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Photo prise lors de mon voyage en Guyane-Marais de Kaw
Il existe 4 espèces de caïmans en Guyane : le caïman noir, le rouge, le gris et celui à lunettes. Malgré leur nom, il ne sert à rien de se fier à leur couleur pour les identifier. Quand au caïman à lunettes, bien qu'une structure osseuse devant les yeux évoquent bien son nom, le caïman noir possède cette même crête osseuse !
Le caïman à lunettes (Caiman crocodilus) est sans doute l'espèce de crocodiliens la plus commune.
Il est relativement petit, les mâles dépassent rarement les 2,80 m et les femelles 1m50.
Le caïman à lunettes est ainsi nommé à cause de la crête osseuse située entre ses yeux, faisant penser à des lunettes. En plus de la crête osseuse entre les yeux, le caïman à lunettes est également doté d'une crête triangulaire sur le dessus de l’œil, et comme les autres membres de la famille des alligators, le museau est large et arrondi. La peau du ventre de ce caïman n'est pas très prisée pour les activités de tannage et de maroquinerie. En effet, celle-ci est recouverte de plaques osseuses très développées.
Il est principalement piscivore et se nourrit donc de poissons. Il est également opportuniste et agrémente son régime alimentaire d’amphibiens, de reptiles ou oiseaux venus se poser trop prés de ses puissantes mâchoires
Très adaptable, on peut observer le Caïman à Lunettes dans toute la moitié Nord de l’Amérique Latine et dans les îles environnantes. Il aime les eaux calmes des marais, rivières, lacs et savanes.
Comme tous les crocodiliens, le caïman à lunettes est un prédateur parfaitement adapté à la vie aquatique. Les jeunes se nourrissent essentiellement d'invertébrés comme les escargots, les insectes et les crustacés. Lorsqu'ils grandissent, la variété des proies se diversifie. S'ils chassent moins d'insectes, ils se nourrissent plutôt de poissons, d'amphibiens, de reptiles et d'oiseaux aquatiques. Les plus grands spécimens peuvent également s'attaquer à des mammifères comme le cerf. En période sèche, lorsque la nourriture se fait rare, les adultes peuvent alors s'attaquer aux petits caïmans.
Le caïman à lunettes atteint sa maturité sexuelle vers l'âge de 4 à 7 ans selon les populations. Le statut social influe sur le taux de croissance et la reproduction. Certains jeunes caïmans seront incapables de s'accoupler à cause du stress social en raison de la présence de grands caïmans, les plus dominants.
Le caïman à lunettes est polygame, le mâle et la femelle pouvant s'accoupler avec plusieurs partenaires du sexe opposé. L'accouplement a généralement lieu durant la saison humide d'avril à août. La femelle fabrique ensuite un nid en forme de monticule fait de boue et de végétation où elle y déposera entre 10 et 30 œufs. La période d'incubation dure entre 65 et 104 jours. Après l'éclosion, la mère dégage la végétation qui recouvrent les œufs et aident ses petits à sortir de leur coquille. À la naissance, un jeune caïman à lunettes mesure entre 18 et 22 cm.
Dans la période suivant l'éclosion, les juvéniles demeurent dans des crèches toujours sous l’œil vigilant de leur mère. Une femelle peut prendre en charge pour plusieurs groupes de nouveau-nés provenant de parents différents. Pendant ce temps, une hiérarchie sociale se met en place chez les jeunes. Les petits resteront auprès de leur mère pendant environ 1 an et demi qui les protégera des agressions des prédateurs.
On ne connaît pas réellement la longévité exacte du caïman à lunettes. La durée de vie connue à l'état sauvage est estimée à environ 60 ans. Cependant, 30 à 40 pourrait être l'âge moyen. En captivité, la durée de vie moyenne est de 20 ans avec un record de 24 ans.
Bien que généralement solitaire, le caïman à lunettes peut parfois être vu en groupe. Il reste sur un même territoire et reste immobile presque toute la journée. Dans la chaleur de la mi-journée, il reste dans l'eau et se prélasse sur la terre ferme du matin jusqu'au début de l'après-midi.
Le caïman à lunettes se nourrit habituellement la nuit. Pendant la période de reproduction, il devient territorial et agressif. Dans les groupes, le rang social est déterminé par la taille des individus, les plus grands dominant les plus petits. Les animaux dont le rang social est le plus élevé a plus de chance de s'accoupler que les autres.
Le caïman à lunettes utilise le goût, le toucher, le son et les sens visuels pour la communication sociale et reproductive. La capacité à détecter des vibrations dans l'eau peut aider à la détection des proies.
“things only exist if they are told/narrated”
(attributed to Alessandro Baricco);
“le cose esistono solo se vengono raccontate”
(attribuita ad Alessandro Baricco).
POSTER - LOCANDINA –
< a>
----------------------------------------------------------
click to activate the small icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream (it means the monitor);
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
………………………………………………………
This "photographic story" ideally follows the previous one, for two reasons, first because in this case too, as in the previous story we talk about "angels", they are the "Golden Angels" of San Pier Niceto (in the province of Messina), and second, because this singular and beautiful religious festival, with its procession, also takes place during the Easter period, specifically during "Holy Tuesday". The photographs that I post (not a few, I wish in this way to pay homage to the inhabitants of San Pier Niceto, who can find themselves in these photos, especially for those fathers, mothers, grandfathers, grandmothers, aunts and uncles, in seeing their beloved and very sweet "angels - angiolette"); if you look closely at some of the photographed subjects, you will notice a "temporal disconnect", in fact in some cases, the same girls are present, with two different ages, they will be dressed differently, this is because the photos were taken during Holy Tuesday of 2024 and that of 2025. The temporal sequence of the photographs does not take into account either the year in which they were taken, nor the moments attributable to the phases of the ceremony and subsequent procession.
In San Pier Niceto, on the Peloritani Mountains in Sicily, during the Holy Tuesday takes place the SS. Crucifix procession, whose roots are ancient. The Church of St. James houses and cares for the precious Crucifix, Which is brought to the procession by the streets of the country preceded by very young children, of both sexes, who imitate little Angels, Angels and Grieving young Nuns, dressed in elaborate dresses covered with many gold jewelery, sewn by handy hands that with pins, necklaces , Bracelets and many other gold jewelry applied to their little clothes, they make real works of art whose designs are reminiscent of Easter symbols. Gold for dressing is collected home from home by people who have to melt a "vote", gold that will be returned at the end of the procession. Everything begins during Lent when parents decide to dress their baby by little Angels, Angels or Grieving Nuns .The Little Angels are usually 3 or 4 year olds, the Angels are a little bigger, the Nuns are little young girls. Thus the preparations for the elaboration of the elaborate clothes begin: Parents during Lent are knocking at every door of the country, among friends and relatives, to borrow bracelets, brooches, necklaces and all the gold necessary for the composition of embroidery . The Little Angel's dress is white, short down to the knee, made up of a gold-plated bodice and a skirt with some golden embroidery; Arms are adorned by bracelets, the head is adorned by a collier, small wings (white dove feathers) sprout from behind. The Angels have a white tunic, on which sacred icons are embroidered in gold, the head is covered by a collier, wings lie on their shoulders. The Nun's dress is black, on which are stitched the crowns of the S.S. Rosary, on the head is placed a white veil, held by a rose crown. At 16:30 on Holy Tuesday, a tapping of bells together with the band's fanfare in the village, set off at the "Crucifixion Procession" of San Pier Niceto: at the foot of the Crucifix there are red roses, behind it are located branches of cypress (at the end of the event the faithful will carry with them a piece of cypress as a relic), finally the red ribbons are tied to the arms of the Crucifix, they will mark the procession of the procession until the arrival at the Mother Church, a century church to St. Peter the Apostle, where the celebration of the Holy Mass will take place (the reverse path will bring the SS Crucifix to the Church of St. James): in perfect order the faithful in religious silence, with votive candles in their hands, walk the streets of the country never crossing the red ribbons as they delimit the path of the Golden Little Angels, Angels and the Grieving young Nuns .
Questo "racconto fotografico" segue idealmente il precedente, per due motivi, innanzitutto perchè anche in questo caso, come nel racconto precedente si parla di "angeli", sono "gli Angioletti d'oro" di San Pier Niceto (in provincia di Messina), e secondo, perchè questa singolare e bella festa religiosa, con la sua processione, si svolge anch'essa durante il periodo pasquale, nello specifico durante il "Martedì Santo". Le fotografie che posto (non poche, desidero in tal modo omaggiare gli abitanti di San Pier Niceto, che possano ritrovarsi in queste foto, soprattutto per quei papà, mamme, nonni, nonne, zie e zii, nel rivedere i loro adorati e dolcissimi "angioletti - angiolette"); a ben guardare in alcuni dei soggetti fotografati, si noterà uno "scollamento temportale", infatti in qualche caso, sono presenti le stessi bimbe, con due età diverse, saranno vestite diversamente, questo perchè le foto sono state realizzate durante il Martedì Santo del 2024 e quello del 2025. La sequenza temporale delle fotografie non tiene conto nè dell'anno nel quale sono state realizzate, nè dei momenti ascrivibili alle fasi della cerimonia e successiva processione.
A San Pier Niceto, sui monti Peloritani in Sicilia, durante il Martedì Santo prende vita la processione per le vie del paese del SS. Crocifisso, le cui radici sono antichissime. La Chiesa di San Giacomo ospita e custodisce il pregevole Crocifisso, che viene portato in processione per le vie del paese preceduto da bambini anche molto piccoli, di entrambi i sessi, che impersonano Angioletti ed Addoloratine vestiti con elaboratissimi abiti ricoperti con tantissimi monili d’oro, cuciti dalle mani abili di sarte che con spille, collane, bracciali e tanti altri monili in oro applicati sui loro piccoli vestiti, realizzano vere opere d’arte i cui disegni ricordano simboli pasquali. L’oro per la realizzazione dei vestitini viene raccolto di casa in casa da persone che hanno da sciogliere un “voto”, oro che verrà restituito alla fine della processione. Tutto ha inizio durante la Quaresima, quando dei genitori decidono per “voto” di vestire il proprio bambino da Angioletto, Angiolone o Monachella.
Gli Angioletti sono solitamente bimbi di 3 o 4 anni, gli Angioloni sono un po’ più grandi, le Monachelle sono delle bambine. Così iniziano i preparativi per la realizzazione degli elaboratissimi vestiti: i genitori durante la Quaresima bussano ad ogni porta del paese, tra la cerchia di amici e parenti, per prendere in prestito bracciali, spille, collane e tutto l’oro necessario alla composizione dei ricami. Il vestito degli Angioletti è bianco, corto fino al ginocchio, composto da un corpetto ricoperto d’oro ed una gonna segnata da alcuni ricami d’oro; le braccia sono adornate da bracciali, la testa è adornata da un collier, da dietro le spalle spuntano delle piccole ali (piume di colomba bianca). Gli Angioloni hanno una tunica bianca sulla quale vengono ricamate delle icone sacre in oro, la testa è cinta da un collier, sulle spalle trovano posto delle ali. Il vestito delle Monachelle invece è nero, sul quale vengono cucite delle coroncine del S.S. Rosario, sul capo viene posto un velo bianco, trattenuto da una corona di rose. Alle 16:30 del Martedì Santo un rintocco di campane insieme alla fanfare della banda del paese, danno il via alla “Processione del Crocifisso” di San Pier Niceto: ai piedi della Croce vi sono delle rose rosse, dietro di essa trovano posto dei rami di cipresso (alla fine dell’evento i fedeli porteranno con se un pezzetto di rametto come reliquia), infine dei nastri rossi vengono legati alle braccia del Crocifisso, essi segneranno il percorso della processione, fino all’arrivo al Duomo, una chiesa cinquecentesca dedicata a San Pietro apostolo, ove si terrà la celebrazione della Santa Messa ( il percorso inverso riporterà il S.S. Crocifisso nella Chiesa di San Giacomo): in perfetto ordine i fedeli in religioso silenzio, con ceri votivi in mano, percorrono le vie del paese, non oltrepassando i nastri rossi poiché essi delimitano il percorso degli Angioletti d’oro e delle Addoloratine.
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Mit dem aufblühenden Handel seit Ende des Mittelalters war die Bevölkerung der alten Reichsstadt Augsburg stetig angestiegen. Um das Jahr 1600 wohnten im Stadtgebiet bereits 16.000 Menschen, die umgebenden Stadtmauern hatten zu dieser Zeit bereits mehrfach erweitert werden müssen. Um die Versorgung der Bevölkerung mit Fleischwaren sicherzustellen, beschloss der Rat der Stadt Anfang des 17. Jahrhunderts den Bau einer zentralen Schlachterei zur Verteilung des Fleisches an die Metzger der Stadt. Zwar gab es bereits zuvor eine solche „Stadtmetzg“, doch deren Kapazität reichte nicht mehr, um die verarbeiteten Waren ordnungsgemäß und hygienisch zu lagern.
Auf der Suche nach einem geeigneten Standort für das Bauwerk entschied sich der damalige Stadtbaumeister Elias Holl für das Lechviertel, wo er ideale Bedingungen für eine Zentralschlachterei vorfand: das Gelände lag inmitten der Stadt und war durchzogen von Lechkanälen, die sowohl die Wasser- und Energieversorgung als auch die Abfallbeseitigung sicherstellen konnten.
Schon bei den Planungen war Elias Holl mit einiger Raffinesse vorgegangen. Das prächtige vierstöckige Gebäude mit dem schmalen Giebel sollte der bis dahin modernste Bau der Fleischerzunft werden. Der Vordere Lech, einer der Lechkanäle, wurde offen unter das Schlachthaus geleitet, was einerseits eine ausreichende Kühlung der Fleischwaren ermöglichte, andererseits den Metzgern erlaubte, Abfälle von der Schlachtbank direkt in den Kanal zu entsorgen.
Nach dreijähriger Bauzeit wurde die neue Stadtmetzg im Jahre 1609 eröffnet. An der Fassadengestaltung der südlichen Giebelfront des dreigeschossigen Satteldachbaus dürfte Johann Matthias Kager mitgewirkt haben. Im unteren Bereich waren 126 Fleischbänke als Verkaufsstände untergebracht, der obere Bereich enthielt Zunft- und Amtsstuben. An der Hauptfassade zierte ein von Hans Reichle geschaffenes und von Wolfgang Neidhardt gegossenes bronzenes Stadtwappen das Bauwerk.
In der Stadtmetzg selbst wurde nicht geschlachtet, sondern in unmittelbarer Nähe ein Schlachthaus errichtet. Heute wird der Bau als Verwaltungsgebäude genutzt.
Quelle: Wikipedia.de
With the flourishing trade since the end of the Middle Ages, the population of the old imperial city of Augsburg had risen steadily. Around the year 1600, 16,000 people were already living in the city area. The surrounding city walls had already had to be extended several times at that time. To ensure the supply of meat products to the population, the city council decided at the beginning of the 17th century to build a central slaughterhouse to distribute the meat to the city's butchers. Although such a " city butchery " had already existed before, its capacity was no longer sufficient to store the processed goods properly and hygienically.
In his search for a suitable location for the building, the then town architect Elias Holl decided on the Lech quarter, where he found ideal conditions for a central slaughterhouse: the site was located in the middle of the city and was criss-crossed by Lech canals, which provided water and energy supplies as well as waste disposal.Elias Holl had already proceeded with some finesse during the planning. The magnificent four-storey building with its narrow gable was to become the most modern building of the butchers' guild to date. The Front Lech, one of the Lech canals, was led openly under the slaughterhouse, which on the one hand enabled sufficient cooling of the meat products, and on the other hand allowed butchers to dispose of waste from the slaughterhouse directly into the canal. After three years of construction, the new Municipal Butchery was completed. Elias Holl had already proceeded with some finesse during the planning. The magnificent four-storey building with its narrow gable was to become the most modern building of the butchers' guild to date. The Front Lech, one of the Lech canals, was led openly under the slaughterhouse, which on the one hand enabled sufficient cooling of the meat products, and on the other hand allowed butchers to dispose of waste from the slaughterhouse directly into the canal.
After three years of construction, the new Municipal Butchery was opened in 1609. Johann Matthias Kager may have been involved in the façade design of the southern gable front of the three-storey gable roof building. The lower section housed 126 butcher's shops as sales stands, the upper section contained guild and office rooms. The main façade was decorated with a bronze coat of arms created by Hans Reichle and cast by Wolfgang Neidhardt.
In the Stadtmetzg itself, there was no slaughter, but a slaughterhouse was built in the immediate vicinity, which is now used as an administrative building.
Source: Wikipedia.de
A Roman settlement, named "Aeminium" existed here. When the neighbouring town "Conimbriga" got conquered and destroyed by the Suebes in 468, the survivors moved to "Aeminium" - and renamed it. The Visigoths under King Wittiza named the town "Eminio" later. In 714 the town was conquered by Muslim troops, who changed the name again.
Coimbra was finally recaptured in 1064 by King Fernando de Castilla y León. Coimbra became the second capital of the Kingdom of Portugal (after Guimarãesin) 1139, a status that moved to Lisbon in 1256. The University of Coimbra, founded by Denis of Portugal (aka "Dom Dinis") in 1290, is one of the oldest in Europe.
The small Romanesque church, dedicated to Saint James ("São Tiago") was consecrated in 1206, but it may be that this was already the second church here. Local, oral history tells, that Fernando I on recapturing Coimbra from the Moors in 1064, founded a church dedicated to St. James this very site. Today the church faces to the "Praça do Comércio". These capitals are located at the western portal of the church. In the center two manticores are attacked by birds.
“things only exist if they are told/narrated”
(attributed to Alessandro Baricco);
“le cose esistono solo se vengono raccontate”
(attribuita ad Alessandro Baricco).
