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Fuji Finepix S2 Pro / 28 to 105mm Nikon lens / post work done in Adobe Lightroom and PSCS
A collection of buildings designed by Kerry sculptor James Scanlon, and executed by local stoneworkers, they are located overlooking the Sneem River near St.Michael's Church.
A faded but strong 1966 Volvo Amazon (121) and a Mercedes-Benz W210 pickup truck conversion, looking a little bit worse for wear. This is a 1997 300TD, I don't know if it was executed by Bjerg, who made the cap for the bed. It was definitely a sedan originally.
Tantalizingly executing her famous "You sweet THANG!" pose as seen in print ads, magazines, telly adverts & such
Madonna and Child is a tempera and gold on panel painting by Carlo Crivelli, executed c. 1480, and signed OPVS CAROLI CRIVELLI VENETI. It is now in the Pinacoteca civica Francesco Podesti in Ancona.[1] Its dating has varied on stylistic grounds between the 1470s and 1480s, close in date to the artist's Lenti Madonna and Madonna and Child with an Apple.
According to Melchiorri (1844), the painting was originally in the Gabriel Ferretti chapel in the church of San Francesco ad Alto in Ancona. The chapel had been built in 1480 by Ferretti's nephew. In 1861 the work was in a closet in that church's sacristy, where it was seen by Cavalcaselle and Giovanni Morelli who noted its "marvellous [state of] conservation" in a catalogue of art objects in the Marche. It was then displayed at the former monastery of San Domenico in the town, before moving to the church of San Francesco alle Scale. It was taken to Urbino during the Second World War and remained there until returning to Ancona in 1950, where it was displayed at the Palazzo degli Anziani and the Palazzo Bosdari before entering its present collection.
Day 2 of Spring Break for the kid and I. My turn is over, and we sure packed it in today with a lot of imperfectly planned and executed adventures, but we both had fun. Tons of photos that I haven't seen yet, but this one is from the phone, of a semi-muddy BMX track we stopped at to ride and he's inspecting. It was soft but still fun. I might swap this out once I look at the "real camera" images, but I'm trying not to fall further behind and I like the simplicity of it. Phone>Flickr>Aviary = #103?
Decided to gather all my Clone Minifigs and snap this pic. I also included hologram Palpatine, Anakin, the “what are we going to do” Padawan, and Aayla Secura, almost all of which are official.
You may have noticed my activity on here has gone down recently, and to be honest, it has. Flickr’s just not the same anymore, there’s barely any views, faves, and comments on my posts, and I’ve gained more followers on Instagram in 3 months than I have on here in 3 years. It’s a shame most of the community has moved to Instagram, admittedly so have I, and I’m torn whether or not I should still post here. I haven’t got much stake left here anymore, and as much fun as it’s been, I just don’t know whether I should still invest my time in Flickr. What do you guys think?
The church is renowned for its 12th century mosaics executed by craftsmen working in the Byzantine style. The mosaics show many iconographic and formal similarities to the roughly contemporary programs in the Cappella Palatina, in Monreale Cathedral, and in Cefalù Cathedral, although they were probably executed by a distinct atelier.[16]
The walls display two mosaics taken from the original Norman façade, depicting King Roger II, George of Antioch's lord, receiving the crown of Sicily from Jesus, and, on the northern side of the aisle, George himself, at the feet of the Virgin. The depiction of Roger was highly significant in terms of its iconography. In Western Christian tradition, kings were customarily crowned by the Pope or his representatives; however, Roger is shown in Byzantine dress being crowned by Jesus in the Byzantine fashion. Roger was renowned for presenting himself as an emperor during his reign, being addressed as basileus ("king" in koine Greek). The mosaic of the crowning of Roger carries a Latin inscription written in koine Greek characters (Rogerios Rex ΡΟΓΕΡΙΟΣ ΡΗΞ "king Roger").
The nave dome is occupied by the traditional byzantine image of Christ Pantokrator surrounded by the archangel saints: Michael, Gabriel, Raphael, and Uriel. The register below depicts the eight prophets of the Old Testament and, in the pendentives, the four evangelists of the New Testament. The nave vault depicts the Nativity and the Death of the Virgin.
c/o Wikipedia
Portrait of Pope Innocent X is an oil on canvas portrait by the Spanish painter Diego Velázquez, executed during a trip to Italy around 1650. Many artists and art critics consider it the finest portrait ever created. It is housed in the Galleria Doria Pamphilj in Rome. A smaller version is held by the Metropolitan Museum of Art in New York, and a study is on display at Apsley House in London. The painting is noted for its realism as an unflinching portrait of a highly intelligent, shrewd, and aging man. He is dressed in linen vestments, and the quality of the work is evident in the rich reds of his upper clothing, head-dress, and the hanging curtains.
The pope, born Giovanni Battista Pamphilj, was initially wary of sitting for Velázquez, but relented after he was shown reproductions of portraits by the artist. A contributing factor for this large advancement in the painter's career was that he had already depicted a number of members of Pamphilj's inner court. The pope, however, remained cautious, and the painting was initially displayed only to his immediate family, and was largely lost from public view through the 17th and 18th centuries.
The portrait was painted during Velázquez's second voyage to Italy, between 1649 and 1651. The subject's vestments are of light linen, suggesting that the picture was probably painted during summer, most likely in 1650. Velázquez included his signature on the paper in the pope's hands, but the date is not readable. There are two versions of the story of how Velázquez came to paint the portrait. According to one of these, while visiting Rome, Velázquez, already a renowned painter, was granted an audience with Pope Innocent X. He offered to paint a portrait of the pope, but Innocent X mistrusted Velázquez's fame, and asked for proof of Veláquez's skills. It would have been then that Velázquez painted the portrait of his servant Juan de Pareja (today at display in the Metropolitan Museum of New York). Once Innocent saw that portrait, he agreed to sit for the artist.
