View allAll Photos Tagged Dimensional
cuando el reloj no se mueve
el mundo tiene otras dimensiones
y yo puedo caber
en el bolsillo de una camisa
Fecha: 1928
Dimensiones: 50,2 x 65,5 cm
Técnica: Óleo, arena, conchas y gravilla sobre cartón piedra
Ubicación: Teatro-Museo Dalí, Figueras, España
En 1927 Dalí declaraba a su amigo Federico que el surrealismo era una evasión que producía seguridad y vida al tiempo que iba desligándose de su relación con el poeta.
Junto a Lluís Montanyà y Sebastià Gasch publica en marzo de 1928 el Manifest Groc (Manifiesto Antiartístico Catalán) y en mayo la revista "L'Amic de les Arts" organiza en el Ateneo de Sitges "El Centaure", un encuentro entre Josep Carbonell, J.V. Foix, Sebastià Gasch y Salvador Dalí. Aunque no se sabe si todo el acto se llegó a efectuar, el propósito era exponer al público catalán las últimas teorías del arte moderno.
Las ideas surrealistas ahora son lo más importante, sobre todo, el culto al subconsciente, como recurso primordial para liberar al hombre.
La aparición de numerosos elementos supone el enfrentamiento entre dos mundos: el orden y el desorden, el rigor y la disciplina.
Se pueden apreciar con claridad aportaciones iconográficas entre Dalí y Lorca: peces alusivos al problema de la sexualidad, burros podridos, pájaros peludos, estructuras blandas, materias viscosas ligadas a la putrefacción... motivos todos que permanecerán, con más o menos fidelidad, en las obras posteriores de los dos artistas por separado.
Aparecen también otros elementos nuevos como la arena, imagen típica del año 1928, y la división de la composición entre el cielo y la tierra como escenario del sueño. El propio Dalí escribe: "Cadaqués era más mineral que siempre, los olivos nacían directamente de la lisa pizarra, como los aparatos, la objetividad cerraba los dientes con fuerza, encima de la mesa de humo estaba derecho y quieto como un tapón...".
The Vizcaya Bridge (Bizkaiko Zubia), a true landmark. A transporter bridge that you can also pass from above. And the views are great.
Design (1893): Alberto de Palacio Elissagne.
Portugalete, Spain.
Tiziano Vecellio (Pieve di Cadore 1488/90 - Venice 1576) - Magdalene (1531-35) - Oil on wood size 85.8 x 69.5 cm - Palatine Gallery, Palazzo Pitti, Florence
E’ una figura satura di femminilità, che Tiziano descrive con una pennellata densa e pastosa dalle tonalità calde, evidenziando gli occhi intrisi da lacrime cristalline e il meraviglioso manto di capelli biondo ramati sparsi a coprire la nudità dei seni palpitanti – è nuda perché risoluta a spogliarsi di tutto il suo passato.
Questa versione della Galleria Palatina, per la stupefacente qualità della pittura, potrebbe essere uno dei prototipi più antichi ed è probabile che sia stata dipinta da Tiziano a Venezia fra il 1533 e il 1535, su commissione di Francesco Maria della Rovere duca d’Urbino. La più antica citazione dell’opera risale a Giorgio Vasari che nel 1548 durante una sua visita alla corte di Urbino la descriveva presso la collezione del duca Guidobaldo della Rovere, annotandola come “cosa rara”. Pervenne poi a Firenze con l’eredità di Vittoria della Rovere nel 1631.
It is a figure that is packed with femininity, portrayed by Titian using thick, concentrated brushstrokes and warm tones, highlighting the eyes, soaked in crystalline tears, and the marvellous cloak of copper blonde hair that covers her bare breasts - she is naked due to her resolve to strip herself bare of her past. For this image, with its persistent idea of sinner and penitent.
