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Plâtre exécuté vers 1852. Jeanne d'arc par François Rude (1784-1855), oeuvre commandée pour la série des femmes illustres du jardin du Luxembourg par Louis-Philippe en 1845, exposée au Salon de 1852.
Plaster executed around 1852. Joan of Arc by François Rude (1784-1855), work commissioned for the series of illustrious women in the Luxembourg Gardens by Louis-Philippe in 1845, exhibited at the 1852 Salon.
The Holy Monastery of Rousanou. There are unverified historical sources which suggest the foundation of the monastery as early as 1288. In 1561 wall paintings in the katholikon were executed by artists from the Cretan School but are unsigned.
The Metéora (Greek: Μετέωρα, "suspended rocks", "suspended in the air" or "in the heavens above" - etymologically similar to "Meteorite") is one of the largest and most important complexes of Eastern Orthodox monasteries in Greece, second only to Mount Athos. The Metéora is included on the UNESCO World Heritage List.
It lies at a distance of 105 kilometres from Ioannina, 285 from Thessaloniki, and 326 from Athens.
I dedicate this photograph to my beloved English wife Theresa Jane Brown, to whom I owe so very much.
© ALL RIGHTS RESERVED
None of my images may be downloaded, copied, reproduced, manipulated or used on websites, blogs or other media without my explicit written permission. THANK YOU!
This photograph has achieved the following highest awards:
* HALL OF FAME
* SOUL 'O' PHOTOGRAPHY- ASCENDED
* PERFECTION IN PICTURES - PINNACLE OF EXCELLENCE
The Roulin Family is a group of portrait paintings Vincent van Gogh executed in Arles in 1888 and 1889 on Joseph, his wife Augustine and their three children: Armand, Camille and Marcelle. This series is unique in many ways. Although Van Gogh loved to paint portraits, it was difficult for financial and other reasons for him to find models. So, finding an entire family that agreed to sit for paintings — in fact, for several sittings each — was a bounty.
Joseph Roulin became a particularly good, loyal and supporting friend to Van Gogh during his stay in Arles. To represent a man he truly admired was important to him. The family, with children ranging in age from four months to seventeen years, also gave him the opportunity to produce works of individuals in several different stages of life.
Rather than making photographic-like works, Van Gogh used his imagination, colours and themes artistically and creatively to evoke desired emotions from the audience.
Joseph Roulin was born on 4 April 1841 in Lambesc. His wife, née Augustine-Alix Pellicot, was also from Lambesc; they married 31 August 1868. Joseph, 47 years of age at the time of these paintings, was ten years his wife's senior. Theirs was a working class household. Joseph worked at the railroad station as an entreposeur des postes. Van Gogh and Joseph Roulin met and became good friends and drinking companions. Van Gogh compared Roulin to Socrates on many occasions; while Roulin was not the most attractive man, van Gogh found him to be "such a good soul and so wise and so full of feeling and so trustful." Strictly by appearance, Roulin reminded van Gogh of Russian novelist Fyodor Dostoyevsky – the same broad forehead, broad nose, and shape of the beard. Roulin saw van Gogh through the good and the most difficult times, corresponding with his brother, Theo following his rift with Gauguin and being at his side during and following the hospital stay in Arles
This is the interior of the Rockingham Church which I showed from the outside yesterday. To capture the light through the windows properly, I did this as an HDR using Lightroom's HDR feature. While I could have achieved almost the same result through a little pushing of a single, well executed RAW image, the HDR version just seemed to be a little bit better in this case.
© Anvilcloud Photography
The following tidbits are excerpted from the Pembroke Library
The Rockingham Church, formerly known as St. Leonard’s Anglican Church, was built in 1875, when the hamlet of Rockingham was a thriving community. Essentially abandoned 60 years ago, the church’s simple grace and imposing location high on a slope overlooking the village attract many visitors each year. A post and beam structure, the building is a unique survivor of its kind in Renfrew County and one of the oldest remaining buildings in the area. In 1999, the Townships of Brudenell, Lyndoch & Raglan designated the church a heritage site under the Ontario Heritage Act.
Evidence for the date of construction of the Rockingham Church is conflicting, but The Renfrew Mercury, May 28, 1875, reported:
New Church at Rockingham
The Protestant settlers at Rockingham have, with the assistance of a few kind friends, lately erected a commodious place of worship for the settlement ...
In 1882, the Anglican Mission Board granted $400 to the Bishop of Ontario toward the support of a missionary to be stationed at Rockingham, where there was “a genial society of church members, Mr. Watson and family being among them.” The Rev. A.W. MacKay arrived in early 1882 to take up the position. The Church Warden’s Accounts for the same year record expenses of $391.14 to improve the church with the addition of a porch, communion rail, and organ, most likely to complete it for use as an Anglican mission; at that time it was named St. Leonard’s Church. A stove was added in 1885, and a belfry and bell in 1891.
In 1975 and 1976, a group under the name Madawaska Association for Developmental Ecology (M.A.D.E.) repaired the back wall, reshingled the roof and arranged for the return of the pews. Apart from the visits of tourists, history buffs and artists, the church stood empty and decaying until 1995, when the Friends of the Rockingham Church formed to undertake the present rehabilitation of the building.