Apparently, when the pope saw the finished portrait, he exclaimed: "È troppo vero! È troppo vero!" ("It's too true! It's too true!"), though he did not deny the extraordinary quality of the portrait.[4] Experts doubt the veracity of this story, and argue that the pope allowed Velázquez to paint him because he had already painted with great success other people from the inner papal court, including the pope's barber.
The portrait was kept at private display by Innocent's family, the Pamphilj, who would display it in the Doria Pamphilj Gallery where it remains to this day. For much of the 17th and 18th centuries, it was a relatively unknown work, familiar only to a few connoisseurs who regarded it to be one of the finest portraits ever. French historian Hippolyte Taine considered the portrait as "the masterpiece amongst all portraits" and said "once it has been seen, it is impossible to forget".
The art dealer René Gimpel noted in his diary in 1923 "Morgan would have offered a million dollars for it. Velázquez was faced with a ruddy Italian, and the artist, accustomed to the pale complexions of his country, unhesitatingly steeped his brush in red the color of wine and brought the bon vivant devastatingly to life.... That face is a whirlpool of flesh, and blood, and life; the eyes are searching.
The 20th century artist Francis Bacon painted a series of distorted variants, often known as the "Screaming Popes", which total more than forty-five known variants executed during the 1950s and early 1960s. The picture was described by Gilles Deleuze as an example of creative re-interpretation of the classical. Bacon avoided seeing the original, but the painting remained the single greatest influence on him; its presence can be seen in many of his best works from the late 1940s to the early 1960s. In Bacon's 1953 version Study after Velázquez's Portrait of Pope Innocent X, the pope is shown screaming yet his voice is "silenced" by the enclosing drapes and dark rich colors which have been said to create a grotesque and nightmarish tone. The pleated curtains of the backdrop are rendered transparent and appear to fall through the representation of the pope's face.
A reversed form of the portrait features on the cover of occult rock band Ghost's 2018 album Prequelle.
"The Kapellbrücke (literally, Chapel Bridge) is a covered wooden footbridge spanning the river Reuss diagonally in the city of Lucerne in central Switzerland. Named after the nearby St. Peter's Chapel, the bridge is unique in containing a number of interior paintings dating back to the 17th century, although many of them were destroyed along with a larger part of the centuries-old bridge in a 1993 fire. Subsequently restored, the Kapellbrücke is the oldest wooden covered bridge in Europe, as well as the world's oldest surviving truss bridge. It serves as the city's symbol and as one of Switzerland's main tourist attractions.
Part of the bridge complex is the octagonal 34.5 m (113 ft) tall (from ground) Wasserturm, which translates to "water tower," in the sense of 'tower standing in the water.' The tower pre-dated the bridge by about 30 years. Over the centuries, the tower has been used as a prison, torture chamber, and later a municipal archive as well as a local treasury. Today, the tower is closed to the public, although it houses a local artillery association and a tourist gift shop.
The bridge itself was originally built c.1365 as part of Lucerne's fortifications. It linked the old town on the right bank of the Reuss to the new town on the left bank, securing the town from attack from the south (i.e. from the lake). The bridge was initially over 270 metres (890 ft) long, although numerous shortenings over the years and river bank replenishments mean the bridge now totals only 204.7 metres (672 ft) long. It is the oldest surviving truss bridge in the world, consisting of strutted and triangulated trusses of moderate span, supported on piled trestles; as such, it is probably an evolution of the strutted bridge.
The Kapellbrücke almost burned down on 18 August 1993, destroying two thirds of its interior paintings. Shortly thereafter, the Kapellbrücke was reconstructed and again opened to the public on 14 April 1994 for a total of CHF 3.4 million.
Lucerne is unique in that its three wooden pedestrian bridges, the 14th-century Hofbrücke (now destroyed) and Kapellbrücke and the 16th-century Spreuerbrücke, all featured painted interior triangular frames. None of Europe's other wooden footbridges have this feature. The paintings, dating back to the 17th century and executed by local Catholic painter Hans Heinrich Wägmann, depict events from Lucerne's history. Of the original 158 paintings, 147 existed before the 1993 fire. After the fire, the remains of 47 paintings were collected, but ultimately only 30 were fully restored.
The wooden boards that held the paintings varied from 150 centimetres (59 in) to 181 centimetres (71 in) wide and 85 centimetres (33 in) to 95 centimetres (37 in) wide. Most of the panels were made from spruce wood boards, and only a few were made from linden wood and maple. The paintings were created during the Counter-Reformation, featuring scenes promoting the Catholic Church. The paintings were sponsored by the city's council members, who, upon sponsoring a panel, were allowed to attribute their personal coat of arms on it. An explanation of each painting was printed below each scene. The paintings ran all along the bridge, dating from the life and death of Lucerne's patron saint St.Leger to the legends of the city's other patron saint St. Maurice.
Lucerne is a city in central Switzerland, in the German-speaking portion of the country. Lucerne is the capital of the canton of Lucerne and part of the district of the same name. With a population of approximately 82,000 people, Lucerne is the most populous town in Central Switzerland, and a nexus of economics, transportation, culture, and media in the region. The city's urban area consists of 19 municipalities and towns with an overall population of about 220,000 people.