This version in the Palatine Gallery may be one of Titian’s oldest prototypes, due to the astounding quality of the painting, and it was probably painted by the artist for Francesco Maria della Rovere, Duke of Urbino, in Venice between 1533 and 1535. The oldest mention of the painting dates back to Giorgio Vasari, who on seeing it in the collection of Duke Guidobaldo della Rovere, during a visit to the court of Urbino in 1548, noted it as a “rare thing”. It was brought to Florence as part of the inheritance of Vittoria della Rovere in 1631.
Phoenicopterus Fürbringer è un genere di uccelli della famiglia Phoenicopteridae.
Sono uccelli sociali che vivono in grossi stormi nelle aree acquatiche, dalle dimensioni che vanno da 1 metro a 1 metro e mezzo d'altezza; si trovano sia nell'emisfero occidentale che in quello orientale.
Le specie più grandi si nutrono in habitat salini o desertici. I nidi sono fatti di fango compatto e hanno la forma di tumulo con una cima concava nella quale ogni singolo uovo bianco viene deposto.
I fenicotteri si nutrono filtrando alghe blu-verdi, crostacei e molluschi. I loro becchi dalla forma strana sono stati adattati appositamente per separare fango e silice dal cibo che consumano e vengono usati, unici nel loro genere, in posizione a testa in giù. Il filtraggio di cibo viene assistito da strutture pelose chiamate lamelle che allineano le mandibole e la grande lingua dalla superficie ruvida. I fenicotteri sono inoltre conosciuti per bilanciare se stessi su una zampa mentre stanno in piedi e si nutrono.
I piccoli escono dal guscio con un piumaggio bianco ma le piume di un fenicottero nella fase adulta vanno da un rosa chiaro ad un rosso vermiglio, dovuto al carotene ottenuto dal loro cibo.
Saline di Comacchio ( ferrara) 1° giugno 2013
postata il 1° giugno 2013 alle ore 15.21
Canon EOS 50D
Canon ef 70-200 f / 2.8L USM
Canon extender ef 2X III
Manfrotto 190 DB
Photograph published on October 22, 2020 in Canadian Dimension to illustrate the article: "US Election: What Could it Mean for Canada and the Canadian Left?"
canadiandimension.com/articles/view/us-election-what-coul...
Also published on November 1st, 2020 to illustrate the article below in Views Week "US Presidential Elections and Pakistan"
Today's story and sketch "by me" we have traveled far into the future
and into another Dimension, Dimension Z-2031 where we see a couple in
their Saucer that were thrown into a space time warp, and into this
dimension somewhere in the space time continuum. It began after visiting
the Dimension Two Moon Pie Shop on old Route 66 in Broken Drum Indiana,
where it seems not to have changed in the last one hundred or more years. The couple Spheen Stigler and his wife Fuwana, who was turned
into an animated Voodoo Doll after Zooelda overheard her mumbling something in a low giggly voice to Spheen, about the lady at the Fly
up Window's large Gypsy nose, that lady being Gypsy Zooelda, owner
of the Dimension Two Moon Pie Shop, just as Spheen was placing his
order for a half dozen Persimmon Moon Pies, (Dimension Two is the
only Moon Pie Shop in the Galaxy that makes Persimmon Moon Pies),
It was no sooner than Spheen paid for the moon pies and pulled away
they went into the time warp, ending up here in Dimension Z-2031,
where they will be stuck talking to the Spirit Tree Oscar one of
Zooelda's X husbands, she turned into a Spirit Spruce Tree 70 years
ago, when she asked him if she looked fat in a new Moo Moo she
had just purchased at a Gypsy yard sale, more on his answer another
time, now he just meets folks like the Stiglers who arrive and
explains to them the importance of Tipping for the next 24 hours of
their time out curse, the first curse is of course for not tipping Zooelda, the second curse turning Fuwana into a voiceless animated
Voodoo Doll for saying something about Zooelda's Gypsy nose, a curse
which could last from a few days to forever, Oscar will try to talk
Spheen into leaving Fuwana the Voodoo behind so he has someone to talk
to, I will have to check back later to see how that works out for
Spheen, until then taa ta the Rod Blog
Grande lago salato, Utah.
