facade of the building.
The collection of messages was gathered through workshops with an intergenerational group of 11 Scarborough residents. The group visited lesser-known historical sites in Scarborough and several organizations that are part of the backbone of the community’s cultural scene.
There is a great view from Senyu-ji temple on Mount Sakure of the city of Imabari and the islands emerging from the mists of the Seto Inland Sea. The Inland Sea connects the Pacific Ocean to the Sea of Japan. It is categorized as a marginal sea, similar to the Salish Sea in British Columbia. Shikoku Island, Japan.
30/05/2024 www.allenfotowild.com
A snowflake is either a single ice crystal or an aggregation of ice crystals which falls through the Earth's atmosphere as snow.[1] Each flake nucleates around a dust particle in supersaturated air masses by attracting supercooled cloud water droplets, which freeze and accrete in crystal form. Complex shapes emerge as the flake moves through differing temperature and humidity zones in the atmosphere, such that individual snowflakes differ in detail from one another, but may be categorized in eight broad classifications and at least 80 individual variants. The main constituent shapes for ice crystals, from which combinations may occur, are needle, column, plate and rime. Snowflakes appear white in color despite being made of clear ice. This is due to diffuse reflection of the whole spectrum of light by the small crystal facets. [2]
Once snowflakes land and accumulate, they undergo metamorphosis with changes in temperature and coalesce into a snowpack. The characteristics of the snowpack reflect the changed nature of the constituent snow crystals. Wikipedia
PS Click image for a closer look at the snowflake structure
El Parque Nacional Alerce Andino forma parte de la Reserva de la Biosfera Bosques Templados Lluviosos de Los Andes Australes.
Se ubica 40 km al sur de Puerto Montt por la Carretera Austral. Abarca la zona montañosa al sur del Lago Chapo entre el Seno y Estuario de Reloncavi por el Sur-Este y el Oceano Pacifico por Oeste. Cuenta con dos sectores para excursiones: Sector Correntoso proximo al Lago Chapo y el Sector Chaicas proximo a Lenca.
Entre sus principales atracciones es posible visitar mas de 40 hermosos lagos y lagunas de alta montaña, y principalmente sus 20.000 hectareas de primitivos bosques de Alerces milenarios, el Bosque Catedral. Este parque es el lugar donde es porsible visitar mas facilmente estos bosques que se caraterizan por crecer en zonas montañosas e inaccesibles tanto de la Cordillera de la Costa como de la Cordillera de los Andes de la Region de Los Lagos.
El Alerce (Fitzroya cupressoides) es el arból mas longevo del Hemisferio Sur, se ha encontrado arboles con mas de 4.000 años de antiguedad y puede llegar a alcanzar los 50 mts de altura. Es una conífera endémica de los bosques subantárticos sudamericanos, que crece principalmente en Chile y en menor proporción en algunas zonas de Argentina que se encuentra en peligro de extincion.
------------------------------------
Alerce Andino National Park is part of the Biosphere Reserve temperate rainforests of the southern Andes.
Located 40 km south of Puerto Montt on the Carretera Austral. It covers the mountainous area south of Lake Chapo between Sound and Reloncavi Estuary on the south-east and the Pacific Ocean to the West. There are two sectors for excursions: Sector Correntoso next to Lake Chapo and next to Lenca town Chaicas Sector.
Among its main attractions you can visit more than 40 beautiful langoons and high mountain lakes, and especially its 20,000 hectares of primitive forests of ancient Alerces, the Forest Cathedral. This park is the place where it is more easily possible to visit these forests are categorized by growing in mountainous and inaccessible slopes of the Cordillera de la Costa and the Andes of Los Lagos Region.
The Larch (Fitzroya cupressoides) is the oldest tree in the Southern Hemisphere, found trees with more than 4,000 years old and can reach the 50 meters high. It is a conifer endemic to the subantarctic forests of South America, which grows mainly in Chile and in smaller proportion in some areas of Argentina which is in danger of extinction.
Numbers, labels, names…
Categorizing us just to fit in the frame.
While doubting whether we should follow the herd or not.
Are we lost in finding our own path, or we’re just hiding all that we can be?
數字，標籤，名字 …
將我們分類於條條框框之中。
當陷入從眾與否的疑問時。
是我們迷失在找尋自我的途中，又或者只是隱藏所有可能成為的自己？
What would happen if you took two galaxies and mixed them together over millions of years? A new image including data from NASA’s Chandra X-ray Observatory reveals the cosmic culinary outcome.
Arp 299 is a system located about 140 million light years from Earth. It contains two galaxies that are merging, creating a partially blended mix of stars from each galaxy in the process.
However, this stellar mix is not the only ingredient. New data from Chandra reveals 25 bright X-ray sources sprinkled throughout the Arp 299 concoction. Fourteen of these sources are such strong emitters of X-rays that astronomers categorize them as “ultra-luminous X-ray sources,” or ULXs.