Owing to its location on the shores of Lake Lucerne (German: Vierwaldstättersee) and its outflow, the river Reuss, within sight of the mounts Pilatus and Rigi in the Swiss Alps, Lucerne has long been a destination for tourists. One of the city's famous landmarks is the Chapel Bridge (German: Kapellbrücke), a wooden bridge first erected in the 14th century.
The official language of Lucerne is the Swiss variety of Standard German, but the main spoken language is the local variant of the Alemannic Swiss German dialect." - info from Wikipedia.
During the summer of 2018 I went on my first ever cycling tour. On my own I cycled from Strasbourg, France to Geneva, Switzerland passing through the major cities of Switzerland. In total I cycled 1,185 km over the course of 16 days and took more than 8,000 photos.
Now on Instagram.
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Is it the BN Executive Train? Not quite, but close. BNSF (ex-BN) SD70MAC #9766 is on the point of the westbound California Zephyr accounting for Amtrak's power shortage problem. It's something other than dragging coal for this unit.
For some time I have been wanting to execute this shot. For the lighting, I used one strobe light with a 10% grid pointing directly at Kerron's face. The only other light was spill coming from the white background sweep.
Background shot HDR with five exposures in one stop increments.
Please visit my blog for more details.
Visit my blog: www.joelgrimesworkshops.com
This image is protected by copyright, no use of this image shall be granted without the written permission from Joel Grimes.
8th February, 1587, Fotheringhay Castle, England, Mary, Queen of Scots was executed. It was the first "legal" execution of an anointed European monarch.
For the last 19 years she had been in England in what was effectively imprisonment. In October 1586 she had been found guilty of plotting the assassination of Elizabeth I of England, her cousin in what became known as the Babington Plot.
On the morning of her execution she entered the Great Hall, wearing black garments, and told her friends and servants to ‘rejoice rather than weep for that the end of Mary Stuart’s troubles is now come … tell my friends that I die a true woman to my religion, and like a true Scottish woman and a true French woman.’
Mary was disrobed of her black garments revealing an outfit of deep red – the Catholic colour of martyrdom. She then knelt down on a cushion, rested her head on the execution block, as she stretched out her arms she cried out in Latin “Into thy hands, O Lord, I commend my spirit.”
Her executioner had to take three swings of the axe, the first landed on the back of her head rather than her neck. The second blow was semi-successful in its purpose cutting into her neck. The third completing the severing.
As the executioner lifted Mary’s head he was left holding her wig, whilst her head tumbled onto the stage. The remains revealed the effects of her years as a prisoner with her hair being short and completely grey. To cap off the surprises Mary’s little Skye terrier revealed itself after having his in Mary's skirts, it was now soaked in blood.
Mary, Queen of Scots was 44.
Riopelle executed this canvas in the style he learned from his teacher, Henri Bisson. This view depicts his childhood home on De Lorimier street in a working class district of Montreal, where he played street hockey with his friends. He regularly spent Sundays with Bisson painting in nature and the surrounding neighbourhoods. We can easily envision a young Riopelle strolling along this road with a hockey stick in hand and an easel and paint box in his arms.
Christ at the Column is an oil on panel painting attributed to Donato Bramante, executed c. 1490 and held at the Pinacoteca di Brera, in Milan.
The panel was commissioned by the Abbey of Chiaravalle near Milan. It is the only known surviving panel painting attributed to Bramante. The attribution isn't universally accepted. Some scholars, such as William Suida, consider the painting more likely the work of Bramantino.
The work has been in the museum since 1915, on deposit from the abbey, where it was replaced by a copy. On January 15, 2017, following a malfunction of the heating system, the painting, together with another forty, suffered damage due to the sudden change in temperature. It was immediately taken to the museum's laboratory for restoration.
The work depicts Christ tied to a column (in this case an ornate pillar with classical bas-relief decoration) before being scourged. The very close up shot transmits a very strong emotion, accentuating the already poignant scene and creating, on the whole, an atmosphere of strong psychological tension. Even more, the details, such as the rope dangling from the neck of Christ, contribute to create that remarkable emotional apprehension that flows from the entire composition. The procedure with which the idea of a vast colonnaded space is given is, in practice, the same used in the architecture of the fake choir of Santa Maria at San Satiro: the extension of the main elements beyond the boundaries of the painting and the suggestion of distance between foreground and background.
The classic modeling of the body of Christ attests the influence of the Urbino culture from which Bramante artistically came, while other details demonstrate the influence of the Flemish painting, such as the double lighting (frontal, in this case oriented from left to right, and from the window on the background), the view that fades into the distance, and the meticulous attention to detail. In this sense, the study on light stands out, creating a myriad of colored reflections, as in the reddish and blue ones in the hair and beard of Christ.
Some details refer to Leonardo da Vinci's influence, such as the study of the expressive potential of the face, or some details of extreme realism such as the flesh tightened by ropes or transparent tears.
A golden pyx rests on the windowsill, a reference to the Eucharist, which reveals the meaning of Christ's sacrifice.
Sometimes described as Tudor, this beautiful Grade I-listed gatehouse at Lanhydrock actually dates from 1651, two years after King Charles I was executed. The gatehouse was originally attached to the main house, which had an east range and forecourt walls. Those were demolished in about 1780, leaving the gatehouse free-standing. In 1857, the gatehouse was again attached to the house by the low garden walls, designed by George Gilbert Scott.
Lanhydrock House stands in extensive grounds above the River Fowey almost midway between Bodmin and Lostwithiel. It has been owned and managed by the National Trust since 1953. Much of the present house dates back to late Victorian times when it was rebuilt after a major fire, but some sections date from the 17th century.
