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Afghani men watch a video entitled "Why We Are Here" which explains the United States involvement in the war on terrorism during a Medical Civil Action Program (MEDCAP) held in the village of Aroki Province of Kapisa, Afghanistan, on Jan/ 21, 2003. Soldiers from the 48th Combat Support Hospital, along side airmen from the 455th Air Expeditionary Wing and the 924th Korean Medical hospital, gathered together in the village of Aroki Province of Kapisa, Afghanistan to conduct a Medical Civilian Action Program (MEDCAP), Dental Civilian Action Program and a Veterinarian Civil Action Program to help bring health and wellness to the Afghan people. (U.S. Air Force photo by Staff Sgt. Cherie A. Thurlby) (Released)
To learn more about living and serving in Korea with the US Army, visit our official website at: imcom.korea.army.mil
Whether you are fresh off of active-duty, a military spouse or a seasoned professional, you will find a career with U.S. Army in Korea both challenging and inspiring. If you ready to join an award winning team and embark on the adventure of a lifetime, you can learn more about living and working in Korea online: imcom.korea.army.mil
Photos from the US Army in Korea can be viewed online at www.flickr.com/imcomkorea
The Morning Calm Weekly command information newspaper is available online at imcom.korea.army.mil
Published for those serving in the Republic of Korea - an assignment of choice.
About this image: Operation Enduring Freedom. A Department of Defense Image Collection.
These images are generally cleared for release and are considered in the public domain. Request credit be given the Department of Defense and individual photographer.
To learn more about living and serving in Korea with the US Army, visit our official website at: imcom.korea.army.mil
Whether you are fresh off of active-duty, a military spouse or a seasoned professional, you will find a career with U.S. Army in Korea both challenging and inspiring. If you ready to join an award winning team and embark on the adventure of a lifetime, you can learn more about living and working in Korea online: imcom.korea.army.mil
Photos from the US Army in Korea can be viewed online at www.flickr.com/imcomkorea
The Morning Calm Weekly command information newspaper is available online at imcom.korea.army.mil
Published for those serving in the Republic of Korea - an assignment of choice.
About this image: Operation Enduring Freedom. A Department of Defense Image Collection.
These images are generally cleared for release and are considered in the public domain. Request credit be given the Department of Defense and individual photographer.
To learn more about living and serving in Korea with the US Army, visit our official website at: imcom.korea.army.mil
Whether you are fresh off of active-duty, a military spouse or a seasoned professional, you will find a career with U.S. Army in Korea both challenging and inspiring. If you ready to join an award winning team and embark on the adventure of a lifetime, you can learn more about living and working in Korea online: imcom.korea.army.mil
Photos from the US Army in Korea can be viewed online at www.flickr.com/imcomkorea
The Morning Calm Weekly command information newspaper is available online at imcom.korea.army.mil
Published for those serving in the Republic of Korea - an assignment of choice.
About this image: Operation Enduring Freedom. A Department of Defense Image Collection.
These images are generally cleared for release and are considered in the public domain. Request credit be given the Department of Defense and individual photographer.
A colourful folding brochure entitled "Lincoln and Lincolnshire" issued by the Great Northern Railway in c.1907 with covers decorated by colour sketches of Lincoln by "E.W.". As well as Lincoln and the surrounding county the brochure looks at the various cathedrals found en route from London Kings Cross toward Yorkshire. The covers also show the GNR's unusual, for the UK, almost American style 'herald' or badge.
The Great Northern Railway was incorporated in 1846 and began operations in a small way in 1848. It took some years to finally construct and open what is now the East Coast Main lIne southcof Doncaster to London but this was to become, along witht he GNR, part of the vital main line from London to Scotland via York and Newcastle that was jointly operated by the GNR, the North Eastern Railway and the North British Railway. The GNR also operated a network of branch lines in Lincolnshire and Yorkshire, the latter being of particular importance in terms of access to the county's great coalfields.
Launch of UNDP Yemen’s second Impact of War report entitled Assessing the impact of conflict in Yemen on the achievement of the Sustainable Development Goals (SDGs) ©UNDP/Sumaya Agha
From my set entitled “Boats and Ships”
www.flickr.com/photos/21861018@N00/3206986832/in/set-7215...
In my collection entitled “Transportation”
www.flickr.com/photos/21861018@N00/collections/7215761271...
In my photostream
www.flickr.com/photos/21861018@N00/
Imagekind link:
Reproduced from Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/North_Rhine-Westphalia
North Rhine-Westphalia (German: Nordrhein-Westfalen, usually shortened to NRW, official short form NW) is the westernmost and - in terms of population and economic output - the largest Federal State of Germany. North Rhine-Westphalia has over 18 million inhabitants, contributes about 22% of Germany's gross domestic product and comprises a land area of 34,083 km (13,158 square miles). North Rhine-Westphalia is situated in the Western part of Germany and shares borders with Belgium and the Netherlands. It has borders with the German states of Lower Saxony to the North and Northeast, Rhineland-Palatinate to the Southwest and Hesse to the Southeast.
The capital city is Düsseldorf, and the largest city is Cologne (Köln). Other major cities are Dortmund, Essen, Duisburg, Oberhausen, Aachen, Bielefeld, Bonn, Bochum, Bottrop, Bergisch Gladbach, Mönchengladbach, Mülheim, Münster, Gelsenkirchen, Krefeld, Hagen, Hamm, Herne, Iserlohn, Leverkusen, Neuss, Paderborn, Recklinghausen, Remscheid, Siegen, Solingen, Witten and Wuppertal.
The state is centred on the sprawling Rhine-Ruhr urbanised region, which contains the cities of Düsseldorf, Bonn and Cologne as well as the Ruhr Area industrial complex. The Ruhr area consists of, among others, the cities of Dortmund, Essen, Duisburg, Bochum, Gelsenkirchen and Oberhausen.
The state's area covers a maximum distance of 291 km from north to south, and 266 km from east to west.
The total length of the state's borders is 1,645 km. The following countries and states have a border with North Rhine-Westphalia:
Belgium (99 km)
The Netherlands (387 km)
Lower Saxony (583 km)
Hessen (269 km)
Rhineland Palatinate (307 km)
For many people North Rhine-Westphalia is synonymous with industrial areas and agglomerating cities. But the largest part of the state is used for agriculture (almost 52%), forests cover 25%. The southern parts of the Teutoburg Forest are located in the northeast. In the southwest, Nordrhein-Westafalen shares in a small part of the Eifel, located on the borders with Belgium and Rheinland-Pfalz. The southeast is occupied by the sparsely populated regions of Sauerland and Siegerland. The northwestern areas of the state are part of the Northern European Lowlands.
The most important rivers that run at least partially through North Rhine-Westphalia include: Rhine, Ruhr, Ems, Lippe and Weser. The Pader, which runs only through the city of Paderborn, is considered the shortest river in Germany.
The state of North Rhine-Westphalia was established by the British military administration on 25 October 1946. Originally it consisted of Westphalia and the northern parts of the Rhine Province, both formerly belonging to Prussia. In 1947 the former state of Lippe was merged with North Rhine-Westphalia, hence leading to the present borders of the state.