Il Gran Lago Salato è quanto oggi resta del lago Bonneville, un vasto bacino preistorico che si è in gran parte prosciugato. Il lago si trova ad un'altitudine media di 1.280 m. Ha una lunghezza di circa 120 km e una larghezza che varia tra 48 km e 80 km. La superficie media del lago è di 4.400 km² (che ne fa il secondo lago per dimensioni fra quelli interamente all'interno dei confini degli Stati Uniti, dopo il Lago Michigan), ed è soggetta a forti variazioni stagionali. Il lago è mediamente poco profondo (4,5 m).
Le acque del Gran Lago Salato hanno una composizione chimica molto simile a quella delle acque oceaniche...
D'estate il lago attrae turisti e popolazione locale, che vi si recano per farsi il bagno, analogamente a quanto succede nel Mar Morto.
Descrizione: da wikipedia.
Foto di archivio
#gsl #greatsaltlake #saltlake #lago #salato #utah #mare #sea #rocks #montagne #usa #onde #waves
They came quietly from the clouds, whistling as they descended into this stormy afternoon.
Eagle warriors returning home
Prints on sale at Fine Art America:
fineartamerica.com/featured/the-fifth-dimension-...
As the balloon drifts past, some can be seen gazing at the brightly lit windows of the replica below, while others focus on the heavy littering of stars. Right there, where clouds and heavens meet. As the hazy light turns a whiter shade of pale, uniform shades of blue and green and grey blot out all earthly references below, and they ride and they ride, with great expectations and the hope nevermore having to look back, burning brightly. In their brittle little hearts.
October 18, 2012. A scale model of the planned renovation of the site of the Museum of Central Africa, Tervuren, Belgium, was on display in its entrance hall, in the build-up to its closing in 2014. Part of the scale model is pictured here. The hot air balloon was captured from the ground somewhere in Dutchess County, upstate New York, United States.
㊚ ♊ ♋ ✞
Special thanks to my dear friend Thomas for the photograph of the magnificent hot air balloon.
Red flakes from another dimension.
© Andy Brandl (2016) // PhotonMix Photography
--> Andy Brandl @ Robert Harding
My title is a quote from Tennessee Williams’ “The Glass Menagerie”. Created from my own photographs for the Hereios who find themselves in the Surreal Dimension today.
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And for Lines and Geometries - Creative Digital Art Community’s Challenge Number 7.
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French Journal Day 139 (Travel Diary Day 219)
(For best quality image, see my journal - www.throughstrangelenses.com/2013/02/18/parisian-lampposts/)
Our first French pub quiz ended in failure. I had my eye on the prize – a dartboard that I would never use. The competition proved too tough, sadly.
We met our Parisian friend at a subway. It’s the third time we’d met up – each occasion in a different country. The bar was a small room, no wider than 5 metres, with old fittings. We were introduced to his friends, one of which was the bartender and quiz-master.
As with all pub quizzes there was controversy, shouting and allegations of cheating. The beer was relatively cheap for Paris so people were feeling rather merry.
While I could understand most of the questions, I don’t think I got any of them right. In fact, I’m not entirely sure what my role in the team was.
We knew we were in France when during the half-time interval Rachel and I found ourselves more or less alone in the bar – everyone else was outside smoking. It was a veritable stampede for the front door. The French, more than any other people we’ve encountered, love a good smoke.
Despite losing, it was a pleasure to get out, put the camera down, and have some fun.
Tonight I’ll be meeting up with a few local photographers to get some nice evening shots around Paris.
Today’s Photo – Lampposts at the Louvre
I really wanted to emphasize this line of lampposts with the grand building of the Louvre behind it. I was unhappy with every composition I tried until I took this shot. The inclusion of the marble balls seemed to add the extra dimension I was looking for.
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Cuando nos referimos al movimiento estático de una "dimensión"(entendida como una ilustración inerte), se llega al punto donde el elemento que se oponen al propio ejercicio de moverse de manera voluntaria dentro de una superficie llamada "SUSTRATO", adquiere un significado de causa y efecto para quien la persive de manera