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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.
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.
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.
“When I was a little girl, everything in the world fell into either of these two categories: wrong or right. Black or white. Now that I am an adult, I have put childish things aside and now I know that some things fall into wrong and some things fall into right. Some things are categorized as black and some things are categorized as white. But most things in the world aren't either! Most things in the world aren't black, aren't white, aren't wrong, aren't right, but most of everything is just different. And now I know that there's nothing wrong with different, and that we can let things be different, we don't have to try and make them black or white, we can just let them be grey. And when I was a child, I thought that God was the God who only saw black and white. Now that I am no longer a child, I can see, that God is the God who can see the black and the white and the grey, too, and He dances on the grey! Grey is okay.”
― C. JoyBell C.
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.
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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.
If you are not French, it’s likely you haven’t ever heard the word “Saintonge”, and have no clue what it means. If you are French, it’s probably the same thing. Unless, that is, you are a fan of Romanesque, in which case you know that Saintonge, that small region of France centered around the town of Saintes (hence the name), not far from the Atlantic Ocean, just North of Bordeaux... features the highest density of Romanesque churches of all the country!
I had never visited that area of France, and so in the middle of October 2021, I took that long overdue trip and stayed two weeks in Saintes, driving left and right daily to photograph all the most significant Romanesque churches... and unfortunately leaving out many others, as they are so thick on the ground!
The new church we start visiting today is a quaint little monument in a quaint little village, barely 3,500 inhabitants... but what a gorgeous church it is!
Listed on the very first list of Historic Landmarks ever drawn up, in 1840, its almost square façade categorizes it as one of those very rare churches in the shape of a triumphal arch. Built during the late 1000s and early 1100s, it shows us a crowd of amusing characters, artisans, jesters, acrobats, viola players and villagers, as well as a slew of monsters and beasts, including some very original ones...
Let’s begin the tour...!
The square façade is very harmonious and well-proportioned. The outbuilding you see to the right is a sacristy added in the 15th century.
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
"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."
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.
Maurandya barclayana est une plante grimpante, ellee fut baptisée ainsi en l'honneur de Maurandy, patronyme de la femme du professeur de botanique à Carthagène qui catégorisa cette plante originaire du Mexique.
Elle pousse aujourd'hui sur l'île de La Réunion ainsi que dans les îles de l'océan Pacifique.
Source : fr.wikipedia.org/wiki/Maurandya_barclayana
Photo prise dans le jardin botanique à Bordeaux
Maurandya barclayana is a climbing plant, it was named in honor of Maurandy, surname of the wife of the professor of botany in Cartagena who categorized this plant native to Mexico.
It grows today on the island of Reunion as well as in the islands of the Pacific Ocean.
Source: fr.wikipedia.org/wiki/Maurandya_barclayana
Photo taken in the botanical garden in Bordeaux
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.
9 hours and 13 minutes after the last sunset, the sun rose above the summit of mount Schaaren in the early mornings.
Acqua alta is the term used in Veneto, Italy for the exceptional tide peaks that occur periodically in the northern Adriatic Sea. The peaks reach their maximum in the Venetian Lagoon, where they cause partial flooding of Venice and Chioggia; flooding also occurs elsewhere around the northern Adriatic, for instance at Grado and Trieste, but much less often and to a lesser degree.
The phenomenon occurs mainly between autumn and spring, when the astronomical tides are reinforced by the prevailing seasonal winds that hamper the usual reflux. The main winds involved are the sirocco, which blows northbound along the Adriatic Sea, and the bora, which has a specific local effect due to the shape and location of the Venetian Lagoon.
Precise scientific parameters define the phenomenon called acqua alta, the most significant of which (i.e., the deviation in amplitude from a base measurement of "standard" tides) is measured by the hydrographic station located nearby the Basilica di Santa Maria della Salute. Supernormal tidal events can be categorized as:
intense when the measured sea level is between 80 cm and 109 cm above the standard sea level (which was defined by averaging the measurements of sea level during the year 1897);
very intense when the measured sea level is between 110 cm and 139 cm above the standard;
exceptional high waters when the measured sea level reaches or exceeds 140 cm above the standard.