Image credit: X-ray: NASA/CXC/SAO/R. Montez et al.; Optical: Adam Block/Mt. Lemmon SkyCenter/U. Arizona
The Cape vulture has been declining steadily since at least the 1980s, when it was first categorized as Threatened. Between 1992 and 2007 the species declined by 60-70% in South Africa alone. It was later upgraded to Vulnerable and, in 2015, to Endangered
The table in my studio is like a beach- flotsam and jetsam of everyday life drift in and out again- pebbles, shells, twigs, weeds, fabric, bird’s nests, eggs, old bottles, bits of paper, string, stamps, toys, cake, etc. This series categorizes some of the junk into the 5 elements of Chinese philosophy- earth, wood, metal, water and fire.
Snow Goose blastoff at Bosque Del Apache National Wildlife Refuge, New Mexico, USA.
Not sure how to categorize this picture as. A Landscape or Wildlife? Nonetheless it was an amazing experience for both Bald Eagle sitting on the tree and I sitting on the shore, witnessing this event.
Mount Nageli ( 2165m) is more or less unfamous. It is located westwards of the famous Churfirsten mountain chain and eastwards of the easily accessible Leistkamm (2101m). Walking alongside the Toggenburger Hohenweg you get to the feet of the mountain at 1820m. You have to walk over a boulder field first, and then along a steep meadow/moss slope. This T3 categorized way get’s the last out of you. It’s really exhausting. The summit has only occasional visitors. The last entry in the guest book of the summit cross was in February 2011 – three months ago.
I have chosen mount Nageli because of all the summits around it has the best 360° view and you can see the Churfirsten tops in one row. If you do such a ascent, you have to stay for a while. I get up in the evenings, stayed during the night to take pictures and get down in the morning.
Lipník is an ancient town with 8.5 thousand inhabitants, situated in the very heart of the Moravian Gate. One side of this ancient trade route is lined by the Hostýn Hills, the other one by the Oder Hills. The Moravian Gate Valley is passed by the Bečva River. In the past, an important trade route, called Amber Trail, passed here.
The first written mention of Lipník dates from the year 1238, the town itself is certainly much older. Since 1989, Lipník is an urban conservation area (there are only two conservation areas within the Olomouc Region - Olomouc and Lipník). There are more than 100 listed buildings. The town has retained its original street lines, historic buildings in the medieval core and to a large extent very remarkable fortification system, which still bears all the signs of ancient settlements – a dominant square in the centre, „star-type“ road system and bypass roads. To a large extent, it has preserved the original historic town´s layout.
From this point of view, the urban conservation area of Lipník can be considered as one of the most valuable towns in the country according to unofficial categorization. There is also a medieval Helfštýn Castle near the town, which is one of the largest castles in Central Europe. In recent years, the renowned international artist blacksmith meetings Hefaiston take place at the end of August. In addition, it hosts many other cultural and sports events.
The wider surroundings of the town have become an attractive destination for cyclists, riding on the Bečva and Amber Route biking trails. Some sections are also attractive for in-line skaters.
Lipník has an ideal transport accessibility - whether by road or rail. The town is located in central Moravia, about 30 km from Olomouc, 15 km from Přerov and 12 km from Hranice, by the river of Bečva in the valley of the Moravian Gate. You can reach Lipník from Olomouc in approximately half an hour, from Brno and Ostrava in an hour. Lipnik lies virtually on the main route from Ostrava to Olomouc. There is a dual carriageway R-35 in the vicinity, the D47 motorway is in service since 2009. Lipník n. B has a railway station. As to bus transport, several express coaches stop here too.
AI generated with Bing Image Creator
Cabinets of curiosities, also known as wonder-rooms (German: Wunderkammer) were encyclopedic collections of objects whose categorical boundaries were, in Renaissance Europe, yet to be defined. Although more rudimentary collections had preceded them, the classic cabinets of curiosities emerged in the sixteenth century. The term cabinet originally described a room rather than a piece of furniture. Modern terminology would categorize the objects included as belonging to natural history (sometimes faked), geology, ethnography, archaeology, religious or historical relics, works of art (including cabinet paintings), and antiquities. In addition to the most famous and best documented cabinets of rulers and aristocrats, members of the merchant class and early practitioners of science in Europe formed collections that were precursors to museums.
PROMPT:
Wunderkammer display at the cryptid taxidermy museum in bogomil's weirdville town , a collection of worldwide curiosities, oil painting in the style of Hieronymus Bosch, Pieter Brueghel and the Northern Renaissance.
Before we categorize pigeons as mild mannered birds, we should take a good close look at their beaks.
