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The Madonna della Seggiola or The Madonna della Sedia (28" in diameter (71 cm)) is an oil on panel Madonna painting by the High Italian Renaissance artist Raphael, executed c. 1513–1514, and housed at the Palazzo Pitti Collection in Florence, Italy. Although there is documentation on its arrival to its current location, Palazzo Pitti, it is still unknown who commissioned the painting; however, it has been in the Medici family since the 16th century.
It depicts Mary embracing the Christ child while sitting in a chair as the young John the Baptist devoutly watches. The Madonna della Sedia is one of the single most important of Raphael's Madonnas. The painting also showcases Raphael's use of the tondo form and his naturalistic approach to depicting the Madonna.
The Madonna della Sedia is Raphael's most humanistic form of the Madonna. Throughout Raphael's life, this humanistic representation of the Madonna occupied his mind. The Madonna della Sedia is the incarnation of a realistic mother and child, representing human motherhood. Painted during his Roman period, this Madonna does not have the strict geometrical form and linear style of his earlier Florentine treatments of the same subject. The Madonna is portrayed subtly and naturalistically, including the drapery, her anatomy, and the movement of her body, as if it was a result of an immediate action. The Madonna della Sedia balanced simplification and detail with the treatment of her embroidered shawl, the directness of the figures and the touching of the two heads (Madonna and Christ child). Raphael dressed the Madonna in the Italian clothing of the time. Mary is depicted wearing a striped headdress, which falls behind her backside and compliments her richly colored ornamental dress with fringe.
The Madonna's image also shows less attention to careful selections, which takes the focus off refinement, and shifts it to more of a rapid representation of an observation or attitude. The Christ child and Mary are both in profile view in order to balance the composition, which resolved the issue of overcrowding. Mary is sitting in a position that is not easily replicated in reality, which allows the Christ child to sit comfortably, while balancing the figures in regards to the painting's round shape. The curvature of the two arms of Mary and Christ child in the foreground also lend themselves to a spherical form, which rounds out the composition. The chair dictates the outer limits of the composition and is the painting's namesake.
The colors play an important role in this painting, from the green embroidered garment to the cerulean blue or the juxtaposition of the Madonna's red sleeve with the Christ child's orange drapery, which adds an extra element of enrichment and a vibrancy to the color palette. The warmer colors seem to suggest the influence of Titian and Raphael's rival Sebastiano del Piombo.
Unfortunately, the Madonna della Sedia's commission is undocumented despite it being created while Raphael was spending a relatively well-documented period of twelve years in Rome. The painting was painted during the same time Raphael was working on the frescoes in the Vatican Stanze and loggia of the Vatican, including the paintings Incendio del Borgo, Battle of Ostia, and Coronation of Charlemagne. Most of Raphael's commissions for this period were under the strict guidance of Pope Leo X (Giovanni di Lorenzo de' Medici), who was known to be one of Raphael's biggest patrons at the time. While under Leo's patronage, Raphael rarely got commissions from outside of the pope's immediate circle. Leo X was also the successor to Pope Julius II (Giuliano della Rovere) who was another major patron of Raphael and a central contributor to the High Renaissance. However, it has been speculated that the painting was painted for Leo X, which also connects the painting to the Medici family during the sixteenth century while in Rome. The chair's finial in the Madonna della Sedia is evidence that supports the idea that the painting could have been commissioned for Pope Leo X. The finial takes on the form of a round ball, similar to the Medici's heraldic symbol, the palle, which is also seen in Leo's coat of arms. On the other hand, the chair's finial could also be a symbol for Pope Julius II and his family's symbol, the Della Rovere oak acorn, further adding to the mystery of the unidentified patron.
Already in the Gallerie Degli Uffizi, it was then moved to the Pitti Palace by the beginning of the eighteenth century. It was listed in inventories in 1723 and 1761 as being on display in the Grand Prince Ferdinando's bedroom. It was later moved throughout the Rooms of the Planets, starting with the Room of Jupiter (c. 1771) and later the Room of Mars (c. 1793), after the Leopoldine rearrangement of the picture gallery. Towards the end of the eighteenth century, it was taken during the Napoleonic looting of Florence and was in Paris from 1799 to 1815. Back in Florence, the painting has been in the Room of Saturn since 1882.
The Madonna della Sedia is the culmination of Raphael's use of the tondo form and influenced an equivalent singular male portrait, The Portrait of Baldassare Castiglione (c. 1514–1515). The painting is oil on panel, with St John the Baptist painted in a different key range. The painted black background is lacking the usual landscape, which typically would harmonize all the colors and figures. The composition is entirely from Raphael's hand, which was a result of him shuddering off the legacies of Leonardo da Vinci and Pietro Perugino, who early on had influenced his career and style substantially. The technical execution of the painting lies within its remarkable composition, which was originally envisioned as a rectangle. Raphael did not consider the circular shape during the preliminary sketches for this painting, even though it is a form he favored during and after his Florentine period. The figures' accommodation to the shape is skillful. The painting also revolutionized the Madonna format in the Renaissance style due to its departure from the pyramidal composition of the Madonna, Christ child, Saint Joseph, and by giving the painting a superficial background, which is radically different when comparing it to an earlier Madonna portrait, The Alba Madonna (c. 1510).
The painting also revolutionized singular portrait painting during the Renaissance by enlarging the figure's scale and how they compositionally occupy the entire plane. By radically changing the scale of the figures in this painting, allowing them to occupy most of the available space, the Christ child seems to be the basis of both the Madonna and Saint John the Baptist's proportions and relationship within the painting.
The Madonna della Sedia has been admired by many artists, poets, and engravers. It has been copied many times over and, historically, was considered one of the most revered of Raphael's Madonnas. There are a few enchanting legends connected to the Madonna della Sedia painting, one being about a beautiful Urbino peasant girl, who was as good as she was beautiful, charitable, and pious, who gave her assistance to an ill hermit she had stumbled upon. The hermit rewarded the girl by blessing her and stating that she would be painted as the mother of God. Many years later, on a sunny day holding her infant in the garden and with her toddler son playing at her knees, she was spotted by a handsome young man at her garden gate. That young man was Raphael Sanzio who immediately said he would like to paint her as she sat there with her two sons, later represented as the original Virgin, Christ child, and St. John.
Because of the painting's roundness, it became the subject of another story in which a peasant girl saves a hermit from a pack of wolves in the branches of an oak, and the hermit prophesies that she will become immortalized for her good deed. Years later, the girl had two children, and the tree was made into wine barrels. Raphael happened upon the trio and used a barrel bottom to paint them. This scenario was the subject of an 1839 lithograph by August Hopfgarten and a painting by Johann Michael Wittmer.
Ingres greatly admired Raphael and paid tribute to him by including this painting in many of his works, such as in the background of Henri IV playing with his children and Raphael and La Fornarina on the table in front of the subject in his Portrait of monsieur Rivière. The image was worked into the carpet in Napoleon I on his Imperial Throne.
Johann Zoffany also included this painting along with many others in his 1770s painting of the Tribuna of the Uffizi.
In 1858, Nathaniel Hawthorne wrote that the painting was "the most beautiful picture in the world" after having seen it via "a hundred engravings and copies".
The depiction inspired Raphael Morghen and Niccolò De Antoni for a commission for Prince Consort for his Raphael Collection, which is conserved at the Royal Collection Trust.
Exécuté seulement en 1807 par Gérard (1770-1837), le portrait de Joséphine "dans le costume du couronnement" fut exposé au Salon de 1808 et placé aux Tuileries.
Napoléon en commanda la même année une réplique destinée à être traduite en tapisserie.
Huit lissiers des Gobelins travaillèrent au tissage, notamment Claude père, aidé de son fils, qui exécuta la figure de Joséphine avec une rare perfection. Bien que tissée en haute lisse, la tapisserie est inversée par rapport à la peinture comme c'est le cas en basse lisse. La couronne posée sur le tabouret est bien celle livrée par le joaillier Marguerite pour le couronnement; et, mis à part la parure de saphirs et le haut du corsage, le bas de robe en soie blanche brodée et le grand manteau en velours pourpre, exécutés par les couturiers Leroy et Rimbaud, sont ceux que l'Impératrice portait pour la cérémonie du 2 décembre 1804.
Commencée en juillet 1808 et livrée en novembre 1810, un an après le divorce de Joséphine et Napoléon, cette tapisserie fut offerte par Napoléon au fils de Joséphine, Eugène (1781-1824) pour les étrennes de 1810.
Executed only in 1807 by Gérard (1770-1837), the portrait of Josephine "in the costume of the coronation" was exhibited at the Salon of 1808 and placed in the Tuileries.
In the same year, Napoleon commissioned a replica to be translated into tapestry.
Eight weavers from the Gobelins worked on the weaving, notably Claude père, assisted by his son, who executed the figure of Joséphine with rare perfection. Although woven in haute lisse, the tapestry is inverted in relation to the painting, as is the case in basse lisse. The crown on the stool is indeed the one delivered by the jeweller Marguerite for the coronation; and, apart from the sapphire set and the top of the bodice, the embroidered white silk dress and the large purple velvet cloak, made by the couturiers Leroy and Rimbaud, are those worn by the Empress for the ceremony of 2 December 1804.
The tapestry was begun in July 1808 and delivered in November 1810, a year after Josephine and Napoleon's divorce. Napoleon gave it to Josephine's son Eugène (1781-1824) for his Christmas present in 1810.
