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casted bronze(?) statues of 'natraj' performing cosmic dance, sold on the roads of jaisalmer.
see STILL-LIFEs set here
The Dalí Theatre and Museum Figueres Catalonia Spain
(Catalan: Teatre-Museu Dalí, IPA: [teˈatɾə muˈzɛw ðəˈɫi], Spanish: Teatro Museo Dalí), is a museum of the artist Salvador Dalí in his home town of Figueres, in Catalonia, Spain.
Building
The heart of the museum is the building that housed the town's theater when Dalí was a child, where one of the first public exhibitions of young Dalí's art was shown. The old theater was burned during the Spanish Civil War and remained in a state of ruin for decades. In 1960, Dalí and the mayor of Figueres decided to rebuild it as a museum dedicated to the town's most famous son.
In 1968, the city council approved the plan, and construction began the following year. The architects were Joaquim de Ros i Ramis and Alexandre Bonaterra. The museum opened on September 28, 1974,with continuing expansion through the mid-1980s. The museum now includes buildings and courtyards adjacent to the old theater building.
The museum displays the single largest and most diverse collection of works by Salvador Dalí, the core of which was from the artist's personal collection. In addition to Dalí paintings from all decades of his career, there are Dalí sculptures, 3-dimensional collages, mechanical devices, and other curiosities from Dalí's imagination. A highlight is a 3-dimensional anamorphic living-room installation with custom furniture that looks like the face of Mae West when viewed from a certain spot.
The museum also houses a small selection of works by other artists collected by Dalí, ranging from El Greco and Bougereau to Marcel Duchamp and John de Andrea, In accordance with Dalí's specific request, a second-floor gallery is devoted to the work of his friend and fellow Catalan artist Antoni Pitxot, who also became director of the museum after Dalí's death.
A glass geodesic dome cupola crowns the stage of the old theater, and Dalí himself is buried in a crypt below the stage floor. The space formerly occupied by the audience has been transformed into a courtyard open to the sky, with Dionysian nude figurines standing in the old balcony windows.
A Dalí installation inside a full-sized automobile, inspired by Rainy Taxi (1938), is parked near the center of the space.
Art collection
The Dalí Theatre and Museum holds the largest collection of major works by Dalí in a single location. Some of the most important exhibited works are Port Alguer (1924), The Spectre of Sex-appeal (1932), Soft self-portrait with grilled bacon (1941), Poetry of America—the Cosmic Athletes (1943), Galarina (1944–45), Basket of Bread (1945), Leda Atomica (1949), Galatea of the Spheres (1952) and Crist de la Tramuntana (1968).
There is also a set of works created by the artist expressly for the Theater-Museum, including the Mae West room, the Palace of the Windroom, the Monument to Francesc Pujols, and the Cadillac plujós.
A collection of holographic art by Dalí, and a collection of jewelry he designed are on display. Another room contains a bathtub and a side table with an open drawer and a lamp, all of which Dalí had installed upside-down on the ceiling.
An extension to the museum building contains a room dedicated to optical illusions, stereographs, and anamorphic art created by Dalí. The artist's final works, including his last oil painting, The Swallow's Tail (1983), are on display here.
THE DALINIAN SYMBOLS
A study of the work of Dalí, reveals some systematically present symbols in all his work. It's fetish objects that apparently have little in common: crutches, sea urchins, ants, bread...
Dalí uses these symbols so as to make it more meaningful to the message of his painting. The contrast of a hard shell and a soft interior is at the heart of his thinking and his art. This contrast outside-(hard/soft) is consistent with psychological design whereby individuals produce (hard) defenses around the vulnerable psyche (flexible). Dalí knew very well the work of Freud and his followers, even if its iconography derives absolutely no psychoanalytic thought.
ANGELS
They have the power to enter the celestial vault, communicating with God and thus achieve mystical union that concerns both the painter. Figures of angels painted by Dalí often borrow traits of Gala, incarnation, for Dali, purity and nobility.
CRUTCHES
It may be the only support of a figure or the necessary support of a form unable to stand alone. Dalí the view child, in the attic of his father's House. It should take and will never part. This subject gave him an assurance and an arrogance which he had never yet been able. In the short dictionary of Surrealism (1938), Dalí gives the following definition: "wooden Support deriving from the Cartesian philosophy. Generally used to serve as a support to the tenderness of the soft structures."
ELEPHANTS
The dalinian elephants are usually represented with the long legs of desire invisible to many bearings, bearing on their Obelisk back symbol of power and domination. The weight supported by the frail legs of the animal evokes weightlessness.