POSTER - LOCANDINA –
< a>
----------------------------------------------------------
click to activate the small icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream (it means the monitor);
or…. Press the “L” button to zoom in the image;
clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;
oppure…. premi il tasto “L” per ingrandire l'immagine;
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
………………………………………………………
This "photographic story" ideally follows the previous one, for two reasons, first because in this case too, as in the previous story we talk about "angels", they are the "Golden Angels" of San Pier Niceto (in the province of Messina), and second, because this singular and beautiful religious festival, with its procession, also takes place during the Easter period, specifically during "Holy Tuesday". The photographs that I post (not a few, I wish in this way to pay homage to the inhabitants of San Pier Niceto, who can find themselves in these photos, especially for those fathers, mothers, grandfathers, grandmothers, aunts and uncles, in seeing their beloved and very sweet "angels - angiolette"); if you look closely at some of the photographed subjects, you will notice a "temporal disconnect", in fact in some cases, the same girls are present, with two different ages, they will be dressed differently, this is because the photos were taken during Holy Tuesday of 2024 and that of 2025. The temporal sequence of the photographs does not take into account either the year in which they were taken, nor the moments attributable to the phases of the ceremony and subsequent procession.
In San Pier Niceto, on the Peloritani Mountains in Sicily, during the Holy Tuesday takes place the SS. Crucifix procession, whose roots are ancient. The Church of St. James houses and cares for the precious Crucifix, Which is brought to the procession by the streets of the country preceded by very young children, of both sexes, who imitate little Angels, Angels and Grieving young Nuns, dressed in elaborate dresses covered with many gold jewelery, sewn by handy hands that with pins, necklaces , Bracelets and many other gold jewelry applied to their little clothes, they make real works of art whose designs are reminiscent of Easter symbols. Gold for dressing is collected home from home by people who have to melt a "vote", gold that will be returned at the end of the procession. Everything begins during Lent when parents decide to dress their baby by little Angels, Angels or Grieving Nuns .The Little Angels are usually 3 or 4 year olds, the Angels are a little bigger, the Nuns are little young girls. Thus the preparations for the elaboration of the elaborate clothes begin: Parents during Lent are knocking at every door of the country, among friends and relatives, to borrow bracelets, brooches, necklaces and all the gold necessary for the composition of embroidery . The Little Angel's dress is white, short down to the knee, made up of a gold-plated bodice and a skirt with some golden embroidery; Arms are adorned by bracelets, the head is adorned by a collier, small wings (white dove feathers) sprout from behind. The Angels have a white tunic, on which sacred icons are embroidered in gold, the head is covered by a collier, wings lie on their shoulders. The Nun's dress is black, on which are stitched the crowns of the S.S. Rosary, on the head is placed a white veil, held by a rose crown. At 16:30 on Holy Tuesday, a tapping of bells together with the band's fanfare in the village, set off at the "Crucifixion Procession" of San Pier Niceto: at the foot of the Crucifix there are red roses, behind it are located branches of cypress (at the end of the event the faithful will carry with them a piece of cypress as a relic), finally the red ribbons are tied to the arms of the Crucifix, they will mark the procession of the procession until the arrival at the Mother Church, a century church to St. Peter the Apostle, where the celebration of the Holy Mass will take place (the reverse path will bring the SS Crucifix to the Church of St. James): in perfect order the faithful in religious silence, with votive candles in their hands, walk the streets of the country never crossing the red ribbons as they delimit the path of the Golden Little Angels, Angels and the Grieving young Nuns .
Questo "racconto fotografico" segue idealmente il precedente, per due motivi, innanzitutto perchè anche in questo caso, come nel racconto precedente si parla di "angeli", sono "gli Angioletti d'oro" di San Pier Niceto (in provincia di Messina), e secondo, perchè questa singolare e bella festa religiosa, con la sua processione, si svolge anch'essa durante il periodo pasquale, nello specifico durante il "Martedì Santo". Le fotografie che posto (non poche, desidero in tal modo omaggiare gli abitanti di San Pier Niceto, che possano ritrovarsi in queste foto, soprattutto per quei papà, mamme, nonni, nonne, zie e zii, nel rivedere i loro adorati e dolcissimi "angioletti - angiolette"); a ben guardare in alcuni dei soggetti fotografati, si noterà uno "scollamento temportale", infatti in qualche caso, sono presenti le stessi bimbe, con due età diverse, saranno vestite diversamente, questo perchè le foto sono state realizzate durante il Martedì Santo del 2024 e quello del 2025. La sequenza temporale delle fotografie non tiene conto nè dell'anno nel quale sono state realizzate, nè dei momenti ascrivibili alle fasi della cerimonia e successiva processione.
A San Pier Niceto, sui monti Peloritani in Sicilia, durante il Martedì Santo prende vita la processione per le vie del paese del SS. Crocifisso, le cui radici sono antichissime. La Chiesa di San Giacomo ospita e custodisce il pregevole Crocifisso, che viene portato in processione per le vie del paese preceduto da bambini anche molto piccoli, di entrambi i sessi, che impersonano Angioletti ed Addoloratine vestiti con elaboratissimi abiti ricoperti con tantissimi monili d’oro, cuciti dalle mani abili di sarte che con spille, collane, bracciali e tanti altri monili in oro applicati sui loro piccoli vestiti, realizzano vere opere d’arte i cui disegni ricordano simboli pasquali. L’oro per la realizzazione dei vestitini viene raccolto di casa in casa da persone che hanno da sciogliere un “voto”, oro che verrà restituito alla fine della processione. Tutto ha inizio durante la Quaresima, quando dei genitori decidono per “voto” di vestire il proprio bambino da Angioletto, Angiolone o Monachella.
Gli Angioletti sono solitamente bimbi di 3 o 4 anni, gli Angioloni sono un po’ più grandi, le Monachelle sono delle bambine. Così iniziano i preparativi per la realizzazione degli elaboratissimi vestiti: i genitori durante la Quaresima bussano ad ogni porta del paese, tra la cerchia di amici e parenti, per prendere in prestito bracciali, spille, collane e tutto l’oro necessario alla composizione dei ricami. Il vestito degli Angioletti è bianco, corto fino al ginocchio, composto da un corpetto ricoperto d’oro ed una gonna segnata da alcuni ricami d’oro; le braccia sono adornate da bracciali, la testa è adornata da un collier, da dietro le spalle spuntano delle piccole ali (piume di colomba bianca). Gli Angioloni hanno una tunica bianca sulla quale vengono ricamate delle icone sacre in oro, la testa è cinta da un collier, sulle spalle trovano posto delle ali. Il vestito delle Monachelle invece è nero, sul quale vengono cucite delle coroncine del S.S. Rosario, sul capo viene posto un velo bianco, trattenuto da una corona di rose. Alle 16:30 del Martedì Santo un rintocco di campane insieme alla fanfare della banda del paese, danno il via alla “Processione del Crocifisso” di San Pier Niceto: ai piedi della Croce vi sono delle rose rosse, dietro di essa trovano posto dei rami di cipresso (alla fine dell’evento i fedeli porteranno con se un pezzetto di rametto come reliquia), infine dei nastri rossi vengono legati alle braccia del Crocifisso, essi segneranno il percorso della processione, fino all’arrivo al Duomo, una chiesa cinquecentesca dedicata a San Pietro apostolo, ove si terrà la celebrazione della Santa Messa ( il percorso inverso riporterà il S.S. Crocifisso nella Chiesa di San Giacomo): in perfetto ordine i fedeli in religioso silenzio, con ceri votivi in mano, percorrono le vie del paese, non oltrepassando i nastri rossi poiché essi delimitano il percorso degli Angioletti d’oro e delle Addoloratine.
Em vez de dizer o porque essa data existe. Resolvi dizer o porque eu comemoro ela. Há exatamente 6 anos atrás eu decidi que queria a Fotografia em tudo na minha vida. Algo que eu amo fazer seria uma forma de sustento e de fazer a minha vida mais feliz. Na UFPB não existe um curso totalmente ligado a fotografia, então resolvi fazer um curso no qual me ligasse a mesma. Em uma entrevista com o fotógrafo Cesinha Ovale, ele mencionou que era formado em Radio e TV. Então esse foi só mais um motivo para que eu enfiasse a cara nos livros e começasse a estudar pois o curso eu já tinha escolhido. Então em 2008/2009 eu passei no meu primeiro vestibular para o curso que eu queria. E a quase 1 ano eu adquiri a minha primeira câmera com o suor do meu trabalho. E tenho dito, não tem nada melhor do que você mesma comprar seu equipamento fotográfico sem depender de mais alguém. E hoje, no 6º período na UFPB eu continuo dizendo: É essa a vida que eu quero para mim. Fotografia é a minha vida. ♥
FELIZ DIA MUNDIAL DA FOTOGRAFIA
El casco histórico de la ciudad de Alcalá de Henares y su universidad, fueron declarados Patrimonio de la Humanidad por la Unesco en 1998, en reconocimiento a su condición de primera ciudad universitaria planificada como tal que ha existido en el mundo
Los orígenes de la ciudad de Alcalá se remontan al nacimiento de la Complutum romana, ciudad que en sus más de cuatro siglos de existencia alcanzaría gran esplendor y una importancia que mantendría a lo largo de todo el periodo visigótico. Al período de dominación musulmana le debe Alcalá la construcción de una ciudad que con el tiempo será conocida como Al-Qalat-Nahar (El castillo del Henares) y de la que hereda su actual denominación.
Con la Reconquista Cristiana se produce la nueva reconstrucción en lo que supuso desde entonces su emplazamiento definitivo, en torno a lo que es hoy la Catedral Magistral. Sin embargo, hay que esperar a finales del XV para asistir al gran período de esplendor de la ciudad: en 1499 el Cardenal Cisneros funda la Universidad, produciéndose a partir de ese momento una renovación urbanística que convierte a Alcalá en una ciudad universitaria, siguiendo los cánones arquitectónicos clásicos.
Durante los siglos XVIII y XIX la ciudad inicia un periodo de decadencia. El traslado de la Universidad a Madrid en 1836 unido a las sucesivas desamortizaciones provocaron el cierre de varios conventos y el empobrecimiento del ya degradado ambiente cultural alcalaíno.
Hoy, tras la reinauguración de la Universidad en 1977, el desarrollo industrial de las últimas décadas y el reconocimiento como Ciudad Patrimonio de la Humanidad por la Unesco, Alcalá vive un período de expansión económica, turística y cultural desde el que se asoma al futuro con optimismo manteniendo estrechos lazos con su singular pasado.
Roma: Complutum
La conquista romana de la Carpetania parece que se inició con una campaña dirigida por M. Porcio Catón en el año 195 a. J.C. Posteriormente, los carpetanos, en alianza con vetones, vacceos y celtíberos, se constituyeron en una amenaza para Roma que ésta solucionó en el 192 a. C. por medio de Marco Fulvio. Las luchas terminaron, con la caída de Numancia, el año 133 a. C. en el que se inicia la pacificación, asentamiento y romanización de la zona.
No se tiene conocimiento de la fecha exacta en que los romanos ocuparon la ciudadela de San Juan de Viso y el castro del "Salto del Cura", pero las monedas del denominado "tesorillo de Zulema", parecen sugerir que antes de la mencionada caída de Numancia.
No obstante, en el año 80 a. J.C., durante las guerras entre Sertorio y Pompeyo, ya se menciona a Complutum, que en época de Augusto adquiriría gran importancia por su valor militar y como nudo de comunicaciones (entre vías primarias y secundarias se dice, en el "Itinerario de Augusto", que eran 23 las calzadas que permitían llegar a la ciudad).
La romanización empezaría en la población preexistente del cerro del Viso, cuyas fortificaciones se reforzarían a la vez que se tendía la red de calzadas. Posteriormente, con la paz de Trajano y de los Antoninos (siglo II), la población comenzará a descender al pie del cerro en busca de una zona con menos declive, más fértil y mejor comunicada.
Mosaico romano de las Cuatro Estaciones de la Casa de Baco en Complutum. En sentido antihorario desde arriba a la derecha: primavera, verano, otoño e invierno. El área que acabaría ocupando la urbe sería; desde la ladera del cerro del Viso hasta la actual nacional II (en la dirección norte-sur), y desde el Arroyo Torote hasta las puertas de Madrid y Santa Ana (en dirección este-oeste). Ello no excluye la existencia de edificaciones alejadas del casco urbano, como la villa que se descubrió en 1970 a la altura de la ermita de Nuestra Señora del Val. Complutum tenía el trazado típico de la ciudad romana, que arranca del campamento militar con dos calles principales que se cruzan; cardo y decumano.
La denominación de "Complutum" parece venir del verbo latino "compluere" que significa confluir o del término "compluo" (confluencia de aguas). El nombre sería bastante apropiado puesto que la población primitiva se encontraría en la "confluencia" de los ríos Henares y tenía la ciudad carácter de «civitas stipendiaria», es decir, que mediante el pago de un tributo o estipendio anual a la metrópoli conservaba el derecho a su autonomía y sus propios usos mientras no alterasen el orden establecido.
Durante la época visigoda la ciudad conservó su importancia, llegando a ser sede de obispado. En la Hispania visigoda fue sede episcopal de la iglesia católica, sufragánea de la Archidiócesis de Toledo que comprendía la antigua provincia romana de Cartaginense en la diócesis de Hispania.
Dominio Musulmán: Al Qalat La dominación islámica de la Península Ibérica arrinconó en las zonas más septentrionales de la Península a los pocos cristianos que conservaban su independencia. Los musulmanes, nuevos señores de casi la totalidad de la geografía hispana, requerían de un puesto fortificado en la ruta de Zaragoza a Toledo, que junto con las ciudades cercanas de mayor valor estratégico como Guadalajara o Talamanca, sirviera de apoyo a las razias que periódicamente se dirigían contra los reinos cristianos del norte. Estas fortificaciones tenían la función de impedir el descenso de las tropas enemigas hacia el curso medio del Tajo. Constituían, pues, las dos referidas ciudades y la fortaleza de Al-Qul’aya, levantada a orillas del Henares aguas arriba de la antigua Complutum, los tres puntos estratégicos que vigilaban y defendían el territorio frente al acceso de las huestes cristianas, que intentaban descender al valle del Jarama desde los altos de Somosierra, o llegar hasta el valle del Henares desde Atienza y las zonas orientales de Castilla, y desde Zaragoza
A principios del siglo X, el nuevo emplazamiento árabe de Alcalá no debía de ser más que una atalaya fortificada de reducidas dimensiones, a juzgar por terminología con que se la nombra en la primera noticia conocida que tenemos de Alcalá la Vieja. Según el Bayan-al Mugrib, en el año 920, reinando en Córdoba Abd-al-Rahman III, el gobernador de Guadalajara derrotó a una gran expedición de cristianos leoneses que había atravesado los puertos del Sistema Central con la intención de atacar Guadalajara. El emplazamiento que asediaron, cercano a Guadalajara, aparece reseñado como al-Qul’aya, que se puede traducir como “el castillejo”. Lévi-Provençal lo identificó como la pequeña fortaleza que precedió a la que dio nombre a la ciudad actual.
Parece ser que en el transcurso del siglo X esa pequeña atalaya aumentó sus fortificaciones, acompañándose este incremento defensivo del crecimiento de su población y de una mayor importancia urbana, sobre todo, si atendemos a su nueva denominación de Qal’at Abd-al-Salam, que puede traducirse como Castillo de Abd-al-Salam e incluso según algunos autores como Castillo del Príncipe de la Paz. Esta denominación aparece en las crónicas islámicas, al relatar la crisis del Califato cordobés en los primeros años del siglo XI.
Sería en el verano del año 1062 cuando Fernando I, al frente de un numeroso ejército, puso cerco a la ciudad musulmana, combatiéndola con ingenios para abrir brecha en sus muros, lo que obligó al rey Al-Ma’mun de Toledo a hacerse tributario suyo y rendirle parias para que levantase el asedio, a cambio de la entrega de grandes riquezas. Sin embargo, a pesar de la histórica conquista de Toledo por Alfonso VI en 1085 y de su dominio de la comarca inmediata, la fortaleza de Alcalá la Vieja continuaría bajo el dominio musulmán hasta que en 1118 el arzobispo de Toledo, Don Bernardo, llevó sus ejércitos al importante enclave de Alcalá, en donde consiguió rendir la plaza.
Edad Media: El Burgo de Santiuste El 3 de mayo de 1118 el arzobispo toledano Bernardo de Sedirac conquistó la plaza musulmana de Alkal'a Nahar o Alcalá la Vieja para Castilla pero este reino cedió Alcalá y su Tierra al Arzobispado de Toledo, pasando a ser la comunidad de Alcalá un señorío eclesiástico. Pronto, la ciudad gozaría de privilegios y Feria (data de 1184). El Burgo de Santiuste, Alcalá de Santiuste, Alcalá de San Justo o Alcalá de Fenares (nombre del s. XIV) sería un emergente centro de transacciones y mercado comarcal, lo cual haría incrementar la población considerablemente. No obstante, la aljama o judería y la morería alcalaína serían de las más notables de Castilla (la aljama complutense está considerada de tamaño medio. Algunos estudios la cifran en 5.000 judíos). Durante la Edad Media, Alcalá fue habitada pacíficamente por judíos, musulmanes y cristianos. En el siglo XII se suprimiría el obispado complutense en favor de la sede primada de Toledo.
El día 19 de diciembre de 1308 fue rubricado en la ciudad el tratado de Alcalá de Henares, suscrito por el rey Fernando IV de Castilla y por los embajadores del rey Jaime II de Aragón.
En 1345 y en 1348 tendrán lugar en la ciudad las Cortes de Castilla (léase también Cortes de Alcalá y Ordenamiento de Alcalá).
La ciudad y su alfoz de 25 villas fueron dotadas de dos fueros: el Viejo y el Nuevo (por Cisneros). A lo largo de los siglos, las aldeas del alfoz irían obteniendo la independencia como villas con ayuntamiento propio hasta que en el siglo XX el término municipal alcalaíno sólo tuviera a la ciudad como núcleo urbano.