Tower Green is a space within the Tower of London, a royal castle in London, where two English Queens consort and several other British nobles were executed by beheading. It was considered more dignified for nobility to be executed away from the gawping spectators, and Queen Anne Boleyn and Lady Jane Grey were among the nobility beheaded here. Queen Victoria asked for information on the exact location at which the executions took place, and had some granite paving laid to mark the spot. However it is unclear whether the location is indeed correct because other sources place it on the current parade ground, between the White Tower and the entrance to the current Waterloo Barracks.
Her Majesty's Royal Palace and Fortress, known as the Tower of London, is a historic castle located on the north bank of the River Thames in central London. It lies within the London Borough of Tower Hamlets, separated from the eastern edge of the square mile of the City of London by the open space known as Tower Hill. It was founded towards the end of 1066 as part of the Norman Conquest of England. The White Tower, which gives the entire castle its name, was built by William the Conqueror in 1078, and was a resented symbol of oppression, inflicted upon London by the new ruling elite. The castle was used as a prison from 1100 (Ranulf Flambard) until 1952 (Kray twins), although that was not its primary purpose. A grand palace early in its history, it served as a royal residence. As a whole, the Tower is a complex of several buildings set within two concentric rings of defensive walls and a moat. There were several phases of expansion, mainly under Kings Richard the Lionheart, Henry III, and Edward I in the 12th and 13th centuries. The general layout established by the late 13th century remains despite later activity on the site.
museumPASSmusees 2021 - Mima - Double Bill
'DRAMA', The Art Of Laurent Durieux
'Laurent Durieux's magnificent work elevates poster art to a high level. The stunningly executed images express the ideas and themes of the films he has chosen in new terms. They communicate a lot without words and are part of the wonderful tradition of illustrative art. '
Francis Ford Coppola
The exhibition presents around a hundred original posters of the Belgian artist, internationally acclaimed by moviegoers.
THE ABC OF PORN CINEMA
(Prohibited under 18 year old)
In 2013, the ABC, Brussels' last old-school adult cinema still showing 35mm films, was shut down. Its archive, meticulously built over the forty years of its existence, was salvaged by Cinema Nova, allowing the veil of a bygone era devoured by the digital revolution to be lifted.
The exhibition 'The ABC of Porn Cinema' spans four decades of activity by the aforementioned theatre, and in doing so recalls the world that surrounded it. Through numerous documents, posters, hand-painted billboards, engraved press plates and censored photos retrieved from the ABC, plus an accompanying art installation, an obscure part of our culture destined to be buried in the annals of history can once again be rediscovered and reappraised. Indeed, these historical archives are exceptional and unique, unafraid to indulge in humour or to drum up reflection and controversy.
An exhibition created by the Nova cinema and the MIMA with the participation of the Gogolplex collective
( 200 musees
Des maintenant, vous pouvez visiter tous les musees participants pendant un an. Pas une fois, mais aussi souvent que vous le souhaitez !
297 expositions
Vous pouvez egalement visiter les expositions temporaires des musees participants gratuitement ou a un tarif fortement reduit.
1 pass musees
Tout ceci avec seulement 1 pass.
The Madonna and Child with Three Angels (also known as Madonna del Padiglione) is a painting by the Italian Renaissance master Sandro Botticelli, executed around 1493. It is housed in the Pinacoteca Ambrosiana of Milan.
The Virgin Mary is portrayed with her right hand expressing milk from her exposed breast and gesturing to the Child, the latter being supported by an angel. The Italian name (padiglione meaning "pavilion") derives from the rich baldachin over the scene. The open book on a small prie-dieu is a familiar symbol of Christ, the "word [of God] made flesh" (John 1:14) and the Christ child gestures toward the book to signal his identity.
The "pavilion" is a reference to the same verse in Gospel of John: "The word became flesh and dwelt among us." In the Greek language of the gospel, the word "dwelt" actually means "tented," a reference to the book of Exodus in the Old Testament where God's glory entered the tabernacle in the wilderness of Sinai: "Then the cloud covered the tent of meeting, and the glory of the Lord filled the tabernacle" (Exodus 40:34). The tabernacle was a movable tent shrine created according to God's directions to hold the Ark of the Covenant, the sacred container of the Ten Commandments, God's words. In this painting, the Virgin Mary is the new Ark of the Covenant since she, like the Ark, contained the Word of God (Leith, 117). The book and the open tent/pavilion signify the revelation that the Old Testament prophecy has been fulfilled in the birth of the Christ Child to the Virgin
Not a well-executed photo, spur of the moment spin and shoot, too much shake and contrast for my liking, but a fond memory. One that might be worth sharing.
Walking along Place Saint Michel and across from the landmark fountain, a section of Paris where the dominant language is definitely English and that could be labeled “tourist central.” Suddenly a waitress in this establishment called out “Take my Picture” in French. Then I turned to see her with a big smile and arms outstretched, snap! This view pretty much sums up most of my interactions with Parisians.
I’m sure that under one of my many Paris photos I’ve mentioned this before, the fact that one of my favorite activities during my three month Paris stay was reading Ernest Hemingway’s “A Movable Feast” reading that book under the allées of the Luxembourg Gardens. I don’t know if I’d ever gotten around to mentioning how the book was named.
In the introduction Hemingway’s son explains that the title was because Ernest Hemingway believed that anyone who spends an amount of time in Paris that experience will follow wherever they go. I couldn’t agree more. And I’m counting the days until I go back, 230 days.
This is the beginning of a new set Heather Peabody and I will be executing over the next few weeks; The Storybook Series, which is inspired by international folktales we all know.
Model: Kelly Baysinger
Photographer: Shannon Bray
Assistant/Make-up/Styling: Heather Peabody
You may also know this story as Swan Lake, or from the movie Black Swan.
An evil sorcerer turns a group of girls into beautiful swans and has control over them. While out hunting one day, Prince Siegfried, (whose mother has just told him that he must marry) discovers a beautiful swan. He is enchanted by her. When he aims to shoot her, she stops him and tells him the story of her life--how she is really a princess turned into a swan, and how the only way that she can be released from her curse is if a man declares his true love to her. He is just about to declare his love for her when the evil sorcerer shows up and takes the princess away. A few days later, the prince's mother is having a party for him to choose a bride. While he is there, he sees the beautiful swan and is thrilled. What he doesn't know is that the swan is really the evil sorcerer's daughter put under an enchantment to look like the princess. He dances with her, and at the end of the night he declares his love for her. He realizes he has made a terrible mistake when he sees the real swan princess through the window. He runs to her, but it is too late. She is so upset that she jumps off of a cliff and kills herself. In a desperate attempt to be with his true love, the prince follows her off the cliff. Since that action showed that the princewas really in love with her, all the other swans are relased from the curse and the evil sorcerer is destroyed. The story ends with the prince and princess floating up into the air.
•52 Church Street is Christ Church Cathedral. In 1816 the stone Christ Church was built by order of Governor Macquarie by convicts. Designed by convict artist Joseph Lycett. The first Bishop of Newcastle was appointed in 1847. Bishop Tyrrell who arrived 1848. The old church of 1816 was used until architect John Horbury Hunt drew up plans for a cathedral and had it demolished. One stone remains in the nave of the current Cathedral. In 1883 Cathedral Hall was built across the road for use as a church whilst the Cathedral was being built. Work began 1883 on the Cathedral but stopped in 1891 as the foundations began to subside. Work restarted in 1902 and was soon finished with marble floors, stained glass windows and a superb Warriors Chapel. The church ran a competition in 1868 for a cathedral to cost no more than £10,000. The winners were Terry and Speechley from Melbourne with John Horbury Hunt as supervising architect. Cost concerns arose and John Horbury Hunt was appointed as the architect. During repairs undertaken after the 1989 Newcastle earthquake the original 1816 church foundation stone was re-positioned within the Cathedral nave. Hunt also designed a Pro-Cathedral opposite which was called Cathedral Hall. It is now the Anglican Newcastle Grammar School. This was used until the opening of the new Cathedral for services in 1902. Kempe of London supplied the stained glass windows in the nave and baptistery in the new Cathedral. It also contains a stained glass jewel: the Dies Domini window designed by Sir Edward Burne-Jones and executed by Morris & Co. of London. The Warriors' Chapel was built in 1924. It was a permanent memorial to all those who died in World War I, especially men and women of Newcastle and the Hunter Valley. The Christ Church burial ground, located on the northern side of the church and now a park and is the first known European burial ground in Newcastle.
The rifles are aimed at the medal worn around the victims neck - the poles behind the statue represent the names, and ages of those executed - during WW1 306 British and Commonwealth soldiers were shot for desertion, cowardice, striking a senior officer, disobeying a lawful command, casting away arms, and sleeping on post.
It is now recognised that several were under age when they volunteered and many were suffering from post traumatic stress disorder, which was not recognised as a medical condition until 1980.
The six trees facing the memorial represent where the firing squad
stood.
A LOT OF THE POLES WHICH STATE THE NAMES OF THOSE EXECUTED SAY AGE UNKNOWN WHICH POSSIBLY INDICATES THAT THEY WERE VERY YOUNG
In 2006 a posthumous pardon was granted for the men....❤️
EXPLORE # 152
This is Fort Santiago in Intramuros, Manila, Philippines. Shown at the background is a part of the Rizal Shrine where the national hero's belongings were kept after his execution and also numerous artworks about him. The footprints were made of copper retracing his path towards the execution site (Bagumbayan) now called Luneta. Rizal was executed December 30, 1896 at the age of 35. Below is his poem written in Spanish, "Mi Ultimo Adios", " and the English translation,. "My Last Farewell."