Rock Pigeon
Seen near the docks in Morro Bay Harbor, Ca.
Messier 96 (also known as M96 or NGC 3368) is a spiral galaxy about 35 million light-years away in the constellation Leo. It is categorized as a double-barred spiral galaxy with a small inner bulge through the core along with an outer bulge.
Tech Specs: Sky-Watcher Esprit 120mm ED Triplet APO Refractor, Celestron CGEM-DX mount, Canon 6D stock camera, 39 x 60 seconds with dark and bias frames, imaged February 18, 2018. Location: The Dark Side Observatory in Weatherly, PA.
342) Malaysian Plover
Malaysian Plover, Charadrius peronei, Rapang Pasir
This is small wader that nests on beaches and salt flats in Southeast Asia. The male can be recognized by a thin black band around the neck, the female has a thin brown band. Its legs are pale. Its voice is a soft twit. This species categorized as near threatened in Malaysia.
Exif: f8, 1/2000, ISO 800, focal length 800mm, Cik Canon EOS 80D, lens Canon 400mm, TC2.0, tripod
Perhaps best known for his paintings of women in idyllic Tahitian settings, Paul Gauguin was an artist whose career spanned the globe and whose prolific body of work flouts categorization. An expert at self promotion, Gauguin shed the social and artistic conventions of the time to defy definition and transform the perception of what it meant to live within the realm of complete artistic freedom. The exhibit explores the artist’s unpredictable and, at times, fantastical forays into the applied arts while situating them within his radically experimental oeuvre as a whole. Featuring his work in ceramics, woodcarving, printmaking, and furniture decoration, and their relationship to his canvases, the exhibition acknowledges the artist as a visionary and controversial figure.
Here is an image of waterfall #4 on Jeans Run, Carbon County, Pennsylvania that I snapped back on March 12th. No real good angle to get to this one, it also required several mixed exposures to capture the shaded areas and tone down the overexposed pieces.
Tech Spec: Photographed on March 12, 2016 using my trusty Canon 6D, Canon EF17-40mm f/4L USM lens, three exposures from ½ second to 8 seconds using a #8 neutral density filter.
The Science: There is no standard way to classify a waterfall, some people classify them by width, drop and in some cases volume of water. Some of the most often used terms include cascade, horsetail and plunge. This waterfall would be best categorized by cascade (a waterfall that descends over a series of steps - take a close look at the image). A horsetail waterfall maintains contact with the rock underneath as it falls and a plunge waterfall loses that contact with the underlying rock and free falls.
The "Chimneys" is a short hike above the Linville Gorge in western North Carolina. It shares a parking lot with Table Rock. The hike is about a mile and is moderate.
The Chimneys are categorized by tall relatively thin outcroppings of exposed rock. The scenery here is really nice as it overlooks the Linville Gorge. The blooms of the Carolina Rhododendrons are about 10 days early this year. Felt fortunate to have caught them.
Thanks for viewing my photos. Comments are always welcome.
Please visit www.reidnorthrupphotography.com
to purchase prints.
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Copyright © Reid Northrup, 2019. All Rights Reserved, Worldwide. Please don't use my photos in any way without permission.
Seen in Queen Creek Marketplace. It had markings for a business on its door.
This small truck is categorized as a kei truck, a classification in Japan limited to certain dimensions and engine displacements. en.wikipedia.org/wiki/Kei_truck
Happy Truck Thursday!
My point in starting with these two negative categorizations is simply to put down some very clear markers about the easy mistakes that are sometimes made by those who don’t approach this question with enough philosophical rigour. ‘Consciousness is a machine’ and ‘consciousness is a mistake’ may both have a certain glamour, a certain seductive simplicity about them as statements. Neither of them can be made to make sense. So, whatever we say at the end of the day about the relationship between consciousness and the material world, between the self and the brain, we cannot reduce it to either of those propositions.
-BEING HUMAN Bodies, Minds, Persons ROWAN WILLIAMS
This image is an artist's concept of a blue supergiant star that once existed inside a cluster of young stars in the spiral galaxy NGC 3938, located 65 million light-years away. The star may have been as massive as 50 suns and burned at a furious rate, making it hotter and bluer than our Sun. When it exploded in 2017, astronomers categorized it as a Type Ic supernova because of the lack of hydrogen and helium in the supernova's spectrum. Progenitor stars to Type Ic supernovas have been hard to find. But astronomers sifting through NASA Hubble archival images may have uncovered the star that detonated as supernova 2017ein.
Credits: NASA, ESA, and J. Olmsted (STScI)
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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Day 23 of 365
We feel the borders, but avoid to acknowledge them. Every day they run invisibly across districts and streets. Stratified into culture they organize the city and categorize people. It's a way we dress our self, what we eat and what kind of literature we appreciate. What kind of taste we have, who we know and to whom we answer. How we speak and look to each other. How we touch and are being touched by others. It's how we exist and who we are.
