View allAll Photos Tagged Executed
por Warhol -
Keith Haring (Reading, 4 de maio de 1958 – Nova Iorque, 16 de fevereiro de 1990) foi um artista gráfico e activista estadunidense. Seu trabalho reflecte a cultura nova-iorquina dos anos 1980.
Nascido no estado de Pensilvânia, cedo mostrou interesse pelas artes plásticas. De 1976 até 1978 estudou design gráfico numa escola de arte em Pittsburgh. Antes de acabar o curso, transfere-se para Nova Iorque, onde seria grandemente influenciado pelos graffitis, inscrevendo-se na School of Visual Arts. Homossexual assumido, o seu trabalho reflecte também um conjunto de temas homo-eróticos.
Keith Haring começou a ganhar notoriedade ao desenhar a giz nas estações de metro de Nova Iorque. As suas primeiras exposições formam,michelleis acontele era gayecem a partir de 1980 no Club 57, que se torna um ponto de encontro da elite vanguardista.
Na mesma década, participou em diversas bienais e pintou diversos murais pelo mundo - de Sydney a Amsterdão e mesmo no Muro de Berlim. Amigo pessoal de Grace Jones, foi ele quem lhe pintou o corpo para o videoclip "I'm Not Perfect".
Em 1988, abre um Pop Shop em Tóquio. Na ocasião, afirma:
"Em minha vida fiz muitas coisa, ganhei muito dinheiro e me diverti muito. Mas também vivi em Nova Iorque nos anos do ápice da promiscuidade sexual. Se eu não pegar AIDS, ninguém mais pegará."
Meses depois declara em entrevista à revista Rolling Stone que tem o vírus HIV. Em seguida, cria a Keith Haring Foundation, em favor das crianças vítimas da AIDS.
Em 1989, perto da igreja de Sant'Antonio Abate, em Pisa, Itália, executa a sua última obra pública - o grande mural intitulado Tuttomondo[1], dedicado à paz universal.
Haring morreu aos 31 anos de idade, vítima de complicações de saúde relacionadas a AIDS, tendo sido um forte activista contra a doença, que abordou mais que uma vez em suas pinturas.
...
The Marriage of Heaven and Hell
David Galloway
As curator of the Keith Haring retrospective mounted by New York's Whitney Museum of American Art in 1997, Elisabeth Sussman composed a thoughtful catalogue text in which she tidily divided the artist's career into three "chapters." In the first of these, Sussmann suggested, Haring synthesized a street and club style into a bold form of overall decoration that often employed elements of kitsch. In the middle phase, lasting from approximately 1984 to 1988, when he developed the first symptoms of AIDS, Haring produced paintings that were essentially Pop versions of Neo-Expressionism. In these years he also used his cartoon-like graphic line to execute murals, many of them for (and even together with) children. "Finally," Sussman observed, "in the last years of his life, major works not only summed up his painting ambitions but were socially active and angry responses to his imminent death."1
There can be no doubt that the artist's battle with AIDS had a profound effect on his artistic vision. "To live with a fatal disease," he confided to his biographer John Gruen shortly before his death, "gives you a whole new perspective on life."2 The resulting pain and anguish are eloquently expressed in Haring's two collaborations with William Burroughs: Apocalypse (1988) and The Valley (1989). Sussmann's categories are nonetheless too neat and too emphatic, concealing both the humor that frequently enlivens the late works and the dark side that shadows even the earliest, cartoon-like compositions. And the artist was a social activist from the beginning of his career. At a demonstration in Central Park in 1982, he distributed 20,000 antinuclear posters. His "Anti-Litterpig" campaign was launched in 1984, the famous Crack is Wack mural painted in 1986. The true "horror of AIDS had come to light"3 for Haring in 1985, and he had for some time regarded himself as a prime AIDS "candidate" - even before discovering the first Karposi sarcoma on his leg during a trip to Japan in 1988. Not only numerous intimate acquaintances, including his ex-lover Juan Dubose, had already succumbed to the disease. Rumors of Haring's own infection were rife long before he himself learned that he was HIV-positive. More than a year before the diagnosis, Newsweek had tracked the artist down in Europe to ask if his protracted stay there was a cover-up for his affliction with AIDS.
Yet for all the traumatic implications of the onset of the disease itself, it is a mistake to overemphasize the event as a kind of watershed, as a moment in which the oeuvre itself underwent some seismic change. Such an oversimplification is tempting but ultimately misleading. And it is not unlike that simplistic approach to the work of Andy Warhol which suggests a fundamental shift in theme and point of view following the assassination attempt by Valerie Solanis. In fact, Warhol's own fascination with "Death and Disaster" was well established before the deranged feminist entered the Factory in 1969 with revolver blazing. 129 Die in Jet, the first of the works associated with violent death, dates to 1962. And it was soon followed by garishly tinted studies of suicides, car crashes, race riots and electric chairs.
