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Seen in my set entitled ‘Pelargoniums’

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Within my collection entitled ‘The Garden’

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Pelargonium (Wikipeida)

Pelargonium is a genus of flowering plants which includes about 200 species of perennial, succulent, and shrub plants, commonly known as geraniums. Confusingly, Geranium is the correct botanical name of the separate genus which contains the related Cranesbills. Both genera are in the Family Geraniaceae. Linnaeus originally included all the species in one genus, Geranium, but they were later separated into two genera by Charles L’Héritier in 1789. Gardeners sometimes refer to the members of Genus Pelargonium as "pelargoniums" in order to avoid the confusion, but the older common name "geranium" is still in regular use.

 

The first species of Pelargonium known to be cultivated was Pelargonium triste, a native of South Africa. It was probably brought to the botanical garden in Leiden before 1600 on ships which stopped at the Cape of Good Hope. In 1631, the English gardener, John Tradescant the elder, bought seeds from Rene Morin in Paris and introduced the plant to England. The name Pelargonium was introduced by Johannes Burman in 1738, from Greek πελαργός pelargos = "stork", because part of the flower looked like a stork's beak.

Other than grown for their beauty, species of Pelargonium such as P. graveolens are important in the perfume industry and are cultivated and distilled for its scent. Although scented Pelargonium exist which have smells of citrus, mint, or various fruits, the varieties with rose scents are most commercially important. Pelargonium distillates and absolutes, commonly known as "scented geranium oil" are sometimes used to supplement or adulterate expensive rose oils.

 

Pelargonium species are used as food plants by the larvae of some Lepidoptera species including Angle Shades.

 

Pelargoniums are believed to deter mosquitoes.

 

Garden geranium (Pelargonium x hortorum; syn. Pelargonium zonale) is one of the most common ornamental potted-plants, with over 200 varieties.

In 1988 the flower was described and illustrated in a comprehensive 3-volume work Pelargoniums of Southern Africa by Ellaphie Ward-Hilhorst with van der Walt and Vorster.

 

Cultivars

Species of Pelargonium are indigenous to Southern Africa and are drought and heat tolerant, and can tolerate only minor frosts. Pelargoniums are extremely popular garden plants, grown as annuals in temperate climates, and thousands of ornamental cultivars have been developed from about 20 of the species.

 

Zonal varieties, also known as P. × hortorum, are mainly derived from P. zonale and P. inquinans.

 

Ivy-leaved varieties are mainly derived from P. peltatum.

 

Regal varieties, also known as French geraniums or P. × domesticum are mainly derived from P. cucullatum and P. grandiflorum.

Scented-leaf varieties are derived from a great number of species, amongst others P. graveolens.

 

Structural variations

Pelargonium leaves are usually alternate, and palmately lobed or pinnate, often on long stalks, and sometimes with light or dark patterns. The erect stems bear five-petaled flowers in umbel-like clusters called pseudoumbels. The shapes of the flowers have been bred to a variety ranging star-shaped to funnel-shaped, and colors include white, pink, red, orange-red, fuchsia to deep purple.

 

In early 2006 a long-awaited yellow-flowered variety was launched. Called the Guernsey Flair, it was supplied exclusively to the television shopping channel QVC in the UK, and all available plants were sold within a few minutes. See photo of yellow geranium. The flower has a much yellower hue than the cream-colored varieties which some developers had called yellow previously.

 

Horticultural pelargoniums (as opposed to botanical, the wild 'species') fall into six major groups, with zonals subdivided further:

Angel

Ivy-leaved = hanging

Regal (or Royal) = French

Shrubby-leaved

Unique

Zonal - erect and bushy

Cactus-flowered

Deacon (mostly dwarfs, cf. infra)

Double-flowered

Fancy-leaved

Formosum hybrid

Rosebud

Tulip-flowered

Single-flowered

Stellar

Straight Zonals

It is also usual to classify small Zonals alternatively by size or odorous excellence :

Dwarfs (small)

Miniatures (even smaller)

Parfum-leaved

en.wikipedia.org/wiki/Pelargonium

 

From my set entitled “Peonies”

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In my collection entitled “The Garden”

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From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Peony

 

The peony or paeony (Paeonia) is the only genus in the flowering plant family Paeoniaceae. They are native to Asia, southern Europe and western North America.

Most are herbaceous perennial plants 0.5–1.5 metres tall, but some are woody shrubs up to 1.5–3 metres tall. They have compound, deeply lobed leaves, and large, often fragrant flowers, ranging from red to white or yellow, in late spring and early summer. In the past, the peonies were often classified in the family Ranunculaceae, alongside Hellebores and Anemones.

 

The peony is named after Paeon or Paean, a student of Asclepius, the Greek god of medicine and healing. Asclepius became jealous of his pupil; Zeus saved Paeon from the wrath of Asclepius by turning him into the peony flower

 

The peony is among the longest-used flowers in ornamental culture and is one of the smallest living creature national emblems in China. Along with the plum blossom, it is a traditional floral symbol of China, where it is called 牡丹 (mǔ dān). It is also known as 富贵花 (fuguihua) "flower of riches and honour", and is used symbolically in Chinese art.[2] In 1903, the Qing Dynasty declared the peony as the national flower. Currently, the Republic of China on Taiwan designates the plum blossom as the national flower, while the People's Republic of China has no legally designated national flower. In 1994, the peony was proposed as the national flower after a nationwide poll, but the National People's Congress failed to ratify the selection. In 2003, another selection process has begun, but to date, no choice has been made.

 

The famous ancient Chinese city Luoyang has a reputation as a cultivation centre for the peonies. Throughout Chinese history, peonies in Luoyang are often said to be the finest in the country. Dozens of peony exhibitions and shows are still held there annually.

In Japan, Paeonia lactiflora used to be called ebisugusuri ("foreign medicine"). In kampo (the Japanese adaptation of Chinese medicine), its root was used as a treatment for convulsions. It is also cultivated as a garden plant. In Japan Paeonia suffruticosa is called the "The King of flowers" and Paeonia lactiflora is called the "prime minister of flowers".

 

Pronunciation of 牡丹 (peony) in Japan is "botan". Before the Meiji period, meat taken from quadrupeds was seldom consumed in Japan due to Buddhism. Thus in cases where such meat was handled, it was paraphrased using the names of flowers. The term botan was used (and is still used) to paraphrase wild boar meat. This comes from the flowery resemblance of the sliced meat when spread over a dish. Another example is sakura (cherry blossoms) which stands for horsemeat.

In 1957, the Indiana General Assembly passed a law to make the peony the state flower of Indiana, a title which it holds to this day. It replaced the zinnia, which had been the state flower since 1931.

 

Mischievous nymphs were said to hide in the petals of the Peony thus causing this magnificent flower to be given the meaning of Shame or Bashfulness in the Language of Flowers. It was named after Pæon, a physician to the gods, who obtained the plant on Mount Olympus from the mother of Apollo. Once planted the Peony likes to be left alone and punishes those who try to move it by not flowering again for several years. Once established, however, it produces splendid blooms each year for decades (Taken from The Language of Flowers, edited by Sheila Pickles, 1990).

 

Peonies are also extensively grown as ornamental plants for their very large, often scented flowers.

Peonies tend to attract ants to the flower buds. This is due to the nectar that forms on the outside of the flower buds.

 

Peonies are a common subject in tattoos, often used along with koi-fish.

From my set entitled “Morning Glory”

www.flickr.com/photos/21861018@N00/sets/72157607213945288/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Morning_glory

 

Morning glory is a common name for over 1,000 species of flowering plants in the family Convolvulaceae, belonging to the following genera:

Calystegia

Convolvulus

Ipomoea

Merremia

Rivea

 

As the name implies, morning glory flowers, which are funnel-shaped, open in the morning, allowing them to be pollinated by Hummingbirds, butterflies, bees, and other daytime insects and birds as well as Hawkmoth at dusk for longer blooming variants. The flower typically lasts for a single morning and dies in the afternoon. New flowers bloom each day. The flowers usually start to fade a couple of hours before the petals start showing visible curling. They prefer full sun throughout the day and mesic soils. In cultivation, most are treated as perennial plants in tropical areas and as annual plants in colder climates, but some species tolerate winter cold. Some moonflowers, which flower at night, are also in the morning glory family.

 

Morning glory is also called asagao (in Japanese, a compound of 朝 asa "morning" and 顔 kao "face"). A rare brownish-coloured variant known as Danjuro is very popular. It was first known in China for its medicinal uses, due to the laxative properties of its seeds. It was introduced to the Japanese in the 9th century, and they were first to cultivate it as an ornament. During the Edo Period, it became a very popular ornamental flower. Aztec priests in Mexico were also known to use the plant's hallucinogenic properties. (see Rivea corymbosa).

 

Ancient Mesoamerican civilizations used the morning glory species Ipomoea alba to convert the latex from the Castilla elastica tree and also the guayule plant to produce bouncing rubber balls. The sulfur in the morning glory's juice served to vulcanize the rubber, a process pre-dating Charles Goodyear's discovery by at least 3,000 years.[1]

Because of their fast growth, twining habit, attractive flowers, and tolerance for poor, dry soils, some morning glories are excellent vines for creating summer shade on building walls when trellised, thus keeping the building cooler and reducing heating and cooling costs.

 

Popular varieties in contemporary western cultivation include the Morning Glory "Sunspots" "Heavenly Blue", the moonflower, the cypress vine, and the cardinal climber. The cypress vine is a hybrid, with the cardinal climber as one parent.

In some places such as Australian bushland morning glories develop thick roots and tend to grow in dense thickets. They can quickly spread by way of long creeping stems. By crowding out, blanketing and smothering other plants, morning glory has turned into a serious invasive weed problem.

 

Ipomoea aquatica, known as water spinach, water morning-glory, water convolvulus, Ong-Choy, Kang-kung, or swamp cabbage, is popularly used as a green vegetable especially in East and Southeast Asian cuisines. It is a Federal Noxious Weed, however, and technically it is illegal to grow, import, possess, or sell. See: USDA weed factsheet. As of 2005, the state of Texas has acknowledged that water spinach is a highly prized vegetable in many cultures and has allowed water spinach to be grown for personal consumption. This is in part because water spinach is known to have been grown in Texas for more than fifteen years and has not yet escaped cultivation.[2] The fact that it goes by so many names means that it easily slips through import inspections, and it is often available in Asian or specialty produce markets.

 

The seeds of many species of morning glory contain ergot alkaloids such as the hallucinogenic ergonovine and ergine (LSA). Seeds of I. tricolor and I. corymbosa (syn. R. corymbosa) are used as hallucinogens. The seeds can produce similar effect to LSD when taken in the hundreds. Though the chemical LSA is illegal to possess in pure form, the seeds are found in many gardening stores, however, the seeds from gardening stores may be coated in some form of mild poison in order to prevent ingestion or methylmercury to retard spoilage.[3] They should not be taken by people with a history of liver disorders or hepatitis. They should not be taken by pregnant women as they can cause uterine contraction which can lead to miscarriage. Individuals with a history of cardiovascular disease (Heart attack, blood clot, and stroke) or a family history of such problems, and the elderly should avoid consuming these seeds due to their vasoconstrictive effects.[4][5][6]

 

Note that the plant known as Korean morning glory, Datura stramonium, is of a different species, is poisonous, and also produces hallucinogenic effects.

 

The Center for Strategic and International Studies hosts a discussion of the global state of the art in retirement policy and pension system reform. The occasion is the release of Lessons from Abroad for the U.S. Entitlement Debate, a new CSIS report that puts the U.S. aging challenge in international perspective, reviews the most promising retirement reform initiatives in other developed countries, and draws lessons for U.S. policymakers.

“‘Entitle’ is an elaborate light installation designed in the 18th-century Rococo style and crafted using the traditional techniques of Chinese lantern- making. Covering 10 square metres, the artwork features four large decorative towers, heavily ornamented with gold and brightly coloured flowers, which surround a base displaying a light-sculpture of a mother pig and her suckling young.

 

“Whilst it channels the ornamental excess of the Rococo, ‘Entitle’ is not intended to be just a decorative piece. Instead, artist Amanda Parer uses the work to make a statement about the consequences of overly indulgent contemporary lifestyles. The pig represents gluttony, and the flowers adorning the towers are not the pretty European flora that featured in the Rococo; instead, they are extinct species. The piglets feeding from their mother represent the ‘entrenched sense of multi-generational entitlement’ that exists in Western culture.

 

“In Europe during the 1700s, the Rococo was a period of excess. For those who could afford it, the lifestyle of the period was highly indulgent and based on the pursuit of pleasure at the expense of the other strata of society. The artwork of the time is reflective, with intricate floral and pattern designs featuring fanciful curves and the use of gold and bright colours.

 

“‘Entitle’ references both Eastern and Western culture to enhance the theme of overindulgence using the lavish Chinese lantern technique, the overly ornate Rococo-inspired design and the symbolism of the greedy pig.”

This work is entitled: “A Colorful Christmas.” It is successful because it meets the project requirements, is intriguing to look at, and evokes excitement. This piece definitely has interesting light. Nearly black on the right side, the colorful lights and their reflections contrast very well. The lights cast splotches of color on the highly textured wall. The wall is actually painted a mustard gold. A strength of this work is the movement of the eye from the left of the photo to the central red light and back and over. A weakness is the imbalance between the sides of the photo. In order to take this photograph, I had to stand on the top of a couch to be eye level with the lights. The overhead lights in the area were turned off. I personally love lights because they make me feel warm and excited. Those feelings are portrayed in the photo.

From my set entitled “Tuberous Begonia”

www.flickr.com/photos/21861018@N00/sets/72157607213634242/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

Begonia is a genus in the flowering plant family Begoniaceae. The only other member of the family Begoniaceae is Hillebrandia, a genus with a single species in the Hawaiian Islands. The genus Symbegonia is now included in Begonia. "Begonia" is the common name as well as the generic name for all members of the genus.

 

With ca. 1500+ species, Begonia is one of the ten largest angiosperm genera. The species are terrestrial (sometimes epiphytic) herbs or undershrubs and occur in subtropical and tropical moist climates, in South and Central America, Africa and southern Asia. Terrestrial species in the wild are commonly upright-stemmed, rhizomatous, or tuberous. The plants are monoecious, with unisexual male and female flowers occurring separately on the same plant, the male containing numerous stamens, the female having a large inferior ovary and two to four branched or twisted stigmas. In most species the fruit is a winged capsule containing numerous minute seeds, although baccate fruits are also known. The leaves, which are often large and variously marked or variegated, are usually asymmetric (unequal-sided).

 

Because of their sometimes showy flowers of white, pink, scarlet or yellow color and often attractively marked leaves, many species and innumerable hybrids and cultivars are cultivated. The genus is unusual in that species throughout the genus, even those coming from different continents, can frequently be hybridized with each other, and this has led to an enormous number of cultivars. The American Begonia Society classifies begonias into several major groups: cane-like, shrub-like, tuberous, rhizomatous, semperflorens, rex, trailing-scandent, or thick-stemmed. For the most part these groups do not correspond to any formal taxonomic groupings or phylogeny and many species and hybrids have characteristics of more than one group, or fit well into none of them.

The genus name honors Michel Bégon, a French patron of botany.

 

The different groups of begonias have different cultural requirements but most species come from tropical regions and therefore they and their hybrids require warm temperatures. Most are forest understory plants and require bright shade; few will tolerate full sun, especially in warmer climates. In general, begonias require a well-drained growing medium that is neither constantly wet nor allowed to dry out completely. Many begonias will grow and flower year-round but tuberous begonias usually have a dormant period, during which the tubers can be stored in a cool and dry place.

Begonias of the semperflorens group are frequently grown as bedding plants outdoors. A recent group of hybrids derived from this group is marketed as "Dragonwing Begonias"; they are much larger both in leaf and in flower. Tuberous begonias are frequently used as container plants. Although most Begonia species are tropical or subtropical in origin, the Chinese species B. grandis is hardy to USDA hardiness zone 6 and is commonly known as the "hardy begonia". Most begonias can be grown outdoors year-round in subtropical or tropical climates, but in temperate climates begonias are grown outdoors as annuals, or as house or greenhouse plants.

 

Most begonias are easily propagated by division or from stem cuttings. In addition, many can be propagated from leaf cuttings or even sections of leaves, particularly the members of the rhizomatous and rex groups.

 

The cultivar Kimjongilia is a floral emblem of North Korea.

 

These 39 pictures entitled "Colors of Fall in Yardley . . ." were all taken around my home in late October, pre-Hurricane Sandy. Number 7968 is a photo of the tree that came crashing down on two unsuspecting cars parked underneath it at the height of the hurricane.

 

Fall happens to be my favorite time of year and not just because pumpkin flavors are all the rage. From late September to early November, Mother Nature puts on her most spectacular show. Trees of all types slowly transition from their standard leaves to shades of red, orange, gold, brown, and even purple. Landscapes across the country pop with vibrant colors and serve as a brief reminder just how beautiful nature can be.

 

It's a great time for hiking and scenic drives and below are all the resources you need to make your trip happen. Whether you want to know just why leaves change their colors or are looking for where to see specific shades, the answers are here.

 

So Why Do Leaves Change Colors?

 

The answer lies in one word: chlorophyll. It's the chemical that gives leaves their green color. Chlorophyll is also responsible for photosynthesis - a process where plants turn water and carbon dioxide into oxygen and sugar. Confused? Let's back up to the basics.

 

Trees take water from the ground using their roots. They also take carbon dioxide from the air. But trees need oxygen and glucose to grow big and healthy. In order to do that, they use sunlight to turn the water and carbon dioxide into oxygen and glucose. That's photosynthesis. And chlorophyll helps make it happen.

 

When summer ends and autumn begins, there is less sunlight since the days get shorter. This is an important hint for trees and other plants to prepare themselves for the winter. Since there isn't enough light and water during the winter for photosynthesis, trees go into rest-mode and will feed off food they have stored up over summer. While processes shut down, chlorophyll starts to disappear from the leaves, taking away the green color. As the green fades, the leaves show other colors that have been there all along - yellow and orange. They have been hidden all summer by chlorophyll and during the fall, it is their time to shine!

 

You're probably wondering about the other signature colors of autumn - red, purple, and brown. Well, in some trees, such as maples, glucose is trapped in the leaves after photosynthesis stops. That glucose is turned into a red color from the sunlight and the cool nights of autumn. The brown color of trees, such as oaks, is made from tannin - a waste product left in the leaves.

 

The brilliance of colors you see every fall is directly related to weather conditions. The brightest colors are seen when late summer is dry, and autumn has bright sunny days and cool evenings. A good supply of rainfall also keeps the leaves on trees longer and helps to enhance the color.

 

For more information go to this site:

usparks.about.com/od/fallfoliage/a/Fall-Colors.htm

 

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

As early as 1985 there was a study entitled Maritime Patrol Aircraft for the 90s (MPA 90) for the German Bundeswehr, which aimed to replace the Breguet Atlantic with the P-3C Update 4. The study was carried out by the Lockheed California Company and the MBB transport and commercial aircraft division (today Airbus Deutschland, with locations in Hamburg and Bremen) together with the BWB. In 1997, Lockheed Martin offered Germany and Italy a “Orion 2000” or “P-3C Plus” as a replacement for the Breguet Atlantic BR 1150. Both countries established a management team at the Federal Office of Defense Technology and Procurement in Koblenz and signed an MPA Definition MoU on October 21, 1999. Between 2007 and 2015, Germany was supposed to receive 10 aircraft, Italy 14. On July 26, 2002, Lockheed Martin offered a P-3C with revised wings, Allison T56 engines and modern avionics. However, the program was stopped, and alternatives were searched. Among others, Airbus was eager to response and proposed in 2001 a dedicated ASW/maritime patrol aircraft based on the A320 short-/medium-range airliner, even though the development of such an aircraft would certainly take several years and it would not be ready for service before 2010.

In the meantime, in 2003, the Netherlands offered its thirteen P-3C Update 2.5, which had originally been delivered between 1982 and 1984, for sale, and Germany became interested. On October 31 of the same year, both countries signed a memorandum of understanding for the sale of 10 aircraft. It was later decided that Germany would receive eight aircraft and Portugal the remaining five. With this solution, even though only a temporary stopgap for the German naval forces, Airbus’ proposal waned from attention – but only temporarily, since things did not unfold as planned.

 

The contract with the Netherlands was signed on November 15, 2004, and provided for Germany to supply eight P-3Cs, spare parts, a flight simulator, and other materials at a cost of 271 million euros. For a further 24 million euros, the Dutch armed forces trained the ground and flight personnel of the Marineflieger Geschwader (Marine Aviation Squadron/MFG) 3 “Graf Zeppelin” from Nordholz air base directly in the Netherlands. The Dutch reconnaissance aircraft were supposed to be responsible for long-range maritime surveillance and reconnaissance above and under water for the German Navy for the next twenty years, while a potent and up-to-date successor would be developed domestically or together with European partners. The Luftwaffe officially received the first P-3C on May 18, 2006.

 

While the P-3C had been bought and delivered, the procurement program for a potential successor was launched, since it was clear that the used P-3Cs would have only a limited lifetime left on their airframes and that maintenance would escalate over time. The potential P-3 successor became the project “Magellan”, which could trace back its origins to 2001. Magellan had been proposed by Airbus after the global market with turboprop-powered maritime patrol and anti-submarine warfare aircraft had been analyzed in the late Nineties and a huge global market opportunity had been discovered – including the demand of the German Luftwaffe and its naval air arm, the Marineflieger. Another driving factor behind the project was that similar aircraft produced abroad did not fully meet European – and most specifically German – requirements, so that the development of a purpose-built indigenous aircraft became a highly attractive option, also fueled by political pressure to support the European aircraft industry. Consequently, the German Ministry of Defense submitted the domestic development of the Magellan maritime patrol aircraft as part of its April 2001 – March 2006 Five-Year Defense Plan. In October 2003, following its earlier proposal and with the P-3C deal with the Netherlands, Airbus Industries received prime contractor status and Magellan started to take shape.

 

To save cost and development time, the Magellan ASW aircraft was not a completely new design. Like many former ASW aircraft (e. g. the Lockheed P-3, the BAe Nimrod, and the recent Boeing P-8) it was based on the airframe of an existing airliner. In Magellan’s case it was the new Airbus A318, which shared many components with the rest of the short/medium range A320 airliner family, including body components, cockpit windows, outer wings, horizontal stabilizer, and other systems. Internal shared parts included the auxiliary power unit, cockpit panels, flight control system computer, anti-collision lights, and gear control unit. This reportedly saved US$ 3.3 billion during the aircraft’s development until 2019.

 

To adapt the civil airliner to its new and specialized military role, many modifications were made. The most obvious change was a switch of powerplants, from a pair of high-bypass turbofans under the wings to four smaller engines in separate underwing nacelles. This required a thorough yet invisible modification of the wings’ internal structure, which allowed two extra hardpoints for the additional engines, and this also made the wings more stress-resistant for frequent low-/medium altitude operations. An increased use of composite materials helped to limit the resulting gain in structural weight.

