View allAll Photos Tagged CMA
CMA CGM Ermitage
IMO 9961295
CMA CGM Container Ship
Flag: Malta
Built: 2024
Length: 204 m
Beam: 30 m
Gross tonnage: 32245
DWT: 31032 t
Passing Gravesend. Inbound to the London Container Terminal, Tilbury from Teesport.
15.8.25.
Schiffsdetails
Schiffstyp: Container ship
Baujahr: 2004
Länge x Breite: 277 m X 40 m
Bruttoregistertonnen: 65730, Tragfahigkeit: 73235 t
Eingetragene Geschwindigkeit (Max./Durchschnitt): 16.2 / 11.4 knots
Flagge: France [FR]
Rufzeichen: FZQF
IMO: 9280603, MMSI: 226319000
The container ship, CMA CGM Chopin [IMO 9280603] having been pulled off No. 4 NQ berth by Svitzer Falcon and Svitzer Eagle works her out of the harbour towards the entrance channel to Fremantle Port and onwards to Gage Roads and her next port of call, Singapore.
CMA CGM Moliere 6,554 TEU Fully Cellular Container Built 2009
IMO Number 9401099, Owners are Danaos Shipping, Built at Sungdong SB delivered in Sep 2009, Malta Flagged, DNV Classed, P&I insurance with The Swedish Club P&I, Length Overall of 300.00 m., Length Between Perpendiculars of 286.60 m., Draught of 12.00 m., Beam of 40.00 m., Gross Tonnage of 72,884, Design STX 6550 TEU by STX Offshore & SB, MAN B. & W. Engine, Speed of 25.60 kts at 208.40 tonnes per day, Intermediate Fuel Oil - Very Low Sulphur (VLS IFO), Horsepower of 77,600, Power Type: Diesel 2-Stroke.
CMA CGM Eiffel 4,367 TEU Fully Cellular Container Built 2002
IMO Number 9248112, Owners are CMA CGM, Built at HHIC (Yeongdo) delivered in Jul 2002, Malta Flagged, BV Classed, P&I insurance with North of England P&I, Length Overall of 280.00 m., Length Between Perpendiculars of 266.00 m., Draught of 13.00 m., Beam of 32.20 m., Gross Tonnage of 34,300, MAN B. & W. Engine, Speed of 24.00 kts at 165.00 tonnes per day, Intermediate Fuel Oil - Very Low Sulphur (VLS IFO), Horsepower of 62,107, Power Type: Diesel 2-Stroke.
CMA CGM Silverstone
IMO 9953793
CMA CGM Vehicles Carrier
Flag: Malta
Built: 2024
Length: 199 m
Beam: 38 m
Gross tonnage: 71631
DWT: 19138 t
Basking in the winter sun at Tilbury.
11.1.25.
the BULBOUS BOW ofBox ship CMA CGM HOMERE passes MAASSLUIS inbound for the MRS Terminal ROTTERDAM WAALHAVEN.
IMO: 9362322 Call Sign: MQBL6
Flag: United Kingdom
Gross Tonnage: 17594Mt. Deadweight: 21264 Mt.
Length; 170Mtr. Breadth 27.2 Mtr.
Year Built: 2007
CMA CGM Rundale
IMO 9961300
CMA CGM Container Ship
Flag: Malta
Built: 2024
Length: 204 m
Beam: 30 m
Gross tonnage: 32245
DWT: 31033 t
Passing Gravesend. Heading out from the London Container Terminal, Tilbury bound for Zeebrugge.
9.8.25.
CMA CGM Savannah
CMA CGM Container Ship
IMO 9348431
Flag: Malta
Built: 2008
Length: 264.3 m
Beam: 32,2 m
Gross tonnage: 41835
DWT: 53874 t
Departing from London Container Terminal, Tilbury bound for Dunkirk. Shot from Northfleet.
11.6.25.