Once you learn to observe and evaluate the world in terms of these boundaries you can never see it same way again. You will leave the valley of childhood and step into world of class hierarchies and social order. Like everyone else, you will subjugate to an act of distinction and take part in a social struggle, in which people protect their achieved positions, separate themselves from others and try to find new ways to climb higher. It is, in its essence, an everyday symbolic violence: mostly unconscious but always visible acts of social domination, which we are all forced to engage to maintain social hierarchies and order. It is a frightening sight behind what we consider 'normal', but with time you adjust to it and together with borders it becomes invisible again - you feel the borders, but avoid to acknowledge them.
Year of the Alpha – 365 Days of Sony Alpha Photography: www.yearofthealpha.com
Messier 96 (also known as M96 or NGC 3368) is a spiral galaxy about 35 million light-years away in the constellation Leo. It is categorized as a double-barred spiral galaxy with a small inner bulge through the core along with an outer bulge.
Tech Specs: Meade 12" LX90, Canon 6D, 45 x 60 seconds at ISO 3200 (includes darks, bias and flats), guided, processed with DSS. Image Date: March 12, 2019. Location: The Dark Side Observatory, Weatherly, PA, USA.
Best viewed large.
I spent the last week in Cuba, including two days in Playa Larga around the edges of the Zapata swamp with Angelito Martinez. Angelito found 9 endemics including four rare species.
These guys are categorized as "Near Threatened" (NT) by the International Union for Conservation of Nature (IUCN) and so may be considered threatened with extinction in the near future.
They are also known as Cuban parrot or the rose-throated parrot, and are a medium-sized mainly green parrot found in woodlands and dry forests of Cuba, the Bahamas and Cayman Islands in the Caribbean.
Amazon parrot or Amazona is a large genus of medium-sized parrots native to the New World ranging from South America to Mexico and the Caribbean
Wikipedia.
#1538
100
The Iberian lynx (Lynx pardinus) is an endangered species of felid living mainly in the Iberian Peninsula in southwestern Europe.They are categorized as endangered by many institutions, including the International Union for the Conservation of Nature. The Iberian lynx is a rabbit specialist with a low ability to adapt its diet. A sharp drop in the population of its main food source, a result of two diseases, contributed to the feline's decline. The lynx was also affected by the loss of scrubland, its main habitat, to human development, including changes in land use and the construction of roads and dams.
According to the conservation group SOS Lynx, if the Iberian lynx died out, it would be the first feline species to become extinct since prehistoric times.[7] Captive breeding and reintroduction programs have boosted their numbers. As of 2013, Andalusia has a population of 309 living in the wild.As an attempt to save this species from extinction, an EU LIFE Nature project is underway that includes habitat preservation, lynx population monitoring, and rabbit population management.
Formerly considered a subspecies of the Eurasian lynx (Lynx lynx), the Iberian lynx is now classified as a separate species. Both species occurred together in central Europe in the Pleistocene epoch, being separated by habitat choice.[11] The Iberian lynx is believed to have evolved from Lynx issiodorensis.
Located 65 million light-years away ia a blue supergiant star that once existed inside a cluster of young stars in the spiral galaxy NGC 3938, as shown in this artist's concept. It exploded as a supernova in 2017 and Hubble Space Telescope archival photos were used to locate the doomed progenitor star, as it looked in 2007. The star may have been as massive as 50 suns and burned at a furious rate, making it hotter and bluer than our Sun. It was so hot, it lost its outer layers of hydrogen and helium. When it exploded, astronomers categorized it as a Type Ic supernova because of the lack of hydrogen and helium in the supernova's spectrum.
Image credit: NASA, ESA and J. Olmsted (STScI)
The distinction may seem minor to you, but she is an academic- an herbalist and would prefer to be categorized appropriately as she categorizes even the smallest of living plants with great care.
Serge Gainsbourg house - Rue de Verneuil - Paris - France
Je ne m'en sortais pas avec la version couleur, alors c'est un N&B avec virage partiel.
Wikipedia :
Serge Gainsbourg (born Lucien Ginsburg, 2 April 1928 – 2 March 1991) was a French singer, songwriter, pianist, film composer, poet, painter, screenwriter, writer, actor and director. Regarded as one of the most important figures in French popular music, he was renowned for his often provocative and scandalous releases, as well as his diverse artistic output, which embodied genres ranging from jazz, mambo, world, chanson, pop and yé-yé, to rock and roll, progressive rock, reggae, electronic, disco, new wave and funk. Gainsbourg's varied musical style and individuality make him difficult to categorize, although his legacy has been firmly established and he is often regarded as one of the world's most influential popular musicians.