Mi Ultimo Adiós
¡Adiós, Patria adorada, región del sol querida,
Perla del mar de oriente, nuestro perdido Edén!
A darte voy alegre la triste mustia vida,
Y fuera más brillante, más fresca, más florida,
También por ti la diera, la diera por tu bien.
En campos de batalla, luchando con delirio,
Otros te dan sus vidas sin dudas, sin pesar;
El sitio nada importa, ciprés, laurel o lirio,
Cadalso o campo abierto, combate o cruel martirio,
Lo mismo es si lo piden la patria y el hogar.
Yo muero cuando veo que el cielo se colora
Y al fin anuncia el día tras lóbrego capuz;
si grana necesitas para teñir tu aurora,
Vierte la sangre mía, derrámala en buen hora
Y dórela un reflejo de su naciente luz.
Mis sueños cuando apenas muchacho adolescente,
Mis sueños cuando joven ya lleno de vigor,
Fueron el verte un día, joya del mar de oriente,
Secos los negros ojos, alta la tersa frente,
Sin ceño, sin arrugas, sin manchas de rubor
Ensueño de mi vida, mi ardiente vivo anhelo,
¡Salud te grita el alma que pronto va a partir!
¡Salud! Ah, que es hermoso caer por darte vuelo,
Morir por darte vida, morir bajo tu cielo,
Y en tu encantada tierra la eternidad dormir.
Si sobre mi sepulcro vieres brotar un día
Entre la espesa yerba sencilla, humilde flor,
Acércala a tus labios y besa al alma mía,
Y sienta yo en mi frente bajo la tumba fría,
De tu ternura el soplo, de tu hálito el calor.
Deja a la luna verme con luz tranquila y suave,
Deja que el alba envíe su resplandor fugaz,
Deja gemir al viento con su murmullo grave,
Y si desciende y posa sobre mi cruz un ave,
Deja que el ave entone su cántico de paz.
Deja que el sol, ardiendo, las lluvias evapore
Y al cielo tornen puras, con mi clamor en pos;
Deja que un ser amigo mi fin temprano llore
Y en las serenas tardes cuando por mí alguien ore,
¡Ora también, oh Patria, por mi descanso a Dios!
Ora por todos cuantos murieron sin ventura,
Por cuantos padecieron tormentos sin igual,
Por nuestras pobres madres que gimen su amargura;
Por huérfanos y viudas, por presos en tortura
Y ora por ti que veas tu redención final.
Y cuando en noche oscura se envuelva el cementerio
Y solos sólo muertos queden velando allí,
No turbes su reposo, no turbes el misterio,
Tal vez acordes oigas de cítara o salterio,
Soy yo, querida Patria, yo que te canto a ti.
Y cuando ya mi tumba de todos olvidada
No tenga cruz ni piedra que marquen su lugar,
Deja que la are el hombre, la esparza con la azada,
Y mis cenizas, antes que vuelvan a la nada,
El polvo de tu alfombra que vayan a formar.
Entonces nada importa me pongas en olvido.
Tu atmósfera, tu espacio, tus valles cruzaré.
Vibrante y limpia nota seré para tu oído,
Aroma, luz, colores, rumor, canto, gemido,
Constante repitiendo la esencia de mi fe.
Mi patria idolatrada, dolor de mis dolores,
Querida Filipinas, oye el postrer adiós.
Ahí te dejo todo, mis padres, mis amores.
Voy donde no hay esclavos, verdugos ni opresores,
Donde la fe no mata, donde el que reina es Dios.
Adiós, padres y hermanos, trozos del alma mía,
Amigos de la infancia en el perdido hogar,
Dad gracias que descanso del fatigoso día;
Adiós, dulce extranjera, mi amiga, mi alegría,
Adiós, queridos seres, morir es descansar.
José Rizal, 1896
My Last Farewell
Farewell, beloved Country, treasured region of the sun,
Pearl of the sea of the Orient, our lost Eden!
To you eagerly I surrender this sad and gloomy life;
And were it brighter, fresher, more florid,
Even then I’d give it to you, for your sake alone.
In fields of battle, deliriously fighting,
Others give you their lives, without doubt, without regret;
The place matters not: where there’s cypress, laurel or lily,
On a plank or open field, in combat or cruel martyrdom,
It’s all the same if the home or country asks.
I die when I see the sky has unfurled its colors
And at last after a cloak of darkness announces the day;
If you need scarlet to tint your dawn,
Shed my blood, pour it as the moment comes,
And may it be gilded by a reflection of the heaven’s newly-born light.
My dreams, when scarcely an adolescent,
My dreams, when a young man already full of life,
Were to see you one day, jewel of the sea of the Orient,
Dry those eyes of black, that forehead high,
Without frown, without wrinkles, without stains of shame.
My lifelong dream, my deep burning desire,
This soul that will soon depart cries out: Salud!
To your health! Oh how beautiful to fall to give you flight,
To die to give you life, to die under your sky,
And in your enchanted land eternally sleep.
If upon my grave one day you see appear,
Amidst the dense grass, a simple humble flower,
Place it near your lips and my soul you’ll kiss,
And on my brow may I feel, under the cold tomb,
The gentle blow of your tenderness, the warmth of your breath.
Let the moon see me in a soft and tranquil light,
Let the dawn send its fleeting radiance,
Let the wind moan with its low murmur,
And should a bird descend and rest on my cross,
Let it sing its canticle of peace.
Let the burning sun evaporate the rains,
And with my clamor behind, towards the sky may they turn pure;
Let a friend mourn my early demise,
And in the serene afternoons, when someone prays for me,
O Country, pray to God also for my rest!
Pray for all the unfortunate ones who died,
For all who suffered torments unequaled,
For our poor mothers who in their grief and bitterness cry,
For orphans and widows, for prisoners in torture,
And for yourself pray that your final redemption you’ll see.
And when the cemetery is enveloped in dark night,
And there, alone, only those who have gone remain in vigil,
Disturb not their rest, nor the mystery,
And should you hear chords from a zither or psaltery,
It is I, beloved Country, singing to you.
And when my grave, then by all forgotten,
has not a cross nor stone to mark its place,
Let men plow and with a spade scatter it,
And before my ashes return to nothing,
May they be the dust that carpets your fields.
Then nothing matters, cast me in oblivion.
Your atmosphere, your space and valleys I’ll cross.
I will be a vibrant and clear note to your ears,
Aroma, light, colors, murmur, moan, and song,
Constantly repeating the essence of my faith.
My idolized country, sorrow of my sorrows,
Beloved Filipinas, hear my last good-bye.
There I leave you all, my parents, my loves.
I’ll go where there are no slaves, hangmen nor oppressors,
Where faith doesn’t kill, where the one who reigns is God.
Goodbye, dear parents, brother and sisters, fragments of my soul,
Childhood friends in the home now lost,
Give thanks that I rest from this wearisome day;
Goodbye, sweet foreigner, my friend, my joy;
Farewell, loved ones, to die is to rest.
José Rizal, 1896
(Modern English translation by Edwin Agustín Lozada)
Order 66
"Commander Kore, execute Order 66"
"Yes, sir". The order was given, and had to be followed. We were trained to follow every order, and while clones had gained some independence during the war, this order had come straight from the top. The Chancellor. I switched to our private comms. "Troopers, spread out, surround him." My men obeyed their orders, again, without question. The jedi, Arden Tawn, suddenly turned around. "Commander, spread out, search the area. The enemy is near, I can feel it." I responded "I'm sorry sir, we're no longer required to follow your orders."
"Wha-"
"EXECUTE HIM!" A hail of blaster fire shot towards him. He deflected every shot. However, fighting alongside him for three years taught us how he fights. We dodged each blast he batted back at us, we kept moving, surrounding him.
I took aim at his chest, waiting for the right moment, when his guard, his lightsaber, was down. My moment came, he swung his blade wide, and I fired. The shot connected. He gasped and looked at his chest, he looked up. "Why?" He gasped. My response was another blast to his chest, killing him. "It's done" I said. I picked up his lightsaber. "Get a flamethrower over here. We'll give him a jedi funeral."
"Yes, sir" my troopers responded.
The F-35 Lightning II executed its first live-fire launch of a guided air-to-air missile over a military test range off the California coast on Oct. 30, 2013. The AIM-120 advanced medium range air-to-air missile (AMRAAM) was fired from an F-35A conventional take-off and landing variant test aircraft. Test data and observers confirmed the F-35 identified and targeted an aerial drone target with its mission systems sensors, passed the target "track" information to the missile, and launched the AIM-120 from the aircraft to engage the drone. After launch, the missile successfully acquired the target and followed an intercept flight profile. Moments before the missile was about to destroy the target, a self-destruct signal was sent to the AIM-120 in order to preserve the aerial drone for use in future tests.
museumPASSmusees 2021 - Mima - Double Bill
'DRAMA', The Art Of Laurent Durieux
'Laurent Durieux's magnificent work elevates poster art to a high level. The stunningly executed images express the ideas and themes of the films he has chosen in new terms. They communicate a lot without words and are part of the wonderful tradition of illustrative art. '
Francis Ford Coppola
The exhibition presents around a hundred original posters of the Belgian artist, internationally acclaimed by moviegoers.
