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Ce monument commémore l’une des dernières figures importantes des Lumières écossaises, le philosophe et professeur de philosophie morale à l’Université d’Édimbourg (de 1786 jusqu’à sa mort en 1828) : Dugald Stewart (1753-1828). Considéré comme l’un des plus grands philosophes de son temps, il a également enseigné l’économie, la philosophie naturelle, le grec et la logique et a été l’auteur de plusieurs ouvrages de philosophie, dont la philosophie de l’esprit humain. En 1792, Stewart publia Elements of the Philosophy of the Human Mind, un traité qui commence par une discussion sur la vue. Stewart, comme le philosophe David Hume (1711-76) avant lui, s’intéressait particulièrement à la perception comme moyen de comprendre le monde, croyant que l’on ne pouvait pas se concentrer sur tout mais se limitait à des détails spécifiques. Il était un disciple de l’école de philosophie scottish Common Sense fondée par Thomas Reid, dont il avait assisté aux conférences à l’Université de Glagow. Parmi les étudiants bien connus de Stewart, on compte Lord Palmerston, le futur premier ministre, James Mill, le philosophe, et Sir Walter Scott, le romancier et poète.
La Royal Society of Edinburgh a commandé le monument et choisi son site en 1830. Ce dernier a été achevé en Septembre 1831, trois ans après la mort de Stewart. Il a été conçu par l'architecte écossais William Henry Playfair. Le mémorial est basé sur le monument choragique de Lysicrate à Athènes. Il s’agit d’un temple circulaire de neuf colonnes corinthiennes cannelées autour d’une urne surélevée sur un podium circulaire et dispose d’un toit en forme de dôme peu profond, surmonté au centre d’une urne ouverte à plumes. Il dispose d’une clôture polygonale en fonte restaurée avec des piliers en pierre, ornés de couronnes. La forme du monument choragique d’Athènes était devenue plus largement connue grâce à son illustration dans les Antiquités d’Athènes de Stuart et Revett, publiées en 1762. Une version contemporaine du monument, le monument Burns de Thomas Hamilton (1830-32) peut être vu à proximité sur Regent Road.
This monument commemorates one of the last important figures of the Scottish Enlightenment, the philosopher and professor of moral philosophy at the University of Edinburgh (from 1786 until his death in 1828): Dugald Stewart (1753-1828). Considered one of the greatest philosophers of his time, he also taught economics, natural philosophy, Greek and logic and was the author of several philosophical works, including The Philosophy of the Human Mind . In 1792 Stewart published Elements of the Philosophy of the Human Mind, a treatise that begins with a discussion of sight. Stewart, like the philosopher David Hume (1711-76) before him, was particularly interested in perception as a means of understanding the world, believing that one could not focus on everything but was limited to specific details. He was a disciple of the Scottish Common Sense school of philosophy founded by Thomas Reid, whose lectures he had attended at the University of Glagow. Well-known students of Stewart include Lord Palmerston, the future Prime Minister, James Mill, the philosopher, and Sir Walter Scott, the novelist and poet.
The Royal Society of Edinburgh commissioned the monument and chose its site in 1830. It was completed in September 1831, three years after Stewart's death. It was designed by Scottish architect William Henry Playfair. The memorial is based on the Choragic Monument of Lysicrates in Athens. It is a circular temple of nine fluted Corinthian columns around a raised urn on a circular podium and has a shallow domed roof, surmounted in the center by an open feathered urn. It has a restored cast iron polygonal fence with stone pillars, adorned with crowns. The form of the Choragic Monument at Athens had become more widely known through its illustration in Stuart and Revett's Antiquities of Athens, published in 1762. A contemporary version of the monument, Thomas Hamilton's Burns Monument (1830-32) may be seen nearby on Regent Road.
Thanks for all your comments and faves, much appreciated.
Commencée en 1143 selon la volonté de Georges d'Antioche, l'église possède un admirable décor de style byzantin.
Trawsfynydd Railway Station looking south-east.
The station opened in 1882 when the Bala and Ffestiniog Railway commenced operation. It was the largest station on the route and had a combined goods and engine shed. It closed to passengers in 1960 and for freight in 1961.
14/08/1966 [GB 1866].