Architecture of the Rockingham Church
The church is constructed in conventional post and beam style, with board and batten siding of locally cut pine. The siding is for the most part the original wood, installed in 1875. The old shingles removed in 1974-75 were of cedar—it is hard to believe they could have been original after 100 years, but there is no record in the Church Warden’s accounts that shows earlier repairs or replacement.
The elegant curved pews are original to the Rockingham Church. They were removed to the Quadeville Pentecostal Church in the 1940s and returned in the mid-1970s. The original altar rail and pulpit remain, although the font was moved to the Union Church at Barry’s Bay.
The repairs undertaken in 1999 and 2000 uncovered extensive rot to the post and beam structure within the walls and at the ground, which had caused the increasing sag in the walls and roof. Siding boards were removed and numbered to allow repair and/or replacement of the 8” x 8” beams without disturbing the interior panelling. Rafter ends, too, were rotting where they sat on the wall top plates. These were reinforced with new lumber, unsound roof decking was replaced, and the roof was reshingled in new cedar. The steeple was removed for repairs and reshingling. After much debate, copper was chosen for the steeple shingles for its longevity and its appearance. Repairs were completed in July 2000.
The Friends of the Rockingham Church, Inc.
The Friends of the Rockingham Church formed in 1995, in response to the imminent threat of the church’s demolition. The Anglican Diocese of Ottawa, then the owner of the church, was concerned about the building’s deteriorating condition and applied to the municipality for a demolition permit. Local concerned citizens took action, prevailed upon the Diocese to delay and eventually waive the application. The group incorporated in 1997 and was designated a charitable organization by Revenue Canada. The purchase of the building was finalized in 1998.
The Friends continue to raise funds for the ongoing maintenance and insurance of the building and to support programs to publicize its historical value. Tax receipts are issued for all donations. Cheques may be made out to:
The Rockingham Church is located at the junction of John Watson Road and the Rockingham Road, in the village of Rockingham. From the east (Killaloe or Eganville), turn off Hwy. 512 at Brudenell onto Renfrew County Road #66 (the Opeongo Line). Turn left onto Renfrew County Road #68 (the Letterkenny Road) and follow the signs to Rockingham. From the west (Combermere), turn off Hwy. 62 onto Hwy. 515. Turn left immediately onto Renfrew County Road #68 (the Rockingham Road) and follow to Rockingham.
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So I'm back home for Christmas, and evidently it's spring here, maybe even early summer? Seriously it was 47º yesterday! This is December, there should be at least a foot of snow and sub-zero temperatures. I have some wintery ideas I want to execute but I need lots of snow. Grrrr. I'm never happy with the weather haha.
Pretty sure I was drawing on Kristi.
shot executed by pinhole Auloma Superpanorama 6x17, negative scanned by Canon EOS 1100D, 120 film Fomapan 400
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Clones execute their Jedi General under the direction Order 66. (Built as an application to the Dark Times RPG)
Monument to the Executed Students in the Šumarice Memorial Park, also know as Interrupted Flight, by Miodrag Živković (1963), built to commemorate hundreds of young men murdered in that place by German soldiers on October 21st 1941.
Kragujevac, Serbia.
© Roberto Conte (2017)
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I like setups and planned compositions. I always have so much fun!!
But I had little time for today's pic and all of my ideas lately have been a bit too complex to execute in a short time. So I walked around the house, grabbed some stuff, started testing ideas and this is the result that I liked the most.
I placed the orchid in front of a pizza baking tray and did a light painting with a UV light from behind. I like how different it looks from the regular flower shot.
Hope you like it too!!! =D
shot executed by pinhole Auloma Superpanorama 6x17, negative scanned by Canon EOS 1100D, 120 film Fomapan 100
The 1965-66 Coca-Cola hockey card series was a brilliantly executed promotional scheme that encouraged hockey fans to guzzle down the soft drinks and collect specially marked bottle caps with an NHL team’s nickname on the liner. Once a collector acquired 10 caps featuring one team’s nickname, they could mail them in for an 18-card perforated strip of player cards from that team (along with a 19th card that could be redeemed for a now highly sought after collector’s album).
The unnumbered cards themselves were fairly plain and printed on thin paper, offering a black-and-white image on the front with the player’s name along the bottom. On the back were player vitals, including their complete stats in the NHL. Not the most visually striking collectibles, but what they lacked in eye appeal was made up for with inclusivity.
It all added up to a 108-card series that was nearly as representative of the league as Topps’s 128-card series that season. There are a number of noteworthy cards in the set, including rookie year issues of Gerry Cheevers, Phil Esposito, Yvan Cournoyer, Ed Giacomin, Paul Henderson, Dennis Hull, Ken Hodge and more. It also features a single of Bernie Parent that pre-dates his 1968-69 Topps/OPC RC by three years and pictures the future Hall of Famer with his first NHL team, the Boston Bruins. LINK to checklist - www.beckett.com/news/1965-66-coca-cola-hockey-cards/
This set contains 108 unnumbered black and white cards featuring 18 players from each of the six NHL teams. The cards were issued in perforated team panels of 18 cards. The cards are priced below as perforated cards; the value of unperforated strips is approximately 20-30 percent more than the sum of the individual prices. The cards are approximately 2 3/4" by 3 1/2" and have bi-lingual (French and English) write-ups on the card backs. An album to hold the cards was available from the company on a mail-order basis. It retails in the $50-$75 range in Near Mint. The set numbering below is by teams and numerically within teams as follows: Boston Bruins (1-18), Chicago Blackhawks (19-36), Detroit Red Wings (37-54), Montreal Canadiens (55-72, New York Rangers (73-90), and Toronto Maple Leafs (91-108).