THE ABC OF PORN CINEMA
(Prohibited under 18 year old)
In 2013, the ABC, Brussels' last old-school adult cinema still showing 35mm films, was shut down. Its archive, meticulously built over the forty years of its existence, was salvaged by Cinema Nova, allowing the veil of a bygone era devoured by the digital revolution to be lifted.
The exhibition 'The ABC of Porn Cinema' spans four decades of activity by the aforementioned theatre, and in doing so recalls the world that surrounded it. Through numerous documents, posters, hand-painted billboards, engraved press plates and censored photos retrieved from the ABC, plus an accompanying art installation, an obscure part of our culture destined to be buried in the annals of history can once again be rediscovered and reappraised. Indeed, these historical archives are exceptional and unique, unafraid to indulge in humour or to drum up reflection and controversy.
An exhibition created by the Nova cinema and the MIMA with the participation of the Gogolplex collective
( 200 musees
Des maintenant, vous pouvez visiter tous les musees participants pendant un an. Pas une fois, mais aussi souvent que vous le souhaitez !
297 expositions
Vous pouvez egalement visiter les expositions temporaires des musees participants gratuitement ou a un tarif fortement reduit.
1 pass musees
Tout ceci avec seulement 1 pass.
I had plans to execute some photo shoot ideas, but the mosquitoes were too vicious outside. I'll have to settle for editing old photos for now. Any who, this is one of the lovely Laura-Kate I took a few weeks ago.
Recently, I've had this desperation to improve and learn new concepts and techniques in photography. I have been taking photos for years, but I've never actively sought to learn. I am someone who is easily discouraged, so I am often frustrated when I cannot configure a photo to look as it does in my imagination. I have much to discover before I can reach the proficiency I desire.
U memorijalnom parku Dotrščina spomenik je u čast žrtava fašizma strijeljanima u ovoj šumi. Spomenik je djelo Vojina Bakića (1915.- 1992.), koji je bio istaknuti hrvatski kipar srpskog podrijetla.
Zbog odbijanja svjetla od metalne površine ovog lijepog spomenika, on se mijenja od sata do sata, od jednog do drugog godišnjeg doba. Nikad se ne čini isti.
In memorial park Dotrščina there is a monument in honour of victims of fascism executed in this forest. The monument is work of Vojin Bakić, ( born 1915 , died 1992) who was a prominent Croatian sculptor of Serbian descent.
Due to reflection of the light from the metallic surface of this beautiful monument, it changes from hour to hour and from season to season. It never seems to be the same.
Perfectly executed prescribed burn at Honeymoon Island State Park today. The Rangers did an amazing job.
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.
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...
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From the website of The Henry Ford in Dearborn, Michigan. www.thehenryford.org/collections-and-research/digital-col...
Autumn arrives in Brampton Cumbria
Brampton is a small market town, civil parish and electoral ward within the City of Carlisle district of Cumbria, England, about 9 miles (14 km) east of Carlisle and 2 miles (3.2 km) south of Hadrian's Wall. Historically part of Cumberland, it is situated off the A69 road which bypasses it. Brampton railway station, on the Newcastle and Carlisle Railway, is about a mile outside the town, near the hamlet of Milton.
St Martin's Church is famous as the only church designed by the Pre-Raphaelite architect Philip Webb, and contains one of the most exquisite sets of stained glass windows designed by Sir Edward Burne-Jones, and executed in the William Morris studio.
The town was founded in the 7th century as an Anglian settlement.
Brampton was granted a Market Charter in 1252 by King Henry III, and became a market town as a result.
During the Jacobite rising of 1745, Charles Edward Stuart stayed in the town for one night, marked by a plaque on the wall of the building (a shoe shop) currently occupying the location; here he received the Mayor of Carlisle who had been summoned to Brampton to surrender the city to the Young Pretender. The Capon Tree Monument, to the south of the town centre, commemorates the 1746 hanging of six Jacobites from the branches of the Capon Tree, Brampton's hitherto traditional trysting place.
In 1817 the Earl of Carlisle built the octagonal Moot Hall, which is in the centre of Brampton and houses the Tourist Information Centre. It replaced a 1648 building which was once used by Oliver Cromwell to house prisoners.
Much of Brampton consists of historic buildings built of the local red sandstone.
Think, plan, execute, rethink, adjust the plan and re-execute.
Stopped down much more than my usual settings for this deca exposure in order to hold back the ultra bright LEDs so as to keep me and the background plenty dark.
Headache extraordinaire and ridiculously soaked in the process !
Hit L for audience participation.
Slight crop and signed.
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You are welcome to visit any time:)
Eamonn Ceannt sitting with a set of "uileann pipes" is today's offering. Eamonn Ceannt was of course one of the executed leaders of the 1916 Rising and apparently an exponent of that strange instrument the "elbow" pipes. This was a lot safer than yesterdays image which left Morning Mary with egg all over her face - seeing a hunt where there was none! Sorry :-)
As well as linking a number of examples of the unique sound of the uileann pipes, our ever-dutiful contributors have confirmed that Éamonn Ceannt, together with Edward Martyn founded 'Cumann na bPíobairí' (the Pipers Club) in 1900. We have other materials in the catalogue relating to Ceannt and this organization from the period. Similar and related clubs are keeping the instrument relevant today....
Photographers: Arnall
Collection: Irish Political Figures Photographic Collection
Date: c.1906
NLI Ref: NPA POLF8
You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie
Yanworth | Gloucestershire | The Cotswolds
[EXPLORED] 6th July 2016 I am really pleased to have this image included in EXPLORE (My 14th EXPLORE to-date). Thanks for all the faves and nice comments. I really appreciate the support and welcome any constructive critique, while I continue to grow and develop my skills as a landscape photographer.
Surprise
I had a surprise text out of the blue from a family friend late on Tuesday afternoon. He asked if I'd seen the poppy field on the Fosse Way (the old Roman road running through the heart of The Cotswolds). I hadn't seen the field, but I was certainly keen to!
Fast forward a couple of hours and we were both stood on the edge of the field, watching the sun go down. What a lovely way to spend a summer evening!
Taking The Shot
Respecting the Country Code, I was able to find a tractor path and get down low, shooting towards the sun. I used my Lee Filters Landscape Polariser and a 3-Stop ND Grad to hold back some of the sky. In Lightroom, I've applied another 1-Stop grad as the highlights were close to being blown out (especially close to the sun itself).
Making the most of my 64Gb memory card, I shot over 100 photos from various angles and heights as the sun started to slowly drop towards the horizon. I particularly liked this shot, as the poppies are nicely backlit and I think the lens flare adds a nice touch to the image. It accurately portrays what I saw (and felt) when I was watching the sun go down. There's something rather magical about a field covered in a sea of poppies in mid-summer.
It's not perfectly executed, but has instantly become one of my favourite shots, because of the warm feeling it gives me inside.
Location
The field is immediately adjacent to the main Fosse Way (A429) close to Yanworth, a small rural parish located in the county of Gloucestershire, England.
Grille exécutée par Fray Francisco de Salamanca et Juan de Avila.
Fondé au XIIIe siècle après la découverte d'une statue de la Vierge et symbole de la "Hispanidad", il fut le plus important monastère d'Espagne durant quatre siècles.
C'est là que vint Colomb après son voyage de 1492 pour rendre compte aux Rois Catholiques de son voyage vers les Indes... et c'est là, en 1496, que furent baptisés les premiers Indiens ramenés en Europe.
104/365
3/52
Model: Simone.
I was very excited to execute this concept and I'm very happy with the output. The shoot was pretty fun, even though I hurt my foot while running in the river.
Feedback appreciated.
If you like my work Add my Facebook page: Link
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Copyright © Bassam Allam/ xbassxharmingx. All rights reserved. My work is not to be editted, distributted, sold or uploaded anywhere without my written expressed permission. You may not use, print, distribute, reproduce, alter, edit, or manipulate my work in any way, either in it's entirety, or in portion, without express written consent and license from me.
365/365 It is love that holds everything together,
and it is the everything also. ― beloved Mawlana Jalal-al-din Rumi
I dedicated my '365 project' to 'LOVE' with 'LOVE'.
it's a simple shot but was difficult to execute as i wanted all the elements which i have used throughout the year .. Rumi Sahab .. Bokeh .. Heart .. Love .. 365 celebration and Splash which i hv never tried before .. was lucky to get the splash in the form of Heart ... also there is a tear as well .. I hope u all like this parting visual in the 365 Dil se project
Shot with D3x @ Nikon 50mm 1.8 lens
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A whole year. I can't believe it. It really doesn't seem like it's been that long. And it does at the same time.
I started this project with the hopes that I would come out the other end a better photographer. I also just needed something to do with myself. I've definitely learned a lot, and improved a lot as a photographer.
Starting out, I honestly didn't think I would finish. But here i m with my final 365th photograph.
I know there's only one photo a day, which is simple but anybody can click thousands of pictures a day but thn maintaining quality and having a proper creative idea behind it was more important to me keeping the existing technicalies, knowledge and the gadgets i posses ... hence that doesn't mean I only took one photo a day. In my Project 365 folder, there are 3,292 photos. That's 42.16 GB.
For someone who wants to start a Project 365, just go for it. There's nothing to lose. Just do it with thtorough honesty to urself and this art .. Not every day will be a masterpiece, but just keep the shutter going.