Generally speaking, tide levels largely depend on three contributing factors:
An astronomical component, which results from the movement and alignment of celestial bodies, principally the Moon, secondarily the Sun, and marginally other planets (with effects decreasing in relation to their distance from the Earth); this component is dependent upon the laws of the astronomical mechanics and can be computed and accurately predicted for the long run (even years or decades)
A geophysical component, primarily dependent upon the geometric shape of the basin, which amplifies or reduces the astronomical component and, because it is dependent upon the laws of the physical mechanics, can be also computed and accurately predicted for the long run (even years or decades);
A meteorological component, linked to a large set of variables, such as the direction and strength of winds, the location of barometric pressure fields and their gradients, precipitation, etc. Because of their complex interrelations and quasi-stochastic behavior, these variables cannot be accurately modeled in statistical terms. Consequently, this component can only be forecast for the very short run and is the principal determinant of acqua alta emergencies that catch Venetians unprepared.
Two further contributing natural factors are the subsidence, i.e. the natural sinking of the soil level, to which the lagoon is subject, and eustasy, i.e. the progressive rise of sea levels. While these phenomena would occur independently of human activity, their effects have increased because of inhabitation: the use of lagoonal water by the industries in Porto Marghera (now ceased) sped up subsidence, while global warming has been linked to increased eustasy. Venice's "Tide Monitoring and Forecast Center" evaluates that the city has lost 23 cm in its elevation since 1897, the year of reference, 12 of which are attributable to natural causes (9 because of eustasy, 3 because of subsidence), 13 are due to the additional subsidence caused by human activity, while the "elastic recovery" of the soil has allowed the city to "gain back" 2 cm.
Geophysical determinants linked to the Adriatic Sea
The long and narrow rectangular shape of the Adriatic Sea is the source of an oscillating water motion (called seiche) along the basin's minor axis.
The principal oscillation, which has a period of 21 hours and 30 minutes and an amplitude around 0.5 meters at the axis' extremities, supplements the natural tidal cycle, so that the Adriatic Sea has much more extreme tidal events than the rest of the Mediterranean. A secondary oscillation is also present, with an average period of 12 hours and 11 minutes.
Because the timeframe of both oscillations is comparable to naturally occurring (yet independent) astronomical tides, the two effects overlap and reinforce each other. The combined effects are more significant at the perigees, which correspond to new moons, full moons and equinoxes.
Should meteorological conditions (such as a strong scirocco wind blowing north along the major axis of the Adriatic basin) hamper the natural outflow of excess tidal water, high waters of greater magnitude can be expected in Venice.
The particular shape of the Venetian lagoon, the subsidence which has been affecting the soil in the coastal area, and the peculiar urban configuration all magnify the impact of the high waters on city dwellers and on the buildings.
Furthermore, the northbound winds called bora and sirocco often blow directly towards the harbors that connect the lagoon to the Adriatic Sea, significantly slowing down (and, at times, completing blocking) the outflow of water from the lagoon toward the sea. When this occurs, the ebb is prevented inside the lagoon, so that the following high tide overlaps with the previous one, in a perverse self-supporting cycle.
The creation of the industrial area of Porto Marghera, which lies immediately behind Venice, amplified the effects of high waters for two reasons: first, the land upon which the area is built was created by filling large parts of the lagoon where smaller islands just above sea level previously lay. These islands, called barene, acted as natural sponges (or "expansion tanks") when high tides occurred, absorbing a significant portion of the excess water.
Second, a navigable channel was carved through the lagoon to allow oil tankers to reach the piers. This "Oil Channel" physically linked the sea to the coastal line, running through the harbor in Malamocco and crossing the lagoon for its entire width. This direct connection to the sea, which was obviously non-existent at the time of Venice's foundation, has subjected the city to more severe high tides.