SNAILS
The snail is related to an important milestone in the life of Dalí: his encounter with Sigmund Freud. Dalí believed that nothing happens just by accident, he was captivated by the vision of a snail on a bicycle outside the home of Freud. The link is then made him between a human head and the snail, he associated specifically with the head of Freud. As for the egg, the outer part of the (hard) shell and the inner (soft) body of the snail site and the geometry of its curves it enchantèrent.
ANTS
Symbol of decay and decomposition. Dalí ants first met in his childhood, observing the remains decomposed small animals devoured by them. He observed with fascination and repulsion, and continued to use them in his work, as a symbol of decadence and ephemeral.
SOFT WATCHES
Dalí has often said, "the materialization of the flexibility of time and the indivisibility of space... It is a fluid." The unexpected softness of the watch also represents the psychological aspect by which the speed of time, although accurate in its scientific definition, can greatly vary in its human perception. The idea came to him after a meal while he contemplated the remains of a runny camembert. He decided to paint over the landscape that served as backdrop for two soft watches which one hung miserably to an olive branch.
EGG
Christian symbol of the resurrection of Christ and the emblem of purity and perfection. The egg evokes by its appearance and its minerality dear symbolism to Dali, earlier, intrauterine life and re-birth.
SEA URCHIN
His "exoskeleton" (the shell sits outside), Harris of thorns, can make you very unpleasant a first contact with the animal. The shell on the other hand contains soft body (one of the favorite dishes of Dali, who was known to eat a dozen at each meal). The Sea Urchin shell, stripped of its spines, appears in many of his paintings.
BREAD
Is it fear of Miss, Dalí represents it in his paintings and also begins to make surrealist objects with bread. In his paintings, loaves more often have something 'hard' and phallic, opposed to the "soft" watches. Dali has always been a great admirer of the bread. It tapissera of Catalan round loaves Figueras Museum walls.
LANDSCAPES
Traditional space (based on the perspective and the paintings of the Renaissance). Realistic landscape strewn with strange and unreal objects located in a natural environment. The background and how to use landscapes are one of the strengths of the art of Dali. They contribute to create the atmosphere of unreality of his paintings (landscape of his native Catalonia and vast plain of Ampurdan surrounding Figueras).
DRAWERS
Human bodies that open by drawers are found repeatedly in paintings and objects from Dali. They symbolize the memory and the unconscious and refer to "thought to be drawers", a concept inherited from the reading of Freud. They express the mystery of hidden secrets. Most of the children explore each drawer, cabinet and wardrobe of their home.
VENUS OF MILO
It is part long's personal mythology of the painter. She is the first woman he model child in clay from a reproduction adorning the family dining room. It is also that he discovered on a box of crayons in New York. He finds stupid expression on his face that he nevertheless considered own to perfect but inadequate female beauty in an elegant woman whose gaze should be or seem intelligent. Dalí made several transformations of Venus: the space Venus, Venus with drawers...
I was bored last night with nothing to do. So I took pictures.
If you haven't checked out Cosmic Hellcats you totally should. Like right now. GO!
I tried drawing but it wasn't working out. Cameras are much easier to work than pencils...
This is a 27" square wallhanging of one Cosmic Star block (pattern by Tracey Jacobson -Traceyjay) pieced by me and quilted by Janet Archibald - WhatComesNext? I used Lipari shot cottons courtesy of Oakshott and a tone on tone black batik as background and binding. Blogged
For Gustav Holst and Claude Debussy, the beauty of Earth and its surrounding planets inspired them not to collect data, but to compose music. Now, 100 years after the first performance of Holst’s “The Planets,” audiences had a chance to hear their music and see depictions of our awe-inspiring solar system simultaneously.
On Jan 27 and 28, the National Philharmonic Orchestra, in collaboration with NASA’s Goddard Space Flight Center, presented Cosmic Designs at the Music Center at Strathmore in North Bethesda, MD. In this marriage of music and space imagery, the orchestra performed Claude Debussy’s “La Mer” and Gustav Holst’s “The Planets.” Video producers at Goddard worked to collect depictions of our solar system’s planets, as well as Earth’s oceans to accompany the music. Using both satellite pictures and animations, this presentation illustrated tones in the music, making the audible narrative in the music come alive visually.
Read more about NASA's contribution: www.nasa.gov/feature/goddard/2018/cosmic-designs-at-the-i...