Keith Haring, too, had explored a darker side of experience long before the dread diagnosis. The earliest works produced in his characteristic graphic style include serpents and monsters, nuclear radiation and falling angels, cannibals, omnivorous worms, bloody daggers and skeletons. The devil himself makes occasional appearances, as does the multi-headed beast of the Apocalypse. One can make out a sinister form that may well represent a virus, and an androgynous figure which wheels a sword-like crucifix over the heads of children, while scissors and chains are employed in sadomasochistic practices which often end in castration. In a Saint Sebastian, produced in 1984 and one of the few titled works by Haring, the martyr's body is pierced not by arrows but by airplanes - one of the numerous examples of the artist's critical view of technology, but also testimony to his deeply felt pacifism.
The figure of a hanged man, perhaps influenced by William Burroughs' Naked Lunch, makes it debut in 1981. So, too, do human figures writhing in the clutch of a nest of serpents. In 1982 a serpent pierces (and thereby joins like so many beads on a string) a row of human figures with holes in their abdomens. Indeed, human figures with holes gouged in their middles are a recurrent pictogram - one inspired, according to the artist himself, by the assassination of John Lennon in December of 1980. Yet even before that event, Haring was sounding the themes of violence and death in the cut-up headlines he posted around New York City, inspired both by his friend Jenny Holzer and by William Burroughs. In typical tabloid fashion, the headlines trumpeted such sensationalist assertions as "POPE KILLED FOR FREED HOSTAGE." "RONALD REAGAN ACCUSED OF TV STAR SEX DEATH; KillED AND ATE lOVER." and "REAGAN'S DEATH COPS HUNT POPE."
When Keith Haring undertook his first cross-country trip in 1977 with his girlfriend Susan, he financed the journey by silkscreening T-shirts and selling them along the way. One model showed Richard Nixon sniffing a kilo of marijuana; the other featured the logo of the Grateful Dead: a skull - the penultimate memento mori that also fascinated Warhol - split by a lightning bolt. One of Haring's early subway drawings includes a skeleton wearing wire-rimmed glasses as an encoded self-portrait. In a diary entry for March 18, 1982, the artist reflected on the significance of "Being born in1958, the first generation of the Space Age, born into a world of television technology and instant gratification, a child of the atomic age. Raised in American during the sixties and learning about war from Life magazines on Viet Nam. Watching riots on television..."4 Like the Beat poets he admired, the young artist was intensely aware of the dangers of nuclear war and the precedent his country had set in Hiroshima and Nagasaki. He was equally aware of the dangers inherent in "peacetime" uses of nuclear energy. The notorious near-meltdown at Three Mile Island in 1979 occurred a short distance from the Haring home in Kutztown, Pennsylvania. Spaceships projecting rays onto earthlings often hover over his works, and his famous "radiant" baby may suggest radioactive contamination as well as spiritual glow.
In short, the first "chapter" in Haring's career was neither so innocent nor so giddily affirmative as it is sometimes made out to be. His media-savvy generation, exposed at an early age to "sex, drugs and rock-'n'-roll," was quickly disabused of childhood's illusions. At the age of 19, he confided to his diary, "Through all the shit shines the small ray of hope that lives in the common sense of the few. The music, dance, theater, and the visual arts: the forms of expression, the arts of hope. This is where I think I fit in."5 Even amid the "shit," there was an element of hope, and the coexistence of these two entities defines the Haring universe. What one witnesses is literally The Marriage of Heaven and Hell, to cite the title of a Roland Petit choreography for the Ballet National de Marseilles, for which Haring created a huge front curtain in 1985. Whether Haring was familiar with William Blake's ironic poem of the same title is uncertain, though the English poet was a favorite of the psychedelic set to which Haring belonged for a time. Furthermore, there are occasional parallels between Haring's graphic style and the illustrations Blake prepared for his own works. The implications of a linked pair of Blake titles - Songs of Innocence and Songs of Experience - have clear relevance for Haring's oeuvre, as well.
