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Created for GhostWorks Text, Texture & Animal Alphabet Challenge
A vole is a small rodent resembling a mouse but with a stouter body, a shorter hairy tail, a slightly rounder head, smaller ears and eyes, and differently formed molars (high-crowned and with angular cusps instead of low-crowned and with rounded cusps). There are approximately 155 species of voles. They are sometimes known as meadow mice or field mice in North America. Vole species form the subfamily Arvicolinae with the lemmings and the muskrats.
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Thank you so much Jerry Jones for:
square 40 at skeletalmess
October Mask OMS-3 at shadowhouse creations
mole from Creative Commons by manual crank
After 29 days my Iron Builder against Eero is over now.
While this already was my second round, it was still a complete new experience that was caused by the unexpected choice for the seed part. Over the whole time period I have built eleven entries trying to use the special element in as much different uses as possible.
Compared to my previous round I just built a third of the number of entries, but I'm still quite happy with my outcome.
Eero has built some amazing entries and I'm thankful to compete against him. His builds always motivated me to improve my self and find new ideas. I hope he enjoyed it as well and we get the chance to meet one day.
One more time I was blown away the feedback of the flickr community. The way you support and motivate the competing builders is what makes the Iron Builder a very special contest. With such an unique seed part it was even more important to have this feedback to compensate the lows when I had no more good ideas or no motivation.
Thank you so much!
So what was your favorite build or the most unexpected use?
Source image for the Kreative People Treat-This Challenge #35: www.flickr.com/groups/1752359@N21/discuss/72157644753677131/
Created for Angie's Animal Antics Challenge No 6 Book Titles
Girl from Pixabay
Horse from Rendorosity
Background from Idavi
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Under no circumstances can it be reproduced,
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Please Sign Here to stop the Dog Cruelty and Tortures in China.
You can help the billions of animals across the world who suffer everyday, if you care enough ,
Please Sign Here And give them a Voice.
The Retreat Animal Rescue where i Volunteer ~
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Created for DigitalMontage Challenge 14 - Fire & Water
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created for Kreative people *open theme*11
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created for: Digitalmania
after :Jimmy Lawlor
texture by CARLOS ARANA
Thanks to :FOTOLIA and SHUTTERSTOCK & google
texture by SkeletalMess
texture by: Lenabem-Anna
My entry for the Fictional Architecture category of Marchitecture. I chose to recreate Lichtenstein Castle, which is a real building, but is also used as the castle in Dornröschen – a 2009 German film adaptation of Sleeping Beauty. The model certainly had its challenges, but I’m very pleased with the end result. Credit for the bridge design goes to John, who helped me out with that portion.
See all the details on Brickbuilt.
Tutorials | Creations | Featured Tutorials | Build Logs | Commissions
el.kingdomsalvation.org/discussing-church-life-and-everyd...
Σήμερα διάβασα αυτά τα λόγια του Θεού, αισθάνομαι πολύ καλά, αισθάνομαι την αγάπη του Θεού! Μοιραστείτε με όλους.
Ο Θεός λέει: «Η εκκλησιαστική ζωή είναι μόνο ένα είδος ζωής όπου οι άνθρωποι συγκεντρώνονται για να απολαύσουν τα λόγια του Θεού, και χρειάζεται μόνο ένα μικρό κομμάτι της ζωής ενός ατόμου. Αν η πραγματική ζωή ενός ανθρώπου θα μπορούσε να μοιάζει με την εκκλησια στική του ζωή, περιλαμβάνοντας μια σωστή πνευματική ζωή, απολαμβάνοντας κατάλληλα τα λόγια του Θεού, με σωστή προσευχή και παρουσία κοντά στον Θεό με σωστό τρόπο, ζώντας μια πραγματική ζωή όπου το κάθε τι εκτελείται σε συμφωνία με το θέλημα του Θεού, ζώντας μια πραγματική ζωή όπου όλα πραγματοποιούνται σύμφωνα με την αλήθεια, ζώντας μια πραγματική ζωή κάνοντας πράξη τις προσευχές και μένοντας ήσυχος μπροστά στον Θεό, κάνοντας πράξη την υμνωδία και τον χορό, μόνο μια τέτοια ζωή θα έφερνε τον άνθρωπο σε μια ζωή των λόγων του Θεού».
από το βιβλίο «Συζητώντας για την εκκλησιαστική ζωή και την πραγματική ζωή»
Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
Όροι Χρήσης: el.kingdomsalvation.org/disclaimer.html
Colonne de la libération de la Saône et Loire 1944/2024 - Autun le 8/09/2024
www.saoneetloire.fr/actualite/colonne-de-la-liberation-un...
Season of Photographic Eye - picture 11
Week 50, Wednesday
The photographic eye, which I've been discussing for whole season, is all about learning your own way of seeing things, applying it to your photography in a more conscious way and bringing greater depth & personal style to your photography. The opposite of using the photographic eye are the numerous images we often take which just 'snapshots' or uninteresting in other ways. Now, when it comes to taking interesting images that in some way manifests one's photographic eye, I'll be first one to admit that most of the shots I take are 'snapshots' indeed and only few of many really satisfy me. I find myself often thinking that a good image cannot be just a flat representation of the reality. Instead the photographer has to add something to it by using photographic means which lifts it beyond a snapshot. The obvious following question is, of course, how one should to do that?
At the simplest level adding something to image might be the skillful construction of the image. With a skillful construction I refer to images that are good in both technical and conceptual level. Carefully chosen subject, good exposure and sense of light, satisfying sharpness, correct choice of the used focal length, etc.. While these might sound pretty basic things, I wouldn't underestimate their meaning and sometimes basic things are enough. One should also remember that there are no rules carved into a stone (even the famous rules of third). There are certainly rules, but I would like think them as a flexible repertoire of suggestions that are pretty often broken as well. One also learns his/her own way of translating these rules into photography. Personally I like, for example, to use 50mm lens (equivalent of 75mm on a full frame) for many pictures because it gives me a bit of telecompression and lets me often isolate convenient slices from reality. I have learned to translate many of the photography basics around this focal length and it shows in my photography. That being said, I often feel I would need to know the basics much better to be able to come with a skillful photograph from any situation.
Another way to way to lift photographs to another level is to create images that evoke reactions. (Indeed, Captain Obvious!) Snapshots of course don't evoke much of reactions, but then again there are loads of technically great photographs that don't evoke those reactions either. It's because we become tired of seeing similar images, visual motifs and tropes - even if they are perfectly realized. While 'the perfect sunset' and many others are old clichés, there are also new ones created everyday as well. Personally I feel, for example, that certain kind of edgy wide-angle landscapes with post processed skies and distant horizon have become a bit too widespread to evoke reactions anymore (you see these often at the cover of photography magazines). They are admired from technical point of view, but their quality as photographs are reduced because they have become new clichés. Personally I like to, just like many others, add a bit of dark sublime character in to my photographs when possible, but I make sure that I work on a border of interpretation where it is not so explicitly pronounced. Often just a little bit of underexposing the scene to make shadows and contrast stronger is enough - if the subject is already fitting for it.
Where things get hard, is trying to create pictures that offer more than one level of experience. This is the most powerful way to bring greater depth and own vision into photographs, but it is also perhaps the hardest. Sometimes one can have a concept in mind which will create another level on interpretation, like juxtaposing different elements for example. Sometimes it happens by accident and is only noticed when pictures are viewed later on from the computer screen. When I create 'a concept-image' I have often already taken that image before without the concept and my idea springs up when viewing it from the screen. Some image might be perfect in my mind if it had lemons in it, for example. If the concept is doable and sounds like a fun idea, I pack my packs and go to take it again with a new idea. Some of the best images I've done have required at least couple of tries on different days to get it right, but it's most often worth it.
Ps. I haven't explained much of the posted images as they have been pretty self-explanatory. This one, however, benefits from little explanation. For this picture I went to local ice swimming house and while it isn't quite a street photography, it isn't very far from it either: the ice swimming house is situated very close to central and it happened to have more traffic than the main street. Before swimmers descend into almost zero degrees water they warm up in sauna. This particular day there were so many of them that they were in lines walking down to chilly water.
Year of the Alpha – 52 Weeks of Sony Alpha Photography: www.yearofthealpha.com
Best wishes for the holiday season and thank you for your friendship and support throughout the year!
These very decorative pohutukawa trees were seen flowering in abundance during my recent cruising vacation to New Zealand.
Filter: Google Nik
Entered in
EXPLORE Worthy, Challenge 104 - Holiday Season (2018 Art)
The Award Tree’s Challenge # 178.0 ~ Seasonal Holiday Cards ~
~~~ Thank you all for viewing, kind comments, favs and awards - much appreciated! ~~~
Make It Interesting ~ Challenge No 2 (Railway Track)
Source image with thanks to The_Gut
You can help the billions of animals across the world who suffer everyday, if you care enough ,
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When we were discussing options for this year's autumn hiking adventure, it almost seemed like there was nothing left in northern Scandinavia that we all still wanted to explore. However, after some discussions, we realized that Finnish Lapland might be an interesting and convenient location for our regular autumn outdoor pursuits.
After conducting some research and planning, we narrowed our focus to Finland's northwest, bordering Sweden and Norway. More specifically, we honed in on the Käsivarsi Wilderness Area, which happens to be the second-largest wilderness area in Finland.
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Käsivarsi is somewhat atypical for Finland due to its higher elevation (Finland's highest peak, Halti (1,324m), is located in its northern tip), rugged terrain, and limited wooded areas. This combination sounded particularly attractive to us because it meant we would hike across various types of landscapes, both on and off marked trails.
Our itinerary was as follows: Kilpisjärvi/Saana mountain -> Tshahkaljärvi lake -> Siktagurajohka river -> Meekonjärvi lake including trip to Pitsusköngäs waterfall -> Porojärvi lake including ascent of Saivaara cliff -> Guhturgurajávri/Termisjärvi lakes -> Ailakkajärvi lake -> Kilpisjärvi.
Nikon Coolpix p90, iso64, f/2.8, 5,9mm. Manual focus.
Vincitrice del 47° contest settimanale, del gruppo Sempre click. Ringrazio tutti coloro che mi hanno votata! :D
View my seventeenth photo in Explore.
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So far in the previous two tutorial type descriptions I have discussed the Forecasts and Backgound info regarding the Aurora, now it is time to start playing with the camera!
Practise before you go...
The Camera
It all starts with knowing how to use your DSLR, most of you may already know this but I was very surprised when I went out on a bus tour and I had a queue of people asking me what mode they needed! Before going out it is probably a good idea to try and take some night sky shots back home to make sure you know what you are doing. I took a milky way shot over Snowdonia as a practice, this way you will be familiar with setting up your gear in the dark!
The first thing you must pack is a Tripod, hand held shots will not be able to capture anything of any real quality. The next is a DSLR camera preferably with a fast aperture wide angle lens and lots of surplus batteries. That is the basic kit you will need to get you going although I will go into more detail about kit in another ‘How To’ post.
The Settings
Use manual mode to ensure that you have full control over the shot you are taking.
To capture a starry image with minimal star movement you will want to use a shutter speed that is less than: 600 / focal length, eg 600/(18mm*1.6 crop factor) which is around 20 seconds.
Next is the aperture, you want to shoot at an aperture that is as bright as possible; I shot the majority of my images at f2.8.
The ISO you chose will really depend on how bright the aurora is and what you feel is acceptable quality with your camera. I know that my 7D can shoot at 1600 ISO with no problem so this was the starting point for me, I then went up to 3200 ISO and down 800 ISO as I felt when needed.
Set the focus to infinity, take off any UV filters(to eliminate unwanted reflections), turn off image stabilization (some IS systems get confused when on a tripod and introduce vibrations), attach your camera to a tripod then you are ready to start shooting. Experiment with a couple of different shutter speeds that are under the given value of the star trail avoidance formula until you are happy with the exposure.
In the cold temperature and dark light it is very easy to know the camera settings onto something that you don’t want, get into a habit of checking the focus and settings after every few shots.
The shorter the shutter speed, the more detail you will get in the Aurora, so try to balance the correct exposure of the photo with a short shutter speed, an acceptably large ISO and a wide aperture! Simple as that!
Created for 26th MMM Challenge- bridges
Playing with Textures #57, featuring Temari 09 (Art from 2013)
Featured texture with thanks, from Temari 09
Model entitled "White Dress by !Insomnia-stock on DeviantART found here:
insomnia-stock.deviantart.com/art/White-Dress-286851679
Background bridge is from my stock.
Primavera, is a large panel painting in tempera paint by the Italian Renaissance painter Sandro Botticelli made in the late 1470s or early 1480s (datings vary). It has been described as "one of the most written about, and most controversial paintings in the world", and also "one of the most popular paintings in Western art".
The painting depicts a group of figures from classical mythology in a garden, but no story has been found that brings this particular group together. Most critics agree that the painting is an allegory based on the lush growth of Spring, but accounts of any precise meaning vary, though many involve the Renaissance Neoplatonism which then fascinated intellectual circles in Florence. The subject was first described as Primavera by the art historian Giorgio Vasari who saw it at Villa Castello, just outside Florence, by 1550.
Although the two are now known not to be a pair, the painting is inevitably discussed with Botticelli's other very large mythological painting, The Birth of Venus, also in the Uffizi. They are among the most famous paintings in the world, and icons of the Italian Renaissance; of the two, the Birth is even better known than the Primavera. As depictions of subjects from classical mythology on a very large scale, they were virtually unprecedented in Western art since classical antiquity.
The history of the painting is not certainly known; it may have been commissioned by one of the Medici family, but the certainty of its commission is unknown. It draws from a number of classical and Renaissance literary sources, including the works of the Ancient Roman poet Ovid and, less certainly, Lucretius, and may also allude to a poem by Poliziano, the Medici house poet who may have helped Botticelli devise the composition. Since 1919 the painting has been part of the collection of the Uffizi Gallery in Florence, Italy.
The painting features six female figures and two male, along with a cupid, in an orange grove. The movement of the composition is from right to left, so following that direction the standard identification of the figures is: at far right "Zephyrus, the biting wind of March, kidnaps and possesses the nymph Chloris, whom he later marries and transforms into a deity; she becomes the goddess of Spring, eternal bearer of life, and is scattering roses on the ground." Chloris the nymph overlaps Flora, the goddess she transforms into.
In the centre (but not exactly so) and somewhat set back from the other figures stands Venus, a red-draped woman in blue. Like the flower-gatherer, she returns the viewer's gaze. The trees behind her form a broken arch to draw the eye. In the air above her a blindfolded Cupid aims his bow to the left. On the left of the painting the Three Graces, a group of three females also in diaphanous white, join hands in a dance. At the extreme left Mercury, clothed in red with a sword and a helmet, raises his caduceus or wooden rod towards some wispy gray clouds.
The interactions between the figures are enigmatic. Zephyrus and Chloris are looking at each other. Flora and Venus look out at the viewer, the Cupid is blindfolded, and Mercury has turned his back on the others, and looks up at the clouds. The central Grace looks towards him, while the other two seem to look at each other. Flora's smile was very unusual in painting at this date.
The pastoral scenery is elaborate. There are 500 identified plant species depicted in the painting, with about 190 different flowers, of which at least 130 can be specifically identified. The overall appearance, and size, of the painting is similar to that of the millefleur ("thousand flower") Flemish tapestries that were popular decorations for palaces at the time.
These tapestries had not caught up by the 1480s with the artistic developments of the Italian Renaissance, and the composition of the painting has aspects that belong to this still Gothic style. The figures are spread in a rough line across the front of the picture space, "set side by side like pearls on a string". It is now known that in the setting for which the painting was designed the bottom was about at eye level, or slightly above it, partly explaining "the gently rising plane" on which the figures stand.
The feet of Venus are considerably higher than those of the others, showing she is behind them, but she is at the same scale, if not larger, than the other figures. Overlapping of other figures by Mercury's sword and Chloris' hands shows that they stand slightly in front of the left Grace and Flora respectively, which might not be obvious otherwise, for example from their feet. It has been argued that the flowers do not grow smaller to the rear of the picture space, certainly a feature of the millefleur tapestries.
The costumes of the figures are versions of the dress of contemporary Florence, though the sort of "quasi-theatrical costumes designed for masquerades of the sort that Vasari wrote were invented by Lorenzo de' Medici for civic festivals and tournaments." The lack of an obvious narrative may relate to the world of pageants and tableaux vivants as well as typically static Gothic allegories.
Various interpretations of the figures have been set forth, but it is generally agreed that at least at one level the painting is "an elaborate mythological allegory of the burgeoning fertility of the world." It is thought that Botticelli had help devising the composition of the painting and whatever meanings it was intended to contain, as it appears that the painting reflects a deep knowledge of classical literature and philosophy that Botticelli is unlikely to have possessed. Poliziano is usually thought to have been involved in this, though Marsilio Ficino, another member of Lorenzo de' Medici's circle and a key figure in Renaissance Neoplatonism, has also often been mentioned.
One aspect of the painting is a depiction of the progress of the season of spring, reading from right to left. The wind of early Spring blows on the land and brings forth growth and flowers, presided over by Venus, goddess of April, with at the left Mercury, the god of the month of May in an early Roman calendar, chasing away the last clouds before summer. As well as being part of a sequence over the season, Mercury in dispelling the clouds is acting as the guard of the garden, partly explaining his military dress and his facing out of the picture space. A passage in Virgil's Aeneid describes him clearing the skies with his caduceus. A more positive, Neoplatonist view of the clouds is that they are "the benificent veils through which the splendour of transcendent truth may reach the beholder without destroying him."
Venus presides over the garden – an orange grove (a Medici symbol). It is also the Garden of the Hesperides of classical myth, from which the golden apples used in the Judgement of Paris came; the Hellenistic Greeks had decided that these were citrus fruits, exotic to them. According to Claudian, no clouds were allowed there. Venus stands in front of the dark leaves of a myrtle bush. According to Hesiod, Venus had been born of the sea after the semen of Uranus had fallen upon the waters. Coming ashore in a shell she had clothed her nakedness in myrtle, and so the plant became sacred to her. Venus appears here in her character as a goddess of marriage, clothed and with her hair modestly covered, as married women were expected to appear in public.
The Three Graces are sisters, and traditionally accompany Venus. In classical art (but not literature) they are normally nude, and typically stand still as they hold hands, but the depiction here is very close to one adapting Seneca by Leon Battista Alberti in his De pictura (1435), which Botticelli certainly knew. From the left they are identified by Edgar Wind as Voluptas, Castitas, and Pulchritudo (Pleasure, Chastity and Beauty), though other names are found in mythology, and it is noticeable that many writers, including Lightbown and the Ettlingers, refrain from naming Botticelli's Graces at all.
Botticelli's Pallas and the Centaur (1482) has been proposed as the companion piece to Primavera.
Cupid's arrow is aimed at the middle Grace — Chastity, according to Wind — and the impact of love on chastity, leading to a marriage, features in many interpretations. Chastity looks towards Mercury, and some interpretations, especially those identifying the figures as modelled on actual individuals, see this couple as one to match Chloris and Zephyrus on the other side of the painting.
In a different interpretation the Earthy carnal love represented by Zephyrus to the right is renounced by the central figure of the Graces, who has turned her back to the scene, unconcerned by the threat represented to her by Cupid. Her focus is on Mercury, who himself gazes beyond the canvas at what many believe hung as the companion piece to Primavera: Pallas and the Centaur, in which "love oriented towards knowledge" (embodied by Pallas Athena) proves triumphant over lust (symbolized by the centaur).
The basic identification of the figures is now widely agreed,but in the past other names have sometimes been used for the females on the right, who are two stages of the same person in the usual interpretation. The woman in the flowered dress may be called Primavera (a personification of Spring), with Flora the figure pursued by Zephyrus. One scholar suggested in 2011 that the central figure is not Venus at all, but Persephone.
In addition to its overt meaning, the painting has been interpreted as an illustration of the ideal of Neoplatonic love popularized among the Medicis and their followers by Marsilio Ficino. The Neoplatonic philosophers saw Venus as ruling over both Earthly and divine love and argued that she was the classical equivalent of the Virgin Mary; this is alluded to by the way she is framed in an altar-like setting that is similar to contemporary images of the Virgin Mary. Venus' hand gesture of welcome, probably directed to the viewer, is the same as that used by Mary to the Archangel Gabriel in contemporary paintings of the Annunciation.
Punning allusions to Medici names probably include the golden balls of the oranges, recalling those on the Medici coat of arms, the laurel trees at right, for either Lorenzo, and the flames on the costume of both Mercury (for whom they are a regular attribute) and Venus, which are also an attribute of Saint Laurence (Lorenzo in Italian). Mercury was the god of medicine and "doctors", medici in Italian. Such puns for the Medici, and in Venus and Mars the Vespucci, run through all Botticelli's mythological paintings.
The origin of the painting is unclear. Botticelli was away in Rome for many months in 1481/82, painting in the Sistine Chapel, and suggested dates are in recent years mostly later than this, but still sometimes before. Thinking has been somewhat changed by the publication in 1975 of an inventory from 1499 of the collection of Lorenzo di Pierfrancesco de' Medici.
The 1499 inventory records it hanging in the city palace of Lorenzo di Pierfrancesco de' Medici and his brother Giovanni "Il Popolano". They were the cousins of Lorenzo de' Medici ("Lorenzo il Magnifico"), who was effectively the ruler of Florence, and after their father's early death had been his wards. It hung over a large lettuccio, an elaborate piece of furniture including a raised base, a seat and a backboard, probably topped with a cornice. The bottom of the painting was probably at about the viewer's eye-level, so rather higher than it is hung today.
In the same room was Botticelli's Pallas and the Centaur, and also a large tondo with the Virgin and Child. The tondo is now unidentified, but is a type of painting especially associated with Botticelli. This was given the highest value of the three paintings, at 180 lire. A further inventory of 1503 records that the Primavera had a large white frame.
In the first edition of his Life of Botticelli, published in 1550, Giorgio Vasari said that he had seen this painting, and the Birth of Venus, hanging in the Medici country Villa di Castello. Before the inventory was known it was usually believed that both paintings were made for the villa, probably soon after it was acquired in 1477, either commissioned by Lorenzo di Pierfrancesco or perhaps given to him by his older cousin and guardian Lorenzo de' Medici. Rather oddly, Vasari says both paintings contained female nudes, which is not strictly the case here.