Born illegitimately
To a whore most likely
He became an orphan
Oh what a lovely orphan
He was sent to the reformatory
Ten years old was his first glory
Got caught stealing from a nun
Now his love story had begun
Thirty years he spent wandering
A devil's child with dove wings
He went to prison
In every country he set foot in
Oh how he loved prison
How awfully lovely was prison
All those beautiful boyz
Pimps and queens and criminal queers
All those beautiful boyz
Tattoos of ships and tattoos of tears
His greatest love was executed
The pure romance was undisputed
Angelic hoodlums and holy ones
Angelic hoodlums and holy ones
All those beautiful boyz...
NASA's Origins, Spectral Interpretation, Resource Identification, and Security–Regolith Explorer, OSIRIS-REx, spacecraft executed its first deep space maneuver Dec. 28, 2016, putting it on course for an Earth flyby in September 2017. The team will continue to examine telemetry and tracking data as it becomes available at the current low data rate and will have more information in January.
Image credit: University of Arizona
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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Marco Zoppo (Cento 1433-Venice 1478) - San Girolamo penitente (c. 1470) tempera on panel 41x32.5 cm. - National Gallery of Bologna
L'opera viene in genere collegata al periodo in cui il pittore centese eseguiva l'altare di San Clemente del Collegio di Spagna (1465), uno dei capisaldi destinati a rinnovare in senso rinascimentale la pittura bolognese.
The work is generally linked to the period in which the Cento painter executed the altar of San Clemente del Collegio di Spagna (1465), one of the cornerstones destined to renew Bolognese painting in a Renaissance sense.
U memorijalnom parku Dotrščina spomenik je u čast žrtava fašizma strijeljanima u ovoj šumi. Spomenik je djelo Vojina Bakića (1915.- 1992.), koji je bio istaknuti hrvatski kipar srpskog podrijetla.
Zbog odbijanja svjetla od metalne površine ovog lijepog spomenika, on se mijenja od sata do sata, od jednog do drugog godišnjeg doba. Nikad se ne čini isti.
Ova je fotografija snimljena gotovo s istog mjesta kao prethodna, ali vrijeme je drugačije. Pogledajte koju razliku čini sunčani dan.
In memorial park Dotrščina there is a monument in honour of victims of fascism executed in this forest. The monument is work of Vojin Bakić, ( born 1915 , died 1992) who was a prominent Croatian sculptor of Serbian descent.
Due to reflection of the light from the metallic surface of this beautiful monument, it changes from hour to hour and from season to season. It never seems to be the same.
This photo was taken almost from the same place as previous photo, but the weather was different. Look what a difference makes a sunny day.
Pope Alexander VI (Cardinal Rodrigo Borgia was elected pope in 1492) entrusted the decoration of the rooms in his apartment (now known as the Borgia rooms) to Pinturicchio. The paintings, which were executed between 1492 and 1494, drew on a complex iconographical program that used themes from medieval encyclopedias, adding an eschatological layer of meaning and celebrating the supposedly divine origins of the Borgias. The rooms are: Room of the Sibyls, Room of the Creed, Room of the Liberal Arts, Room of the Saints, Room of the Faith.
Salle exécutée par Giulio Romano (Jules Romain, Rome, 1492-Mantoue, 1546) et Francesco Primaticcio (Le Primatice, Bologne, 1503-Paris, 1570), son élève le plus brillant.
Welcome to 2016! This seven-segment display, executed in origami, shows the current year, and is folded from a single sheet of Elephant Hide paper. With a little work, each segment’s on-off state can be toggled, so you can update the number next year without having to refold the whole thing. It’s probably too slow a process to qualify as action origami, though.
Individual segment design is based on Fujimoto’s Hydrangea (level 0) while the idea of using them to simulate a digital 7-segment display is mine. Others have probably also come up with it as it comes as an obvious thing when one starts folding tiled Hydrangeas.
A 64×32 grid was used. Only 26 grid units vertically are needed for the digits — the remaining 6 make up the foot which allows the tessellation to stand vertically for better viewing.
A fighter is hit with a perfectly executed side kick at the Taphae Stadium in Chiang Mai, Thailand. It is crucial that fighters are physically fit, strong and healthy in order to tolerate such blows.
Execute "Order Filler Post"
(Yes, my lord.)
Got the Republic Fighter tank (and Vader Transformation. Woo!), which I've been wanting for a while now A) for Aayla Secura, and B) cause I realized the Clone Gunner's helmet, with a few mods, would be perfect for Cody. So, I glued on a painted visor and added a few details. It's not much, but i'm stoked to finally have a Phase 2 Cody fig made.
Also those Airborne troopers are sweet.
Kenobi is 2003 Clone Wars Kenobi cause I didn't wanna go digging for his EpIII parts.
Pay no attention to the 501st chilling in the back.
Cooler things to come, but until then, cheers!
This beautifully executed sculpture was erected in 2001 close to Minehead harbour, marking the start (or end) of the South West Coastal Path. It was designed by Sarah Ward, a student at West Somerset College who was only 19 at the time, and made by established metal sculptor Owen Cunningham. It's simple and effective and although mentions on Google don't say what it's made of (one said bronze, which it isn't), I'm pretty sure it's galvanised steel. We set out to find it a year or so back but didn't walk close enough to the harbour, so coming across it at last was a bonus.