L’histoire de l’escalier royal : tout commence au XVe siècle, le bassin méditerranéen est un carrefour commercial et culturel entre l’Asie, l’Afrique et l’Europe entrainant de nombreuses rivalités territoriales. La Corse est entre les mains de la République de Gène, quand en 1420, Alphonse V d'Aragon (le royaume d'Aragon (1035-1707) se trouvait en Ibérie du nord) revendique l'île à la suite de la concession de la Corse du pape Boniface VIII à son ancêtre Jacques II. Alphonse V le Magnanime assiège alors Bonifacio pendant près de cinq mois avec 50 navires. Mais les 250 Génois retranchés dans la citadelle repoussent le roi et son armée navale. L’histoire raconte que sa Majesté d’Aragon demanda à ses hommes de construire un escalier dans la falaise en l’espace d’une nuit. Mais selon la petite histoire cet escalier, taillé à main d’homme selon une inclinaison d'environ 45° à partir d'une faille naturelle de la falaise dans la roche calcaire bonifacienne (calcarénite), est l’œuvre de moines franciscains afin d’accéder à une source d’eau potable située dans une grotte naturelle au pied de la falaise.
Sur une hauteur de 65 mètres, les 189 marches toutes aussi irrégulières les unes que les autres rejoignent un sentier horizontal d’environ 400m. Le chemin serpente à travers la roche calcaire de Bonifacio jusqu’au puits d’eau douce de Saint Barthélemy (aujourd’hui inaccessible au public). A seulement quelques mètres au‐dessus de la mer, le long de la falaise qui tombe dans une mer turquoise qui se mêle au bleu azur du ciel avec la Sardaigne en toile de fond.
The story of the royal staircase: it all started in the 15th century, the Mediterranean basin was a commercial and cultural crossroads between Asia, Africa and Europe, leading to numerous territorial rivalries. Corsica was in the hands of the Republic of Genoa, when in 1420 Alfonso V of Aragon (the Kingdom of Aragon (1035-1707) was in northern Iberia) claimed the island following the concession of Corsica from Pope Boniface VIII to his ancestor Jacques II. Alphonse V the Magnanimous then besieged Bonifacio for nearly five months with 50 ships. But the 250 Genoese entrenched in the citadel push back the king and his naval army. The story goes that his Majesty of Aragon asked his men to build a staircase in the cliff in the space of one night. But according to the story, this staircase, carved by hand at an inclination of about 45° from a natural fault in the cliff in the Bonifacian limestone rock (calcarenite), is the work of Franciscan monks in order to access a source of drinking water located in a natural cave at the foot of the cliff.
Over a height of 65 meters, the 189 steps, each as irregular as the other, join a horizontal path of about 400m. The path winds through the limestone rock of Bonifacio to the fresh water well of Saint Barthélemy (now inaccessible to the public). Only a few meters above the sea, along the cliff that falls into a turquoise sea that mingles with the azure blue of the sky with Sardinia in the background.
The Grade I Listed Lincoln Cathedral, the seat of the Bishop of Lincoln, in Lincoln, Lincolnshire.
Building commenced in 1088 and continued in several phases throughout the medieval period. It was reputedly the tallest building in the world for 238 years (1311–1549) before the central spire collapsed in 1549 and was not rebuilt.
Remigius de Fécamp, the first bishop of Lincoln, moved the Episcopal seat there between 1072 and 1092. Up until then St. Mary's Church in Stow was the "mother church" of Lincolnshire (although it was not a cathedral, because the seat of the diocese was at Dorchester Abbey in Dorchester-on-Thames, Oxfordshire).
Bishop Remigius built the first Lincoln Cathedral on the present site, finishing it in 1092 and then dying on 9 May of that year, two days before it was consecrated. In 1141, the timber roofing was destroyed in a fire. Bishop Alexander rebuilt and expanded the cathedral, but it was mostly destroyed by an earthquake about forty years later, in 1185. The earthquake was one of the largest felt in the UK. The damage to the cathedral is thought to have been very extensive: The Cathedral is described as having "split from top to bottom"; in the current building, only the lower part of the west end and of its two attached towers remain of the pre-earthquake cathedral.