The key to Haring's work is not to be found in "chapters" or in oppositions, but precisely in the mingling, the marriage of innocence and experience, good and evil, heaven and hell. This inherent but essential ambiguity is reinforced by an image he created in June of 1989, less than a year before his death. (He was in Paris at the time, executing a monumental painting intended to decorate a dirigible to be flown over the city in commemoration of the 200th anniversary of the French Revolution.) The starting point was a photograph of the artist sitting on a chair from the Vitra Collection, part of a series of celebrity portraits made for the German furniture company. With a felt pen, Haring fitted himself out with wings, floated a halo over his head, bound his feet with shackles and coiled a rope-like or snakelike form around his torso. (In fact, in other works the rope which binds a victim often turns into a snake in the hands of his tormentor). Haring remarked on his own creation: "Whoever understands this photograph understands what my work is all about."6 The essential theme sounded here - man bound into a "mortal coil," anchored to the earth, while his spirit strives to soar into the heavens - is as old as religion itself)
In his journal Haring described the events of June 16th as follows: Friday I had a "press lunch" with the airship people (boring and trivial). Then went to Futura's exhibit and bought a nice new painting. Met David Galloway there. He came to Paris to interview me for the book Hans Mayer is doing on my sculptures. Went with David to see the airship painting again and do photos. We talked a lot and by the same time we got to the hotel the conversation got deeper and continually off the "subject."
Did some photos for a German spaghetti book. (Portrait of me with a drawing made out of spaghetti we ordered from room service.) I talked with David till it was time for dinner at Marcel Fleiss's house with Yoko and Sam. Nice quiet dinner and then returned to hotel with David to talk till 1 :30.7
The "deeper" talk that quickly veered from the topic of sculpture and continued into the early hours of the morning ultimately found its focus in the fat roll of galley proofs resting on the mantelpiece of Haring's suite at the Ritz Hotel. This was the interview by David Scheff that would appear in Rolling Stone on August 10th, and in which Haring talked with painful frankness about his own illness. As a politically engaged artist who helped to organize the first" Art Against AIDS" exhibition and produced several AIDS-related posters, including more than one with the motto "Silence = Death," he felt morally obliged to speak out about his illness. (Later in the year, he would march in protest against New York City's "racist" policy with respect to the disease, which allegedly only afflicted perverts, junkies and Afro-Americans.) Nonetheless, when the time came to approve Sheff's uncompromising interview, the activist experienced a moment of hesitation. Quite simply, he feared he might not be permitted to work with children again, and this was one of his most cherished activities. Despite such misgivings, on June 17 he sent his approval of the text to the editors of Rolling Stone, and when it appeared the artist experienced an immense, deeply gratifying wave of sympathy. The sole sour note was a protest against his having been commissioned (by Princess Caroline) to execute a mural for the maternity ward of the Princess Grace Hospital in Monaco - allegedly a potential danger for future generations.
In transforming a photographic portrait into a self-portrait with a few brisk strokes, Haring made an emphatic statement about his artistic intentions. At the same time, he revealed the depth of his own religious sentiment. Though not a practicing Christian in the last years of his life, the artist had a profound sense of right and wrong, of good and evil, and he devoted a considerable part of his energy to social causes. Attending Sunday School and church had been a regular part of the Harings' family life, and in summer Keith attended the camp run by the United Church of Christ. As a teenager he joined the Jesus Saves movement, read the Bible voraciously and developed "an obsession with the concept of the Second Coming..."8 Above all, Haring was influenced by "Revelation," which later offered him a veritable storehouse of trenchant visual imagery. Even at the age of 12, according to Haring's mother, "he began making drawings in which there were Jesus symbols and other types of symbols, like a loop with two dots."9 Haring's phase as a "Jesus Freak" was short-lived, and the impact of religion (above all, of organized religion) on his work can be overestimated. Indeed, the artist once complained to his journal that "Most religions are so hopelessly outdated, and suited to fit the particular problems of earlier times, that they have no power to provide liberation and freedom, and no power to give 'meaning' beyond an empty metaphor or moral code."10
When he finally decided, while dancing at New York's Paradise Garage, to depict the Ten Commandments within the arches of Bordeaux's Musee d'Art Contemporain for his show there in 1985, Haring was at a loss to remember all the commandments: "So the minute I get to Bordeaux, I ask for a bible!"11 Yet for all the vagueness surrounding Haring's grasp of biblical fundamentals and his distrust of the church as a moral authority, Christian mythology clearly had a profound impact on his use of angels and devils and madonnas, bleeding hearts and crucifixions and transubstantiations. (Painting an angel along with a mother and child on the coffin of his friend Yves Arman, who died in a car crash, transcended mere decoration to become a ritual act of healing.) Haring's fundamental religiosity, on the other hand, was also influenced by his interest in so-called "primitive" cultures, their myths and rituals and totemic objects - interests that inform the artist's pseudo-African masks, for example. And the Michael Rockefeller Collection of Primitive Art at New York's Metropolitan Museum was one of his favorite haunts.