The church is renowned for its 12th century mosaics executed by craftsmen working in the Byzantine style. The mosaics show many iconographic and formal similarities to the roughly contemporary programs in the Cappella Palatina, in Monreale Cathedral, and in Cefalù Cathedral, although they were probably executed by a distinct atelier.[16]
The walls display two mosaics taken from the original Norman façade, depicting King Roger II, George of Antioch's lord, receiving the crown of Sicily from Jesus, and, on the northern side of the aisle, George himself, at the feet of the Virgin. The depiction of Roger was highly significant in terms of its iconography. In Western Christian tradition, kings were customarily crowned by the Pope or his representatives; however, Roger is shown in Byzantine dress being crowned by Jesus in the Byzantine fashion. Roger was renowned for presenting himself as an emperor during his reign, being addressed as basileus ("king" in koine Greek). The mosaic of the crowning of Roger carries a Latin inscription written in koine Greek characters (Rogerios Rex ΡΟΓΕΡΙΟΣ ΡΗΞ "king Roger").
The nave dome is occupied by the traditional byzantine image of Christ Pantokrator surrounded by the archangel saints: Michael, Gabriel, Raphael, and Uriel. The register below depicts the eight prophets of the Old Testament and, in the pendentives, the four evangelists of the New Testament. The nave vault depicts the Nativity and the Death of the Virgin.
c/o Wikipedia
A real team of Jewish assassins called ''The Avengers'' tracked down and executed Nazi war criminals after WWII. #NeverForget #Holocaust
Executing a slight modification of Dodge City's official motto...new-used Cimarron Valley (CVR; ex-CSX) C40-8s #4052 and 4053 creep out of Sublette, KS at a less-than-rapid pace after working the elevators for a good 45 minutes. The train is scheduled to run all the way to Dodge City and at this rate, they might even get there before the next day...or maybe not.
The C40s sport the railroad's new Santa Fe inspired paint scheme, and look damn good doing it.
Click the pic to zoom in.
They say that the presence of MechaKnights in the battlefield is enough to turn the tide of war. These incredibly complex constructs are built by the most gifted mechsmiths in Aemoruin in order to prevent the loss of human life, increase army efficiency, and increase the army firepower. These sentient golems were equipped with the finest weaponry and Tenoganite imbued armor. Specifically designed for combat scenarios, these machines were programmed to obey their masters and execute their orders with flawless precision.
Master Mechsmith Eudora Cogwright, commissioned by King Tristian, was to construct an agile, well-rounded MechaKnight for the front lines. Surpassing expectations, the MK-Raptor turned out to be one of the most efficient MechaKnights in the battlefield.
________________________________________________
Finally! An upload after a long while. Been wanting to make a steampunk knight looking mech. Thank god for Nexo Knights and all the awesome new LEGO elements that came with it! I plan on making more MechaKnights... and/or maybe expanding the world of Aemoruin ...but definitely more MechaKnights!
The Madonna of Foligno is a painting by the Italian High Renaissance painter Raphael, executed c. 1511–1512. First painted on wood panel, it was later transferred to canvas.
The painting was executed for Sigismondo de' Conti, chamberlain to Pope Julius II. It was placed on the high altar of Santa Maria in Aracoeli on the Capitoline Hill in Rome, the church in which Sigismondo was buried in 1512.
It was moved by Anna Conti, a descendant of Sigismondi de' Conti, to the monastery of St. Anne in Foligno in 1565, and remained there for more than two centuries, hence the name.
In 1799 it was one of many paintings which Napoleon ordered moved to Paris. There, in 1802, the painting was transferred from panel to canvas by François-Toussaint Hacquin and restored by Mathias Barthélémy Röser of Heidelberg. A note was made by the restorer: "Rapporto dei cittadini Guijon Vincent Tannay e Berthollet sul ristauro dei quadri di Raffaello conosciuto sotto il nome di Madonna di Foligno."
In 1815, after the Battle of Waterloo, the painting was returned to the Papal States where it was allocated to the Pinacoteca Vaticana of the Vatican Museum. It was hung in the same room as Raphael's Transfiguration.
The painting is a sacra conversazione, where holy figures seem to be in conversation and draw the audience into their discussion. Rather than sitting under a canopy, of the Umbrian or Florentine style, the Virgin is seated on clouds, embracing Jesus, while surrounded by angels. They look down upon Sigismondo de' Conti, kneeling in a red, fur-lined cape. Conti is presented by St. Jerome on the right with his lion, appealing for the Virgin's protection. On the left are the kneeling St. Francis of Assisi and St. John the Baptist, who is standing and wearing a tunic of skins. As St. John points to Jesus, he clearly looks out to us, pulling us in, while St. Francis points to us and looks at the Christ Child. Between the men is an angel, linking the saints of earth to the Heavenly host. Behind them are the towers of Foligno.
Painted during Raphael's Roman period, it is a testament to his artistic maturity, evidenced in the painting's composition, coloring and form.
Conti commissioned the painting to commemorate his survival of a shell that exploded near him during the Siege of Foligno, his hometown. He credited his safety to heavenly intervention. According to the historian Massimo Polidoro, this painting has been used by UFO websites as evidence of a flying saucer crash. Polidoro states that the house of Sigismondo Conti and a fireball are visible in the painting, and that painters at this time used "symbolic meanings that were anything but random". The angel is holding a sign with nothing written on it; according to Polidoro this was because Sigismondo died before he could tell Raphael what "thank you" to the Virgin he wanted written on the sign. Polidoro describes the UFO explanation as "reinterpreting with the eyes of twenty-first-century Europeans the product of other cultures".
The Parnassus is a painting by the Italian Renaissance painter Andrea Mantegna, executed in 1497. It is now in the Musée du Louvre, Paris.
The Parnassus is a painting by the Italian Renaissance painter Andrea Mantegna, executed in 1497. It is now in the Musée du Louvre, Paris.
The traditional interpretation of the work is based on a late 15th-century poem by Battista Fiera, which identified it as a representation of Mount Parnassus, culminating in the allegory of Isabella as Venus and Francesco II Gonzaga as Mars.
The two gods are shown on a natural arch of rocks in front a symbolic bed; in the background the vegetation has many fruits in the right part (the male one) and only one in the left (female) part, symbolizing the fecundation. The posture of Venus derives from the ancient sculpture. They are accompanied by Anteros (the heavenly love), opposed to the carnal one. The latter is still holding the arch, and has a blowpipe which aims at the genitals of Vulcan, Venus' husband, portrayed in his workshop in a grotto. Behind him is the grape, perhaps a symbol of the drunk's intemperance.
In a clearing under the arch is Apollo playing a lyre. Nine Muses are dancing, in an allegory of universal harmony. The touch of Pegasus's hoof (right) can generate the spring which fed the falls of Mount Helicon, which can be seen in the background. The Muses danced traditionally in wood of this mount, and thus the traditional naming of Mount Parnassus is wrong.
Near Pegasus is Mercury, with his traditional winged hat, caduceus (the winged staff with entwined snakes), and messenger shoes. He is present to protect the two adulterers.
Alexander VII's tomb is a sculptural monument designed and partially executed by the Italian artist Gian Lorenzo Bernini. It is located in the south transept of St. Peter's Basilica in the Vatican City. The piece was commissioned by Pope Alexander VII himself. However, construction of the monument didn't start until 1671 and was completed in 1678, eleven years after the Pope's death. At the age of 81, this would be Bernini's last major sculptural commission before his death in 1680.
There are six significant figures in the monument. At the apex is Alexander kneeling in prayer. Below him are four female statues representing virtues practiced by the Pontiff. On the foreground is Charity with a child in her arms. To the right of that is Truth, whose foot rests on a globe. More precisely, Truth's foot is placed directly over England, where Pope Alexander had striven to subdue the growth of Anglicanism. On the second level are Prudence and Justice. These statues were carved in white marble. Most dramatically, below Alexander, the figure of Death is represented in gilded bronze, shrouded in a billowing drapery of Sicilian jasper. He raises an hourglass to symbolize that time has passed. The hourglass is also an artistic symbol of "memento mori" which translates from Latin to "remember you will die". The plinth is in black, as a sign of mourning for the Pope. The expansive billowing drapery of dark Sicilian jasper contrasts dramatically with the still white marble figures. In situations where Bernini needed a great mass of material, he could not depend just on marble recovered from ancient buildings and chose to work with a more modern marble. Thus he chose the Sicilian red jasper, the coloring rich in red tones with green streamed in. Even though the decision was based upon need, you can see Bernini's artistry throughout the tomb. The white marble contains a more pure feeling surrounding the figures of the Pope and the four virtues. This greatly contrasts to the dramatic drapery and the bronze figure of Death, both rich in color, adding emphasis to their meaning.
The monument was a collaboration between Bernini and his assistants, the latter doing most of the work under the close supervision of Bernini. These collaborators included G. Mazzuoli, L. Morelli, G. Cartari, M. Maglia, and L. Balestri. Bernini himself most likely worked on the statue of the Pope. Known for his portrait sculptures, he probably put the finishing touches to Alexander's face (Wikipedia).
PLEASE, NO GRAPHICS, BADGES, OR AWARDS IN COMMENTS. They will be deleted.
In 1882, another architectural contest was held, involving 189 architects. This time the winner, the architect of Frankfurt, Paul Wallot, would be able to execute his project. On June 9, 1884, the first stone was finally laid by William I. Before the construction was completed, in 1894, William died (1888, the year of the three emperors), and his successor, William II of Germany, Questioning the parliamentary institute. The original building was acclaimed especially for the construction of an original glass and steel dome, a masterpiece of the technique of the era.
The current German parliament is called the Bundestag. In today's use, the German word Reichstag is therefore mainly related to the building.
In 1992 Sir Norman Foster won another architectural contest for the reconstruction of the building. His winning project appeared very different from what was then executed. Before the start of the reconstruction, the Reichstag was "packed" by the Bulgarian-US artist Christo in 1995, in an event attracting millions of visitors.
During the reconstruction, the palace was completely emptied, removing everything except the exterior walls, including all the changes made by Baumgarten's work of the sixties. The parliamentary seats were transferred to the Reichstag in April 1999. Reconstruction is widely regarded as a success and has become a tourist attraction because the Reichstag, and especially the large glass dome that was erected on the roof in memory of the original Of 1894, provide one of the most attractive panoramas for Berlin visitors, giving a remarkable view of the city, especially at night. The dome is open to the public under reservation.
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Nel 1882, si tenne un altro concorso architettonico, cui parteciparono 189 architetti. Questa volta il vincitore, l'architetto di Francoforte, Paul Wallot, sarebbe riuscito ad eseguire il suo progetto. Il 9 giugno 1884, la prima pietra fu finalmente posata da Guglielmo I. Prima che la costruzione venisse completata, nel 1894, Guglielmo I morì (1888, l'anno dei tre imperatori), e il suo successore, Guglielmo II di Germania, mise in discussione l'istituto del parlamento. L'edificio originale fu acclamato soprattutto per la costruzione di una originale cupola di vetro e acciaio, un capolavoro della tecnica dell'epoca.
L'attuale parlamento tedesco si chiama Bundestag. Nell'uso odierno, il termine tedesco Reichstag si riferisce quindi principalmente all'edificio.
Nel 1992 sir Norman Foster vinse un altro concorso architettonico per la ricostruzione dell'edificio. Il suo progetto vincente appariva molto diverso da quello che fu poi eseguito. Prima dell'inizio della ricostruzione, il Reichstag, nel 1995, fu "imballato" dall'artista bulgaro-statunitense Christo, in un evento che attrasse milioni di visitatori.
Durante la ricostruzione, il palazzo fu completamente svuotato, togliendo tutto ad eccezione dei muri esterni, compresi tutti i cambiamenti fatti dal lavoro di Baumgarten degli anni sessanta. I seggi del parlamento furono trasferiti al Reichstag nell'aprile 1999. La ricostruzione viene ampiamente considerata un successo ed è diventata un'attrazione turistica anche perché il Reichstag, e soprattutto la grande cupola di vetro che è stata eretta sul tetto in memoria dell'originale del 1894, forniscono una delle panoramiche più attraenti per i visitatori di Berlino, dando una vista notevole della città, specialmente di notte. La cupola è aperta al pubblico sotto prenotazione
Not sure about the way I executed this one. Dont think it did justice compare to the sketch.
But was interesting to do my letters bended by another writer!
Respects 2 SobeKciS MoFoS.
On the left here we have the beautifully executed “Self-portrait as Sarah Wisse, transported” by Margaret Woodward (1996). The tones and light are Rembrantesque, but the composition is all modern. The convict Sarah Wisse was transported from England in 1795 for stealing food and clothing. One imagines it a crime of desperation. As the great-great-great-granddaughter of Sarah, Margaret Woodward assumes the role and thus links the present with a colourful past. This is wonderful storytelling. www.artgallery.nsw.gov.au/artboards/archie-100/wielding-t...
Next to it is a self-portrait with all the traits of graphic art. In 1991/92 the Archibald was compressed into a two year period, and this is the only finalist that Peter Tyndall entered: “detail A Person Looks At A Work Of Art/someone looks at something …” Around the face of the artist sizing something up is a quote from Charles Morgan in 1933: “It was in my mind to say that a portrait should be the image of one spirit received in the mirror of another.” Tyndall painted this using a circular mirror to reflect his face. www.artgallery.nsw.gov.au/artboards/archie-100/wielding-t...
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Amphitheater
The Amphitheater completed the trilogy of performance buildings (theater, circus and amphitheatre) distinctive of a first class Roman city, capital of one of the imperial provinces. Two types of activities were organized in the Amphitheater: gladiator fights (munera) and wild beast fights or hunts (venationes). In addition, the Amphitheater was also the place where those sentenced to death were executed.
Tarragona, Catalonia.
Anfiteatro
El Anfiteatro completó la trilogía de edificios de espectáculos (teatro, circo y anfiteatro) distintivos de una ciudad romana de primer nivel, capital de una de las provincias imperiales. En el Anfiteatro se organizaban dos tipos de actividades: las luchas de gladiadores (munera) y las luchas o cacerías de fieras (venationes). Además, el Anfiteatro era también el lugar donde se ajusticiaban los condenados a muerte.
Tarragona, Cataluña.
shot executed by pinhole Auloma Superpanorama 6x17, negative scanned by Canon EOS 1100D, 120 film Fomapan 100
IN ENGLISH BELOW THE LINE
*Per a aquestes darreres imatges de Sobibor, em centraré en les excavacions arqueològiques dels darrers anys i la remodelació del memorial que ha comportat. Per a la historia del camp, mireu les fotos que ja he posat, o les fonts a que refereixo.
Una de les troballes més sorprenents de la excavació del Lager III de Sobibor, es trobà als barracons dels presoners jueus del sonderkommando, es a dir, els pobres encarregats de enterrar i/o incinerar les víctimes de les cambres de gas. Doncs als fonaments de d'aquests barracons es varen trobar les restes d'un tunel soterrani parcialment completat. Clarament era un intent frustrat de fugida dels presoners. Les consecuencies foren brutals. Es coneixia precisament per aixó el rumor que alguna cosa havia passat al estiu del 43 ja que els nazis havien executat a tot el sonderkommando i havien forçat un centenar de jueus del Lager I a formar-ne un de nou. Ara sabem perquè feren això.
La memoria de Sobibor després de la guerra fou força miserable. Fins als anys 60 no s’hi feu cap monument i el lloc fou saquejat per buscadors d’or amagat entre les restes humanes. Els monuments d’època comunista no feien cap referencia a que les victimes fossin jueves i el lloc en general era solitari i oblidat. Fins el 1993 no es feu un primer museu en un edifici de fusta i es feu un “cami de la memoria” amb plaques dels morts coneguts. Però a partir de 2007 es comença a excavar arqueològicament per fi, dirigit per l’israelià Yoram Haimi i el polonès Wojciech Mazurek. L’objectiu principal era trobar les cambres de gas, tot i que els primers anys seguiren algunes pistes erronies. Finalment el 2014 varen trobar els fonaments de maó, just sota la capa d’asfalt del monument del 1965, que per sort estava just 5 metres cap a un costat. Els murs coincideixen perfectament amb les descripcions, tot i els intents de destrucció nazis del 1944, en que es va dinamitar i arrassar l’edifici (però no els fonaments). Una primera fase de 4 petites cambres de gas amb un corredor a la seva dreta fou reformada pocs mesos després per incloure 4 cambres més grans a l’altra banda del corredor. Al fons de tot hi havia una altra cambra amb el motor de tanc que produía el monoxid de carboni per matar les víctimes (aqui no es feu servir Zyklon-B). Les excavacions també trobaren tot el recorregut del Himmelstrasse o “tub” que portava a les cambres, així com el barracó dels presoners del Lager III, els que havien de disposar dels cadavers. Increiblement en les restes d’aquest edifici es trobà un intent de tunel secret per fugir que malauradament fracasà. S’en tenia noticia d’algun intent de fuga que havia provocat l’execució de tot el sonderkommando de jueus del Lager III però trobar aquest tunel fou tota una revelació. Es feren algunes excavacions a les foses comunes, trobant grans estrats de cendres barrejades amb terra, evidencies de saquejos de la postguerra, així com alguns cadavers sencers, possiblement dels darrers presoners que foren forçats a desmantellar el camp el 1944. Però no s’excavà en detall pel tabú religiós jueu de molestar les tombes, que el rabí que acompanyava les excavacions va fer observar.
Si voleu molts més detalls sobre la excavació, en aquest video llarg però molt interesant, l’arqueoleg Yoram Haimi fa una disertació, on també critica fortament com es va construir el museu i part del memorial, sense tenir en compte la arqueología:
www.youtube.com/watch?v=ITKxNTBevMo&t=4593s
Aquesta foto forma part de tot un viatge pel centre de Polònia, enfocat especialment en els més tragics moments del Holocaust i la II Guerra Mundial, que esclafà Polonia com pocs llocs, però que alhora contrasta amb l'increible renaixement del país fins al moment actual.
Hi ha una pel·licula força acurada, anomenada Escape from Sobibor (1987). Està sencera a Youtube:
www.youtube.com/watch?v=YT8Bkrd6MsM
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**For these last images of Sobibor, I will focus on the archaeological excavations of recent years and the remodeling of the memorial that has resulted. For the history of the camp, see the photos I have already posted, or the sources I refer to.**
One of the most surprising discoveries from the excavation of Sobibor’s *Lager III* was made in the barracks housing the Jewish *Sonderkommando* prisoners—the unfortunate individuals tasked with burying and/or cremating the victims of the gas chambers. Beneath the foundations of these barracks, the remains of a partially completed underground tunnel were found. It was clearly a failed escape attempt by the prisoners. The consequences were brutal. Rumors that something had happened in the summer of 1943 had circulated precisely because the Nazis had executed the entire *Sonderkommando* and forced a hundred Jews from *Lager I* to form a new one; now, we know why they did so.
The memory of Sobibor after the war was quite miserable. Until the 1960s, no monument was built there and the place was looted by gold seekers among the human remains. The monuments from the communist era made no reference to the victims being Jewish and the place was generally lonely and forgotten. It was not until 1993 that the first museum was built in a wooden building and a “path of memory” was made with plaques of the known dead. But from 2007, archaeological excavations finally began, led by the Israeli Yoram Haimi and the Polish Wojciech Mazurek. The main objective was to find the gas chambers, although in the first years they followed some wrong leads. Finally in 2014 they found the brick foundations, just under the asphalt layer of the 1965 monument, which fortunately was just 5 meters to one side. The walls match the descriptions perfectly, despite the Nazi attempts to destroy it in 1944, when the building was dynamited and razed (but not the foundations). A first phase of 4 small gas chambers with a corridor to their right was renovated a few months later to include 4 larger chambers on the other side of the corridor. At the bottom of it all was another chamber with the tank engine that produced the carbon monoxide to kill the victims (Zyklon-B was not used here). The excavations also found the entire route of the Himmelstrasse or “tube” that led to the gas chambers, as well as the barracks of the prisoners of Lager III, those who had to dispose of the corpses. Incredibly, in the remains of this building, an attempt at a secret escape tunnel was found that unfortunately failed. There was news of an escape attempt that had led to the execution of the entire Jewish Sonderkommando from Lager III, but finding this tunnel was quite a revelation. Some excavations were made in the mass graves, finding large layers of ash and bone fragments mixed with soil, evidence of post-war looting, as well as some whole corpses, possibly of the last prisoners who were forced to dismantle the camp in 1944. However, it was not excavated in detail due to the Jewish religious taboo of disturbing graves, which the rabbi who accompanied the excavations made sure to observe.
If you want many more details about the excavation, in this long but very interesting video, archaeologist Yoram Haimi gives a dissertation, where he also strongly criticizes how the museum and part of the memorial were built, without taking archaeology into account:
www.youtube.com/watch?v=ITKxNTBevMo&t=4593s
This photo is part of a trip through central Poland, focused especially on the most tragic moments of the Holocaust and World War II, which devastated Poland like few places, but which at the same time contrasts with the incredible rebirth of the country up to the present day.
en.wikipedia.org/wiki/Sobibor_extermination_camp
en.wikipedia.org/wiki/Sobibor_extermination_camp
There is a very accurate telefilm called Escape from Sobibor (1987). It is available in its entirety on Youtube:
"The tall iron gates and fence were designed by...Abraham F. Reeves (1791-1832), an architect and member of the congregation, and the ironwork was executed by Jacob S. Roh in 1822." --from www.ccpl.org (the Charleston County Public Library).
The three gates to the portico on Archdale Street can be seen here: www.flickr.com/photos/hunky_punk/10908383726.
The central front gate can be viewed here: www.flickr.com/photos/hunky_punk/10908493654.
The crown of that gate can be viewed here: www.flickr.com/photos/hunky_punk/10908674733.
The three front (portico) gates are identical in design. This one is similar in outline but dramatically different in details. I find the central portion of this gate, including the crown, even more beautiful than that of the justly celebrated portico gates.
The gates of St John's are usually locked except during services, but there is easy access from the churchyard of the Unitarian Church next door, which is open during daylight hours all year (check the website if you plan a visit). The two churchyards are quite different (the Unitarian is more "natural" and interesting to wander in), although as a child who loved to play among the graves (which, as an adult, I still do), I doubt I ever gave a thought to which one I was in at a given moment.