Economic and Social History Group - People and their Industry
View allAll Photos Tagged ECONOMIC
Singapore is a wonderful country with so much to admire about the friendly people and their amazing work ethic. As with all economic success stories though the green tends to give way to glass and concrete.
There are so many brilliant cityscapes of this place that I made a point of looking for some alternative views. This is a combination of three images merged into a HDR process.
Another upload and run but I will catch up with the world of Flickr and my good friends on here soon.
CLICK on image to view full size! Some of the buildings in Conway NC seem to have fallen on hard times. Never did find out what it was, by the looks possibly a store of some description. Later a flea market and now it appears to be waiting to collapse. Even the vegetation is attacking the top.
The image shows the estimated economic losses in Euro for residential buildings in the city of Molinella. They were computed exploiting the SaferPlaces platform damage model using the water depth maps as input.
Credits: ESA (Processed by SaferPlaces and overlaid on Google’s VHR basemap)
This heavy industry site, called "Metze Schmelz" shut down production in 2012. Esch/Alzette, Luxembourg.
"The day is not far off when the economic problem will take the back seat where it belongs, and the arena of the heart and the head will be occupied or reoccupied, by our real problems - the problems of life and of human relations, of creation and behavior and religion. - John Maynard Keynes"
It is time to stop splitting hairs. It is time to act!
Macro Monday project – 08/19/13
“Shell”
"FURIA ECONÓMICA"
La intención de inclinar esta fotografía es la de conseguir un efecto más vivo en la famosa estatua de metal. Con la inclinación de la cámara intento que parezca que el toro ha frenado en la cuesta ficticia, para acto seguido ir a por ti.
Espero que os guste esta composición.
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"FURY ECONOMIC"
I intend to tilt my camera, is to make the bull seems alive and has slowed in the costs to launch conta me. Hope you like this different point of view.
DAVOS/SWITZERLAND, 22JAN14 - Particpants discuss during the Annual Meeting 2014 of the World Economic Forum at the congress centre in Davos, January 22, 2014.
WORLD ECONOMIC FORUM/swiss-image.ch/Photo Michael Buholzer
"Uncertainty is the refuge of hope. - Henri Frederic Amiel"
Macro Monday project – 08/26/13
“Zig Zag”
Images are Copyrighted to Greg Collins unless stated otherwise.
All rights reserved means just that, I will not tolerate photographs to be taken and reused without permission.
Published as part of a story map in the 2021 annual report of the Centre for Development and Environment (CDE), University of Berne (www.cde.unibe.ch)
Special economic zone in the former Tathluang marshes, Vientiane, Lao PDR
Gustav Klimt 1862-1918 Wien
Portrait of a woman (Marie Breunig) 1893
Wien Belvedere Collection privée
1815/30-1940 UNE PERIODE PLURIELLE
DE LA PEINTURE EUROPENNE 2
De 1830/1850 à 1940 environ, c'est en Europe la période de l'Art Moderne.
Le 19è siècle et les toutes premières années du 20è, en Europe, se caractérisent en peinture par la très grande diversité des thèmes abordés par les peintres, dans un registre aussi bien profane que religieux. De même que par la grande diversité des techniques picturales, tantôt classiques, tantôt modernes, utilisées souvent simultanément. Cette période de la peinture européenne est multiple, comme en équilibre entre son riche passé et un avenir encore mal défini. Pendant tout ce siècle l'Europe n'obéit pas à une idéologie unique. Au contraire, des élites partisanes de doctrines très différentes, prétendent à la domination du continent, mais sans pouvoir s'imposer seules et exclure leurs rivaux. En peinture c'est un magnifique chant du cygne de l'Europe, qui se déploie dans un environnement politique totalement chaotique, marqué par des guerres absurdes et autodestructrices.
Quand l'Europe se suicide politiquement, son art explose, une fois de plus, (une dernière fois ?) dans un festival de Beauté et d'Inventivité.
Un Art très imaginatif, dont l'extraordinaire diversité, technique et thématique, est le reflet des tensions existantes entre les différentes composantes de la culture européenne, les différentes croyances alors encore vivantes dans cette fin de l'Europe :
- Les croyances traditionnelles héritées des valeurs du passé de l'Europe, qui sont encore très actives dans le peuple, et aussi dans une partie de l'élite économique, idéologique et politique. Dieu, la Religion, les Devoirs, Ordre, Tradition, Travail, Famille, Patrie ...
- Les croyances nouvelles, revendiquant les idées conçues par la nouvelle idéologie montante, la nouvelle religion pour tous les Hommes, celle des Lumières : Révolution, Science, Progrès, Homme, Démocratie, les Droits, Bonheur, Modernité....De nouvelles valeurs très influentes dans une autre partie de l'élite économique, idéologique et politique de l'Europe.
Cette diversité des croyances en des valeurs différentes et même totalement opposées est l'explication de ce double constat :
En politique des affrontements incessants et meurtriers, jusqu'aux génocides à répétition.
En peinture, l'Art Moderne, ce sont des inventions remarquables : Une esthétique renouvelée par l'observation des arts du passé de l'Europe : byzantins, romans et gothiques. La peinture plate de ces "temps obscurs" a en réalité inspiré toute la peinture de l'Art Moderne. Mais d'autres approches du Beau ont été développées : l'esquisse, le tachisme.... et une nouveauté absolue apparaît, du moins en Europe: l'Art Abstrait. En Europe, parce que dans le domaine de l'art abstrait, la Chine nous avait précédé, de très loin.
Les artistes bénéficient de cette situation de concurrence idéologique : ils y gagnent la liberté de peindre selon leurs goûts et leurs idées propres. Ils ne sont pas contraints d'obéir aux injonctions d'institutions officielles ou dominantes. En France la résistance de l'Académie à la peinture impressionniste n'a duré que quelques années. Le 19è siècle et le début du 20è siècle sont très certainement dans toute l'histoire de la peinture européenne la période où les artistes ont jouit de la plus grande liberté.
Les artistes européens de cette époque ont la liberté de choisir leurs thèmes dans une très large gamme de sujets et de les traiter selon pratiquement toutes les techniques possibles, aussi bien classiques que modernistes ou ressurgies d'un passé lointain comme "la peinture plate".
Comme l'écrit Aude Kerros dans "L'Imposture de l'art contemporain" (Eyrolles 2016) : " La création à Paris se définit, fait unique au monde, comme autonome. Les artistes peuvent être reconnus et légitimés en dehors de la reconnaissance de ses principaux commanditaires, l’État, l’Église et les critères de l'Académie. Paris est le lieu de la coexistence de l'académisme et de la modernité. Cette exception remarquable durera plus d'un siècle".
Il est certain que Paris est à cette époque le centre de l'art européen, mais cette situation se retrouve dans toute l'Europe au moins de l'Ouest.
C'est une première dans l'histoire européenne. Il est certain que les artistes découvrent une liberté que ne connaissaient pas leurs ancêtres de l'époque médiévale ou même de la Renaissance et des Temps Classiques.
Cela ne signifie nullement d'ailleurs que les artistes de l'époque médiévale, catholique et orthodoxe, aient vécu leur situation comme une contrainte. Tout l'art européen démontre par sa spontanéité, sa beauté, sa sincérité, sa permanence pendant mille ans, que les élites et les peuples partageaient la même vision du monde et adhéraient, sauf des exception non significatives en terme de civilisation globale, aux croyances formulées par l'Eglise catholique à l'ouest, orthodoxe à l'est.
A la Renaissance il n'apparaît aucune rupture idéologique réelle. Seulement une évolution qui ouvre à certains artistes les portes d'accès à des thèmes nouveaux tirés de l'antiquité grecque et romaine, thèmes destinés à une petite élite aristocratique et grand bourgeoise. Rien ne change en ce qui concerne la peinture destinée aux populations. On ne constate pas de réel conflit entre les deux inspirations artistiques qui se côtoient paisiblement. Les élites de ces temps n'ont pas un art séparé, elles continuent de partager avec les populations l'art religieux. Mais elles ont développé un art particulier dont les thèmes sont profanes et totalement orientés vers le passé gréco-romain de l'Europe.
La Réforme dans les pays qu'elle concerne s'impose sans souci aucun des croyances des peuples exactement comme l'avait fait le catholicisme à partir du 5è siècle. La Réforme impose ainsi l'abandon presque total des thèmes religieux ou de ceux tirés de l'antiquité, et les artistes devront se conformer à cette nouvelle idéologie. Il faudra qu'ils se tournent vers une description de la nature et de la société de leur temps. Mais là encore on n'observe pas que les artistes oeuvrant dans ce nouveau contexte aient ressenti ces nouvelles orientations comme une contrainte. Elites, artistes et populations de ces pays du nord de l'Europe, peu marqués par les influences romaines, tant celle de l'Antiquité que celle de l'Eglise, partagent sans aucun doute une même vision du monde dont leur art est une expression libre exactement comme l'avait été la peinture romane et gothique pendant un millénaire.
La peinture officielle, académique, totalement élitiste, idéologiquement monolithique et totalitaire apparaît à partir des années 1950 et suivantes, en provenance de New York, où elle était apparue dans les années 1920 et suivantes. C'est l'Art Contemporain, un art officiel, imposé, pas seulement réservé mais séparé, hautement financé, et fortement financier. Les artistes libres se réfugieront alors dans l'art commercial privé et l'art des rues. Cette dichotomie artistique est certainement très significative, un reflet de certaines caractéristiques majeures de la société contemporaine.
Le constat le plus évident est que s'est imposé en haut de l'échelle sociale un art séparé, réservé aux élites et qui n'a plus la fonction inter-sociale qui a été constamment celle des arts anciens dans l'histoire de l'Europe et même celle universelle. C'est le constat d'une rupture du dialogue entre les classes, tout au moins à ce niveau de l'art. Cela n'exclut pas nécessairement que le dialogue inter-social puisse s'établir par d'autres voies. Mais plus par le biais de l'art officiel, sauf peut être l'exception de l' architecture.
La radio, le cinéma, la grande presse, la publicité ne fonctionnent pas comme des vecteurs d'une réelle communication entre les élites et les peuples mais bien plus essentiellement comme des instruments de propagande. Ils sont les circuits déterminants par lesquels les élites idéologiques et politiques exercent leur contrôle sur la pensée des peuples, à tous les étages de l'échelle sociale et culturelle..
L'art privé et l'art des rues, un secteur important de l'art vrai, fonctionnent plus comme des "réserves culturelles", bien délimitées, dont la fonction est fort proche de celles des réserves naturelles ou animales.
Il en est de même d'ailleurs du non art des rues, des graffitis vandales.
De tous temps, à toutes les époques, l'art autorise une lecture des conditions idéologiques, politiques, sociales, techniques, dans lequel il s'est exprimé.
1815/30 - 1940 A PLURAL PERIOD OF THE EUROPEAN PAINTING 2
From 1830/1850 to around 1940, it was in Europe the period of Modern Art.
The 19th century and the first years of the 20th, in Europe, are characterized in painting by the very great diversity of the themes addressed by the painters, in a register as well profane as religious. As well as by the great diversity of pictorial techniques, sometimes classical, sometimes modern, often used simultaneously. This period of European painting is multiple, as in balance between its rich past and a future still ill-defined. Throughout this century Europe does not obey a single ideology. On the contrary, followers elites from very different doctrines claim to dominate the continent, but can not impose themselves and exclude their rivals.
In painting it is a magnificent song of the swan of Europe, which unfolds in a totally chaotic political environment, marked by absurd and self-destructive wars.
When Europe commits suicide politically, its art explodes, once again, (one last time?) In a festival of Beauty and Inventiveness.
A very imaginative Art, whose extraordinary diversity, technical and thematic, is a reflection of the tensions existing between the different components of European culture, the different beliefs then still alive in this end of Europe:
- The traditional beliefs inherited from the values of Europe's past, which are still very active in the people, and also in part of the economic, ideological and political elite. God, Religion, Duties, Order, Tradition, Work, Family, Fatherland ...
- The new beliefs, claiming the ideas conceived by the new rising ideology, the new religion for all men, the "Lights": Revolution, Science, Progress, Man, Democracy, Rights, Happiness, Modernity .... New values very influential in another part of the economic, ideological and political elite of Europe.
This diversity of beliefs in different and even totally opposite values is the explanation of this double observation:
In politics of incessant and deadly clashes, until repeated genocides.
In painting, Modern Art, these are remarkable inventions: An aesthetic renewed by the observation of the arts of the past of Europe: Byzantine, Romanesque and Gothic. The flat painting of these "dark times" has in fact inspired all the painting of Modern Art. But other approaches of Beau have been developed: the sketch, the tachisme .... and an absolute novelty appears, at least in Europe: Abstract Art. In Europe, because in the field of abstract art, China had preceded us, from very far away.
Artists benefit from this situation of ideological competition: they gain the freedom to paint according to their own tastes and ideas. They are not forced to obey the injunctions of official or dominant institutions. In France, the Academy's resistance to Impressionist painting lasted only a few years. The 19th century and the beginning of the 20th century are certainly in the history of European painting the period when artists enjoyed the greatest freedom.
European artists of this period have the freedom to choose their themes in a very wide range of subjects and to treat them according to practically all the possible techniques, as well classic as modernist or inspired by a distant past like "the flat painting".
As Aude de Kerros writes in "The Imposture of Contemporary Art" (Eyrolles 2016): "The creation in Paris is defined himself as autonomous, a fact unique in the world. The artists can be recognized and legitimized outside the recognition of its main sponsors, the State, the Church and the criteria of the Academy. Paris is the place of the coexistence of academism and modernity.This remarkable exception will last more than a century "
It is true that Paris was at this time the center of European art, but this situation is found throughout Europe at least from the West.
This is a first in European history. It is certain that artists discover a freedom that their ancestors of the medieval or even of the Renaissance and Classical times did not know.
This does not mean that artists of the medieval and catholic period have experienced their situation as a constraint. All the European art shows by its spontaneity, its beauty, its sincerity, its permanence for a thousand years, that the elites and peoples shared the same view of the world and adhered, except for non-significant exceptions in terms of civilization, to the beliefs formulated by the Church. Catholic in the west, orthodox in the east.
At the Renaissance there is no real ideological break. Only an evolution that opens to some artists the doors of access to new themes drawn from Greek and Roman antiquity, themes intended for a small aristocratic elite and bourgeois. Nothing changes as far as painting for the peoples. There is no real conflict between the two artistic inspirations that coexist peacefully. The elites of those times do not have a separate art, they continue to share religious art with the peoples. But the elites have developed a particular art whose themes are profane and totally oriented towards the Greco-Roman past of Europe.
The Reformation in the countries it concerns imposes themselves without concern any of the beliefs of the peoples exactly as Catholicism had done at the 5th century. The Reformation thus imposes the almost total abandonment of religious themes or those drawn from antiquity, and the artists will have to conform to this new ideology. They will have to turn to a description of the nature and society of their time. But again it is not observed that artists working in this new context have felt these new orientations as a constraint. Elites, artists and populations of these countries of northern Europe, little marked by Roman influences, both that of antiquity and that of the Church, undoubtedly share the same vision of the world whose art is an expression free exactly as Romanesque and Gothic painting had been since a millennium.
Official, academic, totally elitist, ideologically monolithic and totalitarian painting appears from the 1950s onward, from New York, where it appeared in the 1920s and later. It is Contemporary Art, an official art, imposed, not only reserved but separate, highly financed, and highly financial. Free artists will then take refuge in private commercial art and street art. This artistic dichotomy is certainly very significant, a reflection of certain major characteristics of contemporary society.
The most obvious observation is that at the top of the social ladder there has emerged a separate art, reserved for the elite, which no longer has the intersocial function that has constantly been that of the ancient arts in the history of Europe. and even the universal history. This is the finding of a break in dialogue between classes, at least at this level of art. This does not necessarily exclude that intersocial dialogue can be established by other means. But not through official art, except perhaps the exception of architecture.
Radio, cinema, the press, advertising do not function as vectors of real communication between elites and peoples, but more essentially as instruments of propaganda. They are the decisive circuits by which the ideological and political elites exercise their control over the thinking of peoples at all levels of the social and cultural ladder.
Private art and street art, an important sector of true art, function more as well-demarcated, "cultural reserves" whose function is very close to that of natural or animal reserves. The same is also the non-art of the streets, vandal graffitis.
At all times art allows a reading of the ideological, political, social, and technical conditions in which it has expressed itself.
Found in Old Car City, USA. Located in White, Georgia on the 411 Highway. A massive junkyard in state of arranged decay where the cars are slowly being taken back into the earth.
CANAKKALE WAR
Russia wanted help from ally that was in a pickle from economic situation
çanakkale’s aspects opened that want help to russia with gate
the ottoman empire will captured to capital,turkish compulsion will cancelled on with suez kanal and ındian sea way, new aspect will open against to central powers out of Thrace and they will be press peace to ottoman empire
english and french’s fleet made bombardment to apology line of turkısh that astride dardanelles as of 19 february 1915
this bombardments continued to 18 march that very acute at times.english and french’s fleet dıdnt bring of in attempt of landing and they came off a loser in 18 march 1915
english made a transfer to gallipoli with became join to ındıan and anzac’s soldier under command hamilton in 25 april 1915 that understand enter to çanakkale
Mustafa Kemal trounced that became 19. division commander to enemy forces in arıburnu,anafartalar,conkbayırı.
war of canakkale showed from good enemy forces who management good commander under the turkısh soldiers that already dont defeate to the world.
palm of canakkale caused obviated gallipoli and ıstanbul that didnt pass into the hands of the allies and ıt caused revolution in russia which dıdnt take help from allied
tsarist russia came down and russia repaired from war.1.world war lenthened.
this palm caused that won in the canakkale,came to the fore of Mustafa Kemal from turkısh people and became leader of national conflict.
In 1901, brothers Max and Morris Grabowski started the Rapid Motor Vehicle Company in Pontiac, Michigan. Their vision was to manufacture delivery and pickup trucks for commercial businesses. Their first prototype was a single-cylinder engine that failed, but they didn’t let it stop them.
The Grabowski brothers succeeded in 1902 with a redesigned two-cylinder engine capable of 15 hp. In just a few years, they sold 75 pickup trucks that were not much more than an open cab, wheels, bench seat, frame, and engine.
Two years after incorporating the business in 1904, General Motors Company founder William C. Durant invested heavily in Rapid Motor stock. By 1909, General Motors bought Rapid Motor Vehicle Company and merged the company with another large acquisition, the Reliance Motor Company.
At a 1912 New York Auto Show, they posted signage that became the namesake of this profitable business venture, GMC Trucks. Eight months later they patented that name. Some years later, the General Motors Company was reincorporated and renamed General Motors Corporation.
By 1927, GMC had smoothed out many of the truck’s rough edges. Chrome-plated trim, radiator-mounted headlights, and a more streamlined look married the truck’s workhorse reputation with modern style.
A GMC pickup became synonymous with dependability when a two-ton GMC truck completed a trek from New York to San Francisco in five days. During this time of rapid industrial growth and advancements in technology, this pickup was certainly a part of that period of economic boom.
By the ’30s, GMC trucks were ingrained in American culture. The cars sold so fast it was hard for the company to keep up with demand. Since the truck’s engine was quite hardcore, GMC expanded its pickup styles with more paint colors, swooping fenders along the frame, a front grille redesign, and a more comfortable cabin interior.
By this time, GMC was manufacturing trucks from three locations including Pontiac, Michigan, Oakland, California, and Saint Louis, Missouri.
World War II saw the U.S. Army invest in 600,000 GMC trucks built specifically to handle the demands of rugged terrain. Many of the design features that make GMC trucks so dependable in war zones translated to consumer production models.
The new and improved GMC truck lineup featured a wider and lower body as well as headlights integrated into the truck’s frame. You can still spot post-war production GMC trucks in classic movies and on vintage car lots.
What was probably most unexpected was how GMC truck bodies (especially from 1948-50) became a popular base frame for hot rod conversions during the ’60s.
Every day the news seems to have some new prediction of economic doom for Europe. First Greece, then Spain, then France. Today some doofus says on CNBC that "The Western World is 'Finished Financially' ". You know, that is just not helpful.
The Economy is broken.
#MoneyMoneyMoney, this is my second participation to #FlickrFriday.
On the banknote: an illustration of "Nils Holgersson's wonderful journey across Sweden" by Selma Lagerlöf, a Swedish writer (Nobel Prizes in Literature 1909).
Manual lens 35 mm f/2
Edgar Degas. 1834-1917. Paris. Vers 1893. Danseuses bleues. Blue dancers. Paris Orsay.
1815-1940 UNE PERIODE PLURIELLE DE LA PEINTURE EUROPENNE
De 1792 à 1815 l'Europe n'a pas le temps d'être artistique : Elle est totalement occupée par les grandes ambitions françaises de la Révolution et du Premier Empire. Une fois liquidées les aventures révolutionnaires et impériales, l'Europe entre dans une période d'expansion économique et politique qui se traduit dans la peinture par une des phases les plus créatives, les plus inventives et les plus diversement inspirées de l'histoire de la peinture européenne.
L'Europe continentale a pu enfin connaitre, après l'Angleterre, sa seconde renaissance, technique, scientifique et économique. La seconde naissance de l'Europe, après celle des 11è-12è siècles. Les révolutions industrielles peuvent se succéder.
Dans l'Europe en expansion économique du 19è siècle et du début du 20è siècle, l'art de la peinture voit apparaitre une explosion d'écoles et de mouvements totalement différents, qui coexistent sans problèmes majeurs, pendant plus d'un siècle. La peinture européenne n'est pas plus belle que celle antérieure, ou que la peinture d'autres civilisations, mais elle est certainement plus diverse. Plus diverse par ses techniques et par ses thèmes.
Comment expliquer cette diversité de l'art et cette liberté d'expression des artistes européens à cette époque ?
La diversité et la créativité des écoles de la peinture européenne est la conséquence d'une situation de pluralité culturelle et idéologique.
Dans la période qui va de 1815 à 1914, puis encore jusqu'en 1940, l'Europe n'est pas soumise à une idéologie, profane ou sacrée, unique et exclusive.
Dans cette Europe du 19è et du début du 20è coexistent, malgré de très graves tensions, plusieurs représentations du monde différentes, et même opposées, conflictuelles :
Catholicisme, orthodoxie, protestantismes, judaïsme, "Lumières" de toutes tendances, jacobines ou pragmatiques, socialismes modérés ou extrémistes, nationalismes raisonnables ou ultra, aucune de ces idéologies, sacrées ou profanes, ne domine absolument la pensée et la politique européenne, et ne monopolise son territoire de l'Atlantique à l'Oural.
Certes, cette Europe est loin d'être idéale. L'Europe connait des affrontements très graves, des guerres absurdes. Précisément parce qu'aucune idéologie, sacrée ou profane, n'est absolument dominante. Parce que aucune idéologie ne peut régenter totalement les sociétés européennes. La diversité idéologique, source de tensions et même de guerres, est aussi source de liberté, de diversité.
On n'en finirait pas de citer les écoles de peintures, du romantisme à l'art abstrait. Cette multiplication d'écoles à la recherche de nouveaux moyens d'expression est éminemment créatrice. Juste pour mémoire, sans aucune exhaustivité et même dans le désordre:
Romantisme, néo-classicisme, préraphaélites, académisme, réalisme, idéalisme, symbolisme, préimpressionnisme, impressionnisme, nabis, fauvisme, cubisme, orientalisme, expressionnisme, sécessionnisme, surréalisme, art abstrait, dada, néo-plasticisme......
Ce n'est pas seulement une floraison de noms nouveaux, des appellations inventés pour cacher le vide de l'art. C'est une explosion de formes, réellement nouvelles, de thèmes nouveaux, de sensibilités et de significations nouvelles, de beautés neuves.
L'Art Abstrait est une de ces recherches très positives qui renouvellent le paysage de la peinture européenne.
Pas de monolithisme de la pensée européenne, à cette époque qui va de 1815 à 1940 en dates grosses.
Conséquence : Pas de monolithisme de l'Art européen pendant la même période, et notamment de la peinture.
A l'exception de la Russie, qui rentre dès 1917 dans le monde de la pensée unique et du Non Art.
A l'exception aussi de l'Allemagne hitlérienne où l'art meurt à partir des années 1930 et suivantes.
Avant et ailleurs en Europe, toutes les écoles coexistent, depuis le figuratif académique jusqu'à l'art l'abstrait.
L'Art de la peinture de cette époque, appelé "Art Moderne", est ainsi un témoin du dynamisme européen. Sa diversité de styles et de sujets, sa créativité, son esprit de recherche, sans reniement du passé, sont comme un splendide chant du cygne de la diversité. Et effectivement cela ne durera pas.
C'est ainsi que s'est imposé dans nos musées d'Occident, à partir des années 1950, sans que personne dans le peuple ait donné son avis, l'Art Contemporain : un nouvel Académisme, un Art Officiel, qui cumule le Laid et le Non-Sens, et qui fait se ressembler presque toutes les oeuvres d'art, de tous les musées d'Art Contemporain, du nord au sud, et de l'est à l'ouest de l'Europe et de l'Occident. L'Art de la pensée unique.
1815 - 1940 A PLURAL PERIOD OF THE EUROPEAN PAINTING
From 1792 to 1815 Europe has no time to be artistic: It is fully occupied by the great French ambitions of the Revolution and the First Empire. Upon completion of the revolutionary and imperial adventures, Europe enters a period of economic and political expansion, which reflected in the painting by one of the most creative, the most inventive and the most diversely inspired phases, from the history of European painting.
Continental Europe could finally know, after England, his second renaissance, technical, scientific and economic. The second birth of Europe, after that of the 11th-12th centuries. The industrial revolutions can succeed.
In Europe in economic expansion of the 19th century and early 20th century, the art of painting sees appear an explosion of schools, and totally different movements that coexist without major problems, during more than a century. European painting is not more beautiful than the previous one, or the painting of other civilizations, but it is certainly more diverse. More diverse in its technical and its themes.
How to explain this diversity of art and this freedom of expression of European artists at that time?
The diversity and creativity of the schools of European painting is the result of a situation of cultural and ideological plurality. In the period from 1815 to 1914 and then again until 1940, Europe is not subject to an ideology, secular or sacred, unique and exclusive.
In this Europe of the 19th and early 20th, coexist, despite very severe tensions, several different representations of the world, and even contrary, conflictual:
Catholicism, Orthodoxy, Protestantism, Judaism, "Enlightenment" of all tendencies, Jacobinical or pragmatic, moderate socialism or extremist, reasonable or ultra nationalism, none of these ideologies, sacred or profane, absolutely dominates the thinking and the European policy, and monopolizes its territory, from the Atlantic to the Urals.
Certainly, this Europe is far from ideal. Europe knows very serious confrontations, absurd wars. Precisely because none ideology, sacred or profane, is absolutely dominant. Because none ideology can completely govern European societies. Ideological diversity, a source of tension and even from wars, is also a source of freedom, of diversity.
There is no end to mention the schools of paintings, from romanticism to abstract art. This multiplication of schools looking for new means of expression is eminently creative. Just for memory, without completeness, and even in the disorder: Romanticism, neoclassicism, Pre-Raphaelites, academicism, realism, idealism, symbolism, pre impressionism, impressionism, Nabis, fauvism, cubism, orientalism, expressionism, secessionism, surrealism, abstract art, dada, neo-Plasticism ......
This is not only a flowering of new names, names invented to hide the emptiness of art. It is an explosion of formes, really news, new themes, sensitivities and new meanings, of new beauties.
Abstract Art is one of those very positive research which renew the landscape of European painting.
No monolithic quality of European thinking at that time that goes from 1815 to 1940 in large dates.
Consequence: No monolithic quality European Art, particularly in painting.
With the exception of Russia, which arrived in 1917 in the world of the unique thought and of Non Art.
With the exception also of Hitler's Germany, where art dies, from the 1930s and followings years.
Before and elsewhere in Europe, all schools coexist, from the academic figurative art to abstract art.
The art of painting of that time, called "Modern Art", is thus a witness of European dynamism. Its diversity of styles and subjects, his creativity, his spirit of research, without denial of the past, are like a beautiful swan song of diversity. And indeed it will not last.
It thus has established itself in our museums of the West, from the 1950s, without that person in the people has given his opinion, the Contemporary Art: a new Academism, an Officila Art, which combines the Ugly and the Non-Sense, and that make be similar almost all the works of art, of all museums of Contemporary Art, from North to South and East to Western Europe and the West. The Art of the single thought.
Music: Phoenix - Lisztomania
Say hello to Christian. He was already in two prior shots I think. Last week we were in Berlin and that is in some random cafe. He took the newspaper and scrolled through the economic part :-)
At first he thought I'd give him a hard time, following him with my camera. After a while he realised that he doesn't look too bad on the photos. So he was patiently posing for me (later on, because that was the first shot of the day)...
I have edited it several times, tried different versions. It was not too easy because the black part in the right was actually another person who was bothering me. Now it looks rather like a curtain than a person ;-) Some other persons were also sitting in the left black area... It's also dark now. But i quite like the effect because it puts the focus on the very bright newspaper. Last night I finally had the breakthrough and I was oddly happy when I finished the photo. Perhaps a poet has the same feeling when he finishes one of his works =))
Participants speaking in the Ending Modern Slavery session at the World Economic Forum Annual Meeting 2020, Open Forum, in Davos-Klosters, Switzerland, 23 January. Swiss Alpine High School Auditorium. Copyright by World Economic Forum/ Patrick Somelet
Victory Liner 2536
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Operator: Victory Liner Inc.
Fleet No.: 2536
Type of Service: PUB - Provincial Operation
Route: Olongapo City - Caloocan via McArthur Hway
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ENGINE
Maker: Doosan Corporation
Model: DE08TIS
CHASSIS
Maker: Zyle Daewoo Bus Corporation
Model: BS106
COACH
Coachbuilder: Santa Rosa Motor Works Inc.
Model: Daewoo AC
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captured at Travelers Stop Over, Lubao, Pampanga
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NOTE: Errors may be evident with this description. Corrections will be done once verified.
120120180905
"Neo-Baroque tenement house from 1905-1906. Architect Otakar Bureš.
The Old Town of Prague (Czech: Staré Město pražské, German: Prager Altstadt) is a medieval settlement of Prague, Czech Republic. It was separated from the outside by a semi-circular moat and wall, connected to the Vltava river at both of its ends. The moat is now covered up by the streets (from north to south-west) Revoluční, Na Příkopě, and Národní—which remain the official boundary of the cadastral community of Old Town. It is now part of Prague 1.
Notable places in the Old Town include Old Town Square and Astronomical Clock. The Old Town is surrounded by the New Town of Prague. Across the river Vltava connected by the Charles Bridge is the Lesser Town of Prague (Czech: Malá Strana). The former Jewish Town (Josefov) is located in the northwest corner of Old Town heading towards the Vltava.
Prague (/ˈprɑːɡ/ PRAHG; Czech: Praha [ˈpraɦa]; German: Prag [pʁaːk]; Latin: Praga) is the capital and largest city of the Czech Republic and the historical capital of Bohemia. On the Vltava river, Prague is home to about 1.3 million people. The city has a temperate oceanic climate, with relatively warm summers and chilly winters.