After the earthquake, a new bishop was appointed. He was Hugh de Burgundy of Avalon, France, who became known as St Hugh of Lincoln. He began a massive rebuilding and expansion programme. Rebuilding began with the choir and the eastern transepts between 1192 and 1210. The central nave was then built in the Early English Gothic style. Until 1549 the spire was reputedly the tallest medieval tower in Europe, though the exact height has been a matter of debate.
The two large stained glass rose windows, the matching Dean's Eye and Bishop's Eye, were added to the cathedral during the late Middle Ages. The former, the Dean's Eye in the north transept dates from the 1192 rebuild begun by St Hugh, finally being completed in 1235.
After the additions of the Dean's eye and other major Gothic additions it is believed some mistakes in the support of the tower occurred, for in 1237 the main tower collapsed. A new tower was soon started and in 1255 the Cathedral petitioned Henry III to allow them to take down part of the town wall to enlarge and expand the Cathedral.
In 1290 Eleanor of Castile died and King Edward I of England decided to honour her, his Queen Consort, with an elegant funeral procession. After her body had been embalmed, which in the 13th century involved evisceration, Eleanor's viscera were buried in Lincoln cathedral, and Edward placed a duplicate of the Westminster tomb there.
Information Source:
The building of Akershus Castle and Fortress was commenced in 1299 under king Håkon V. The medieval castle, which was completed in the 1300s, had a strategical location at the very end of the headland, and withstood a number of sieges throughout the ages. King Christian IV (1588-1648) had the castle modernised and converted into a Renaisssance castle and royal residence.
The buildings in the fortress are a wonderful collection of styles.
2014 08 12 134304 Norway Oslo Akershus 1HDR
Former Countryliner and Brighton Dennis Lance now in undercover storage for work to commence on her over the winter, seen here before going in. This also means that all the preserved fleet are now undercover for the winter.
What a difference a day makes. Yesterday they chopped down a quadrant of the canopy supports and today they began breaking up and removing the asphalt platform. The foundation of one of the supports was exposed and felt like a great opportunity for a posterity shot. Although it looks like a warzone right now, rail travel's best days in over half a century are coming soon!
there was the slightest glimmer of brightness as 35018 british india line commenced the climb to whichurch with it's scarborough -shrewsbury private charter
Commencing on Sunday 30th June, Lothian Country will launch its new Green Arrow Express services.
The new routes will be as follows:
EX1: Bathgate Town Centre, Boghall, DIRECT VIA M8, Maybury, Haymarket and The Exchange every 30 minutes, Monday to Saturday and hourly on a Sunday
EX2: Linlithgow Bridge, Linlithgow Town Centre, Springfield, DIRECT VIA M9, RBS Gogarburn, Maybury, Haymarket, and The Exchange every 30 minutes, Monday to Saturday and hourly on a Sunday.
Green Arrow will have a bespoke and dedicated team of drivers. The operation will run with a fleet of eight coaches which have been custom built in the UK by Plaxton, part of Alexander Dennis Limited, to exceed customer expectations.
The coaches have an innovative new forward facing wheelchair bay and have been fitted with full coach seating, Wi-Fi, USB charging, mood lighting and audio-visual stop announcements, offering a fantastic customer experience.
Lothian Country Green Arrow 9206 seen here at SVBM during the Open Day on the 19th May 2019.
Ronda is a municipality of Spain belonging to the province of Málaga, within the autonomous community of Andalusia.
Its population is about 35,000. Ronda is known for its cliffside location and a deep canyon that carries the Guadalevín River and divides the town. It is one of the towns and villages that are included in the Sierra de las Nieves National Park.
In the fifth century AD, Ronda was conquered by the Suebi, led by Rechila, being reconquered in the following century by the Eastern Roman Empire, under whose rule Acinipo was abandoned. Later, the Visigothic king Liuvigild captured the city. Ronda was part of the Visigoth realm until 713, when it fell to the Umayyad troops, who named it Hisn al-Rundah ("Castle of Rundah") and made it the capital of the Takurunna province.
After the disintegration of the caliphate of Córdoba, Ronda became the capital of a small kingdom ruled by the Berber Banu Ifran, the taifa of Ronda. During this period, Ronda gained most of its Islamic architectural heritage. In 1065, Ronda was conquered by the taifa of Seville led by Abbad II al-Mu'tadid. Both the poet Abu al-Baqa ar-Rundi (1204–1285) and the Sufi scholar Ibn Abbad al-Rundi (1333–1390) were born in Ronda.