Identify the Artist XVIII
Week 10 In Montparnasse The Emergence of Surrealism in Paris, from Duchamp to Dalí Part 2 (1346 – 1350) 4/9 – 4/13/2022
ID 1349
Salvador Dalí Spanish 1904 - 1989
The Dream, 1931
Oil on canvas
The Dream gives visual form to the strange, often disturbing world of dreams and hallucinations. Ants cluster over the face of the central figure, obscuring the mouth, while the sealed, bulging eyelids suggest the sensory confusion and frustration of a dream. The man at the far left—with a bleeding face and amputated left foot—refers to the classical myth of Oedipus, who unwittingly killed his father and married his mother. The column that grows from the man’s back and sprouts into a bust of a bearded man refers to the Freudian father, the punishing superego who suppresses the son’s sexual fantasies. In the distance, two men embrace, one holding a golden key or scepter symbolizing access to the unconscious. Behind them, a naked man reaches into a permeable red form, as if trying to enter it.
John L. Severance Fund 2001.34
From the Placard: The Cleveland Museum of Art
As far as Dalí was concerned, surrealism explored and celebrated not only the surfaces but the depths of ordinary life—our dreams, our repressions, our desires, our inevitable decay—and painting was merely one means of expressing the whole field of human experience. Why not sit on Mae West’s lips, or hold a conversation with lobster clamped to the ear? As Cocteau had said of de Chirico, the artist makes his presence felt with an artichoke in a city reserved for statues. As Cocteau also noted, Dalí had somehow, by now, moved centre stage without any particular by-your-leave, arriving, apparently effortlessly, complete with his own artistic raison d’être. ‘One has only to look at a painting by Dalí to be sure that he possesses an inevitable point of view on all things, that he inhabits a world which he dominates…He would be incapable of undertaking the slightest exchange with the outside.’ Yet his viewers seemed to have no difficulty assimilating his works; his popularity was immediate and enduring. – [cannot question this historical statement, don’t have to look much further than back to the World’s Fair of 1939 photo I posted at the start of Week 10]…With the infiltration of surrealism into the prevailing popular culture, nothing was the exclusive reserve of anyone any more. As Duchamp put it some years later (making, for better or worse, a substantial impact on the course of artistic history), only when set before the viewer does the artist’s work finally assume its status as a work of art.
The early surrealists worked without censorship or restraint to create works which, reaching beyond the medium of painting, undeniably made an impact on the art world. Today such gestures are ubiquitous. A cow in formaldehyde? An unmade bed? A staircase leading nowhere? The works of Damien Hirst, Tracy Emin, Rachel Whiteread and others would surely have been unthinkable before surrealism. (Dalí himself first had the idea of filling a structure full of concrete to make—or reveal—a work of are, carried out by Whiteread with “House” in 1993.) In the 1990s Alexander McQueen’s breakthrough collections overtly incorporated surrealist imagery and ideas, dramatized in his shows. For “The Birds” he sent a sinister flock of feathered and winged models down the catwalk; “Bellmer la Poupée” was influenced by German surrealist artist Hans Bellmer’s 1934 series of photographs of articulated dolls (‘Puopée: variations sur le montage d’une mineure articulée’; ‘Doll:variations on the apparatus of an articulated female minor’). In 2001 at “Voss” McQueen’s audience face an enormous glass box constructed to resemble a padded cell (white tiles, surveillance-mirrored walls), the lights going up to reveal the models incarcerated within; “Sarabande” (2007) was inspired by Diaghilev’s friend Marchesa Luisa Casati.
…The surrealist of the 1910s and the 1920s (Marcel Duchamp, Man Ray, Max Ernst and from 1929 onwards Salvador Dalí were all in a sense, conceptualists long before conceptualism was invented—though it might also be said that even the most blatantly conceptual works of their day (Duchamp’s “Bicycle Wheel”, Dalí’s later “Lobster Telephone”) encompassed the artist’s pictorial sense of rhythm, balance and understanding of light and space, suggesting a concern with execution abandoned by the conceptualists of the 1960s and 1970s (or so they claimed). How surprised Duchamp and Dalí would have been to see their works decorously presented in 2017, hung like serious art and presented like museum pieces—or perhaps, and more likely, they would just have been amused. What is art? What are the materials of art? What is the relationship between artist and viewer? The surrealists explored all these questions…>
Sue Roe In Montparnasse The Emergence of Surrealism in Paris, from Duchamp to Dalí Penguin Books, 2000 pgs. 250-52.