Es conocida por su histórica universidad, la Universidad de Alcalá, que fue fundada por el Cardenal Cisneros. El 13 de abril de 1499 data la bula del papa Borgia Alejandro VI que autorizaba la creación del Colegio Mayor de San Ildefonso que fue la cabeza de la universidad. En 1508 se abrieron sus aulas y entre los colaboradores de Cisneros se encontraban importantes personalidades como la de Antonio de Nebrija. No obstante, el germen de la universidad alcalaína lo encontramos en el año 1293 con la creación de los Estudios Generales. Pronto la Universidad de Alcalá compitió con la de Salamanca y por sus aulas pasaron importantes personalidades,
La primera mujer a la que excepcionalmente se le consintió estudiar y alcanzar el grado de doctor en Artes y Letras fue María Isidra de Guzmán y de la Cerda (1785)
Carlos II concedió a la población el título de ciudad en 1678. A partir del siglo XVIII la ciudad perdió importancia a pesar de la construcción de nuevos monumentos como la Puerta de Madrid. A comienzos de ese siglo, Alcalá fue ocupada por los portugueses durante la Guerra de Sucesión.
Es universalmente famosa Alcalá por haber sido la localidad natal de Miguel de Cervantes Saavedra, novelista, poeta y dramaturgo que escribió la que está considerada la obra cumbre narrativa de la literatura española, El Quijote, que muchos críticos han descrito como la primera novela moderna y una las obras más leídas, traducidas y difundidas de la historia.
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The historic old town of Alcala de Henares and the University, were declared World Heritage by UNESCO in 1998 in recognition of his status as first planned university city that has existed in the world
The origins of the city of Alcalá back to the birth of Complutum Roman city in more than four centuries of existence had great splendor and importance, which would maintain throughout the Visigothic period. The period of Muslim rule owes Alcalá building a city that will eventually be known as Qalat Al-Nahar (The castle Henares) and which inherited its current name.
With the Christian reconquest the new reconstruction occur in what was from then its final position, around what is now the cathedral canon. However, we have to wait at the end of XV to attend the great period of splendor of the city in 1499 by Cardinal Cisneros founded the University, resulting from the time an urban renewal that makes Alcalá in a college town, following the classical architectural fees.
During the eighteenth and nineteenth centuries the city began a period of decline. Moving to Madrid University in 1836 joined the successive confiscations led to the closure of several monasteries and the impoverishment of already degraded cultural environment Alcala.
Today, after the reopening of the University in 1977, the industrial development of recent decades and the recognition as a World Heritage Site by Unesco, Alcalá is experiencing a period of economic expansion, tourism and culture from which peers into the future optimism maintaining close ties with its unique past.
Rome: Complutum
The Roman conquest of Carpetania seems that began with a campaign led by M. Cato in the year 195 a. J.C. Subsequently, the Carpetani, in partnership with vetones, vacceos and Celts, constituted a threat to Rome than it solved in 192 a. C. by Marco Fulvio. The fighting ended with the fall of Numancia, the year 133 BC C. in initiating the peace, settlement and Romanization of the area.
Nothing is known of the exact date when the Romans occupied the citadel of San Juan de Viso and castro "Salto del Cura", but the coins of the so called "little treasure of Zulema, seem to suggest that before such fall Numancia.
However, in 80 a. JC, during the wars between Sertorius and Pompey Complutum already mentioned, that in times of Augusto acquire great importance for its military value as a hub of communications (including primary and secondary roads, speaking on the "Route of Augustus" that there were 23 roads that allowed to reach the city).
Romanization begin in the pre-existing population of Mount Viso, whose fortifications were strengthened while he lay the network of roads. Later, with the peace of Trajan and the Antonines (second century), the population will start to fall at the foot of the hill in search of an area with less decline, more fertile and better communicated.
Roman mosaic of the Four Seasons of the House of Bacchus in Complutum. Counterclockwise from top right: spring, summer, autumn and winter. The area would end up occupying the city, from the slope of the hill to the current national Viso II (in the north-south) and from the Arroyo Torote to the gates of Madrid and Santa Ana (east-west) . This does not exclude the existence of buildings away from the village, as the villa was discovered in 1970 at the height of the shrine of Nuestra Señora del Val. Complutum had the typical layout of the Roman city, military camp, which starts with two main streets intersect; thistle and decumano.
The name "Complutum" seems to come from the Latin verb "compluere" meaning confluence or the term "Complutense" (confluence of waters). The name would be quite appropriate since the original population would be at the "confluence" of the river Henares and had the city's character "stipendiaria civitas', ie by paying a tax or annual allowance to the mother retained the right to autonomy and their own applications while not altering the status quo.
During the Visigothic period the city retained its importance, becoming home to the bishopric. In Visigothic bishopric was the Catholic Church, suffragan of the Archdiocese of Toledo who understood the ancient Roman province of Carthage in the diocese of Hispania.
Domain Muslim: Al Qalat Islamic domination of the Iberian Peninsula cornered in the northernmost parts of the Peninsula a few Christians who maintained their independence. Muslims, new masters of almost all Spanish geography, required for a fortified post on the route from Zaragoza to Toledo, which together with the nearby cities of greater strategic value as Guadalajara or Talamanca, serve to support the raids periodically were directed against the Christian kingdoms in the north. These fortifications were the function of preventing the descent of the enemy troops into the middle of the Tagus. They were, therefore, the two aforementioned cities and the strength of Al-Qul'aya, built on the banks of upstream Henares Complutum old, the three strategic points guarded and defended the territory from access by the Christian armies that tried down into the valley of Jarama from high Somosierra, or reach the valley of the Henares from Atienza and eastern parts of Castile, and from Zaragoza
In the early tenth century, the new Arabic site Alcalá should not be more than a fortified watchtower small in size, judging by terminology with which it is named in the first news we have known Alcalá la Vieja. According to Bayan-al Mugrib, in 920, ruling in Cordoba Abd-al-Rahman III, the governor of Guadalajara defeated a large Christian Leon expedition had crossed the ports of the Central System with the intention of attacking Guadalajara. The site that beset, near Guadalajara, appears as al-Qul'aya reviewed, which can be translated as "the chateau." Lévi-Provençal identified him as the little fort that preceded the one that gave the city its name today.
It seems that during the tenth century that little watchtower increased its fortifications, defensive accompanied this increase population growth and increased urban importance, especially if we consider the new name of Qal'at Abd-al-Salam , which translates to Castle Abd-al-Salam and even according to some authors such as Castle of the Prince of Peace. This name appears in Islamic chronicles, to relate the crisis of the Cordoba Caliphate in the early years of the eleventh century.
Would be in the summer of 1062 when Ferdinand I, in front of a large army, laid siege to the Muslim city, combating with mills to open a breach in its walls, forcing the king Al-Ma'mun of Toledo to become tax and pay him pariah to lift the siege, in exchange for the delivery of great riches. However, despite the historic conquest of Toledo by Alfonso VI in 1085 and his mastery of the immediate region, the strength of Alcalá la Vieja continue under Muslim rule until 1118 the archbishop of Toledo, Don Bernardo, took his hosts the important enclave of Alcalá, where he managed to pay the plaza.
Middle Ages: El Burgo de Santiuste The May 3, 1118 Archbishop Bernard of Toledo Sedirac won the Muslim seat Alkal'a Nahar and Alcalá la Vieja Castilla but the kingdom gave Earth Alcalá and the Archbishopric of Toledo, becoming Alcalá community an ecclesiastical dominion. Soon, the city would enjoy privileges and Exhibition (dating from 1184). El Burgo de Santiuste, Alcalá de Santiuste, Alcalá de San Justo or Alcalá de Fenar (name of the XIV century) would be an emerging market central and local transactions, which would increase the population considerably. However, the Jewish quarter and Moorish or Jewish Alcala would be the most notable of Castile (the Jewry complutense is considered medium size. Some studies put at 5,000 Jews). During the Middle Ages, Alcalá was peacefully inhabited by Jews, Muslims and Christians. In the twelfth century the bishopric complutense be deleted for the headquarters of Toledo.
On December 19, 1308 was signed the treaty in the city of Alcalá de Henares, signed by King Ferdinand IV of Castile and the ambassadors of King James II of Aragon.
In 1345 and in 1348 the city will take place in the Castile (read also cuts and Management of Alcalá Alcalá).
The city and its district of 25 villages were provided with two forums: the Old and New (by Cisneros). Throughout the centuries, the villages of the district would achieve independence and villas with own municipality until the twentieth century the town of Alcalá only had the city as an urban center.
It is known for its historic university, the University of Alcalá, which was founded by Cardinal Cisneros. On April 13, 1499 data of the bull of Pope Alexander VI Borgia authorizing the creation of the Colegio Mayor de San Ildefonso was the head of the university. In 1508 he opened their classrooms and among employees of Cisneros were important personalities like Nebrija. However, the germ is found Alcala University in the year 1293 with the creation of General Studies. Soon the University of Alcalá de Salamanca competed with and passed through its halls important personalities,
The first woman who was exceptionally agreed to study and achieve the degree of Doctor of Arts and Letters was María Isidro de Guzmán y de la Cerda (1785)
Charles II granted the title of city population in 1678. From the eighteenth century the city lost importance despite the construction of new landmarks like the Puerta de Madrid. At the beginning of this century, Alcalá was occupied by the Portuguese during the War of Succession.
Alcalá is universally famous for being the birthplace of Miguel de Cervantes Saavedra, novelist, poet and playwright who wrote what is considered the masterpiece of Spanish literature, fiction, Don Quixote, which many critics have described as the first modern novel and one of the most widely read works, translated and disseminated in history.
Regeneration Society Condueños Main article: Society Condueños recovery would probably not have been possible were it not for the existence of "Society Buildings Condueños were University", which was the first private individual and society that was created in Spain to save and preserve an artistic heritage philanthropically. Condueños Society, a citizens' initiative that Alcala, 1851, watching the city's main buildings were to be auctioned, they decided to save the heritage of the city to make its money and creating a society whose sole purpose was to buy the iconic buildings University to avoid looting and in the future, to get around the city's Complutense University. Today, the buildings house the Society Condueños rector and several faculties of the University.
The Twentieth Century: Heritage Plaza de Cervantes. In the background, the remains of the parish of Santa Maria Maggiore: Oidor chapel and tower. The church of Santa Maria la Mayor was destroyed in a fire during the Spanish Civil War, losing most of the paintings housed. Among the remains were preserved, highlights the pile where Miguel de Cervantes was baptized. Alcalá is an agricultural city, military and until the 40 monasteries in the ceramics industry and Forges de Alcalá (rolling stock) predict the next industrial development 60. In 1968 he declared the old town as a Historic-Artistic, with 9 National Monuments. In 1977 the college was refounded in the city with the name of the Universidad de Alcalá, which has been a cultural renaissance in the city and artistic heritage recovery.
Existe un lugar en el Mediterráneo, donde la tranquilidad es la nota predominante; donde el tiempo se para, ideal para el descanso, donde sus aguas son más que terapèuticas; el paraíso existe, se llama Mar Menor.
Tristeza Não Existe* by Eumir Deodato (Ideias 1964) *there is no more sorrow
© 2012 Bong Manayon | FB: Bong Manayon Photography
Pentax K-30 + SMCP DA 55-300/4-5.8 ED
And when you say my name...
Like white horses on the waves...
I think it feels the same...
As an ocean in my veins.
Song: youtu.be/7YDkrJaiCrw
Bella (right): You, Stella, do you think the Easter Bunny exists?
Stella (left): Hmm, that's a great question! I do not know. I never saw the Easter Bunny!
Bella: Yes, it's true.
Stella: But, I've never seen Santa too! And I know that Santa exists, because every Christmas I got presents!
Bella: Oh yes! It is true! :-D
existe un niño qe vive en mi luchando por tenerte.. qe revive momentos lejanos .. me hace pensar confundiendo mi realidad obligandome a escuchar tu voz diciendo de lejos como te echo demenos no puedo mas...... porqe te alejas?? lo qe me cuesta comprender qe aunqe eres parte del ayer.. me desespero.. qe tb yo lo he sufrido qe en este tiempo sin vernos.. como te he echado demenos!!
Existe aún una extensa área de pastizales naturales en el departamento de Cordillera.
A veces combinados con el palmar de Karanday cerca del río Manduvirá, con humedales, y otras con parches boscosos.
Se trata de un ecosistema frágil en el que habita una biodiversidad particular con muchas especies en distintas categorías de riesgo. Su conservación dependerá del manejo de la producción sobre estos suelos, del deseo de preservar esta maravillosa comunidad de organismos en el futuro.
Cordillera, Paraguay.
Si bien existen muchas especies de animales en la naturaleza, todas deben enfrentar los mismos desafíos para sobrevivir: conseguir suficientes alimentos y dejar descendencia a través de sus genes. Hay especies que están relacionadas de forma distante, este fenómeno se llama evolución convergente. Estas especies convergen tan de cerca que tienen un extraño parecido entre sí. Un excelente ejemplo es la mariposa colibrí, un insecto que se ve y se comporta tan similar a un pájaro colibrí, que es difícil distinguirlo a la distancia. El insecto, es decir, la mariposa vuela como un pájaro, el colibrí. También parece tener ‘plumas’ y una ‘cola’, que en realidad son pelos alargados.
Algunas características de la mariposa colibrí
A simple vista es fácil confundir una mariposa colibrí con un pequeño colibrí. Al igual que el pájaro, esta especie de polillas se alimenta del néctar de las flores. Sus alas transparentes se mueven tan rápido que parecen invisibles, y su larga trompa sobresale como un pico en la flor. El vuelo produce un zumbido suave como el del colibrí.
Las mariposas colibrí son de la familia de las polillas esfinge, tienen cuerpos pesados y sus alas delanteras largas y claras, con un borde negro o marrón y parecen invisibles cuando vuelan. Los machos tienen una cola acampanada, al igual que un colibrí revoloteando.
Una de las diferencias más destacadas es el tamaño. El colibrí puede tener 3” de largo y las mariposas colibrí 1” y media.
Este tipo de mariposas se diferencian dentro de las de su especie, en que vuelan de día mientras que la mayoría de las polillas esfinge lo hacen de noche.
El hábitat de este tipo de mariposa puede ser variado, desde prados abiertos, bordes de bosques, hasta jardines subterráneos. Como vemos, se alimentan sumergiendo su trompa larga y delgada en cada flor para extraer su néctar.
SX-BBU : Boeing 737-33A : Aegean Airlines.
This 737 airframe still exists at date of upload. It is preserved as an instructional airframe in a college in Xi'an, China.
Yeah, technically she doesn't exist in the DCU right now I don't think, which is such a crime, but it sounds like a lot of businessy mumbo jumbo. I'm keeping her in the same album, though, just for ease of use.
I tried to keep her color scheme and core outfit pieces in tact as best I could, but I'm not tremendously sure how I feel about it. Definitely one to be improved as new parts come.
Cromford Canal. Designed by William Jessop and Benjamin Outram and opened in 1794, the canal was a success, until road and rail took most of the trade. It was partially closed in 1900 and abandoned in 1944. The Cromford Canal Society restored and reopened about a third of the route in 1989, but after they ceased to exist, the canal again became derelict. A shorter section was restored from Cromford by The Friends of Cromford Canal, and from 2013 reopened, it is now listed as a Biological Site of Special Scientific Interest (SSSI) and a Local Nature Reserve.
Cromford, Derbyshire, Peak District, England - Cromford Canal
February 2023
Cape Kiwanda exists because it is sheltered from the sea by the basalt monolith offshore. In turn, the cape's protection causes the formation of a single giant sand dune inland.
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Locandina:
i.ytimg.com/vi/GKX_u1Ovskw/maxresdefault.jpg
images.everyeye.it/img-articoli/un-perfetto-recensione-v5...
m.media-amazon.com/images/M/MV5BMzQ4MzM2NzQtMTZiMS00ZDAzL...
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or…. Press the “L” button to zoom in the image;
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I find out by chance about a procession “that is not marked on the web maps”, I can’t find anything about it even though I searched for a long time on the Internet, and yet the “report” seems true, a procession so little known is something I can’t let slip, I’ll go, then we’ll see; the procession, a mix of devotion and deep respect between the priest and the villagers, is there, it is celebrated in the village near Novara di Sicilia, called Badiavecchia, and “the Saint” is Saint Hugh the Abbott, patron saint of the village and of Novara di Sicilia itself. Personally, I am always fascinated by how events that happened centuries ago remain alive in popular devotion. In the film “Gladiator”, General Maximus Decimus Meridius (Russell Crowe) incites his legionaries against the barbarians in one scene and says, “What we do in life echoes in eternity!”, and this is exactly what happens with Sicilian religious processions and festivals. The celebrated Saints resemble an inexhaustible echo that reverberates in popular traditions. The story of Saint Hugh the Abbot (or Saint Hugh of Novara of Sicily) deserves an important historical preview, with Roger II, king of Sicily, (called the Norman), a unique figure especially if compared to his time, he was an enlightened and liberal king, who distinguished himself in the political panorama of those times, where massacring each other with the many wars seemed to be the only interest of the tyrants of the time; he was not interested in wars, Sicily under his guidance became a commercially and culturally flourishing island, also favored in this by its location in the center of the Mediterranean, a crossroads-hinge of three continents, between North and South, between East and West; the rest of the continent is at war against the infidels, Roger II instead welcomed all religions on the island, leaving freedom of worship to one's own god, thus a peaceful coexistence between Muslims and Christians is achieved, at the court of King Roger there are men of culture, intellectuals, even of Muslim origin, architects, masters of the arts and science, philosophy and politics; the three great cultures of the Mediterranean collaborated with each other, in Sicily the racial harmony and tolerance of King Roger, materialized in a unique reality present only in the his Sicily, which will last only 64 years, a happy period that will end with his death: Roger had demonstrated that an alternative was possible (this consideration is also valid for the terrible current events ...). This is to introduce Ugo (who was not yet a Saint in his lifetime), King Roger II wanted the construction of a monastery in Novara di Sicilia, begun in 1137, to be completed, and to do this he asked the abbot of Chiaravalle to send his monks (belonging to the Cistercian order) to the kingdom of Sicily. Ugo, a disciple of Saint Bernard of Chiaravalle, was among these monks, and he was entrusted with the management of the monastery; he died in Novara di Sicilia on November 17, but the year of his death is unknown; he was proclaimed patron saint of Novara di Sicilia in 1666, also becoming patron saint of the village of Badiavecchia. The procession I photographed was held in Badiavecchia, two things struck me, the relationship that existed between the priest Father Mario and his parishioners, a sincere relationship, of esteem, of brotherhood, comparable to that which can be experienced in a large extended family, the second thing, that unlike many processions-patron saint festivals, here there was no musical band, but a skilled violinist, followed by a collaborator who carried with her an amplified speaker, which served to spread and the poignant music made with the electronic violin, and the words of Don Mario amplified with a microphone, words that were said going to the various small neighborhoods (of Badiavecchia, and of Vallancazza, another village) stopping in front of the houses, with the parishioners listening at the door or in front of the windows, listening to the words of comfort said by Don Mario. I wanted to “tell with images” this very sweet procession, made above all with the heart, of a Sicily that has the appearance of a dizzying dive into the past, of a Sicily that still, evidently exists, but nevertheless difficult to find easily.