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Ab McDonald - Alvin Brian McDonald (February 18, 1936 – September 4, 2018) was a Canadian professional ice hockey forward. Career - Born in Winnipeg, Manitoba, McDonald began his professional hockey career with the Montreal Canadiens of the National Hockey League in 1958. He later played for the Chicago Black Hawks, Detroit Red Wings, Boston Bruins, Pittsburgh Penguins, and St. Louis Blues. He won four straight Stanley Cups: three with Montreal followed by another with Chicago. He was the first team captain of the Penguins and Winnipeg Jets organizations, and scored the first goal for the Jets in the World Hockey Association. He ended his career after 147 games for Winnipeg, retiring after the 1973–74 season. He died at his home in Winnipeg from cancer on September 4, 2018, at the age of 82.
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Bruce MacGregor (born April 26, 1941) is a Canadian former professional ice hockey forward who played for the Detroit Red Wings and New York Rangers of the National Hockey League, and the Edmonton Oilers of the World Hockey Association. During his NHL career, MacGregor scored 213 goals and 257 assists in 893 games. He won 5 Stanley Cups with the Edmonton Oilers as the assistant general manager in 1984, 1985, 1987, 1988, 1990.
Nicely executed sharpness from the Tessar.
Full review here: almost-hasselblad.blogspot.com/2022/02/ica-icarette-b.html
This poor little negative. I'm amazed I'm even posting it after what it's been through. It's the sole survivor of its roll (the other exposures no doubt phenomenal and flawlessly executed). Long story short, here it is. Dust and scanner artifacts thrown in free of charge this time, but don't get used to getting so much bang for your buck around this stream.
Kilmainham Gaol is a former prison in Kilmainham, Dublin, Ireland. It is now a museum run by the Office of Public Works, an agency of the Government of Ireland. Many Irish revolutionaries, including the leaders of the 1916 Easter Rising, were imprisoned and executed in the prison by the orders of the UK Government.
When it was first built in 1796, Kilmainham Gaol was called the "New Gaol" to distinguish it from the old prison it was intended to replace – a noisome dungeon, just a few hundred metres from the present site. It was officially called the County of Dublin Gaol, and was originally run by the Grand Jury for County Dublin.
Originally, public hangings took place at the front of the prison. However, from the 1820s onward very few hangings, public or private, took place at Kilmainham. A small hanging cell was built in the prison in 1891. It is located on the first floor, between the west wing and the east wing.
There was no segregation of prisoners; men, women and children were incarcerated up to 5 in each cell, with only a single candle for light and heat. Most of their time was spent in the cold and the dark, and each candle had to last for two weeks. Its cells were roughly 28 square metres in area.
Children were sometimes arrested for petty theft, the youngest said to be a seven-year-old child, while many of the adult prisoners were transported to Australia.
At Kilmainham, the poor conditions in which women prisoners were kept provided the spur for the next stage of development. As early as 1809, in his report, the Inspector had observed that male prisoners were supplied with iron bedsteads while females "lay on straw on the flags in the cells and common halls". Half a century later there was little improvement. The women's section, located in the west wing, remained overcrowded. In an attempt to relieve the overcrowding, 30 female cells were added to the Gaol in 1840. These improvements had not been made long before the Great Famine occurred, and Kilmainham was overwhelmed with the increase of prisoners.
Domenico Ghirlandaio (1449-1494) - Thomas Aquinas - polychrome stained-glass windows, executed in 1492 by Alessandro Agolanti to a design by Ghirlandaio - Tornabuoni Chapel (1485-1490) - Santa Maria Novella Firenze
La cappella Tornabuoni è la cappella maggiore della basilica di Santa Maria Novella a Firenze. Contiene uno dei più vasti cicli di affreschi di tutta la città, realizzato da Domenico Ghirlandaio e bottega dal 1485 al 1490.
Gli affreschi hanno come tema le Scene della vita della Vergine e di san Giovanni Battista, inquadrate da finte architetture (pilastri con capitelli corinzi dorati e trabeazioni con dentelli, sulle tre pareti disponibili. Le scene si leggono dal basso verso l'alto, da destra a sinistra, secondo uno schema che già all'epoca doveva risultare un po' arcaico.
Le due pareti principali, a destra e a sinistra, presentano tre file di scene ciascuna, a sua volta divise in due scene rettangolari, ed una grande lunetta sulla sommità, per un totale di sette scene a parete.
The Cappella Tornabuoni is the main chapel (or chancel) in the church of Santa Maria Novella, Florence, Italy. It is famous for the extensive and well-preserved fresco cycle on its walls, one of the most complete in the city, which was created by Domenico Ghirlandaio and his workshop between 1485 and 1490.
The portraits of the members of the Tornabuoni family and of relatives, friends, allies and clients of the Medici and the Tornabuoni are included as spectators to the holy stories.
Ghirlandaio worked to the frescoes from 1485 to 1490, with the collaboration of his workshop artists, who included his brothers Davide and Benedetto, his brother-in-law Sebastiano Mainardi and, probably, the young Michelangelo Buonarroti. The windows were also executed according to Ghirlandaio's design. The complex was completed by an altarpiece portraying the Madonna del Latte in Glory with Angel and Saints, flanked by two panels with St. Catherine of Siena and St. Lawrence.