Porto Marghera and its facilities are not the only human-made contributors to higher tides. Rather, the municipality of Venice has published a study that suggests the following initiatives may have had an irreversible and catastrophic impact on the city's capacity to withstand acque alte in the future:
the building of the Railroad Bridge (1841/1846) connecting Venice to the land, because its supporting pillars modify the natural motion of lagoonal water;
the diversion of the river Brenta outside the Chioggia basin, which drained the 2,63 hectares of the river's delta that functioned as expansion tanks, absorbing extra lagoonal water during high tides;
the building of offshore dammed piers (Porto di Malamocco, 1820/72; Porto di S. Nicolò, 884/97; Porto di Chioggia, 1911/33), which obviously restrict the natural movement of water;
the building of the Ponte della Libertà (1931/33), which connects Venice to the land;
the building of the Riva dei Sette Martiri (1936/41), an extension to the Riva degli Schiavoni;
the building of the artificial island Tronchetto used as a car and bus terminal (17 hectares, 1957/61):
the doubling of the Railroad Bridge (1977).
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...
The sun emitted three mid-level solar flares on July 22-23, 2016, the strongest peaking at 1:16 am EDT on July 23. The sun is currently in a period of low activity, moving toward what's called solar minimum when there are few to no solar eruptions – so these flares were the first large ones observed since April. They are categorized as mid-strength flares, substantially less intense than the most powerful solar flares.
NASA’s Solar Dynamics Observatory, which watches the sun constantly, captured images of the events. Solar flares are powerful bursts of radiation. Harmful radiation from a flare cannot pass through Earth's atmosphere to physically affect humans on the ground, however -- when intense enough -- they can disturb the atmosphere in the layer where GPS and communications signals travel.
These flares were classified as M-level flares. M-class flares are the category just below the most intense flares, X-class flares. The number provides more information about its strength. An M2 is twice as intense as an M1, an M3 is three times as intense, etc.
Of these three flares: The first was an M5.0, which peaked at 10:11 pm EDT on July 22, 2016. The second -- the strongest -- was an M7.6, which peaked at 1:16 am EDT on July 23. The final was an M5.5, which peaked 15 minutes later at 1:31 am EDT.
To see how this event affected Earth, please visit NOAA's Space Weather Prediction Center, the U.S. government's official source for space weather forecasts, alerts, watches and warnings.
_____________________________________________
These official NASA photographs are being made available for publication by news organizations and/or for personal use printing by the subject(s) of the photographs. The photographs may not be used in materials, advertisements, products, or promotions that in any way suggest approval or endorsement by NASA. All Images used must be credited. For information on usage rights, click here.
Not quite sure how to categorize this photo, there was just something about this scene that caught my eye...
Built for the 2nd Blitz'ard flash MOC contest, "Best battle scene" category.
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It was that time of the year once again...
The famous Elken warrior R.N.R.* Rudolph, who led the Great Reindeer Revolution that overthrew the malicious regime of the reigning Santa Claus, was gathering his elves and santas to go on his annual destructive rampage across the Urtican Planes.
Throughout the year Rudolph makes a list of the Urticans, categorizing them according to their behavior: the nice Urticans will become a bacon-wrapped turkey** and the naughty ones a lump of coal. In the head...
Unfortunately, due to a computational error*** the threshold for being nice has been set way too high, so practically all Urticans are being classified as naughty.
So beware Urticans, Rudolph is on his way and his sack is full of coal!
Hit Urticans with lumps of co-al.
Fa-la-la-la-la, la-la-la-la!
'Tis the season to be jolly.
Fa-la-la-la-la, la-la-la-la!
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As for the sleigh: ironically enough, the lead Santa of the sleigh was chosen to be the rebellious S-ain't-a Claus, who has been dishonorably discharged after the great fiasco of 2015, where he forgot to show up on his only working day of the year due to a heated darts game with his buddies in the local pub. He has been charged with the horrendous crime of "Bros before Ho-ho-hos" and he pleaded guilty.
Just like R.N.R. Rudolph, he also has a red nose, but in his case it is not genetical, but a result of his excessive consume of mulled wine.
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*: no, not Rock'N'Roll Rudolph, more like the Red-Nosed Reindeer.