Museum de Fundatie Zwolle NL presents an exhibition entitled Giacometti-Chadwick, Facing Fear, to run from 22 September 2018 to 6 January 2019. The sculptures of Alberto Giacometti (1901-1966) and Lynn Chadwick (1914-2003) are manifestations of the sense of fear and disillusionment that pervaded Europe during the Cold War period. Their work bids a final farewell to pre-war romanticism and aestheticism, and lands with both feet in the raw reality of the post-war world. While Giacometti reduced the human form to its bare essentials, Chadwick created powerful archetypal images of both people and animals. The exhibition includes more than 150 works. Never before has the work of Giacometti and Chadwick been so explicitly brought together.
Their paths first crossed in 1956, when Chadwick became the youngest person ever to win the Grand Prix for Sculpture at the Venice Biennale. With only six years’ experience as a sculptor, the British artist snatched the prize from Giacometti, the hot favourite, who was thirteen years older and already a major name in Paris. Giacometti would go on to win the prize in 1962, but which of the two men was awarded it in 1956 is less significant than the fact that these two particular sculptors were the front-runners at that time. Each of them was expressing, in his own individual way, the sense of deep-seated angst that overshadowed day-to-day life in Europe in the fifties and sixties: the fear of a global nuclear disaster that would wipe out human civilisation.
Alberto Giacometti is among the most significant figures in the whole field of modern European sculpture. A member of a notable family of Swiss artists, he moved to Paris in 1922 and would remain there for the rest of his life, working as a sculptor, painter and graphic artist. After training with Émile-Antoine Bourdelle, he discovered modernism and so-called ‘primitive’ ethnographic art of Africa and Oceania. In response to these influences, his work became more abstract. In the early thirties, his Surrealist sculptures expressing subconscious emotions created a furore. From 1935, however, personal psychological tensions triggered a crisis in his life and work that led to a return to the human figure. Initially, his portraits and figures became both increasingly tiny and more and more attenuated. This thinness was to remain the most distinctive feature of Giacometti’s art. After the Second World War, he began to create the elongated, emaciated figures that would bring him worldwide fame. In all their attenuation, they reduce humanity to its very essence and appear both vulnerable and enigmatic.
In the early fifties, up-and-coming artist Lynn Chadwick managed to dislodge Henry Moore and Barbara Hepworth from their dominant position in the field of British sculpture. Born in London, Chadwick had started his career as a technical draughtsman and exhibition stand designer. He took an equally constructional approach to his sculpture: rather than model his human and animal figures in clay or wax, he constructed them by welding steel rods together to create an armature and then filling in the gaps with a kind of cement. The angularity of the work being produced by him and other young British artists was described in 1952 as ‘the geometry of fear’, a reference to the constant dread of nuclear annihilation. Chadwick’s apocalyptic Dancers and stoical Watchers gave powerful expression to this sense of angst. From the early seventies, he broadened his repertoire to include subjects that seem to restore the sovereignty of the human spirit. Sculptures like Cloaked Figure and Sitting Couple no longer look threatening, but emanate a sense of composure and invulnerability.
Giacometti’s pre-war work influenced Chadwick’s development and the two men were keenly aware of each other’s presence. In addition to the vast differences, there are also many similarities between their oeuvres. Giacometti-Chadwick, Facing Fear is the product of close cooperation with the Fondation Marguerite et Aimé Maeght in Saint-Paul-de-Vence and the Chadwick Estate and Blain|Southern gallery in London.
Federal Vases
This pair of bronze vases, which artist Horatio Stone entitled “Ecce Homo” and “Freedom,” have been variously referred to as “Philosophy” and “Invention,” or more simply as the Federal Vases. They are part of a group of three; the third, larger vase, entitled “Republic,” is located at the Pomona College Montgomery Art Gallery in Claremont, California. Collectively, they suggest that American democracy draws its strength from a moral foundation coupled with native ingenuity.
•Artist: Horatio Stone
•Date: 1871
•Material: Bronze
•Dimensions: 34½" tall, 15" diameter
•Location: East Front Vestibule, U.S. Capitol Rotunda
Stone apparently conceived this unusual sculptural ensemble around 1868, specifically for display at the U.S. Capitol to reinforce the concept of American stability and unity in the wake of the Civil War. These vases, each 34½ inches tall and 15 inches in diameter, convey their message through a procession of low-relief figures, inscriptions and recognizable details, such as the telegraph machine and views of the Capitol dome, before and after the Capitol extension.
The vase referred to as Philosophy depicts the evolution of ethical thought and celebrates Greek philosophers as well as the artistic contributions of poets, musicians and sculptors to cultural development. The figures are identified in the inscription: “I. PROMETEUS/II. ORPHEUS/II. HOMER/IV. ARISTIDES/V. ANAXAGORAS/VI. PHIDIAS/VII. SOCRATES/VII. ECCE HOMO.” The frieze begins with the mythological figure of Prometheus and the vulture, signifying remorse for stealing the celestial fire; Orpheus with his lyre; and the epic poet Homer. Athenian statesman Aristedes, known as “the Just,” is followed by Anaxagoras, who brought philosophy to Athens, and the great Athenian sculptor Phidias, who adorned the Parthenon. Socrates, who embodies Truth, and an ecce homo depiction of Jesus complete the progression.
In the Invention vase, Freedom is personified by a male figure wearing a liberty cap, a motif that is repeated throughout the relief. The narrative begins as he receives the lamp full of the sacred oil of knowledge from Minerva, the goddess of Wisdom. Freedom then embarks on his metaphorical journey, in which he receives symbolic gifts from three leading American inventors: Benjamin Franklin, who presents him with a key, referencing the discovery of electricity; Robert Fulton, who offers his design for the steamboat; and Samuel F. B. Morse, who demonstrates the electric telegraph. The inscription on the vase reads “I. A SCIENCE/II. FREEDOM/III. FREEDOM/IV. FRANKLIN/V. FREEDOM/VI. FULTON/VII. FREEDOM/VIII. MORSE.”
The third, larger and more elaborate vase, Republic, depicts George Washington along with President Abraham Lincoln, Civil War Admiral David G. Farragut, Chief Justice John Marshall and newly elected President Ulysses S. Grant, surrounded by allegorical figures symbolizing Peace, Prosperity and Progress.
History
Apparently, as revealed in a letter that Horatio Stone wrote to his friend and legal counsel, Robert J. Stevens, the artist first developed these figural processions to adorn the walls of the east and west Capitol porticoes. Because the completed Capitol extension did not provide the proper architectural opportunity, Stone transferred his concept to free-standing vases, recasting the traditional bacchanal imagery found on Etruscan and Greek vases into a commemorative historical narrative. The amount of $10,000 was included for the vases in the 1870 congressional appropriation bill, but Stone did not sign a contract for the work. He completed the sculptures and had them cast in bronze by the Robert Wood Foundry in Philadelphia in 1871; however, by that time the money had reverted to the treasury. Confronted with a lien on the vases, Stone sought the help of his patron, the engineer John Chipman Hoadley, who covered his foundry debt and brought the vases to Washington, D.C., where they were placed on temporary public view. According to the National Republican of December 16, 1871, Ecce Homo and Freedom were displayed “in the east corner of the new hall of the House of Representatives.” After Stone’s sudden death in 1875, ownership of the vases reverted to Hoadley. Hoadley himself died in 1886, and in 1887 a public subscription raised funds to present all three vases to the Boston Art Club, which sold them in 1939 to a California collector.
In 2015 the vases were offered for exhibit in the U.S. Capitol by their owners, Daniel and Mathew Wolf, in honor of their sister, the Honorable Diane R. Wolf. With the approval of the Joint Committee on the Library, the vases were accepted and placed on display atop specially designed sandstone pedestals in the east front vestibule of the Rotunda.
The Sculptor
Horatio Stone was born in Jackson, New York, in 1808. Stone’s attempts at woodcarving as a young boy showed his early interest in sculpture, but he left home as young man to study medicine. In the mid- to late 1840s, he closed his practice and moved to Washington, D.C., to focus on sculpture. He became interested in the decoration of the Capitol as a founder and president of the Washington Art Association, which evolved into the National Art Association. In 1858, the Association petitioned Congress for the formation of an art commission to oversee the acquisition of art for the Capitol; the commission existed for only one year. Stone maintained studios in Washington, including, for a time, a room in the Capitol, and worked on his sculpture in Italy. He sculpted three statues for the Capitol: John Hancock (1861), Alexander Hamilton (1868) and Edward Dickinson Baker (1876). He died in Carrara, Italy, in 1875.
A transcription of the plaque on the base, edited and formatted for clarity:
The Federal Vases
Invention, 1871, by Horatio Stone
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
I have entitled this 'The Ignorance of Venus', as an homage to the painting Venus at Her Toilette. In my photo, Venus is reposed with her husband on the left taking her image, whilst the maid watches on. Venus is blissfully unaware of what is occurring around her, and the interaction of the other two parties.
This project was part of an assignment to take photos to give an historic 'feel' to the result.
Hello Everyone -
I think to say this will be my last Image of 2011.
It has been an memorable year for me. I have lost loved ones, found love, been knocked down, got up again, learnt new things about myself I never knew, and yet I'm still here journeying through life itself in good and positive light (or so i keep telling myself!).
I would like to say at this very moment to everyone who has commented on my photos a big Thank You and for those' who added any of my photos as a favourite. Your encouragement has been greatly appreciated, and although I'm hardly on flickr, I have made a new year resolution to make use of it more often!
So to end 2011 let me say to everyone, Have a Brilliant New Year :)
Looking forward to 2012 on Flickr with you all!
Kindest Regards
Rukhsana
aka Rukz_dslr
From my set entitled “Yew”
www.flickr.com/photos/organize/?start_tab=one_set72157607...
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
Links:
www.google.com/url?sa=t&source=web&ct=res&cd=...
www.pendernursery.com/Catalog/Detail/taxusxmediahicksii.html
This photographic portfolio entitled "THE MAASAI" is the result of a period of one month lived with them from Kenya to Tanzania. Earth, fire, sun, blood: red is the color of the Maasai. Red is the earth, “Osinyai”, of the rough path that, a two hour drive from Nairobi, plunges into the Kenyan highlands crossed by arid rivers, in this ignored corner of the bush. A dozen low and narrow huts made of branches covered with a mixture of earth and dung, which the women build and rebuild that do everything, housing, food and milking the cattle. Tattered children dressed in variegated fabrics, old cloths draped in colorful fabrics, sparkling pearl necklaces and bracelets.
In the land of the Maasai, nothing is the same as before: the extension of the outskirts of the capital, first of all, has made these nomads withdraw, fleeing from civilization and refusing to mix with other ethnic groups. They bought their land which these shepherds, indifferent to land ownership and reluctant to agriculture, abandoned. The state created huge animal reserves, which further expropriated them of their territories. Gradually they withdrew to Tanzania, where today they emigrate in large numbers, there were also those years of terrible drought, which saw their herds wither.
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
This is a page from my AS Art and Design coursework, entitled "A Day at the Seaside". The idea behind my theme was memories we have, particularly from childhood, of going on day trips to the seaside or beach. On this sheet, I thought about the food we eat on these holidays, from picnics to traditional fish and chips served in newspaper. On the top left, there is an image of fish and chips which was created with chalk pastel. Under that is a starfish print. I made several of these prints and then ripped them up to collage together. For me, this made my print work more colourful and interesting to the eye. On the top right is a piece of photoshop work in which I scanned my own pieces in and put them together to make a new image. In the middle of the page is a watercolour painting of my brother with an ice cream. I thought that this piece could use more tone after painting, so I used chalk pastel over it. I further developed this idea of ice-cream with clay work. I used strings of clay to create the effect of ice-cream and then used a cross-hatching technique to make the cone look more realistic. On the bottom left is a mixed-media study of a picnic on the beach. I painted the children and picnic using acrylics first. I then put coffee on the page and painted over it to give the effect of a sandy beach. However, I was not completely satisfied with the result and in further work experimented with different materials to better give the illusion of sand. Beside that is mixed media work of chips in a bag. The paper was made using newspaper which I painted and the chips were created with paper maché and ModRoc. This was painted using acrylics. On the bottom right is my first felt work of a melting ice-cream cone. Ice-cream on this page was important because it is what I most associate with trips to the seaside. Thinking of the different sauces added to ice-cream, I made a patterned background of red and pink stripes. I then sewed into them with thread.
Installation of Glen Cinema Memorial entitled Rattle Little Mother at Dunn Square Paisley.
Location Of Names On Rattle Little Mother, Glen Cinema Memorial
Front “ To The Children Of The Glen Cinema “
Left Panel as you face front of memorial which faces in the direction of the Piazza “ Elizabeth Leonard - Samuel McBlane - Sarah McCafferty - Robert McConnell - Nellie McCran - Minnie McCran - Edward McEnhill - Margaret McEnhill - James McEnhill - Denis McGarrity - Robert McGirr - Jeanie McGrattan - Mary McWattie - Margaret Morrow - Robert Niven - Georgina Peacock - Tom Perkins - John Pinkerton - William Pinkerton - Alexander Telfer - William Rae - Thomas Renfrew - George Scott - William Spears - Jane Stevenson - Robert Wingate.
Back of Memorial which faces Paisley Town Hall “ James Gielty - John Gielty - Norman Gillies - John Goodwin - Henry Green - Mary Green - Archibald Grogan - Annie Hamilton - George Hammond “ 31 December 1929 “ Elizabeth Hart - Peter Houston - Thomas Howard - Julia Irvine - William Irvine - Thomas Jackson - James Johnston - George Kennedy - Helen Kilkie - Thomas Kilkie.
Right panel as you face front of memorial which faces towards Forbes Place “ Robert Adams - Robert Alexander - John Bell - William Black - Hugh Blue - John Bowes - David Boyd - Caroline Brain - Lily Buchanan - John Cairns - Daniel Corbett - Elizabeth Corrigan - Agnes Coyle - Robert Craig - Francis Curran - Elizabeth Dempster - Leah Dixon - Mary Dolan - George Elliott - Henry Elliott - Bessie Finlay - Enso Fiori - Janet Fitch - William Fitch - James Gatherer - Margaret Gibson.
N.B All lettering in gold except from “ 31 December 1929 “ on rear of memorial which is in black, both sides contain 26 names whilst there is 19 names on the back.
Postcard photograph entitled Garrison Church, Chatham comprising view of west end and south side of Chatham Garrison Church, Maxwell Road, Brompton looking north-east from southern end of Maxwell Road, showing in foreground tree and in middle ground church.
The Garrison Church,Maxwell Road,Brompton dates from 1854 and cost £4,500 to build.
In 1851 it became evident that the existing Chapel was not adequate for the large garrison,which used it as a Chapel and School,and the needs of the Royal Engineers establishment (now the RSME) for model rooms and other instructional rooms were not fully met.
It was also expected that the Sapper and Miner depot (now Royal Engineers) would move from Woolwich to chatham.
Therefore on 17th October 1851 the war office suggested that the Chapel in Brompton Barracks should be used as a model room and that a new Chapel was to be sited as close as possible to the infantry Barracks (now Kitchener).
On 27th April 1854 The Times reported:
"Ground has been cleared near Fort Amherst Guard, Chatham, for a new garrison church, which will also be used, it is understood, for the regimental schools. The present garrison church in Brompton is expected to be converted into model rooms for the Royal Sappers and Miners and other purposes, for which several of the barrack-rooms are at present used by that corps. This arrangement will afford a great deal of additional room in the Brompton Barracks, and also place those rooms in the Chatham Barracks occupied as schoolrooms at the disposal of the barrack-master for the accommodation of troops."
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
Entitled 'Ice Blue and Spring Green Chandelier' when it was installed in 1999, it was enlarged and modified by its creator, Dale Chihuly in 2002 and hangs at the museum's Cromwell Road entrance.
The exhibition entitled Picture/Readings, is a collection of works from 1978, which reflect that era's captivation with photography as forthright, conceptual ideology, and feminist consciousness. Hence the Picture/Readings presage the iconic photo/text works for which Kruger would become known.
Kruger, Barbara. Picture/Readings. [s.l.: s.n.], 1978.
See MCAD Library's catalog record for this book.
This Christmas bauble, entitled "Tudor Rose in Red" depicting a stylised rose in the Tudor style was hand beaded with sequins and pins by me. I have a Christmas tradition. I bead one Christmas bauble for a select group of friends every year.
"Tudor Rose in Red" is actually for Christmas 2013 (yes, I'm a bit early I know) and is going to a friend of mine, who like me, is an ex-pat from Britain Past baubles have featured such things as things from home like snowflakes, winter scenes and this year, a holly sprig.
Each bauble is 25 centimetres in diameter and contain hundreds of sequins, varying in number depending upon the complexity of the image and the type of sequins I use. Most sequins in this bauble are 5mm in diameter, except the white background ones which are 8mm. Depending upon the colour of the sequin, I will use either a gold or a silver pin to attach it to the bauble. The white, and black sequins all use silver pins, The gold and red sequins are affixed with gold pins.
Each bauble takes approximately 6 hours per side, and this is why my select group of friends only get one each year!
It is however, a labour of love which I do to pass the time throughout the year.
This Christmas bauble, entitled "Tudor Rose in Pink" depicting a stylised rose in the Tudor style was hand beaded with sequins and pins by me. I have a Christmas tradition. I bead one Christmas bauble for a select group of friends every year.
"Tudor Rose in Pink" is going to a friend of mine who is of mixed English and Scottish lineage, so her baubles always have either an English or Scotish theme. She is very fond of flowers also, so her baubles will always have a floral motif. Past baubles have featured such things as a rose in the style of Charles Rennie Mackintosh and a Scottish thistle.
Each bauble is 25 centimetres in diameter and contain hundreds of sequins, varying in number depending upon the complexity of the image and the type of sequins I use. Most sequins in this bauble are 5mm in diameter, except the white background ones which are 8mm. Depending upon the colour of the sequin, I will use either a gold or a silver pin to attach it to the bauble. The white, and black sequins all use silver pins, The gold and pink sequins are affixed with gold pins.
Each bauble takes approximately 6 hours per side, and this is why my select group of friends only get one each year!
It is however, a labour of love which I do to pass the time throughout the year.
Installation of Glen Cinema Memorial entitled Rattle Little Mother at Dunn Square Paisley.
Location Of Names On Rattle Little Mother, Glen Cinema Memorial
Front “ To The Children Of The Glen Cinema “
Left Panel as you face front of memorial which faces in the direction of the Piazza “ Elizabeth Leonard - Samuel McBlane - Sarah McCafferty - Robert McConnell - Nellie McCran - Minnie McCran - Edward McEnhill - Margaret McEnhill - James McEnhill - Denis McGarrity - Robert McGirr - Jeanie McGrattan - Mary McWattie - Margaret Morrow - Robert Niven - Georgina Peacock - Tom Perkins - John Pinkerton - William Pinkerton - Alexander Telfer - William Rae - Thomas Renfrew - George Scott - William Spears - Jane Stevenson - Robert Wingate.
Back of Memorial which faces Paisley Town Hall “ James Gielty - John Gielty - Norman Gillies - John Goodwin - Henry Green - Mary Green - Archibald Grogan - Annie Hamilton - George Hammond “ 31 December 1929 “ Elizabeth Hart - Peter Houston - Thomas Howard - Julia Irvine - William Irvine - Thomas Jackson - James Johnston - George Kennedy - Helen Kilkie - Thomas Kilkie.
Right panel as you face front of memorial which faces towards Forbes Place “ Robert Adams - Robert Alexander - John Bell - William Black - Hugh Blue - John Bowes - David Boyd - Caroline Brain - Lily Buchanan - John Cairns - Daniel Corbett - Elizabeth Corrigan - Agnes Coyle - Robert Craig - Francis Curran - Elizabeth Dempster - Leah Dixon - Mary Dolan - George Elliott - Henry Elliott - Bessie Finlay - Enso Fiori - Janet Fitch - William Fitch - James Gatherer - Margaret Gibson.
N.B All lettering in gold except from “ 31 December 1929 “ on rear of memorial which is in black, both sides contain 26 names whilst there is 19 names on the back.
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
An official British press photograph entitled “A British Gun Higher than the Housetops on the Western Front”. No date or location is, not surprisingly, given in the photograph’s caption text. However, much can still be described now. The artillery piece is the BL (Breech Loading) 6in. Mark VII naval gun fitted to a carriage for use on land rather than on ships or static coast gun mounts. The usage of naval guns as field pieces was not at all uncommon and all major sides in World War One did so as a means to rapidly deploy large caliber guns into combat. The gun itself was first used by British naval ships beginning in 1901. It had a 46 inch long barrel and fired a 100lb. shell to a maximum range of 7.8 miles (when used as a field gun). It was one of the first British naval guns to use bagged propellant instead of brass shells. There was no recoil mechanism which meant the recoil forces were spent by the backwards motion of the entire gun. This meant that gunners typically were not anywhere close to the gun when it fired and it also meant that the gun had to be moved back into position after each shot which meant a low rate of fire. The tremendous recoil forces were so strong that the gun’s aiming mechanism had to be removed before firing else it become damaged and rendered useless. To limit the backwards motion, scotches were emplaced behind the wheels which allowed the gun and carriage to ride up the scotches and bleed off the recoil forces and then roll back into, more or less, the same position. This gun crew also has smaller scotches to put in front of the wheels to stop any unwanted forward motion after firing. The British first deployed the Mk. VII in 1915 though this particular gun uses one of the later carriages which featured cleated wheels (the original Scott’s Carriage had smooth wheels) to improve traction. The Mk. VII was so heavy at 25 tons that it was impossible for horses to move the gun and so this gun was usually towed by a Holt 75 or Holt 120 tractor. Because of its excellent range, the Mk. VII was typically tasked with conducting counter-battery fire missions against enemy artillery positions. It was also used for reducing enemy defensive emplacements and for barbed wire clearing prior to attacks. The Mk. VII would continue to see service into the 1950s as part of Britain’s coastal defense network. Only one Mk. VII field gun survives today and can be seen at The Front Museum in Lappohja, Finland.
To the left of ‘Men reading', we have the ‘Fight with Cudgels’ coupled with an enigmatic and sinister piece entitled ‘Atropos or The Fates’. Again, these two large works form a pair, being similar in treatment, and identical in size, and having been placed side by side originally in Quinta del Sordo (The house of the deaf man). The landscape in ‘The Fates’, or ‘Destiny,’ would seem to continue that of the other as the horizon line dissects both pictures and we observe monumental figures towering over their 'natural' habitat. Both paintings seem to relate back to previous prints in the ‘Los Caprichos’ set.
Plate 62 echoes the ‘Fight with Cudgels’ The caption reads : "who would have thought it" and this is clarified by the adage : "See, here is a terrible quarrel as to which of the two is more of a witch. Who would have thought that the screechy one and the grizzly one would tear each other’s hair in this way? Friendship is the daughter of virtue; villains may be accomplices but not friends".
There is an aspect of 'live by fire, die by fire' in this etching. As the two witches struggle with each other, the "grizzly one" is being molested from below by her own death, which takes the form of a bear, whilst the screechy one is being attacked by a leaping cat. Whether either of these demons actually exist is a matter of irrelevance. Goya is talking about the futility of vanity and petty opposition, when death is constantly beside us as an unseen reality. The wrath of these monsters is being aroused by the actions of the combatants. The demons of bloodshed and death are easily aroused but not so easily placated. The seedbed of human folly and vanity is fecund ground, and through war the death-drive achieves satiation.
This hopeless subject is tellingly repeated in the image of the two cudgelling combatants. They ferociously ply their weapons as they sink into quicksand, a fact which both seem totally oblivious to as they each concentrate their energies in their attempts to despatch the other. Whilst the protagonists in this harrowing act of mindless aggression deal out deathblows, imagining each to have the power to do so, the quicksands of age and disease ignore their petty arguments and suck in the healthy and the injured, the victor and the vanquished, in a game where there can be no winners .
Whilst the two 'enemies' encounter each other, the Fates hover over the landscape. We see Clotho on the left as she spins out the thread, and Lachesis as she measures it with her eyeglass, passing it on, as Atropos prepares to cut the life-thread with her raised scissors. The fourth figure seems to have her hands bound behind her back, as she stares at the spectator in muted dejection. Perhaps she is the mother of us all, whose relentless issue must travel the road through the spinning and measuring, to the final cruel scissors-cut of death. Paired with the former painting, this even further reduces the stance of the adversaries to the ridiculous and the absurd. This painting is also called ‘Destiny’ or ‘Atropos’. Either title would enhance this relentless death theory.
In the ‘Disasters’, Goya has shown us children only as they are snatched from their mothers. Again in ‘Saturn’ this tradition is continued as the father devours the children of Rhea. Here the children of an anonymous mother are snatched by destiny, even as the blood red of Zuniga's clothing foreshadows his death. Goya's Promethean cry of pain fills his dark anguished nights .
“When those dead bodies lay overwhelmed by their own bulk, they say that Mother Earth, drenched with their streaming blood, informed that warm gore anew with life, and that some trace of her former offspring might remain, she gave it human form. But this new stock, too, proved contemptuous of the Gods, very greedy for slaughter, and passionate. You might know that they were the sons of blood".
Ovid’s ‘Metamorphoses’ Book I, Vol. I, lines 156-162
Mother earth grieves as she watches her two, blood thirsty, wayward sons cudgel each other whilst they are being sucked in by the quick sands of 'destiny'.
I am interested in the idea of Goya as a generator of 'Bachelor Machines'.
1981
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.
Museum de Fundatie Zwolle NL presents an exhibition entitled Giacometti-Chadwick, Facing Fear, to run from 22 September 2018 to 6 January 2019. The sculptures of Alberto Giacometti (1901-1966) and Lynn Chadwick (1914-2003) are manifestations of the sense of fear and disillusionment that pervaded Europe during the Cold War period. Their work bids a final farewell to pre-war romanticism and aestheticism, and lands with both feet in the raw reality of the post-war world. While Giacometti reduced the human form to its bare essentials, Chadwick created powerful archetypal images of both people and animals. The exhibition includes more than 150 works. Never before has the work of Giacometti and Chadwick been so explicitly brought together.
Their paths first crossed in 1956, when Chadwick became the youngest person ever to win the Grand Prix for Sculpture at the Venice Biennale. With only six years’ experience as a sculptor, the British artist snatched the prize from Giacometti, the hot favourite, who was thirteen years older and already a major name in Paris. Giacometti would go on to win the prize in 1962, but which of the two men was awarded it in 1956 is less significant than the fact that these two particular sculptors were the front-runners at that time. Each of them was expressing, in his own individual way, the sense of deep-seated angst that overshadowed day-to-day life in Europe in the fifties and sixties: the fear of a global nuclear disaster that would wipe out human civilisation.
Alberto Giacometti is among the most significant figures in the whole field of modern European sculpture. A member of a notable family of Swiss artists, he moved to Paris in 1922 and would remain there for the rest of his life, working as a sculptor, painter and graphic artist. After training with Émile-Antoine Bourdelle, he discovered modernism and so-called ‘primitive’ ethnographic art of Africa and Oceania. In response to these influences, his work became more abstract. In the early thirties, his Surrealist sculptures expressing subconscious emotions created a furore. From 1935, however, personal psychological tensions triggered a crisis in his life and work that led to a return to the human figure. Initially, his portraits and figures became both increasingly tiny and more and more attenuated. This thinness was to remain the most distinctive feature of Giacometti’s art. After the Second World War, he began to create the elongated, emaciated figures that would bring him worldwide fame. In all their attenuation, they reduce humanity to its very essence and appear both vulnerable and enigmatic.
In the early fifties, up-and-coming artist Lynn Chadwick managed to dislodge Henry Moore and Barbara Hepworth from their dominant position in the field of British sculpture. Born in London, Chadwick had started his career as a technical draughtsman and exhibition stand designer. He took an equally constructional approach to his sculpture: rather than model his human and animal figures in clay or wax, he constructed them by welding steel rods together to create an armature and then filling in the gaps with a kind of cement. The angularity of the work being produced by him and other young British artists was described in 1952 as ‘the geometry of fear’, a reference to the constant dread of nuclear annihilation. Chadwick’s apocalyptic Dancers and stoical Watchers gave powerful expression to this sense of angst. From the early seventies, he broadened his repertoire to include subjects that seem to restore the sovereignty of the human spirit. Sculptures like Cloaked Figure and Sitting Couple no longer look threatening, but emanate a sense of composure and invulnerability.
Giacometti’s pre-war work influenced Chadwick’s development and the two men were keenly aware of each other’s presence. In addition to the vast differences, there are also many similarities between their oeuvres. Giacometti-Chadwick, Facing Fear is the product of close cooperation with the Fondation Marguerite et Aimé Maeght in Saint-Paul-de-Vence and the Chadwick Estate and Blain|Southern gallery in London.
Set Building on Penistone Hill for the upcoming TV Drama about the Brontes entitled To Walk Invisible.
Postcard entitled "Burns Monument, Dumfries". A colour lithographic postcard of the statue in honour of Robert Burns, posted to Sussex in 1905.
In May 1877 the town council of Dumfries adopted a proposal to erect a statue to Robert Burns, the town's most illustrious inhabitant. A site was chosen in Church Place, at the junction of the High Street, Castle Street and Buccleuch Street and the local historian William McDowall was appointed secretary of a committee formed to progress the project.
The committee approved a model for the statue proposed by the artist Amelia Paton Hill. She had exhibited portrait busts, animal figures and genre groups at the Royal Academy, and all these elements are to be found in her statue of Burns, which is probably her best known work. The statue was carved in Carrara marble by Italian craftsmen working to Amelia Hill's model. It was unveiled by the Earl of Rosebery on 6th April 1882.
This postcard is something of a curiosity as it has been coloured to illustrate the statue lit by a full moon, with illuminated windows in the surrounding buildings of the town.
Digital Number: BCBN043a
(Copyright) We're happy for you to share this digital image within the spirit of the Attribution licence. Please cite ‘Dumfries & Galloway Museums’ when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email dumfries.museum@dumgal.gov.uk
Reading Abbey Exhibition, preparatory work for joint exhibition with artist Keith Lawrence entitled "Journeying"
For the past six weeks I've been working at some new artworks based on Reading Abbey and the town's historic churches. The exhibition will be held in the middle of Reading near the site of its ancient Abbey ruins at Abbey Baptist Church whose foundations were laid in 1640 close to the Holy Brook. These illustrations/prints are still in their early stages. One tends to start a few things to see how certain ideas will work together. I hope to show a selection of about ten of these in September, it's great to look at buildings I've been familiar with one way or another throughout my adult life. I'm not idealising them in any way; I want to show Reading as the busy modern place it is a shopping Mecca, whose medieval past is somehow forgotten, and yet the towers of St Laurence, Mary Minster and the classical portico of St Mary's Castle Street remind one that this was not always the case. Over the past few weeks I've been drawing various people on their way to work on foot, bike or car to fit the theme of Journeying. Gradually the compositions are coming together. At this stage I'm blocking in colour so they appear rather jagged brash and angular in some ways. So far I've started about fourteen works. I have taken hundreds of photographs to aid me, and have studied some of the history in Reading Museum.
From top left St Giles (Church Street), St Laurence (Friar Street), St Laurence, Tower, Reading Abbey and Prison and St Mary Castle Street. Early colour map layouts for prints uncorrected.
I hope to cover some of the following themes in this series:-Reading Gaol/ Abbey Ruins/Contemporary Reading/Trades ancient modern cloth to computers/shopping People walking, cars on bikes/The Holy Brook/ The Kennet/ Ancient paths streets.
The massive Cluiac Abbey of Reading was founded by William of Malmesbury in 1121, many of the town's churches date back to this early period, however with the dissolution of the monestaries and the great upheavals of the C16 and C17 left Reading's ecclesiastical buildings forever changed. Unlike Oxford, Reading had no historic university (until 1892), and its town's history was shaped by trade and its important location on the road between London and Bath and the rivers Kennet and Thames.
Reading's prosperity has meant that its town churches were all heavily restored in the nineteenth century, St Laurence (also recently re-ordered), St Mary Minster (Butts) , Greyfriars and St Giles all have medieval origins and some remains. St Mary Castle Street (Episcopalian) 1798 was by its fine facade with six giant Corinthian columns and pediment is impressive. Its cupola was lost during last century. The portico is by H&N Briant. The church largely dates from 1840-42.
Original Caption: "San Joaquin Valley, California. Contract Labor. Sixteen Years Old and the Possessor of a Labor Contractor's Button Entitling Him to Work in the Fields Alongside Adults. He Expects to Work as a Pea Picker Making Twenty-Five Cents a Hamper--About Two-Dollars a Day"
U.S. National Archives’ Local Identifier: NWDNS-119-CAL-108
From: Series: Study of Youth Photographs (Record Group 119)
Created by: Federal Security Agency. National Youth Administration (07/01/1939 - 09/17/1942 )
Production Date: 4/9/1940
Photographer: Partridge, Rondal, 1917-
Persistent URL: catalog.archives.gov/id/532166
Repository: Still Picture Records Section, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD, 20740-6001.
For information about ordering reproductions of photographs held by the Still Picture Unit, visit: www.archives.gov/research/order/still-pictures.html
Reproductions may be ordered via an independent vendor. NARA maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
I've entitled this photograph of Locke, California's famous "most leaning building", on the west side of Main Street, as 'The Leaning Tower of Locke'. The old building leans (much like the other 'tower' in Italy) at almost a 10 degree angle and is a favorite of photographers. This structure was built around 1916, as one of nine new buildings, on orchard land owned by local farmer, George Locke. In only four short years after construction of these buildings, the town had grown to over 50 buildings including a church, a schoolhouse, a post office, five hotels, two saloons, four grocery stores, two dry goods stores, a pool room and, several gambling halls and whore houses. Locke was the center of activity for the Chinese farmers in the Sacramento Delta and the number of people who shopped and socialized in Locke sometimes exceeded 1,000.
The story for the lightbox entitled, “Psyche Entering Cupid’s Garden”
I have been fascinated by the story of Cupid and Psyche for many years, and recently I was able to infuse the myth with my own creativity. The first panel of the lightbox shows Psyche nervously pushing on the door of a garden. It belongs to a god whom she has already married, yet has not met. I imagined giving the different stages of their love affair an ethereal quality, as though it was a view into an enchanted universe, with flowers blowing all over the place and lovers that can fly to the clouds. The combination of glass and light lends a number of awesome possibilities to accomplish this.
Frequently being an artist is super fun because you learn things about yourself through the artistic process which were previously hidden from your conscious mind. It's interesting that many times even as I am making the piece, I don't fully understand what’s happening. This is particularly true with “Psyche Entering Cupid’s Garden.” With “Captivated by Moonlight” my intention was to make something that would remind me of the power women can yield over men. The fact that this power was turned against the most powerful wizard of all time is even more intriguing. But because this lightbox has a death theme and is somewhat macabre, I wanted to balance it with “Psyche” by celebrating the light and love which can be shared between a man and a woman (or a god and a goddess, as the case may be…)
However, it was only after this piece was finished that I realized it was a metaphor – for how I see my life unfolding. I fall asleep at night and stare at the first panel telling myself, “That’s me right there stepping through that doorway and turning my imagination into reality.” I’ve realized that my artwork is a form of magic for both myself as well as the observer.
The longer we visualize something, the more our minds bend the universe to bring that object into focus and closer to us. I do it with my life, all the time. In fact, there was magic involved in how I was guided to work with glass in the first place. Quite a beautiful story, really.
“Description of Cupid’s Palace”, as described by Robert Graves
‘The ceiling, exquisitely carved in citrus wood and ivory, was supported by golden columns; the walls were sheeted with silver on which figures of all the beasts in the world were embossed and seemed to be running towards Psyche as she came in. They were clearly the work of some demi-god, if not a full god, and the pavement was a mosaic of all kinds of precious stones arranged to form pictures. How lucky, how very lucky anyone would be to have the chance of walking on a jewelled floor like that! And the other parts of the palace which was a very large one, were just as beautiful, and just as fabulously costly. The walls were faced with massive gold blocks which glittered so brightly with their own radiance that the house had a daylight of its own even when the sun refused to shine: every room and portico and doorway streamed with light, and the furniture matched the rooms. Indeed, it seemed the sort of palace that Jupiter himself might have build as his earthly residence...'
Entitled Peter Pan - To the Spirit of Children at Play.
This, one of seven castings of the original sculpture which was created and placed in Kensington Gardens, London in 1912 was commissioned by playwright J.M. Barrie and sculpted by Sir George Frampton.
The Toronto casting the last of the seven was placed here in 1929. The other castings can be found in Kensington Gardens, London (the original), Brussels, Belgium, Camden, New Jersey, Liverpool, England, Perth, Australia and St. John's Newfoundland.
This is a C. Richter (publishers) Ltd postcard of a long forgotten event which took place on Thursday 17th August 1939. The postcard is entitled "Bombers over Trafalgar Square", but not RAF Bombers. These are French Bombers which took part in mock attacks against British cities in order to test the RAF's response. The following report in the Times of 18th August was written by their Aeronautical correspondent who I suspect was a serving RAF Officer.
A FRIENDLY INVASION
FRENCH BOMBERS OVER ENGLAND
RECEPTION BY RAF
From Our Aeronautical Correspondent
SAFFRON WALDEN, AUG 17
The French aircraft which came seeking targets in England today as British bombers have done lately over France, must have been a little overwhelmed by their reception. The British fighters which met them and cavorted about them seemed at least as numerous as the visitors. The French arrived and passed over England in successive waves, and at various points each wave met the reception committee almost in full force. We who accompanied the fighters were only too impressed by the crowding of the sky and were thankful for the third dimension which made it safe. The French bombers numbered about 120. In addition there were reconnaissance aircraft and fighters at about half that strength. The plan was to send the reconnaissance aircraft ahead to spy out the land and to give advice by wireless to the bombers which followed them. Lastly an escort of fighters was detailed to meet the returning raiders over London and convoy them on their homeward run. The plan afforded the British fighters a whole afternoon of good practice, in which the difficulty was less to intercept the quarry than to establish the right to deliver an attack on it. Over the South Coast soon after noon today we in the Blenheim fighters had to leave the fun of attacking to Spitfires and Hurricanes.
DAWN RAID
As the French came in they were attacked. As they advanced towards their objectives at Bristol, Birmingham, Manchester, and Oxford they were again attacked. As they made their way towards the coast once more they were assailed. Their return path over London was most hotly beset of all. Everything which passed was taken as a target by the fighters, and some of the farewell blows were struck over Tonbridge by fighters which had pursued the last wave from London. The only raid which was unopposed by British aircraft was that against Liverpool in the early morning. The four-engined heavy bombers, believed to be of the Farman type, crossed the coast at Harwich at 3.15 a.m. and were over Liverpool at 6.12. Some of the searchlights caught these, and the gunners probably had some practice, but the mist in eastern and southern England caused the fighters to be kept, for safety‘s sake, on the ground. That mist, which lifted when the sun came up, was not dispersed throughout the day. It hung, a gauzy curtain, at heights up to 9,000ft., and it made the visitors much less easy to find from the air than those who watched them from the ground may have supposed. When we left some of the raiders on the east side of London this afternoon, we lost sight of them completely at four miles range. Over the sea, while we watched for them this morning, the mist was still thicker, and our flight of three aircraft opened out to serve as an aerial drag-net a mile wide, drawn over the sea approaches between Hove and Beachy Head.
AIR FULL OF FIGHTERS
There the air was full of British fighters. There were Hurricanes and Spitfires above us, Gladiators beneath us, and a few Sharks of the Coastal Command away on our flank. When the Bloch reconnaissance aircraft came dimly into sight out of the mist, they were engaged so quickly by the fighters from above that we should have had no chance of jumping their claim even if we had been closer to them. Nearly an hour later the bombers came northwards from Havre in large bodies. The twin engined Potez could not be mistaken for anything but French aircraft, but the Amiots, similar to the Blenheims, nearly led to our being attacked.
A Formation of six Spitfires, having already played havoc among all the bombers they or we could see, sat patiently above us while its leader dived condescendingly to our modest height of l2,500ft. to make sure that we belonged to the home team. Then we were all recalled while fighters farther inland took up the duty of extending a hearty welcome to the French. We were hospitably given luncheon at an aerodrome to the east of London and there, when the alarm of returning bombers was given, we had the stimulating sight of 36 Spitfires being put into the air within 12 minutes. These were some of the numerous fighters which people in London saw engaging the French visitors high in the mist.
PILOTS’ GREETING
This was simply a piece of British heartiness. The French had arranged to assemble over London. They had no targets in London to bomb. Their rendezvous was intended as a salute to London and the British fighters could have no difficulty in finding so big a body of aircraft. The fighters attacked in their dozens, sailing in behind and below the bombers, delivering a burst of fire and then circling for the next assault. They could not have been an embarrassment, for they carefully kept the prescribed distance of 300 yards and occasionally waved a greeting which the French pilots returned. The assembly of the French over London more properly resembled a procession which strung itself out a little as the visitors made for the coast. It was then that interception practice became more difficult.
By 4.30 all the French aircraft had returned safely to their bases across the Channel, and we too had ended as full and exciting a day as the fighters could expect to have at the expense of their allies. The task of both parties to the excercise could have been simpler if the air over England had been as clear as the sky above; but the work of the French raiders and of their British opponents could not have been better done, and, apart from its significance as a token of Anglo-French relations, the joint adventure has doubtless increased the mutual respect between the two air forces and helped to deepen their sense of comradeship.
Mural entitled Beauty by San Flores in the Logan Square area of Chicago, Illinois.
Photo by James aka Urbanmuralhunter on that other photo site.
Edit by Teee
Memory work has an ethical as well as an historical dimension. I contributed the entry entitled memory work to Wikipedia. The catalyst for this layered image was Freud's influential paper (1901 [1914]) entitled Forgetting of Proper Names in Psychopathology of Everyday Life. In it Freud examined the psychological process of forgetting the name of the artist who painted the Orvieto ceiling when his conscious thinking process was abruptly interrupted by memories of the recent suicide of one of his patients who had an incurable sexual disorder. He forget Signorelli's proper name during this conversation with a stranger while traveling in Herzegovina. They had been discussing the Turks in Bosnia and Herzegovina when Freud's thoughts turned to contemporary [racist] beliefs surrounding the sexual moeurs of Turks who allegedly valued sexual pleasure over life itself. From there Freud thought of Death and Sexuality. As one theme interrupted and replaced the other, he associated the series Signorelli. Botticelli, Boltraffio, Trafoi and could not recollect the proper name.