His lyrical works incorporated a vast amount of clever word play to hoodwink the listener, often for humorous, provocative, satirical or subversive reasons. Common types of word play in his songs include mondegreen, onomatopoeia, rhyme, spoonerism, dysphemism, paraprosdokian and pun. In the course of his career Gainsbourg wrote over 550 songs, which have been covered more than 1,000 times by a wide range of artists. Since his death, Gainsbourg's music has reached legendary stature in France, and he is regarded as one of France's most revered musicians. He has also gained a cult following in the English-speaking world, with numerous artists influenced by his arrangements.
For those who don't know about the artist Serge Gainsbourg :
www.youtube.com/watch?v=hIKbAtB-COA
www.youtube.com/watch?v=dQ_lPh3I68g
www.youtube.com/watch?v=22Uf4-khGAk
www.youtube.com/watch?v=buIPM8IPAm8
www.youtube.com/watch?v=QITYRHQ_8Us
www.youtube.com/watch?v=fxAPy0m2D4c
www.youtube.com/watch?v=hXpUenUjp2o
www.youtube.com/watch?v=Wv6Nzn70N7Q
Phillip Mould:
This image, and those generated around it, represent one of the most successful sovereign statements of English history. It was painted under the aegis of the Queen’s own official Serjeant painter, George Gower, in the late 1580s, the decade in which she finally defeated the Spanish threat, and assured her place as one of England’s most successful and popular monarchs. The portrait was owned by Edward Drewe MP, one of Elizabeth’s ablest lawyers, and has remained in his family ever since. A family legend suggests that the portrait was the gift of Elizabeth herself. It is in part through such portraits that the mystique and power of Elizabeth I was conveyed in her day. As such it is not merely a portrait of a monarch, but a symbolic statement of national supremacy.
George Gower was Elizabeth’s Serjeant Painter from 1581 until his death in 1596. He was also a ‘gentleman’, being the grandson of Sir John Gower of Stettenham, Yorkshire. This was not only unusual for the time (hitherto, artists were effectively ranked as servants), but reveals the increasing status – and importance – of portraiture in sixteenth century England. There is little documentary evidence on Gower’s career, but there is no doubt that he was one of the leading English artists of his generation. His documented portraits, such as those of Sir Thomas and Lady Kytson (1573 Tate Gallery, London) show that he commanded the patronage of the important and wealthy from an early age, while his self-portrait (1579, the first known example by an English artist on such a scale) gives a clear indication of the bold characterization with which he depicted his subjects.
Gower’s technique and style is distinct, and perfectly suited to the display of power, and conspicuous monarchical grandeur seen here. His use of strong light on the head enables his subject’s face to stand out from the rest of the painting, and was perfectly suited to Elizabeth’s personal wish to avoid any shadows across her face. His reluctance to rely too heavily on drawing is made up by strong flesh tones and subtle shadows, so that the face is rendered with precision and power, aided by bold features such as the well-delineated eyes. The unmistakably warm and dry palette has the happy effect of seeming to depict the Queen in the heavy make-up on which she increasingly came to rely. In this example, the overall effect is one of power rather than beauty – but such is Gower’s skill that our focus is held unmistakably by Elizabeth’s face and strong gaze, despite the rich and bright details of her luxurious costume.
There are elsewhere in the portrait signs of a master’s touch. The subtle but noticeable pink tones in the ruff under Elizabeth’s chin skillfully illustrates the reflection of her face in the white lace, giving the ruff a three-dimensional effect so often lacking in sixteenth century portraiture. The deft modeling (with even the hint of veins) in the long and elegant hands of which Elizabeth was so proud is superb, while the folds and lace on the golden silk of her sleeves is redolent of Holbein’s supreme skill in depicting the rich quality of Royal costumes.
As with all portraits of the Queen, there comes the question of the level of her personal involvement. Of course, she did not sit for the many contemporary portraits of her that survive. Instead, artists would have followed patterns of her face, and then either have imagined her costume, or in some cases have painted the actual garment itself. The patterns would have been widely-circulated, and the Queen’s likeness then either traced onto a panel or drawn freehand. Surviving examples of patterns are rare, but those of Bishop John Fisher and Sir Henry Sidney can be found in the National Portrait Gallery, as can one previously believed to show Elizabeth herself.
Which ‘pattern’, therefore, is the Drewe portrait based on? Sir Roy Strong’s catalogue of 1963, Portraits of Queen Elizabeth I, and subsequent Gloriana, The Portraits of Elizabeth I were vital works in dating and attributing the many (invariably unsigned) portraits. According to Strong’s categorization, the Drewe portrait is based on the ‘Darnley’ face pattern, after a painting dated c. 1575 once owned by the Earls of Darnley, and now in the National Portrait Gallery attributed to Federico Zuccaro, an Italian landscape and religious painter to whom the Queen sat for a drawing in May 1575.[1] The Darnley pattern, Strong points out, does not change until the ‘Armada pattern’ is developed, apparently by Gower, c.1588.