Haring's use of traditional Christian imagery is particularly explicit in Apocalypse (1988), his first collaboration with William Burroughs. Each composition is a reprise on a collaged image taken from advertising, art history or Catholic theology. In addition to a Christ with a bleeding heart, the series includes an advertisement from the 1950s (significantly, the period of Haring's own infancy) in which a mother tenderly - and, by implication, Madonna-like - leans over her baby to offer him a milk-bottle. The explicitly Catholic allusions continue in Haring's next collaboration with Burroughs - the suite of etchings entitled The Valley. Here the imagery includes the torso of a male figure inserting a knife beneath his ribs to duplicate one of Christ's stigmata. This belated "embrace" of Catholic symbology aligns Haring even more closely with other prominent creative rebels: with Robert Mapplethorpe, Andy Warhol and Haring's street-wise friend and sometime-collaborator Madonna. For those three taboo-breaking artists the Catholic religion offered an especially fertile field for rebellion.
There is a kind of poetic logic in the fact that Haring's collaborations with Burroughs mark the end of his career, since it began with the mock New York Post headlines inspired by the cut-up technique Burroughs employed in Naked Lunch. The artist, furthermore, seems to have felt an intuitive sympathy for a surrealistic juxtaposition of images - partly inspired by his own use of hallucinogenic drugs, but also by his acquaintance with the works of Burroughs and the Beat-generation poets. A sentence from Burroughs' Soft Machine, published in 1962, might almost describe a composition by Haring: "Carl walked a long row of living penis urns whose penis has absorbed the body with vestigial arms and legs breathing through purple fungoid gills..."12 Haring had known Burroughs' work long before the two first met in 1983. In 1986, the artist told an interviewer that the author was "very into a lot of the world I've depicted, especially in the recent things - sex, mutations, weird science fiction situations."13 Erotic grotesquerie mixed with Christian symbolism characterized the works of both men. Timothy Leary, self-proclaimed guru of the acid age, remarked of the first Haring-Burroughs collaboration, Apocalypse, that it was "like Dante and Titian getting together."14 Dante and Hieronymous Bosch, whom Haring greatly admired, might seem the more appropriate parallel for works redolent with a sense of doom.
On March 20, 1987, Haring made the following remark in his journal: "I always knew, since I was young, that I would die young. But I thought it would be fast (an accident, not a disease). In fact, a man-made disease like AIDS. Time will tell that I am not scared. I live everyday as if it were the last. I love life."15 That affirmative note is sounded throughout the artist's work, the numerous interviews he gave, the social activities he sponsored, the texts he composed. Yet in the same journal entry which included the vigorous assertion of his love for life, Haring composed the following reaction to the news that the policemen accused of killing Michael Stewart had all been acquitted:
I hope in their next life they are tortured like they tortured him. They should be birds captured early in life, put in cages, purchased by a fat, smelly, ugly lady who keeps them in a small dirty cage up near the ceiling while all day she cooks bloody sausages and the blood spatters their cage and the frying fat burns their matted feathers and they can never escape the horrible fumes of her burnt meat. One day the cage will fall to the ground and a big fat ugly cat will kick them about, play with them like a toy, and slowly kill them and leave their remains to be accidentally stepped on by the big fat pink lady who can't see her own feet because of her huge sagging tits. An eye for an eye... 16
Like a Bosch-Burroughs vision, the passage indicates the rage Haring could experience when confronted with social and political injustice. For an understanding of the artist's oeuvre as a whole, however, it is important to observe that in the journal entry for a single day, remarks of a tender, Christian-like nature - "I'm sure when I die, I won't really die, because I live in many people,"17 - are followed by fulminations of Old Testament rage. Yet this dichotomy in no sense represents a contradiction; far more, it is symptomatic of the complexity of the artist's vision. It is an underlying duality which make the early works more than naive cartoons, the late ones more than angry odes to man's mortality. Fitted out with the wings necessary to ascend into heaven and the shackles drawing him down into the fire and brimstone of hell, Keith Haring demonstrated an astonishingly precocious grasp of the inherent ambiguities of his generation, of his age. He was the loving, lusting, break-dancing, quintessential American boy, but also an untiring, uncompromising social critic, and he was doomed to die young of a disease that decimated his generation. "Nothing lasts forever," as he noted in one of his final journal entries. "And nobody can escape death."18
After executing the turn in relatively narrow Loch Goil Waverley ends up close to the steeply sided banks, proving how quickly the loch deepens. She then heads back towards Loch Long and back down to the Clyde.
Ceiling executed in 1617, on designs by Domenichino (Domenico Zampieri 1581-1641), who painted the Assumption - Basilica of Santa Maria in Trastevere - Rome
A trio, yes, a trio of Ex-BN Executive SD70MAC's leads a coal train as it departs Homewood IL heading towards Michigan. This train had two Executives up front and one as a DPU.
Charles II (29 May 1630 OS – 6 February 1685) was the King of England, Scotland, and Ireland.