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Vengo a sapere in maniera del tutto casuale di una processione “che non è segnata sulle mappe del web”, non trovo nulla a riguardo pur avendo cercato a lungo su Internet, eppure la “segnalazione” sembra veritiera, una processione così poco conosciuta è una cosa che non posso lasciarmi sfuggire, vado, poi si vedrà; la processione, un misto di devozione e di profonda stima tra il sacerdote ed i paesani, c’è, si celebra nel borgo di Novara di Sicilia, chiamato Badiavecchia, ed “il festeggiato” è Sant’Ugo Abate, santo protettore del borgo e della stessa Novara di Sicilia. Personalmente sono sempre affascinato per come, eventi accaduti secoli addietro, restano sempre vivi nella devozione popolare, nel film “il Gladiatore” il generale Massimo Decimo Meridio (Russell Crowe) in una scena del film, incita i suoi legionari contro I barbari e dice ”ciò che facciamo in vita, riecheggia nell'eternità!”, ed è proprio questo quello che accade con le processioni-feste religiose Siciliane, i Santi festeggiati assomigliano ad una inesauribile eco, che si riverbera nelle tradizioni popolari. La storia di Sant’Ugo abate (o Sant’Ugo di Novara di Sicilia) merita una importante premessa di carattere storico, riguardo Ruggero II, che fu re di Sicilia, (detto il Normanno per le sue origini), figura unica soprattutto se rapportata al suo tempo, egli fu un re illuminato e liberale, distintosi nel panorama politico di quei tempi, ove il massacrarsi a vicenda con le tante guerre in corso sembrava essere l’unico interesse dei monarchi dell’epoca), a lui le guerre non lo interessavano, la Sicilia sotto la sua guida diviene una isola fiorente commercialmente e culturalmente, favorita in ciò anche dal suo trovarsi al centro del Mediterraneo, crocevia-cerniera di tre continenti, tra Settentrione e Meridione, tra Oriente ed Occidente; il resto del continente è in guerra contro gli infedeli musulmani, Ruggero II invece accoglie sull’isola tutte le religioni, lascia la libertà di culto nel proprio dio, si realizza così una serena convivenza tra musulmani e cristiani; alla corte di re Ruggero vi sono uomini di cultura, intellettuali, anche di origine musulmana, architetti, maestri nelle arti e nella scienza, nella filosofia e nella politica; le tre grandi culture del Mediterraneo collaborano tra loro, in Sicilia l’armonia razziale e la tolleranza volute da re Ruggero, si concretizzano in una realtà presente unicamente nella sua Sicilia, che durerà solo 64 anni, periodo felice che terminerà con la sua morte: Ruggero aveva dimostrato che una alternativa era possibile (questa considerazione vale anche per i terribili fatti d’attualità con le tante vittime civili a causa di guerre assurde…). Questo per introdurre Ugo (in vita ancora non era Santo), re Ruggero II desidera che venga completata la costruzione di un monastero a Novara di Sicilia iniziato nel 1137, per far ciò egli chiede all'abate di Chiaravalle di inviare nel regno di Sicilia i suoi monaci (appartenenti all’ordine dei cistercensi), Ugo, discepolo di san Bernardo di Chiaravalle, era tra questi monaci, ad gli venne affidata la conduzione del monastero; egli morì a Novara di Sicilia il 17 novembre, ma non se ne conosce l'anno della morte; egli fu proclamato patrono di Novara di Sicilia nel 1666, divenendo anche patrono del borgo di Novara detto Badiavecchia. La processione che ho fotografato si è tenuta proprio a Badiavecchia; due sono le cose che mi hanno colpito di questa processione (con giochi pirotecnici finali), il rapporto che c’era tra il sacerdote padre Mario ed i suoi parrocchiani, un rapporto sincero, di stima, di fratellanza, paragonabile a quello che si può vivere in una grande allargata famiglia, la seconda cosa, a differenza di molte processioni-feste patronali Siciliane, qui non c’era la banda musicale ad accompagnare la vara col santo, ma un abile, virtuoso violinista, al cui seguito una collaboratrice recava con se una cassa amplificata, la quale serviva a diffondere sia le struggenti musiche realizzate col violino elettronico, sia le parole di don Mario pronunciate con un microfono, parole che venivano dette ai fedeli in processione, recandosi tutti nei vari piccoli quartierini (di Badiavecchia, e di Vallancazza, altro borgo) soffermandosi di tanto in tanto davanti ad alcune abitazioni, con le parrocchiane/parrocchiani intenti ad ascoltare sull’uscio di casa o davanti alla finestra, ascoltando commossi le parole di conforto dette dal sacerdote don Mario. Ho desiderato “raccontare con immagini” questa dolcissima-serenissima processione, fatta soprattutto col cuore, di una Sicilia che ha l’aspetto di un vertiginoso tuffo nel passato, di una Sicilia che ancora esiste-e-resiste, ma purtuttavia non certo comune, da trovare non con estrema facilità.
Existant depuis le XIIe siècle, le palais Pretorio ou del Vicariato, a été reconstruit au XVe siècle.
La façade est ornée d'armoiries en faïence, en terre cuite ou en marbre des différents capitaines de la ville.
“things only exist if they are told/narrated”
(attributed to Alessandro Baricco);
“le cose esistono solo se vengono raccontate”
(attribuita ad Alessandro Baricco).
POSTER - LOCANDINA –
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This "photographic story" ideally follows the previous one, for two reasons, first because in this case too, as in the previous story we talk about "angels", they are the "Golden Angels" of San Pier Niceto (in the province of Messina), and second, because this singular and beautiful religious festival, with its procession, also takes place during the Easter period, specifically during "Holy Tuesday". The photographs that I post (not a few, I wish in this way to pay homage to the inhabitants of San Pier Niceto, who can find themselves in these photos, especially for those fathers, mothers, grandfathers, grandmothers, aunts and uncles, in seeing their beloved and very sweet "angels - angiolette"); if you look closely at some of the photographed subjects, you will notice a "temporal disconnect", in fact in some cases, the same girls are present, with two different ages, they will be dressed differently, this is because the photos were taken during Holy Tuesday of 2024 and that of 2025. The temporal sequence of the photographs does not take into account either the year in which they were taken, nor the moments attributable to the phases of the ceremony and subsequent procession.
In San Pier Niceto, on the Peloritani Mountains in Sicily, during the Holy Tuesday takes place the SS. Crucifix procession, whose roots are ancient. The Church of St. James houses and cares for the precious Crucifix, Which is brought to the procession by the streets of the country preceded by very young children, of both sexes, who imitate little Angels, Angels and Grieving young Nuns, dressed in elaborate dresses covered with many gold jewelery, sewn by handy hands that with pins, necklaces , Bracelets and many other gold jewelry applied to their little clothes, they make real works of art whose designs are reminiscent of Easter symbols. Gold for dressing is collected home from home by people who have to melt a "vote", gold that will be returned at the end of the procession. Everything begins during Lent when parents decide to dress their baby by little Angels, Angels or Grieving Nuns .The Little Angels are usually 3 or 4 year olds, the Angels are a little bigger, the Nuns are little young girls. Thus the preparations for the elaboration of the elaborate clothes begin: Parents during Lent are knocking at every door of the country, among friends and relatives, to borrow bracelets, brooches, necklaces and all the gold necessary for the composition of embroidery . The Little Angel's dress is white, short down to the knee, made up of a gold-plated bodice and a skirt with some golden embroidery; Arms are adorned by bracelets, the head is adorned by a collier, small wings (white dove feathers) sprout from behind. The Angels have a white tunic, on which sacred icons are embroidered in gold, the head is covered by a collier, wings lie on their shoulders. The Nun's dress is black, on which are stitched the crowns of the S.S. Rosary, on the head is placed a white veil, held by a rose crown. At 16:30 on Holy Tuesday, a tapping of bells together with the band's fanfare in the village, set off at the "Crucifixion Procession" of San Pier Niceto: at the foot of the Crucifix there are red roses, behind it are located branches of cypress (at the end of the event the faithful will carry with them a piece of cypress as a relic), finally the red ribbons are tied to the arms of the Crucifix, they will mark the procession of the procession until the arrival at the Mother Church, a century church to St. Peter the Apostle, where the celebration of the Holy Mass will take place (the reverse path will bring the SS Crucifix to the Church of St. James): in perfect order the faithful in religious silence, with votive candles in their hands, walk the streets of the country never crossing the red ribbons as they delimit the path of the Golden Little Angels, Angels and the Grieving young Nuns .
Questo "racconto fotografico" segue idealmente il precedente, per due motivi, innanzitutto perchè anche in questo caso, come nel racconto precedente si parla di "angeli", sono "gli Angioletti d'oro" di San Pier Niceto (in provincia di Messina), e secondo, perchè questa singolare e bella festa religiosa, con la sua processione, si svolge anch'essa durante il periodo pasquale, nello specifico durante il "Martedì Santo". Le fotografie che posto (non poche, desidero in tal modo omaggiare gli abitanti di San Pier Niceto, che possano ritrovarsi in queste foto, soprattutto per quei papà, mamme, nonni, nonne, zie e zii, nel rivedere i loro adorati e dolcissimi "angioletti - angiolette"); a ben guardare in alcuni dei soggetti fotografati, si noterà uno "scollamento temportale", infatti in qualche caso, sono presenti le stessi bimbe, con due età diverse, saranno vestite diversamente, questo perchè le foto sono state realizzate durante il Martedì Santo del 2024 e quello del 2025. La sequenza temporale delle fotografie non tiene conto nè dell'anno nel quale sono state realizzate, nè dei momenti ascrivibili alle fasi della cerimonia e successiva processione.
A San Pier Niceto, sui monti Peloritani in Sicilia, durante il Martedì Santo prende vita la processione per le vie del paese del SS. Crocifisso, le cui radici sono antichissime. La Chiesa di San Giacomo ospita e custodisce il pregevole Crocifisso, che viene portato in processione per le vie del paese preceduto da bambini anche molto piccoli, di entrambi i sessi, che impersonano Angioletti ed Addoloratine vestiti con elaboratissimi abiti ricoperti con tantissimi monili d’oro, cuciti dalle mani abili di sarte che con spille, collane, bracciali e tanti altri monili in oro applicati sui loro piccoli vestiti, realizzano vere opere d’arte i cui disegni ricordano simboli pasquali. L’oro per la realizzazione dei vestitini viene raccolto di casa in casa da persone che hanno da sciogliere un “voto”, oro che verrà restituito alla fine della processione. Tutto ha inizio durante la Quaresima, quando dei genitori decidono per “voto” di vestire il proprio bambino da Angioletto, Angiolone o Monachella.
Gli Angioletti sono solitamente bimbi di 3 o 4 anni, gli Angioloni sono un po’ più grandi, le Monachelle sono delle bambine. Così iniziano i preparativi per la realizzazione degli elaboratissimi vestiti: i genitori durante la Quaresima bussano ad ogni porta del paese, tra la cerchia di amici e parenti, per prendere in prestito bracciali, spille, collane e tutto l’oro necessario alla composizione dei ricami. Il vestito degli Angioletti è bianco, corto fino al ginocchio, composto da un corpetto ricoperto d’oro ed una gonna segnata da alcuni ricami d’oro; le braccia sono adornate da bracciali, la testa è adornata da un collier, da dietro le spalle spuntano delle piccole ali (piume di colomba bianca). Gli Angioloni hanno una tunica bianca sulla quale vengono ricamate delle icone sacre in oro, la testa è cinta da un collier, sulle spalle trovano posto delle ali. Il vestito delle Monachelle invece è nero, sul quale vengono cucite delle coroncine del S.S. Rosario, sul capo viene posto un velo bianco, trattenuto da una corona di rose. Alle 16:30 del Martedì Santo un rintocco di campane insieme alla fanfare della banda del paese, danno il via alla “Processione del Crocifisso” di San Pier Niceto: ai piedi della Croce vi sono delle rose rosse, dietro di essa trovano posto dei rami di cipresso (alla fine dell’evento i fedeli porteranno con se un pezzetto di rametto come reliquia), infine dei nastri rossi vengono legati alle braccia del Crocifisso, essi segneranno il percorso della processione, fino all’arrivo al Duomo, una chiesa cinquecentesca dedicata a San Pietro apostolo, ove si terrà la celebrazione della Santa Messa ( il percorso inverso riporterà il S.S. Crocifisso nella Chiesa di San Giacomo): in perfetto ordine i fedeli in religioso silenzio, con ceri votivi in mano, percorrono le vie del paese, non oltrepassando i nastri rossi poiché essi delimitano il percorso degli Angioletti d’oro e delle Addoloratine.
vi várias meninas aqui no Flickr deixando suas listinhas de natal eu achei super fofo e ia fazer tb...mas como a falta de tempo é complexa n consegui fazer a minha...massssssss como eu acredito em Papai Noel e ele sempre ouve minhas listinhas rsrs(tá certo nem todas né!!! ahaha) ele trouxe meus fofinhos mais cedo....eis aqui as minhas mais novas belezurassss esmaltísticas!!!
P.S. claro q existe uma superrrrrrr mamãe noel q torna nossos desejos realidades eeeeee!!! amei os mimos Bibi!!! Bjsssss
I exist as I am, that is enough,
If no other in the world be aware I sit content,
And if each and all be aware I sit content. - W.W.
That moment when I lock myself in silence with left hand on the forehead while reading something I love or learning something new ...
I appreciate your feedback and comments! If you wish to contact me for any reason feel free to send me a Flickr mail or message me on any other social media and I'll reply as soon as I can.
If you like this or any of my other images, prints are available from my site at www.stewmillerphotography.com.
Instagram: www.instagram.com/mightystew/
Twitter: twitter.com/StewMillerCLIMB
There exists a vast ring-shaped area of hydrogen-alpha emissions, Coalsack Loop, overlapping Coalsack Nebula. Slightly bluish-white faint reflection nebula is widely in front. Jewel Box, NGC 4755 is near the left upper corner.
Here is a wider frame.
www.flickr.com/photos/hiroc/48017850973
equipmnent: Takahashi FSQ-130ED and Canon EOS 5Dmk3-sp4, modified by Seo-san on Takahashi EM-200FG-Temma 2Z-BL, autoguided with Fujinon 1:2.8/75mm C-Mount Lens, Pentax x2 Extender, Starlight Xpress Lodestar Autoguider, and PHD2 Guiding
exposure: 3 times x 25 minutes, 5 x 15 min, 5 x 4 min, and 4 x 1 minute at ISO 3,200 and f/5.0
site: 2,430m above sea level at lat. 24 39 52 South and long. 70 16 11 West near Cerro Armazones Chile
Introducción histórica a la Colegiata de Santa Juliana en Santillana del Mar
Santillana está documentada como villa desde el siglo X pero es más que probable que ya existiese desde comienzos de la Reconquista y la repoblación allá por los siglos VIII y IX con el nombre de Planes y aquí existiese un primitivo monasterio, probablemente particular.
Imponente cabecera y cimborrio de la colegiata de Santillana del Mar
Precisamente, este lugar -Planes- cambiaría de nombre con la llegada de las reliquias de Santa Juliana de Bitinia (Sancta Luliana que pasará por contracción a Santillana), martirizada durante las feroces persecuciones de Diocleciano a fines del siglo III. d.C. Tales restos fueron traídos por monjes peregrinos en los años setenta del siglo IX.
Calle de la Carrera. Al fondo la colegiata
De aquel pequeño cenobio altomedieval no queda nada, puesto que las edificaciones románicas del siglo XII renovaron completamente el solar donde se asentaría las estancias monacales y el templo (¿De estilo asturiano o mozárabe?).
El casco antiguo de Santillana ofrece rincones deliciosos
La protección primero de los condes y luego reyes de Castilla propició el crecimiento en prestigio y en propiedades. Ya en el siglo XII el cenobio de Santa Juliana -siglo que coincide con la mayor importancia- aparece citado como colegiata, habiendo sido sustituidos los monjes benedictinos por canónigos de San Agustín.
Cabecra de la Colegiata de Santillana del Mar
El declive comienza a principios del siglo XIII hasta hacerse mucho más patente en la centuria siguiente.
Arquitectura y escultura románicas de la Colegiata de Santillana del Mar
La Colegiata de Santillana del Mar es monumento Nacional desde 1889.
Canecillo
De todo el enorme complejo que actualmente constituye la colegiata, lo más antiguo es el conjunto de construcciones románicas que luego sufrirían añadidos y modificaciones.
La obra románica se iniciaría en las primeras décadas del siglo XII y costa de una iglesia de generosas dimensiones estructurada en tres naves, transepto y cabecera tripartita, con cimborrio sobre el crucero, gran puerta meridional, torre cilíndrica adosada al muro meridional y un magnífico claustro de finales de siglo.
El claustro es una de las partes más interesantes de la colegiata
Libro: Iconografía y Simbolismo RománicoLuego llegarían las adiciones y reformas:
La torre de planta cuadrada de los pies -seguramente del siglo XIV- que parece se puso como enorme contrafuerte sobre la fachada occidental para estabilizar la estructura.
Del siglo XV parece ser la capilla tardogótica añadida al brazo norte del transepto, conocida como del Marqués de Robledo y que cuenta con una bóveda de crucería estrellada.
Del siglo XVII serían la sacristía adosada al hastial del brazo sur del transepto, que casi lo para completamente; la galería sobre la nave meridional, el zaguán y la casa del abad. También se ría de estos momentos la modificación de la puerta románica del muro sur con construcción de un frontón renacentista.