And yet, such categorization carries with it the disappointing notion that all portraits of the Queen between c.1575 and 1588 are derivatives, completed at a distance from Elizabeth herself. This clearly cannot be the case with the Drewe portrait. Though Elizabeth is shown in a similar (if reversed) profile, she is unquestionably a different woman to that in the Darnley portrait: noticeably hierarchical, sepulchral in characterization, perhaps reflecting the progression of her historical achievements. It seems implausible that Gower, the Queen’s Serjeant Painter, would have been content to follow a pattern. Rather, he may instead have felt constrained by the dictates of Royal iconography to follow an approved pose – just as Henry VIII was invariably portrayed full-face.
It is to the Queen herself that we should seek an explanation for the repetitive nature of her portraits. From the note of her conversation with Nicholas Hilliard in c.1572 it seems she resolved that her portraits should have no “shadowe at all”[2]. After all, Royal portraits were primarily symbols of power combined with obsequious flattery, not simple likenesses. Considerations of deference (and by the 1580s her fading beauty) further forbade any attempt at realism. And artist’s had to operate within an accepted Royal iconography that began in the fifteenth century. It is certain, however, that Gower’s official position, and the fact that he was a gentleman by birth, would have guaranteed him access to the Queen. The Drewe portrait, with its delicately observed facial contours and expressive, piercing eyes, is a world away from the pallid and formulaic pattern portraits of Elizabeth, reflecting an authority derived from one who had access to the royal presence.
The provenance of this portrait is of interest, and helps confirm the attribution to George Gower. It has traditionally hung in the Grange, the Devon seat of the Drewe family, since its construction by Edward Drewe in the 1590s. Drewe was one of the ablest lawyers of the 16th Century. After a spell at Oxford (while apparently a teenager) he began to practice law at the Inner Temple in 1560. He was called to the Bar in 1574. From then he rose rapidly through the legal ranks; a Justice of the Peace in 1579, and a Member of Parliament (for Lyme Regis) in 1584. He must then have been well-known to the Queen and Privy Council, for in 1588 he was amongst those sharp legal minds, along with Francis Bacon, called to draft Government legislation. The letter makes flattering reading;
“Her Majestie… hath made especiall choice of you, upon knowledge of your sinceritie and sufficiencie in that behalfe, to proceede to the consideracion what statutes in your opinion were requisite to be either established or perfected for the better…
We bid you very hertely farewll.”[3]
In 1589 he was appointed a Serjeant-at-law, and became more familiar to the key members of Elizabeth’s Government. Perhaps his most powerful ally was Francis Russell, the second Earl of Bedford. He corresponded regularly with William Cecil, Lord Burghley. And in 1593 he is recorded as making a speech before the Queen when introducing the Lord Mayor of London to Court. Drewe’s correspondence with the Privy Council typically revolved around interrogations of suspects such as Jesuit spies, often in the Tower of London, and he became an important part of the security apparatus first set-up by Francis Walsingham. One case involved the hapless Yorke and Williams, who, “when confronted together, Yorke swore that they took the sacrament to kill the Queen, and that Williams had wished his sword in her belly.”[4] By 1593 Drewe held the prestigious parliamentary seat of the City of London, and in 1596 he was made a Queen’s Serjeant, and a judge on the Northern circuit. He died suddenly, of ‘gaol fever’, in 1598.
Drewe’s central role in the legal apparatus of the Government helps confirm an attribution to George Gower as the artist of this portrait. Gower had been appointed, in 1581, as the Queen’s Serjeant Painter. In 1584 an attempt was made to make Gower solely responsible for portraits of the Queen, a move that reinforced the government’s wish to maintain control of the Queen’s image. Some twenty years earlier, the Privy Council, at the Queen’s behest, had also attempted a similar measure in reaction to the increasing number of debased images of Elizabeth in circulation. And in 1596, the Privy Council ordered that public officers should aid Gower in seeking out and destroying those unofficial images which caused the Queen “great offence”[5].
The Council’s failure, and that of Gower in the 1580s, is belied by the profusion of awkward and unsatisfactory images of the Queen which survive to this day. Nevertheless, a man of Drewe’s public position would have been the most unlikely person to either commission or own in the 1580s and 90s a portrait of the Queen that did not come from the Serjeant Painter’s ‘official’ workshop. Furthermore, in 1593 Drewe made a speech in Parliament against foreign workers in London, advocating support for “our countrymen” over charity to “strangers”, which sentiments would appear to rule out his patronage of any Flemish or Italian artist.[6] Finally, it may also be worth noting the connection between Drewe and the Bedford family, who commissioned the Armada portrait from Gower in 1588.