Charles II's father King Charles I was executed at Whitehall on 30 January 1649, at the climax of the English Civil War. The English Parliament did not proclaim Charles II king at this time. Instead they passed a statute making such a proclamation unlawful. England entered the period known to history as the English Interregnum or the English Commonwealth and the country was a de facto republic, led by Oliver Cromwell. The Parliament of Scotland, however, proclaimed Charles II King of Scots on 5 February 1649 in Edinburgh. He was crowned King of Scots at Scone on 1 January 1651. Following his defeat by Cromwell at the Battle of Worcester on 3 September 1651, Charles fled to mainland Europe and spent the next nine years in exile in France, the United Provinces and the Spanish Netherlands.
A political crisis following the death of Cromwell in 1658 resulted in Charles being invited to return and assume the throne in what became known as the Restoration. Charles II arrived on English soil on 27 May 1660 and entered London on his 30th birthday, 29 May 1660. After 1660, all legal documents were dated as if Charles had succeeded his father in 1649. Charles was crowned King of England and Ireland at Westminster Abbey on 23 April 1661.
Charles's English parliament enacted anti-Puritan laws known as the Clarendon Code, designed to shore up the position of the re-established Church of England. Charles acquiesced to the Clarendon Code even though he himself favoured a policy of religious tolerance. The major foreign policy issue of Charles's early reign was the Second Anglo-Dutch War. In 1670, Charles entered into the secret treaty of Dover, an alliance with his first cousin King Louis XIV of France under the terms of which Louis agreed to aid Charles in the Third Anglo-Dutch War and pay Charles a pension, and Charles promised to convert to Roman Catholicism at an unspecified future date. Charles attempted to introduce religious freedom for Catholics and Protestant dissenters with his 1672 Royal Declaration of Indulgence, but the English Parliament forced him to withdraw it. In 1679, Titus Oates's revelations of a supposed "Popish Plot" sparked the Exclusion Crisis when it was revealed that Charles's brother and heir (James, Duke of York) was a Roman Catholic. This crisis saw the birth of the pro-exclusion Whig and anti-exclusion Tory parties. Charles sided with the Tories, and, following the discovery of the Rye House Plot to murder Charles and James in 1683, some Whig leaders were killed or forced into exile. Charles dissolved the English Parliament in 1679, and ruled alone until his death on 6 February 1685. He converted to Roman Catholicism on his deathbed.
Charles was popularly known as the Merrie Monarch, in reference to both the liveliness and hedonism of his court and the general relief at the return to normality after over a decade of rule by Oliver Cromwell and the Puritans. Charles's wife, Catherine of Braganza, bore no children, but Charles acknowledged at least 12 illegitimate children by various mistresses.
On the 28th July 1540 Thomas Cromwell, who had for served as chief minister to King Henry VIII, was executed at Tower Hill in London. For nearly ten years Cromwell was one of the strongest and most powerful proponents of the English Reformation, coming to the fore through his engineering of the annulment of Henry’s marriage to Catherine of Aragon in 1533. During his years in power, he skillfully managed Crown finances and extended royal authority. In 1536, he established the Court of Augmentations to handle the massive windfall to the royal coffers from the Dissolution of the Monasteries. He strengthened royal authority in the north of England through reform of the Council of the North, extended royal power and introduced Protestantism in Ireland, and was the architect of the Laws in Wales Acts 1535 and 1542, which promoted stability and gained acceptance for the royal supremacy in Wales.
During this period Cromwell made many enemies and there were no shortage of those who would try and to oust him from his position of power. In 1540 he arranged for Henry to marry the German Princess Anne of Cleves, who Cromwell hoped would help breath fresh life into the Reformation in England and help protect England against the possibility of a French / Imperial alliance. This appears to have been a costly mistake, as the king was reportedly shocked by her plain appearance and Cromwell was accused of exaggerating her beauty. The wedding ceremony took place on January 6th at Greenwich, but the marriage was not consummated. For Cromwell’s conservative opponents, most notably the Duke of Norfolk, the King's anger at being forced to marry Anne was the opportunity to topple him they had been waiting for.
Cromwell was arrested at a Council meeting on June 10th and accused of various charges. His initial reaction was defiance: "This then is my reward for faithful service!" he cried out, and angrily defied his fellow Councillors to call him a traitor. A Bill of Attainder containing a long list of indictments, including supporting Anabaptists, corrupt practices, leniency in matters of justice, acting for personal gain, protecting Protestants accused of heresy and thus failing to enforce the Act of Six Articles, and plotting to marry Lady Mary Tudor, was introduced into the House of Lords a week later and passed on June 29th.