The four-engine design adopted for the Magellan resulted in a flight profile with better maneuverability and stability at low-speed, low-altitude flight and allowed the aircraft to continue its mission in the event of a single and even a two-engine failure. As well as greater operational survivability, the high-bypass engines provided for quiet, fuel-efficient operation. Compared with the P-3 or the Breguet Atlantic, the Magellan also had, thanks to its jet propulsion, reduced transit times in comparison to turboprop-powered competitors, and the turbofans were quieter, making it more difficult for submerged submarines to detect the aircraft above them acoustically.

 

Propulsion came from four Pratt & Whitney PW1000Gs, a new high-bypass geared turbofan engine (also called the GTF = geared turbofan). The gearbox between the fan and the low-pressure spool allowed each to spin at its optimal speed, allowing a higher bypass ratio for a better propulsive efficiency. Pratt & Whitney claimed the engine was 16% more fuel efficient than the previous generation, and up to 75% quieter. Additionally, response to throttle input could be improved, resulting in a higher agility especially at lower speed.

The first variant to enter service was the PW1100G for the Airbus A320neo in January 2016. The engine had teething problems after its introduction, extending to grounded aircraft and inflight failures, but this was solved soon afterwards. The Magellan was the first military aircraft to use the new GTF engine type operationally. In the Magellan, the modified engines (designated PW1700M) with only two instead of three low pressure compression stages) provided a thrust of 15.000 lb (67 kN) each, so that the four GTF engines of the Magellan offered a little more thrust than the commercial airliners’ powerplants. In flight and on long-range patrol missions, one pair of engines would frequently be shut down to save fuel and reduce the noise profile even further, and the geared fans could be automatically set at diffefent ratios so that the frequencies generated from one engine would overlay and reduce the noise profile from the other one. This system was usspoed to be so effective that the audio signature of the Magellan would resemble strong wind and not man-made sound.

 

From the start the Magellan was equipped with many newly developed technologies and features, particularly in terms of its avionics and mission systems. One such key feature was the use of a fly-by-optics flight control system, which essentially replaced standard metal wiring with optical fiber cables. This also had the beneficial effect of decreasing electro-magnetic disturbances to the sensors on-board in comparison to more common fly-by-wire control systems, and it also helped to make the Magellan harder to detect from the outside.

The Magellan was equipped with various sensors to enable the aircraft to perform its primary purpose of maritime patrol and detecting submarines and surface vessels; these include the AMPaR active electronically scanned array (AESA) radar from Cassidian, a Airbus Defence and Space subsidiary, which used an array consisting of three separate antennas mounted under a mutual nose radome to provide 240-degree coverage at a range of more than 450 km (280 mi). All antennae together consisted of more than 3000 very small transmitter/receiver elements that divided the azimuth range into three overlapping 90° sectors. They could examine their sectors simultaneously and could also simultaneously track many maritime and aviation targets within each sector. The number of targets that can be tracked automatically is 1,000 and the number of targets that can be combated at the same time is around 60. AMPaR (Airborne Maritime Patrol Radar) was able to track surface vessels at sea at a range of 300 km (186 mi) while high-flying aircraft of fighter size could automatically be tracked at >250 km (150 mi). Even sea-skimming missiles could be detected and tracked at >25 km (15 mi). The data obtained is passed on to a command and weapon deployment system. The ASEA radar was furthermore supplemented by an Infrared/Light sensor array with an integrated laser range finder and target designator for surface detection, which allowed passive observation and tracking as well as target illumination for guided weapons, either deployed by the Magellan itself or from another carrier.

Further mission sensors included a magnetic anomaly detector (MAD) embedded into the aircraft's tail (where it replaced the airliner’s APU, which was re-located into the left-wing root area, while a heat exchanger was mounted on the right). Sophisticated acoustic systems were also added for this purpose. Another novelty was the integration of an artificial intelligence (AI) system that directed the TACCO operator to the optimal flight course to track or attack a submarine.

 

Behind the cockpit, the cabin was separated into three sections, consisting of the ASW operators’ section with workstations and observer places, a rest and general storage area with a small kitchen and four bunk beds for crews working in shifts on long-term missions, and a final section for 5” sonobuoy storage and their manual deployment through a total of four two release shafts, connected with the cabin through air locks. Vertical and oblique cameras were mounted together with the sonobuoy shafts in the lower fuselage and accessible from the cabin through hatches in the floor. The two rear sections could optionally be combined and re-arranged to make room for eventual transport duties, and seats could be installed, too to offer space for up to 28 passengers.

Under the cabin floor, two separate unpressurized bomb bays, one in front of and the other behind the wings, housed the bulk of the aircraft's ASW munitions. The bomb bay was supplemented by a total of eight external hardpoints, two pairs under the inner and outer wings each. Weapons available on the Magellan included torpedoes, mines, and depth charges internally. Air-to-surface missiles (including AGM-84 Harpoon anti-ship missiles, AGM-65 Maverick ASMs and AGM-88 HARM anti-radar missiles), air-to-air missiles (AIM-9 Sidewinder or Iris-T) for self-defense, ECM and chaff/flare dispenser pods, or bombs, including laser-guided precision weapons, were typically carried on the wing pylons externally. The sonobuoy shafts were located behind the rear bomb bay and not connected with it.

Armaments and their deployment were managed by a stores management system, which included a newly developed Universal Stores Control Unit (USCU) capable of accommodating hundreds of different munitions, including future ones and precision weapons. Multiple radar warning receivers provided all-round awareness of missile threats, which were combined with a defensive countermeasure suite. Additional fuel tanks were integrated into the fuselage, too, which extended the A318’s typical airliner range from 5.740 km (3,100 nmi) to 8.000 km (5,000 mi), making patrol missions of 18 hours and more possible without need to refuel.

 

In June 2007, Airbus rolled out the Magellan prototype (coded 60+10, later re-designated 98+70 and handed over to WTD 71 in Eckernförde for further development work), converted from an existing civil airliner airframe, and now official designated A318 MPA (“Maritime Patrol Aircraft”) to mark the aircraft’s heritage and role. The rollout had been delayed for three months due to the discovery of defective rivets which required remedial repairs to be performed. On 28 September 2007, the Magellan conducted its maiden flight from Hamburg Finkenwerder, where the civil A318 airliners were finally assembled, too; this lasted one hour and ended successfully.

 

On 31 August 2007, Airbus announced that they would produce four Magellan production airframes for the Bundesluftwaffe, with an option for four more aircraft, with a unit price of US$ 141.5 million for each aircraft and to be delivered in 2012. At that time Airbus officials claimed that the Magellan was a more capable, albeit more expensive, aircraft than the Boeing P-8 Poseidon; in comparison to the P-8, the Magellan had a greater range, a larger bomb bay, and had been optimized for the maritime patrol mission. Beyond Germany, Norway (4 aircraft), Spain (6) and Taiwan (3, with an option for 3 more) also procured the Magellan. Argentina and Chile also showed interest in the type.

 

Due to development and budgetary problems the delivery of the A318 MPA to the Marineflieger was delayed several times, and the anticipated maintenance problems with the former Dutch P-3Cs in German service escalated. At the end of 2016, the magazine Der Spiegel reported that none of the aircraft were operational as of September 30, 2016, and that one of the aircraft had only completed two and a half hours of flight in 10 years. Total costs could no longer be calculated, and as a result, soon not a single German P-3 was operational for at least several weeks. The situation became so severe that the German Ministry of Defense considered to lease five Boeing P-8A Poseidon as another interim solution, but in late 2019 the first Magellan Airbus was introduced to the re-established MFG 1, which had operated Tornado IDS’ in the maritime strike and reconnaissance role until 1993. At the time of their operational introduction the aircraft had already been updated: SIGINT equipment had been added (outwardly recognizable through slender wingtip pods and an extended spinal fairing in front of the fin) to survey and record radio communication. In this configuration the aircraft were officially designated A318 MPA Phase II.

 

However, instead of the MFG 1’s former base Jagel the unit now was located at Nordholz, where the P-3 facilities were used to operate the similar-sized A318 MPAs. Operations started only slowly, though, and during early exercises and NATO deployments to Lithuania the first two A318 MPAs (60+11 and 12) reportedly suffered radar, sensor integration, and data transfer problems, leading to more testing. 1./MFG 1 only received full operational status with its four planned initial aircraft in early 2022, and a second squadron with four more aircraft will probably only become operational with MFG 1 in 2027.

 

[b][u]General characteristics:[/u][/b]

Flight crew: 3

Mission crew: 8 (but operationally up to 12 with working in shifts on long-range missions)

Length: 36,52 m (118 ft 9 in) overall

Wingspan: 33,98 m (111 ft 3¾ in)

Wing area: 122.4 m² (1,318 sq ft)

Wing sweepback: 25°

Tail height: 12,24 m (40 ft 1 in)

Operating empty weight: 44.100 kg (97,100 lb)

Maximum zero-fuel weight (MZFW): 59.100 kg (130,200 lb)

Maximum landing weight (MLW): 62.100 kg (136,800 lb)

Maximum take-off weight (MTOW): 79,700 kg (175,708 lb)

 

[u]Powerplant[/u]:

4× Pratt & Whitney PW1700M high-bypass geared turbofan engines, 67 kN (15,000 lbf) thrust each

 

[u]Performance:[/u]

Maximum speed: 996 km/h (619 mph, 538 kn)

Cruise speed: 833 km/h (518 mph, 450 kn)

Range: 8,000 km (5,000 mi, 4,300 nmi)

Combat radius: 2,500 km (1,600 mi, 1,300 nmi) with 4 hours on station for anti-submarine warfare

Service ceiling: 13,520 m (44,360 ft)

 

[u]Armament:[/u]

2 internal bomb bays with a total of eight stations,

8 external underwing pylons

Total capacity of 9,000 kg (19,842 lb) for torpedoes, mines, depth charges, various

air-to-surface missiles (ASMs), or bombs, plus short-range AAMs for self-defense

  

[b]The kit and its assembly:[/b]

This fictional Airbus ASW aircraft was spawned by the Kawasaki P-1, an indigenous Japanese P-3 replacement with an unusual four-engine propulsion on a relatively small airframe. I envisioned a European alternative, inspired by the sad state of the Dutch P-3s in German duty – and that made a converted Airbus airframe a natural choice. I eventually settled for the smallest type, the A318, also because it had similar dimensions as the Japanese P-1 and procured an Eastern Express kit when I stumbled upon a priceworthy offer.

As a side information: there were real plans for an A319 ASW derivative, but this build here is unrelated (found out about it much later, after I started work on my model) and only shares the “MPA” suffix. I was not able to find any detail info about it, though.

 

The alternative/extra engines for my A 318 MPA turned out to be a major challenge. My initial plan to use the four nacelles with pylons from a 1:144 Revell WhiteKnight Two/SpaceShip Two kit set came to naught when I realized that these would be much too small for the A318 airframe. They eventually went into a BAe 146ish conversion of a DC-9 airframe with shoulder-mounted wings that I build a couple of weeks ago, where they looked fine. But the Magellan would require something more substantial, and finding a suitable and affordable alternative took some time and legwork. I eventually found aftermarket engine nacelles from Skyline Models for a 1:200 Hasegawa Boeing 747-200/300, made from IP with resin exhausts. They offered IMHO a good size and shape compromise, with a good level of detail for 1:144, and the quartet was affordable, too, because I did not want to buy a donor kit just for the engines. However, even though the pods look nice and have fine surface details, they do not go together at all: you have either to sand the fan discs into an unnatural oval shape or you have to bridge a massive 1 mm(!) gap on the underside when you force the halves together. The resin tail cones themselves are crisp and look very good, but they do hardly fit into the fan shroud and the pylons’ shape doesn’t match up with then, either. Fits well in style with the A318 kit, though… Did I mention that the Eastern Express A318 kit is a PITA? It has quite nice surface detail, but the bigger the parts the less they go together. Esp. the wing and fuselage halves were a TOTAL mess, the latter could only be closed through force and combining the hull with the wing halves, which have a weird construction on the lower hull – the mold layout was chosen to allow proper detail to be added around the main landing gear wells, but building this is a horror, was a nightmare, with poor fit, massive gaps and dislocations of up to 1 mm!

 

Talking about trouble: mounting the wacky 747 pods under the Airbus’ wings required even more hardware mods on top of the basic fit problems. The inner pair of engines went closer to the fuselage, to make more space for the outer pair, even though they ended up pretty close to the main landing gear. The A318’s original attachment points under the wings were PSRed away and the inner pair of donor pods was mounted onto the inner flap mechanism fairings. Their pylons had to be modified accordingly, though. The outer pair was mounted at about half distance from the inner engines and the wing tips. Their pylons had to be shortened, due to the low wing depth. Outside of them I added weapon stations from a Dragon 1:144 Tornado IDS, which also provided AGM-88 HARMs and Sidewinders as suitable ordnance.

 

The rest of modifications were more of a cosmetic kind. The biggest change was a bigger, more bulbous nose radome for the surveillance radar; in this case I used a leftover nose section from an Airfix 1:72 D.H. Venom trainer, mounted and PSRed over the Airbus’s original nose. Not a big modification, but the different nose profile changes the Airbus‘ look significantly to something P-3ish, and it resembled the Japanese P-1 a lot now.

The windscreen itself, while quite clear, had to be forced into its opening, and due to its poor fit and some gaps I PSRed it over and later used aftermarket decals to create the windscreen. Other graft-ons included a MAD boom carved from sprue material, a dorsal antenna bulge (from an Airfix A-4B kit) behind the cockpit and a pair of optical sensor turrets under the chin, somewhat B-52Gish. Under the lower rear fuselage, I added a pair of bulges for the sonobuoy launch tubes and cameras, leftover optional parts form/for a Heller Saab S32C’s camera nose. Fin and wing tips were slightly clipped, and I added scratched sensor fairings (sprue material), what considerably changes the aircraft’s look away from an airliner, and I also added a low spinal fairing (styrene profile) at the fin’s base. Finally, some blade antennae made from 0.5mm styrene sheet were mounted around the hull and small scoops for the relocated APU and heat exchangers were added.

  

[b]Painting and markings:[/b]

As usual, a tricky choice. The German P-3Cs did not carry a special camouflage – they simply retained the former Dutch Navy livery in all-over Light Gull Grey (FS 36440), which I found too boring to apply on the whiffy ASW Airbus. Due to the aircraft’s sheer size, I refrained from a tactical paint scheme like the rather murky three-tone wraparound Norm ’87 scheme from the Marineflieger Tornados or any of its (though interesting) development patterns or derivatives. Instead, I rather took inspiration from the Luftwaffe’s MedEvac/MRT Airbus A310s, which were painted RAL 7001 (Silbergrau, Revell 374) overall. This shade of grey comes close to FS 36375 but is colder.

 

For an aircraft that would not only operate at high altitude and to conceal it from above I found a uniform RAL 7001 livery too bright, so that I decided to paint the upper surfaces in a slightly darker tone, RAL 7000 (Fehgrau, Revell 57), which is, as a coincidence, the tone of most Bundesmarine surface vessels’ superstructures since 1956: a cold blue-grey tone somewhere between FS 36320 and 35237. Together with a straight and low waterline this resulted in a rather low-viz-ish livery, augmented by relatively few and small markings and stencils.

The landing gear was painted white, the walkway/Corroguard areas on the wings received a slightly different shade of grey (RAL 7005 Mausgrau, Revell 47) than the basic camouflage, and I added a slightly darker anti-glare panel (RAL 7012, Basaltgrau, Revell 77) in front of the windscreen. The nose radome and other di-electric fairings were painted in a yet another slightly brownish shade of grey (RAL 7030, Steingrau, Revell 75), to create some more variety. Some light post-panel shading was done, and to emphasize the engraved panel lines I also applied a light black ink washing.

 

Windscreen, windows, and doors were created with decals, partly aftermarket, partly OOB. The cabin windows’ number was reduced to reflect the aircraft’s dedicated military role. Tactical markings were few and rather lustreless. German markings and codes were procured from appropriate generic material from TL Modellbau and Peddinghaus Decals, the small MFG 1 badges came from an Italeri Marineflieger Tornado kit (with subdued Norm ’87 markings). Stencils and walkway markings on the wings came from the OOB sheet.

Finally, everything was sealed with matt acrylic varnish from a rattle can, with a light sheen instead of pure matt.

  

The result looks simple in its all-grey livery but getting there – esp. with the poor-fitting Eastern Express Airbus A318 as basis and the even worse donor engines – was a long and tough fight. But despite the troubles, the model of this fictional Kawasaki P-1 alternative from Europe looks pretty convincing and the four-engine layout worked well, despite the relatively compact airframe.

´

From my set entitled “Tuberous Begonia”

www.flickr.com/photos/21861018@N00/sets/72157607213634242/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

Begonia is a genus in the flowering plant family Begoniaceae. The only other member of the family Begoniaceae is Hillebrandia, a genus with a single species in the Hawaiian Islands. The genus Symbegonia is now included in Begonia. "Begonia" is the common name as well as the generic name for all members of the genus.

 

With ca. 1500+ species, Begonia is one of the ten largest angiosperm genera. The species are terrestrial (sometimes epiphytic) herbs or undershrubs and occur in subtropical and tropical moist climates, in South and Central America, Africa and southern Asia. Terrestrial species in the wild are commonly upright-stemmed, rhizomatous, or tuberous. The plants are monoecious, with unisexual male and female flowers occurring separately on the same plant, the male containing numerous stamens, the female having a large inferior ovary and two to four branched or twisted stigmas. In most species the fruit is a winged capsule containing numerous minute seeds, although baccate fruits are also known. The leaves, which are often large and variously marked or variegated, are usually asymmetric (unequal-sided).

 

Because of their sometimes showy flowers of white, pink, scarlet or yellow color and often attractively marked leaves, many species and innumerable hybrids and cultivars are cultivated. The genus is unusual in that species throughout the genus, even those coming from different continents, can frequently be hybridized with each other, and this has led to an enormous number of cultivars. The American Begonia Society classifies begonias into several major groups: cane-like, shrub-like, tuberous, rhizomatous, semperflorens, rex, trailing-scandent, or thick-stemmed. For the most part these groups do not correspond to any formal taxonomic groupings or phylogeny and many species and hybrids have characteristics of more than one group, or fit well into none of them.

The genus name honors Michel Bégon, a French patron of botany.

 

The different groups of begonias have different cultural requirements but most species come from tropical regions and therefore they and their hybrids require warm temperatures. Most are forest understory plants and require bright shade; few will tolerate full sun, especially in warmer climates. In general, begonias require a well-drained growing medium that is neither constantly wet nor allowed to dry out completely. Many begonias will grow and flower year-round but tuberous begonias usually have a dormant period, during which the tubers can be stored in a cool and dry place.

Begonias of the semperflorens group are frequently grown as bedding plants outdoors. A recent group of hybrids derived from this group is marketed as "Dragonwing Begonias"; they are much larger both in leaf and in flower. Tuberous begonias are frequently used as container plants. Although most Begonia species are tropical or subtropical in origin, the Chinese species B. grandis is hardy to USDA hardiness zone 6 and is commonly known as the "hardy begonia". Most begonias can be grown outdoors year-round in subtropical or tropical climates, but in temperate climates begonias are grown outdoors as annuals, or as house or greenhouse plants.

 

Most begonias are easily propagated by division or from stem cuttings. In addition, many can be propagated from leaf cuttings or even sections of leaves, particularly the members of the rhizomatous and rex groups.

 

The cultivar Kimjongilia is a floral emblem of North Korea.

 

The inauguration of the ‘Mirrored Painting’ by Italian artist Michelangelo Pistoletto, entitled 'Ritratto di Paolo Nespoli - Astronauta, Missione VITA', took place on 28 March 2018 at ESRIN, ESA’s centre for Earth observation in Frascati, Italy, as the climax of a joint initiative and a permanent symbol of the important link between space and art. The event hosted by the Head of ESA ESRIN and ESA's Director of Earth Observation Programmes Josef Aschbacher, was attended by ESA astronaut Paolo Nespoli, Michelangelo Pistoletto, ASI representative Fabrizio Zucchini and RAM radiartemobile representatives Dora Stiefelmeier and Mario Pieroni.

 

This original piece of art, created by famous artist Michelangelo Pistoletto who is known as one of the founding fathers of the Italian Arte Povera contemporary art movement, features a full-scale representation of ESA astronaut Paolo Nespoli. For Paolo’s VITA mission, ESA and ASI developed original ‘space and art’ initiatives as part of the communication activities to actively involve wider audiences. This began with Pistoletto’s development with ESA of the official patch for Paolo’s mission, which includes the artist’s symbol of his Third Paradise concept in the artwork.

 

A natural continuation of this cooperation was the ‘SPAC3’ app, which allowed users to select and combine Paolo’s images from space with their own photos. This activity was intended to draw attention to the wellbeing of our planet, and was inspired by the Sustainable Development Goals of the United Nations. These provided the basis for Paolo’s choice of photos, and the app users could respond with their own photos on the same theme.

 

As a social artwork project, SPAC3 demonstrated that the two worlds of art and science can work together with the common objective of highlighting issues affecting our planet, and showed how involving a wider public could contribute to the vision and become part of this collective work. This joint initiative was made possible via a partnership between ESA and RAM radioartemobile, in cooperation with ASI and Cittadellarte-Fondazione Pistoletto.

 

Photos: ESA – M. Valentini

From my set entitled ‘Sumac”

www.flickr.com/photos/21861018@N00/sets/72157607186471302/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Sumac

Sumac (also spelled sumach) is any one of approximately 250 species of flowering plants in the genus Rhus and related genera, in the family Anacardiaceae. The dried berries of some species are ground to produce a tangy purple spice often used in juice.

 

Sumacs grow in subtropical and warm temperate regions throughout the world, especially in North America.

 

Sumacs are shrubs and small trees that can reach a height of 1-10 meters. The leaves are spirally arranged; they are usually pinnately compound, though some species have trifoliate or simple leaves. The flowers are in dense panicles or spikes 5-30 cm long, each flower very small, greenish, creamy white or red, with five petals. The fruits form dense clusters of reddish drupes called sumac bobs.

 

Sumacs propagate both by seed (spread by birds and other animals through their droppings), and by new sprouts from rhizomes, forming large clonal colonies.

The drupes of the genus Rhus are ground into a deep-red or purple powder used as a spice in Middle Eastern cuisine to add a lemony taste to salads or meat; in the Turkish cuisine e.g. added to salad-servings of kebabs and lahmacun. In North America, the smooth sumac (Rhus glabra), and the staghorn sumac (Rhus typhina), are sometimes used to make a beverage, termed "sumac-ade" or "Indian lemonade" or "rhus juice". This drink is made by soaking the drupes in cool water, rubbing them to extract the essence, straining the liquid through a cotton cloth and sweetening it. Native Americans also used the leaves and berries of the smooth and staghorn sumacs combined with tobacco in traditional smoking mixtures.

 

Species including the fragrant sumac (Rhus aromatica), the littleleaf sumac (R. microphylla), the skunkbush sumac (R. trilobata), the smooth sumac and the staghorn sumac are grown for ornament, either as the wild types or as cultivars.