The Queen’s jewelry is worth noting here, and may assist in the precise dating of this portrait. Here, the jewelry worn by the Queen (aside from that embroidered into her costume) is surprisingly simple – only a double row of pearls. This is identical to the jewelry worn in the Darnley portrait dated c.1575, as is the chain of pearls and jewels around her waist. And such a combination can again be found in other portraits by Gower of the 1580s, Cornelius Ketel’s ‘Sieve’ portrait c.1580-3, and Marcus Gheerearts the Elder’s c.1585 full length. Furthermore, the lack of certain jewelry again suggests a date in the 1580s, for when Leicester died in 1588 he bequeathed to his 2most dear and gracious Sovereign whose creature under God I have been”[7] an extraordinarily large and elaborate jewel of emeralds, with a rope of 600 pearls. Elizabeth, who locked herself in her room on hearing Leicester’s demise, is shown wearing his gift in the Armada portraits of post c.1588, and other later variants – but not here.
Notes;
[1] Zuccaro had traveled to England apparently at the behest of Lord Leicester. Though some have assumed his purpose was to paint the Queen, it is possible that he had been summoned by Leicester to decorate the interior of Kenilworth Castle (now ruined), before the Queen was due to stay there in July 1575. The exquisite chalk and pencil drawing of the Queen by Zuccaro survives (British Museum), along with a pendant of Leicester. However, there seems little connection between the drawing, either in likeness or style, to the ‘Darnley’ portrait in the NPG.
[2] Strong, loc.cit., p16
[3] Letter from Privy Council to Drewe 27th December 1588, in Acts of the Privy Council of England 1588. Official Publications 1897 Vol XVI
[4] Calendar of State Papers (Domestic) Elizabeth I, 1591-94, August 28th 1594
[5] Strong, loc.cit., p14
[6] Oxford Dictionary of National Biography, citing House of Commons Journal
[7] In Public and Private, Elizabeth I and her world, Susan Watkins, London 1998
Irving R. Bacon (1875-1962)
Pen and ink with graphite on paper
Executed during Bacon’s Munich period of study at the Royal Academy.
Irving Roscoe Bacon was born in Fitchburg, Massachusetts on November 29, 1875.
Bacon studied with Wm Chase, F. Luis Mora, and at the Royal Academy in Munich. He spent most of his career in Michigan where he was personal artist for Henry Ford.
He died in El Cajon, CA on Nov. 21, 1962.
Exhibits:
Royal Academy, 1909 (medal)
National Academy of Design (New York City), 1910-12
Pennsylvania Academy of the Fine Arts, 1911, 1912
Art Institute of Chicago, 1911, 1912
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Examples of Bacon's paintings can be seen here: www.thehenryford.org/collections-and-research/digital-col...(Irving%20Reuben),%201875-1962&years=0-0&perPage=10&pageNum=1&sortBy=relevance
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FROM THE WEBSITE OF THE HENRY FORD:
Irving R. Bacon worked for Henry Ford as an artist. His work ranged from cartoons in the Ford Times to paintings of artifacts and events at the Edison Institute. His papers include photographs, drawings, and correspondence related to his career with Ford Motor Company and the Edison Institute.
Biographical / Historical Note
Born in 1875 in Fitchburg, Massachusetts, Irving Bacon received his early art training from Joseph Gies at the Art School of the Detroit Museum of Art.
Much of his early work concentrated on illustrations and cartoons, and often his artwork reflected the influence of his travels to the American West.
From 1894 to 1900 he worked as an illustrator at the Detroit Evening News and the Detroit Free Press. He first met Henry Ford through a mutual acquaintance in 1898, when he rode to Royal Oak and back to Detroit on Woodward Avenue in Henry's new automobile.
In 1902 he went to New York City to study at the Chase School of Art and to illustrate for Harper's Weekly and McClure's.
In 1906 he went to the Royal Academy in Munich and studied under Heinrich von Zugel, a noted animal painter. It was there where Bacon acquired his talent for painting landscapes and portraits.
After returning to Detroit in 1910, he once again met Henry Ford, who by this time was a millionaire. Henry became interested in art largely due to the interest and talent of his own son, Edsel.
He purchased a landscape scene from Bacon-a painting, which, according to Bacon, was "certainly not a masterpiece." It was after this meeting that Bacon gained permission from Henry to utilize his large estate for landscape paintings.
In 1913 he received a generous gift of money from his friend Harold Wills (a Ford executive), and once again returned to Munich for further study. His stay was cut short, however, due to the start of World War I.
Upon returning to Detroit, he realized the need for a steady salary in order to adequately support his wife and six children, so he met again with Henry Ford and soon became an employee of the Ford Motor Company, drawing cartoons for the Ford Times and later, illustrations for The Dearborn Independent.
Henry loved Bacon's cartoons, an area of work which Bacon wanted to discontinue. According to Bacon, "That class of work seemed to conflict with my high aims of art. Little did I realize at the time that I was beginning a thirty three year stretch of work for Henry Ford and his great organization that eventually would wean me away from the art world."
Working for Henry at the Ford Motor Company, and later the Edison Institute, Bacon's tasks included painting scenes and portraits that were of great interest to Henry Ford and his Museum and Village. These included portraits of Ford's family and friends, Noah Webster, Luther Burbank, Mark Twain, Dr. George Washington Carver, Stephen Foster, John Burroughs, and others.
He was also responsible for creating paintings of the artifacts located at the institute, and he also acted as stage designer for the Museum's theater.
His interest in photography and motion pictures led him to become the head of the Photographic Department for several years. Bacon retired from the Edison Institute in 1948, and moved to Miami with his second wife. He died in 1962 at the age of 86.
This collection is mainly composed of photographs, drawings, and some correspondence related to Bacon's career with the Ford Motor Company and the Edison Institute. The series within this collection are accordingly arranged to the different aspects involved with the work of Henry Bacon.
There are five series in the collection, the Golden Jubilee painting, Irving Bacon personal materials, Greenfield Village and Henry Ford Museum, Henry Ford related work, and Dearborn Independent.
Series I, Golden Jubilee painting: This series is comprised of pamphlets, notes, lists, correspondence, and photographs related Bacon’s painting entitled "Celebration of the Golden Jubilee of the Invention of the Incandescent Electric Light" also known as the "The Dedication of the Edison Institute of Technology." The Golden Jubilee occurred on October 21, 1929. It is arranged by the sub-series Printed material (1929), Correspondence (1936-1937), and Photographs (dates unknown, but assumed to be between 1920-1938). The photographs, which are mainly portraits of the individuals who attended the events of October 21, 1929, were obtained by Bacon in the years 1936-1938, for the purpose of recreating the dinner scene, some seven to nine years previous. Over 400 individuals attended this dinner, ranging from Henry Ford's personal friends to contemporary world business and political leaders. The number of dinner guests eventually included in Bacon's painting numbered 266. The filing arrangement for the Photographs subseries was left in much the same way that Bacon had organized it, which was by seating arrangements. He categorized his filing system according to "Tables," "Arches," and "Individuals Standing" e.g., Table 1, Arch 1, etc.
Series II, Irving Bacon personal materials: In this series are various materials (1907-1957) which apparently were kept for the personal use and interest of Mr. Bacon. A large portion of this series, theater interests, contains materials on early theater and film actors/actresses. The majority of the materials within this series are photographs, unless otherwise noted.
Series III, Greenfield Village and Henry Ford Museum: This series is an assortment of photographs, mixed with notes and sketches related to subjects found at Greenfield Village and Henry Ford Museum. Bacon collected photographs of the various subjects in order to study them and eventually create a likeness within his own paintings.
Series IV, Henry Ford related work: This series is an example of yet another type of work that Bacon undertook as an employee of Henry Ford. It reflects the personal interests of Henry Ford. Included are miscellaneous printed materials, photographs, sketches, and maps (photographed). The folders have retained the original titles given by Bacon himself.
Series V, Dearborn Independent: Irving Bacon's artwork created for the Dearborn Independent is found within this series (approximately 1925-1935). These oversized materials consist mainly of sketches, prints, and color drawings.
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Collection Details
Object ID: 84.1.1657.0
Creator: Bacon, Irving R. (Irving Reuben), 1875-1962
Inclusive Dates: 1863-1957
Size: 4.4 cubic ft. and 4 oversize boxes 7.8 cubic ft. (17 boxes) [Collection Survey]
Language: English
From the website of The Henry Ford in Dearborn, Michigan. www.thehenryford.org/collections-and-research/digital-col...
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From the website of The Henry Ford in Dearborn, Michigan. www.thehenryford.org/collections-and-research/digital-col...
"There were things that burned away at me, not only as a private individual, but also as a citizen of our century, our pixelated age. What does it mean to be lonely? How do we live, if we’re not intimately engaged with another human being? How do we connect with other people, particularly if we don’t find speaking easy? Is sex a cure for loneliness, and if it is, what happens if our body or sexuality is considered deviant or damaged, if we are ill or unblessed with beauty? And is technology helping with these things? Does it draw us closer together, or trap us behind screens?
Loneliness is difficult to confess; difficult too to categorize. Like depression, a state with which it often intersects, it can run deep in the fabric of a person, as much a part of one’s being as laughing easily or having red hair. Then again, it can be transient, lapping in and out in reaction to external circumstance, like the loneliness that follows on the heels of a bereavement, break-up or change in social circles."