Prague is a political, cultural, and economic hub of central Europe, with a rich history and Romanesque, Gothic, Renaissance and Baroque architectures. It was the capital of the Kingdom of Bohemia and residence of several Holy Roman Emperors, most notably Charles IV (r. 1346–1378) and Rudolf II (r. 1575–1611).
It was an important city to the Habsburg monarchy and Austro-Hungarian Empire. The city played major roles in the Bohemian and the Protestant Reformations, the Thirty Years' War and in 20th-century history as the capital of Czechoslovakia between the World Wars and the post-war Communist era.
Prague is home to a number of well-known cultural attractions, many of which survived the violence and destruction of 20th-century Europe. Main attractions include Prague Castle, Charles Bridge, Old Town Square with the Prague astronomical clock, the Jewish Quarter, Petřín hill and Vyšehrad. Since 1992, the historic center of Prague has been included in the UNESCO list of World Heritage Sites.
The city has more than ten major museums, along with numerous theatres, galleries, cinemas, and other historical exhibits. An extensive modern public transportation system connects the city. It is home to a wide range of public and private schools, including Charles University in Prague, the oldest university in Central Europe.
Prague is classified as a "Alpha-" global city according to GaWC studies. In 2019, the city was ranked as 69th most livable city in the world by Mercer. In the same year, the PICSA Index ranked the city as 13th most livable city in the world. Its rich history makes it a popular tourist destination and as of 2017, the city receives more than 8.5 million international visitors annually. In 2017, Prague was listed as the fifth most visited European city after London, Paris, Rome, and Istanbul.
Bohemia (Latin Bohemia, German Böhmen, Polish Czechy) is a region in the west of the Czech Republic. Previously, as a kingdom, they were the center of the Czech Crown. The root of the word Czech probably corresponds to the meaning of man. The Latin equivalent of Bohemia, originally Boiohaemum (literally "land of Battles"), which over time also influenced the names in other languages, is derived from the Celtic tribe of the Boios, who lived in this area from the 4th to the 1st century BC Bohemia on it borders Germany in the west, Austria in the south, Moravia in the east and Poland in the north. Geographically, they are bounded from the north, west and south by a chain of mountains, the highest of which are the Krkonoše Mountains, in which the highest mountain of Bohemia, Sněžka, is also located. The most important rivers are the Elbe and the Vltava, with the fertile Polabean Plain extending around the Elbe. The capital and largest city of Bohemia is Prague, other important cities include, for example, Pilsen, Karlovy Vary, Kladno, Ústí nad Labem, Liberec, Hradec Králové, Pardubice and České Budějovice, Jihlava also lies partly on the historical territory of Bohemia." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Über die Feiertage bin ich wieder etwas mehr dazu gekommen, einige Fotoblogs zu lesen. Dabei bin ich unter anderem auf die Lost Place Reihe von Daniel Schmitt auf kwerfeldein gestoßen, die mich sehr ansprach. Daher habe ich mich jetzt im neuen Jahr gleich einmal an den Rechner gesetzt und geguckt, ob ich solche Lost Places auch in Hannover und Umgebung finde. Und siehe da; in Hannover-Limmer gibt es eine alte Fabrikruine der Continental AG (mehr Infos findet ihr bei wikipedia.
Also: Etwas schlau gemacht, was es so zu beachten gibt, Route rausgesucht und los gings. Angekommen, war ich total begeistert. Die Stimmung an diesem Ort ist unglaublich und es macht unendlich Spaß durch die alten Fabrikruinen zu ziehen und nach Motiven zu suchen (Problem: Es gibt zu viele!). Im Keller einer der Gebäude ist dann dieses Foto entstanden.
Zur Bearbeitung: Es ist ein HDR aus einer Belichtungsreihe mit drei Fotos (mittlere Belichtung und jeweils +/- 2 Blendenstufen unter- bzw. überbelichtet). Anschließend bin ich nochmal in Lightroom über das HDR-Ergebnis drübergegangen. Dabei habe ich vor allem das Bild abgedunkelt, die Vignettierung hinzugefügt und ein leichtes Cross-Processing angewandt.
Ich bin mit meinem ersten Lost-Places-Ergebnis zufrieden und bin gespannt auf eure Meinungen und eure Kritik. Da noch einige Bilder von heute Nachmittag auf der Platte liegen, freue ich mich auf eure Kommentare, die mir bestimmt helfen werden, dass die nächsten Lost-Places-Fotos immer besser werden.