Read more about the event here:
www.strathmore.org/events-and-tickets/np-cosmic-designs
Credit: Strathmore/Don Lassell
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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Que coisa linda de meu Deus!!!! *.*
Esse é mais um dos meus Color Club Halo Hues que usei, o Cosmic Fate. Devo dizer que esperava uma cor mais viva, um tom meio alaranjado... O Cosmic Fate é um nude mais escuro, puxadinho pra um marrom rosado. Sei lá... Se alguém tiver uma definição melhor, me ajuda aí nos comentários. Mas apesar da cor não ser uma das minhas favoritas, o prisma desse lindo é bestificante! Lindão mesmo! Óóóóóóóóóbvioooooooo que o Sol sumiu, né?!? Lei de Murphy... Quem está na praia pode me xingar nos cometários tb. Mas é pra isso que serve a luminária de mesa do maridão, né? Pra tirar foto de holográfico qdo o Sol me trola.
Aliás, maridão disse que o Cosmic Fate é phyno. E como eu sei que ele é mto sincero, acreditei. Recomendado, meninas!
Frame: *ALL-CITY* cosmic stallion titanium (52)
Wheel :*HED* belgium R disc rim × *CHRIS KING* R45 disc road hub
Tire: *ENVE* ses tubeless tire
Handle: *ENVE* carbon road bar
Stem: *THOMSON* elite x4 stem
Saddle: *SELLE ITALIA* flite 1990 saddle
Seat post: *ERIKSEN* titanium seatpost
Headset: *CHRIS KING* dropset 1
Brake lever: *SHIMANO* ST-RX810 (GRX ltd)
Crank: *SHIMANO* RD-RX812 (GRX ltd)
Framebag: *FAIRWEATHER* custom framebag
BB: *CHRIS KING* Threadfit 24 BB
This cat face mask sculpture is completely original and hand sculpted by me, Jane Priser. OOAK means One-Of-A-Kind. The Cosmic Cat's coat has many swirling colors. They flow and vibrate around his eyes. The cat's eyes are clear glass cabochons that I have created a shimmering backing to shine through the clear glass: a beautiful green with gold. This gives the cat's eyes much depth and luminosity - and they are subtly sparkly.
I just let my imagination take me where ever it wanted to go with this sculpture. A polymer clay creation. The Cosmic Cat makes a great home decor item. This is a wall hanging sculpture with a wire on the back for easy hanging.
Febrovery 2024
Formula Classic space!
Get your cosmically supercharged engines revving for some planetary racing!
#classicspacelego #classicspace #lego #moc #spaceman #legospaceman #rover #febrovery #febrovery2024 #afolcommunity #afol #legomoc #grøn #legorover #legoclassicspace #legoclassicspaceman
The Boston University Symphony Orchestra perform Cosmic Reflection.
www.classicalarchives.com/CR/index.html
Credit: Stan Barouh / Boston University
For Gustav Holst and Claude Debussy, the beauty of Earth and its surrounding planets inspired them not to collect data, but to compose music. Now, 100 years after the first performance of Holst’s “The Planets,” audiences had a chance to hear their music and see depictions of our awe-inspiring solar system simultaneously.
On Jan 27 and 28, the National Philharmonic Orchestra, in collaboration with NASA’s Goddard Space Flight Center, presented Cosmic Designs at the Music Center at Strathmore in North Bethesda, MD. In this marriage of music and space imagery, the orchestra performed Claude Debussy’s “La Mer” and Gustav Holst’s “The Planets.” Video producers at Goddard worked to collect depictions of our solar system’s planets, as well as Earth’s oceans to accompany the music. Using both satellite pictures and animations, this presentation illustrated tones in the music, making the audible narrative in the music come alive visually.
Read more about NASA's contribution: www.nasa.gov/feature/goddard/2018/cosmic-designs-at-the-i...
Read more about the event here:
www.strathmore.org/events-and-tickets/np-cosmic-designs
Credit: Strathmore/Don Lassell
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.
Follow us on Twitter
Like us on Facebook
Find us on Instagram
"The Cosmic Connection" exhibit at the Griffith Observatory includes these 'sheriff' badges. Los Angeles, October 2013
Canon 60D
Standing ovation after the performance of Cosmic Reflection with the the Boston University Symphony Orchestra. Rich Melnick produced the video to accompany the sympony and is in the tan suit second to the left.
Credit: Stan Barouh / Boston University
The Dalí Theatre and Museum (Catalan: Teatre-Museu Dalí, IPA: [teˈatɾə muˈzɛw ðəˈɫi], Spanish: Teatro Museo Dalí), is a museum of the artist Salvador Dalí in his home town of Figueres, in Catalonia, Spain.
Building
The heart of the museum is the building that housed the town's theater when Dalí was a child, where one of the first public exhibitions of young Dalí's art was shown. The old theater was burned during the Spanish Civil War and remained in a state of ruin for decades. In 1960, Dalí and the mayor of Figueres decided to rebuild it as a museum dedicated to the town's most famous son.
In 1968, the city council approved the plan, and construction began the following year. The architects were Joaquim de Ros i Ramis and Alexandre Bonaterra. The museum opened on September 28, 1974,with continuing expansion through the mid-1980s. The museum now includes buildings and courtyards adjacent to the old theater building.
The museum displays the single largest and most diverse collection of works by Salvador Dalí, the core of which was from the artist's personal collection. In addition to Dalí paintings from all decades of his career, there are Dalí sculptures, 3-dimensional collages, mechanical devices, and other curiosities from Dalí's imagination. A highlight is a 3-dimensional anamorphic living-room installation with custom furniture that looks like the face of Mae West when viewed from a certain spot.
The museum also houses a small selection of works by other artists collected by Dalí, ranging from El Greco and Bougereau to Marcel Duchamp and John de Andrea, In accordance with Dalí's specific request, a second-floor gallery is devoted to the work of his friend and fellow Catalan artist Antoni Pitxot, who also became director of the museum after Dalí's death.
A glass geodesic dome cupola crowns the stage of the old theater, and Dalí himself is buried in a crypt below the stage floor. The space formerly occupied by the audience has been transformed into a courtyard open to the sky, with Dionysian nude figurines standing in the old balcony windows.
A Dalí installation inside a full-sized automobile, inspired by Rainy Taxi (1938), is parked near the center of the space.
Art collection
The Dalí Theatre and Museum holds the largest collection of major works by Dalí in a single location. Some of the most important exhibited works are Port Alguer (1924), The Spectre of Sex-appeal (1932), Soft self-portrait with grilled bacon (1941), Poetry of America—the Cosmic Athletes (1943), Galarina (1944–45), Basket of Bread (1945), Leda Atomica (1949), Galatea of the Spheres (1952) and Crist de la Tramuntana (1968).
There is also a set of works created by the artist expressly for the Theater-Museum, including the Mae West room, the Palace of the Windroom, the Monument to Francesc Pujols, and the Cadillac plujós.
A collection of holographic art by Dalí, and a collection of jewelry he designed are on display. Another room contains a bathtub and a side table with an open drawer and a lamp, all of which Dalí had installed upside-down on the ceiling.
An extension to the museum building contains a room dedicated to optical illusions, stereographs, and anamorphic art created by Dalí. The artist's final works, including his last oil painting, The Swallow's Tail (1983), are on display here.
Parée Erica’s Texture Fun Challenge #29
Textures with thanks to Parée Erica
Fairy from Marcus Ranum:
mjranum-stock.deviantart.com/art/FairyFlight-8-J-325845393
Background:
paulinemoss.deviantart.com/art/Bright-Space-307488135
Textures:
www.flickr.com/photos/skeletalmess/3828140314/
aufgenommen mit Sony A7 im Wertwiesenpark. Die Skulptur mit dem Namen "Cosmic Connection" stammt von Ottmar Mohring (de.wikipedia.org/wiki/Ottmar_Mohring)
The Boston University Symphony Orchestra perform Cosmic Reflection.
www.classicalarchives.com/CR/index.html
Credit: Stan Barouh / Boston University
Dedicated to Mercury – the Cosmic Snake
Part 4
I've heard the holy snake saying:
Your wish will be my order... Persephone... so come...
Don't be afraid
Look into my eyes
What do you see?
Maybe a part of yourself...
I am the tree of life
I am the energy of life
I am the transformation
I am the son of the mother
I am temptation
I am lust
I am the aple
I am called Mercury
the holy spirit of mater...
I say: be conscious now...
and enjoy your life without sins!
HKD
Teil 4
Die heilige Merkurius-Schlange
Komm, keine Angst!
Sieh in meine Augen!
Ich bin der Vermittler zwischen Himmel und Erde.
Ich bin die Fruchtbarkeit der Erde
Ich bin der Apfel
Ich bin die Erkenntnis
Ich bin die Transzendenz
Ich bin der Wandler
Ich bin dein Freund!
Ich bin die Schlange am Baum des Lebens
Ich bin das Quecksilber der Alchemisten
Ich bin die transzendente Funktion in deiner Psyche.
Merkurius werde ich genannt.
Ich bringe deine Jugend zu dir zurück…
HKD
Das Symbol der Schlange wird häufig mit Transzendenz verbunden. Der Überlieferung nach ist sie ein Geschöpf der Unterwelt. Da sie auch in der Oberwelt zu sehen ist, gilt sie als Vermittler zwischen Unter- und Oberwelt.
Die Schlange gilt als therapeutisches Symbol der Heilung.
Wir finden sie am Stab des Aeskulap ebenso wie an dem des Gottes Merkurius.