The Islamic domination of Ronda ended in 1485, when it was conquered by Rodrigo Ponce de León, Duke of Cádiz after a brief siege. Subsequently, most of the city's old edifices were renewed or adapted to Christian roles, while numerous others were built in newly created quarters such as Mercadillo and San Francisco. The Plaza de Toros de Ronda was founded in the town in 1572.
The Spanish Inquisition affected the Muslims living in Spain greatly. Shortly after 1492, when the last outpost of Muslim presence in the Iberian Peninsula, Granada, was conquered, the Spanish decreed that all Muslims must either vacate the peninsula without their belongings or convert. Many people overtly converted to keep their possessions while secretly practicing their religion. Muslims who converted were called Moriscos. They were required to wear upon their caps and turbans a blue crescent. Traveling without a permit meant a death sentence. This systematic suppression forced the Muslims to seek refuge in mountainous regions of southern Andalusia; Ronda was one such refuge.
On May 25, 1566, Philip II decreed the use of the Arabic language (written or spoken) illegal, required that doors to homes remain open on Fridays to verify that no Muslim Friday prayers were conducted, and levied heavy taxes on Morisco trades. This led to several rebellions, one of them in Ronda under the leadership of Al-Fihrey. Al-Fihrey's soldiers defeated the Spanish army sent to suppress them under the leadership of Alfonso de Aguilar. The massacre of the Spaniards prompted Phillip II to order the expulsion of all Moriscos in Ronda.
In the early 19th century, the Napoleonic invasion and the subsequent Peninsular War caused much suffering in Ronda, whose inhabitants were reduced from 15,600 to 5,000 in three years. Ronda's area became the base first of guerrilla warriors, then of numerous bandits, whose deeds inspired artists such as Washington Irving, Prosper Mérimée, and Gustave Doré. In the 19th century, the economy of Ronda was mainly based on agricultural activities. In 1918, the city was the seat of the Assembly of Ronda, in which the Andalusian flag, coat of arms, and anthem were designed.
Ronda's Romero family—from Francisco, born in 1698, to his son Juan, to his famous grandson Pedro, who died in 1839—played a principal role in the development of modern Spanish bullfighting. In a family responsible for such innovations as the use of the cape, or muleta, and a sword especially designed for the kill, Pedro in particular transformed bullfighting into "an art and a skill in its own right, and not simply ... a clownishly macho preamble to the bull's slaughter".
Ronda was heavily affected by the Spanish Civil War, which led to emigration and depopulation.[citation needed] The scene in chapter 10 of Hemingway's For Whom the Bell Tolls, describing the 1936 execution of Fascist sympathisers in a (fictional) village who are thrown off a cliff, is considered to be modeled on actual events of the time in Ronda.
Ronda is situated in a mountainous area about 750 m (2,460 ft) above mean sea level. The inner relief is gentle and includes areas of pastureland and vegetable and cereal growing areas. The Guadalevín River runs through the city, dividing it in two and carving out the steep, 100-plus-meter-deep El Tajo canyon above which the city perches. The Spanish fir is endemic to the mountains surrounding Ronda.
Three bridges span the Tajo canyon: Puente Romano "Roman Bridge" (also known as the Puente Arabe "Arabic Bridge", as the foundation is Roman and it was rebuilt above in the Arabic Period); Puente Viejo "Old Bridge" (also known as the Puente San Miguel "St. Michael's Bridge"); and Puente Nuevo "New Bridge". The term nuevo is something of a misnomer, as the building of this bridge commenced in 1751 and took until 1793 to complete. The Puente Nuevo is the tallest of the bridges, towering 120 m (390 ft) above the canyon floor. The former town hall, which stands next to the Puente Nuevo, is the site of a Parador and has a view of the Tajo canyon.
Outside the Ronda Bullring
The Corrida Goyesca is a bullfight that takes place once a year in Ronda in the Plaza de Toros de Ronda, the oldest bullfighting ring in Spain. It was built in 1784 in the Neoclassical style by the architect José Martin de Aldehuela, who also designed the Puente Nuevo.