I think one of the coolest things about Project 365 is that you have a record of everyday of your life during that year. Normally, you wouldn't remember every single day of your life, but I can remember taking every single photo. I remember what was going on when I took it, where I was, etc. For every single day of the year. And I think that's pretty cool.
thnks so much Nikon D90 .. Nikon D3x .. SB 900/600 .. Nikon 50mm 1.8 lens, Tokina 100 mm F 2.8 Macro, Nikon 24mm PC-E/Tilt Shift lens .. Nikon 135mm f/2 DC .. Nikon 135mm f/2 DC .. Tokina 10-17mm fisheye .. Nikkor 18-55mm VR .. Nikkor 70-300 .. pocket wizards triggers .. acrylic sheets ... soft box tent .. led lights .. torch .. Manfrotto tripod ... Tata WIFI .. Apple Mac .. TB external HD .. reflectors .. cardboards .. snoot ... stands .. ipad 2 .. Nikon Wifi transmitor etc etc etc ....
I want to thank My family, of course! My parents, who have been so inspiring and supportive of my photography all along (they helped make this camera possible).
My wife Ruhee, who has silently tolerated my late nights at the computer, buying and arranging props for me .. becoming my assistant when needed .. inspiring me by praising every single picture .. keeping a shut eye and a deaf ear to constant flashes of SB900/600 while having her evening nap ..
- And last but not least, my doters who have come up with innovative ideas .. Sana helping me with painting/drawing/sketching and Afshan helping me with hand modeling ..being my assistant when need .. helping me with descriptions for the pictures ... they have steered me through and pushed me to go on when I was down and low by massive pressure of 365.
Lastly what would i have done without my 2731 friends on FB .. u all r so dear to me .. makes me feel so happy .. so proud that i hv so many well wishers .. so many who liked what i experimented in the world of photography .. very humbly I want to say thank you to everyone not only here on Facebook .. but friends on flickr .. on twitter .. on my wordpress blog .. on google plus .. u all hav supported and encouraged me along the way.
thnks to those as well who just looked at my photos. It really means a lot that people take the time to check them out. I just want to thank everyone for making all of that happen.
365 Dil se .. without you all .. wouldnt have been possible.
Dil se shukriya .. abhar .. thnks .. Dhonyobaad .. always loved u and will always love you all for being part of this beautiful journey i took ...
The Birth of Venus is a painting by the Italian artist Sandro Botticelli, probably executed in the mid 1480s. It depicts the goddess Venus arriving at the shore after her birth, when she had emerged from the sea fully-grown (called Venus Anadyomene and often depicted in art). The painting is in the Uffizi Gallery in Florence, Italy.
Although the two are not a pair, the painting is inevitably discussed with Botticelli's other very large mythological painting, the Primavera, also in the Uffizi. They are among the most famous paintings in the world, and icons of the Italian Renaissance; of the two, the Birth is better known than the Primavera. As depictions of subjects from classical mythology on a very large scale they were virtually unprecedented in Western art since classical antiquity, as was the size and prominence of a nude female figure in the Birth. It used to be thought that they were both commissioned by the same member of the Medici family, but this is now uncertain.
They have been endlessly analysed by art historians, with the main themes being: the emulation of ancient painters and the context of wedding celebrations (generally agreed), the influence of Renaissance Neo-Platonism (somewhat controversial), and the identity of the commissioners (not agreed). Most art historians agree, however, that the Birth does not require complex analysis to decode its meaning, in the way that the Primavera probably does. While there are subtleties in the painting, its main meaning is a straightforward, if individual, treatment of a traditional scene from Greek mythology, and its appeal is sensory and very accessible, hence its enormous popularity.
In the centre the newly born goddess Venus stands nude in a giant scallop shell. The size of the shell is purely imaginary, and is also found in classical depictions of the subject. At the left the wind god Zephyr blows at her, with the wind shown by lines radiating from his mouth. He is in the air, and carries a young female, who is also blowing, but less forcefully. Both have wings. Vasari was probably correct in identifying her as "Aura", personification of a lighter breeze. Their joint efforts are blowing Venus towards the shore, and blowing the hair and clothes of the other figures to the right.
At the right a female figure who may be floating slightly above the ground holds out a rich cloak or dress to cover Venus when she reaches the shore, as she is about to do. She is one of the three Horae or Hours, Greek minor goddesses of the seasons and of other divisions of time, and attendants of Venus. The floral decoration of her dress suggests she is the Hora of Spring.
Alternative identifications for the two secondary female figures involve those also found in the Primavera; the nymph held by Zephyr may be Chloris, a flower nymph he married in some versions of her story, and the figure on land may be Flora. Flora is generally the Roman equivalent of the Greek Chloris; in the Primavera Chloris is transformed into the figure of Flora next to her, following Ovid's Fasti, but it is hard to see that such a transformation is envisaged here. However, the roses blown along with the two flying figures would be appropriate for Chloris.
The subject is not strictly the "Birth of Venus", a title given to the painting only in the nineteenth century (though given as the subject by Vasari), but the next scene in her story, where she arrives on land, blown by the wind. The land probably represents either Cythera or Cyprus, both Mediterranean islands regarded by the Greeks as territories of Venus.
The painting is large, but slightly smaller than the Primavera, and where that is a panel painting, this is on the cheaper support of canvas. Canvas was increasing in popularity, perhaps especially for secular paintings for country villas, which were decorated more simply, cheaply and cheerfully than those for city palazzi, being designed for pleasure more than ostentatious entertainment.
The painting is on two pieces of canvas, sewn together before starting, with a gesso ground tinted blue. There are differences to Botticelli's usual technique, working on panel supports, such as the lack of a green first layer under the flesh areas. There are a number of pentimenti revealed by modern scientific testing. The Hora originally had "low classical sandals", and the collar on the mantle she holds out is an afterthought. The hair of Venus and the flying couple was changed. There is heavy use of gold as a pigment for highlights, on hair, wings, textiles, the shell and the landscape. This was all apparently applied after the painting was framed. It was finished with a "cool gray varnish", probably using egg yolk.
As in the Primavera, the green pigment – used for the wings of Zephyr, Zephyr's companion, and the leaves of the orange trees on the land – has darkened considerably with exposure to light over time, somewhat distorting the intended balance of colours. Parts of some leaves at the top right corner, normally covered by the frame, have been less affected. The blues of the sea and sky have also lost their brightness
Although the pose of Venus is classical in some respects, and borrows the position of the hands from the Venus Pudica type in Greco-Roman sculptures (see section below), the overall treatment of the figure, standing off-centre with a curved body of long flowing lines, is in many respects from Gothic art. Kenneth Clark wrote: "Her differences from antique form are not physiological, but rhythmic and structural. Her whole body follows the curve of a Gothic ivory. It is entirely without that quality so much prized in classical art, known as aplomb; that is to say, the weight of the body is not distributed evenly either side of a central plumb line. .... She is not standing but floating. ... Her shoulders, for example, instead of forming a sort of architrave to her torso, as in the antique nude, run down into her arms in the same unbroken stream of movement as her floating hair."
Venus' body is anatomically improbable, with elongated neck and torso. Her pose is impossible: although she stands in a classical contrapposto stance, her weight is shifted too far over the left leg for the pose to be held. The proportions and poses of the winds to the left do not quite make sense, and none of the figures cast shadows. The painting depicts the world of the imagination rather than being very concerned with realistic depiction.
Ignoring the size and positioning of the wings and limbs of the flying pair on the left, which bother some other critics, Kenneth Clark calls them:
...perhaps the most beautiful example of ecstatic movement in the whole of painting. ... the suspension of our reason is achieved by the intricate rhythms of the drapery which sweep and flow irresistibly around the nude figures. Their bodies, by an endless intricacy of embrace, sustain the current of movement, which finally flickers down their legs and is dispersed like an electric charge.
Botticelli's art was never fully committed to naturalism; in comparison to his contemporary Domenico Ghirlandaio, Botticelli seldom gave weight and volume to his figures and rarely used a deep perspectival space. Botticelli never painted landscape backgrounds with great detail or realism, but this is especially the case here. The laurel trees and the grass below them are green with gold highlights, most of the waves regular patterns, and the landscape seems out of scale with the figures. The clumps of bulrushes in the left foreground are out of place here, as they come from a freshwater species
It has long been suggested that Botticelli was commissioned to paint the work by the Medici family of Florence, perhaps by Lorenzo di Pierfrancesco de' Medici (1463–1503) a major patron of Botticelli, under the influence of his cousin Lorenzo de' Medici, "il Magnifico". This was first suggested by Herbert Horne in his monograph of 1908, the first major modern work on Botticelli, and long followed by most writers, but more recently has been widely doubted, though it is still accepted by some. Various interpretations of the painting rely on this origin for its meaning. Although relations were perhaps always rather tense between the Magnifico and his young cousins and wards, Lorenzo di Pierfrancesco and his brother Giovanni di Pierfrancesco de' Medici, it may have been politic to commission a work that glorified the older Lorenzo, as some interpretations have it. There may be a deliberate ambiguity as to which Lorenzo was intended to be evoked. In later years hostility between the two branches of the family became overt.