 

The leaves of certain sumacs yield tannin (mostly pyrogallol), a substance used in vegetable tanning. Leather tanned with sumac is flexible, light in weight, and light in color, even bordering on being white.

 

Dried sumac wood is fluorescent under long-wave UV light. Mowing of sumac is not a good control measure as the wood is springy resulting in jagged, sharp pointed stumps when mowed. The plant will quickly recover with new growth after mowing. See Nebraska Extension Service publication G97-1319 for suggestions as to control.

 

At times Rhus has held over 250 species. Recent molecular phylogeny research suggests breaking Rhus sensu lata into Actinocheita, Baronia, Cotinus, Malosma, Searsia, Toxicodendron, and Rhus sensu stricta. If this is done, about 35 species would remain in Rhus. However, the data is not yet clear enough to settle the proper placement of all species into these genera.

 

From my set entitled “Cranesbill”

www.flickr.com/photos/21861018@N00/sets/72157607214202240/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Geranium

 

Geranium is a genus of 422 species of flowering annual, biennial, and perennial plants that are commonly known as the cranesbills. It is found throughout the temperate regions of the world and the mountains of the tropics, but mostly in the eastern part of the Mediterranean region. These attractive flowers will grow in any soil as long as it is not waterlogged. Propagation is by semi-ripe cuttings in summer, by seed or by division in autumn or spring.

 

The species Geranium viscosissimum is considered to be protocarnivorous.

 

The name "cranesbill" derives from the appearance of the seed-heads, which have the same shape as the bill of a crane. The genus name is derived from the Greek γέρανος, géranos, or γερανός, geranós, crane. The long, palmately cleft leaves are broadly circular in form. Their rose, pink to blue or white flowers have 5 petals.

 

Cranesbills are eaten by the larvae of some Lepidoptera species including Brown-tail and Mouse Moth.

 

Confusingly, "geranium" is also the common name of members of the genus Pelargonium, which were formerly classified in the cranesbill genus. In the United States, true Geraniums are frequently distinguished from the less hardy Pelargoniums as (rather redundantly) "hardy geraniums" by gardeners and in the horticultural trade. One can make the distinction between the two by looking at the flowers: Geranium has symmetrical flowers, while Pelargonium has irregular or maculate petals. Other former members of the genus are now classified in genus Erodium, including the plants known as filarees in North America.

  

At the end of life we will not be judged by how many diplomas we have received, how much money we have made, how many great things we have done.

We will be judged by "I was hungry, and you gave me something to eat, I was naked and you clothed me. I was homeless, and you took me in. ― Mother Teresa

 

I was out on the streets of Delhi when I saw this unfortunate man in the middle of a very busy shopping area. There is almost a dignity to his stillness. It is sad and humbling the way he is simply asking for help without any sense of entitlement.

 

www.facebook.com/SiddharthSetiaPhotography

  

Seen in my set entitled ‘Pelargoniums’

www.flickr.com/photos/organize/?start_tab=one_set72157607...

Within my collection entitled ‘The Garden’

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

Pelargonium (Wikipeida)

Pelargonium is a genus of flowering plants which includes about 200 species of perennial, succulent, and shrub plants, commonly known as geraniums. Confusingly, Geranium is the correct botanical name of the separate genus which contains the related Cranesbills. Both genera are in the Family Geraniaceae. Linnaeus originally included all the species in one genus, Geranium, but they were later separated into two genera by Charles L’Héritier in 1789. Gardeners sometimes refer to the members of Genus Pelargonium as "pelargoniums" in order to avoid the confusion, but the older common name "geranium" is still in regular use.

 

The first species of Pelargonium known to be cultivated was Pelargonium triste, a native of South Africa. It was probably brought to the botanical garden in Leiden before 1600 on ships which stopped at the Cape of Good Hope. In 1631, the English gardener, John Tradescant the elder, bought seeds from Rene Morin in Paris and introduced the plant to England. The name Pelargonium was introduced by Johannes Burman in 1738, from Greek πελαργός pelargos = "stork", because part of the flower looked like a stork's beak.

Other than grown for their beauty, species of Pelargonium such as P. graveolens are important in the perfume industry and are cultivated and distilled for its scent. Although scented Pelargonium exist which have smells of citrus, mint, or various fruits, the varieties with rose scents are most commercially important. Pelargonium distillates and absolutes, commonly known as "scented geranium oil" are sometimes used to supplement or adulterate expensive rose oils.

 

Pelargonium species are used as food plants by the larvae of some Lepidoptera species including Angle Shades.

 

Pelargoniums are believed to deter mosquitoes.

 

Garden geranium (Pelargonium x hortorum; syn. Pelargonium zonale) is one of the most common ornamental potted-plants, with over 200 varieties.

In 1988 the flower was described and illustrated in a comprehensive 3-volume work Pelargoniums of Southern Africa by Ellaphie Ward-Hilhorst with van der Walt and Vorster.

 

Cultivars

Species of Pelargonium are indigenous to Southern Africa and are drought and heat tolerant, and can tolerate only minor frosts. Pelargoniums are extremely popular garden plants, grown as annuals in temperate climates, and thousands of ornamental cultivars have been developed from about 20 of the species.

 

Zonal varieties, also known as P. × hortorum, are mainly derived from P. zonale and P. inquinans.

 

Ivy-leaved varieties are mainly derived from P. peltatum.

 

Regal varieties, also known as French geraniums or P. × domesticum are mainly derived from P. cucullatum and P. grandiflorum.

Scented-leaf varieties are derived from a great number of species, amongst others P. graveolens.

 

Structural variations

Pelargonium leaves are usually alternate, and palmately lobed or pinnate, often on long stalks, and sometimes with light or dark patterns. The erect stems bear five-petaled flowers in umbel-like clusters called pseudoumbels. The shapes of the flowers have been bred to a variety ranging star-shaped to funnel-shaped, and colors include white, pink, red, orange-red, fuchsia to deep purple.

 

In early 2006 a long-awaited yellow-flowered variety was launched. Called the Guernsey Flair, it was supplied exclusively to the television shopping channel QVC in the UK, and all available plants were sold within a few minutes. See photo of yellow geranium. The flower has a much yellower hue than the cream-colored varieties which some developers had called yellow previously.

 

Horticultural pelargoniums (as opposed to botanical, the wild 'species') fall into six major groups, with zonals subdivided further:

Angel

Ivy-leaved = hanging

Regal (or Royal) = French

Shrubby-leaved

Unique

Zonal - erect and bushy

Cactus-flowered

Deacon (mostly dwarfs, cf. infra)

Double-flowered

Fancy-leaved

Formosum hybrid

Rosebud

Tulip-flowered

Single-flowered

Stellar

Straight Zonals

It is also usual to classify small Zonals alternatively by size or odorous excellence :

Dwarfs (small)

Miniatures (even smaller)

Parfum-leaved

en.wikipedia.org/wiki/Pelargonium

 

This summer, the Needham Community Education course entitled "An Inside Look at the Medical Profession" invites students to get a front row view of the medical world at Beth Israel Deaconess Hospital - Needham. Students learn in a classroom setting from BID-Needham's medical professionals before spending significant time in the hospital, learning and discovering in all areas, from the Operating Room to the Radiology Lab. For more information on the course, contact akence@bidneedham.org.

From my set entitled “Fuchsia”

www.flickr.com/photos/21861018@N00/sets/72157607217665417/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Fuchsia

 

Fuchsia is a genus of flowering plants, mostly shrubs and can grow long shoots, which were identified by Charles Plumier in the late-17th century, and named by Plumier in 1703 after the German botanist Leonhart Fuchs (1501–1566).[1] The English vernacular name Fuchsia is the same as the scientific name.

 

There are about 100–110 species of Fuchsia. The great majority are native to South America, but with a few occurring north through Central America to Mexico, and also several from New Zealand, and Tahiti. One species, Fuchsia magellanica, extends as far as the southern tip of South America occurring on Tierra del Fuego in the cool temperate zone, but the majority are tropical or subtropical. Most fuchsias are shrubs from 0.2–4 m (8 in-13 ft) tall, but one New Zealand species, Kotukutuku (Fuchsia excorticata), is unusual in the genus in being a tree, growing up to 12–15 m (39-49 ft) tall.

 

Fuchsia leaves are opposite or in whorls of 3–5, simple lanceolate and usually have serrated margins (entire in some species), 1–25 cm long, and can be either deciduous or evergreen depending on the species. The flowers are very decorative pendulous "eardrop" shape, borne in profusion throughout the summer and autumn, and all year in tropical species. They have four long, slender, sepals and four shorter, broader, petals; in many species the sepals are bright red and the petals purple (colours that attract the hummingbirds that pollinate them), but the colours can vary from white to dark red, purple-blue, and orange. A few have yellowish tones, and recent hybrids have added the color white in various combinations. The ovary is inferior and the fruit is a small (5–25 mm) dark reddish green, deep red, or deep purple, edible epigynous berry containing numerous very small seeds. Many people describe the fruit as having a subtle grape flavor spiced with black pepper.

 

Fuchsias are popular garden shrubs, and once planted will give years of pleasure for minimal amount of care. The British Fuchsia Society maintain a list of "hardy" fuchsias that have been proven to survive a number of winters throughout Britain and to be back in flower each year by July. Enthusiasts report that hundreds and even thousands of hybrids survive and prosper throughout the British Isles.

 

Fuchsias from sections Quelusia (F. magellanica and variants, F. regia, etc), encliandra (some encliandra hybrids flower continuously), Skinnera (F. excorticata, F. perscandens) and Procumbentes (F. procumbens is suitable as a groundcover) are proven to be hardy in widespread areas of Britain. Some temperate species will survive outdoors in the temperate areas, though may not always flower in the average British summer.

While the original pronunciation from the word's German origin is "fook-sya" /ˈfʊksja/, most English speakers tend to say "fyew'sha" /ˈfjuːʃə/. As a result, the word is often subjected to misspellings such as "fushcia" or "fuschia". In English, the other accepted pronunciation is "fyewk'see-ah", which is somewhat truer to the word's origin.

Among horticultural writers the fuchsia is jocularly referred to as "the world's most carefully spelled flower," a label which was apparently first given to it by Jimmy Barnes

Leonhart Fuchs was born in 1501. He occupied the chair of Medicine at the Tübingen University from the age of 34 until his death, on the 10th May 1566. Besides his medical knowledge, according to his record of activities which was extensive for the time, he studied plants. This was natural, for most of the remedies of the time were herbal and the two subjects were often inseparable.

 

In the course of his career Fuchs wrote De Historia Stirpium, which was published in 1542. In honour of Fuchs' work the fuchsia received its name shortly before 1703 by Charles Plumier. It was Plumier who compiled his Nova Plantarum Americanum, which was published in Paris in 1703, based on the results of his plant-finding trip to America in search of new genera.

 

The fuchsia was in England in the 18th century when Plumier took some seeds there after his expedition. The species he took was Fuchsia triphylla flore coccinea where specimens appeared in France. This may account for its reference under the name of "Thiles" in the Journal des Observations Botaniquesin 1725. Thiles was the name by which the plant was known in southern Chile where Plumier discovered it.

Professor Philip Munz, in his A Revision of the Genus Fuchsia, 1793 says, however, that the fuchsia was first introduced into England by a sailor who grew it in a window where it was observed by a nurseryman from Hammersmith, a Mr. Lee, who succeeded in buying it and propagating it for the trade. This was one of the short tubed species such as magellanica or coccinea.

 

This report is further embellished in various publications where Captain Firth, a sailor, brought the plant back to England from one of his trips to his home in Hammersmith where he gave it to his wife. Later on James Lee of St. Johns Wood, nurseryman and an astute businessman, heard of the plant and purchased it for £80. He then propagated as many as possible and sold them to the trade for prices ranging from £10 to £20 each.

In the Floricultural Cabinet, 1855, there is a report which varies slightly from the above. Here it says that F. coccinea was given to Kew Garden in 1788 by Captain Firth and that Lee acquired it from Kew.

 

By this time plant-collecting fever had spread and many species of numerous genera were introduced to England, some living plants, others as seed. The following plants were recorded at Kew: F. lycioides, 1796; F. arborescens, 1824; F. microphylla, 1827; F. fulgens, 1830; F. corymbiflora, 1840; and F. apetala, F. decussata, F. dependens and F. serratifolia in 1843 and 1844, the last four species attributable to Messrs. Veitch of Exeter.

 

With the increasing numbers of differing species in England plant breeders began to immediately develop hybrids to develop more desirable garden plants. The first recorded experiments date to 1825 as F. arborescens Χ F. macrostemma and F. arborescens X F. coccinea where the quality of the resultant plants was unrecorded.

Between 1835 and 1850 there was a tremendous influx to England of both hybrids and varieties, the majority of which have been lost.

 

In 1848 Monsieur Felix Porcher published the second edition of his book Le Fuchsia son Histoire et sa Culture. This described 520 species. In 1871 in later editions of M. Porchers book reference is made to James Lye who was to become famous as a breeder of fuchsias in England. In 1883 the first book of English fuchsias was published.

Between 1900 and 1914 many of the famous varieties were produced which were grown extensively for Covent Garden market by many growers just outside London. During the period between the world wars, fuchsia-growing slowed down as efforts were made toward crop production until after 1949, where plant and hybrid production resumed on a large scale.[3]

 

From my set entitled “Peonies”

www.flickr.com/photos/21861018@N00/sets/72157607186459134/

 

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Peony

 

The peony or paeony (Paeonia) is the only genus in the flowering plant family Paeoniaceae. They are native to Asia, southern Europe and western North America.

Most are herbaceous perennial plants 0.5–1.5 metres tall, but some are woody shrubs up to 1.5–3 metres tall. They have compound, deeply lobed leaves, and large, often fragrant flowers, ranging from red to white or yellow, in late spring and early summer. In the past, the peonies were often classified in the family Ranunculaceae, alongside Hellebores and Anemones.

 

The peony is named after Paeon or Paean, a student of Asclepius, the Greek god of medicine and healing. Asclepius became jealous of his pupil; Zeus saved Paeon from the wrath of Asclepius by turning him into the peony flower

 

The peony is among the longest-used flowers in ornamental culture and is one of the smallest living creature national emblems in China. Along with the plum blossom, it is a traditional floral symbol of China, where it is called 牡丹 (mǔ dān). It is also known as 富贵花 (fuguihua) "flower of riches and honour", and is used symbolically in Chinese art.[2] In 1903, the Qing Dynasty declared the peony as the national flower. Currently, the Republic of China on Taiwan designates the plum blossom as the national flower, while the People's Republic of China has no legally designated national flower. In 1994, the peony was proposed as the national flower after a nationwide poll, but the National People's Congress failed to ratify the selection. In 2003, another selection process has begun, but to date, no choice has been made.

 

The famous ancient Chinese city Luoyang has a reputation as a cultivation centre for the peonies. Throughout Chinese history, peonies in Luoyang are often said to be the finest in the country. Dozens of peony exhibitions and shows are still held there annually.

In Japan, Paeonia lactiflora used to be called ebisugusuri ("foreign medicine"). In kampo (the Japanese adaptation of Chinese medicine), its root was used as a treatment for convulsions. It is also cultivated as a garden plant. In Japan Paeonia suffruticosa is called the "The King of flowers" and Paeonia lactiflora is called the "prime minister of flowers".

 

Pronunciation of 牡丹 (peony) in Japan is "botan". Before the Meiji period, meat taken from quadrupeds was seldom consumed in Japan due to Buddhism. Thus in cases where such meat was handled, it was paraphrased using the names of flowers. The term botan was used (and is still used) to paraphrase wild boar meat. This comes from the flowery resemblance of the sliced meat when spread over a dish. Another example is sakura (cherry blossoms) which stands for horsemeat.

In 1957, the Indiana General Assembly passed a law to make the peony the state flower of Indiana, a title which it holds to this day. It replaced the zinnia, which had been the state flower since 1931.

 

Mischievous nymphs were said to hide in the petals of the Peony thus causing this magnificent flower to be given the meaning of Shame or Bashfulness in the Language of Flowers. It was named after Pæon, a physician to the gods, who obtained the plant on Mount Olympus from the mother of Apollo. Once planted the Peony likes to be left alone and punishes those who try to move it by not flowering again for several years. Once established, however, it produces splendid blooms each year for decades (Taken from The Language of Flowers, edited by Sheila Pickles, 1990).

 

Peonies are also extensively grown as ornamental plants for their very large, often scented flowers.

Peonies tend to attract ants to the flower buds. This is due to the nectar that forms on the outside of the flower buds.

 

Peonies are a common subject in tattoos, often used along with koi-fish.

ghanailoveyou: Abdul Ndadi is an animator from Ghana and a graduate from the School of Visual Arts, NY class of 2013. He’s created an animation film entitled Orisha’s Journey (2014) which will be shown at the Hiroshima International Animation Festival in Japan (21st August 2014 - 25th August 2014). Orisha’s Journey is a fantasy tale of a girl’s journey through the spirit world (‘Orisha’ denotes a spirit in Nigerian Yoruba cosmology), who must learn about the importance of remembering one’s roots. The film, set in a mysterious walking forest, explores the power of a child’s imagination and the deep meanings and manifestations of Africa. The film is based on African folklore. I want to show another side to Africa besides safaris, so I explore different aspects of different countries around Africa in order to give the viewer a pan-African experience. It’s important to me that Africans feel that no matter where they’re from, they’re part of my film. In the West, there is not a lot of exposure to real Africans — most people only go as far as The Lion King. I want to take people farther, to create a deeper meaning. There is a word in Ghanaian: “Sankofa” – it means to return that which was lost. It is a symbol for not forgetting your roots and learning from the past. It is said that a tree without roots cannot stand. - Abdul Ndadi

The Slender Man was created at the Something Awful Forums in a thread entitled "Create Paranormal Images." He is described as wearing a black suit strikingly similar to the visage of the notorious Men In Black, and as the name suggests, appears very thin and able to stretch his limbs and torso to inhuman lengths in order to induce fear and ensnare his prey. Once his arms are outstretched, his victims are put into something of a hypnotized state, where they are utterly helpless to stop themselves from walking into them. He is also able to create tendrils from his fingers and back that he uses to walk on in a similar fashion to Doc Ock, the Spider-Man villain in the Marvel Universe. The superhuman stretching ability could also be seen as a similiarty between himself and Mr. Fantastic of the Fantastic Four. Whether he absorbs, kills, or mearly takes his victims to an undiclosed location or dimension is also unknown as there are never any bodies or evidence left behind in his wake to deduce a definite conclusion.

 

My wife's grandmother received this book entitled "The Complete Works of Sir Walter Scott" from her father Dr. William Smyth in the late 1890's while she was attending the Royal School of Raphoe, in Raphoe, Donegal, Ireland. Published in 1894, this book was a mainstay for young woman graduating during the latter years of the Victorian era. The volume containing beautiful poems and stories of British Heros and Heroines.

 

Shortly after receiving the gift, Dr. Smyth tragically died while saving the lives of others on Arranmore Island, just off the coast of Burtonport, Donegal. In a months following his death, he too became the subject of much prose becoming a legendary hero like those written between the pages of these collected works.

View from the Lobby - RCA - GE Building 30 Rock Rockefeller Plaza Center in New York City - winter - 01/25/2015 NYC - large mural by the Catalan artist Josep Maria Sert entitled - American Progress - depicting a vast allegorical scene of men constructing modern America in the Grand Lobby - The ceiling figures appear to change leg position depending where you're standing in the lobby below optical illusion of perspective - 2015

New Deal mural entitled "Great Lakes Fishermen" painted by Zoltan Sepeshy in 1940. The mural was painted and installed for the Lincoln Park, Michigan post office. It was removed in 1967 and brought to Beaver Island in July of 1967. It has been in care of the Beaver Island Historical Society since then. In 2000, it was cleaned and in 2005 the back of the mural was sealed and insulated against moisture. It is now in the Marine Museum on Beaver Island.

 

The mural was sent to Detroit in 2019 to be restored.

From my set entitled “Peonies”

www.flickr.com/photos/21861018@N00/sets/72157607186459134/

 

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Peony

 

The peony or paeony (Paeonia) is the only genus in the flowering plant family Paeoniaceae. They are native to Asia, southern Europe and western North America.

Most are herbaceous perennial plants 0.5–1.5 metres tall, but some are woody shrubs up to 1.5–3 metres tall. They have compound, deeply lobed leaves, and large, often fragrant flowers, ranging from red to white or yellow, in late spring and early summer. In the past, the peonies were often classified in the family Ranunculaceae, alongside Hellebores and Anemones.

 

The peony is named after Paeon or Paean, a student of Asclepius, the Greek god of medicine and healing. Asclepius became jealous of his pupil; Zeus saved Paeon from the wrath of Asclepius by turning him into the peony flower

 

The peony is among the longest-used flowers in ornamental culture and is one of the smallest living creature national emblems in China. Along with the plum blossom, it is a traditional floral symbol of China, where it is called 牡丹 (mǔ dān). It is also known as 富贵花 (fuguihua) "flower of riches and honour", and is used symbolically in Chinese art.[2] In 1903, the Qing Dynasty declared the peony as the national flower. Currently, the Republic of China on Taiwan designates the plum blossom as the national flower, while the People's Republic of China has no legally designated national flower. In 1994, the peony was proposed as the national flower after a nationwide poll, but the National People's Congress failed to ratify the selection. In 2003, another selection process has begun, but to date, no choice has been made.

 

The famous ancient Chinese city Luoyang has a reputation as a cultivation centre for the peonies. Throughout Chinese history, peonies in Luoyang are often said to be the finest in the country. Dozens of peony exhibitions and shows are still held there annually.

In Japan, Paeonia lactiflora used to be called ebisugusuri ("foreign medicine"). In kampo (the Japanese adaptation of Chinese medicine), its root was used as a treatment for convulsions. It is also cultivated as a garden plant. In Japan Paeonia suffruticosa is called the "The King of flowers" and Paeonia lactiflora is called the "prime minister of flowers".

 

Pronunciation of 牡丹 (peony) in Japan is "botan". Before the Meiji period, meat taken from quadrupeds was seldom consumed in Japan due to Buddhism. Thus in cases where such meat was handled, it was paraphrased using the names of flowers. The term botan was used (and is still used) to paraphrase wild boar meat. This comes from the flowery resemblance of the sliced meat when spread over a dish. Another example is sakura (cherry blossoms) which stands for horsemeat.

In 1957, the Indiana General Assembly passed a law to make the peony the state flower of Indiana, a title which it holds to this day. It replaced the zinnia, which had been the state flower since 1931.

 

Mischievous nymphs were said to hide in the petals of the Peony thus causing this magnificent flower to be given the meaning of Shame or Bashfulness in the Language of Flowers. It was named after Pæon, a physician to the gods, who obtained the plant on Mount Olympus from the mother of Apollo. Once planted the Peony likes to be left alone and punishes those who try to move it by not flowering again for several years. Once established, however, it produces splendid blooms each year for decades (Taken from The Language of Flowers, edited by Sheila Pickles, 1990).