Most scholars now connect the painting to the marriage of Lorenzo di Pierfrancesco de' Medici. Paintings and furniture were often given as presents celebrating weddings. The marriage was on 19 July 1482, but had been postponed after the death of the elder Lorenzo's mother on 25 March. It was originally planned for May. Recent datings tend to prefer the early 1480s, after Botticelli's return from Rome, suggesting it was directly commissioned in connection with this wedding, a view supported by many.
Another older theory, assuming an early date, suggests the older Lorenzo commissioned the portrait to celebrate the birth of his nephew Giulio di Giuliano de' Medici (who later became Pope), but changed his mind after the assassination of Giulo's father, his brother Giuliano in 1478, having it instead completed as a wedding gift for Lorenzo di Pierfrancesco.
It is frequently suggested that Lorenzo di Pierfrancesco is the model for Mercury in the portrait, and his bride Semiramide represented as Flora (or Venus). In older theories, placing the painting in the 1470s, it was proposed that the model for Venus was Simonetta Vespucci, wife of Marco Vespucci and according to popular legend the mistress of Giuliano de' Medici (who is also sometimes said to have been the model for Mercury); these identifications largely depend on an early date, in the 1470s, as both were dead by 1478. Simonetta was the aunt of Lorenzo's bride Semiramide. Summarizing the many interpretations of the painting, Leopold Ettlinger includes "descending to the ludricous – a Wagnerian pantomime enacted in memory of the murdered Giuliano de' Medici and his beloved Simonetta Vespucci with the Germanic Norns disguised as the Mediterranean Graces."
Whenever this painting and the Birth of Venus were united at Castello, they have remained together ever since. They stayed in Castello until 1815, when they were transferred to the Uffizi. For some years until 1919 they were kept in the Galleria dell'Accademia, another government museum in Florence. Since 1919, it has hung in the Uffizi Gallery in Florence. During the Italian campaign of World War Two, the picture was moved to Montegufoni Castle about ten miles south west of Florence to protect it from wartime bombing.
It was returned to the Uffizi Gallery where it remains to the present day. In 1978, the painting was restored.[66] The work has darkened considerably over the course of time
GhostWorks Texture Competition #93
Texture with thanks to Skeletal Mess
Images credits with my thanks to;
Tree Brushes & Texture 1 - Skeletal Mess
Texture 2 is my own.
Magdeburg / Germany
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© All Rights Reserved - you may not use this image in any form without my prior permission.
Two ground crew members discuss the latest maintenance schedule. Robot courtesy of Peter Reid (Legoloverman). Taken at the NSC show yesterday.
LET'S READ>> Etna Walk Meeting - 15 Gennaio 2012, Monte Minardo (Etna Ovest)
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1° parossismo del 2012 dell'Etna, 19° della serie, visto dalla strada Mareneve, Fornazzo. 05 Gennaio 2012
1st Etna's paroxysm of 2012, 19th of the series, seen from Mareneve, Fornazzo. January 5th 2012.
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EXPLORE Worthy, REMIX THIS PIC #2 (Art from 2014)
Source image with thanks, from Ed Souminen
texture by Pareeerica
texture by Carlos Arana
Thank to FOTOLIA free downloads
Purple and violet are colors of transformation in a spiritual level, capable to fight fears and bring peace. It's a color related to a positive attitude, the gift of balance before the harder situations.
Pink roses are given to celebrate friendship and affection.
Jazz received these wonderful roses (thanks dear Janet for this great present) and he wants to give a rose to each of our friends who were worried about his health and sended him violet thoughts. He's slowly getting better because of his diabetes, but it looks like he'll go forward.
El violeta y el morado son colores de transformación a nivel espiritual, capaces de combatir los miedos y aportar paz.. Es un color relacionado a una actitud positiva, el don del equilibrio ante las situaciones más difíciles.
Las rosas rosadas se regalan para celebrar la amistad y el afecto.
Jazz recibió estas maravillosas rosas (Gracias querida Janet por este gran presente) y Jazz quiere regalarle una rosa a cada uno de nuestros amigos que se han preocupado por su salud y le han mandado vibraciones violetas. El va mejorando muy lentamente debido a su diábetes, pero parece que saldrá adelante.
When we were discussing options for this year's autumn hiking adventure, it almost seemed like there was nothing left in northern Scandinavia that we all still wanted to explore. However, after some discussions, we realized that Finnish Lapland might be an interesting and convenient location for our regular autumn outdoor pursuits.
After conducting some research and planning, we narrowed our focus to Finland's northwest, bordering Sweden and Norway. More specifically, we honed in on the Käsivarsi Wilderness Area, which happens to be the second-largest wilderness area in Finland.
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Käsivarsi is somewhat atypical for Finland due to its higher elevation (Finland's highest peak, Halti (1,324m), is located in its northern tip), rugged terrain, and limited wooded areas. This combination sounded particularly attractive to us because it meant we would hike across various types of landscapes, both on and off marked trails.
Our itinerary was as follows: Kilpisjärvi/Saana mountain -> Tshahkaljärvi lake -> Siktagurajohka river -> Meekonjärvi lake including trip to Pitsusköngäs waterfall -> Porojärvi lake including ascent of Saivaara cliff -> Guhturgurajávri/Termisjärvi lakes -> Ailakkajärvi lake -> Kilpisjärvi.
"I still think that a small lightening charge through the cue would aid your shot Mr Solo!" advised Thor.
"I don't know, Thor. I'm pretty sure it'd have some disastrous consequences!" replied a worried Captain Solo.
Discuss : [www.flickr.com/groups/portraitparty/discuss/7215762802472...]
Aquarelle sur carnet croquis
Drawing of littlewondercrafts made in Paper app on the iPad.
www.flickr.com/groups/portraitparty/discuss/7215763350228...
When we were discussing options for this year's autumn hiking adventure, it almost seemed like there was nothing left in northern Scandinavia that we all still wanted to explore. However, after some discussions, we realized that Finnish Lapland might be an interesting and convenient location for our regular autumn outdoor pursuits.
After conducting some research and planning, we narrowed our focus to Finland's northwest, bordering Sweden and Norway. More specifically, we honed in on the Käsivarsi Wilderness Area, which happens to be the second-largest wilderness area in Finland.
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Käsivarsi is somewhat atypical for Finland due to its higher elevation (Finland's highest peak, Halti (1,324m), is located in its northern tip), rugged terrain, and limited wooded areas. This combination sounded particularly attractive to us because it meant we would hike across various types of landscapes, both on and off marked trails.
Our itinerary was as follows: Kilpisjärvi/Saana mountain -> Tshahkaljärvi lake -> Siktagurajohka river -> Meekonjärvi lake including trip to Pitsusköngäs waterfall -> Porojärvi lake including ascent of Saivaara cliff -> Guhturgurajávri/Termisjärvi lakes -> Ailakkajärvi lake -> Kilpisjärvi.
Created for 25th MMM Challenge
background by ~Brenda Starr~ and
Playing with Textures #57, featuring Temari 09 (Art from 2013)
texture by Temari 09
model by acgphotography
wings priesteres-stock
Created for Mixmaster 13 in the Artistic Manipulation Group following Chef Beth's recipe:
➤ Your image must be a pure, non-representational abstract.
➤ It may NOT contain any recognizable objects or beings. Note: it may be digital art from a blank canvas and/or a photo manipulation, as long as the subject of the photo is not recognizable in the final result.
➤ Your image must convey/embody an emotion.
➤ The title of your image must be a quotation that includes the name of whatever emotion you have chosen.
➤ Your image must use three distinct colors/hues (besides black and white which are optional). Note: light, medium and dark blue are NOT distinct hues; blue, green and purple are.
This abstract started as a blank grey canvass to which I added layers of texture, and purple, blue and green paint using brushes in Photoshop Elements 13.
The texture layers are my own.