La construcción románica
Exterior
Fachada sur
La fachada sur es la más vistosa por su tamaño, riqueza de elementos y disposición a la vista de los transeúntes que alcanzan la colegiata por las principales calles de la Carrera, Cantón y Río.
Puerta principal de la colegiata
De época románica, lo primero que observamos es la portada con arquivoltas de medio punto sin decoración y columnas con capiteles meteorizados que todavía dejan ver animales como leones y basiliscos.
Gallos o basiliscos en la puerta principal
Mayor interés tiene el friso escultórico superior y las estatuas encastradas en las enjutas. Además de apóstoles y obispos, hay una escena de Adán y Eva en el Pecado Original.
Uno de los relieves de la portada
Lo más espectacular es el Maiestas Domini que bendice con la mano derecha y porta el Libro de la Vida con su contraria, dentro de una mandarla sujeta por las manos de cuatro ángeles en curiosa postura horizontal y paralela. Esta iconografía podría estar relacionada con el Juicio Final aunque nos inclinamos a pensar más en la Ascensión.
Relieve escultórico románico de Cristo en la mandorla entre cuatro ángeles
También nos llama la atención la no muy alta torre cilíndrica con cuerpos separados por impostas taqueadas y el superior con vano ajimezado. Ante su contemplación nos salta a la memoria algunas torres del románico lombardo o las que flanquean la fechada de San Martín de Frómista. En todo caso, nada tiene que ver este campanario con otras torres prismáticas importantes del románico cántabro como las de San Pedro de Cervatos o Castañeda.
Tronera de la torre cilíndrica
Del hastial del crucero en su extremo meridional, poco podemos ver por haberse construido la citada sacristía. No obstante se vislumbra un ventanal en el extremo superior así como una serie de canecillos.
Hastial sur del transepto
En el remate de todas estas estructuras queda el cimborrio de planta cuadrada, que disponía de arquerías murales sobre columnas, aunque alguna restauración las eliminó de parte del contorno.
Arquerías del cimborrio
Cabecera
A pesar de que la ausencia de ábside románico en el lado norte, así como la adición de sacristía y capilla, no cabe duda de que la cabecera de la colegiata de Santillana es una de las más espectaculares del románico español gracias a la articulación mural de los ábsides central y meridional.
Ábside meridional
En concreto, el ábside principal cuenta con finas columnas en tres tramos con sus respectivas basas. Loas paños resultantes llevan aspilleras de iluminación rodeados por estructuras tipo portadas, con dos amplias arquivoltas de medio punto y chambrana sobre dos parejas de columnillas.
Ventanal del ábside sur
capitel de la cabeceraPor su parte, el absidiolo lateral sur es, en su menor tamaño, otra joya que repite el juego de columnas y ventanal pero adaptándose a su menor superficie.
Aunque el conjunto de capiteles tienen dispar nivel de conservación, todavía pueden vislumbrarse interesantes tallas como el capitel que muestra un mono boca abajo.
Interior
Las naves y la cabecera
El templo de la Colegiata de Santillana del Mar es un edificio de tres amplias naves deparadas por arcos formeros de medio punto sobre pilares cruciformes con medias columnas en sus caras externas. El abovedamiento de los ábsides es el habitual románico y también el del transepto con bóveda de medio cañón.
Interior de la nave central y la sur de la colegiata
No se sabe si las tres naves -más alta la central- también tuvieron cubierta de piedra o de simple madera. Las actuales de crucería son del siglo XIII.
Arcos formeros. Interior de la colegiata de Santillana del Mar
En el crucero se levantó un cimborrio basado en sobreelevadas pechinas que soportan la cúpula semiesférica, que hoy parece ovalada como consecuencia de reformas ulteriores.
Interior del cimborrio
La estructura columnaria ofrece un riquísimo repertorio de capiteles. Varios de ellos son vegetales o contienen volutas con cabecitas entre ellas. Entre las cestas con temática zoomorfa tenemos los que muestran leones, aves y un mono con una cuerda al cuello. En uno de los ábsides hay uno de temática erótica con un personaje itifálico o el más conocido de todos donde dos guerreros luchan con escudos y enormes espadas.
Capitel
Relieves de los ábsides y otros elementos escultóricos muebles
Nada sabemos de lo que hubo en la fachada occidental de la iglesia ya que en el siglo XIV se adosó una gruesa torre prismática con el fin de apuntalar el edificio. Lo lógico es que hubiese una portada monumental y tal extremo puede justificar la existencia de una serie de relieves descontextualizados en los tres ábsides, que procederían de ella:
En el ábside del Evangelio hay un relieve de la Virgen con el Niño en la clásica iconografía bizantina de Sedes Sapientiae y rodeada de estructuras arquitectónicas.
Relieve con la Virgen
En el ábside central, empleado como frontal de altar, tenemos un grupo de cuatro apóstoles.
En el ábside de la Epístola se conserva un nuevo relieve con la santa patrona domeñando al diablo.
También procedería de la puerta occidental un espléndido relieve con un Maiestas Domini que se guarda en la Capilla del Marqués de Robledo. Se atribuye a Pedro Quintana, artista que esculpió el tímpano de la iglesia de Yermo en 1202.
Ábside septentrional
Al margen de estas piezas, debemos también citar dos más guardadas en distintos lugares del templo colegial: la pila bautismal y el Sepulcro de Doña Fronilde.
La pila bautismal románica se encuentra en cuerpo inferior de la torre occidental usada como baptisterio. Es de forma caliciforme y amplias dimensiones. Destaca por un rudo relieve de Daniel en el foso de los leones.
Pila bautismal
Junto a la entrada a la sacristía del brazo sur del transepto encontramos el citado sepulcro -posiblemente del siglo XII- y con una enigmática inscripción que parece pertenecer a un infante.
El claustro
El famoso claustro de la Colegiata de Santillana del Mar fue levantado al norte de la iglesia a finales del siglo XII o comienzos del XIII.
Claustro de la Colegiata
Es un espacio cuadrangular ligeramente irregular con cuatro pandas abiertas a un patio central mediante arquerías. De época románica son sólo tres de ellas puesto que el ala este es muy posterior.
Dragón
Los arcos de las crujías románicas son de medio punto y caen sobre dobles columnas de fustes gruesos y bajos, lo que tiene la virtud de de permitir al espectador la contemplación de los capiteles casi a la altura de la vista.
Claustro
En total son un total de 43 los capiteles románicos que podemos disfrutar en este claustro, lo que ofrece un repertorio muy amplio de motivos vegetales, geométricos, zoomorfos y de escenas bíblicas.
Arcángel San Miguel y el dragón
De todos ellos, destacamos los siguientes:
Bautismo de Cristo y degollación de San Juan Bautista.
Maiestas Domini en la mandarla.
Pesaje de las almas por parte de San Miguel
Un grupo de animales maléficos de orejas picudas que se encuentran dentro de tallos que los envuelven.
Daniel en el foso de los leones
Escena caballeresca de la despedida de un caballero de su dama.
Caballero luchando contra un dragón.
Pastor ahuyentando a los lobos que atacan a su rebaño.
Daniel en el foso de los leones
La comunicación del claustro con la iglesia se practica a través de una armónica y sencilla puerta de arquivoltas de medio punto. De hecho los visitantes han de acceder al claustro primero a través de una puerta de acceso a la panda oeste y desde aquí penetrar en el templo por dicha puerta, ya que la principal descrita del muro meridional está casi siempre cerrada.
Together! Today the danish parliament has made a law that gives hetero- and homosexual couples the same - equal - marriage rights! Finally! We can now choose to be married in church or town hall, and not only at the town hall.
We have had the "civil partnership"-law since 1989, but from now on it does no longer exist: we are now a part of the marriage laws :-)
...existen muchas interpretaciones...
Lo cierto es que si existen hombres cabrones,
también hay mujeres bastardas.
Para la poca caballería,
existen tacones del desprecio.
Me río de las corbatas sucias y arrugadas,
de esas que cuelgan en el cuello de un hombre,
como si de una máscara se tratase.
Una puede andar firme con tacones,
y corbata en la mano para dar latigazos.
© All Rights Reserved
Ipê Amarelo, Tabebuia [chrysotricha or ochracea].
Ipê-amarelo em Brasília, Brasil.
This tree is in Brasília, Capital of Brazil.
Text, in english, from Wikipedia, the free encyclopedia
"Trumpet tree" redirects here. This term is occasionally used for the Shield-leaved Pumpwood (Cecropia peltata).
Tabebuia
Flowering Araguaney or ipê-amarelo (Tabebuia chrysantha) in central Brazil
Scientific classification
Kingdom: Plantae
(unranked): Angiosperms
(unranked): Eudicots
(unranked): Asterids
Order: Lamiales
Family: Bignoniaceae
Tribe: Tecomeae
Genus: Tabebuia
Gomez
Species
Nearly 100.
Tabebuia is a neotropical genus of about 100 species in the tribe Tecomeae of the family Bignoniaceae. The species range from northern Mexico and the Antilles south to northern Argentina and central Venezuela, including the Caribbean islands of Hispaniola (Dominican Republic and Haiti) and Cuba. Well-known common names include Ipê, Poui, trumpet trees and pau d'arco.
They are large shrubs and trees growing to 5 to 50 m (16 to 160 ft.) tall depending on the species; many species are dry-season deciduous but some are evergreen. The leaves are opposite pairs, complex or palmately compound with 3–7 leaflets.
Tabebuia is a notable flowering tree. The flowers are 3 to 11 cm (1 to 4 in.) wide and are produced in dense clusters. They present a cupular calyx campanulate to tubular, truncate, bilabiate or 5-lobed. Corolla colors vary between species ranging from white, light pink, yellow, lavender, magenta, or red. The outside texture of the flower tube is either glabrous or pubescentThe fruit is a dehiscent pod, 10 to 50 cm (4 to 20 in.) long, containing numerous—in some species winged—seeds. These pods often remain on the tree through dry season until the beginning of the rainy.
Species in this genus are important as timber trees. The wood is used for furniture, decking, and other outdoor uses. It is increasingly popular as a decking material due to its insect resistance and durability. By 2007, FSC-certified ipê wood had become readily available on the market, although certificates are occasionally forged.
Tabebuia is widely used as ornamental tree in the tropics in landscaping gardens, public squares, and boulevards due to its impressive and colorful flowering. Many flowers appear on still leafless stems at the end of the dry season, making the floral display more conspicuous. They are useful as honey plants for bees, and are popular with certain hummingbirds. Naturalist Madhaviah Krishnan on the other hand once famously took offense at ipé grown in India, where it is not native.
Lapacho teaThe bark of several species has medical properties. The bark is dried, shredded, and then boiled making a bitter or sour-tasting brownish-colored tea. Tea from the inner bark of Pink Ipê (T. impetiginosa) is known as Lapacho or Taheebo. Its main active principles are lapachol, quercetin, and other flavonoids. It is also available in pill form. The herbal remedy is typically used during flu and cold season and for easing smoker's cough. It apparently works as expectorant, by promoting the lungs to cough up and free deeply embedded mucus and contaminants. However, lapachol is rather toxic and therefore a more topical use e.g. as antibiotic or pesticide may be advisable. Other species with significant folk medical use are T. alba and Yellow Lapacho (T. serratifolia)
Tabebuia heteropoda, T. incana, and other species are occasionally used as an additive to the entheogenic drink Ayahuasca.
Mycosphaerella tabebuiae, a plant pathogenic sac fungus, was first discovered on an ipê tree.
Tabebuia alba
Tabebuia anafensis
Tabebuia arimaoensis
Tabebuia aurea – Caribbean Trumpet Tree
Tabebuia bilbergii
Tabebuia bibracteolata
Tabebuia cassinoides
Tabebuia chrysantha – Araguaney, Yellow Ipê, tajibo (Bolivia), ipê-amarelo (Brazil), cañaguate (N Colombia)
Tabebuia chrysotricha – Golden Trumpet Tree
Tabebuia donnell-smithii Rose – Gold Tree, "Prima Vera", Cortez blanco (El Salvador), San Juan (Honduras), palo blanco (Guatemala),duranga (Mexico)
A native of Mexico and Central Americas, considered one of the most colorful of all Central American trees. The leaves are deciduous. Masses of golden-yellow flowers cover the crown after the leaves are shed.
Tabebuia dubia
Tabebuia ecuadorensis
Tabebuia elongata
Tabebuia furfuracea
Tabebuia geminiflora Rizz. & Mattos
Tabebuia guayacan (Seem.) Hemsl.
Tabebuia haemantha
Tabebuia heptaphylla (Vell.) Toledo – tajy
Tabebuia heterophylla – roble prieto
Tabebuia heteropoda
Tabebuia hypoleuca
Tabebuia impetiginosa – Pink Ipê, Pink Lapacho, ipê-cavatã, ipê-comum, ipê-reto, ipê-rosa, ipê-roxo-damata, pau d'arco-roxo, peúva, piúva (Brazil), lapacho negro (Spanish); not "brazilwood"
Tabebuia incana
Tabebuia jackiana
Tabebuia lapacho – lapacho amarillo
Tabebuia orinocensis A.H. Gentry[verification needed]
Tabebuia ochracea
Tabebuia oligolepis
Tabebuia pallida – Cuban Pink Trumpet Tree
Tabebuia platyantha
Tabebuia polymorpha
Tabebuia rosea (Bertol.) DC.[verification needed] (= T. pentaphylla (L.) Hemsley) – Pink Poui, Pink Tecoma, apama, apamate, matilisguate
A popular street tree in tropical cities because of its multi-annular masses of light pink to purple flowers and modest size. The roots are not especially destructive for roads and sidewalks. It is the national tree of El Salvador and the state tree of Cojedes, Venezuela
Tabebuia roseo-alba – White Ipê, ipê-branco (Brazil), lapacho blanco
Tabebuia serratifolia – Yellow Lapacho, Yellow Poui, ipê-roxo (Brazil)
Tabebuia shaferi
Tabebuia striata
Tabebuia subtilis Sprague & Sandwith
Tabebuia umbellata
Tabebuia vellosoi Toledo
Ipê-do-cerrado
Texto, em português, da Wikipédia, a enciclopédia livre.
Ipê-do-cerrado
Classificação científica
Reino: Plantae
Divisão: Magnoliophyta
Classe: Magnoliopsida
Subclasse: Asteridae
Ordem: Lamiales
Família: Bignoniaceae
Género: Tabebuia
Espécie: T. ochracea
Nome binomial
Tabebuia ochracea
(Cham.) Standl. 1832
Sinónimos
Bignonia tomentosa Pav. ex DC.
Handroanthus ochraceus (Cham.) Mattos
Tabebuia chrysantha (Jacq.) G. Nicholson
Tabebuia hypodictyon A. DC.) Standl.
Tabebuia neochrysantha A.H. Gentry
Tabebuia ochracea subsp. heteropoda (A. DC.) A.H. Gentry
Tabebuia ochracea subsp. neochrysantha (A.H. Gentry) A.H. Gentry
Tecoma campinae Kraenzl.
ecoma grandiceps Kraenzl.
Tecoma hassleri Sprague
Tecoma hemmendorffiana Kraenzl.
Tecoma heteropoda A. DC.
Tecoma hypodictyon A. DC.
Tecoma ochracea Cham.
Ipê-do-cerrado é um dos nomes populares da Tabebuia ochracea (Cham.) Standl. 1832, nativa do cerrado brasileiro, no estados de Amazonas, Pará, Maranhão, Piauí, Ceará, Pernambuco, Bahia, Espírito Santo, Goiás, Mato Grosso, Mato Grosso do Sul, Minas Gerais, Rio de Janeiro, São Paulo e Paraná.
Está na lista de espécies ameaçadas do estado de São Paulo, onde é encontrda também no domínio da Mata Atlântica[1].
Ocorre também na Argentina, Paraguai, Bolívia, Equador, Peru, Venezuela, Guiana, El Salvador, Guatemala e Panamá[2].
Há uma espécie homônima descrita por A.H. Gentry em 1992.
Outros nomes populares: ipê-amarelo, ipê-cascudo, ipê-do-campo, ipê-pardo, pau-d'arco-do-campo, piúva, tarumã.
Características
Altura de 6 a 14 m. Tronco tortuso com até 50 cm de diâmetro. Folhas pilosas em ambas as faces, mais na inferior, que é mais clara.
Planta decídua, heliófita, xerófita, nativa do cerrado em solos bem drenados.
Floresce de julho a setembro. Os frutos amadurecem de setembro a outubro.
FloresProduz grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em menos de 90 dias após coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978). As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A germinação ocorre após 30 dias e de 80%. As sementes são ortodoxas e há aproximadamente 72 000 sementes em cada quilo.
O desenvolvimento da planta é rápido.
Como outros ipês, a madeira é usada em tacos, assoalhos, e em dormentes e postes. Presta-se também para peças torneadas e instrumento musicais.
Tabebuia alba (Ipê-Amarelo)
Texto, em português, produzido pela Acadêmica Giovana Beatriz Theodoro Marto
Supervisão e orientação do Prof. Luiz Ernesto George Barrichelo e do Eng. Paulo Henrique Müller
Atualizado em 10/07/2006
O ipê amarelo é a árvore brasileira mais conhecida, a mais cultivada e, sem dúvida nenhuma, a mais bela. É na verdade um complexo de nove ou dez espécies com características mais ou menos semelhantes, com flores brancas, amarelas ou roxas. Não há região do país onde não exista pelo menos uma espécie dele, porém a existência do ipê em habitat natural nos dias atuais é rara entre a maioria das espécies (LORENZI,2000).
A espécie Tabebuia alba, nativa do Brasil, é uma das espécies do gênero Tabebuia que possui “Ipê Amarelo” como nome popular. O nome alba provém de albus (branco em latim) e é devido ao tomento branco dos ramos e folhas novas.
As árvores desta espécie proporcionam um belo espetáculo com sua bela floração na arborização de ruas em algumas cidades brasileiras. São lindas árvores que embelezam e promovem um colorido no final do inverno. Existe uma crença popular de que quando o ipê-amarelo floresce não vão ocorrer mais geadas. Infelizmente, a espécie é considerada vulnerável quanto à ameaça de extinção.