All Cromwell's honours were forfeited and it was publicly proclaimed that he could be called only "Thomas Cromwell, cloth carder". The King deferred the execution until his marriage to Anne of Cleves could be annulled: Anne, with remarkable common sense, happily agreed to an amicable annulment and was treated with great generosity by Henry as a result. Hoping for clemency, Cromwell wrote in support of the annulment, in his last personal address to the King. He ended the letter: "Most gracious Prince, I cry for mercy, mercy, mercy."
Cromwell was however condemned to death without trial, lost all his titles and property and was publicly beheaded on Tower Hill on July 28th 1540, on the same day as the King's marriage to Catherine Howard. The circumstances of his execution are a source of debate: whilst some accounts state that the executioner had great difficulty severing the head, others claim that this is apocryphal and that it took only one blow. Afterwards, his head was set on a spike on London Bridge.
The king later expressed regret at the loss of his chief minister and later accused his ministers of bringing about Cromwell's downfall by "pretexts" and "false accusations".
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.
Dinamarca - Copenhague - Palacio Real de Amalienborg
www.visitcopenhagen.com/copenhagen/amalienborg-palace-gdk...
www.kongernessamling.dk/en/amalienborg/
***
ENGLISH:
According to Eigtved’s master plans for Frederikstad and the Amalienborg Palaces, the four palaces surrounding the plaza were conceived of as town mansions for the families of chosen nobility. Their exteriors were identical, but interiors differed. The site on which the aristocrats could build was given to them free of charge, and they were further exempted from taxes and duties. The only conditions were that the palaces should comply exactly to the Frederikstad architectural specifications, and that they should be built within a specified time framework.
Building of the palaces on the western side of the square started in 1750. When Eigtved died in 1754 the two western palaces had been completed. The work on the other palaces was continued by Eigtved's colleague and rival, Lauritz de Thurah strictly according to Eigtved’s plans. The palaces were completed in 1760.
The four palaces are:
- Christian VII's Palace, originally known as Moltke's Palace
- Christian VIII's Palace, originally known as Levetzau's Palace
- Frederick VIII's Palace, originally known as Brockdorff's Palace
- Christian IX's Palace, originally known as Schack's Palace.
Currently, only the palaces of Christian VII and Christian VIII are open to the public.
Amalienborg is guarded day and night by Royal Life Guards (Den Kongelige Livgarde). Their full dress uniform is fairly similar to that of the Foot Guards regiments of the British Army: a scarlet tunic, blue trousers, and a navy bearskin cap. The guard march from Rosenborg Castle at 11.30 am daily through the streets of Copenhagen and execute the changing of the guard in front of Amalienborg at noon. In addition, post replacement is conducted every two hours.
When the monarch is in residence, the King's Guard (Kongevagt) also march alongside the changing of the guard at noon, accompanied by a band that plays traditional military marches. The Guard Lieutenant (Løjtnantsvagt) is always alerted when Prince Henrik or another member of the royal family are reigning in absence of the Queen. There are three types of watches: King's Watch, Lieutenant Watch and Palace Watch. A King's Watch is when Her Majesty the Queen takes up residence in Christian IX's Palace. A Lieutenant Watch is when Crown Prince Frederik, Prince Joachim, or Princess Benedikte, takes the place as regent, when the monarch is unable to. A Palace Watch is when no member of the royal family is in the palace, and it is the smallest one.
***
ESPAÑOL:
El Palacio de Amalienborg (en danés: Amalienborg Slot) es la residencia de la familia real danesa en Copenhague. Está compuesta por cuatro edificios de estilo rococó, realizados por el arquitecto Nicolai Eigtved entre 1750 y 1768, como residencia de diferentes familias de la nobleza danesa. Se convirtieron en residencia real en 1794 cuando un incendio destruyó el Palacio real de Copenhague. Actualmente, la Familia Real danesa lo usa como residencia de invierno.
Los cuatro palacios que conforman Amalienborg son:
- Palacio de Cristián VII o Palacio Moltke: es el palacio suroeste, usado para visitas oficiales.
- Palacio de Cristián VIII o Palacio Levetzau: es el palacio noroeste, residencia del príncipe Federico de Dinamarca hasta el 2004.
- Palacio de Federico VIII o Palacio Brockdorff: es el palacio noreste, fue la residencia de la reina Íngrid de Suecia hasta su muerte en el año 2000; está siendo restaurado para convertirse en la residencia del príncipe Federico de Dinamarca.
-Palacio de Cristián IX o Palacio Schack: es el palacio sureste, residencia de la soberana desde 1967.
Normalmente solo los palacios de Christian VII y de Christian VIII están abiertos al público.
Fresques exceptionnelles de Giotto exécutées entre 1305 et 1310 dans la chapelle des Scrovegni, construite en 1303, à la demande d'Enrico Scrovegni, banquier et homme d'affaires padouan.