 

Peonies are also extensively grown as ornamental plants for their very large, often scented flowers.

Peonies tend to attract ants to the flower buds. This is due to the nectar that forms on the outside of the flower buds.

 

Peonies are a common subject in tattoos, often used along with koi-fish.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

As early as 1985 there was a study entitled Maritime Patrol Aircraft for the 90s (MPA 90) for the German Bundeswehr, which aimed to replace the Breguet Atlantic with the P-3C Update 4. The study was carried out by the Lockheed California Company and the MBB transport and commercial aircraft division (today Airbus Deutschland, with locations in Hamburg and Bremen) together with the BWB. In 1997, Lockheed Martin offered Germany and Italy a “Orion 2000” or “P-3C Plus” as a replacement for the Breguet Atlantic BR 1150. Both countries established a management team at the Federal Office of Defense Technology and Procurement in Koblenz and signed an MPA Definition MoU on October 21, 1999. Between 2007 and 2015, Germany was supposed to receive 10 aircraft, Italy 14. On July 26, 2002, Lockheed Martin offered a P-3C with revised wings, Allison T56 engines and modern avionics. However, the program was stopped, and alternatives were searched. Among others, Airbus was eager to response and proposed in 2001 a dedicated ASW/maritime patrol aircraft based on the A320 short-/medium-range airliner, even though the development of such an aircraft would certainly take several years and it would not be ready for service before 2010.

In the meantime, in 2003, the Netherlands offered its thirteen P-3C Update 2.5, which had originally been delivered between 1982 and 1984, for sale, and Germany became interested. On October 31 of the same year, both countries signed a memorandum of understanding for the sale of 10 aircraft. It was later decided that Germany would receive eight aircraft and Portugal the remaining five. With this solution, even though only a temporary stopgap for the German naval forces, Airbus’ proposal waned from attention – but only temporarily, since things did not unfold as planned.

 

The contract with the Netherlands was signed on November 15, 2004, and provided for Germany to supply eight P-3Cs, spare parts, a flight simulator, and other materials at a cost of 271 million euros. For a further 24 million euros, the Dutch armed forces trained the ground and flight personnel of the Marineflieger Geschwader (Marine Aviation Squadron/MFG) 3 “Graf Zeppelin” from Nordholz air base directly in the Netherlands. The Dutch reconnaissance aircraft were supposed to be responsible for long-range maritime surveillance and reconnaissance above and under water for the German Navy for the next twenty years, while a potent and up-to-date successor would be developed domestically or together with European partners. The Luftwaffe officially received the first P-3C on May 18, 2006.

 

While the P-3C had been bought and delivered, the procurement program for a potential successor was launched, since it was clear that the used P-3Cs would have only a limited lifetime left on their airframes and that maintenance would escalate over time. The potential P-3 successor became the project “Magellan”, which could trace back its origins to 2001. Magellan had been proposed by Airbus after the global market with turboprop-powered maritime patrol and anti-submarine warfare aircraft had been analyzed in the late Nineties and a huge global market opportunity had been discovered – including the demand of the German Luftwaffe and its naval air arm, the Marineflieger. Another driving factor behind the project was that similar aircraft produced abroad did not fully meet European – and most specifically German – requirements, so that the development of a purpose-built indigenous aircraft became a highly attractive option, also fueled by political pressure to support the European aircraft industry. Consequently, the German Ministry of Defense submitted the domestic development of the Magellan maritime patrol aircraft as part of its April 2001 – March 2006 Five-Year Defense Plan. In October 2003, following its earlier proposal and with the P-3C deal with the Netherlands, Airbus Industries received prime contractor status and Magellan started to take shape.

 

To save cost and development time, the Magellan ASW aircraft was not a completely new design. Like many former ASW aircraft (e. g. the Lockheed P-3, the BAe Nimrod, and the recent Boeing P-8) it was based on the airframe of an existing airliner. In Magellan’s case it was the new Airbus A318, which shared many components with the rest of the short/medium range A320 airliner family, including body components, cockpit windows, outer wings, horizontal stabilizer, and other systems. Internal shared parts included the auxiliary power unit, cockpit panels, flight control system computer, anti-collision lights, and gear control unit. This reportedly saved US$ 3.3 billion during the aircraft’s development until 2019.

 

To adapt the civil airliner to its new and specialized military role, many modifications were made. The most obvious change was a switch of powerplants, from a pair of high-bypass turbofans under the wings to four smaller engines in separate underwing nacelles. This required a thorough yet invisible modification of the wings’ internal structure, which allowed two extra hardpoints for the additional engines, and this also made the wings more stress-resistant for frequent low-/medium altitude operations. An increased use of composite materials helped to limit the resulting gain in structural weight.

The four-engine design adopted for the Magellan resulted in a flight profile with better maneuverability and stability at low-speed, low-altitude flight and allowed the aircraft to continue its mission in the event of a single and even a two-engine failure. As well as greater operational survivability, the high-bypass engines provided for quiet, fuel-efficient operation. Compared with the P-3 or the Breguet Atlantic, the Magellan also had, thanks to its jet propulsion, reduced transit times in comparison to turboprop-powered competitors, and the turbofans were quieter, making it more difficult for submerged submarines to detect the aircraft above them acoustically.

 

Propulsion came from four Pratt & Whitney PW1000Gs, a new high-bypass geared turbofan engine (also called the GTF = geared turbofan). The gearbox between the fan and the low-pressure spool allowed each to spin at its optimal speed, allowing a higher bypass ratio for a better propulsive efficiency. Pratt & Whitney claimed the engine was 16% more fuel efficient than the previous generation, and up to 75% quieter. Additionally, response to throttle input could be improved, resulting in a higher agility especially at lower speed.

The first variant to enter service was the PW1100G for the Airbus A320neo in January 2016. The engine had teething problems after its introduction, extending to grounded aircraft and inflight failures, but this was solved soon afterwards. The Magellan was the first military aircraft to use the new GTF engine type operationally. In the Magellan, the modified engines (designated PW1700M) with only two instead of three low pressure compression stages) provided a thrust of 15.000 lb (67 kN) each, so that the four GTF engines of the Magellan offered a little more thrust than the commercial airliners’ powerplants. In flight and on long-range patrol missions, one pair of engines would frequently be shut down to save fuel and reduce the noise profile even further, and the geared fans could be automatically set at diffefent ratios so that the frequencies generated from one engine would overlay and reduce the noise profile from the other one. This system was usspoed to be so effective that the audio signature of the Magellan would resemble strong wind and not man-made sound.

 

From the start the Magellan was equipped with many newly developed technologies and features, particularly in terms of its avionics and mission systems. One such key feature was the use of a fly-by-optics flight control system, which essentially replaced standard metal wiring with optical fiber cables. This also had the beneficial effect of decreasing electro-magnetic disturbances to the sensors on-board in comparison to more common fly-by-wire control systems, and it also helped to make the Magellan harder to detect from the outside.

The Magellan was equipped with various sensors to enable the aircraft to perform its primary purpose of maritime patrol and detecting submarines and surface vessels; these include the AMPaR active electronically scanned array (AESA) radar from Cassidian, a Airbus Defence and Space subsidiary, which used an array consisting of three separate antennas mounted under a mutual nose radome to provide 240-degree coverage at a range of more than 450 km (280 mi). All antennae together consisted of more than 3000 very small transmitter/receiver elements that divided the azimuth range into three overlapping 90° sectors. They could examine their sectors simultaneously and could also simultaneously track many maritime and aviation targets within each sector. The number of targets that can be tracked automatically is 1,000 and the number of targets that can be combated at the same time is around 60. AMPaR (Airborne Maritime Patrol Radar) was able to track surface vessels at sea at a range of 300 km (186 mi) while high-flying aircraft of fighter size could automatically be tracked at >250 km (150 mi). Even sea-skimming missiles could be detected and tracked at >25 km (15 mi). The data obtained is passed on to a command and weapon deployment system. The ASEA radar was furthermore supplemented by an Infrared/Light sensor array with an integrated laser range finder and target designator for surface detection, which allowed passive observation and tracking as well as target illumination for guided weapons, either deployed by the Magellan itself or from another carrier.

Further mission sensors included a magnetic anomaly detector (MAD) embedded into the aircraft's tail (where it replaced the airliner’s APU, which was re-located into the left-wing root area, while a heat exchanger was mounted on the right). Sophisticated acoustic systems were also added for this purpose. Another novelty was the integration of an artificial intelligence (AI) system that directed the TACCO operator to the optimal flight course to track or attack a submarine.

 

Behind the cockpit, the cabin was separated into three sections, consisting of the ASW operators’ section with workstations and observer places, a rest and general storage area with a small kitchen and four bunk beds for crews working in shifts on long-term missions, and a final section for 5” sonobuoy storage and their manual deployment through a total of four two release shafts, connected with the cabin through air locks. Vertical and oblique cameras were mounted together with the sonobuoy shafts in the lower fuselage and accessible from the cabin through hatches in the floor. The two rear sections could optionally be combined and re-arranged to make room for eventual transport duties, and seats could be installed, too to offer space for up to 28 passengers.

Under the cabin floor, two separate unpressurized bomb bays, one in front of and the other behind the wings, housed the bulk of the aircraft's ASW munitions. The bomb bay was supplemented by a total of eight external hardpoints, two pairs under the inner and outer wings each. Weapons available on the Magellan included torpedoes, mines, and depth charges internally. Air-to-surface missiles (including AGM-84 Harpoon anti-ship missiles, AGM-65 Maverick ASMs and AGM-88 HARM anti-radar missiles), air-to-air missiles (AIM-9 Sidewinder or Iris-T) for self-defense, ECM and chaff/flare dispenser pods, or bombs, including laser-guided precision weapons, were typically carried on the wing pylons externally. The sonobuoy shafts were located behind the rear bomb bay and not connected with it.

Armaments and their deployment were managed by a stores management system, which included a newly developed Universal Stores Control Unit (USCU) capable of accommodating hundreds of different munitions, including future ones and precision weapons. Multiple radar warning receivers provided all-round awareness of missile threats, which were combined with a defensive countermeasure suite. Additional fuel tanks were integrated into the fuselage, too, which extended the A318’s typical airliner range from 5.740 km (3,100 nmi) to 8.000 km (5,000 mi), making patrol missions of 18 hours and more possible without need to refuel.

 

In June 2007, Airbus rolled out the Magellan prototype (coded 60+10, later re-designated 98+70 and handed over to WTD 71 in Eckernförde for further development work), converted from an existing civil airliner airframe, and now official designated A318 MPA (“Maritime Patrol Aircraft”) to mark the aircraft’s heritage and role. The rollout had been delayed for three months due to the discovery of defective rivets which required remedial repairs to be performed. On 28 September 2007, the Magellan conducted its maiden flight from Hamburg Finkenwerder, where the civil A318 airliners were finally assembled, too; this lasted one hour and ended successfully.

 

On 31 August 2007, Airbus announced that they would produce four Magellan production airframes for the Bundesluftwaffe, with an option for four more aircraft, with a unit price of US$ 141.5 million for each aircraft and to be delivered in 2012. At that time Airbus officials claimed that the Magellan was a more capable, albeit more expensive, aircraft than the Boeing P-8 Poseidon; in comparison to the P-8, the Magellan had a greater range, a larger bomb bay, and had been optimized for the maritime patrol mission. Beyond Germany, Norway (4 aircraft), Spain (6) and Taiwan (3, with an option for 3 more) also procured the Magellan. Argentina and Chile also showed interest in the type.

 

Due to development and budgetary problems the delivery of the A318 MPA to the Marineflieger was delayed several times, and the anticipated maintenance problems with the former Dutch P-3Cs in German service escalated. At the end of 2016, the magazine Der Spiegel reported that none of the aircraft were operational as of September 30, 2016, and that one of the aircraft had only completed two and a half hours of flight in 10 years. Total costs could no longer be calculated, and as a result, soon not a single German P-3 was operational for at least several weeks. The situation became so severe that the German Ministry of Defense considered to lease five Boeing P-8A Poseidon as another interim solution, but in late 2019 the first Magellan Airbus was introduced to the re-established MFG 1, which had operated Tornado IDS’ in the maritime strike and reconnaissance role until 1993. At the time of their operational introduction the aircraft had already been updated: SIGINT equipment had been added (outwardly recognizable through slender wingtip pods and an extended spinal fairing in front of the fin) to survey and record radio communication. In this configuration the aircraft were officially designated A318 MPA Phase II.

 

However, instead of the MFG 1’s former base Jagel the unit now was located at Nordholz, where the P-3 facilities were used to operate the similar-sized A318 MPAs. Operations started only slowly, though, and during early exercises and NATO deployments to Lithuania the first two A318 MPAs (60+11 and 12) reportedly suffered radar, sensor integration, and data transfer problems, leading to more testing. 1./MFG 1 only received full operational status with its four planned initial aircraft in early 2022, and a second squadron with four more aircraft will probably only become operational with MFG 1 in 2027.

 

[b][u]General characteristics:[/u][/b]

Flight crew: 3

Mission crew: 8 (but operationally up to 12 with working in shifts on long-range missions)

Length: 36,52 m (118 ft 9 in) overall

Wingspan: 33,98 m (111 ft 3¾ in)

Wing area: 122.4 m² (1,318 sq ft)

Wing sweepback: 25°

Tail height: 12,24 m (40 ft 1 in)

Operating empty weight: 44.100 kg (97,100 lb)

Maximum zero-fuel weight (MZFW): 59.100 kg (130,200 lb)

Maximum landing weight (MLW): 62.100 kg (136,800 lb)

Maximum take-off weight (MTOW): 79,700 kg (175,708 lb)

 

[u]Powerplant[/u]:

4× Pratt & Whitney PW1700M high-bypass geared turbofan engines, 67 kN (15,000 lbf) thrust each

 

[u]Performance:[/u]

Maximum speed: 996 km/h (619 mph, 538 kn)

Cruise speed: 833 km/h (518 mph, 450 kn)

Range: 8,000 km (5,000 mi, 4,300 nmi)

Combat radius: 2,500 km (1,600 mi, 1,300 nmi) with 4 hours on station for anti-submarine warfare

Service ceiling: 13,520 m (44,360 ft)

 

[u]Armament:[/u]

2 internal bomb bays with a total of eight stations,

8 external underwing pylons

Total capacity of 9,000 kg (19,842 lb) for torpedoes, mines, depth charges, various

air-to-surface missiles (ASMs), or bombs, plus short-range AAMs for self-defense

  

[b]The kit and its assembly:[/b]

This fictional Airbus ASW aircraft was spawned by the Kawasaki P-1, an indigenous Japanese P-3 replacement with an unusual four-engine propulsion on a relatively small airframe. I envisioned a European alternative, inspired by the sad state of the Dutch P-3s in German duty – and that made a converted Airbus airframe a natural choice. I eventually settled for the smallest type, the A318, also because it had similar dimensions as the Japanese P-1 and procured an Eastern Express kit when I stumbled upon a priceworthy offer.

As a side information: there were real plans for an A319 ASW derivative, but this build here is unrelated (found out about it much later, after I started work on my model) and only shares the “MPA” suffix. I was not able to find any detail info about it, though.

 

The alternative/extra engines for my A 318 MPA turned out to be a major challenge. My initial plan to use the four nacelles with pylons from a 1:144 Revell WhiteKnight Two/SpaceShip Two kit set came to naught when I realized that these would be much too small for the A318 airframe. They eventually went into a BAe 146ish conversion of a DC-9 airframe with shoulder-mounted wings that I build a couple of weeks ago, where they looked fine. But the Magellan would require something more substantial, and finding a suitable and affordable alternative took some time and legwork. I eventually found aftermarket engine nacelles from Skyline Models for a 1:200 Hasegawa Boeing 747-200/300, made from IP with resin exhausts. They offered IMHO a good size and shape compromise, with a good level of detail for 1:144, and the quartet was affordable, too, because I did not want to buy a donor kit just for the engines. However, even though the pods look nice and have fine surface details, they do not go together at all: you have either to sand the fan discs into an unnatural oval shape or you have to bridge a massive 1 mm(!) gap on the underside when you force the halves together. The resin tail cones themselves are crisp and look very good, but they do hardly fit into the fan shroud and the pylons’ shape doesn’t match up with then, either. Fits well in style with the A318 kit, though… Did I mention that the Eastern Express A318 kit is a PITA? It has quite nice surface detail, but the bigger the parts the less they go together. Esp. the wing and fuselage halves were a TOTAL mess, the latter could only be closed through force and combining the hull with the wing halves, which have a weird construction on the lower hull – the mold layout was chosen to allow proper detail to be added around the main landing gear wells, but building this is a horror, was a nightmare, with poor fit, massive gaps and dislocations of up to 1 mm!

 

Talking about trouble: mounting the wacky 747 pods under the Airbus’ wings required even more hardware mods on top of the basic fit problems. The inner pair of engines went closer to the fuselage, to make more space for the outer pair, even though they ended up pretty close to the main landing gear. The A318’s original attachment points under the wings were PSRed away and the inner pair of donor pods was mounted onto the inner flap mechanism fairings. Their pylons had to be modified accordingly, though. The outer pair was mounted at about half distance from the inner engines and the wing tips. Their pylons had to be shortened, due to the low wing depth. Outside of them I added weapon stations from a Dragon 1:144 Tornado IDS, which also provided AGM-88 HARMs and Sidewinders as suitable ordnance.

 

The rest of modifications were more of a cosmetic kind. The biggest change was a bigger, more bulbous nose radome for the surveillance radar; in this case I used a leftover nose section from an Airfix 1:72 D.H. Venom trainer, mounted and PSRed over the Airbus’s original nose. Not a big modification, but the different nose profile changes the Airbus‘ look significantly to something P-3ish, and it resembled the Japanese P-1 a lot now.

The windscreen itself, while quite clear, had to be forced into its opening, and due to its poor fit and some gaps I PSRed it over and later used aftermarket decals to create the windscreen. Other graft-ons included a MAD boom carved from sprue material, a dorsal antenna bulge (from an Airfix A-4B kit) behind the cockpit and a pair of optical sensor turrets under the chin, somewhat B-52Gish. Under the lower rear fuselage, I added a pair of bulges for the sonobuoy launch tubes and cameras, leftover optional parts form/for a Heller Saab S32C’s camera nose. Fin and wing tips were slightly clipped, and I added scratched sensor fairings (sprue material), what considerably changes the aircraft’s look away from an airliner, and I also added a low spinal fairing (styrene profile) at the fin’s base. Finally, some blade antennae made from 0.5mm styrene sheet were mounted around the hull and small scoops for the relocated APU and heat exchangers were added.

  

[b]Painting and markings:[/b]

As usual, a tricky choice. The German P-3Cs did not carry a special camouflage – they simply retained the former Dutch Navy livery in all-over Light Gull Grey (FS 36440), which I found too boring to apply on the whiffy ASW Airbus. Due to the aircraft’s sheer size, I refrained from a tactical paint scheme like the rather murky three-tone wraparound Norm ’87 scheme from the Marineflieger Tornados or any of its (though interesting) development patterns or derivatives. Instead, I rather took inspiration from the Luftwaffe’s MedEvac/MRT Airbus A310s, which were painted RAL 7001 (Silbergrau, Revell 374) overall. This shade of grey comes close to FS 36375 but is colder.

 

For an aircraft that would not only operate at high altitude and to conceal it from above I found a uniform RAL 7001 livery too bright, so that I decided to paint the upper surfaces in a slightly darker tone, RAL 7000 (Fehgrau, Revell 57), which is, as a coincidence, the tone of most Bundesmarine surface vessels’ superstructures since 1956: a cold blue-grey tone somewhere between FS 36320 and 35237. Together with a straight and low waterline this resulted in a rather low-viz-ish livery, augmented by relatively few and small markings and stencils.

The landing gear was painted white, the walkway/Corroguard areas on the wings received a slightly different shade of grey (RAL 7005 Mausgrau, Revell 47) than the basic camouflage, and I added a slightly darker anti-glare panel (RAL 7012, Basaltgrau, Revell 77) in front of the windscreen. The nose radome and other di-electric fairings were painted in a yet another slightly brownish shade of grey (RAL 7030, Steingrau, Revell 75), to create some more variety. Some light post-panel shading was done, and to emphasize the engraved panel lines I also applied a light black ink washing.

 

Windscreen, windows, and doors were created with decals, partly aftermarket, partly OOB. The cabin windows’ number was reduced to reflect the aircraft’s dedicated military role. Tactical markings were few and rather lustreless. German markings and codes were procured from appropriate generic material from TL Modellbau and Peddinghaus Decals, the small MFG 1 badges came from an Italeri Marineflieger Tornado kit (with subdued Norm ’87 markings). Stencils and walkway markings on the wings came from the OOB sheet.

Finally, everything was sealed with matt acrylic varnish from a rattle can, with a light sheen instead of pure matt.

  

The result looks simple in its all-grey livery but getting there – esp. with the poor-fitting Eastern Express Airbus A318 as basis and the even worse donor engines – was a long and tough fight. But despite the troubles, the model of this fictional Kawasaki P-1 alternative from Europe looks pretty convincing and the four-engine layout worked well, despite the relatively compact airframe.

´

On now (outdoors) in Cardiff Bay: Beautiful exhibition of work by Nigel Millard, entitled 'The Lifeboat - courage on our coasts'

Right side of the Sweetwater mural entitled "Wild Boar Hunt" painted in 1942.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

As early as 1985 there was a study entitled Maritime Patrol Aircraft for the 90s (MPA 90) for the German Bundeswehr, which aimed to replace the Breguet Atlantic with the P-3C Update 4. The study was carried out by the Lockheed California Company and the MBB transport and commercial aircraft division (today Airbus Deutschland, with locations in Hamburg and Bremen) together with the BWB. In 1997, Lockheed Martin offered Germany and Italy a “Orion 2000” or “P-3C Plus” as a replacement for the Breguet Atlantic BR 1150. Both countries established a management team at the Federal Office of Defense Technology and Procurement in Koblenz and signed an MPA Definition MoU on October 21, 1999. Between 2007 and 2015, Germany was supposed to receive 10 aircraft, Italy 14. On July 26, 2002, Lockheed Martin offered a P-3C with revised wings, Allison T56 engines and modern avionics. However, the program was stopped, and alternatives were searched. Among others, Airbus was eager to response and proposed in 2001 a dedicated ASW/maritime patrol aircraft based on the A320 short-/medium-range airliner, even though the development of such an aircraft would certainly take several years and it would not be ready for service before 2010.

In the meantime, in 2003, the Netherlands offered its thirteen P-3C Update 2.5, which had originally been delivered between 1982 and 1984, for sale, and Germany became interested. On October 31 of the same year, both countries signed a memorandum of understanding for the sale of 10 aircraft. It was later decided that Germany would receive eight aircraft and Portugal the remaining five. With this solution, even though only a temporary stopgap for the German naval forces, Airbus’ proposal waned from attention – but only temporarily, since things did not unfold as planned.