Portrait of Doña Isabel de Requesens y Enríquez de Cardona-Anglesola is an oil painting dated circa 1518 that was formerly believed to depict Giovanna d'Aragona. It has been variously ascribed to Raphael, Giulio Romano, or the school of Raphael; it is now usually taken to have been executed by Giulio Romano based on a sketch by Raphael and then altered by Raphael. The painting is now in the Louvre Museum in Lens.
The portrait of "the vicereine of Naples" was commissioned from Raphael in 1518 by Cardinal Bibbiena on behalf of Pope Leo X for Francis I of France, who collected portraits of beautiful women. Pierre de Bourdeille, seigneur de Brantôme took the description to refer to Giovanna d'Aragona (1502 – 1575); a study in 1997 demonstrated that the subject was rather Isabel de Requesens, the wife of Ramón de Cardona, who was viceroy of Naples from 1509 to 1522. According to Vasari, Raphael sent Giulio Romano, one of his young assistants, to Naples to paint the portrait, except for the face, which he was responsible for; documentary evidence survives in Raphael's hand confirming Giulio Romano's work on this commission. The face has indeed been altered; otherwise Vasari's description might also apply to another portrait which has been attributed to Giulio Romano and Raphael, Isabella of Aragon as Mona Lisa, depicting Isabella of Aragon, Duchess of Milan, also known as Isabella of Naples.
Opinions have varied as to who executed the cartoon for the Portrait of Doña Isabel de Requesens, which was likely reused for that of Isabella of Aragon; Luitpold Dussler considered the painting entirely Giulio Romano's work. However, both portraits are now generally thought to have been executed to Raphael's design, and the two paintings have been referred to as Raphael's Giocondae for their visual references to Leonardo's Mona Lisa (also known as La Gioconda), which was already in Francis I's collection. It is also possible that the portrait of Isabella of Aragon is a copy; the gallery that holds it, the Doria Pamphilj Gallery in Rome, lists it as "after" Raphael.
A number of copies of the painting exist, and Vasari states that one copy entirely by Giulio Romano was made at the same time and included in the gift to the king; Brantôme reported having seen one version in the king's apartments at Fontainebleau, the other in the queen's.
The Portrait of Doña Isabel de Requesens was restored by Francesco Primaticcio in the mid-16th century and transferred from the original wood to canvas either then or in the 18th century.
Meanwhile, at Dunder Mifflin, new hire George Constanza* has executed his plan to chat with Pam at the copier.
"-so I thought we could print double-sided for the daily QR reports and that alone would save a ton of paper. I mean, even though we are a paper company we can still be environmentally conscious."
"Wow, Pam, that's exactly the way I think. I'm very big into environmental. Very big. I saved a whale one time."
"Oh, wow! A whale."
George thinking: "No laugh track!** I can't tell what's going on! Is she liking my angle? Maybe I should throw in something about Greenpeace. Why does she have to be one of those environuts? It's always so difficult to come up with something for that. I wonder if she's into architecture..."
"Yeah, yeah, a whale. Had a golf ball stuck in his blowhole. snrt! Say, do you like architecture?"
"Architecture? I guess... why?"
"Well, there's a new expansion on a building downtown and... let's just say I may have had a hand in it. I'd love to show you!"
"Oh, you're in architecture?"
"Well, I dabble."
"That's cool, let me ask Jim. I think he'd like to see it too."
"Jim? Oh, Jim! Jim at the desk over there!"
"Yes, we're going out."
"Oh, of course you are..."
__________________________
A year of the shows and performers of the Bijou Planks Theater.
Funko
Mini Moments
The Office
Michael Scott
Dwight Schrute
Jim Halpert
Pam Beesly
Darryl Philbin
Funko
Mini Moments
Seinfeld - Jerry's Apartment
George
* George's interview was seen in BP 2022 Day 173!
www.flickr.com/photos/paprihaven/52164948582/
** George has been thrown off by the lack of a laugh track at The Office, as seen in BP 2022 Day !
Executing a lovely topside whilst performing a missed approach at RAF Fairford ahead of their attendance at Ex Ramstein Flag 2025.
Once again I had been called into the field for a last minute operation for the Triumvirate, I had my orders to go to Iridonia, a planet covered in rocks sand and acid pools. The planet was an important one to capture as it had access to many useful hyper lanes, leading straight to the hearts of some of our greatest threats, so it was key that we executed the orders without fail.
Once landing, I had been dispatched from the main group with a squad of elite death troopers, who were to help me target a specific group of rebels while the rest rounded out other rebels. We arrived at the house, which was surrounded by an acid lake, typical of this part of the planet, where we entered peacefully, the Zabrak I talked claimed he knew nothing but I k ew who he was, Baak Chiser, freedom fighter of Iridonia, as I continued to pursue answers from him about the hideouts located around the planet, the remainder of my squad located those that were there and executed them without question. We had them all where we wanted them except for one, there was a child of Chiser’s who was hidden from us, I tapped into their fins but found nothing, my troopers arrived back to me and reported they had done what they had asked. “I will escort Chiser back the ship personally, he has a child find it!”
The cavorting figure of Bacchus (god of wine and thus of the autumnal grape harvest),is one of four statues the artist made to represent the seasons.A type of sculpture well-documented in Genoese palace decoration of this era,each would have stood in a carved wooden base in the corner of a grand room.Nevertheless,Parodi conceived and executed the figure to be seen with equal interest from all sides.Bacchus wears a gilt grapevine wreath on his tousled hair;his mouth is open in a toothy smile,and his blank eyes are wide open.His raised left arm projects forward,proffering a group of gilt grapes,while his bent right leg, foot extended,juts out in counterbalance.
Until recently,the Bacchus was only known through an old photograph and can be associated with three other allegorical representations of the seasons attributed to Parodi or his workshop.The others in the group that have been identified include the Winter in the Cleveland Museum of Art,thought to date to the generation after Parodi,and the figure of Spring in the Badisches Landesmuseum,Karlsruhe.The location of Summer is currently unknown.
By Thomas Thornycroft (1815-1885), executed between 1856 and 83, erected at its present post in 1902. Hamo, his son (1850-1925), also an English sculptor, must have assisted his father during the making of the statue in the later years. No way, a much larger amusement for father and son than to build a Lego space shuttle nowadays, though the same experience at least.
A farewell to my 2015 London photos for a while but probably the ouverture of a future series.
Almost nothing is known about the building of this tower of which little remains. It is thought to have been built by James Douglas, the Fourth Earl of Morton, in the 1500s. This may well be the case as Morton wrote of horse racing on the Solway Sands which lie only one mile to the south of the tower. Last of the four regents of James VI, Morton was executed in 1581 for complicity in the murder of Lord Darnley, second husband of James' mother Mary Queen of Scots. The tower passed to Robert, 9th Lord Maxwell in 1621, and in later times into other hands.
A meet is executed at Big Stone Gap as an empty hopper train powers through the siding behind SD40-2 8122 and three other six-motor units. The Chessie unit on the right is a U30B, and formerly C&O 8207. The GE is the rear of three four-motor units serving as the rear end pusher. As soon as the empty train clears, the NS dispatcher will likely give the loaded train clearance to head for the NS-CSX junction ahead and across Powell River.
This is the gravesite of the first and only female prisoner to be executed in South Australia. Charged with poisoning her husband.
Excerpt from phillips.com:
In 1986, during the centennial of the Statue of Liberty’s arrival in America, Andy Warhol executed his indelibly famous silkscreens employing the pattern of camouflage. In the present lot, Statue of Liberty, 1986, Warhol spins the colors of war into a tribute to international solidarity. Appropriating the historical pattern of violence and concealment, Warhol brilliantly rebrands camouflage as a stylistic statement. And, in doing so, he bequeaths the symbol of cooperation between the United States and France with an aesthetic grace that rivals any of his work from this prolific period in his life.
Yet camouflage did not appear in Warhol’s paintings until more than twenty years later. Previous to 1986, Warhol had been working in a variety of techniques and stylistic formats, including the reversal series and the infamous oxidation paintings. But perhaps the most telling harbinger of his work with camouflage was the “shadow paintings”, which appeared with regularity throughout the decade leading up to 1986. In these paintings, we see his tendency for color-field patterns with varying shapes and border patterns. “Shape and shadow are the two principles most central to the concept of camouflage.”
On a face already defined by the dramatic presence of shadow, Warhol’s camouflage pattern lends an exhilarating chromatic dimension. His canvas, six feet square, bears three layers of silkscreened image. The underlayer is composed of only the face and upper arm of the statue of liberty, resplendent in her classical glory. Here, Warhol exhibits a remarkable attention to detail in terms of the distribution of the paint and its equal distribution across the canvas; nowhere can we spot smudges or a visually unintelligible section due to over saturation of pigment. Atop his original layer, Warhol lays his camouflage pattern. Crawling at every whim across the face of the statue and her outstretched arm, we behold four shades of lavender-blue that make the stern face even more intimidating. She looks as an enlisted soldier does, but instead, her mission is to pronounce the greatness of American liberty.
But even as Warhol fortifies the Statue with a fierce resolve, his third layer of silkscreen is tongue-in-cheek: he inserts a label for the French cookie company, “Fabis”, into the lower right-hand corner of his picture. The image bears French and American flags flying together, corroborating the international solidarity represented by the Statue of Liberty with a delightful piece of kitsch. While we may be whisked away temporarily or perhaps even inspired by the Statue dressed in military garb, Warhol stamps his work with a comment on the commercialism for which he is known best; both France and America are trademarks, at peace with each other’s brand of business.
Statue of Liberty, 1986, has the benefit of being hotly suggestive but not prescriptive, which was one of Warhol’s many gifts as an artist. However, what begins to show through in the work executed close to his time of death was his unprecedented level of self-reflection. Later in the year, he even employed camouflage as a pattern over one of his many self-portraits. But we need not look so far for Warhol’s self-reference; in the craggy recessions and stoic lines on the face of the Statue, we observe Warhol’s own aging mask, weighted with connotations yet unwilling to yield any personal truth.
Sometimes I really enjoy executing other peoples concepts, it gives me a chance to test my methods in new territories & I end up creating images that I wouldn’t other wise. Variety is the spice of life & all that…
Read more & see the behind the scenes on my blog.
My Site | Twitter | Facebook | Instagram
Strobist Left Shot:
• 600ex-rt camera right on 1/1th power, through the Westcott 43-inch Collapsible Umbrella.
ABSORBED BY LIGHT
Gali May Lucas.
Amsterdam Light Festival.
Three figures sit next to each other on a bench, displaying the typical characteristics of smartphone users: their heads are bent, fingers typing and swiping, and their faces lit up by their phone screens. While their bodies are physically present, their minds are elsewhere.
You can experience the way this effects others by taking a seat in between the figures of 'Absorbed by Light', designed by the British Gali May Lucas and executed by Berlin-based sculptor Karoline Hinz.
The phone and computer screens that, literally and figuratively, light up our lives are irresistable. We read new messages immediately and want easy access to our social media, useful apps, and browser. Our smartphones are with us all the time – in bed, on the toilet, in the train, at our desk. They are an extension of our contact with our families, friends, and even people on the other side of the world. And as a result, we engage ourselves more with the virtual and superficial reality than with each other and the real world around us, something Lucas makes painfully clear. Actively involving the audience in the ‘story’ is a recurring feature in the work of the British artist, who works in Amsterdam as a graphic designer.
Type of Item: New Release! Item Details: Kate Set comes with top, shorts and hud w/22 solid colors & 12 dot colors! Release Date: December 25, 2021!
English Queens, nobles and a trio of unfortunate Scottish soldiers are amongst the names commemorated on a new permanent memorial, unveiled at the Tower of London on September 4 2006.
Designed by British artist Brian Catling, the circular memorial focuses on the ten executions that have taken place on Tower Green, within the Royal castle’s walls. It is intended to remember all those executed over the years at the Tower - providing a focal point for contemplation, reflection and remembrance.
Mid-February 1696 a plot was to have been executed to kill the King by Jacobites vehemently opposed to the Glorious Revolution (1688) which had brought the Dutch stadtholder and his wife to the English Throne as William III (1650-1702) and Mary II (1677-1694). The plans were discovered, Orange prevailed, and the would-be assassins were made to feel the force of the law.
Mary had sadly died in 1694, so she probably wouldn't have seen these pretty Orange Canary Bell-Flowers which are attested for the gardens of their palace, Hampton Court in 1696.
Today our Bell-Flower is much beloved by gardeners around the Globe. But as endemic wild plants on the Canary Islands they are endangered. Environmental measures are being taken to protect them. William of Orange survived that plot by six years; it is hoped these Bell-Flowers have a longer wild future.
Oundle School Chapel
One of the three apse windows that constitute the first major stained glass commission of John Piper & Patrick Reyntiens, executed 1954-6 and portraying nine aspects of Christ's divinity.
The also constitute the first major flowering of a new, contemporary approach to stained glass design, radically different from anything produced in this country before, and therefore a milestone in the evolution of modern stained glass in Britain.
Left hand (north east) window representing Christ as the Way, the Truth & the Life.
sand dunes in Sleeping Bear Dunes National Lakeshore.
The Midland Camera club planned and executed a wonderful trip to the Jordan Valley and Leelanau peninsula in pursuit of Fall colors, landscapes, farms, sand dunes, Lake Michigan. lighthouses, and a vast assortment of interesting subjects to photograph. All the members came home with a nice collection of photographs and much joy in the adventure spent together. Visit our viewing site to see the work of the members.
www.flickr.com/groups/3021281@N20/
216d 10 - TAC_5826 - lr-ps
The Coronation of the Virgin is a painting by the Italian early Renaissance master Fra Angelico, executed around 1434–1435 in Fiesole (Florence). It is now in the Musée du Louvre of Paris, France. The artist executed another Coronation of the Virgin (c. 1432), now in the Uffizi in Florence.
The work is not thought to have originally been painted around 1434 (a few years after the similar painting in the Uffizi) for the convent of San Domenico of Fiesole, near Florence, where Fra Angelico was a Dominican friar and for which he painted also the Fiesole Altarpiece (1424-1425) and the Annunciation now at the Museo del Prado. Some art historians, such as John Pope-Hennessy, date it instead to Angelico's visit to Rome (1450).
The painting was brought to France as a result of the pillages of the Napoleonic Wars. Like several other artworks, it was not given back with the excuse of its large size.
The work shows several differences from the earlier Coronation now at the Uffizi. The gilded background has disappeared, replaced by a more realistic light blue sky. The composition is more advanced, perhaps inspired to the innovation introduced by Masaccio. Angelico here depicts a rich cyborium with Gothic triple mullions, supported by a series of polychrome marble steps, as the set of the Incoronation. Elements such as the twisted columns show similarities with the tabernacles painted in the frescoes of the Niccoline Chapel in Rome.
Such as in the Florence painting, the angels and the saints form the audience at the side of the central scene, but the figures are more defined and some are shown from back, and the pavement's tiles are painted according to geometrical perspective. Pope-Hennessy supposed that the angels were influenced by those in the San Brizio Chapel of Orvieto Cathedral (1447).
The work was executed with the extensive help of assistants, especially in the right side: for example, St. Catherine's wheel is painted approximatively, and some of the saints in this side have less expressive faces.
The painting has a predella with scenes portraying the Miracles of St. Dominic and, in the middle, the Resurrection of Christ. Such as in other Angelico's work, the predella scenes show an extensive use of geometrical perspective, enhanced by the use of alternatively empty and full architectures.
A very well executed US Specification Healy Fiesta rep with few giveaways of it being a replica other than the RHD set-up.
Modifications from GL include:
Federal bumpers
US spec rear lights (red turn signals!)
Escort MK2 Ghia front lamps
1.6 XR2 engine
US spec fuel filler cap and expansion tank
Custom steel front lower valance and arch extensions
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This was a test for finding some behaviors of the magic donkey (interestingness algorithm), which executed as a black-box test, with tuning inputs and evaluationg outputs.
You can check the experience results here.
The following is original description of this photo, before publishing the results:
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سلام رفيق
ميخواستم اگر پررويي نباشه، خودم هديه تولدم رو بگم چي باشه
اگه عيبي نداره، اين عكس رو به فوورايتهات اضافه كن
(به خاطر محدوديت تعداد تگ، اين قسمت حذف شد، تگهاي دوستاني كه لطف كرده بودند و اسمشون رو اضافه كرده بودند هم به خاطر حفظ عدالت حذف شد)
(اگر مثل من توي فو كردن خسيسي، كافيه اين رو اد كني و 10 روز ديگه برش داري)
ميخوام ببينم اگه همه دوستام يه عكي رو فو كنن، چه رتبهاي پيدا ميكنه
All my dear friends,
I want to ask you for a birthday gift!
I would be appreciated if you please add this photo to your favorites.
(Because of tags limitation, I removed this part of my request. I also removed all your kindly added tags just because of respecting those who couldn't add a tag!)
(For those who are scrimpy in fave-ing (like me), you can add it to your list, and remove it after 10 days)
I just want to check if all flickr members who like my photos fave this, what rank it should gain in Explore ;)
So please do not add this photo as a favorite if you don't know me or I'm not a contact of you. I mean if you want to fave this just because of itself, please do not do that. I want to count my friends ;)
Of course you will be appreciated as a new friend, if you fave this..
I won't post this photo to any set or group for ten days!
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I started a discussion thread in FlickrCentral about this shot and my test:
A hack, or a test? "Interestingness"!
And another better discussion on hep forum:
Strange action of "interestingness" algorithm
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Last hours of day 2:
- Seems visits and faves are almost finished.
- Now I want to add it to "iranian" group and a set just for evaluating the result.
First hours of day 3:
- Interestingness rank of this shot in my own photostream increased from 56 to 38 after adding to Iranian group!
- I'll try 1-2-3 style groups now
Day 3, 5 o'clock:
- It is #28 now
- I'm going to remove from all 123 style groups
End of day 3:
- #21
Day 8:
- Not yet in Explore
- #17 in my stream
Test is over!
Executed in the Beaux Arts style, the stations
won Gold Medal of the Paris Exposition of 1888.
Each station is more or less 5ft x5ft excluding the base,
the most beautiful Via Crusis I have seen so far.
Take note of the huge amount of red pigments on the stained
glass. Gold is used to create the red.
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.
Tapisseries exécutées par Johannes Karcher sur des cartons de Camillo Filippi et Luca Fiammingo pour la cathédrale de Ferrare.
Admirable travail de ferronnerie, cette grille protégeant le chœur est un pur chef-d'œuvre, qui rappelle parfois plus l'orfèvrerie que de la ferronnerie.
ENGLISH :
After the old rood screen, destroyed in 1755, and the old stone fence of the sixteenth century, the choir was surrounded by a Baroque gate, designed by Michelangelo Slodtz, and executed by Jean Veyren said Vivarais. Admirable labor of ironwork, this grid protecting the choir is a pure masterpiece, which sometimes reminds more silversmithing than ironwork.
The killing of M90 was completed extremely quickly. Shame on Trentino. It is very sad to think that these deaths have the approval of the Trentino people. There is no peace for animals on Earth.
Condotta a termine con estrema rapidità l'uccisione di M90. Vergogna sul Trentino. E' molto triste pensare che queste morti hanno l'approvazione dei trentini. Non c'è pace per gli animali sulla Terra.
www.ilfattoquotidiano.it/2024/02/06/abbattuto-lorso-m90-f...
Crafted and executed by the Official Replica and Regalia maker of the Basilica Minore del Sto. Nino, Mr. Juanito Zafra and Mr. Lando Abellanosa.
He's still waiting for His crown, machine embroideries and borloloys.
Irving R. Bacon (1875-1962)
Pen and ink with graphite on paper
Executed during Bacon’s Munich period of study at the Royal Academy.
Irving Roscoe Bacon was born in Fitchburg, Massachusetts on November 29, 1875.
Bacon studied with Wm Chase, F. Luis Mora, and at the Royal Academy in Munich. He spent most of his career in Michigan where he was personal artist for Henry Ford.
He died in El Cajon, CA on Nov. 21, 1962.
Exhibits:
Royal Academy, 1909 (medal)
National Academy of Design (New York City), 1910-12
Pennsylvania Academy of the Fine Arts, 1911, 1912
Art Institute of Chicago, 1911, 1912
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Examples of Bacon's paintings can be seen here: www.thehenryford.org/collections-and-research/digital-col...(Irving%20Reuben),%201875-1962&years=0-0&perPage=10&pageNum=1&sortBy=relevance
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FROM THE WEBSITE OF THE HENRY FORD:
Irving R. Bacon worked for Henry Ford as an artist. His work ranged from cartoons in the Ford Times to paintings of artifacts and events at the Edison Institute. His papers include photographs, drawings, and correspondence related to his career with Ford Motor Company and the Edison Institute.
Biographical / Historical Note
Born in 1875 in Fitchburg, Massachusetts, Irving Bacon received his early art training from Joseph Gies at the Art School of the Detroit Museum of Art.
Much of his early work concentrated on illustrations and cartoons, and often his artwork reflected the influence of his travels to the American West.
From 1894 to 1900 he worked as an illustrator at the Detroit Evening News and the Detroit Free Press. He first met Henry Ford through a mutual acquaintance in 1898, when he rode to Royal Oak and back to Detroit on Woodward Avenue in Henry's new automobile.
In 1902 he went to New York City to study at the Chase School of Art and to illustrate for Harper's Weekly and McClure's.
In 1906 he went to the Royal Academy in Munich and studied under Heinrich von Zugel, a noted animal painter. It was there where Bacon acquired his talent for painting landscapes and portraits.
After returning to Detroit in 1910, he once again met Henry Ford, who by this time was a millionaire. Henry became interested in art largely due to the interest and talent of his own son, Edsel.
He purchased a landscape scene from Bacon-a painting, which, according to Bacon, was "certainly not a masterpiece." It was after this meeting that Bacon gained permission from Henry to utilize his large estate for landscape paintings.
In 1913 he received a generous gift of money from his friend Harold Wills (a Ford executive), and once again returned to Munich for further study. His stay was cut short, however, due to the start of World War I.
Upon returning to Detroit, he realized the need for a steady salary in order to adequately support his wife and six children, so he met again with Henry Ford and soon became an employee of the Ford Motor Company, drawing cartoons for the Ford Times and later, illustrations for The Dearborn Independent.
Henry loved Bacon's cartoons, an area of work which Bacon wanted to discontinue. According to Bacon, "That class of work seemed to conflict with my high aims of art. Little did I realize at the time that I was beginning a thirty three year stretch of work for Henry Ford and his great organization that eventually would wean me away from the art world."
Working for Henry at the Ford Motor Company, and later the Edison Institute, Bacon's tasks included painting scenes and portraits that were of great interest to Henry Ford and his Museum and Village. These included portraits of Ford's family and friends, Noah Webster, Luther Burbank, Mark Twain, Dr. George Washington Carver, Stephen Foster, John Burroughs, and others.
He was also responsible for creating paintings of the artifacts located at the institute, and he also acted as stage designer for the Museum's theater.
His interest in photography and motion pictures led him to become the head of the Photographic Department for several years. Bacon retired from the Edison Institute in 1948, and moved to Miami with his second wife. He died in 1962 at the age of 86.
This collection is mainly composed of photographs, drawings, and some correspondence related to Bacon's career with the Ford Motor Company and the Edison Institute. The series within this collection are accordingly arranged to the different aspects involved with the work of Henry Bacon.
There are five series in the collection, the Golden Jubilee painting, Irving Bacon personal materials, Greenfield Village and Henry Ford Museum, Henry Ford related work, and Dearborn Independent.
Series I, Golden Jubilee painting: This series is comprised of pamphlets, notes, lists, correspondence, and photographs related Bacon’s painting entitled "Celebration of the Golden Jubilee of the Invention of the Incandescent Electric Light" also known as the "The Dedication of the Edison Institute of Technology." The Golden Jubilee occurred on October 21, 1929. It is arranged by the sub-series Printed material (1929), Correspondence (1936-1937), and Photographs (dates unknown, but assumed to be between 1920-1938). The photographs, which are mainly portraits of the individuals who attended the events of October 21, 1929, were obtained by Bacon in the years 1936-1938, for the purpose of recreating the dinner scene, some seven to nine years previous. Over 400 individuals attended this dinner, ranging from Henry Ford's personal friends to contemporary world business and political leaders. The number of dinner guests eventually included in Bacon's painting numbered 266. The filing arrangement for the Photographs subseries was left in much the same way that Bacon had organized it, which was by seating arrangements. He categorized his filing system according to "Tables," "Arches," and "Individuals Standing" e.g., Table 1, Arch 1, etc.
Series II, Irving Bacon personal materials: In this series are various materials (1907-1957) which apparently were kept for the personal use and interest of Mr. Bacon. A large portion of this series, theater interests, contains materials on early theater and film actors/actresses. The majority of the materials within this series are photographs, unless otherwise noted.
Series III, Greenfield Village and Henry Ford Museum: This series is an assortment of photographs, mixed with notes and sketches related to subjects found at Greenfield Village and Henry Ford Museum. Bacon collected photographs of the various subjects in order to study them and eventually create a likeness within his own paintings.
Series IV, Henry Ford related work: This series is an example of yet another type of work that Bacon undertook as an employee of Henry Ford. It reflects the personal interests of Henry Ford. Included are miscellaneous printed materials, photographs, sketches, and maps (photographed). The folders have retained the original titles given by Bacon himself.
Series V, Dearborn Independent: Irving Bacon's artwork created for the Dearborn Independent is found within this series (approximately 1925-1935). These oversized materials consist mainly of sketches, prints, and color drawings.
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Collection Details
Object ID: 84.1.1657.0
Creator: Bacon, Irving R. (Irving Reuben), 1875-1962
Inclusive Dates: 1863-1957
Size: 4.4 cubic ft. and 4 oversize boxes 7.8 cubic ft. (17 boxes) [Collection Survey]
Language: English
From the website of The Henry Ford in Dearborn, Michigan. www.thehenryford.org/collections-and-research/digital-col...
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From the website of The Henry Ford in Dearborn, Michigan. www.thehenryford.org/collections-and-research/digital-col...