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
women made up the vast majority of those accused and executed. In England, we estimate that women made up approximately 90 per cent of the accused; in the largely German-speaking Holy Roman Empire, this number was 76 per cent; in Hungary, 90 per cent; in Switzerland, over 95 per cent; and in parts of France, 76 per cent. There are exceptions to this trend. In Iceland, women made up only eight per cent of the accused and low figures can also be seen in Russia (32 per cent) and Estonia (40 per cent). But, for the most part, and especially in Western Europe, women were far more likely to be accused of witchcraft than men.
✔ -EC- Kate Set Top & Shorts // FATPACK
▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
✔ Full version includes 22 solid and 12 Dots
✔ Top and Shorts separate changable
▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
✔ Demo InWorld store only
▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
✔ Sizes: LoveMomma
✔ The item you are purchasing is meant for MESH BODIES.
✔ This item requires a viewer that supports MESH.
✔ Auto redelivery is enabled.
✔ No refunds except on DOUBLE PURCHASES.
✔ Always, ALWAYS purchase a demo first before committing to buy.
▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
Enjoy your purchase ! You are welcome any time to contact me, Ena Venus for any support needed.
You are welcome to visit any time:)
Visit In-World -ExeCute- Mainstore
Again for model year 1963 minor restyled details were executed by Brooks Stevens (1911-1995) like a renewed grille and dashboard. Stevens also used thinner upper door frames to improve the visibility. More striking was the elimination of the outdated semi-panoramic windshield. All these measures gave the Lark a more modern look.
Despite all affords and the good reputation and reliability of Studebaker, and the fact that the Lark was relatively cheap (special the V8 versions), sales went down year by year.
You can find a very interesting article about the history of the Lark here: www.indieauto.org/2021/04/16/1964-studebaker-brooks-steve...
4248 cc V8 engine.
1450 kg.
Production Studebaker Lark series: 1959-1966.
Production Studebaker Lark 2nd generation: Autumn 1961-1963.
Production Studebaker Lark Six and Eight this version: Autumn 1962-1963.
Original old Dutch reg. number: May 3, 1963 (still valid, May 2024).
Sold five times after my pictures.
At current owner since Febr. 9, 2016.
Analog photo.
Film roll nr. 02-46.
Amsterdam-Slotermeer, Van Gilsestraat, Nov. 27, 2002.
© 2002 Sander Toonen, Amsterdam/Halfweg | All Rights Reserved
shot executed by pinhole Auloma Superpanorama 6x17, negative scanned by Canon EOS 1100D, 120 film Fomapan 400
▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
✔-EC- Kyla Set // FATPACK
▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
✔ Skirt
✔ 22 Solid
✔ 22 Pattern
✔ Top
✔ 22 Solid
✔ 22 Pattern
▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
✔ Demo and 10% Group discount InWorld store only
▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
✔ Sizes: Maitreya, Belleza (Freya, Isis), Legacy, Slink (Hourglass)
✔ The item you are purchasing is meant for MESH BODIES.
✔ This item requires a viewer that supports MESH.
✔ Auto redelivery is enabled.
✔ No refunds except on DOUBLE PURCHASES.
✔ Always, ALWAYS purchase a demo first before committing to buy.
▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
Visit In-World -ExeCute- Mainstore
Clones execute their Jedi General under the direction Order 66. (Built as an application to the Dark Times RPG)
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).
----------------------------------------------------------------------------------------
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.
-----------------------------------------------------------------------------------------
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.
Shooting Sunrises and Sunsets is bitter sweet; on one side you may be witnessing one of the most beautiful things unfolding right before your eyes and on the other so caught up on executing the shot. Always trapped in between experiencing it fully or miss capturing the most epic one ever. I guess such is life as a Photographer.
Nicely executed sharpness from the Tessar.
Full review here: almost-hasselblad.blogspot.com/2022/02/ica-icarette-b.html
Pendant son séjour à Rome le duc de Luynes avait sollicité Ingres pour exécuter un ambitieux décor pour son château, deux immenses peintures de 6,60 de haut sur 4,80m de large.
"L'âge d'Or" et son pendant "L'âge de fer" devaient être le manifeste esthétique, testament professionnel d'Ingres.
A 60 ans passé, Ingres a accumulé une centaine de dessins avant de s'attaquer au décor.
Inspiré par la "Chambre de Raphaël" au Vatican, il met en scène les deux âges de l'humanité depuis Hesiode.
"L'Age d'or" ne sera jamais terminé et "l'Age de fer" jamais commencé, Ingres mourra avant.
During his stay in Rome, the Duke of Luynes had asked Ingres to execute an ambitious decoration for his castle, two immense paintings measuring 6.60m high and 4.80m wide.