Horne believed that the painting was commissioned soon after the purchase in 1477 of the Villa di Castello, a country house outside Florence, by Lorenzo and Giovanni, to decorate their new house, which they were rebuilding. This was the year after their father died at the age of 46, leaving the young boys wards of their cousin Lorenzo il Magnifico, of the senior branch of the Medici family and de facto ruler of Florence. There is no record of the original commission, and the painting is first mentioned by Vasari, who saw it, together with the Primavera, at Castello, some time before the first edition of his Lives in 1550, probably by 1530–40. In 1550 Vasari was himself painting in the villa, but he very possibly visited it before that. But in 1975 it emerged that, unlike the Primavera, the Birth is not in the inventory, apparently complete, made in 1499 of the works of art belonging to Lorenzo di Pierfrancesco's branch of the family. Ronald Lightbown concludes that it only came to be owned by the Medici after that. The inventory was only published in 1975, and made many previous assumptions invalid.
Horne dated the work at some point after the purchase of the villa in 1477 and before Botticelli's departure for Rome to join the painting of the Sistine Chapel in 1481. Recent scholars prefer a date of around 1484–86 on grounds of the work's place in the development of Botticelli's style. The Primavera is now usually dated earlier, after Botticelli's return from Rome in 1482 and perhaps around the time of Lorenzo di Pierfrancesco's wedding in July 1482, but by some still before Botticelli's departure.
Whenever the two paintings were united at Castello, they have remained together ever since. They stayed in Castello until 1815, when they were transferred to the Uffizi. For some years until 1919 they were kept in the Galleria dell'Accademia, another government museum in Florence.
Although there are ancient and modern texts that are relevant, no single text provides the precise imagery of the painting, which has led scholars to propose many sources and interpretations. Many art historians who specialize in the Italian Renaissance have found Neoplatonic interpretations, of which two different versions have been articulated by Edgar Wind and Ernst Gombrich, to be the key to understanding the painting. Botticelli represented the Neoplatonic idea of divine love in the form of a nude Venus.
For Plato – and so for the members of the Florentine Platonic Academy – Venus had two aspects: she was an earthly goddess who aroused humans to physical love or she was a heavenly goddess who inspired intellectual love in them. Plato further argued that contemplation of physical beauty allowed the mind to better understand spiritual beauty. So, looking at Venus, the most beautiful of goddesses, might at first raise a physical response in viewers which then lifted their minds towards the godly. A Neoplatonic reading of Botticelli's Birth of Venus suggests that 15th-century viewers would have looked at the painting and felt their minds lifted to the realm of divine love.
The composition, with a central nude figure, and one to the side with an arm raised above the head of the first, and winged beings in attendance, would have reminded its Renaissance viewers of the traditional iconography of the Baptism of Christ, marking the start of his ministry on earth. In a similar way, the scene shows here marks the start of Venus's ministry of love, whether in a simple sense, or the expanded meaning of Renaissance Neoplatonism.
More recently, questions have arisen about Neoplatonism as the dominant intellectual system of late 15th-century Florence, and scholars have indicated that there might be other ways to interpret Botticelli's mythological paintings. In particular, both Primavera and Birth of Venus have been seen as wedding paintings that suggest appropriate behaviors for brides and grooms.
The laurel trees at right and laurel wreath worn by the Hora are punning references to the name "Lorenzo", though it is uncertain whether Lorenzo il Magnifico, the effective ruler of Florence, or his young cousin Lorenzo di Pierfrancesco is meant. In the same way the flowers in the air around Zephyr and on the textiles worn and carried by the Hora evoke the name of Florence
I told you that our whole family (I'm still working on Abigail) was going to get into my world of "characters" (though, I think Elliott might be more an influence on me, than vice versa). I might try to get everyone I know to do this ...
On a recent visit to Clare we passed by Doolin and I got this shower of the Tower there and Fisherstreet in the background!
An old friend who was a local told us a story years ago from the Spanish Armada. A ship was wrecked in Doolin bay and the survivors who landed on the beach were executed by the local Sheriff by hanging them from the shafts of a cart! When Spain and England were at peace a search party arrived in Doolin seeking the remains of one of the crew, a prince or important nobleman but they were unable to identify the remains as their property had been looted and had disappeared.
The Shot at Dawn Memorial is a monument at the National Memorial Arboretum near Alrewas, in Staffordshire, UK.
It portrays a young British soldier blindfolded and tied to a stake ready to be shot by a firing squad, and memorializes the 306 British Army and Commonwealth soldiers executed after courts-martial for desertion and other capital offences during World War I. It is surrounded by a semicircle of stakes on which are listed the names of every soldier executed in this fashion.
In 2007, the Armed Forces Act 2006 was passed allowing the soldiers to be pardoned posthumously.
My Hugging Triangles Corrugation, executed in fabric-covered paper with a foil backing. The corrugation is so named after the joints between octagons and squares where two triangular interlocking rings meet.
You can see an older fold of this model here.
Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. The term gained popularity during the graffiti art boom of the early 1980s and continues to be applied to subsequent incarnations. Stencil graffiti, wheatpasted poster art or sticker art, and street installation or sculpture are common forms of modern street art. Video projection, yarn bombing and Lock On sculpture became popularized at the turn of the 21st century.
The terms "urban art", "guerrilla art", "post-graffiti" and "neo-graffiti" are also sometimes used when referring to artwork created in these contexts.[1] Traditional spray-painted graffiti artwork itself is often included in this category, excluding territorial graffiti or pure vandalism.
Street art is often motivated by a preference on the part of the artist to communicate directly with the public at large, free from perceived confines of the formal art world.[2] Street artists sometimes present socially relevant content infused with esthetic value, to attract attention to a cause or as a form of "art provocation".[3]
Street artists often travel between countries to spread their designs. Some artists have gained cult-followings, media and art world attention, and have gone on to work commercially in the styles which made their work known on the streets.
This morning we have an image of one of the lesser known leaders, Michael Mallin of the Easter Rising in 1916. It was requested by one of our contributors, Dún Laoighaire Míchael.
And it is Dún Laoghaire Micheál who lets us know that Dún Laoghaire rail station was named after Mallin on the 50th anniversary of his execution (although he wonders whether there was any connection that prompted this specifically). Other contributors, including Niall McAuley, BeachcomberAustralia and Bernard Healy advise that Mallin's son is the last surviving child of any of the participants executed after the Rising in 1916; Fr Joe Mallin is remaining active until very recently, at the age of 103...
Author: Dublin : Powell Press, 22 Parliament St
Collection: Irish Political Figures Photographic Collection
Date: Range c.1910-1920. Published c.1916.
NLI Ref: NPA POLF195
You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie
Commencée en 792 et terminée en 805, cette merveille octogonale était la chapelle du Palais impérial de Charlemagne.
De nombreux éléments (colonnes de porphyre, chapiteaux) sont des remplois d'éléments byzantins ou romains prélevées en Italie.
La mosaïque de la coupole centrale est l'oeuvre de Jean-Baptiste Béthune, artiste belge, exécutée de 1879 à 1881 en remplacement de la mosaïque originale disparue au XVIIIe siècle.
Among those executed at Mont-Valérien, 40% were hostages, 60% were 'tried', condemned to death by Nazi German military tribunals and executed by German soldiers.
65% of the executed were communists (entered the Resistance from the end of 1941), 17% were Jewish (out of a proportion in French population of less than 1 %), and 20% were foreigners (like the 'Affiche Rouge' Resistance group members).
Tapestry - The Crucifixion, executed in Antwerp in 1698 from drawings by Ludwig van Schoor
La basilica di Santa Maria Maggiore è una chiesa che si trova a Bergamo Alta, in piazza del Duomo. Edificata nella seconda metà del XII secolo, l'esterno conserva le linee architettoniche romanico-lombarde originarie, mentre l'interno è decorato in stile barocco dal (1500 al 1700). Era in origine la chiesa battesimale della cattedrale di S. Vincenzo, sorta accanto al complesso della curia vescovile di Bergamo.
Secondo la tradizione popolare, parzialmente suffragata da documenti, la chiesa fu edificata per ottemperare ad un voto fatto alla Madonna nel 1133 dai bergamaschi perché proteggesse Bergamo dalla peste che si stava abbattendo sul Nord Italia.
The church was founded in 1137 on the site of another church from the 8th century dedicated to St Mary, which had been in turn erected over a Roman temple of the Clemence. The high altar was consecrated in 1185 and in 1187 the presbytery and the transept wings were completed. Due to financial troubles, the works dragged for the whole 13th–14th centuries. The bell tower was built from 1436 (being completed around the end of the century), while in 1481–1491 a new sacristy added after the old one had been destroyed by Bartolomeo Colleoni to erect his personal mausoleum, the Colleoni Chapel.
In 1521, Pietro Isabello finished the south-western portal, also known as Porta della Fontana. The edifice was restored and modified in the 17th century.
Basilique Santa Maria Maggiore de Bergame
est une église catholique située dans la vieille ville de Bergame, en Lombardie, sur la Piazza del Duomo, dont la construction commença en 1137, et s'échelonna dans la seconde moitié du xiie siècle, mais qui resta inachevée. Elle ne possède ni nef, ni bas-côtés, et pas, non plus, de façade ouest, et son importance provient exclusivement de ses annexes. L'extérieur conserve le style architectural d'art roman lombard originel, tandis que l'intérieur est décoré dans le style baroque des xvie et xviie siècles.
Selon la tradition populaire, en partie soutenue par des documents, la basilique a été construite pour répondre à une promesse faite à Notre-Dame de Bergame en 1133 pour mettre fin à une sécheresse prolongée.