**: © Gary
***: the Elken are not great in arithmetic calculations because they can't write the numbers down and, unlike human with a total of 20 fingers and toes, only have two hooves on each foot
Autumn colors and fallen leaves along a pathway in Manhattan.
don’t know how many of you (who view my posts at my website) pay attention to the “categories” listings. They categorize the posts by their focus, and the photographic posts always include those appropriate to their subjects — they might be “nature,” or “New York City,” or “Fall,” and so on. This photograph fits into a rather broad set of them, including those listed in the previous sentence and more. Yes, it is a fall nature photograph from New York City!
There’s little to suggest this (unless you look very closely) but I made this photograph while walking along the High Line Park on the west side of Manhattan. Typically when I’m there I photograph obviously urban subjects — people, buildings, streets, and so forth. But in one section of this urban trail there were big piles of lovely autumn leaves.
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books, Amazon, and directly from G Dan Mitchell.
Byzantine Chant
Title: "Αποδεξάμενος ο τύραννος" (Kalophonic Sticheron "When the tyrant saw")
Service: The Service of the Furnace; The Play of the Three Holy Children
Performers: Cappella Romana & Alexander Lingas
Album: "Mt. Sinai: Frontier of Byzantium (Voices of Byzantium: Medieval Byzantine Chant from Mt. Sinai)"
.
photo:
Densuș Church (St Nicholas)
Hunedoara County, Transylvania, Romania
mainly 13th century
Probably built on the site of a 2nd century Roman temple or mausoleum, might have also been a 4th century Christianized Roman temple, with the main construction faze dating hypothesis ranging from the 7th century to the 12th-13th centuries, and later additions from the 15th-17th centuries. Fragments of 15th century frescoes are preserved inside.
Hateg region contains several striking old stone masonry churches built in Romanian villages as Orthodox churches but with Roman-Catholic architectural influences, testimony to the complex history of Transylvania.
Apart from its architecture [categorized by some as Romanesque or as a local syntheses of Romanesque and Byzantine architectures] the church is remarkable by the ubiquitous use of spolia from the ruins of the nearby capital of the Roman province of Dacia called Ulpia Traiana Sarmizegetusa, in the form of stamped bricks and various carved stones, some with Roman epigraphy. Presently it is considered to be the oldest Romanian Orthodox church building still in use today.
Category: Churches - Orthodox
Period: sec. XIII; adăugiri sec. XV - XVII
Importance: A
LMI code: HD-II-m-A-03307
Address: 23
Location: sat DENSUŞ; comuna DENSUŞ
District: Hunedoara
Region: Transilvania
Categorie: Biserici ortodoxe
Perioada: sec. XIII; adăugiri sec. XV - XVII
Importanta: A
Cod LMI: HD-II-m-A-03307
Adresa: 23
Localitate: sat DENSUŞ; comuna DENSUŞ
Judet: Hunedoara
Regiune: Transilvania
www.monumenteromania.ro/index.php/monumente/detalii/en/Bi...
Km. 18 at Valle del Cauca, Colombia. The Multicolored Tanager (Chlorochrysa nitidissima) is among the most beautiful and precious birds that we saw and photographed during our recent February 2017 trip to Colombia. It's a relatively small tanager, about 12 cm (5 inches) in length. This bird is endemic to the mountains of Colombia, and as of 2010 has been categorized as vulnerable (VU) by the IUCN. It was a commonly encountered bird in its small range, but loss of habitat is causing a serious decline in its population. The Multicolored Tanager is found mainly from 1300 to 2200 meters above sea level in the interior of wet forests. This image is not as perfect as I had expected to attain. Hopefully, I'll have another opportunity before the species completely disappears.
AI generated with Artbreeder
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.
⭐️ ⭐️ ⭐️ Multicolored Tanager-Tangara Multicolor.
🐦 The multicoloured tanager (Chlorochrysa nitidissima) is a species in the family Thraupidae. It is endémico to the mountains of Colombia, and as of 2010 has been categorized as vulnerable (VU) by the IUCN.