A Tabebuia alba, natural do semi-árido alagoano está adaptada a todas as regiões fisiográficas, levando o governo, por meio do Decreto nº 6239, a transformar a espécie como a árvore símbolo do estado, estando, pois sob a sua tutela, não mais podendo ser suprimida de seus habitats naturais.
Taxonomia
Família: Bignoniaceae
Espécie: Tabebuia Alba (Chamiso) Sandwith
Sinonímia botânica: Handroanthus albus (Chamiso) Mattos; Tecoma alba Chamisso
Outros nomes vulgares: ipê-amarelo, ipê, aipê, ipê-branco, ipê-mamono, ipê-mandioca, ipê-ouro, ipê-pardo, ipê-vacariano, ipê-tabaco, ipê-do-cerrado, ipê-dourado, ipê-da-serra, ipezeiro, pau-d’arco-amarelo, taipoca.
Aspectos Ecológicos
O ipê-amarelo é uma espécie heliófita (Planta adaptada ao crescimento em ambiente aberto ou exposto à luz direta) e decídua (que perde as folhas em determinada época do ano). Pertence ao grupo das espécies secundárias iniciais (DURIGAN & NOGUEIRA, 1990).
Abrange a Floresta Pluvial da Mata Atlântica e da Floresta Latifoliada Semidecídua, ocorrendo principalmente no interior da Floresta Primária Densa. É característica de sub-bosques dos pinhais, onde há regeneração regular.
Informações Botânicas
Morfologia
As árvores de Tabebuia alba possuem cerca de 30 metros de altura. O tronco é reto ou levemente tortuoso, com fuste de 5 a 8 m de altura. A casca externa é grisáceo-grossa, possuindo fissuras longitudinais esparas e profundas. A coloração desta é cinza-rosa intenso, com camadas fibrosas, muito resistentes e finas, porém bem distintas.
Com ramos grossos, tortuosos e compridos, o ipê-amarelo possui copa alongada e alargada na base. As raízes de sustentação e absorção são vigorosas e profundas.
As folhas, deciduais, são opostas, digitadas e compostas. A face superior destas folhas é verde-escura, e, a face inferior, acinzentada, sendo ambas as faces tomentosas. Os pecíolos das folhas medem de 2,5 a 10 cm de comprimento. Os folíolos, geralmente, apresentam-se em número de 5 a 7, possuindo de 7 a 18 cm de comprimento por 2 a 6 cm de largura. Quando jovem estes folíolos são densamente pilosos em ambas as faces. O ápice destes é pontiagudo, com base arredondada e margem serreada.
As flores, grandes e lanceoladas, são de coloração amarelo-ouro. Possuem em média 8X15 cm.
Quanto aos frutos, estes possuem forma de cápsula bivalvar e são secos e deiscentes. Do tipo síliqua, lembram uma vagem. Medem de 15 a 30 cm de comprimento por 1,5 a 2,5 cm de largura. As valvas são finamente tomentosas com pêlos ramificados. Possuem grande quantidade de sementes.
As sementes são membranáceas brilhantes e esbranquiçadas, de coloração marrom. Possuem de 2 a 3 cm de comprimento por 7 a 9 mm de largura e são aladas.
Reprodução
A espécie é caducifólia e a queda das folhas coincide com o período de floração. A floração inicia-se no final de agosto, podendo ocorrer alguma variação devido a fenômenos climáticos. Como a espécie floresce no final do inverno é influenciada pela intensidade do mesmo. Quanto mais frio e seco for o inverno, maior será a intensidade da florada do ipê amarelo.
As flores por sua exuberância, atraem abelhas e pássaros, principalmente beija-flores que são importantes agentes polinizadores. Segundo CARVALHO (2003), a espécie possui como vetor de polinização a abelha mamangava (Bombus morio).
As sementes são dispersas pelo vento.
A planta é hermafrodita, e frutifica nos meses de setembro, outubro, novembro, dezembro, janeiro e fevereiro, dependendo da sua localização. Em cultivo, a espécie inicia o processo reprodutivo após o terceiro ano.
Ocorrência Natural
Ocorre naturalmente na Floresta Estaciobal Semidecicual, Floresta de Araucária e no Cerrado.
Segundo o IBGE, a Tabebuia alba (Cham.) Sandw. é uma árvore do Cerrado, Cerradão e Mata Seca. Apresentando-se nos campos secos (savana gramíneo-lenhosa), próximo às escarpas.
Clima
Segundo a classificação de Köppen, o ipê-amarelo abrange locais de clima tropical (Aw), subtropical úmido (Cfa), sutropical de altitude (Cwa e Cwb) e temperado.
A T.alba pode tolerar até 81 geadas em um ano. Ocorre em locais onde a temperatura média anual varia de 14,4ºC como mínimo e 22,4ºC como máximo.
Solo
A espécie prefere solos úmidos, com drenagem lenta e geralmente não muito ondulados (LONGHI, 1995).
Aparece em terras de boa à média fertilidade, em solos profundos ou rasos, nas matas e raramente cerradões (NOGUEIRA, 1977).
Pragas e Doenças
De acordo com CARVALHO (2003), possui como praga a espécie de coleópteros Cydianerus bohemani da família Curculionoideae e um outro coleóptero da família Chrysomellidae. Apesar da constatação de elevados índices populacionais do primeiro, os danos ocasionados até o momento são leves. Nas praças e ruas de Curitiba - PR, 31% das árvores foram atacadas pela Cochonilha Ceroplastes grandis.
ZIDKO (2002), ao estudar no município de Piracicaba a associação de coleópteros em espécies arbóreas, verificou a presença de insetos adultos da espécie Sitophilus linearis da família de coleópteros, Curculionidae, em estruturas reprodutivas. Os insetos adultos da espécie emergiram das vagens do ipê, danificando as sementes desta espécie nativa.
ANDRADE (1928) assinalou diversas espécies de Cerambycidae atacando essências florestais vivas, como ingazeiro, cinamomo, cangerana, cedro, caixeta, jacarandá, araribá, jatobá, entre outras como o ipê amarelo.
A Madeira
A Tabebuia alba produz madeira de grande durabilidade e resistência ao apodrecimento (LONGHI,1995).
MANIERI (1970) caracteriza o cerne desta espécie como de cor pardo-havana-claro, pardo-havan-escuro, ou pardo-acastanhado, com reflexos esverdeados. A superfície da madeira é irregularmente lustrosa, lisa ao tato, possuindo textura media e grã-direita.
Com densidade entre 0,90 e 1,15 grama por centímetro cúbico, a madeira é muito dura (LORENZI, 1992), apresentando grande dificuldade ao serrar.
A madeira possui cheiro e gosto distintos. Segundo LORENZI (1992), o cheiro característico é devido à presença da substância lapachol, ou ipeína.
Usos da Madeira
Sendo pesada, com cerne escuro, adquire grande valor comercial na marcenaria e carpintaria. Também é utilizada para fabricação de dormentes, moirões, pontes, postes, eixos de roda, varais de carroça, moendas de cana, etc.
Produtos Não-Madeireiros
A entrecasca do ipê-amarelo possui propriedades terapêuticas como adstringente, usada no tratamento de garganta e estomatites. É também usada como diurético.
O ipê-amarelo possui flores melíferas e que maduras podem ser utilizadas na alimentação humana.
Outros Usos
É comumente utilizada em paisagismo de parques e jardins pela beleza e porte. Além disso, é muito utilizada na arborização urbana.
Segundo MOREIRA & SOUZA (1987), o ipê-amarelo costuma povoar as beiras dos rios sendo, portanto, indicado para recomposição de matas ciliares. MARTINS (1986), também cita a espécie para recomposição de matas ciliares da Floresta Estacional Semidecidual, abrangendo alguns municípios das regiões Norte, Noroeste e parte do Oeste do Estado do Paraná.
Aspectos Silviculturais
Possui a tendência a crescer reto e sem bifurcações quando plantado em reflorestamento misto, pois é espécie monopodial. A desrrama se faz muito bem e a cicatrização é boa. Sendo assim, dificilmente encopa quando nova, a não ser que seja plantado em parques e jardins.
Ao ser utilizada em arborização urbana, o ipê amarelo requer podas de condução com freqüência mediana.
Espécie heliófila apresenta a pleno sol ramificação cimosa, registrando-se assim dicotomia para gema apical. Deve ser preconizada, para seu melhor aproveitamento madeireiro, podas de formação usuais (INQUE et al., 1983).
Produção de Mudas
A propagação deve realizada através de enxertia.
Os frutos devem ser coletados antes da dispersão, para evitar a perda de sementes. Após a coleta as sementes são postas em ambiente ventilado e a extração é feita manualmente. As sementes do ipê amarelo são ortodoxas, mantendo a viabilidade natural por até 3 meses em sala e por até 9 meses em vidro fechado, em câmara fria.
A condução das mudas deve ser feita a pleno sol. A muda atinge cerca de 30 cm em 9 meses, apresentando tolerância ao sol 3 semanas após a germinação.
Sementes
Os ipês, espécies do gênero Tabebuia, produzem uma grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em poucos dias após a sua coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978).
As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A quebra natural leva cerca de 3 meses e a quebra na câmara leva 9 meses. A germinação ocorre após 30 dias e de 80%.
As sementes são ortodoxas e há aproximadamente 87000 sementes em cada quilo.
Preço da Madeira no Mercado
O preço médio do metro cúbico de pranchas de ipê no Estado do Pará cotado em Julho e Agosto de 2005 foi de R$1.200,00 o preço mínimo, R$ 1509,35 o médio e R$ 2.000,00 o preço máximo (CEPEA,2005).
El saltamontes es un insecto perteneciente al suborden de Caelifera. Es uno de los grupos vivos más antiguo de insectos herbívoros masticadores, existe desde el principios del Triásico, hace ya unos 250 millones de años. Son conocidos por su gran habilidad de salto, de increíble altura y distancia. Existen 11.000 especies de saltamontes en el mundo. Las hembras son más grandes que los machos, con ovopositores cortos. El color oscila entre el verde y el verde oliva o el marrón y pueden poseer marcas amarillas o rojas.
La vida total es sobre un año, aunque es bastante probable que sólo sobrevivan unos 3 meses debido a enfermedades, sequía y depredadores. Están presentes en todos los continentes, con la excepción de la Antártida.
El saltamontes se encuentra en peligro de extinción en determinados continentes. En Europa hay unas 700 especies en peligro de extinción.
Usar estas imágenes, sin permiso del autor, es una violación de las leyes internacionales de derechos de autor (633/41 DPR19 / 78-Disg 154/97-L.248 / 2000). Este material no debe ser copiado, reproducido, distribuido, publicado, descargado, mostrado o transferido a través de ningún medio electrónico, mecánico, fotocopias, grabaciones, etc… sin permiso por escrito del autor. Email contacto: rodolforobill@yahoo.es
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Using these images, without permission of the author, is a violation of international copyright laws (633/41 DPR19 / 78-Disg 154/97-L.248 / 2000). This material must not be copied, reproduced, distributed, published, downloaded, displayed or transferred through any electronic, mechanical, photocopying, recording, etc ... without written permission of the author. Contact email: rodolforobill@yahoo.es
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Texte en français après l'anglais
Goods trade has always existed between Europeans, and Switzerland and its railroads are a key player in this trade. For example, without the St-Gotthard or Lötschberg line, north-south goods would have to use another line, such as the Brenner or Mont-Cenis, extending the journey time.
This vital part of trade provides a livelihood for millions of people, not only in Europe but throughout the world.
What's more, to make all these companies even more competitive, reduce transport costs and times,
the St. Gotthard tunnel, the longest in the world, was inaugurated in 2016. It now makes it possible to cross the Alps without the need for a locomotive, saving over two hours on the Basel-Chiasso route.
Switzerland is not a member of the EU, but through its heart makes a lasting contribution to the EU system.
But sometimes this seems to be overlooked by EU members, especially on the German side. I'll explain in detail with another photo, which, like this one, will become an archive.
Here we see a South-North freight train headed by a Re10/10 down the old line on the North ramp towards Basel, with Antwerpen or Rotterdam as its most likely final destination.
-------------------------------------------
Les échanges de marchandises ont toujours existé entre Européens, et la Suisse et son chemin de fer sont un acteur principale à ces échanges. Par exemple sans la ligne du St-Gotthard ou du Lötschberg, les marchandises nord-sud devraient emprunter une autre ligne comme le Brenner, le Mont-Cenis, prolongeant le temps de parcours.
Cette pièce vitale à ces échanges, permet de faire vivre des millions de gens, non seulement en Europe mais dans le monde entier. De plus pour rendre encore plus compétitif tous ces entreprises et faire baisser les couts et la durée du transport, le tunnel du St.Gotthard, le plus long au monde a été inauguré en 2016. Il permet désormais de traverser les Alpes sans renfort de locomotive et de gagner plus de deux heures sur le trajet Basel- Chiasso.
La Suisse n'est pas membre de de l'EU, mais par le coeur contribue durablement au système de l'EU.
Mais parfois cela semble omis par les membres de l'EU et surtout du côté allemand. Je m'expliquerai en détail par le biais d'une autre photo, qui deviendra, comme celle-ci une archive.
Ici un convoi de marchandises Sud Nord avec à sa tête une Re10/10 qui descend la ligne de faite et sa rampe Nord en direction de Basel et très probablement comme destination finale Antwerpen ou Rotterdam.
"La casa de Blancanieves y los Siete Enanitos Existe"
Mirror, mirror, what is the most beautiful house in the kingdom? It may sound like a story, but it is totally real. The dream home of one of the Disney princesses exists. It is there where Sleepy, Dopey, Brat, Wise, Grumpy, Happy and Shy, along with Snow White, rested on their return from work. It is the mythical house of Snow White and the Seven Dwarfs, a property located in Olalla belonging to the Kitsap County in Washington. The home, built in 1982, was built by Richey and Karen Morgan, a couple who loved the movie released by Walt Disney in 1937. They wanted to recreate the house in the woods that appears in the story by hand and, although it took 25 years, they succeeded. A green forest surrounds the curious residence. The first thing that visitors find upon reaching the site is a bridge with wooden railings, a stone walkway and a beautiful fountain right at the entrance of the house. It has four bedrooms (each with its fireplace, which keeps it warm in winter), four bathrooms and a toilet. Its facilities may seem basic, but each of the elements that are part of the house are taken care of to the maximum detail, so that the home seems to be fresh out of the movie.
The 25 still exists too, running once per day every day, except for Tuesday and Friday when an extra journey to/from Ludford joins in.
19072 is seen loading up on the 25 to Binbrook at a very busy Riverhead Exchange, with 15177 on a 51 and 18392 on a 10 in the background.
“... - Ah! patrício! Deus existe!...
No refilão daquele tormento, olhei para diante e vi... as Três-Marias luzindo na água... o cusco encarapitado na pedra, ao meu lado, estava me lambendo a mão... e logo, logo, o zaino relinchou lá em cima, na barranca do riacho, ao mesmíssimo tempo que a cantoria alegre de um grilo retinia ali perto, num oco de pau!...
- Patrício! não me avexo duma heresia; mas era Deus que estava no luzimento daquelas estrelas, era ele que mandava aqueles bichos brutos arredarem de mim a má tenção ..."
Fragmento de “Trezentas onças”, de João Simões Lopes Neto
Pelotas, Rio Grande do Sul, Brasil
Elephants in the San Diego Zoo have a huge enclosure.
Today, seven elephants live in the Zoo’s Elephant Odyssey habitat. Its features include a state-of-the-art Elephant Care Center, helpful, as the herd is made up of older, non-breeding elephants at this time.
They’re enormous and intelligent, strong and sociable. Humans have been impressed by elephants for centuries, simply because they are so big—a male African elephant can weigh up to 7.5 tons (6.8 metric tons)! They also amaze us with their long and flexible noses, large and flapping ears, and loose, wrinkly skin. There are many stories about elephants—you’ve probably heard of Horton, Babar, and Dumbo. Elephants are one of the best-known animals in the world.
Elephants are large and gray and have big ears and long trunks, right? If all elephants seem the same to you, take a closer look. There are two elephant species that are usually recognized: the African elephant and the Asian elephant. There is some ongoing debate about how many subspecies may exist, or whether some of these might, in fact, be species in their own right. Here are a few ways to tell them apart:
- African elephants have large ears that are shaped like the continent of Africa, both males and females have visible tusks, their skin is very wrinkly, their back is swayed, and the end of their trunk works as if they have two fingers there to help them pick things up. African elephants are the largest mammals on land.
- Asian elephants have smaller ears, usually only the males have visible tusks, their skin is not as wrinkly as African elephants’, they only have one "finger" at the ends of their trunk, and their back is dome-shaped.
Empress and Queenie were the San Diego Zoo’s first elephants, arriving here in 1923 via train from San Francisco. After being led off the train, the two Asian elephants refused to move another step, no matter how much encouragement they received. The Zoo’s founder, Harry Wegeforth, M.D., was there to greet them, and it occurred to him that they were probably used to being ridden, so he climbed up on Empress and another staff member did the same with Queenie, and off they walked from the train station to the Zoo, gathering many astonished looks along the way!
Peaches was the San Diego Zoo’s first African elephant—and she made sure to be a memorable one too. When she arrived in 1953, she was three years old, smart, curious, and, as then ZOONOOZ editor Ken Stott described her, “playful as a quarter-ton kitten.” She had made the journey from Africa to San Diego with keeper Ralph “Gabe” Davis, and they got along famously—at least most of the time. When Gabe gave her breakfast, she would grumble and trumpet at him until he left her alone to eat—apparently, she was not sociable in the morning. She also showed a marked preference for men, even pushing away Zoo Executive Director Belle Benchley when she tried to say hello. Peaches did become more mellow as she grew up, but even as an adult, she still had a way of “flirting” with men while more often than not giving women a cool stare.
Since that time, we've had numerous elephants at our two facilities, and our first elephant birth occurred in 1981. In 1971, Asian elephant Carol became famous by appearing on The Tonight Show with the Zoo’s animal ambassador Joan Embery, to meet Johnny Carson and paint for him while millions watched nationwide!