"The Golden Age" and its counterpart "The Iron Age" were to be Ingres' aesthetic manifesto and professional testament.
At the age of 60, Ingres had accumulated a hundred drawings before tackling the decor.
Inspired by the "Chamber of Raphael" in the Vatican, he staged the two ages of humanity since Hesiod.
The "Golden Age" will never be finished and the "Iron Age" never begun, Ingres will die before then.
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.
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!”
I have been planning and dreaming of this concept for about a year now. It felt like the perfect choice to execute after taking some much needed time away from photography to refresh my creativity. I lost the passion and confidence in my work with the stresses of university and other life happenings. I missed creating pieces I was excited aboout and sure about dearly. I'm setting right back on that track now. I am so happy with how this piece turned out and it has given me so much energy for other concepts I am going to be working on this summer.
I wrote a 'creating of' post on my blog about shooting this piece that has also has a few detail frames and a before and after of my post processing. You can read that blog post, here.
Erin Graboski ©
Website | Blog | Facebook | Twitter | Tumblr | Ask.Fm | Instagram: @eringraboskiart
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.
shot executed by pinhole Auloma Feris 4x5 , filter for view camera green aulomacolor, negative scan by Canon EOS 1100D
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.
shot executed by pinhole Auloma Panorama 6x12, negative scanned by Canon EOS 1100D, film Fomapan 400
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.
In 2018 The County of Simcoe executed a controlled burn on 70 acres of County Forests. Purpose is a restoration projet involving the removal of existing vegetation (largely non-native/exotic plants and trees) and re-planting of approximately 160,000 native trees.
This is an Interesting video of the devastation caused by early pioneers to the landscape during the late 1800's and the eventual replanting of over 20,000,000 trees in this 33,000 acre forest since its inception in the 1922.
Arizona Man Arrested for Threatening to Execute Rabbi, All Other Jews He Could Find
By JNS & JewishPress.com News Desk - 25 Heshvan 5784 – November 8, 2023
UJA
The US attorney’s office for the District of Arizona has charged Jeffrey Mindock, 50, of Tempe, Arizona, with threatening to commit mass murder against Jews.
Mindock allegedly emailed a local rabbi asking him to sway a Utah judge to drop charges against him.
Advertisement
“If you do not use your influence to right this wrong,” wrote Mindock, “I will execute you and every other Jew I can find tonight at midnight of your Sabbath.”
The email subject line read: “Hitler was right, rabbi,” per the criminal complaint, which referred to the war between Israel and Hamas, ABC reported.
“As I have watched the atrocities unfolding in Palestine, I have come to the realization that you people are to blame for everything evil in this world,” he allegedly wrote. “Zionist Jews control everything from the courts to the banks to the media. We both know that you are in control.”
Mindock was arrested on Saturday morning.
“We have no tolerance for those who send threatening communications to Jewish faith leaders or to any other people in America,” stated US Attorney Gary Restaino. “We will continue to exercise our prosecutorial discretion and deploy our resources to charge threats cases here in Arizona.”
“The FBI and our law-enforcement partners must take people who make threats at their word and intervene because protecting human life is our absolute priority,” added Chad Alvarado, acting special agent in charge of the FBI’s Phoenix field office.
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
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
----------------------------------
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
===================
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.
Less
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...
===================
From the website of The Henry Ford in Dearborn, Michigan. www.thehenryford.org/collections-and-research/digital-col...
Karpathos. 477 BC.
We should have died a hundred times over.they seem too amused by us to simply execute us,and instead have thrown us into dungeons and courtyards to fight until we die.
Savages and crazed criminals are our main adversaries thus far.
Our bodies bear marks from each of our victories, as our minds do of the
realization that we are probably never going to be free men again. tomorrow we are fighting for the amusement of some official, our foes are 10 Thebans from the north.My companion Baunius mentioned,that today would not be such a bad day to die.
I informed him that was only if i gave him permission to die,and i do not.
▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
✔-EC- ALIX SET // FATPACK
▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
✔ Jumpersuit
✔ 22 Solid
✔ Suspender
✔ 22 Solid
✔ Top Solid
✔ 22 Colors
✔ Top Fishnet
✔ 22 Colors
▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
Top Fatpack
Jumpersuit Fatpack
Single colors Set's
✔ InWorld available
▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
✔ Demo InWorld store only
▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
✔ Sizes: Maitreya, Belleza (Freya, Isis), Legacy, Slink (Hourglass)
✔ The item you are purchasing is meant for MESH BODIES.
✔ This item requires a viewer that supports MESH.
✔ Auto redelivery is enabled.
✔ No refunds except on DOUBLE PURCHASES.
✔ Always, ALWAYS purchase a demo first before committing to buy.
▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬
Visit In-World -ExeCute- Mainstore