(homage to the color field painters)
By the late 1950s and early 1960s young artists began to break away stylistically from abstract expressionism; experimenting with new ways of making pictures; and new ways of handling paint and color. In the early 1960s several and various new movements in abstract painting were closely related to each other, and superficially were categorized together; although they turned out to be profoundly different in the long run. Some of the new styles and movements that appeared in the early 1960s as responses to abstract expressionism were called: Washington Color School, Hard-edge painting, Geometric abstraction, Minimalism, and Color Field.
Gene Davis also was a painter known especially for paintings of vertical stripes of color, like Black Grey Beat, 1964, and he also was a member of the group of abstract painters in Washington, D.C. during the 1960s known as the Washington Color School. The Washington painters were among the most prominent of the mid-century Color Field painters.
The artists associated with the Color Field movement during the 1960s were moving away from gesture and angst in favor of clear surfaces and gestalt. During the early to mid-1960s Color Field painting was the term for the work of artists like Anne Truitt, John McLaughlin, Sam Francis, Sam Gilliam, Thomas Downing, Ellsworth Kelly, Paul Feeley, Friedel Dzubas, Jack Bush, Howard Mehring, Gene Davis, Mary Pinchot Meyer, Jules Olitski, Kenneth Noland, Helen Frankenthaler, Robert Goodnough, Ray Parker, Al Held, Emerson Woelffer, David Simpson, and others whose works were formerly related to second generation abstract expressionism; and also to younger artists like Larry Poons, Ronald Davis, Larry Zox, John Hoyland, Walter Darby Bannard and Frank Stella. All were moving in a new direction away from the violence and anxiety of Action painting toward a new and seemingly calmer language of color.
n 1970 painter Jules Olitski said:
I don't know what Color Field painting means. I think it was probably invented by some critic, which is okay, but I don't think the phrase means anything. Color Field painting? I mean, what is color? Painting has to do with a lot of things. Color is among the things it has to do with. It has to do with surface. It has to do with shape, It has to do with feelings which are more difficult to get at.
-Wikipedia
© All Rights Reserved. Please do not use this image on websites, blogs or other media without my prior permission.
The Yedigöller National Park (Turkish: Yedigöller, "seven lakes") also known as Seven lakes National Park is located in the northern part of the Bolu Province in Turkey. The park is categorized under IUCN II and was established in 1969. The park is best known for the seven lakes formed by landslides and for the rich plant life.
Flora;
The floral vegetation seen in multi-colours consists of beech trees, oaks, hornbeams, firs, elm, hazel nut, spruces, alders, lime trees, black pines, Scotch pine and so forth. in the area.
Fauna;
Red deer, Roe deer, Wild boar, Brown bear, Wolf, Red fox, Lynx, Jungle cat, Otter and squirrels soforth. Consequent to better protection conditions in the park the population of animals has increased. The park has an exclusive protected area for deer. A trout farm has also been established in the park.ew insect species Ephemeroptera identified in the park are Ecdyonurus starmachi, Paraleptophlebia cincta, Caenis martae, and Baetis lapponicus
nationalparksofturkey.com/yedigoller-seven-lakes-national...
1990 United Nations List of National Parks
and Protected Areas.
The city of Minneapolis lies on both banks of the Mississippi River, just north of the river's confluence with the Minnesota River, and adjoins Saint Paul, the state's capital. It is abundantly rich in water, with twenty lakes and wetlands, the Mississippi River, creeks and waterfalls, many connected by parkways in the Chain of Lakes and the Grand Rounds National Scenic Byway. It was once the world's flour milling capital and a hub for timber, and today is the primary business center between Chicago and Seattle, with Minneapolis proper containing America's fifth-highest concentration of Fortune 500 companies. Minneapolis an integral link to the global economy and thus is categorized as a global city.
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.
Olana State Historic Site was the home of Frederic Edwin Church (1826–1900), one of the major figures in the Hudson River School of landscape painting. The centerpiece of Olana is an eclectic villa composed of many styles, difficult to categorize, which overlooks parkland and a working farm designed by the artist. The residence has a wide view of the Hudson River valley, the Catskill Mountains and the Taconic Range. Church and his wife Isabel (1836–1899) named their estate after a fortress-treasure house in ancient Greater Persia[2] (modern-day Armenia), which also overlooked a river valley.