Elephants have been hunted relentlessly for their tusks (even though they’re made of dentine, the same as our teeth). Elephants are now protected, but poachers still hunt them, and they face other problems, too. Because they are so big and need so much food, they can eat themselves out of “house and home.” Elephants and people often come into conflict as elephant habitats undergo dramatic reductions in size. Asian and African forest elephants are listed as endangered, primarily due to habitat loss and fragmentation. African bush elephants are threatened, primarily due to habitat loss and being poached for their tusks.
Elephants Without Borders has been deploying satellite-monitoring collars on elephants throughout northern Botswana since 2000, having tracked over 90 individual elephants; this is one of the longest and largest elephant movement studies in Africa. Every individual pachyderm has its unique character and intriguing story to his or her own seasonal march, preferred routes, and favored places. Each new elephant fitted with a tracking device provides new information to understand the ecology of these animals. Unpredictable individual ranging behavior coupled with a dynamic, ever-changing environment in Botswana underscore the need for long-term elephant studies. The elephants are tracked from a fixed-wing plane, which allows a visual assessment of collared elephants to determine herd structure and habitat use.
Conservation farming project
In collaboration with San Diego Zoo Global, Elephants Without Borders has established a conservation farming project in the Chobe Enclave in Botswana. This project is developing experimental plots with various methods of keeping elephants away from crops, including farming of specific chili species that are thought to be unpalatable to elephants and may deter them from invading crop areas. Along with aerial survey wildlife counts and satellite-collared elephant data, these projects are essential for developing community-based conservation programs to reduce human-elephant conflict and make better-informed conservation decisions for all.
- See more at: animals.sandiegozoo.org/animals/elephant#sthash.uFZnr8tJ....
THE GLOBE AND MAIL 05 MARCH 2015
The Ringling Bros. and Barnum & Bailey Circus will phase out the show’s iconic elephants from its performances by 2018, telling Associated Press exclusively that growing public concern about how the animals are treated led to the decision.
note:
A tribute to each and every one of the photographers who had inspire me.
Sorry for the 'not very original' title btw.
p/s: My original selfie didn't turn out the way i wanted today. So I did this shot with my sister, Ava. I've wanted to do this shot for a while, originally planned for a selfie as well. But I felt my sister would make a better subject. Plus, she's a lot better than me at staying very still for the 10-13 seconds shutter time. :)
Andy Warhol Kimiko: Ken C. Arnold Art Collection Andy Warhol
From Wikipedia, the free encyclopediaJump to:navigation, search
For the song by David Bowie, see Andy Warhol (song)
Andy Warhol
Warhol in 1977
Birth name Andrew Warhola
Born August 6, 1928(1928-08-06)
Pittsburgh, Pennsylvania, U.S.
Died February 22, 1987 (aged 58)
New York City, U.S.
Nationality American
Field Painting, Cinema
Training Carnegie Mellon University
Movement Pop art
Works Chelsea Girls (1966 film)
Exploding Plastic Inevitable (1966 event)
Campbell's Soup Cans (1962 painting)
Andrew Warhola (August 6, 1928 – February 22, 1987), known as Andy Warhol, was an American painter, printmaker, and filmmaker who was a leading figure in the visual art movement known as pop art. After a successful career as a commercial illustrator, Warhol became famous worldwide for his work as a painter, avant-garde filmmaker, record producer, author, and public figure known for his membership in wildly diverse social circles that included bohemian street people, distinguished intellectuals, Hollywood celebrities and wealthy patrons.
Warhol has been the subject of numerous retrospective exhibitions, books, and feature and documentary films. He coined the widely used expression "15 minutes of fame." In his hometown of Pittsburgh, Pennsylvania, The Andy Warhol Museum exists in memory of his life and artwork.
The highest price ever paid for a Warhol painting is $100 million for a 1963 canvas titled Eight Elvises. The private transaction was reported in a 2009 article in The Economist, which described Warhol as the "bellwether of the art market." $100 million is a benchmark price that only Jackson Pollock, Pablo Picasso, Gustav Klimt and Willem de Kooning have achieved.[1]
Contents [hide]
1 Childhood
2 Early career
3 1960s
4 Attempted assassination
5 1970s
6 1980s
7 Sexuality
8 Religious beliefs
9 Death
10 Works
10.1 Paintings
10.2 Films
10.3 Factory in New York
10.4 Filmography
10.5 Music
10.6 Books and print
10.7 Other media
10.8 Producer and product
11 Dedicated museums
12 Movies about Warhol
12.1 Dramatic portrayals
12.2 Documentaries
13 See also
14 References
15 Further reading
16 External links
Childhood
Warhol's childhood home at 3252 Dawson Street in the South Oakland neighborhood of Pittsburgh, PennsylvaniaAndy Warhol was born in Pittsburgh, Pennsylvania.[2] He was the fourth child of Ondrej Warhola (died 1942)[3] and Julia (nee Zavacka, 1892-1972),[4] whose first child was born in their homeland and died before their migration to the U.S. His parents were working-class immigrants from Mikó (now called Miková), in northeastern Slovakia, then part of Austro-Hungarian Empire. Warhol's father immigrated to the US in 1914, and his mother joined him in 1921, after the death of Andy Warhol's grandparents. Warhol's father worked in a coal mine. The family lived at 55 Beelen Street and later at 3252 Dawson Street in the Oakland neighborhood of Pittsburgh.[5] The family was Byzantine Catholic and attended St. John Chrysostom Byzantine Catholic Church. Andy Warhol had two older brothers, Ján and Pavol, who were born in today's Slovakia. Pavol's son, James Warhola, became a successful children's book illustrator.
In third grade, Warhol had chorea, the nervous system disease that causes involuntary movements of the extremities, which is believed to be a complication of scarlet fever and causes skin pigmentation blotchiness.[6] He became a hypochondriac, developing a fear of hospitals and doctors. Often bed-ridden as a child, he became an outcast among his school-mates and bonded strongly with his mother.[7] At times when he was confined to bed, he drew, listened to the radio and collected pictures of movie stars around his bed. Warhol later described this period as very important in the development of his personality, skill-set and preferences. When Warhol was 13, his father died in an accident.[8]
Early career
Warhol showed early artistic talent and studied commercial art at the School of Fine Arts at Carnegie Institute of Technology in Pittsburgh, Pennsylvania (now Carnegie Mellon University).[9] In 1949, he moved to New York City and began a successful career in magazine illustration and advertising. During the 1950s, he gained fame for his whimsical ink drawings of shoe advertisements. These were done in a loose, blotted-ink style, and figured in some of his earliest showings at the Bodley Gallery in New York. With the concurrent rapid expansion of the record industry and the introduction of the vinyl record, Hi-Fi, and stereophonic recordings, RCA Records hired Warhol, along with another freelance artist, Sid Maurer, to design album covers and promotional materials.[10]
Campbell's Soup I (1968)1960s
His first one-man art-gallery exhibition as a fine artist[11][12] was on July 9, 1962, in the Ferus Gallery of Los Angeles. The exhibition marked the West Coast debut of pop art.[13] Andy Warhol's first New York solo Pop exhibit was hosted at Eleanor Ward's Stable Gallery November 6–24, 1962. The exhibit included the works Marilyn Diptych, 100 Soup Cans, 100 Coke Bottles and 100 Dollar Bills. At the Stable Gallery exhibit, the artist met for the first time John Giorno who would star in Warhol's first film, Sleep, in 1963.[citation needed]
It was during the 1960s that Warhol began to make paintings of iconic American products such as Campbell's Soup Cans and Coca-Cola bottles, as well as paintings of celebrities such as Marilyn Monroe, Elvis Presley, Troy Donahue, Muhammad Ali and Elizabeth Taylor. He founded "The Factory", his studio during these years, and gathered around himself a wide range of artists, writers, musicians, and underground celebrities. He began producing prints using the silkscreen method. His work became popular and controversial.
Among the imagery tackled by Warhol were dollar bills, celebrities and brand name products. He also used as imagery for his paintings newspaper headlines or photographs of mushroom clouds, electric chairs, and police dogs attacking civil rights protesters. Warhol also used Coca Cola bottles as subject matter for paintings. He had this to say about Coca Cola:
What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca Cola, and you know that the President drinks Coca Cola, Liz Taylor drinks Coca Cola, and just think, you can drink Coca Cola, too. A coke is a coke and no amount of money can get you a better coke than the one the bum on the corner is drinking. All the cokes are the same and all the cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it.[14]
New York's Museum of Modern Art hosted a Symposium on pop art in December 1962 during which artists like Warhol were attacked for "capitulating" to consumerism. Critics were scandalized by Warhol's open embrace of market culture. This symposium set the tone for Warhol's reception. Throughout the decade it became more and more clear that there had been a profound change in the culture of the art world, and that Warhol was at the center of that shift.[citation needed]
Campbell's Tomato Juice Box (1964)A pivotal event was the 1964 exhibit The American Supermarket, a show held in Paul Bianchini's Upper East Side gallery. The show was presented as a typical U.S. small supermarket environment, except that everything in it – from the produce, canned goods, meat, posters on the wall, etc. – was created by six prominent pop artists of the time, among them the controversial (and like-minded) Billy Apple, Mary Inman, and Robert Watts. Warhol's painting of a can of Campbell's soup cost $1,500 while each autographed can sold for $6. The exhibit was one of the first mass events that directly confronted the general public with both pop art and the perennial question of what art is (or of what is art and what is not).[citation needed]
As an advertisement illustrator in the 1950s, Warhol used assistants to increase his productivity. Collaboration would remain a defining (and controversial) aspect of his working methods throughout his career; in the 1960s, however, this was particularly true. One of the most important collaborators during this period was Gerard Malanga. Malanga assisted the artist with producing silkscreens, films, sculpture, and other works at "The Factory", Warhol's aluminum foil-and-silver-paint-lined studio on 47th Street (later moved to Broadway). Other members of Warhol's Factory crowd included Freddie Herko, Ondine, Ronald Tavel, Mary Woronov, Billy Name, and Brigid Berlin (from whom he apparently got the idea to tape-record his phone conversations).[15]
During the '60s, Warhol also groomed a retinue of bohemian eccentrics upon whom he bestowed the designation "Superstars", including Edie Sedgwick, Viva, Ultra Violet, and Candy Darling. These people all participated in the Factory films, and some – like Berlin – remained friends with Warhol until his death. Important figures in the New York underground art/cinema world, such as writer John Giorno and film-maker Jack Smith, also appear in Warhol films of the 1960s, revealing Warhol's connections to a diverse range of artistic scenes during this time.
Attempted assassination
On June 3, 1968, Valerie Solanas shot Warhol and art critic and curator Mario Amaya at Warhol's studio.[16] Before the shooting, Solanas had been a marginal figure in the Factory scene. She founded a "group" called S.C.U.M. (Society for Cutting Up Men) and authored the S.C.U.M. Manifesto, a separatist feminist attack on patriarchy. Over the years, Solanas' manifesto has found a following.[17] Solanas appears in the 1968 Warhol film I, A Man. Earlier on the day of the attack, Solanas had been turned away from the Factory after asking for the return of a script she had given to Warhol. The script, apparently, had been misplaced.[18]
Amaya received only minor injuries and was released from the hospital later the same day. Warhol however, was seriously wounded by the attack and barely survived (surgeons opened his chest and massaged his heart to help stimulate its movement again). He suffered physical effects for the rest of his life. The shooting had a profound effect on Warhol's life and art.[19][20]
Solanas was arrested the day after the assault. By way of explanation, she said that Warhol "had too much control over my life." She was eventually sentenced to three years under the control of the Department of Corrections. After the shooting, the Factory scene became much more tightly controlled, and for many this event brought the "Factory 60s" to an end.[20] The shooting was mostly overshadowed in the media due to the assassination of Robert F. Kennedy two days later.
Warhol had this to say about the attack: "Before I was shot, I always thought that I was more half-there than all-there – I always suspected that I was watching TV instead of living life. People sometimes say that the way things happen in movies is unreal, but actually it's the way things happen in life that's unreal. The movies make emotions look so strong and real, whereas when things really do happen to you, it's like watching television – you don't feel anything. Right when I was being shot and ever since, I knew that I was watching television. The channels switch, but it's all television." [21]
1970s
Andy Warhol and Jimmy Carter in 1977Compared to the success and scandal of Warhol's work in the 1960s, the 1970s proved a much quieter decade, as Warhol became more entrepreneurial. According to Bob Colacello, Warhol devoted much of his time to rounding up new, rich patrons for portrait commissions– including Shah of Iran Mohammad Reza Pahlavi, his wife Empress Farah Pahlavi, his sister Princess Ashraf Pahlavi, Mick Jagger, Liza Minnelli, John Lennon, Diana Ross, Brigitte Bardot, and Michael Jackson.[22][citation needed] Warhol's famous portrait of Chinese Communist leader Mao Zedong was created in 1973. He also founded, with Gerard Malanga, Interview magazine, and published The Philosophy of Andy Warhol (1975). An idea expressed in the book: "Making money is art, and working is art and good business is the best art."[cite this quote]
Warhol used to socialize at various nightspots in New York City, including Max's Kansas City; and, later in the '70s, Studio 54.[23] He was generally regarded as quiet, shy, and a meticulous observer. Art critic Robert Hughes called him "the white mole of Union Square."[24]
1980s
Warhol had a re-emergence of critical and financial success in the 1980s, partially due to his affiliation and friendships with a number of prolific younger artists, who were dominating the "bull market" of '80s New York art: Jean-Michel Basquiat, Julian Schnabel, David Salle and other so-called Neo-Expressionists, as well as members of the Transavantgarde movement in Europe, including Francesco Clemente and Enzo Cucchi.
By this period, Warhol was being criticized for becoming merely a "business artist".[25] In 1979, unfavorable reviews met his exhibits of portraits of 1970s personalities and celebrities, calling them superficial, facile and commercial, with no depth or indication of the significance of the subjects. This criticism was echoed for his 1980 exhibit of ten portraits at the Jewish Museum in New York, entitled Jewish Geniuses, which Warhol – who exhibited no interest in Judaism or matters of interest to Jews – had described in his diary as "They're going to sell."[25] In hindsight, however, some critics have come to view Warhol's superficiality and commerciality as "the most brilliant mirror of our times," contending that "Warhol had captured something irresistible about the zeitgeist of American culture in the 1970s."[25]
Warhol also had an appreciation for intense Hollywood glamour. He once said: "I love Los Angeles. I love Hollywood. They're so beautiful. Everything's plastic, but I love plastic. I want to be plastic."[26]
Sexuality
Warhol never married or had children.[27] Many people think of him as asexual and merely a "voyeur"; however, it is now well-established that he was homosexual (see biographers such as Victor Bockris, Bob Colacello,[28] and art historian Richard Meyer[29]). The question of his sexuality aside, Warhol stated in a 1980 interview that he was still a virgin.[30] The question of how Warhol's sexuality influenced his work and shaped his relationship to the art world is a major subject of scholarship on the artist, and is an issue that Warhol himself addressed in interviews, in conversation with his contemporaries, and in his publications (e.g. Popism: The Warhol Sixties).
Throughout his career, Warhol produced erotic photography and drawings of male nudes. Many of his most famous works (portraits of Liza Minnelli, Judy Garland, and Elizabeth Taylor, and films like Blow Job, My Hustler, and Lonesome Cowboys) draw from gay underground culture and/or openly explore the complexity of sexuality and desire. Many of his films premiered in gay porn theaters. That said, some stories about Warhol's development as an artist revolved around the obstacle his sexuality initially presented as he tried to launch his career. The first works that he submitted to a gallery in the pursuit of a career as an artist were homoerotic drawings of male nudes. They were rejected for being too openly gay.[31] In Popism, furthermore, the artist recalls a conversation with the film maker Emile de Antonio about the difficulty Warhol had being accepted socially by the then more famous (but closeted) gay artists Jasper Johns and Robert Rauschenberg. De Antonio explained that Warhol was "too swish and that upsets them." In response to this, Warhol writes, "There was nothing I could say to that. It was all too true. So I decided I just wasn't going to care, because those were all the things that I didn't want to change anyway, that I didn't think I 'should' want to change... Other people could change their attitudes but not me".[32][33] In exploring Warhol's biography, many turn to this period – the late 1950s and early 1960s – as a key moment in the development of his persona. Some have suggested that his frequent refusal to comment on his work, to speak about himself (confining himself in interviews to responses like "Um, No" and "Um, Yes", and often allowing others to speak for him) – and even the evolution of his Pop style – can be traced to the years when Warhol was first dismissed by the inner circles of the New York art world.[34]
Religious beliefs
Images of Jesus from The Last Supper cycle (1986). Warhol made almost 100 variations on the theme, which the Guggenheim felt "indicates an almost obsessive investment in the subject matter."[35]Warhol was a practicing Byzantine Catholic. He regularly volunteered at homeless shelters in New York, particularly during the busier times of the year, and described himself as a religious person.[36] Several of Warhol's later works depicted religious subjects, including two series, Details of Renaissance Paintings (1984) and The Last Supper (1986). In addition, a body of religious-themed works was found posthumously in his estate.[36]
During his life, Warhol regularly attended Mass, and the priest at Warhol's church, Saint Vincent's, said that the artist went there almost daily,[36] although he never took communion or made confession and sat or knelt in the pews at the back.".[30] The priest thought he was afraid of being recognized; Warhol said he was self-conscious about being seen in a Roman Catholic church crossing himself "in the Orthodox way" (right to left instead of the reverse).[30]
His art is noticeably influenced by the eastern Christian iconographic tradition which was so evident in his places of worship.[36]
Warhol's brother has described the artist as "really religious, but he didn't want people to know about that because [it was] private." Despite the private nature of his faith, in Warhol's eulogy John Richardson depicted it as devout: "To my certain knowledge, he was responsible for at least one conversion. He took considerable pride in financing his nephew's studies for the priesthood".[36]
Death
Warhol died in New York City at 6:32 a.m. on February 22, 1987. According to news reports, he had been making good recovery from a routine gallbladder surgery at New York Hospital before dying in his sleep from a sudden post-operative cardiac arrhythmia.[37] Prior to his diagnosis and operation, Warhol delayed having his recurring gallbladder problems checked, as he was afraid to enter hospitals and see doctors. His family sued the hospital for inadequate care, saying that the arrhythmia was caused by improper care and water intoxication.[38]
Warhol's grave at St. John the Baptist Byzantine Catholic CemeteryWarhol's body was taken back to Pittsburgh by his brothers for burial. The wake was at Thomas P. Kunsak Funeral Home and was an open-coffin ceremony. The coffin was a solid bronze casket with gold plated rails and white upholstery. Warhol was dressed in a black cashmere suit, a paisley tie, a platinum wig, and sunglasses. He was posed holding a small prayer book and a red rose. The funeral liturgy was held at the Holy Ghost Byzantine Catholic Church on Pittsburgh's North Side. The eulogy was given by Monsignor Peter Tay. Yoko Ono also made an appearance. The coffin was covered with white roses and asparagus ferns. After the liturgy, the coffin was driven to St. John the Baptist Byzantine Catholic Cemetery in Bethel Park, a south suburb of Pittsburgh. At the grave, the priest said a brief prayer and sprinkled holy water on the casket. Before the coffin was lowered, Paige Powell dropped a copy of Interview magazine, an Interview t-shirt, and a bottle of the Estee Lauder perfume "Beautiful" into the grave. Warhol was buried next to his mother and father. Weeks later a memorial service was held in Manhattan for Warhol on April 1, 1987, at St. Patrick's Cathedral, New York.