 

The contract with the Netherlands was signed on November 15, 2004, and provided for Germany to supply eight P-3Cs, spare parts, a flight simulator, and other materials at a cost of 271 million euros. For a further 24 million euros, the Dutch armed forces trained the ground and flight personnel of the Marineflieger Geschwader (Marine Aviation Squadron/MFG) 3 “Graf Zeppelin” from Nordholz air base directly in the Netherlands. The Dutch reconnaissance aircraft were supposed to be responsible for long-range maritime surveillance and reconnaissance above and under water for the German Navy for the next twenty years, while a potent and up-to-date successor would be developed domestically or together with European partners. The Luftwaffe officially received the first P-3C on May 18, 2006.

 

While the P-3C had been bought and delivered, the procurement program for a potential successor was launched, since it was clear that the used P-3Cs would have only a limited lifetime left on their airframes and that maintenance would escalate over time. The potential P-3 successor became the project “Magellan”, which could trace back its origins to 2001. Magellan had been proposed by Airbus after the global market with turboprop-powered maritime patrol and anti-submarine warfare aircraft had been analyzed in the late Nineties and a huge global market opportunity had been discovered – including the demand of the German Luftwaffe and its naval air arm, the Marineflieger. Another driving factor behind the project was that similar aircraft produced abroad did not fully meet European – and most specifically German – requirements, so that the development of a purpose-built indigenous aircraft became a highly attractive option, also fueled by political pressure to support the European aircraft industry. Consequently, the German Ministry of Defense submitted the domestic development of the Magellan maritime patrol aircraft as part of its April 2001 – March 2006 Five-Year Defense Plan. In October 2003, following its earlier proposal and with the P-3C deal with the Netherlands, Airbus Industries received prime contractor status and Magellan started to take shape.

 

To save cost and development time, the Magellan ASW aircraft was not a completely new design. Like many former ASW aircraft (e. g. the Lockheed P-3, the BAe Nimrod, and the recent Boeing P-8) it was based on the airframe of an existing airliner. In Magellan’s case it was the new Airbus A318, which shared many components with the rest of the short/medium range A320 airliner family, including body components, cockpit windows, outer wings, horizontal stabilizer, and other systems. Internal shared parts included the auxiliary power unit, cockpit panels, flight control system computer, anti-collision lights, and gear control unit. This reportedly saved US$ 3.3 billion during the aircraft’s development until 2019.

 

To adapt the civil airliner to its new and specialized military role, many modifications were made. The most obvious change was a switch of powerplants, from a pair of high-bypass turbofans under the wings to four smaller engines in separate underwing nacelles. This required a thorough yet invisible modification of the wings’ internal structure, which allowed two extra hardpoints for the additional engines, and this also made the wings more stress-resistant for frequent low-/medium altitude operations. An increased use of composite materials helped to limit the resulting gain in structural weight.

The four-engine design adopted for the Magellan resulted in a flight profile with better maneuverability and stability at low-speed, low-altitude flight and allowed the aircraft to continue its mission in the event of a single and even a two-engine failure. As well as greater operational survivability, the high-bypass engines provided for quiet, fuel-efficient operation. Compared with the P-3 or the Breguet Atlantic, the Magellan also had, thanks to its jet propulsion, reduced transit times in comparison to turboprop-powered competitors, and the turbofans were quieter, making it more difficult for submerged submarines to detect the aircraft above them acoustically.

 

Propulsion came from four Pratt & Whitney PW1000Gs, a new high-bypass geared turbofan engine (also called the GTF = geared turbofan). The gearbox between the fan and the low-pressure spool allowed each to spin at its optimal speed, allowing a higher bypass ratio for a better propulsive efficiency. Pratt & Whitney claimed the engine was 16% more fuel efficient than the previous generation, and up to 75% quieter. Additionally, response to throttle input could be improved, resulting in a higher agility especially at lower speed.

The first variant to enter service was the PW1100G for the Airbus A320neo in January 2016. The engine had teething problems after its introduction, extending to grounded aircraft and inflight failures, but this was solved soon afterwards. The Magellan was the first military aircraft to use the new GTF engine type operationally. In the Magellan, the modified engines (designated PW1700M) with only two instead of three low pressure compression stages) provided a thrust of 15.000 lb (67 kN) each, so that the four GTF engines of the Magellan offered a little more thrust than the commercial airliners’ powerplants. In flight and on long-range patrol missions, one pair of engines would frequently be shut down to save fuel and reduce the noise profile even further, and the geared fans could be automatically set at diffefent ratios so that the frequencies generated from one engine would overlay and reduce the noise profile from the other one. This system was usspoed to be so effective that the audio signature of the Magellan would resemble strong wind and not man-made sound.

 

From the start the Magellan was equipped with many newly developed technologies and features, particularly in terms of its avionics and mission systems. One such key feature was the use of a fly-by-optics flight control system, which essentially replaced standard metal wiring with optical fiber cables. This also had the beneficial effect of decreasing electro-magnetic disturbances to the sensors on-board in comparison to more common fly-by-wire control systems, and it also helped to make the Magellan harder to detect from the outside.

The Magellan was equipped with various sensors to enable the aircraft to perform its primary purpose of maritime patrol and detecting submarines and surface vessels; these include the AMPaR active electronically scanned array (AESA) radar from Cassidian, a Airbus Defence and Space subsidiary, which used an array consisting of three separate antennas mounted under a mutual nose radome to provide 240-degree coverage at a range of more than 450 km (280 mi). All antennae together consisted of more than 3000 very small transmitter/receiver elements that divided the azimuth range into three overlapping 90° sectors. They could examine their sectors simultaneously and could also simultaneously track many maritime and aviation targets within each sector. The number of targets that can be tracked automatically is 1,000 and the number of targets that can be combated at the same time is around 60. AMPaR (Airborne Maritime Patrol Radar) was able to track surface vessels at sea at a range of 300 km (186 mi) while high-flying aircraft of fighter size could automatically be tracked at >250 km (150 mi). Even sea-skimming missiles could be detected and tracked at >25 km (15 mi). The data obtained is passed on to a command and weapon deployment system. The ASEA radar was furthermore supplemented by an Infrared/Light sensor array with an integrated laser range finder and target designator for surface detection, which allowed passive observation and tracking as well as target illumination for guided weapons, either deployed by the Magellan itself or from another carrier.

Further mission sensors included a magnetic anomaly detector (MAD) embedded into the aircraft's tail (where it replaced the airliner’s APU, which was re-located into the left-wing root area, while a heat exchanger was mounted on the right). Sophisticated acoustic systems were also added for this purpose. Another novelty was the integration of an artificial intelligence (AI) system that directed the TACCO operator to the optimal flight course to track or attack a submarine.

 

Behind the cockpit, the cabin was separated into three sections, consisting of the ASW operators’ section with workstations and observer places, a rest and general storage area with a small kitchen and four bunk beds for crews working in shifts on long-term missions, and a final section for 5” sonobuoy storage and their manual deployment through a total of four two release shafts, connected with the cabin through air locks. Vertical and oblique cameras were mounted together with the sonobuoy shafts in the lower fuselage and accessible from the cabin through hatches in the floor. The two rear sections could optionally be combined and re-arranged to make room for eventual transport duties, and seats could be installed, too to offer space for up to 28 passengers.

Under the cabin floor, two separate unpressurized bomb bays, one in front of and the other behind the wings, housed the bulk of the aircraft's ASW munitions. The bomb bay was supplemented by a total of eight external hardpoints, two pairs under the inner and outer wings each. Weapons available on the Magellan included torpedoes, mines, and depth charges internally. Air-to-surface missiles (including AGM-84 Harpoon anti-ship missiles, AGM-65 Maverick ASMs and AGM-88 HARM anti-radar missiles), air-to-air missiles (AIM-9 Sidewinder or Iris-T) for self-defense, ECM and chaff/flare dispenser pods, or bombs, including laser-guided precision weapons, were typically carried on the wing pylons externally. The sonobuoy shafts were located behind the rear bomb bay and not connected with it.

Armaments and their deployment were managed by a stores management system, which included a newly developed Universal Stores Control Unit (USCU) capable of accommodating hundreds of different munitions, including future ones and precision weapons. Multiple radar warning receivers provided all-round awareness of missile threats, which were combined with a defensive countermeasure suite. Additional fuel tanks were integrated into the fuselage, too, which extended the A318’s typical airliner range from 5.740 km (3,100 nmi) to 8.000 km (5,000 mi), making patrol missions of 18 hours and more possible without need to refuel.

 

In June 2007, Airbus rolled out the Magellan prototype (coded 60+10, later re-designated 98+70 and handed over to WTD 71 in Eckernförde for further development work), converted from an existing civil airliner airframe, and now official designated A318 MPA (“Maritime Patrol Aircraft”) to mark the aircraft’s heritage and role. The rollout had been delayed for three months due to the discovery of defective rivets which required remedial repairs to be performed. On 28 September 2007, the Magellan conducted its maiden flight from Hamburg Finkenwerder, where the civil A318 airliners were finally assembled, too; this lasted one hour and ended successfully.

 

On 31 August 2007, Airbus announced that they would produce four Magellan production airframes for the Bundesluftwaffe, with an option for four more aircraft, with a unit price of US$ 141.5 million for each aircraft and to be delivered in 2012. At that time Airbus officials claimed that the Magellan was a more capable, albeit more expensive, aircraft than the Boeing P-8 Poseidon; in comparison to the P-8, the Magellan had a greater range, a larger bomb bay, and had been optimized for the maritime patrol mission. Beyond Germany, Norway (4 aircraft), Spain (6) and Taiwan (3, with an option for 3 more) also procured the Magellan. Argentina and Chile also showed interest in the type.

 

Due to development and budgetary problems the delivery of the A318 MPA to the Marineflieger was delayed several times, and the anticipated maintenance problems with the former Dutch P-3Cs in German service escalated. At the end of 2016, the magazine Der Spiegel reported that none of the aircraft were operational as of September 30, 2016, and that one of the aircraft had only completed two and a half hours of flight in 10 years. Total costs could no longer be calculated, and as a result, soon not a single German P-3 was operational for at least several weeks. The situation became so severe that the German Ministry of Defense considered to lease five Boeing P-8A Poseidon as another interim solution, but in late 2019 the first Magellan Airbus was introduced to the re-established MFG 1, which had operated Tornado IDS’ in the maritime strike and reconnaissance role until 1993. At the time of their operational introduction the aircraft had already been updated: SIGINT equipment had been added (outwardly recognizable through slender wingtip pods and an extended spinal fairing in front of the fin) to survey and record radio communication. In this configuration the aircraft were officially designated A318 MPA Phase II.

 

However, instead of the MFG 1’s former base Jagel the unit now was located at Nordholz, where the P-3 facilities were used to operate the similar-sized A318 MPAs. Operations started only slowly, though, and during early exercises and NATO deployments to Lithuania the first two A318 MPAs (60+11 and 12) reportedly suffered radar, sensor integration, and data transfer problems, leading to more testing. 1./MFG 1 only received full operational status with its four planned initial aircraft in early 2022, and a second squadron with four more aircraft will probably only become operational with MFG 1 in 2027.

 

[b][u]General characteristics:[/u][/b]

Flight crew: 3

Mission crew: 8 (but operationally up to 12 with working in shifts on long-range missions)

Length: 36,52 m (118 ft 9 in) overall

Wingspan: 33,98 m (111 ft 3¾ in)

Wing area: 122.4 m² (1,318 sq ft)

Wing sweepback: 25°

Tail height: 12,24 m (40 ft 1 in)

Operating empty weight: 44.100 kg (97,100 lb)

Maximum zero-fuel weight (MZFW): 59.100 kg (130,200 lb)

Maximum landing weight (MLW): 62.100 kg (136,800 lb)

Maximum take-off weight (MTOW): 79,700 kg (175,708 lb)

 

[u]Powerplant[/u]:

4× Pratt & Whitney PW1700M high-bypass geared turbofan engines, 67 kN (15,000 lbf) thrust each

 

[u]Performance:[/u]

Maximum speed: 996 km/h (619 mph, 538 kn)

Cruise speed: 833 km/h (518 mph, 450 kn)

Range: 8,000 km (5,000 mi, 4,300 nmi)

Combat radius: 2,500 km (1,600 mi, 1,300 nmi) with 4 hours on station for anti-submarine warfare

Service ceiling: 13,520 m (44,360 ft)

 

[u]Armament:[/u]

2 internal bomb bays with a total of eight stations,

8 external underwing pylons

Total capacity of 9,000 kg (19,842 lb) for torpedoes, mines, depth charges, various

air-to-surface missiles (ASMs), or bombs, plus short-range AAMs for self-defense

  

[b]The kit and its assembly:[/b]

This fictional Airbus ASW aircraft was spawned by the Kawasaki P-1, an indigenous Japanese P-3 replacement with an unusual four-engine propulsion on a relatively small airframe. I envisioned a European alternative, inspired by the sad state of the Dutch P-3s in German duty – and that made a converted Airbus airframe a natural choice. I eventually settled for the smallest type, the A318, also because it had similar dimensions as the Japanese P-1 and procured an Eastern Express kit when I stumbled upon a priceworthy offer.

As a side information: there were real plans for an A319 ASW derivative, but this build here is unrelated (found out about it much later, after I started work on my model) and only shares the “MPA” suffix. I was not able to find any detail info about it, though.

 

The alternative/extra engines for my A 318 MPA turned out to be a major challenge. My initial plan to use the four nacelles with pylons from a 1:144 Revell WhiteKnight Two/SpaceShip Two kit set came to naught when I realized that these would be much too small for the A318 airframe. They eventually went into a BAe 146ish conversion of a DC-9 airframe with shoulder-mounted wings that I build a couple of weeks ago, where they looked fine. But the Magellan would require something more substantial, and finding a suitable and affordable alternative took some time and legwork. I eventually found aftermarket engine nacelles from Skyline Models for a 1:200 Hasegawa Boeing 747-200/300, made from IP with resin exhausts. They offered IMHO a good size and shape compromise, with a good level of detail for 1:144, and the quartet was affordable, too, because I did not want to buy a donor kit just for the engines. However, even though the pods look nice and have fine surface details, they do not go together at all: you have either to sand the fan discs into an unnatural oval shape or you have to bridge a massive 1 mm(!) gap on the underside when you force the halves together. The resin tail cones themselves are crisp and look very good, but they do hardly fit into the fan shroud and the pylons’ shape doesn’t match up with then, either. Fits well in style with the A318 kit, though… Did I mention that the Eastern Express A318 kit is a PITA? It has quite nice surface detail, but the bigger the parts the less they go together. Esp. the wing and fuselage halves were a TOTAL mess, the latter could only be closed through force and combining the hull with the wing halves, which have a weird construction on the lower hull – the mold layout was chosen to allow proper detail to be added around the main landing gear wells, but building this is a horror, was a nightmare, with poor fit, massive gaps and dislocations of up to 1 mm!

 

Talking about trouble: mounting the wacky 747 pods under the Airbus’ wings required even more hardware mods on top of the basic fit problems. The inner pair of engines went closer to the fuselage, to make more space for the outer pair, even though they ended up pretty close to the main landing gear. The A318’s original attachment points under the wings were PSRed away and the inner pair of donor pods was mounted onto the inner flap mechanism fairings. Their pylons had to be modified accordingly, though. The outer pair was mounted at about half distance from the inner engines and the wing tips. Their pylons had to be shortened, due to the low wing depth. Outside of them I added weapon stations from a Dragon 1:144 Tornado IDS, which also provided AGM-88 HARMs and Sidewinders as suitable ordnance.

 

The rest of modifications were more of a cosmetic kind. The biggest change was a bigger, more bulbous nose radome for the surveillance radar; in this case I used a leftover nose section from an Airfix 1:72 D.H. Venom trainer, mounted and PSRed over the Airbus’s original nose. Not a big modification, but the different nose profile changes the Airbus‘ look significantly to something P-3ish, and it resembled the Japanese P-1 a lot now.

The windscreen itself, while quite clear, had to be forced into its opening, and due to its poor fit and some gaps I PSRed it over and later used aftermarket decals to create the windscreen. Other graft-ons included a MAD boom carved from sprue material, a dorsal antenna bulge (from an Airfix A-4B kit) behind the cockpit and a pair of optical sensor turrets under the chin, somewhat B-52Gish. Under the lower rear fuselage, I added a pair of bulges for the sonobuoy launch tubes and cameras, leftover optional parts form/for a Heller Saab S32C’s camera nose. Fin and wing tips were slightly clipped, and I added scratched sensor fairings (sprue material), what considerably changes the aircraft’s look away from an airliner, and I also added a low spinal fairing (styrene profile) at the fin’s base. Finally, some blade antennae made from 0.5mm styrene sheet were mounted around the hull and small scoops for the relocated APU and heat exchangers were added.

  

[b]Painting and markings:[/b]

As usual, a tricky choice. The German P-3Cs did not carry a special camouflage – they simply retained the former Dutch Navy livery in all-over Light Gull Grey (FS 36440), which I found too boring to apply on the whiffy ASW Airbus. Due to the aircraft’s sheer size, I refrained from a tactical paint scheme like the rather murky three-tone wraparound Norm ’87 scheme from the Marineflieger Tornados or any of its (though interesting) development patterns or derivatives. Instead, I rather took inspiration from the Luftwaffe’s MedEvac/MRT Airbus A310s, which were painted RAL 7001 (Silbergrau, Revell 374) overall. This shade of grey comes close to FS 36375 but is colder.

 

For an aircraft that would not only operate at high altitude and to conceal it from above I found a uniform RAL 7001 livery too bright, so that I decided to paint the upper surfaces in a slightly darker tone, RAL 7000 (Fehgrau, Revell 57), which is, as a coincidence, the tone of most Bundesmarine surface vessels’ superstructures since 1956: a cold blue-grey tone somewhere between FS 36320 and 35237. Together with a straight and low waterline this resulted in a rather low-viz-ish livery, augmented by relatively few and small markings and stencils.

The landing gear was painted white, the walkway/Corroguard areas on the wings received a slightly different shade of grey (RAL 7005 Mausgrau, Revell 47) than the basic camouflage, and I added a slightly darker anti-glare panel (RAL 7012, Basaltgrau, Revell 77) in front of the windscreen. The nose radome and other di-electric fairings were painted in a yet another slightly brownish shade of grey (RAL 7030, Steingrau, Revell 75), to create some more variety. Some light post-panel shading was done, and to emphasize the engraved panel lines I also applied a light black ink washing.

 

Windscreen, windows, and doors were created with decals, partly aftermarket, partly OOB. The cabin windows’ number was reduced to reflect the aircraft’s dedicated military role. Tactical markings were few and rather lustreless. German markings and codes were procured from appropriate generic material from TL Modellbau and Peddinghaus Decals, the small MFG 1 badges came from an Italeri Marineflieger Tornado kit (with subdued Norm ’87 markings). Stencils and walkway markings on the wings came from the OOB sheet.

Finally, everything was sealed with matt acrylic varnish from a rattle can, with a light sheen instead of pure matt.

  

The result looks simple in its all-grey livery but getting there – esp. with the poor-fitting Eastern Express Airbus A318 as basis and the even worse donor engines – was a long and tough fight. But despite the troubles, the model of this fictional Kawasaki P-1 alternative from Europe looks pretty convincing and the four-engine layout worked well, despite the relatively compact airframe.

´

Entitled I AM THE RIVER, the video installation – located inside Cockatoo Island’s atmospheric Turbine Hall – is a towering, life-sized slow-motion projection of the Icelandic waterfall Gljufrabui accompanied by the roaring soundtrack of plummeting water.

 

My picture does not do it justice. Partly because the sound added so much to the atmosphere. This distant view of the waterfall was the way I (and i suppose most visitors) first see it. And for me it took a while to figure out if those small black-silhouetted people up close to the waterfall were actually part of the video or real people.

 

Nothing can compare with the time they had cars strung up in this area. Nevertheless, i was impressed with this video installation.

entitled Noli me tangere (Do not hold me) depicting Christ appearing to Mary Magdalene on the first Easter morning

 

Chichester Cathedral, West Sussex

Special Event entitled “Empowering Persons with Disabilities and Ensuring Inclusiveness and Equality” on the occasion of the International Day of Persons with Disabilities (A/RES/47/3)

 

(co-organized by the Department of Economic and Social Affairs (DESA), the Office of the President of the United Nations General Assembly, the Permanent Missions of Ecuador, the Republic of Korea, Brazil, Bulgaria, Italy, Philippines, the United Kingdom, Japan and Singapore, the International Telecommunication Union (ITU), UN-Women and the Department of Management of the United Nations)

Entitled the 'Out of Nothing' series, due to myself and my model wanting to do a collaborated project literally out of nothing, or for as free as we could possibly get it.

Model - Stacey Bournes

  

The Postcard

 

A postally unused postcard that was published on behalf of the Stedelijk Museum in Amsterdam. The card, which has a divided back, was printed in the Netherlands.

 

The Sheafbinder

 

The Sheafbinder was painted by Vincent van Gogh at Saint-Rémy-de-Provence, in September 1889. The work is oil on canvas, and is 44.5 cm x 33.1 cm.

 

At the psychiatric clinic in Saint-Rémy, Van Gogh hardly ever had access to live models. Even so, he was keen to practise figure painting.

 

So he arrived at the idea of basing his paintings on engravings of works by Jean-François Millet (1814-1875). The Sheaf Binder comes from a 10-part series entitled Travaux des Champs (‘Work in the Fields’).

 

Vincent wrote to his brother Theo about his underlying reason for using the prints in this way:

 

"Since I am above all ill at present,

I’m trying to do something to console

myself, for my own pleasure’.

 

Vincent van Gogh

 

Vincent Willem van Gogh, who was born in Zundert, Netherlands on the 30th. March 1853, was a Dutch Post-Impressionist painter who is among the most famous and influential figures in the history of Western art.

 

In just over a decade he created approximately 2,100 artworks, including around 860 oil paintings, most of them in the last two years of his life.

 

They include landscapes, still lifes, portraits and self-portraits, and are characterised by bold, symbolic colours, and dramatic, impulsive and highly expressive brushwork that contributed to the foundations of modern art.

 

Only one of his paintings was known by name to have been sold during his lifetime. Van Gogh became famous after his suicide at the age of 37, which followed years of poverty and mental illness.

 

Born into an upper-middle-class family, Van Gogh drew as a child and was serious, quiet and thoughtful, but showed signs of mental instability.

 

As a young man he worked as an art dealer, often travelling, but became depressed after he was transferred to London. He turned to religion, and spent time as a missionary in southern Belgium.

 

Later he drifted in ill-health and solitude. He was keenly aware of modernist trends in art and, while back with his parents, took up painting in 1881. His younger brother, Theo, supported him financially, and the two of them kept up a long correspondence by letter.

 

Van Gogh's early works consisted of mostly still lifes and depictions of peasant labourers. In 1886, he moved to Paris, where he met members of the artistic avant-garde, including Émile Bernard and Paul Gauguin, who were seeking new paths beyond Impressionism.