Inside the Arabic baths
The partially intact Baños Arabe ("Arabic baths") are found below the city, beside the Puente Arabe (also known as the Puente Romano) and date back to the 13th and 14th centuries. They can be visited, but are no longer in use as baths. The Arab Baths used to fulfil the function of purifying the visitors who came to the city of Ronda. They are the best preserved Arabic baths.
Plaza del Socorro
The Plaza del Socorro is the modern political centre of Ronda. It was here that Blas Infante showed the Andalusian flag and coat of arms for the first time in 1918. The parish church of Socorro (Parroquia de Nuestra Señora del Socorro) was only built in 1956. The building known as the Casino and Circulo de Artistas (Artists' Society) is located on the north side of Ronda's Plaza del Socorro.
Palace of the Marqués de Salvatierra
The Palace (palacio) of the Marqués de Salvatierra opens irregularly as a small museum of Renaissance art and artefacts. The palace is an 18th-century renovation of an earlier 16th century building gifted to the family of Don Vasco Martín de Salvatierra by the Catholic Monarchs when they redistributed the spoils of the Reconquest. In 1994, Madonna obtained a permit to shoot inside the palace for the music video of "Take a Bow".
Casa del Rey Moro
Despite the name, the Casa del Rey Moro was never the home of a Moorish king. It was built in the 18th century, when Moorish Spain was already a distant memory. Its apparently Moorish gardens are even more recent, having been designed by the French landscape gardener Jean Claude Forestier in 1912. The house does incorporate one genuine and important relic of Ronda's Moorish era: the so-called Water Mine, a set of steps down to the river carved into the cliff wall.
Serranía de Ronda is filled with pueblos blancos which are approachable by car. The position of the town of Ronda provides views over the mountains of Serranía de Ronda.
from Wikipedia
Aston Hall is a Grade I listed Jacobean house in Aston, Birmingham. Using a design by John Thorpe, construction was commenced in 1618 by Sir Thomas Holte, and was completed in 1635. It sits in a large park, part of which became Villa Park, the home ground of Aston Villa football club.
The house was severely damaged during the English Civil War, following an attack by Parliamentary troops in 1643. Some of the damage is still evident, and there is a hole in the staircase where a cannonball went through a window and an open door, and into the banister. The house remained in the Holte family until 1817, when it was sold and leased by James Watt Jr., son of industrial pioneer James Watt. The house was purchased in 1858 by a private company (the Aston Hall and Park Company Ltd) for use as a public park and museum. After the company ran into financial difficulties, the house was bought by the Birmingham Corporation in 1864, becoming the first historic country house to pass into municipal ownership.
Praetorian made her public debut locked in battle with Persephone at the GFKLug annual Lego display this weekend. Quite nerve-wracking moving them both but luckily they made it mostly intact! Who do you think has the upper hand?
:: skin & makeup ::
pisces v2 // pepe skins
teen idle eyeshadow + lipstick // tutti belli
:: set dressing ::
shanai 01 // secret poses
:: accessories ::
stars necklace // secrets
space helmet // stoic
ballerina short nails // cazimi
:: hair ::
late hair // olive
:: outfit ::
rosie top + panties // evani
Tout a commencé dans le cadre de l'exposition Facing Time, Rops/Fabre qui s'est tenue au Musée Félicien Rops du 13 mars au 30 août (voir L'Eventail d'avril 2015, p. 43 - disponible sur tablette). L'idée derrière cette dernière était de faire dialoguer, à travers le temps, deux artistes belges : l'un wallon, Félicien Rops (1833-1898), l'autre flamand, Jan Fabre (1958). Comment la fascination a-t-elle commencé à agir ? C'est difficile à expliquer rationnellement mais quelques pistes ont été avancées par différents acteurs, liées au lieu, à l'œuvre, à sa charge émotionnelle et son esthétique magnétique. Tout d'abord, les exploitants de commerces sur la citadelle sont unanimes : en terme de fréquentation, la "tortue" – comme elle est surnommée – offre une attraction nouvelle et dynamise ce lieu chargé d'histoire. Ensuite, le lieu à proprement parler ; l'œuvre a permis d'attirer la curiosité des Namurois eux-mêmes sur le fait que des endroits de la citadelle avaient des noms et leur a offert un prétexte pour redécouvrir les remparts. Searching for Utopia a également un caractère particulier de par sa taille et ses dimensions et a nécessité une grue spéciale afin d'être déposée sur son promontoire.
L'artiste anversois avait confié, et c'est d'ailleurs de ces paroles qu'est née Facing Time, Rops/Fabre : "Si je devais voler une œuvre dans un musée, ce serait Pornocratès de Félicien Rops." Fabre est un artiste protéiforme et toutes ses œuvres plastiques font référence à une fascination pour le corps et pour la science. Il faut également mentionner la métamorphose comme "concept clé" dans l'approche de son corpus créatif au travers duquel, les existences humaine et animale interagissent en permanence. Searching for Utopia illustre ces propos : une tortue monumentale est chevauchée par un personnage qui n'est autre qu'une représentation de l'artiste. Statue en bronze doré, l'œuvre fait référence dans son titre à l'ouvrage de l'humaniste anglais Thomas More (1478-1535), Utopia, dans lequel l'auteur décrit une île imaginaire où existe un système politique idéal. Nous voilà donc en quelque sorte face à un chevalier sur sa monture à la recherche du graal, l'artiste à la recherche de l'impossible. Le choix de l'animal n'est certes pas fortuit ; créature mythique souvent associée à la création du monde et à l'existence de paradis, la tortue est aussi un symbole de longévité et d'immortalité. Aucun autre animal n'est donc mieux adapté à la recherche de l'utopie. À l'origine, Searching for Utopia résulte d'une commande de la ville de Nieuport pour la triennale d'art Beaufort 01. En 2003, Jan Fabre imaginait cette fable contemporaine de l'artiste à la recherche d'un monde meilleur. Initialement placée sur la plage, la statue fixait l'horizon d'un air décidé, prête à conquérir les flots. À sa manière, l'exemplaire namurois sonne très justement : au-dessus du Grognon, sur le lieu-dit du Bonnet de Prêtre, Fabre et son destrier surplombent le confluent de la Meuse et de la Sambre, libres d'emprunter le chemin qu'ils désirent à la recherche d'Utopie. Entre Amsterdam où la statue a été exposée pour ArtZuid en 2011, le jardin de la Guy Pieters Gallery à Saint-Paul-de-Vence (d'où l'exemplaire namurois est venu, par transport spécial de nuit) ou encore Nieuport et Namur, Searching for Utopia est une statue de plein air, réalisée spécialement à cet effet.
Searching for Utopia et née en 2003, dans le cadre de Beaufort 01 – triennale d'art actuel sur la côte belge. L'œuvre avait été commandée alors à Jan Fabre par la Ville de Nieuport. Disposée sur la plage, la tortue montré des signes d'érosion due au vent et au sable.
La station balnéaire a donc cherché un nouvel emplacement pour cette statue qui, entre-temps, a été envoyée en restauration dans un atelier d'Audenarde (où le processus est suivi de près par Jan Fabre). À son retour, elle sera installée dans son nouvel écrin, Fabreplein – une place pensée en fonction de la tortue et en collaboration avec l'artiste –, à la fin 2016 ou au début 2017.
article de L'Eventail du 30 actobre 2015.
It all started with the Facing Time, Rops / Fabre exhibition held at the Félicien Rops Museum from March 13 to August 30 (see L'Eventail d'Aril 2015, p. 43 - available on tablet). The idea behind the latter was to create a dialogue, over time, between two Belgian artists: one Walloon, Félicien Rops (1833-1898), the other Flemish, Jan Fabre (1958). How did fascination start to work? It is difficult to explain rationally, but a few avenues have been put forward by different actors, linked to the place, the work, its emotional charge and its magnetic aesthetic. First of all, the operators of shops on the citadel are unanimous: in terms of attendance, the "turtle" - as it is nicknamed - offers a new attraction and energizes this place steeped in history. Then, the place itself; the work made it possible to attract the curiosity of the Namurois themselves on the fact that places of the citadel had names and offered them a pretext to rediscover the ramparts. Searching for Utopia also has a special character due to its size and dimensions and required a special crane to be placed on its promontory.