Under normal circumstances, Quay Sta’nn would have never thought of going back to his home planet Coruscant. Not after he got into quite some serious trouble with some crime gangs fairly soon after Order 66 got executed. But the job he was offered now was too big of an opportunity to miss. The Empire has initiated an assault on the mining world of Vanquo, and if this battle is lost the Empire will be vulnerable. Imperial forces have been called towards the center of Coruscant in case the Separatists attack the planet. This has left one of the biggest data vaults on Coruscant under low protection; a perfect opportunity to initiate a raid on the vault. The Red Hand, a crime syndicate Quay dealt with a few months ago, has hired all kinds of bounty hunters and smugglers to cause a distraction in the lower levels, and to raid the vault of its important information. Quay had taken the job to cause a distraction to draw Imperial troops away from the vault itself in exchange for a hefty sum of credits. The question floating around in his mind was, just how will he accomplish that?
After he had arrived at the planet on one of the spaceports, it immediately became clear to Quay how much the planet had changed in the few years he wasn't on Coruscant. As soon as Quay stepped out of the transport with the other passengers, a couple of heavily armed troopers walked towards them to see their IDs. Luckily, Quay brought a fake ID right before he left, otherwise he most likely would have gotten in trouble. The troopers took a look at his ID, gave it back to him, and nodded as a sign that he was free to walk through the gates. Quay walked through the gates and enjoyed the view of the skyline of this part of the planet. He took a taxi to the parts of the planet where he used to live, to see if his favorite places to go to were still there. After a bit of searching, Quay found one of the cantinas he’d frequented previously, down in level 4597.
On the outside, Gratt’s Tavern could just be described as one of the many, many bars down in the lower levels of this planet. But once you stepped inside, you could feel the warmth this place has. At every given point of the day, there was always some random smuggler or criminal enjoying a drink or playing a game of sabacc. The cantina had a variety of musicians who would play live music during the busy hours, and a reprogrammed protocol droid served as a waiter. And on top of that, the cantina was run by a kind old man named Terras Gratt, who could always provide a bit of advice and positive thinking when someone had some problems.
As Quay entered the tavern, memories of all the time he had spent in this place came flooding back. Here, he got his first mission, spent too many hours late in the night drinking all kinds of liquor, sharing stories with friends, and most of all, the apartment where Quay used to live was located right above the cantina. As soon as Gratt recognized who he was he walked towards Quay with a big smile on his face.
"Quay? You’re still alive? I thought those Imperials killed you years ago when you left here!” Terras said.
“I'm more surprised that you are still alive, you old barrel! With all the fights that break out in this part of the planet, it's a wonder that you haven't been killed yet,” Quay replied.
“The secret is just avoiding conflict at all costs. You can't be killed in a fight if you never are in a fight, to begin with!”
“Can’t argue with that logic,” Quay said. “So, how have you been holding up over these years? I could imagine the Empire changed a lot of stuff around here.”
“If you want, I have some time to catch up with each other. Apart from the occasional smuggler who stops by to get a drink, around this time of the day, it’s always quite calm here. And while we're at it, take a drink—on the house!”
After the two talked together for a while, they came on the subject of the apartment above the bar that Quay had lived in for quite some time before his departure from Coruscant. Terras owns the apartment and rents it out to people, but when Quay asked if someone came to live thereafter he left the planet, Gratt replied that the apartment had been vacant ever since he left.
“Would you mind it if I would stay there for a few days? Gotta finish this one mission I have, then I will probably leave again. And once I get paid for it, I will make sure to give you a share to cover the apartment.”
“Sure! It's quite a mess at the moment though. Since I couldn't get anyone to rent that place, I started using it to store left-over drinks and stuff I never use anymore. So unless you have a problem with sleeping in the mess, you are free to stay there.”
Because Quay would be gone in a few days anyway, he accepted the offer to stay in the mess for a couple of days. He packed the small amount of stuff he brought with him and headed to the apartment upstairs. As soon as he entered the room, Quay saw how much stuff was in there. Broken glasses, tables filled with blaster holes presumably from shootouts that happened there, tanks filled with fluids, and more junk was scattered all around the fairly big place. At least there was still a bed present in the room, and some other small furniture that Quay could still use. He dropped his luggage on the bed and opened the blinds to enjoy the view he used to see almost every day. Because it was almost night, Quay prepared to go to sleep. Just as he was about to go to sleep, the room was suddenly illuminated by a purple glow coming from the corner of the room.
“Give me one good reason why I shouldn't kill you on the spot.” a female voice said. A figure emerged from the shadows, and Quay saw where the purple light came from. The woman was holding a lightsaber, meaning that this person was most likely a Jedi.
¨Look, there’s no need for a fight here, I can get you whatever you want if you help me on a mission. Food, credits, a ride to get off this planet, you name it.¨
The Jedi thought about the offer for a moment, before accepting it.
“If you can get me a stock of credits and a fake ID, I will aid you on your mission. I'm planning on leaving this planet since it’s filled with Imperialists, but that’s hard to do when those troops closely monitor everyone who enters and leaves this planet. So, what is that job of yours?”
Quay explained what was happening on Vanquo, and the job the Red Hand offered him.
“So that is why the city center was so filled with Imperial troops.” the Jedi said.
“Indeed. The Red Hand tasked me with causing a distraction somewhere in these levels, but I have no idea how I am going to do that. In about 3 hours, the raids are supposed to start, but without a solid plan, I am not sure if I will even finish this job.”
“Don't worry about it. While you get me that ID and credits, I will stay here to make us a plan. But if this is all a trick, and you’re planning to give me over to the Empire, the pain of this blade slicing through your body will be the last thing you feel.”
“Alright, I’ll keep that in mind. I am not planning to give you to the Empire. By the way, I never properly introduced myself to you. My name is Quay Sta’nn. If you don't want to tell me your name, I can understand that.” Quay said before walking out the door.
“Shaella. My name is Shaella Xalrich.” The Jedi said.
Quay went out on the streets, still worried about how he would ever be able to accomplish this job, but he did know where to get a false ID, so that’s where he would start; he went to an old friend who was able to make him a couple of fake IDs for the Jedi without divulging any info. When he returned to his apartment a few hours later with some food he grabbed from a food stand a few blocks away, Shaella was still busy making the plan for the raid.
¨This has been a lot harder than i expected. I made a few plans, but they are very risky.¨ Shaella said.
¨Ah, forget it. The raid will be starting in about an hour. I doubt we will be able to participate in them without a solid plan. I got us some food, so if you want some feel free to take it. Also got those credits and that false ID for you, but I first want a solid plan before you will get those.¨ Quay replied.
Shaella nodded that she understood it, and started eating a bowl with food. She and Quay started talking about some stuff while they were eating, and Quay told her all kinds of stories from his past on this planet. The two enjoyed sharing some of their experiences to each other. After a while, they got to the topic of Order 66.
¨I have a bit of a weird question, but...how did you survive the Purge? I thought Order 66 wiped out the entire Jedi Order.¨ Quay asked.
Shaella went silent for a moment, before telling him how she survived the Purge.
¨Me, my master, and our pack of Clone Troopers were stationed on Colla IV near the end of the Clone Wars. Here, they manufactured droidekas and more droids for the Separatists. We were waiting for the perfect opportunity to strike at one of the factories, when suddenly the commander got a call from Chancellor Palpatine himself. Although I wasn't paying attention to what was said to them, I did hear a few words: ¨Execute Order 66.¨ Before I knew it, the Clones had their weapons pointed at me and my master. We managed to get to the gunship to escape the planet, but my master got wounded to the point where no surgeon could save him anymore. I managed to take control of the gunship and eventually crashed on this planet, but my master died a slow and painful death on the way there. He left me his Lightsaber, but since using one Lightsaber is risky enough on its own, I usually carry it with me at all times. To this day, I can still feel the emotional and physical effects of that event. Everyone that i knew and could trust, have been killed or is now held in a prison somewhere by the Empire. And while that all is happening, i am stuck here, without being able to do anything to it.¨
Quay went silent after hearing this story. He himself went through some heavy stuff growing up, but he could imagine the kinds of consequences an event like this could leave to a person.
The silence was quickly ended by someone banging on the door. Shaella hid behind the trash in the room, while Quay walked towards the door to open it. An Stormtrooper was standing in the doorway, with several more troopers standing behind him.
¨We have reports of a Force-sensitive hiding around somewhere in this sector. Would you mind if we take a look around this apartment?¨ The trooper asked.
¨Of course not.¨ Quay replied. Although he was worried that the troopers would find Shaella, he knew that if that were to happen she would be able to take them all on. 5 troopers stepped through the doorway, and started searching the apartment. It didn't take long before one of the troopers shouted: ¨Hey, what is this woman doing behind all of this junk?¨ Shaella quickly ignited her lightsaber and fighted the Stormtroopers. While the troopers did their absolute best to try to take her down, Shaella doged and blocked all of their attacks, and took them down one by one. Just before she was about to take down the last trooper in the room, he shouted in his comms:
¨The Force-sensitive has been found! Requesting immediate backup on level 4597!¨
Shaella´s blade sliced through the trooper, but it was too late. All of the Empire was now alerted of their presence, and would be at this location in a matter of minutes.
¨Well, what should we do now?¨ Quay asked Shaella. She thought about it for a second, until coming up with an answer.