 

Frustrated in Paris and inspired by a growing spirit of artistic change and collaboration, Van Gogh moved to Arles in the south of France in February 1888 with the goal of establishing an artistic retreat and commune.

 

Once there, Van Gogh's art changed. His paintings grew brighter, and he turned his attention to the natural world, depicting local olive groves, wheat fields and sunflowers. Van Gogh invited Gauguin to join him in Arles and eagerly anticipated Gauguin's arrival in the fall of 1888.

 

Van Gogh suffered from psychotic episodes and delusions. Though he worried about his mental stability, he often neglected his physical health, did not eat properly, and drank heavily.

 

His friendship with Gauguin ended after a confrontation with a razor when, in a rage, he severed part of his own left ear. He spent time in psychiatric hospitals, including a period at Saint-Rémy.

 

After he discharged himself and moved to the Auberge Ravoux in Auvers-sur-Oise near Paris, he came under the care of the homeopathic doctor Paul Gachet. His depression persisted, and on the 27th. July 1890, Van Gogh is believed to have shot himself in the chest with a revolver, dying at the age of 37 from his injuries two days later.

 

Van Gogh's art gained critical recognition after his death and his life story captured public imagination as an emblem of misunderstood genius, due in large part to the efforts of his widowed sister-in-law Johanna van Gogh-Bonger.

 

His bold use of color, expressive line and thick application of paint inspired avant garde artistic groups like the Fauves and German Expressionists in the early 20th. century.

 

Van Gogh's work gained widespread critical and commercial success in the following decades, and he has become a lasting icon of the romantic ideal of the tortured artist.

 

Today, Van Gogh's works are among the world's most expensive paintings to have ever sold, and his legacy is honoured by a museum in his name, the Van Gogh Museum in Amsterdam, which holds the world's largest collection of his paintings and drawings.

 

Notable works of Van Gogh include:

 

-- Sunflowers (1887)

-- Bedroom in Arles (1888)

-- The Starry Night (1889)

-- Wheatfield with Crows (1890)

-- Sorrowing Old Man (1890)

 

Vincent van Gogh - The Early Years

 

Vincent Willem van Gogh was born on the 30th. March 1853 in Groot-Zundert, in the predominantly Catholic province of North Brabant in the Netherlands.

 

He was the oldest surviving child of Theodorus van Gogh (1822–1885), a minister of the Dutch Reformed Church, and his wife, Anna Cornelia Carbentus (1819–1907).

 

Van Gogh was given the name of his grandfather and of a brother stillborn exactly a year before his birth. Vincent was a common name in the Van Gogh family.

 

Van Gogh's mother came from a prosperous family in The Hague. The two met when Anna's younger sister, Cornelia, married Theodorus' older brother.

 

Van Gogh's parents married in May 1851, and moved to Zundert. His brother Theo was born on the 1st. May 1857. There was another brother, Cor, and three sisters: Elisabeth, Anna, and Willemina.

 

In later life, Van Gogh remained in touch only with Willemina and Theo.

 

Van Gogh's mother was a rigid and religious woman who emphasized the importance of family to the point of claustrophobia for those around her.

 

Theodorus' salary as a minister was modest, but the Church also supplied the family with a house, a maid, two cooks, a gardener, a carriage and horse; Vincent's mother Anna instilled in the children a duty to uphold the family's high social position.

 

Van Gogh was a serious and thoughtful child. He was taught at home by his mother and a governess, and in 1860, was sent to the village school. In 1864, he was placed in a boarding school at Zevenbergen where he felt abandoned, and he campaigned to come home.

 

Instead, in 1866, his parents sent him to the middle school in Tilburg, where he was also deeply unhappy.

 

Vincent's interest in art began at a young age. He was encouraged to draw as a child by his mother, and his early drawings are expressive, but do not approach the intensity of his later work.

 

Constant Cornelis Huijsmans, who had been a successful artist in Paris, taught the students at Tilburg. His philosophy was to reject technique in favour of capturing the impressions of things, particularly nature or common objects.

 

Van Gogh's profound unhappiness seems to have overshadowed the lessons, which had little effect. In March 1868, he abruptly returned home. He later wrote that his youth was "austere and cold, and sterile".

 

In July 1869, Van Gogh's uncle Cent obtained a position for him at the art dealers Goupil & Cie in The Hague. After completing his training in 1873, he was transferred to Goupil's London branch on Southampton Street, and took lodgings at 87 Hackford Road, Stockwell.

 

This was a happy time for Van Gogh; he was successful at work and, at 20, was earning more than his father. Theo's wife, Jo Van Gogh-Bonger, later remarked that this was the best year of Vincent's life.

 

Vincent became infatuated with his landlady's daughter, Eugénie Loyer, but she rejected him after he confessed his feelings; she was secretly engaged to a former lodger.

 

He grew more isolated and religiously fervent. His father and uncle arranged a transfer to Paris in 1875, where he became resentful of issues such as the degree to which the art dealers commodified art, and he was dismissed a year later.

 

In April 1876, Vincent returned to England to take unpaid work as a supply teacher in a small boarding school in Ramsgate. When the proprietor moved to Isleworth in Middlesex, Van Gogh went with him. The arrangement was not successful; he left to become a Methodist minister's assistant.

 

His parents had meanwhile moved to Etten; in 1876 he returned home at Christmas for six months and took work at a bookshop in Dordrecht. He was unhappy in the position, and spent his time doodling or translating passages from the Bible into English, French, and German.

 

Vincent immersed himself in Christianity, and became increasingly pious and monastic. According to his flatmate of the time, Paulus van Görlitz, Van Gogh ate frugally, avoiding meat.

 

To support his religious conviction and his desire to become a pastor, in 1877, the family sent him to live with his uncle Johannes Stricker, a respected theologian, in Amsterdam.

 

Van Gogh prepared for the University of Amsterdam theology entrance examination; he failed the exam and left his uncle's house in July 1878. He undertook, but also failed, a three-month course at a Protestant missionary school in Laken, near Brussels.

 

In January 1879, he took up a post as a missionary at Petit-Wasmes in the working class, coal-mining district of Borinage in Belgium. To show support for his impoverished congregation, he gave up his comfortable lodgings at a bakery to a homeless person and moved to a small hut, where he slept on straw.

 

Vincent's humble living conditions did not endear him to the church authorities, who dismissed him for "undermining the dignity of the priesthood".

 

He then walked the 75 kilometres (47 mi) to Brussels, returned briefly to Cuesmes in the Borinage, but he gave in to pressure from his parents to return home to Etten. He stayed there until around March 1880, which caused concern and frustration for his parents. His father was especially frustrated, and advised that his son be committed to the lunatic asylum in Geel.

 

Van Gogh returned to Cuesmes in August 1880, where he lodged with a miner until October. He became interested in the people and scenes around him, and he recorded them in drawings after Theo's suggestion that he take up art in earnest.

 

Vincent traveled to Brussels later in the year, to follow Theo's recommendation that he study with the Dutch artist Willem Roelofs, who persuaded him – in spite of his dislike of formal schools of art – to attend the Académie Royale des Beaux-Arts. He registered at the Académie in November 1880, where he studied anatomy and the standard rules of modelling and perspective.

 

Etten, Drenthe and The Hague

 

Van Gogh returned to Etten in April 1881 for an extended stay with his parents. He continued to draw, often using his neighbours as subjects. In August 1881, his recently widowed cousin, Cornelia "Kee" Vos-Stricker, daughter of his mother's older sister Willemina and Johannes Stricker, arrived for a visit.

 

Vincent was thrilled, and took long walks with her. Kee was seven years older than he was, and had an eight-year-old son. Van Gogh surprised everyone by declaring his love to her and proposing marriage. She refused with the words "No, nay, never."

 

After Kee returned to Amsterdam, Van Gogh went to The Hague to try to sell paintings and to meet with his second cousin, Anton Mauve. Mauve was the successful artist Van Gogh longed to be.

 

Mauve invited him to return in a few months, and suggested he spend the intervening time working in charcoal and pastels; Van Gogh returned to Etten and followed this advice.

 

Late in November 1881, Van Gogh wrote a letter to Johannes Stricker, one which he described to Theo as an attack. Within days he left for Amsterdam.

 

Kee would not meet him, and her parents wrote that "his persistence is disgusting". In despair, he held his left hand in the flame of a lamp, with the words:

 

"Let me see her for as long as I

can keep my hand in the flame."

 

He did not recall the event well, but later assumed that his uncle had blown out the flame. Kee's father made it clear that her refusal should be heeded, and that the two would not marry, largely because of Van Gogh's inability to support himself.

 

Mauve took Van Gogh on as a student and introduced him to watercolour, which he worked on for the next month before returning home for Christmas. However Vincent quarrelled with his father, refusing to attend church, and left for The Hague.

 

In January 1882, Mauve introduced Vincent to painting in oil, and lent him money to set up a studio. However within a month Van Gogh and Mauve had fallen out, possibly over the viability of drawing from plaster casts.

 

Van Gogh could afford to hire only people from the street as models, a practice of which Mauve seems to have disapproved.

 

In June 1882 Van Gogh suffered a bout of gonorrhoea, and spent three weeks in hospital. Soon after, he first painted in oils, bought with money borrowed from Theo. He liked the medium, and he spread the paint liberally, scraping from the canvas and working back with the brush. He wrote that he was surprised at how good the results were.

 

Clasina Maria "Sien" Hoornik

 

By March 1882, Mauve had gone cold towards Van Gogh, and had stopped replying to his letters. He had learned of Van Gogh's new domestic arrangement with an alcoholic prostitute, Clasina Maria "Sien" Hoornik (1850–1904), and her young daughter.

 

Van Gogh had met Sien towards the end of January 1882, when she had a five-year-old daughter, and was pregnant. She had previously borne two children who had died, but Van Gogh was unaware of this.

 

On the 2nd. July, she gave birth to a baby boy, Willem. When Van Gogh's father discovered the details of their relationship, he put pressure on his son to abandon Sien and her two children. Vincent at first defied him, and considered moving the family out of the city, but in late 1883, he left Sien and the children.

 

In September 1883, Van Gogh moved to Drenthe in the northern Netherlands. In December, driven by loneliness, he went to live with his parents, then in Nuenen, North Brabant.

 

Poverty may have pushed Sien back into prostitution; the home became less happy and Van Gogh may have felt family life was irreconcilable with his artistic development. Sien gave her daughter to her mother, and baby Willem to her brother.

 

Willem remembered visiting Rotterdam when he was about 12, when an uncle tried to persuade Sien to marry to legitimise the child. Willem believed that Van Gogh was his father, but the timing of his birth makes this unlikely.

 

Sien drowned herself in the River Scheldt in 1904.

 

Vincent van Gogh The Emerging Artist

 

In Nuenen, Van Gogh focused on painting and drawing. Working outside and very quickly, he completed sketches and paintings of weavers and their cottages.

 

Van Gogh also completed The Parsonage Garden at Nuenen, which was stolen from the Singer Laren in March 2020.

 

From August 1884, Margot Begemann, a neighbour's daughter ten years his senior, joined him on his forays; she fell in love and he reciprocated, though less enthusiastically. They wanted to marry, but neither side of their families were in favour.

 

Margot was distraught and took an overdose of strychnine, but survived after Van Gogh rushed her to a nearby hospital. On the 26th. March 1885, Vincent's father died of a heart attack.

 

Van Gogh painted several groups of still lifes in 1885. During his two-year stay in Nuenen, he completed numerous drawings and watercolours, and nearly 200 oil paintings. His palette consisted mainly of sombre earth tones, particularly dark brown, and showed no sign of the vivid colours that distinguished his later work.

 

There was interest from a dealer in Paris early in 1885. Theo asked Vincent if he had paintings ready to exhibit. In May, Van Gogh responded with his first major work, The Potato Eaters, and a series of "peasant character studies" which were the culmination of several years of work.

 

When he complained that Theo was not making enough effort to sell his paintings in Paris, his brother responded that they were too dark, and not in keeping with the bright style of Impressionism.

 

In August 1885 Vincent's work was publicly exhibited for the first time, in the shop windows of the dealer Leurs in The Hague. One of his young peasant sitters became pregnant in September 1885; Van Gogh was accused of forcing himself upon her, and the village priest forbade parishioners to model for him.

 

Vincent moved to Antwerp in November 1885 and rented a room above a paint dealer's shop in the Rue des Images. He lived in poverty and ate poorly, preferring to spend the money that Theo had sent on painting materials and models. Bread, coffee and tobacco became his staple diet.

 

In February 1886, Vincent wrote to Theo that he could only remember eating six hot meals since the previous May. His teeth became loose and painful.

 

In Antwerp he applied himself to the study of colour theory and spent time in museums—particularly studying the work of Peter Paul Rubens—and broadened his palette to include carmine, cobalt blue and emerald green.

 

Van Gogh bought Japanese ukiyo-e woodcuts in the docklands, later incorporating elements of their style into the background of some of his paintings. By 1886 he was drinking heavily again, and was hospitalised when he was possibly also treated for syphilis.

 

Despite his antipathy towards academic teaching, he took the higher-level admission exams at the Academy of Fine Arts in Antwerp and, in January 1886, matriculated in painting and drawing. He became ill and run down by overwork, poor diet and excessive smoking.

 

Vincent started to attend drawing classes with plaster models at the Antwerp Academy on the 18th. January 1886. However Vincent quickly got into trouble with Charles Verlat, the director of the academy and teacher of a painting class, because of his unconventional painting style.

 

Van Gogh had also clashed with the instructor of the drawing class Franz Vinck. Van Gogh finally started to attend the drawing classes after antique plaster models had been given by Eugène Siberdt.

 

However soon Siberdt and Van Gogh came into conflict when the latter did not comply with Siberdt's requirement that drawings express the contour and concentrate on the line.

 

When Van Gogh was required to draw the Venus de Milo during a drawing class, he produced the limbless, naked torso of a Flemish peasant woman. Siberdt regarded this as defiance against his artistic guidance, and made corrections to Van Gogh's drawing with his crayon so vigorously that he tore the paper. Van Gogh then flew into a violent rage and shouted at Siberdt:

 

'You clearly do not know what a young

woman is like, God damn it! A woman

must have hips, buttocks, a pelvis in

which she can carry a baby!'

 

According to some accounts, this was the last time Van Gogh attended classes at the academy, and he left later for Paris.

 

On the 31st. March 1886, which was about a month after the confrontation with Siberdt, the teachers of the academy decided that 17 students, including Van Gogh, had to repeat a year. The story that Van Gogh was expelled from the academy by Siberdt is therefore unfounded.

 

Vincent van Gogh in Paris (1886–1888)

 

Van Gogh moved to Paris in March 1886 where he shared Theo's Rue Laval apartment in Montmartre and studied at Fernand Cormon's studio.

 

In June 1886 the brothers took a larger flat at 54 Rue Lepic. In Paris, Vincent painted portraits of friends and acquaintances, still life paintings, views of Le Moulin de la Galette, scenes in Montmartre, Asnières and along the Seine.

 

In 1885 in Antwerp he had become interested in Japanese ukiyo-e woodblock prints, and had used them to decorate the walls of his studio; while in Paris he collected hundreds of them.

 

He tried his hand at Japonaiserie, tracing a figure from a reproduction on the cover of the magazine Paris Illustre, The Courtesan or Oiran (1887), after Keisai Eisen, which he then graphically enlarged in a painting.

 

After seeing the portrait of Adolphe Monticelli at the Galerie Delareybarette, Van Gogh adopted a brighter palette and a bolder attack, particularly in paintings such as his Seascape at Saintes-Maries (1888).

 

Two years later, Vincent and Theo paid for the publication of a book on Monticelli paintings, and Vincent bought some of Monticelli's works to add to his collection.

 

Van Gogh had learned about Fernand Cormon's atelier from Theo. He worked at the studio in April and May 1886, where he frequented the circle of the Australian artist John Russell, who painted his portrait in 1886.

 

Van Gogh also met fellow students Émile Bernard, Louis Anquetin and Henri de Toulouse-Lautrec – who painted a portrait of him in pastel. They met at Julien "Père" Tanguy's paint shop, which was, at that time, the only place where Paul Cézanne's paintings were displayed.

 

In 1886, two large exhibitions were staged there, showing Pointillism and Neo-impressionism for the first time, and bringing attention to Georges Seurat and Paul Signac. Theo kept a stock of Impressionist paintings in his gallery on boulevard Montmartre, but Van Gogh was slow to acknowledge the new developments in art.

 

Conflicts arose between the brothers. At the end of 1886 Theo found living with Vincent to be "almost unbearable". However by early 1887, they were again at peace, and Vincent had moved to Asnières, a north-western suburb of Paris, where he got to know Signac.

 

He adopted elements of Pointillism, a technique in which a multitude of small coloured dots are applied to the canvas so that when seen from a distance they create an optical blend of hues. The style stresses the ability of complementary colours – including blue and orange – to form vibrant contrasts.

 

While in Asnières Van Gogh painted parks, restaurants and the Seine, including Bridges across the Seine at Asnières. In November 1887, Theo and Vincent befriended Paul Gauguin who had just arrived in Paris.

 

Towards the end of the year, Vincent arranged an exhibition alongside Bernard, Anquetin, and probably Toulouse-Lautrec, at the Grand-Bouillon Restaurant du Chalet, 43 Avenue de Clichy, Montmartre.

 

In a contemporary account, Bernard wrote that the exhibition was ahead of anything else in Paris. There, Bernard and Anquetin sold their first paintings, and Van Gogh exchanged work with Gauguin.

 

Discussions on art, artists, and their social situations started during this exhibition, continued and expanded to include visitors to the show, like Camille Pissarro and his son Lucien, Signac and Seurat.

 

In February 1888, feeling worn out from life in Paris, Van Gogh left, having painted more than 200 paintings during his two years there. Hours before his departure, accompanied by Theo, he paid his first and only visit to Seurat in his studio.

 

Vincent van Gogh's Artistic Breakthrough

 

Ill from drink and suffering from smoker's cough, in February 1888 Van Gogh sought refuge in Arles. He seems to have moved with thoughts of founding an art colony. The Danish artist Christian Mourier-Petersen became his companion for two months, and, at first, Arles appeared exotic. In a letter, he described it as a foreign country:

 

"The Zouaves, the brothels, the adorable

little Arlésienne going to her First

Communion, the priest in his surplice, who

looks like a dangerous rhinoceros, the

people drinking absinthe, all seem to me

creatures from another world."

 

The time in Arles became one of Van Gogh's more prolific periods: he completed 200 paintings and more than 100 drawings and watercolours. Vincent was enchanted by the local countryside and light; his works from this period are rich in yellow, ultramarine and mauve.

 

They include harvests, wheat fields and general rural landmarks from the area, including The Old Mill (1888), one of seven canvases sent to Pont-Aven on 4 October 1888 in an exchange of works with Paul Gauguin, Émile Bernard, Charles Laval and others.

 

The portrayals of Arles are influenced by Vincent's Dutch upbringing; the patchworks of fields and avenues are flat and lacking perspective, but excel in their use of colour.

 

In March 1888, he painted landscapes using a gridded "perspective frame"; three of the works were shown at the annual exhibition of the Société des Artistes Indépendants. In April, he was visited by the American artist Dodge MacKnight, who was living nearby at Fontvieille.

 

On the 1st. May 1888, for 15 francs per month, he signed a lease for the eastern wing of the Yellow House at 2, Place Lamartine. The rooms were unfurnished, and had been uninhabited for months.

 

On the 7th. May, Van Gogh moved from the Hôtel Carrel to the Café de la Gare, having befriended the proprietors, Joseph and Marie Ginoux. The Yellow House had to be furnished before he could fully move in, but he was able to use it as a studio.

 

He wanted a gallery to display his work, and started a series of paintings that eventually included Van Gogh's Chair (1888), Bedroom in Arles (1888), The Night Café (1888), Café Terrace at Night (September 1888), Starry Night Over the Rhone (1888), and Still Life: Vase with Twelve Sunflowers (1888), all intended for the decoration of the Yellow House.

 

Van Gogh wrote that:

 

"With The Night Café I tried to express

the idea that the café is a place where

one can ruin oneself, go mad, or commit

a crime".

 

When he visited Saintes-Maries-de-la-Mer in June, he gave lessons to a Zouave second lieutenant – Paul-Eugène Milliet – and painted the village and boats on the sea. MacKnight introduced Van Gogh to Eugène Boch, a Belgian painter who sometimes stayed in Fontvieille, and the two exchanged visits in July.

 

Gauguin's visit (1888)

 

When Gauguin agreed to visit Arles in 1888, Van Gogh hoped for friendship, and to realize his idea of an artists' collective. Van Gogh prepared for Gauguin's arrival by painting four versions of Sunflowers in one week.

 

Vincent wrote in a letter to Theo:

 

"In the hope of living in a studio of

our own with Gauguin I'd like to do

a decoration for the studio.

Nothing but large Sunflowers."

 

When Boch visited again, Van Gogh painted a portrait of him, as well as the study The Poet Against a Starry Sky.

 

In preparation for Gauguin's visit, Van Gogh bought two beds on advice from the station's postal supervisor Joseph Roulin, whose portrait he painted.

 

On the 17th. September 1888, he spent his first night in the still sparsely furnished Yellow House. When Gauguin consented to work and live in Arles with him, Van Gogh started to work on the Décoration for the Yellow House, probably the most ambitious effort he ever undertook. He also completed two chair paintings: Van Gogh's Chair and Gauguin's Chair.

 

After much pleading from Van Gogh, Gauguin arrived in Arles on the 23rd. October 1888 and, in November, the two painted together. Gauguin depicted Van Gogh in his The Painter of Sunflowers; Van Gogh painted pictures from memory, following Gauguin's suggestion.

 

Among these "imaginative" paintings is Memory of the Garden at Etten. Their first joint outdoor venture was at the Alyscamps, when they produced the companion pieces Les Alyscamps. The single painting Gauguin completed during his visit was his portrait of Van Gogh.

 

Van Gogh and Gauguin visited Montpellier in December 1888, where they saw works by Courbet and Delacroix in the Musée Fabre. However their relationship began to deteriorate; Van Gogh admired Gauguin and wanted to be treated as his equal, but Gauguin was arrogant and domineering, which frustrated Van Gogh.

 

They often quarrelled; Van Gogh increasingly feared that Gauguin was going to desert him, and the situation, which Van Gogh described as one of "excessive tension", rapidly headed towards crisis point.

 

Van Gogh's Ear

 

The exact sequence that led to the mutilation of Van Gogh's ear is not known. Gauguin said, fifteen years later, that the night followed several instances of physically threatening behaviour.

 

Their relationship was complex, and Theo may have owed money to Gauguin, who suspected that the brothers were exploiting him financially. It seems likely that Vincent realised that Gauguin was planning to leave.

 

The following days saw heavy rain, leading to the two men being shut in the Yellow House. Gauguin recalled that Van Gogh followed him after he left for a walk and "rushed towards me, an open razor in his hand."

 

This account is uncorroborated; Gauguin was almost certainly absent from the Yellow House that night, most likely staying in a hotel.