Warhol's will dictated that his entire estate – with the exception of a few modest legacies to family members – would go to create a foundation dedicated to the "advancement of the visual arts". Warhol had so many possessions that it took Sotheby's nine days to auction his estate after his death; the auction grossed more than US$20 million. His total estate was worth considerably more, due in no small part to shrewd investments over the years.[citation needed]
In 1987, in accordance with Warhol's will, the Andy Warhol Foundation for the Visual Arts was founded. The Foundation not only serves as the official Estate of Andy Warhol, but also has a mission "to foster innovative artistic expression and the creative process" and is "focused primarily on supporting work of a challenging and often experimental nature."[39]
The Artists Rights Society is the U.S. copyright representative for the Andy Warhol Foundation for the Visual Arts for all Warhol works with the exception of Warhol film stills.[40] The U.S. copyright representative for Warhol film stills is the Warhol Museum in Pittsburgh.[41] Additionally, the Andy Warhol Foundation for the Visual Arts has agreements in place for its image archive. All digital images of Warhol are exclusively managed by Corbis, while all transparency images of Warhol are managed by Art Resource.[42]
The Andy Warhol Foundation released its 20th Anniversary Annual Report as a three-volume set in 2007: Vol. I, 1987–2007; Vol. II, Grants & Exhibitions; and Vol. III, Legacy Program.[43] The Foundation remains one of the largest grant-giving organizations for the visual arts in the U.S.[44]
Works
Paintings
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By the beginning of the 1960s, Warhol was a very successful commercial illustrator. His detailed and elegant drawings for I. Miller shoes were particularly popular. These illustrations consisted mainly of "blotted ink" drawings (or monoprints), a technique which he applied in much of his early art. Although many artists of this period worked in commercial art, most did so discreetly. Warhol was so successful, however, that his profile as an illustrator seemed to undermine his efforts to be taken seriously as an artist.
Pop Art was an experimental form that several artists were independently adopting; some of these pioneers, such as Roy Lichtenstein, would later become synonymous with the movement. Warhol, who would become famous as the "Pope of Pop", turned to this new style, where popular subjects could be part of the artist's palette. His early paintings show images taken from cartoons and advertisements, hand-painted with paint drips. Those drips emulated the style of successful abstract expressionists (such as Willem de Kooning). Warhol's first Pop Art paintings were displayed in April 1961, serving as the backdrop for New York Department Store Bronwit Teller's window display. This was the same stage his Pop Art contemporaries Jasper Johns, James Rosenquist and Robert Rauschenberg had also once graced.[45] Eventually, Warhol pared his image vocabulary down to the icon itself – to brand names, celebrities, dollar signs – and removed all traces of the artist's "hand" in the production of his paintings.
To him, part of defining a niche was defining his subject matter. Cartoons were already being used by Lichtenstein, typography by Jasper Johns, and so on; Warhol wanted a distinguishing subject. His friends suggested he should paint the things he loved the most. It was the gallerist Muriel Latow who came up with the ideas for both the soup cans and Warhol's dollar paintings. On 23 November 1961 Warhol wrote Latow a check for $50 which, according to the 2009 Warhol biography, Pop, The Genius of Warhol, was payment for coming up with the idea of the soup cans as subject matter.[46] For his first major exhibition Warhol painted his famous cans of Campbell's Soup, which he claimed to have had for lunch for most of his life. The work sold for $10,000 at an auction on November 17, 1971, at Sotheby's New York – a minimal amount for the artist whose paintings sell for over $6 million more recently.[47]
He loved celebrities, so he painted them as well. From these beginnings he developed his later style and subjects. Instead of working on a signature subject matter, as he started out to do, he worked more and more on a signature style, slowly eliminating the hand-made from the artistic process. Warhol frequently used silk-screening; his later drawings were traced from slide projections. At the height of his fame as a painter, Warhol had several assistants who produced his silk-screen multiples, following his directions to make different versions and variations.[48]
In 1979, Warhol was commissioned by BMW to paint a Group 4 race version of the then elite supercar BMW M1 for the fourth installment in the BMW Art Car Project. Unlike the three artists before him, Warhol declined the use of a small scale practice model, instead opting to immediately paint directly onto the full scale automobile. It was indicated that Warhol spent only a total of 23 minutes to paint the entire car.[49]
Warhol produced both comic and serious works; his subject could be a soup can or an electric chair. Warhol used the same techniques– silkscreens, reproduced serially, and often painted with bright colors – whether he painted celebrities, everyday objects, or images of suicide, car crashes, and disasters, as in the 1962–63 Death and Disaster series. The Death and Disaster paintings (such as Red Car Crash, Purple Jumping Man, and Orange Disaster) transform personal tragedies into public spectacles, and signal the use of images of disaster in the then evolving mass media.
The unifying element in Warhol's work is his deadpan Keatonesque style – artistically and personally affectless. This was mirrored by Warhol's own demeanor, as he often played "dumb" to the media, and refused to explain his work. The artist was famous for having said that all you need to know about him and his works is already there, "Just look at the surface of my paintings and films and me, and there I am. There's nothing behind it." [50]
His Rorschach inkblots are intended as pop comments on art and what art could be. His cow wallpaper (literally, wallpaper with a cow motif) and his oxidation paintings (canvases prepared with copper paint that was then oxidized with urine) are also noteworthy in this context. Equally noteworthy is the way these works – and their means of production – mirrored the atmosphere at Andy's New York "Factory". Biographer Bob Colacello provides some details on Andy's "piss paintings":
Victor... was Andy's ghost pisser on the Oxidations. He would come to the Factory to urinate on canvases that had already been primed with copper-based paint by Andy or Ronnie Cutrone, a second ghost pisser much appreciated by Andy, who said that the vitamin B that Ronnie took made a prettier color when the acid in the urine turned the copper green. Did Andy ever use his own urine? My diary shows that when he first began the series, in December 1977, he did, and there were many others: boys who'd come to lunch and drink too much wine, and find it funny or even flattering to be asked to help Andy 'paint.' Andy always had a little extra bounce in his walk as he led them to his studio...[51]
Warhol's first portrait of Basquiat (1982) is a black photosilkscreen over an oxidized copper "piss painting".
After many years of silkscreen, oxidation, photography, etc., Warhol returned to painting with a brush in hand in a series of over 50 large collaborative works done with Jean-Michel Basquiat between 1984 and 1986.[52][53] Despite negative criticism when these were first shown, Warhol called some of them "masterpieces," and they were influential for his later work.[54]
The influence of the large collaborations with Basquiat can be seen in Warhol's The Last Supper cycle, his last and possibly his largest series, seen by some as "arguably his greatest,"[55] but by others as “wishy-washy, religiose” and “spiritless."[56] It is also the largest series of religious-themed works by any U.S. artist.[55]
At the time of his death, Warhol was working on Cars, a series of paintings for Mercedes-Benz. [57]
Films
Warhol worked across a wide range of media – painting, photography, drawing, and sculpture. In addition, he was a highly prolific filmmaker. Between 1963 and 1968, he made more than 60 films [58], plus some 500 short black-and-white "screen test" portraits of Factory visitors.[59] One of his most famous films, Sleep, monitors poet John Giorno sleeping for six hours. The 35-minute film Blow Job is one continuous shot of the face of DeVeren Bookwalter supposedly receiving oral sex from filmmaker Willard Maas, although the camera never tilts down to see this. Another, Empire (1964), consists of eight hours of footage of the Empire State Building in New York City at dusk. The film Eat consists of a man eating a mushroom for 45 minutes. Warhol attended the 1962 premiere of the static composition by LaMonte Young called Trio for Strings and subsequently created his famous series of static films including Kiss, Eat, and Sleep (for which Young initially was commissioned to provide music). Uwe Husslein cites filmmaker Jonas Mekas, who accompanied Warhol to the Trio premiere, and who claims Warhol's static films were directly inspired by the performance.[60]
Batman Dracula is a 1964 film that was produced and directed by Warhol, without the permission of DC Comics. It was screened only at his art exhibits. A fan of the Batman series, Warhol's movie was an "homage" to the series, and is considered the first appearance of a blatantly campy Batman. The film was until recently thought to have been lost, until scenes from the picture were shown at some length in the 2006 documentary Jack Smith and the Destruction of Atlantis.
Warhol's 1965 film Vinyl is an adaptation of Anthony Burgess' popular dystopian novel A Clockwork Orange. Others record improvised encounters between Factory regulars such as Brigid Berlin, Viva, Edie Sedgwick, Candy Darling, Holly Woodlawn, Ondine, Nico, and Jackie Curtis. Legendary underground artist Jack Smith appears in the film Camp.
His most popular and critically successful film was Chelsea Girls (1966). The film was highly innovative in that it consisted of two 16 mm-films being projected simultaneously, with two different stories being shown in tandem. From the projection booth, the sound would be raised for one film to elucidate that "story" while it was lowered for the other. The multiplication of images evoked Warhol's seminal silk-screen works of the early 1960s.
Other important films include Bike Boy, My Hustler, and Lonesome Cowboys, a raunchy pseudo-western. These and other titles document gay underground and camp culture, and continue to feature prominently in scholarship about sexuality and art.[61][62] Blue Movie – a film in which Warhol superstar Viva makes love and fools around in bed with a man for 33 minutes of the film's playing-time – was Warhol's last film as director. The film was at the time scandalous for its frank approach to a sexual encounter. For many years Viva refused to allow it to be screened. It was publicly screened in New York in 2005 for the first time in over thirty years.
After his June 3, 1968, shooting, a reclusive Warhol relinquished his personal involvement in filmmaking. His acolyte and assistant director, Paul Morrissey, took over the film-making chores for the Factory collective, steering Warhol-branded cinema towards more mainstream, narrative-based, B-movie exploitation fare with Flesh, Trash, and Heat. All of these films, including the later Andy Warhol's Dracula and Andy Warhol's Frankenstein, were far more mainstream than anything Warhol as a director had attempted. These latter "Warhol" films starred Joe Dallesandro – more of a Morrissey star than a true Warhol superstar.
In the early '70s, most of the films directed by Warhol were pulled out of circulation by Warhol and the people around him who ran his business. After Warhol's death, the films were slowly restored by the Whitney Museum and are occasionally projected at museums and film festivals. Few of the Warhol-directed films are available on video or DVD.
Factory in New York
Factory: 1342 Lexington Avenue (the first Factory)
The Factory: 231 East 47th street 1963-1967 (the building no longer exists)
Factory: 33 Union Square 1967-1973 (Decker Building)
Factory: 860 Broadway (near 33 Union Square) 1973-1984 (the building has now been completely remodeled and was for a time (2000–2001) the headquarters of the dot-com consultancy Scient)
Factory: 22 East 33rd Street 1984-1987 (the building no longer exists)
Home: 1342 Lexington Avenue
Home: 57 East 66th street (Warhol's last home)
Last personal studio: 158 Madison Avenue
Filmography
Main article: Andy Warhol filmography
Music
In the mid 1960s, Warhol adopted the band the Velvet Underground, making them a crucial element of the Exploding Plastic Inevitable multimedia performance art show. Warhol, with Paul Morrissey, acted as the band's manager, introducing them to Nico (who would perform with the band at Warhol's request). In 1966 he "produced" their first album The Velvet Underground & Nico, as well as providing its album art. His actual participation in the album's production amounted to simply paying for the studio time. After the band's first album, Warhol and band leader Lou Reed started to disagree more about the direction the band should take, and their artistic friendship ended.[citation needed]
Warhol designed many album covers for various artists starting with the photographic cover of John Wallowitch's debut album, This Is John Wallowitch!!! (1964). He designed the cover art for the Rolling Stones albums Sticky Fingers (1971) and Love You Live (1977), and the John Cale albums The Academy In Peril (1972) and Honi Soit in 1981. In 1975, Warhol was commissioned to do several portraits of Mick Jagger, and in 1982 he designed the album cover for the Diana Ross album Silk Electric.[citation needed] One of his last works was a portrait of Aretha Franklin for the cover of her 1986 gold album Aretha, which was done in the style of the Reigning Queens series he had completed the year before.[63]
Warhol was also friendly with many recording artists, including Deborah Harry, Grace Jones, Diana Ross and John Lennon (with whom he posed for an infamous photograph[64]) - he designed the cover to Lennon's 1986 posthumously released Menlove Ave. Warhol also appeared as a bartender in The Cars' music video for their single "Hello Again", and Curiosity Killed The Cat's video for their "Misfit" single (both videos, and others, were produced by Warhol's video production company).[citation needed] Warhol featured in Grace Jones' music video for "I'm Not Perfect (But I'm Perfect for You)".
Warhol strongly influenced the New Wave/punk rock band Devo, as well as David Bowie. Bowie recorded a song called "Andy Warhol" for his 1971 album Hunky Dory. Lou Reed wrote the song "Andy's Chest", about Valerie Solanas, the woman who shot Warhol, in 1968. He recorded it with the Velvet Underground, but this version wasn't officially released until the VU album appeared in 1985. He recorded a new version for his 1972 solo album Transformer, produced by Bowie and Mick Ronson.[citation needed]
Cover of copy no. 18 of 25 Cats Name [sic] Sam and One Blue Pussy by Andy Warhol given in 1954 to Edgar de Evia and Robert Denning when the author was a guest in their home in the Rhinelander Mansion.[citation needed]Books and print
Beginning in the early 1950s, Warhol produced several unbound portfolios of his work.
The first of several bound self-published books by Warhol was 25 Cats Name Sam and One Blue Pussy, printed in 1954 by Seymour Berlin on Arches brand watermarked paper using his blotted line technique for the lithographs. The original edition was limited to 190 numbered, hand colored copies, using Dr. Martin's ink washes. Most of these were given by Warhol as gifts to clients and friends. Copy #4, inscribed "Jerry" on the front cover and given to Geraldine Stutz, was used for a facsimile printing in 1987[65] and the original was auctioned in May 2006 for US $35,000 by Doyle New York.[66]
Other self-published books by Warhol include:
A Gold Book
Wild Raspberries
Holy Cats
After gaining fame, Warhol "wrote" several books that were commercially published:
a, A Novel (1968, ISBN 0-8021-3553-6) is a literal transcription– containing spelling errors and phonetically written background noise and mumbling– of audio recordings of Ondine and several of Andy Warhol's friends hanging out at the Factory, talking, going out.[citation needed]
The Philosophy of Andy Warhol (From A to B & Back Again) (1975, ISBN 0-15-671720-4)– according to Pat Hackett's introduction to The Andy Warhol Diaries, Pat Hackett did the transcriptions and text for the book based on daily phone conversations, sometimes (when Warhol was traveling) using audio cassettes that Andy Warhol gave her. Said cassettes contained conversations with Brigid Berlin (also known as Brigid Polk) and former Interview magazine editor Bob Colacello.[citation needed]
Popism: The Warhol Sixties (1980, ISBN 0-15-672960-1), authored by Warhol and Pat Hackett is a retrospective view of the sixties and the role of Pop Art.
The Andy Warhol Diaries (1989, ISBN 0-446-39138-7), edited by Pat Hackett, is a diary dictated by Warhol to Hackett in daily phone conversations. Warhol started the diary to keep track of his expenses after being audited, although it soon evolved to include his personal and cultural observations.[67]
Warhol created the fashion magazine Interview that is still published today. The loopy title script on the cover is thought to be either his own handwriting or that of his mother, Julia Warhola, who would often do text work for his early commercial pieces.[68]
Other media
As stated, although Andy Warhol is most known for his paintings and films, he has authored works in many different media.
Drawing: Warhol started his career as a commercial illustrator, producing drawings in "blotted-ink" style for advertisements and magazine articles. Best known of these early works are his drawings of shoes. Some of his personal drawings were self-published in small booklets, such as Yum, Yum, Yum (about food), Ho, Ho, Ho (about Christmas) and (of course) Shoes, Shoes, Shoes. His most artistically acclaimed book of drawings is probably A Gold Book, compiled of sensitive drawings of young men. A Gold Book is so named because of the gold leaf that decorates its pages.[69]
Sculpture: Warhol's most famous sculpture is probably his Brillo Boxes, silkscreened ink on wood replicas of Brillo soap pad boxes (designed by James Harvey), part of a series of "grocery carton" sculptures that also included Heinz ketchup and Campbell's tomato juice cases.[70] Other famous works include the Silver Clouds– helium filled, silver mylar, pillow-shaped balloons. A Silver Cloud was included in the traveling exhibition Air Art (1968–69) curated by Willoughby Sharp. Clouds was also adapted by Warhol for avant-garde choreographer Merce Cunningham's dance piece RainForest (1968).[71]
Audio: At one point Warhol carried a portable recorder with him wherever he went, taping everything everybody said and did. He referred to this device as his "wife". