Luca Giordano (1634-1705), active in Naples, Florence and Madrid

St. Michael Vanquishing the Devils, around 1664

When some of the angels rose up against God, the Archangel Michael cast them into the abyss of hell. The distorted faces of the defeated angels (now become devils) crying out in desperation demonstrate the crass realism of the Spanish-Neapolitan court painter Jusepe de Ribera. Ribera's palette, in turn, was influenced by Venetian painting, and this can be seen in the subtle coloration of St. Michael. It is not known for which church the altarpiece was originally intended. In the late 18th century it was taken from Vienna's Minorite Church to the imperial picture gallery.

Luca Giordano (1634-1705), tätig in Neapel, Florenz und Madrid

Der Erzengel Michael stürzt die abtrünnigen Engel, um 1664

Als sich ein Teil der Engel gegen Gott empörte, wurden diese vom Erzengel Michael in den Abgrund der Hölle gestürzt. Die verzweifelt schreienden, verzerrten Gesichter der besiegten Engel - nun zu Teufeln geworden - zeugen vom krassen Realismus des spanisch-neapolitanischen Hofmalers Jusepe de Ribera. Auch in der raffinierten Farbigkeit des Michael ist das Werk von der venezianisch beeinflussten Palette Riberas bestimmt. Das Altarbild, dessen ursprünglicher Bestimmungsort unbekannt ist, wurde im späten 18. Jahrhundert aus der Wiener Minoritenkirche in die kaiserliche Gemäldegalerie gebracht.

Saal VI

Italian Baroque Painting I

Guido Reni and Guercino (Francesco Barbieri) are representatives of the Bolognese School and among Italy's foremost in the 17th century. Reni favoured a classical style that became highly influential throughout Europe, but Guercino is today celebrated for the expressive use of dramatic contrasts of light and dark in his early works (here represented by his Return of the Prodigal Son).

A number of the pictures in this Gallery were painted for or in Vienna. In 1657 Guido Cagnacci became count-painter to Emperor Leopold I; his exquisite nudes clearly denote both his Bolognese training and the influence of Caravaggio. The Dowager-Empress Eleonore Gonzaga commissioned an altarpiece (Death of Saint Joseph) for the chapel in Hofburg Palace in Vienna from the celebrated Roman artist Carlo Maratta. A few decades later Prince Eugene of Savoy commissioned a number of Bolognese painters to decorate his winter palace in Vienna's Himmelpfortgasse. Giuseppe Maria Crespi, the most creative and innovative among them, painted Centaur Chiron and Achilles and Aeneas, Sybil and Charon, both of which were originally displayed above a door. But the imperial court and the Austrian nobility patronized not only artists from Bologna but also from Naples, especially during the years the kingdom was ruled by an Austrian Viceroy (1707-1734): Prince Eugene also commissioned Francesco Solimena's large Deposition, which was intended for the high altar of his hunting lodge, Schlosshof, in Lower Austria.

Guido Reni und Guercino (Francesco Barbieri), die beide der Schule von Bologna zugerechnet werden, zählen zu den prominentesten italienischen Malern des 17. Jahrhunderts. Während Reni einen in ganze Europa einflussreichen klassizierenden Stil prägte, ist Guercino vor allem wegen der expressiv-unruhigen Helldunkelmalerei seines Frühwerks berühmt (hier vertreten durch die Heimkehr des verlorenen Sohnes).

Mehrere der in diesem Saal präsentierten Gemälde wurden für Wien oder in Wien gemalt. 1657 berief Kaiser Leopold I. Guido Cagnacci als Hofmaler, der eine exquisite Form von Aktmalerei - sie verrät seine Ausbildung in Bologna - mit dem Erbe Caravaggios verband. Im Auftrag der Kaiserin-Witwe Eleonora Gonzaga schuf der berühmte Carlo Maratta aus Rom ein Altargemälde für die Kapelle der Wiener Hofburg (Tod des Heiligen Joseph). Einige Jahrzehnte später beauftragte Prinz Eugen von Savoyen eine Gruppe von Künstlern aus Bologna mit der malerischen Ausstattung seines Winterpalais in der Wiener Himmelpfortgasse. Der originellste von ihnen, Giuseppe Maria Crespi, schuf die beiden Supraporten Kentaur Chironund Achill sowie Aeneas, Sibylle und Charon. Doch nicht nur nach Bologna, auch nach Neapel pflegten der Wiener Hof und seine Aristokratie ausgezeichnete Kontakte, insbesondere während der Regierungsjahre der Österreichischen Vizekönige (1707-1734): Ebenfalls im Auftrag Prinz Eugens malte Francesco Solimena die große Kreuzabnahme. Sie sollte den Altar der Kapelle des Jagdschlosses des Prinzen, Schlosshof (Niederösterreich), schmücken.

Austria Kunsthistorisches Museum

Federal Museum

Logo KHM

Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture

Founded 17 October 1891

Headquartered Castle Ring (Burgring), Vienna 1, Austria

Management Sabine Haag

www.khm.at website

Main building of the Kunsthistorisches Museum at Maria-Theresa-Square

The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.

The museum

The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.

History

Archduke Leopold Wilhelm in his Gallery

The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .

Architectural History

The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).

From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.

Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.

Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.

The lighting and air conditioning concept with double glazing of the ceilings made ​​the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .

Kuppelhalle

Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)

Grand staircase

Hall

Empire

The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.

189, the farm museum was organized in seven collections with three directorates:

Directorate of coins, medals and antiquities collection

The Egyptian Collection

The Antique Collection

The coins and medals collection

Management of the collection of weapons, art and industrial objects

Weapons collection

Collection of industrial art objects

Directorate of Art Gallery and Restaurieranstalt (Restoration Office)

Collection of watercolors, drawings, sketches, etc.

Restoration Office

Library

Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.

1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.

The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.

Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.

First Republic

The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.

It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.

On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.

Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.

With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the Egyptian and Near Eastern Collection (with the Oriental coins)

Collection of Classical Antiquities

Collection of ancient coins

Collection of modern coins and medals

Weapons collection

Collection of sculptures and crafts with the Collection of Ancient Musical Instruments

Picture Gallery

The Museum 1938-1945

Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.

With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.

After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.

The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.

The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.

The museum today

Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).

The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.

In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.

Management

1919-1923: Gustav Glück as the first chairman of the College of science officials

1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director

1933: Arpad Weixlgärtner first director

1934-1938: Alfred Stix first director

1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director

1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation

1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation

1949-1950: Hans Demel as administrative director

1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation

1951-1952: Fritz Eichler as administrative director

1953-1954: Ernst H. Buschbeck as administrative director

1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director

1967: Edward Holzmair as managing director

1968-1972: Erwin Auer first director

1973-1981: Friderike Klauner first director

1982-1990: Hermann Fillitz first director

1990: George Kugler as interim first director

1990-2008: Wilfried Seipel as general director

2009-2019: Sabine Haag as general director

2019– : Eike Schmidt (art historian, designated)

Collections

To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.

Kunsthistorisches Museum (main building)

Picture Gallery

Egyptian and Near Eastern Collection

Collection of Classical Antiquities

Vienna Chamber of Art

Numismatic Collection

Library

New Castle

Ephesus Museum

Collection of Ancient Musical Instruments

Arms and Armour

Archive

Hofburg

The imperial crown in the Treasury

Imperial Treasury of Vienna

Insignia of the Austrian Hereditary Homage

Insignia of imperial Austria

Insignia of the Holy Roman Empire

Burgundian Inheritance and the Order of the Golden Fleece

Habsburg-Lorraine Household Treasure

Ecclesiastical Treasury

Schönbrunn Palace

Imperial Carriage Museum Vienna

Armory in Ambras Castle

Ambras Castle

Collections of Ambras Castle

Major exhibits

Among the most important exhibits of the Art Gallery rank inter alia:

Jan van Eyck: Cardinal Niccolò Albergati, 1438

Martin Schongauer: Holy Family, 1475-80

Albrecht Dürer : Trinity Altar, 1509-16

Portrait Johann Kleeberger, 1526

Parmigianino: Self Portrait in Convex Mirror, 1523/24

Giuseppe Arcimboldo: Summer 1563

Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07

Caravaggio: Madonna of the Rosary (1606-1607)

Titian: Nymph and Shepherd to 1570-75

Portrait of Jacopo de Strada, 1567/68

Raffaello Santi: Madonna of the Meadow, 1505 /06

Lorenzo Lotto: Portrait of a young man against white curtain, 1508

Peter Paul Rubens: The altar of St. Ildefonso, 1630-32

The Little Fur, about 1638

Jan Vermeer: The Art of Painting, 1665/66

Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559

Kids, 1560

Tower of Babel, 1563

Christ Carrying the Cross, 1564

Gloomy Day (Early Spring), 1565

Return of the Herd (Autumn), 1565

Hunters in the Snow (Winter) 1565

Bauer and bird thief, 1568

Peasant Wedding, 1568/69

Peasant Dance, 1568/69

Paul's conversion (Conversion of St Paul), 1567

Cabinet of Curiosities:

Saliera from Benvenuto Cellini 1539-1543

Egyptian-Oriental Collection:

Mastaba of Ka Ni Nisut

Collection of Classical Antiquities:

Gemma Augustea

Treasure of Nagyszentmiklós

Gallery: Major exhibits

de.wikipedia.org/wiki/Kunsthistorisches_Museum

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Convex mirror in an empty store front on Clement Street in San Francisco

No, I'm not a bond trader - on the way home from the food market after a long week and wind / rain - definitely a bad hair day! This self portrait is in front of a convex safety mirror at Old St. Station, London Underground. Items closest to the centre of the mirror appear larger, such as the lens and hands. Tricky focusing - used manual settings.

Mirror in a train station in glasgow.

Taken with Zenit Helios 44M-4 58mm f2 lens on Panasonic GH2.

Photo: Lucas Hovsepian

m - k furniture store - mike and kay kynl owners / hamilton ontario

Made out of 36 individual pieces. Using left over redwood from the deck rail.

Convex look around the kitchen, plus eye level view of wooden implements and a silicone pasta fork

Convex cliffs. This is the view from just outside Potato Patch, my third and final campsite at Pictured Rocks.

Pictured Rocks National Lakeshore, Michigan.

i can't concentrate

Bray train station.

View On Black

The Cape St. George Light is a 72-foot (22 m) high brick lighthouse which had originally stood for 153 years on St. George Island, Florida, until toppling into the Gulf of Mexico October 22, 2005. The pieces of the lighthouse were retrieved, and in April 2008, the light's restoration was completed.

The first lighthouse on St. George Island was erected in 1833 near the island's western tip. It marked the narrow entrance to Apalachicola Bay at West Pass between St. George Island and St. Vincent Island. At the time, Apalachicola was an important cotton port. The tower was 65 feet (20 m) tall, and held 13 lamps with 15-inch (380 mm) reflectors (although the captain of a revenue cutter reported in 1834 that the tower was 75 feet (23 m) tall and had 11 lamps).

Due to the sharp convex bend of St. George Island's southern coast at Cape St. George, southeast of the light, ships approaching from the eastern Gulf could not easily see it. In 1847 Congress appropriated $8,000 for a new lighthouse on the cape, 2 miles (3.2 km) southeast of the original site. Materials from the old tower were used in the construction of the new tower in 1847-48. It was built on a foundation of bricks just 18 inches (460 mm) deep. A hurricane in the fall of 1850 undermined it, and the fourth hurricane of the 1851 Atlantic hurricane season toppled the tower in August of that year. The nearby lighthouses at Cape San Blas and Dog Island were destroyed by the same hurricane, and Apalachicola was heavily damaged.

The Cape St. George lighthouse was rebuilt in 1851-52, 250 yards (230 m) inland from its previous site; construction was hastened by the salvage and re-use of two thirds of the bricks of the ruined tower. This third lighthouse on St. George Island was erected on a foundation of pine pilings driven deep into the sand, with walls of hydraulic cement 4 feet (1.2 m) thick at the bottom and tapering to 2 feet (0.61 m) at the top. It was lit with a third-order Fresnel lens that was visible (given its elevation above sea level) to a shipboard observer up to 15 nautical miles (28 km; 17 mi) out to sea.

As with other lights that came under Confederate control during the Civil War, the lens and other components of the Cape St. George Light were protectively removed, first to Apalachicola, then further inland. Union naval forces captured Apalachicola in April 1862, but the light remained dark. The lens was found at the end of the war and reinstalled. The lens had been damaged, resulting in a "dark angle", and was replaced in 1899.[5] A tropical storm damaged the tower and the other buildings in 1878.

The power source was converted to mineral oil in 1882, and to incandescent oil vapor in 1913. The light was automated in 1949. In 1994 the Coast Guard removed the light from the lantern room and decommissioned the lighthouse.

In 1995 Hurricane Opal washed away much of the sand around the tower, shifted it partially off its pilings and rotated it, leaving it leaning about 10° from vertical. In 1998 the tower was further damaged by Hurricane Georges. Supporters raised $50,000 locally and $160,000 from the state to correct the tilt. The tower was righted and a new foundation built under it in 2002. However, the base was still exposed to surf, and the new foundation began deteriorating. The tower collapsed on October 22, 2005.

Island volunteers formed the St. George Light Association to reconstruct the lighthouse on a more protected site. A salvage company retrieved 24,000 of the structure's 160,000 bricks from the water, and volunteers cleaned them. The Association won grants of $525,000 from federal and state sources, and rebuilt the lighthouse in a county park in the middle of St. George Island. 29.663060°N 84.862702°W Local contractors provided construction services at reduced rates. The salvaged bricks were used in the interior lining of the conical tower. In April 2008, the restored lantern room was placed on top.[6] The completed reconstruction was opened to the public on November 29.[7][8]

just toying around with a convex mirror

espejo con planeticos hecho a la medida de Cristi.

For the man with concave butt cheeks.

Convex mirrors for the curve.

Nishinippori, Tokyo.

Canon AE-1 PROGRAM + New FD 50/1.4 + Kodak ColorPlus 200

Fall 2007

Using a convex mirror ; )

Crédits photo : Nathalie Béland

Nom latin: Suillus granulatus

Nom français: Bolet granulé

Nom anglais: Granulate slippery jack

Chapeau: 5 à 10 cm, convexe à convexe-étalé, brun jaunâtre à brun rosâtre à plus

foncé, à marge lisse et parfois irrégulière. Surface lisse et visqueuse par temps humide, tachée ici et là par des traces de gluten séché, par temps secs.

Chair moyennement molle et mince, blanchâtre à jaunâtre à jaune avec l'âge, immuable à la coupe.

Tubes courts et jaunâtres, à pores petits, plus ou moins ronds, blancs, brunissants-rosissants lentement à la coupe, parsemés à quelques endroits, de granules brun rosâtres.

Pied: 1-2 X 4-8 cm, cylindrique à légèrement clavé, blanc, orné de granules brun rosâtre, surtout dans sa moitié supérieure, jaunissant vers l'apex et brunissant vers la base.

Sporée : Jaune brunâtre

Habitat: Pousse solitaire à plusieurs spécimens répartis, dans les forêts mixtes ou de conifères, particulièrement sous les pins blancs. Juin à octobre. Commun.

Comestibilité: Comestible à chair un peu molle (comme tous les suillus), qu'il est préférable de cueillir en jeunesse.

Not a very good convex, the image is a bit lumpy and distorted.

Available at Adafruit!

The mirror of my grand mother

"Significant Architectural Features:

Convex one-story elevation at East 161st Street and Watson Ave, continuous from East 158th Street to Walton Avenue; Gothic Revival-style terra-cotta parapet at main (east/south) and west facades, featuring stylized tracery, zigzag banding, rope details, knob finials, and horse heads; possibly historic configurations of storefronts on main (east/south) and west facades." p 32 www.nyc.gov/html/lpc/downloads/pdf/reports/2403.pdf

Virtual, upright, reduced.

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Marking equipment: Pneumatic convex line marking shoe

Paint tank capacity: 120kg

Glass beads bin capacity: 10kg

Raising line height: 3-7mm (adjustable)

Basic line height: 1.0-2.5mm (adjustable)

Machine weight: 260kg

Dimensions: 900*1260*1000mm

Application

Self-propelled thermoplastic (convex) road marking machine is a special equipment for marking various kinds of raising line which is applicable to urban express highway, or entrance to elevated road circuit in order to remind forced speed reduction of vehicles and reduce traffic accidents. It can be used in the following areas:

Convex reflective lines on highways, city streets, factories, schools and parking lots

Blind tracks

Warnnig Tips

1. Add marking hopper oil frequently while heating.

2. Marking hopper must be handled with care, avoid collision the alloy blade.

3. To extend the drill life, fire should not be too strong.

4. Pay attention to the wind direction when the wind is strong, to prevent burning rubber.

Capitol Reef Formations - Some concave convex or Ying Yang shapes found in the sandstone and rock formations found in CPNP.

Capitol Reef National Park is located in southern Utah in the United States of America. Capitol Reef National Park is in Utah's south-central desert.

It surrounds a long wrinkle in the earth known as the Waterpocket Fold, with layers of golden sandstone, canyons and striking rock formations.

This image is also available as a black and white.

To view additional images please visit www.susancandelario.com

Thank You,

Susan Candelario

Piccadilly, Manchester.

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Post-oil painting class, which is why my thumbnail is dirty :(. I think I'm going to miss my green walls when I renovate this summer, though I definitely am a bit tired of the color...

Prada store, Tokyo, Japan. Architects: Herzog & de Meuron

Egg Chair + Noguchi table

Self portrait in a convex mirror taken while strolling through Manhattan.