 

After an altercation on the evening of the 23rd. December 1888, Van Gogh returned to his room where he seemingly heard voices and either wholly or in part severed his left ear with a razor, causing severe bleeding.

 

He bandaged the wound, wrapped the ear in paper and delivered the package to a woman at a brothel that Van Gogh and Gauguin both frequented. Van Gogh was found unconscious the next morning by a policeman and taken to hospital, where he was treated by Félix Rey, a young doctor still in training.

 

The ear was brought to the hospital, but Rey did not attempt to re-attach it as too much time had passed. Van Gogh researcher and art historian Bernadette Murphy discovered the true identity of the woman named Gabrielle, who died in Arles at the age of 80 in 1952, and whose descendants still live just outside Arles.

 

Gabrielle, known in her youth as "Gaby," was a 17-year-old cleaning girl at the brothel and other local establishments at the time Van Gogh presented her with his ear.

 

Van Gogh had no recollection of the event, suggesting that he may have suffered an acute mental breakdown. The hospital diagnosis was "acute mania with generalised delirium", and within a few days, the local police ordered that Vincent be placed in hospital care.

 

Gauguin immediately notified Theo, who, on the 24th. December, had proposed marriage to his old friend Andries Bonger's sister Johanna. That evening, Theo rushed to the station to board a night train to Arles. He arrived on Christmas Day and comforted Vincent, who seemed to be semi-lucid. That evening, he left Arles for the return trip to Paris.

 

During the first days of his treatment, Van Gogh repeatedly and unsuccessfully asked for Gauguin, who asked a policeman attending the case to:

 

"Be kind enough, Monsieur, to awaken

this man with great care, and if he asks

for me tell him I have left for Paris; the

sight of me might prove fatal for him."

 

Gauguin fled Arles, never to see Van Gogh again. However they continued to correspond, and in 1890, Gauguin proposed that they form a studio in Antwerp. Meanwhile, other visitors to the hospital included Marie Ginoux and Roulin.

 

Despite a pessimistic diagnosis, Van Gogh recovered and returned to the Yellow House on the 7th. January 1889. He spent the following month between hospital and home, suffering from hallucinations and delusions of poisoning.

 

In March, the police closed his house after a petition by 30 townspeople (including the Ginoux family) who described him as le fou roux "the redheaded madman"; Van Gogh returned to hospital.

 

Paul Signac visited him twice in March; in April, Van Gogh moved into rooms owned by Dr. Rey after floods damaged paintings in his own home. Two months later, he left Arles and voluntarily entered an asylum in Saint-Rémy-de-Provence. Around this time, he wrote:

 

"Sometimes moods of indescribable

anguish, sometimes moments when

the veil of time and fatality of

circumstances seemed to be torn

apart for an instant."

 

Van Gogh gave his 1889 Portrait of Doctor Félix Rey to Dr Rey. However the physician was not fond of the painting, and used it to repair a chicken coop, then gave it away. In 2016, the portrait was housed at the Pushkin Museum of Fine Arts, and estimated to be worth over $50 million.

 

Vincent van Gogh at Saint-Rémy (May 1889 – May 1890)

 

Van Gogh entered the Saint-Paul-de-Mausole asylum on the 8th. May 1889, accompanied by his caregiver, Frédéric Salles, a Protestant clergyman. Saint-Paul was a former monastery in Saint-Rémy, located less than 30 kilometres (19 mi) from Arles, and was run by a former naval doctor, Théophile Peyron.

 

Van Gogh had two cells with barred windows, one of which he used as a studio. The clinic and its garden became the main subjects of his paintings. He made several studies of the hospital's interiors, such as Vestibule of the Asylum and Saint-Rémy (September 1889), and its gardens, such as Lilacs (May 1889).

 

Some of his works from this time are characterised by swirls, such as The Starry Night. He was allowed short supervised walks, during which time he painted cypresses and olive trees, including Valley with Ploughman Seen from Above, Olive Trees with the Alpilles in the Background 1889, Cypresses 1889, Cornfield with Cypresses (1889), and Country road in Provence by Night (1890).

 

In September 1889, he produced two further versions of Bedroom in Arles and The Gardener.

 

Limited access to life outside the clinic resulted in a shortage of subject matter. Van Gogh instead worked on interpretations of other artists' paintings, such as Millet's The Sower and Noonday Rest, and variations on his own earlier work.

 

Van Gogh was an admirer of the Realism of Jules Breton, Gustave Courbet and Millet, and he compared his copies to a musician's interpretation of Beethoven.

 

His Prisoners' Round (after Gustave Doré) (1890) was painted after an engraving by Gustave Doré (1832–1883). Tralbaut suggests that the face of the prisoner in the centre of the painting looking towards the viewer is Van Gogh himself.

 

Between February and April 1890, Van Gogh suffered a severe relapse. Depressed and unable to bring himself to write, he was still able to paint and draw a little during this time, and he later wrote to Theo that he had made a few small canvases "from memory ... reminisces of the North".

 

Among these was Two Peasant Women Digging in a Snow-Covered Field at Sunset. Hulsker believes that this small group of paintings formed the nucleus of many drawings and study sheets depicting landscapes and figures that Van Gogh worked on during this time.

 

He comments that this short period was the only time that Van Gogh's illness had a significant effect on his work. Van Gogh asked his mother and his brother to send him drawings and rough work he had done in the early 1880's so that he could work on new paintings from his old sketches.

 

Belonging to this period is Sorrowing Old Man ("At Eternity's Gate"), a colour study Hulsker describes as:

 

"Another unmistakable

remembrance of times

long past".

 

Vincent's late paintings show an artist at the height of his abilities, according to the art critic Robert Hughes: "longing for conciseness and grace".

 

After the birth of his nephew, Van Gogh wrote:

 

"I started right away to make a picture

for him, to hang in their bedroom,

branches of white almond blossom

against a blue sky."

 

1890 Exhibitions and Recognition

 

Albert Aurier praised Vincent's work in the Mercure de France in January 1890, and described him as "a genius". In February, Van Gogh painted five versions of L'Arlésienne (Madame Ginoux), based on a charcoal sketch Gauguin had produced when she sat for both artists in November 1888.

 

Also in February, Van Gogh was invited by Les XX, a society of avant-garde painters in Brussels, to participate in their annual exhibition. At the opening dinner, a Les XX member, Henry de Groux, insulted Van Gogh's work.

 

Toulouse-Lautrec demanded satisfaction, and Signac declared he would continue to fight for Van Gogh's honour if Lautrec surrendered. De Groux apologised for the slight and left the group.

 

From the 20th. March to the 27th. April 1890, Van Gogh was included in the sixth exhibition of the Société des Artistes Indépendants in Paris. Van Gogh exhibited ten paintings. Claude Monet said that his work was the best in the show.

 

Vincent van Gogh in Auvers-sur-Oise (May–July 1890)

 

In May 1890, Van Gogh left the clinic in Saint-Rémy to move nearer to both Dr. Paul Gachet in the Paris suburb of Auvers-sur-Oise, and to his brother Theo.

 

Gachet was an amateur painter, and had treated several other artists – Camille Pissarro had recommended him. Van Gogh's first impression was that Gachet was not well, and was:

 

"Iller than I am, it seemed to

me, or let's say just as much."

 

The painter Charles Daubigny moved to Auvers in 1861, and in turn drew other artists there, including Camille Corot and Honoré Daumier. In July 1890, Van Gogh completed two paintings of Daubigny's Garden, one of which is likely his final work.

 

During his last weeks at Saint-Rémy, Vincent's thoughts returned to "memories of the North", and several of the approximately 70 oils, painted during as many days in Auvers-sur-Oise, are reminiscent of northern scenes.

 

In June 1890, he painted several portraits of his doctor, including Portrait of Dr. Gachet, and his only etching. In each the emphasis is on Gachet's melancholic disposition. There are other paintings which are probably unfinished, including Thatched Cottages by a Hill.

 

In July, Van Gogh wrote that:

 

"I have become absorbed in the

immense plain against the hills,

boundless as the sea, delicate

yellow".

 

He had first become captivated by the fields in May, when the wheat was young and green. In July, Vincent described to Theo "vast fields of wheat under turbulent skies".

 

He wrote that:

 

"They represent my sadness and extreme

loneliness. The canvases will tell you what

I cannot say in words, that is, how healthy

and invigorating I find the countryside".

 

Wheat field with Crows, although not his last oil work, is from July 1890, and Hulsker discusses it as being associated with "melancholy and extreme loneliness".

 

The Death of Vincent van Gogh

 

On the 27th. July 1890, aged 37, Van Gogh shot himself in the chest with a revolver. The shooting may have taken place in the wheat field in which he had been painting, or in a local barn.

 

The bullet was deflected by a rib and passed through his chest without doing apparent damage to internal organs – possibly stopped by his spine. He was able to walk back to the Auberge Ravoux, where he was attended to by two doctors.

 

One of them, Dr. Gachet, served as a war surgeon in 1870, and had extensive knowledge of gunshot wounds. Vincent was possibly attended to during the night by Dr Gachet's son Paul Louis Gachet and the innkeeper, Arthur Ravoux.

 

The following morning, Theo rushed to his brother's side, finding him in good spirits. But within hours Vincent's health began to fail, suffering from an infection resulting from the wound. He died in the early hours of the 29th. July 1890. According to Theo, Vincent's last words were:

 

"The sadness will last forever".

 

Van Gogh was buried on the 30th. July, in the municipal cemetery of Auvers-sur-Oise. The funeral was attended by Theo van Gogh, Andries Bonger, Charles Laval, Lucien Pissarro, Émile Bernard, Julien Tanguy and Paul Gachet, among twenty family members, friends and locals.

 

Theo suffered from syphilis, and his health began to decline further after his brother's death. Weak and unable to come to terms with Vincent's absence, he died on the 25th. January 1891 at Den Dolder and was buried in Utrecht.

 

In 1914, Johanna van Gogh-Bonger had Theo's body exhumed and moved from Utrecht to be re-buried alongside Vincent's at Auvers-sur-Oise.

 

Vincent van Gogh's Illness

 

There have been numerous debates as to the nature of Van Gogh's illness and its effect on his work, and many retrospective diagnoses have been proposed.

 

The consensus is that Van Gogh had an episodic condition with periods of normal functioning. Perry was the first to suggest bipolar disorder in 1947, and this has been supported by the psychiatrists Hemphill and Blumer.

 

Biochemist Wilfred Arnold has countered that the symptoms are more consistent with acute intermittent porphyria, noting that the popular link between bipolar disorder and creativity might be spurious.

 

Temporal lobe epilepsy with bouts of depression has also been suggested. Whatever the diagnosis, Vincent's condition was likely worsened by malnutrition, overwork, insomnia and alcohol.

 

Vincent van Gogh's Style and Works

 

Van Gogh drew and painted with watercolours while at school, but only a few examples survive, and the authorship of some of them has been challenged. When he took up art as an adult, he began at an elementary level.

 

In early 1882, his uncle, Cornelis Marinus, owner of a well-known gallery of contemporary art in Amsterdam, asked for drawings of The Hague. However Van Gogh's work did not live up to expectations.

 

Marinus offered a second commission, specifying the subject matter in detail, but was again disappointed with the result. Van Gogh persevered; he experimented with lighting in his studio using variable shutters and different drawing materials.

 

For more than a year he worked on single figures – highly elaborate studies in black and white, which at the time gained him only criticism. Later, they were recognised as early masterpieces.

 

In August 1882, Theo gave Vincent money to buy materials for working en plein air. Vincent wrote that he could now "go on painting with new vigour".

 

From early 1883, he worked on multi-figure compositions. He had some of them photographed, but when his brother remarked that they lacked liveliness and freshness, he destroyed them and turned to oil painting.

 

Van Gogh turned to well-known Hague School artists like Weissenbruch and Blommers, and he received technical advice from them as well as from painters like De Bock and Van der Weele, both of the Hague School's second generation.

 

Vincent moved to Nuenen after a short period of time and began work on several large paintings, but destroyed most of them. The Potato Eaters and its companion pieces are the only ones to have survived.

 

Following a visit to the Rijksmuseum Van Gogh wrote of his admiration for the quick, economical brushwork of the Dutch Masters, especially Rembrandt and Frans Hals.

 

Vincent was aware that many of his faults were due to lack of experience and technical expertise, so in November 1885 he travelled to Antwerp and later Paris to develop his skills.

 

Theo criticised The Potato Eaters for its dark palette, which he thought unsuitable for a modern style. Accordingly during Van Gogh's stay in Paris between 1886 and 1887, he tried to master a new, lighter palette.

 

His Portrait of Père Tanguy (1887) shows his success with the brighter palette, and is evidence of an evolving personal style.

 

Charles Blanc's treatise on colour interested Vincent greatly, and led him to work with complementary colours. Van Gogh came to believe that the effect of colour went beyond the descriptive; he said that:

 

"Colour expresses something in itself".

 

According to Hughes, Van Gogh perceived colour as having a "psychological and moral weight", as exemplified in the garish reds and greens of The Night Café, a work he wanted to "express the terrible passions of humanity".

 

Yellow meant the most to him, because it symbolised emotional truth. He used yellow as a symbol for sunlight, life, and God.

 

Van Gogh strove to be a painter of rural life and nature; during his first summer in Arles he used his new palette to paint landscapes and traditional rural life. His belief that a power existed behind the natural led him to try to capture a sense of that power, or the essence of nature in his art, sometimes through the use of symbols.

 

Vincent's renditions of the sower, at first copied from Jean-François Millet, reflect the influence of Thomas Carlyle and Friedrich Nietzsche's thoughts on the heroism of physical labour, as well as Van Gogh's religious beliefs: the sower as Christ sowing life beneath the hot sun.

 

These were themes and motifs that he returned to often in order to rework and develop. His paintings of flowers are filled with symbolism, but rather than use traditional Christian iconography he made up his own, where life is lived under the sun and work is an allegory of life.

 

In Arles, having gained confidence after painting spring blossoms and learning to capture bright sunlight, he was ready to paint The Sower.

 

Van Gogh stayed within what he called the "guise of reality," and was critical of overly stylised works. He wrote afterwards that the abstraction of Starry Night had gone too far and that reality had "receded too far in the background".

 

Hughes describes it as a moment of extreme visionary ecstasy:

 

"The stars are in a great whirl, reminiscent

of Hokusai's Great Wave, the movement in

the heaven above is reflected by the

movement of the cypress on the earth below,

and the painter's vision is translated into a

thick, emphatic plasma of paint".

 

Between 1885 and his death in 1890, Van Gogh appears to have been building an oeuvre, a collection that reflected his personal vision and which could be commercially successful.

 

He was influenced by Blanc's definition of style, that a true painting required optimal use of colour, perspective and brushstrokes.

 

Van Gogh applied the word "purposeful" to paintings he thought he had mastered, as opposed to those he thought of as studies.

 

He painted many series of studies, most of which were still lifes, many executed as colour experiments or as gifts to friends. The work in Arles contributed considerably to his oeuvre: those he thought the most important from that time were The Sower, Night Cafe, Memory of the Garden in Etten and Starry Night.

 

With their broad brushstrokes, inventive perspectives, colours, contours and designs, these paintings represent the style he sought.

 

Major Series

 

Van Gogh's stylistic developments are usually linked to the periods he spent living in different places across Europe. He was inclined to immerse himself in local cultures and lighting conditions, although he maintained a highly individual visual outlook throughout.

 

His evolution as an artist was slow, and he was aware of his limitations. He moved home often, perhaps to expose himself to new visual stimuli, and through exposure develop his technical skill.

 

Art historian Melissa McQuillan believes the moves also reflect later stylistic changes, and that Van Gogh used the moves to avoid conflict, and as a coping mechanism for when the idealistic artist was faced with the realities of his then current situation.

 

Portraits

 

Van Gogh said that portraiture was his greatest interest. In 1890 he wrote:

 

"What I'm most passionate about,

much much more than all the rest

in my profession is the portrait, the

modern portrait.

It is the only thing in painting that

moves me deeply and that gives

me a sense of the infinite."

 

He wrote to his sister that he wished to paint portraits that would endure, and that he would use colour to capture their emotions and character rather than aiming for photographic realism.

 

Those closest to Van Gogh are mostly absent from his portraits; he rarely painted Theo, Van Rappard or Bernard. The portraits of his mother were from photographs.

 

Van Gogh painted Arles' postmaster Joseph Roulin and his family repeatedly. In five versions of La Berceuse (The Lullaby), Van Gogh painted Augustine Roulin quietly holding a rope that rocks the unseen cradle of her infant daughter. Van Gogh had planned for it to be the central image of a triptych, flanked by paintings of sunflowers.

 

Self-portraits

 

Van Gogh created more than 43 self-portraits between 1885 and 1889. They were usually completed in series, such as those painted in Paris in mid-1887, and continued until shortly before his death. Generally the portraits were studies, created during periods when he was reluctant to mix with others, or when he lacked models, and so painted himself.

 

The self-portraits reflect a high degree of self-scrutiny. Often they were intended to mark important periods in his life; for example, the mid-1887 Paris series were painted at the point where he became aware of Claude Monet, Paul Cézanne and Signac.

 

In Self-Portrait with Grey Felt Hat, heavy strains of paint spread outwards across the canvas. It is one of his most renowned self-portraits of that period. It features highly organized rhythmic brushstrokes, and the novel halo derived from the Neo-impressionist repertoire was what Van Gogh himself called a 'purposeful' canvas.

 

The self-portraits contain a wide array of physiognomic representations. Van Gogh's mental and physical condition is usually apparent; he may appear unkempt, unshaven or with a neglected beard, with deeply sunken eyes, a weak jaw, or having lost teeth.

 

Some show him with full lips, a long face or prominent skull, or sharpened, alert features. His hair is sometimes depicted in a vibrant reddish hue, and at other times ash colored.

 

Van Gogh's self-portraits vary stylistically. In those painted after December 1888, the strong contrast of vivid colours highlight the haggard pallor of his skin. Some depict the artist with a beard, others without. He can be seen with bandages in portraits executed just after he mutilated his ear. In only a few does he depict himself as a painter.

 

Those painted in Saint-Rémy show the head from the right, the side opposite his damaged ear, as he painted himself reflected in his mirror.

 

Flowers

 

Van Gogh painted several landscapes with flowers, including roses, lilacs, irises, and sunflowers. Some reflect his interests in the language of colour, and also in Japanese ukiyo-e.

 

There are two series of dying sunflowers. The first was painted in Paris in 1887, and shows flowers lying on the ground. The second set was completed a year later in Arles, and is of bouquets in a vase positioned in early morning light. Both are built from thickly layered paintwork, which, according to the London National Gallery, evoke the "texture of the seed-heads".

 

In these series, Van Gogh was not preoccupied by his usual interest in filling his paintings with subjectivity and emotion; rather, the two series are intended to display his technical skill and working methods to Gauguin, who was about to visit.

 

The 1888 paintings were created during a rare period of optimism for the artist. Vincent wrote to Theo in August 1888:

 

"I'm painting with the gusto of a Marseillais eating bouillabaisse, which won't surprise you when it's a

question of painting large sunflowers.

If I carry out this plan there'll be a dozen or so panels.

The whole thing will therefore be a symphony in blue

and yellow.

I work on it all these mornings, from sunrise. Because

the flowers wilt quickly and it's a matter of doing the

whole thing in one go."

 

The sunflowers were painted to decorate the walls in anticipation of Gauguin's visit, and Van Gogh placed individual works around the Yellow House's guest room in Arles.

 

Gauguin was deeply impressed, and later acquired two of the Paris versions. After Gauguin's departure, Van Gogh imagined the two major versions of the sunflowers as wings of the Berceuse Triptych, and included them in his Les XX in Brussels exhibit.

 

Today the major pieces of the series are among his best known, celebrated for the sickly connotations of the colour yellow and its tie-in with the Yellow House, the expressionism of the brush strokes, and their contrast against often dark backgrounds.

 

Cypresses and Olives

 

Fifteen canvases depict cypresses, a tree he became fascinated with in Arles. He brought life to the trees, which were traditionally seen as emblematic of death.

 

The series of cypresses he began in Arles featured the trees in the distance, as windbreaks in fields; however when he was at Saint-Rémy he brought them to the foreground. Vincent wrote to Theo in May 1889:

 

"Cypresses still preoccupy me, I should

like to do something with them like my

canvases of sunflowers. They are beautiful

in line and proportion like an Egyptian

obelisk."

 

In mid-1889, and at his sister Wil's request, Van Gogh painted several smaller versions of Wheat Field with Cypresses. The works are characterised by swirls and densely painted impasto, and include The Starry Night, in which cypresses dominate the foreground.

 

In addition to this, other notable works on cypresses include Cypresses (1889), Cypresses with Two Figures (1889–90), and Road with Cypress and Star (1890).

 

During the last six or seven months of the year 1889, he had also created at least fifteen paintings of olive trees, a subject which he considered as demanding and compelling.

 

Among these works are Olive Trees with the Alpilles in the Background (1889), about which in a letter to his brother Van Gogh wrote:

 

"At last I have a landscape with olives".

 

While in Saint-Rémy, Van Gogh spent time outside the asylum, where he painted trees in the olive groves. In these works, natural life is rendered as gnarled and arthritic as if a personification of the natural world, which are, according to Hughes, filled with "a continuous field of energy of which nature is a manifestation".

 

Orchards

 

The Flowering Orchards and Orchards in Blossom are among the first groups of work completed after Van Gogh's arrival in Arles in February 1888. The 14 paintings are optimistic, joyous and visually expressive of the burgeoning spring. They are delicately sensitive and unpopulated.

 

Vincent painted swiftly, and although he brought to this series a version of Impressionism, a strong sense of personal style began to emerge during this period. The transience of the blossoming trees, and the passing of the season, seemed to align with his sense of impermanence and belief in a new beginning in Arles.

 

During the blossoming of the trees that spring, he found:

 

"A world of motifs that could not

have been more Japanese".

 

Vincent wrote to Theo on the 21st. April 1888 that he had 10 orchards and:

 

"One big painting of a cherry

tree, which I've spoiled".

 

During this period Van Gogh mastered the use of light by subjugating shadows and painting the trees as if they are the source of light – almost in a sacred manner. Early the following year he painted another smaller group of orchards, including View of Arles, Flowering Orchards.

 

Van Gogh was enthralled by the landscape and vegetation of the south of France, and often visited the farm gardens near Arles. In the vivid light of the Mediterranean climate his palette significantly brightened.

 

Wheat Fields

 

Van Gogh made several painting excursions during visits to the landscape around Arles. He made paintings of harvests, wheat fields and other rural landmarks of the area, including The Old Mill (1888); a good example of a picturesque structure bordering the wheat fields beyond.

 

At various points, Van Gogh painted the view from his window – at The Hague, Antwerp, and Paris. These works culminated in The Wheat Field series, which depicted the view from his cells in the asylum at Saint-Rémy.

 

Many of the late paintings are sombre but essentially optimistic and, right up to the time of Van Gogh's death, reflect his desire to return to lucid mental health. Yet some of his final works reflect his deepening concerns.