This is significant to me as it reveals unchallenged western prejudices about the East at the turn of the century.
Layers include a .jpg of Renaissance artist Luca Signorelli's (1445 - 1523) masterpiece, the massive frescoes of the Last Judgment (1499-1503) in Orvieto Cathedral. The copyright on his work has expired since he passed away more than 70 years ago.
There is a topographical map of Bosnia and Herzegovina, a small iinsert of Freud's museum which is itself th subject of controversy as rrevealed in Derrida's book Archives Fever (1996). The uppermost layer is the diagram from the Freud's article explaining how he made a Freudian slip.
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See also Forgetting 2.0" It isn’t the willful forgetting that interests me, as much as the unconscious forgetting of those names, things, places, dates, events, reasons and consequences that are dissonant with a certain way of seeing and existing in the world. The act of choosing to forget is a form of remembering . . . a gesture of forgiveness, healing, detachment, withdrawal, cowardice or mere convenience.
Memory work entails an ethical act of revisiting the past to avoid repeating errors in the future, to illuminate unchallenged assumptions that contributed to distorted histories.
The Great Flood of the virtual archives has inundated users with a tsunami of words. I am attempting to use emerging technical tools of the semantic web to make it easier for other users at all levels to hyperlink names, things, places, dates, events, reasons and consequences to reliable and/or frequently cited sources in subject areas where I have been an active teacher, learner and researcher.
These compilations are found in one of the main search engines along with other posts and articles proposing an argument from the opposite end of the ideological spectrum.
UNEP Executive Director Achim Steiner speaks at a forum entitled 'Towards COP21: Civil Society Mobilized for the Climate", Manila, Philippines, Feb 26 2015
Detail of Ragamala miniature entitled 'Assavari Ragini. Text below shows an English transliteration of this spelled 'Ausavery Raugny'. Depicts two girls sitting on a roof terrace, accompanied by two cobras. It is possible that this musical mode might originate from the Sabara people, who traditionally lived in the jungle and whose occupation it was to catch and charm snakes.
Ragamala paintings are images which depict, in physical form, the 'modes' or scales used in Indian Classical Music, known as ragas. Usually accompanied by an inscription or poem, they elucidate the season and time of day in which a raga was meant to be performed, as well as its mood, and often portray the Hindu deities with which they are individually associated. The concept may have originally come about through the use of personification as an aide memoire for musicians, which then developed into physical imagery.
This collection, which is purportedly called the Raga Kalpadruma, originates from Jaipur in Northern India and has the description of the Raga written in Sanskrit on the back of each image. Including some Bengali and English text as well, the collection also contains a few pages from another Indian music manuscript, also written in Sanskrit. It was gifted to the university by Dwarkanath Tagore (1794-1846), grandfather of the poet laureate Rabindranath Tagore (1861-1941) and is one of two sets of Ragamala paintings in the Oriental Manuscripts Collection, the other being Or.Ms 114.
Sources:
Watson, L. (2012), What is Ragamala?, dulwichonview.org.uk/2012/01/20/what-is-ragamala/ (accessed 05/06/14).
www.ed.ac.uk/about/museums-galleries/talbot-rice/archive/... (accessed 05/06/14)
The full LUNA record for this item is here: images.is.ed.ac.uk/luna/servlet/detail/UoEsha~4~4~64120~1...
© The University of Edinburgh Library
Lake Cordova
From my set entitled “Aster”
www.flickr.com/photos/organize/?start_tab=one_set72157607...
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Aster_(genus)
Aster (syn. Diplopappus Cass.) is a genus of flowering plants in the family Asteraceae. The genus once contained nearly 600 species in Eurasia and North America, but after morphologic and molecular research on the genus during the 1990s, it was decided that the North American species are better treated in a series of other genera. After this split there are roughly 180 species within the genus, all but one being confined to Eurasia.[1] The name Aster comes from the Ancient Greek word astron, meaning "star", arriving through the Latin word astrum with the same meaning, referring to the shape of the flower head. Many species and a variety of hybrids and varieties are popular as garden plants because of their attractive and colourful flowers. Aster species are used as food plants by the larvae of a number of Lepidoptera species - see list of Lepidoptera that feed on Aster. Asters can grow in all hardiness zones.
The genus Aster is now generally restricted to the Old World species, with Aster amellus being the type species of the genus, as well as of the family Asteraceae. The New World species have now been reclassified in the genera Almutaster, Canadanthus, Doellingeria, Eucephalus, Eurybia, Ionactis, Oligoneuron, Oreostemma, Sericocarpus and Symphyotrichum, though all are treated within the tribe Astereae. Regardless of the taxonomic change, all are still widely referred to as "asters" in the horticultural trades. See the List of Aster synonyms for more information.
In the UK there are only two native members of the genus of which one, Goldilocks is very rare, the other being Aster tripolium, the Sea aster. Aster alpinus spp. vierhapperi is the only species native to North America.[1]
Hector Goldsbrough
WW1 medal entitlements and ephemera. ARR accoutrements pre-date his AIF (1909-1915) service for conscription and Militia service in the Manly Garrison.
The original service medals for both Hector and Roy have been misplaced or "lost" through the ascention of time, hopefully they may be in the possession of an appreciative collector (at least), or connected family relative.
The Goldsborough Family in Australia
Contact us: goldsborough.familyhistory@gmail.com
© Goldsborough-Rogers Archives Respect our copyright. Permission required for other than non-profit reproduction.
This piece is entitled 'Riot... My Way'. To find out more about D*Face, the London based street artist who created it, visit his site at www.dface.co.uk. You can also watch the making of video at vimeo.com/6914616.
Safe and Fair programme, through a partnership with World Vision Foundation of Thailand, trained women migrant construction workers on a site in Pathum Thani province to help them understand labour rights and their entitlements.
6 February 2023. © ILO/Pichit Phromkade.
More information about Safe and Fair programme:
www.ilo.org/asia/projects/WCMS_632458/lang--en/index.htm.
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License. To view a copy of this license, visit creativecommons.org/licenses/by-nc-nd/3.0/igo/deed.en_US.
Original Work entitled 'Riptide.'
Finger/stylus drawing done on the Apple App Store iPad application 'ProCreate.'
Originally entitled "Yellow Spiral" by its sculptor and artist Chris Byars, a Colorado-based artist who crafted this 11 semi-circle, towering modern structure outside the interior court at anchor JCPenney for Fairlane Town Center for its opening in 1976. Its original tone was yellow until it faced a black repaint. still stands today despite Byars' reported malcontent with various works of his either deteriorating or becoming mismanaged at other sites.
From my set entitled “Heuchera”
www.flickr.com/photos/21861018@N00/sets/72157607185356154/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.
Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.
Though tangy and slightly astringent, the leaves may be used to liven up bland greens.
Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.