The Antwerp artist had confided, and it is also from these words that Facing Time, Rops / Fabre was born: "If I had to steal a work in a museum, it would be Pornocratès by Félicien Rops." Fabre is a protean artist and all his plastic works refer to a fascination for the body and for science. We must also mention metamorphosis as a "key concept" in the approach of his creative corpus through which, human and animal existences constantly interact. Searching for Utopia illustrates these words: a monumental turtle is ridden by a character who is nothing other than a representation of the artist. A gilded bronze statue, the work refers in its title to the work of the English humanist Thomas More (1478-1535), Utopia, in which the author describes an imaginary island where an ideal political system exists. So here we are, in a way, facing a knight on his mount in search of the grail, the artist in search of the impossible. The choice of the animal is certainly not fortuitous; A mythical creature often associated with the creation of the world and the existence of paradise, the turtle is also a symbol of longevity and immortality. No other animal is therefore better suited to the search for utopia. Originally, Searching for Utopia was the result of a commission from the city of Nieuport for the Beaufort 01 art triennial. In 2003, Jan Fabre imagined this contemporary fable of the artist in search of a better world. Initially placed on the beach, the statue stared at the horizon with a determined air, ready to conquer the waves. In its own way, the Namur example sounds very aptly: above Le Grognon, in the place called Bonnet de Prêtre, Fabre and his steed overlook the confluence of the Meuse and Sambre rivers, free to take the path that 'they desire to research Utopia. Between Amsterdam where the statue was exhibited for ArtZuid in 2011, the garden of the Guy Pieters Gallery in Saint-Paul-de-Vence (where the Namur copy came from, by special night transport) or even Nieuport and Namur , Searching for Utopia is an outdoor statue, made especially for this purpose.
Searching for Utopia and born in 2003, as part of Beaufort 01 - triennial of contemporary art on the Belgian coast. The work was then commissioned from Jan Fabre by the City of Nieuport. Arranged on the beach, the turtle showed signs of erosion due to wind and sand.
The seaside resort therefore sought a new location for this statue which, in the meantime, has been sent for restoration in a workshop in Oudenaarde (where the process is closely followed by Jan Fabre). On its return, it will be installed in its new setting, Fabreplein - a place designed for the turtle and in collaboration with the artist - at the end of 2016 or at the beginning of 2017.
article in L'Eventail dated 30 actobre 2015.
Commencée en 1790 par le roi Bodowpaya dont l’ambition était d’édifier la plus grande pagode du monde, elle s’élève sur les rives plates du fleuve Irrawaddy.
Elle était censée atteindre 150m de haut, mais le roi mourut en 1819 avant d’avoir mené son projet à terme. Les caisses du royaume étant complètement vides, son successeur, le roi Bagyidam se retint de poursuivre cet immense projet.
La base de la pagode culmine encore à près de 50m de haut. L’usine de fabrication des briques nécessaires à sa construction avait été installée de l’autre coté du fleuve, et le roi supervisait continuellement les travaux.
L’immense lézarde date du tremblement de terre de 1838, la terrasse supérieure s’effondra alors sur le bas de l’édifice, enfouissant à jamais les trésors que le roi y avait entreposés. (une dent de Bouddha,
1500 figurines en or, 2534 statuettes en argent et 3700 objets précieux) Les corps de deux lions construits en briques, amochés par les secousses sismiques, se dressent à l’entrée du site, des prophètes avaient
prédit que ces lions iraient boire l’eau au fleuve, suite à ce séisme, la tête s’est effondrée en direction du……. fleuve !
Commencée en 1143 selon la volonté de Georges d'Antioche, l'église possède un admirable décor de style byzantin. Agrandie de deux travées au XVIe siècle, elle a reçu des fresques baroques au XVIIIe siècle.
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Je commence un nouveau blog pour photographes avec un ami (en français). Nous y mettrons des tutoriaux, des conseils, et des explications de shootings "backstage". N'hésitez pas à aller faire un tour et à donner vos avis !
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Another picture from the shooting at home with Carla.
Strobist:
- Sun thru the window
- Silver reflector
Canon EOS 5DmkII with EF 50mm f/1.4 @ 1/200th sec; f/2; iso100.
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Jack up barge, "Haven Seariser 1" in position to commence work to replace outdated Anti collision light markers at three locations positioned at groynes around New Brighton on Merseyside UK.
The Classy Patriots are almost ready to be shipped out to our resellers!
We do need to take care of some quality issues though...seems some not-so-classy-patriot got caught in the mix :)
Deceivingly simple in construction which took about five hours to complete and stands just over 30" tall. There were several rebuilds to incorporate the booster rockets in stages two and three including the connectors/wells to hide them. All that's left is to get better pics and here's a few preliminary teasers...
Okay! Shippers have taken off with all my stuff and its on its way to New York, and then onto the ship to England and Wolfie :)
maloma felt uncertain about her future given the countless makeovers she's been put through... will vortune veller valentine be able to help?
Je commence enfin à vous mettre mes photos de mon séjour en Belgique chez Dolliris! J'espère qu'elles vous plairont! :D
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I'm finally starting to put you my pictures of my stay in Belgium in Dolliris! I hope you enjoy them! : D
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My Flickr Photo: www.flickr.com/photos/125162955@N08/
Ma page FaceBook: www.facebook.com/pages/Jadiina/174390782635947
Ma chaine YouTube : www.youtube.com/channel/UC5kneDKk9J4NaM4c4cqXIEA
Commencée à la fin du XIIIe siècle, en retard sur la volonté du roi Jacques Ier d'Aragon, elle ne fut achevée qu'au début du XVIe siècle avec la construction de sa tour.
La façade occidentale date elle du XIVe siècle.
QBX004 and QBX002 make an unusual appearance in daylight at Oolong as 3112 loaded paper train from Junee to Port Botany.
A possession was commencing later on that night, resulting in 3112 being rescheduled to running on a far earlier path than normal.
Sunday 5th August 2018
Three Mile walk or known as The Long Walk outside Windsor Castle in Winsor Great Park and people looking something like a Lowry painting. There is a monument in the far distance called The Copper Horse on Snow Hill. The Long Walk was commenced by Charles II from 1680-1685 by planting a double avenue of elm trees. The central carriage road was added by Queen Anne in 1710. The original planting comprised 1,652 trees placed 30 feet apart in each direction. The width between the two inner rows was 150 feet, and overall 210 feet. It is a little less long than the three miles of popular rumour being around 2.65 miles (2 2/3rds miles or 4.26 km) from George IV Gateway at Windsor Castle to The Copper Horse.
In the spring of 1968 I had a dilemma and that was on which of two possible railway tours I would spend my pocket money. One was a tour to London to visit all the main London MPD’s, the other was a tour to the North West to visit the last remaining steam MPD’s. I could not afford both. I decided on the trip to London and on that trip I saw a number of diesel locomotives that did not make it into the 1970’s and I would not have seen if I had chose the North West, for example the class 16 NBL type 1’s D8400–03/05-09 (withdrawn July 1968, broken up by December 1969), class 15 BTH Type 1’s D8200-43 (withdrawal commenced September 1968, all withdrawn by March 1971), class 22 NBL Type 2’s (withdrawal commenced December 1967, all withdrawn by October 1971), class 23 “Baby Deltics” (withdrawal commenced September 1968, all withdrawn by March 1971), class 42/43 Warships (withdrawal commenced August 1968, all withdrawn by December 1972) and numerous of the “non standard” shunters which were starting to be withdrawn in droves. Did I make the right choice? Whilst I seem to have lost the detailed records of that London trip in April 1968. I still have a couple of “solid” reminders of that day, one of which is in the form of this extremely poor image of Western Region diesel hydraulics stabled around the turn table at Old Oak Common. It was taken using a Kodak Instamatic camera and the negative has been lost years ago. In the mid 1970’s I still had a print and I copied it on to a 35mm transparency by basically taking a photograph of the print and this is a scan of that 35mm transparency. From left to right we have a class 52 Western, a green liveried with small yellow warning panel class 43 Warship (which is probably D833 Panther), a green liveried with small yellow warning panel class 22 and a rail blue liveried class 22 (possibly D6328 or D6332 or D6340, all Old Oak Common allocated, rail blue livered and with the numbers above the arrows).
Kodak Instamatic
Week commencing Monday 31st August 2020 sees the final week of booked Class 91 workings by LNER on Anglo Scottish services between Edinburgh and London Kings Cross.
1E17 the 1330 Departure from Edinburgh is the final service from Scotland which is operated by class 91 sets.
Tuesday 01st September 2020 sees 91101 making her visit working 1S08 and 1E17 turns today.