 

Van Gogh was captivated by the fields in May when the wheat was young and green. His Wheat Fields at Auvers with White House shows a more subdued palette of yellows and blues, which creates a sense of idyllic harmony.

 

In July 1890, Van Gogh wrote to Theo of

 

"Vast fields of wheat under troubled skies".

 

Wheat Field with Crows shows the artist's state of mind in his final days; Hulsker describes the work as:

 

"A doom-filled painting with threatening

skies and ill-omened crows".

 

Its dark palette and heavy brushstrokes convey a sense of menace.

 

Vincent van Gogh's Reputation and Legacy

 

After Van Gogh's first exhibitions in the late 1880's, his reputation grew steadily among artists, art critics, dealers and collectors. In 1887, André Antoine hung Van Gogh's alongside works of Georges Seurat and Paul Signac, at the Théâtre Libre in Paris; some were acquired by Julien Tanguy.

 

In 1889, his work was described in the journal Le Moderniste Illustré by Albert Aurier as characterised by "fire, intensity, sunshine".

 

Ten paintings were shown at the Société des Artistes Indépendants, in Brussels in January 1890. French president Marie François Sadi Carnot was said to have been impressed by Van Gogh's work.

 

After Van Gogh's death, memorial exhibitions were held in Brussels, Paris, The Hague and Antwerp. His work was shown in several high-profile exhibitions, including six works at Les XX; in 1891 there was a retrospective exhibition in Brussels.

 

In 1892, Octave Mirbeau wrote that Van Gogh's suicide was:

 

"An infinitely sadder loss for art ... even

though the populace has not crowded

to a magnificent funeral, and poor Vincent

van Gogh, whose demise means the

extinction of a beautiful flame of genius,

has gone to his death as obscure and

neglected as he lived."

 

Theo died in January 1891, removing Vincent's most vocal and well-connected champion. Theo's widow Johanna van Gogh-Bonger was a Dutchwoman in her twenties who had not known either her husband or her brother-in-law very long, and who suddenly had to take care of several hundreds of paintings, letters and drawings, as well as her infant son, Vincent Willem van Gogh.

 

Gauguin was not inclined to offer assistance in promoting Van Gogh's reputation, and Johanna's brother Andries Bonger also seemed lukewarm about his work.

 

Aurier, one of Van Gogh's earliest supporters among the critics, died of typhoid fever in 1892 at the age of 27.

 

In 1892, Émile Bernard organised a small solo show of Van Gogh's paintings in Paris, and Julien Tanguy exhibited his Van Gogh paintings with several consigned from Johanna van Gogh-Bonger.

 

In April 1894, the Durand-Ruel Gallery in Paris agreed to take 10 paintings on consignment from Van Gogh's estate. In 1896, the Fauvist painter Henri Matisse, then an unknown art student, visited John Russell on Belle Île off Brittany.

 

Russell had been a close friend of Van Gogh; he introduced Matisse to the Dutchman's work, and gave him a Van Gogh drawing. Influenced by Van Gogh, Matisse abandoned his earth-coloured palette for bright colours.

 

In Paris in 1901, a large Van Gogh retrospective was held at the Bernheim-Jeune Gallery, which excited André Derain and Maurice de Vlaminck, and contributed to the emergence of Fauvism.

 

Important group exhibitions took place with the Sonderbund artists in Cologne in 1912, the Armory Show, New York in 1913, and Berlin in 1914.

 

Henk Bremmer was instrumental in teaching and talking about Van Gogh, and introduced Helene Kröller-Müller to Van Gogh's art; she became an avid collector of his work. The early figures in German Expressionism such as Emil Nolde acknowledged a debt to Van Gogh's work.

 

Bremmer assisted Jacob Baart de la Faille, whose catalogue raisonné L'Oeuvre de Vincent van Gogh appeared in 1928.

 

Van Gogh's fame reached its first peak in Austria and Germany before the Great War, helped by the publication of his letters in three volumes in 1914. His letters are expressive and literate, and have been described as among the foremost 19th.-century writings of their kind.

 

The letters began a compelling mythology of Van Gogh as an intense and dedicated painter who suffered for his art and died young. In 1934, the novelist Irving Stone wrote a biographical novel of Van Gogh's life titled Lust for Life, based on Van Gogh's letters to Theo.

 

The novel and the 1956 film further enhanced his fame, especially in the United States where Stone surmised only a few hundred people had heard of Van Gogh prior to his surprise best-selling book.

 

In 1957, Francis Bacon based a series of paintings on reproductions of Van Gogh's The Painter on the Road to Tarascon, the original of which was destroyed during the Second World War.

 

Bacon was inspired by an image he described as "haunting", and regarded Van Gogh as an alienated outsider, a position which resonated with him. Bacon identified with Van Gogh's theories of art and quoted lines written to Theo:

 

"Real painters do not paint things as

they are ... They paint them as they

themselves feel them to be."

 

Van Gogh's works are among the world's most expensive paintings. Those sold for over US$100 million (today's equivalent) include Portrait of Dr Gachet, Portrait of Joseph Roulin and Irises.

 

The Metropolitan Museum of Art acquired a copy of Wheat Field with Cypresses in 1993 for US$57 million by using funds donated by publisher, diplomat and philanthropist Walter Annenberg.

 

In 2015, L'Allée des Alyscamps sold for US$66.3 million at Sotheby's, New York, exceeding its reserve of US$40 million.

 

Minor planet 4457 Van Gogh is named in his honour.

 

In October 2022, two activists protesting the effects of the fossil fuel industry on climate change threw a can of tomato soup on Van Gogh's Sunflowers in the National Gallery, London, and then glued their hands to the gallery wall. As the painting was covered by glass it was not damaged.

 

The Van Gogh Museum

 

Van Gogh's nephew and namesake, Vincent Willem van Gogh (1890–1978), inherited the estate after his mother's death in 1925. During the early 1950's he arranged for the publication of a complete edition of the letters presented in four volumes and several languages.

 

He then began negotiations with the Dutch government to subsidise a foundation to purchase and house the entire collection. Theo's son participated in planning the project in the hope that the works would be exhibited under the best possible conditions.

 

The project began in 1963; architect Gerrit Rietveld was commissioned to design the museum, and after his death in 1964, Kisho Kurokawa took charge. Work progressed throughout the 1960's, with 1972 as the target for its grand opening.

 

The Van Gogh Museum opened in the Museumplein in Amsterdam in 1973. It became the second most popular museum in the Netherlands, after the Rijksmuseum, regularly receiving more than 1.5 million visitors a year.

 

In 2015 it had an attendance of a record 1.9 million individuals. Eighty-five percent of the visitors come from other countries.

 

Nazi-Looted Art

 

During the Nazi period (1933–1945) a great number of artworks by Van Gogh changed hands, many of them looted from Jewish collectors who were forced into exile or murdered.

 

Some of these works have disappeared into private collections. Others have since resurfaced in museums, or at auction, or have been reclaimed, often in high-profile lawsuits, by their former owners.

 

The German Lost Art Foundation still lists dozens of missing Van Goghs, and the American Alliance of Museums lists 73 van Goghs on the Nazi Era Provenance Internet Portal.

 

Entitled [sound of clearing throat], it was the third of 5 pieces commissioned for the graham cracker New Museum

The photographic portfolio entitled “GLOBALIZING CONTAMINATIONS” was among the finalists at the PORTFOLIO SIFEST 2018 international award (Italy). This photography project is the result of a one-month period lived in Africa from Kenya to Tanzania. In the 1950s and 1960s, the European colonial powers gradually ceased to administer their African territories. The process of “apparent decolonization” led to the gradual departure of all the expatriate personnel of the colonizing nations: administrators, soldiers and all those who had settled in the “colony”. This process favored the creation of independent states and paved the way for new foreign influences over those of the colonial powers. Therefore, after some years living in Africa, I came to ask myself: “How has the influence, after decolonization, of European countries evolved in the face of the emancipation of African countries and the competition of new powers?”

Loaded with patriotism and pathos. A sentimental art CDV from the Civil War entitled "War News." It shows a mother and her children, one of whom is looking at a newspaper with the headline "EXTRA" at the top. On the piano is the sheet music for "Home, Sweet Home." On the wall is a picture of the husband and father wearing an officer's uniform and who presumably must be away in the war. Outside the window is a building flying an American flag from the roof.

 

The family portrayed in this sentimental picture entitled "War News" represents the thousands of women and children left behind on the home front during the American Civil War. In the painting reproduced as a CDV an anxious wife and her child examine a newspaper for word of an absent soldier husband whose portrait hangs prominently on the wall. Sentimental and patriotic themes are evident in the sheet music for "Home Sweet Home" on the piano and the US flag flying over the building seen outside the window. CDV by Selby & McCauley, Photograph Album & Carte de Visite Depot, Baltimore.

 

See the back of the card here.

Psycho Killer by Clint Crisher is a cover from Clint Crishers addictive collection entitled Terrific Distraction.

www.youtube.com/watch?v=VtnxUAf4fkI

CD REVIEW: Terrific Distraction by Clint Crisher will leave fans of pop thirsting for more! Radiating influences of many styles, including rock and reggae, this CD boasts mass appeal. On some of the tracks, Clint creatively mixes his own vocals and riffs on top of popular pop/rock songs. I Knew U Were the 1 is a groovy duet, showing heavy Caribbean influences. The hypnotic and racy Run Baby Run incorporates great electronica effects and flaunts a very catchy chorus. Clint has an undeniable gift for creating memorable rhymes and melodies, exploring topics of God, love, sex appeal, and anger. Moreover, Clints edgy yet smooth vocal tone adds personality and life to these tunes! Terrific production is just one more reason for fans of pop figures like George Michael and Prince to buy Terrific Distraction today!

CD Review by-Xavier P. from RadioIndy dot com

Another 12 HR Video Production by: Crisher Entertainment

Video Camera by: Carol Clarke

For more news updates, photos, videos, and more visit www.ClintCrisher.com

 

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Clint Crisher's "Exclusive Agent" M.David Wise at Nferno Entertainment Agency, LLC 310.691.3949 or visit www.nfernoentertainment.com/documents/featured.html

From my set entitled “Clematis”

www.flickr.com/photos/21861018@N00/sets/72157607213973154/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Clematis

Clematis (from Ancient Greek klematis, a climbing plant, probably periwinkle) is a genus of mostly vigorous climbing lianas, with attractive flowers. Some species are shrubby, and some others are herbaceous perennial plants. They are found throughout the temperate regions of both hemispheres, and also in mountains in the tropics. The cool temperate species are deciduous, but many of the warmer climate species are evergreen.

Most species are known as Clematis in English, while some are also known as traveller's joy, leather flower, vase vine and virgin's bower, the last three being names used for North American species.

 

One recent classification recognised 297 species of clematis. Unsurprisingly, therefore, modern taxonomists subdivide the genus. Magnus Johnson divided Clematis into 19 sections, several with subsections [1]; Christopher Grey-Wilson divided the genus into 9 subgenera, several with sections and subsections within them [2]. Several of the subdivisions are fairly consistent between different classifications, for example all Grey-Wilson's subgenera are used as sections by Johnson.

 

Although the genus Clematis is extremely diverse many of the most popular forms grown in gardens are cultivars belonging to the Viticella section of the subgenus Flammula as defined by Grey-Wilson. These larger flowered cultivars are often used within garden designs to climb archways, pergolas, wall-mounted trellis or to grow through companion plants. Raymond Evison chronicles the history and development of these forms which normally have large 12-15cm diameter upward facing flowers and believes they largely involve crosses of c. patens, c. lanuginosa and c. viticella.

 

Early season large flowering forms (e.g "Nelly Moser") tend towards the natural flowering habit of c. patens or c. lanuginosa while later flowering forms (eg. x jackmanii) are nearer in habit to c. viticella.

 

Clematis leaves are food for the caterpillars of some Lepidoptera species, including the Willow Beauty (Peribatodes rhomboidaria).

 

Clematis ligusticifolia is widespread across the western United States and grows in streamside thickets, wooded hillsides, and coniferous forests up to 4,000 feet. A related species, Clematis columbiana, is widespread from British Columbia south into Oregon, with a range that extends east into Montana and Wyoming. Clematis was referred to as "pepper vine" by early travelers and pioneers of the American West and used as a pepper substitute to spice up food during the period of western colonization, since during this period, Black pepper (Piper nigrum), was a costly and rarely obtainable spice.

The entire genus contains essential oils and compounds which are extremely irritating to the skin and mucous membrames. Unlike Black Pepper or Capsicum, however, the compounds in clematis cause internal bleeding of the digestive tract if ingested internally in large amounts. The plants are essentially toxic. Despite its toxicity, Native Americans used very small amounts of clematis as an effective treatment for migraine headaches and nervous disorders. It was also used as an effective treatment of skin infections.[1]

 

A booklet entitled "Sommerfahrplan 1929 der Kraftwagenlinien im Freistaat Sachsen" or the Summer timetable 1929 of the postal motor bus routes in the Free State of Saxony. The charming cover combines a sketch of two vehicles and a throng of waiting passengers who wait to explore Saxony by motor bus.

 

The booklet includes the details and timetables of the extensive post bus services operated from the major centres of Chemnitz, Dresden and Leipzig and includes a folding map showing the network. It also includes various adverts.

  

From my set entitled “Iris”

en.wikipedia.org/wiki/Iris_(plant)

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Iris_(plant)

 

Iris is a genus of between 200-300 species of flowering plants with showy flowers which takes its name from the Greek word for a rainbow, referring to the wide variety of flower colors found among the many species. As well as being the scientific name, Iris is also very widely used as a common name and refers to all Iris species as well as some closely related genera.

 

The genus is widely distributed throughout the north temperate zone. Their habitats are considerably varied, ranging from cold regions into the grassy slopes, meadowlands, stream banks of Europe, the Middle East and northern Africa, Asia and across North America.

They are perennial herbs, growing from creeping rhizomes (rhizomatous irises), or, in drier climates, from bulbs (bulbous irises). They have long, erect, flowering stems, which may be simple or branched, solid or hollow, and flattened or have a circular cross-section. The rhizomatous species usually have 3-10 basal, sword-shaped leaves growing in dense clumps. The bulbous species have cylindrical basal leaves.

The inflorescences are fan-shaped and contain one or more symmetrical, six-lobed flowers. These grow on a pedicel or lack a footstalk. The three sepals, which are spreading or droop downwards, are referred to as falls. They expand from their narrow base into a broader limb (= expanded portion), often adorned with veining, lines or dots. The three, sometimes reduced, petals stand upright, partly behind the sepal bases. They are called standards. Some smaller iris species have all six lobes pointing straight outwards. The sepals and the petals differ from each other. They are united at their base into a floral tube that lies above the ovary. The styles divide towards the apex into petaloid branches (see pollination, below).

The iris flower is of special interest as an example of the relation between flowering plants and pollinating insects. The shape of the flower and the position of the pollen-receiving and stigmatic surfaces on the outer petals form a landing-stage for a flying insect, which in probing the perianth for nectar, will first come in contact of perianth, three with the stigmatic stamens in one whorl surface which is borne and an ovary formed of three carpels. The shelf-like transverse projection on the inner whorl under side of the stamens, which is beneath the over-arching style arm below the stigma, so that the insect comes in contact with its pollen-covered surface only after passing the stigma, while in backing out of the flower it will come in contact only with the non-receptive lower face of the stigma. Thus, an insect bearing pollen from one flower, will in entering a second, deposit the pollen on the stigma, while in backing out of a flower, the pollen which it bears will not be rubbed off on the stigma of the same flower!

 

The photographic portfolio entitled “GLOBALIZING CONTAMINATIONS” was among the finalists at the PORTFOLIO SIFEST 2018 international award (Italy). This photography project is the result of a one-month period lived in Africa from Kenya to Tanzania. In the 1950s and 1960s, the European colonial powers gradually ceased to administer their African territories. The process of “apparent decolonization” led to the gradual departure of all the expatriate personnel of the colonizing nations: administrators, soldiers and all those who had settled in the “colony”. This process favored the creation of independent states and paved the way for new foreign influences over those of the colonial powers. Therefore, after some years living in Africa, I came to ask myself: “How has the influence, after decolonization, of European countries evolved in the face of the emancipation of African countries and the competition of new powers?”

The current project entitled “The Support Resilience in Time of Crisis: Increase Availability of Energy at the Local Level” is funded by the Government of Netherlands and implemented by the United Nations Development Programme (UNDP).

 

The Lebanon Crisis Response Plan – LCRP identified energy as one of the target sectors. More specifically the plan states, that “Government authorities in charge of the Energy and Water Sector, in collaboration with international and local partners, will continue their strong support to the most affected local communities, particularly through infrastructure projects in electricity, water, wastewater and solid waste. This has a vital benefit in mitigating the risks of social conflict between the local host communities and the displaced persons from Syria, and will be realized through the implementation of several activities.

 

The project’s objective is to increase the implementation of solar photovoltaic and/or other renewable energy projects within institutions (having a social impact or serving a social cause, located within the 251 most vulnerable communities in Lebanon), as a medium-term approach to reducing the impact of the Syrian crisis on the most vulnerable portion of the population. This objective is in line with the Lebanon Crisis Response Plan for 2017 - 2020.

 

“‘Entitle’ is an elaborate light installation designed in the 18th-century Rococo style and crafted using the traditional techniques of Chinese lantern- making. Covering 10 square metres, the artwork features four large decorative towers, heavily ornamented with gold and brightly coloured flowers, which surround a base displaying a light-sculpture of a mother pig and her suckling young.

 

“Whilst it channels the ornamental excess of the Rococo, ‘Entitle’ is not intended to be just a decorative piece. Instead, artist Amanda Parer uses the work to make a statement about the consequences of overly indulgent contemporary lifestyles. The pig represents gluttony, and the flowers adorning the towers are not the pretty European flora that featured in the Rococo; instead, they are extinct species. The piglets feeding from their mother represent the ‘entrenched sense of multi-generational entitlement’ that exists in Western culture.

 

“In Europe during the 1700s, the Rococo was a period of excess. For those who could afford it, the lifestyle of the period was highly indulgent and based on the pursuit of pleasure at the expense of the other strata of society. The artwork of the time is reflective, with intricate floral and pattern designs featuring fanciful curves and the use of gold and bright colours.

 

“‘Entitle’ references both Eastern and Western culture to enhance the theme of overindulgence using the lavish Chinese lantern technique, the overly ornate Rococo-inspired design and the symbolism of the greedy pig.”

Image of Caroline Kennedy as a queen, entitled to a senate seat by birth. This was photo shopped by Tennyson Hayes and appeared in Michelle Malkin's blog.

 

michellemalkin.com/2008/12/23/photoshop-of-the-morning-qu...

This panorama is entitled “Alexandria,” also named after the town in which it was photographed in. When printed at its native size, the panorama should measure approximately 10” tall by 127” (~10.6 feet) wide, “Alexandria” was photographed at a 270 degree view, meaning its only 3/4ths of the total landscape.

 

Hello everyone and welcome to my first photography project of the year! After roughly three years of searching, thinking, photographing, developing, and all that, I figured out what my main theme will be for the rest of my photography career in High School: Panoramas. From the simplistic pictures of Photo I, the random creative projects of Photo II, the suicide and murder themes of early Photo III, to my main theme of old towns captured as a panoramas from late Photo III and onward. I didn’t choose to shoot old towns on panoramas just because it might seem easy; in fact, the general practice of editing a panorama is far from simple, for my first one for this project, it took approximately two weeks of nonstop editing. On average, it took me approximately 20 minutes to capture a 270 degree panorama, and it could take longer depending on how populated and crowded it was to shoot the whole thing. Not only that, since the panoramas are being edited at their native size (10 inches by infinity inches), they require beefy computers to be edited completely. Our editing PCs at school fulfil the guidelines for “beefy” at least for regular photo editing, but in reality, they aren’t the best for panorama editing at all. In the end, the process is time consuming and requires a lot of patience. For the easiness of printing and mounting, the panoramas are printed on 13” x 19” semi-gloss paper. If I were to use these panoramas in a contest, for example, then I’d print them at their full size. The first panorama is entitled “Occoquan,” named after the town in which it was photographed in. When printed at its native size, the panorama should measure approximately 10” tall by 140” (~11.6 feet) wide. The next panorama is entitled “Clifton,” like “Occoquan,” it was named after the town in which it was photographed in. When printed at its native size, the panorama should measure approximately 10” tall by 168” (~14 feet) wide, “Clifton” was photographed at a full 360 degree view, meaning it’s a complete capture of everything that happened around the camera. The final panorama is entitled “Alexandria,” also named after the town in which it was photographed in. When printed at its native size, the panorama should measure approximately 10” tall by 127” (~10.6 feet) wide, “Alexandria” was photographed at a 270 degree view, meaning its only 3/4ths of the total landscape. All of the panoramas successfully capture everything going on in the town at that moment in time like people walking, going about their day and cars driving by going were they need to. These panoramas aren’t just some photos of towns, they’re a time capsule; for example, when people take family pictures, they want the memories to be kept in a physical and authentic form; however, when you take those pictures, you miss what goes on in other parts of the scene, the style of people, the activities of people, and most importantly, the decade and era of people. These panoramas photograph a date, not just an event. They photograph how we lived during this period in time because only time, itself, can change. Eventually we won’t live life in this lifestyle anymore, time moves on and things change. That’s my goal in capturing “Occoquan,” “Alexandria,” and “Clifton.” Well that’s all I really have to say about them, I’ll see you all in my second quarter project!

 

Project Serial Number: Q1:P2:PY4

Camera Model: Olympus E-510 DSLR

Lens: Zuiko ED 40-150mm Telephoto Lens

Camera Resolution: 10 Megapixels

Edited With: Adobe Photoshop CC 2017

The current project entitled “The Support Resilience in Time of Crisis: Increase Availability of Energy at the Local Level” is funded by the Government of Netherlands and implemented by the United Nations Development Programme (UNDP).

 

The Lebanon Crisis Response Plan – LCRP identified energy as one of the target sectors. More specifically the plan states, that “Government authorities in charge of the Energy and Water Sector, in collaboration with international and local partners, will continue their strong support to the most affected local communities, particularly through infrastructure projects in electricity, water, wastewater and solid waste. This has a vital benefit in mitigating the risks of social conflict between the local host communities and the displaced persons from Syria, and will be realized through the implementation of several activities.

 

The project’s objective is to increase the implementation of solar photovoltaic and/or other renewable energy projects within institutions (having a social impact or serving a social cause, located within the 251 most vulnerable communities in Lebanon), as a medium-term approach to reducing the impact of the Syrian crisis on the most vulnerable portion of the population. This objective is in line with the Lebanon Crisis Response Plan for 2017 - 2020.

 

 

Image from 'The Russian Empire, its People, Institutions and Resources. Translated [from the work entitled: “Studien über die innern Zustande,” etc.] by R. Farie', 001623786

 

Author: HAXTHAUSEN, August von Baron

Volume: 01

Page: 245

Year: 1856

Place: London

Publisher:

 

Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.

Open the page in the British Library's itemViewer (page: 000245)

Download the PDF for this book

  

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