Submitted to the coordinated design office under the open competition '4-6 person armoured transport', the design was quickly re-categorized by design office staff into the closed 'armoured assault support' category. While there it enjoyed some approval and advanced to the next round, where it will be tested and redesigned before being tested in the field.
Weapon systems:
x8 Variable range airburst shotgun (turret)
x32 anti-infantry cluster munitions rockets
Whew. It actually has has an interior. It can fit 5 minifigs or 4 of my drones. It's also probably going to get a little more polish, when I'm not tired of looking at it.
A mirage is a naturally occurring optical phenomenon in which light rays bend to produce a displaced image of distant objects or the sky. The word comes to English via the French mirage, from the Latin mirari, meaning "to look at, to wonder at". This is the same root as for "mirror" and "to admire".
Mirages can be categorized as "inferior" (meaning lower), "superior" (meaning higher) and "Fata Morgana", one kind of superior mirage consisting of a series of unusually elaborate, vertically stacked images, which form one rapidly changing mirage.
In contrast to a hallucination, a mirage is a real optical phenomenon that can be captured on camera, since light rays are actually refracted to form the false image at the observer's location. What the image appears to represent, however, is determined by the interpretive faculties of the human mind. For example, inferior images on land are very easily mistaken for the reflections from a small body of water.
Named CERBERUS by the Alliance because of its three massive front bridges, this 2 km long ship is an invasion capital ship. The CERBERUS is categorized as "hive" which are spaceships that constantly create new soldiers and crafts, basically moving factories. This particular hive is known to always carried at least 100 fighters including squadrons of FANTOMES and LEVIATHANS.
It is armed with 16 heavy plasma turrets and uses a "death ray" cannon as main weapon.
Extreme caution is to apply when engaging the CERBERUS and the Alliance recommands all isolated ships to take flight in case of encounter.
Jiuzhaigou (九寨沟) is a nature reserve in the north of Sichuan province in central China. It is officially known as Jiuzhai Valley in English. It is known mainly for its many multi-level waterfalls and colorful lakes. It 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.
Everything photographed and edited by me, no stock.
Categories are a very useful concept. Most evolved form of life would probably not exist without this concept. For example, distinguishing edible food from poison, distinguishing a nice road from a dangerous cliff, or distinguishing a friendly person from a serial killer are obvious cases. Based on this experience, human beings crafted many other categories: what is tasteful and what is not, what is beautiful and what is not, who drinks alcohol and who doesn't, who listens to heavy metal and who listens to jazz, who plays football and who plays chess, who earns a lot of money and who does not, who speaks English and who does not, the list goes on. Why this need of categories? I suppose that a first explanation is straightforward: when one wants to stay in his comfort zone, it is handy to quickly identify what or who corresponds to the criteria. Categories work as road signs: they help us taking the path we look for.
That being said, it is easy to see how having too many categories can quickly become counter-productive, just like hundreds of signs per mile wouldn't make a road safer nor easier to use. Yet, I have the feeling that we reached that point: it is like no decision, no opinion, no thought can be achieved without categorizing everything to the last extent. In fact, we are even educated this way: it is now extremely hard to avoid thinking within pre-made categories. This is quite sad, because all these categories create boxes around everything and everyone. Even sadder, our society looks at the situation as a normal fact, to the point we do ask for, and love this segregation.
It is nothing new, but electing leaders simply because they promise to segregate more, is disheartening. Categories were supposed to be a useful tool for everyone, not a convenient way for the cynical to gain power. Your voice for the promise of walls...
Photographed at the Paws and Power Dog Party and Car Show at Southwind Park in Springfield, Illinois on September 9, 2012. The event is hosted by the Springfield Parks Foundation and the Animal Protective League.
Please visit my Motor Vehicles Collection on Flickr where you will find more than 10,000 photographs that have been thoughtfully categorized into dozens of sets, and carefully organized by model year, manufacturer, vehicle type, and more. This project, which began in 2008, continues to expand with new material added daily.