¨I'm done with hiding from the Empire. I would rather fight them for the greater cause and go down in glory, than to spend my remaining days rotting away here.¨
The two stepped outside the door, and immediately saw dozens of troopers running towards them. Quay and Shaella quickly stepped into Gratt´s tavern. The cantina was filled with people, but if they didn´t get out as soon as possible, they would get caught in the heat of the battle. Shaella ignited her lightsaber, and yelled: ¨Everyone, get out of here, now!¨ Nobody hesitated for a second, and in a matter of seconds the cantina was empty, with the exception of Terras who stood behind the bar, terrified.
¨What is this, Quay? Care to explain why you are with a Jedi, who just scared away all of my customers?¨ Gratt said, noticeably angry and scared.
¨No time to explain right now. Listen, the Empire is about to arrive here in seconds, and without any good intentions. It's better if you get out of here, right now.¨
¨There is no way i am leaving my own cantina behind! I´ll stay here. I have a blaster here, so I can protect myself if needed. I will just hide behind the counter, together with my protocol droid.¨ Gratt replied.
¨Well, prepare yourself for a heavy fight if you stay here. And Quay; I hope you can handle this. You´ll need it if you want to survive this battle.¨ Shaella said.
Shaella threw something towards Quay. He caught it, and looked at what he held in his hands; it was a Lightsaber. He ignited it, and a green blade emitted from the saber.
¨This saber used to belong to my master. I held onto it for years, but I never used it.¨
¨Wow, I don't know how to thank you. I am sure this will be helpful in the fight.¨
¨Thank me later. First, we have some Bucketheads to take down.¨
Right as she said that, the first Stormtroopers walked into the cantina. While Quay had some trouble getting used to using a Lightsaber at first, he was able to quickly take down the first troops. Shaella used the Force intensively, and used it to hold one of the troops in the air right before piercing him with her Lightsaber. Just as that happened, a couple of troopers equipped with heavy-repeating blasters entered the cantina. Although Quay was able to dodge most of the blaster fire, a few of the blaster bolts hit the Lightsaber, damaging it enough to make the blade retract.. In the corner of his eye, he could also see one of the blaster bolts hit the Protocol droid Gratt owns, probably damaging it beyond repair. The fight seemed to last forever, until Quay and Shaella delivered the final blow towards the Empire. 4 Reconnaissance Troop Transports arrived, each carrying about a dozen troopers. Gratt quickly tried to get Quays attention, and he revealed some explosives he took as a payment from some arms dealers who stopped by to get a drink there earlier that day. Quay took some of them, activated them, and threw them at the troop transports. The devices rolled under the transports and detonated, causing the transports to explode. The few Stormtroopers who survived the blast, quickly received orders to retreat; the fight was won. Quay received a message from the Red Hand; The vault was successfully raided, and mostly thanks to Quay and Shaella. Although the Red Hand didn't know how he pulled it off exactly, a big part of the troops were sent to their location while other smugglers and bounty hunters raided the vault.
¨Well, I guess we didn't really need a plan to get this job done.¨ Quay said. ¨Thank you Shaella, I couldn't have done it without you. Since you have aided me in my mission, I will stick to my promise; here are the fake ID and credits needed to get off this planet. And Gratt, for you, I can get you some of the best repairers to fix your droid, plus some more credits to cover the damage we made here.¨
¨Quay, I want you to take this. I am ready to let go of my past, and start a new life somewhere. Since that Lightsaber of yours got pretty damaged, you can use parts of mine to repair it. With it, I have instructions on how to safely repair it. Goodbye, Quay Sta'nn. It was a delight to work with you.¨ Shaella said, before she walked off to get off the planet.
A few days later, Quay was working to repair the Lightsaber using Shaella´s instructions. The damage in Gratt´s Tavern was now mostly repaired, and his protocol droid was as good as new. Quay emitted the saber, and a purple blade emitted. It used to belong to a skilled Jedi, but now he owned it. He took his time to make it truly his own, and it showed off. He took a moment to process the power of the weapon he had in his hands right now. Anyone could use a blaster, but to handle a weapon like this it required more skill to handle. It will take a lot of time to learn how to properly use it, but one thing was for sure; This weapon would change Quay's life.
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Well, this took me a bit too long to finsh. My last moc for 2020, enjoy! (deleted the last version of the pic, since that one kinda sucked)
LE SOUFFLE DE L'AUBE - Fleuve | Espace danse
fleuve-espacedanse.com/#sv619
fleuve-espacedanse.com/a-ciel-ouvert-offre-artistique
facebook.com/fleuveespacedanse
À CIEL OUVERT
L’essence même de Fleuve | Espace danse, ce sont ces oeuvres dites in situ, réalisées sur le rivage du Saint-Laurent, plus précisément pour le panorama grandiose qu’offre Saint-Jean-Port-Joli.
C’est ce fleuve qui permet aux créations de naître et de s’épanouir.
Découvrez ainsi les différentes oeuvres inspirées par le fleuve puis exécutées à ciel ouvert.
LE SOUFFLE DE L'AUBE
La directrice et chorégraphe Chantal Caron nous offre tout un délice de lumière naturelle : la naissance du jour, premières lueurs en terre maritime après l’encre de la nuit. Moments bénis où le soleil redémarre son voyage, réanime les contours, les souffles et les courants.
Toute la magie d’un cadeau quotidien à redécouvrir.
Avec l’atelier-spectacle Le souffle de l’aube, les fervents de petits matins – vieux de la vieille et adeptes en devenir – sont invités à commencer ensemble une journée unique en pleine nature, avec marche, danse et performance.
Le souffle de l’aube, c’est un trajet immersif dans la lumière montante.
Guidés par une voix- maître de jeu, les acteurs-spectateurs marchent solennellement sur un sentier en bordure du fleuve.
Chantal Caron et trois danseuses les y attendent, en des lieux sacrés, afin de saluer l’aube. Un hommage collectif, orchestré par Chantal Caron, où se marient les respirations énergétiques de tout le public.
Premier souffle de tout un chacun, célébré à l’unisson.
Mais la toute fin de l’atelier- spectacle Le souffle de l’aube appartient inévitablement à chaque acteur-spectateur.
Chacun s’en retourne, énergisé de lumière maritime, vivre son train-train du jour et son propre envol jusqu’au crépuscule.
CRÉDITS
Direction artistique : Chantal Caron
Chorégraphie : Chantal Caron en collaboration avec les interprètes Marie-Ève Demers, Oliver Koomsatira, Marie-Maude Michaud, Julia-Maude Cloutier
Répétitrice : Sophie Michaud
Conception sonore : Devil Dandy et Pierre-Marc Beaudoin
Voix (2016) : Thierry Plante-Dubé
Scénographie : Jean St-Pierre et Chantal Caron
Directrice des opérations et du développement: Emie-Liza Caron St-Pierre
Assistantes aux communications et à la coordination : Catherine Thibault et Marie-Isabel Mercure Marquez
Aide stratégique : Suzanne Bilodeau
Un concept original de 2016, entièrement renouvelé en 2018
A Typhoon jet of 29 Squadron, Royal Air Force executes aerial manouevres during a training sortie.
The 2014 Typhoon Display is flown by 29 (Reserve) Squadron from RAF Coningsby. It showcases the incredible performance of the aircraft and also demonstrates the dedication, professionalism and excellence of the RAF personnel who fly, maintain and support Typhoon operations in the UK and across the world.
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© Crown Copyright 2014
Photographer: Sgt Mobbs
Image 45157160.jpg from www.defenceimages.mod.uk
This image is available for high resolution download at www.defenceimagery.mod.uk subject to the terms and conditions of the Open Government License at www.nationalarchives.gov.uk/doc/open-government-licence/. Search for image number 45157160.jpg
For latest news visit www.gov.uk/government/organisations/ministry-of-defence
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Author : @Kiri Karma
museumPASSmusees 2021 - Mima - Double Bill
'DRAMA', The Art Of Laurent Durieux
'Laurent Durieux's magnificent work elevates poster art to a high level. The stunningly executed images express the ideas and themes of the films he has chosen in new terms. They communicate a lot without words and are part of the wonderful tradition of illustrative art. '
Francis Ford Coppola
The exhibition presents around a hundred original posters of the Belgian artist, internationally acclaimed by moviegoers.
THE ABC OF PORN CINEMA
(Prohibited under 18 year old)
In 2013, the ABC, Brussels' last old-school adult cinema still showing 35mm films, was shut down. Its archive, meticulously built over the forty years of its existence, was salvaged by Cinema Nova, allowing the veil of a bygone era devoured by the digital revolution to be lifted.
The exhibition 'The ABC of Porn Cinema' spans four decades of activity by the aforementioned theatre, and in doing so recalls the world that surrounded it. Through numerous documents, posters, hand-painted billboards, engraved press plates and censored photos retrieved from the ABC, plus an accompanying art installation, an obscure part of our culture destined to be buried in the annals of history can once again be rediscovered and reappraised. Indeed, these historical archives are exceptional and unique, unafraid to indulge in humour or to drum up reflection and controversy.
An exhibition created by the Nova cinema and the MIMA with the participation of the Gogolplex collective
( 200 musees
Des maintenant, vous pouvez visiter tous les musees participants pendant un an. Pas une fois, mais aussi souvent que vous le souhaitez !
297 expositions
Vous pouvez egalement visiter les expositions temporaires des musees participants gratuitement ou a un tarif fortement reduit.
1 pass musees
Tout ceci avec seulement 1 pass.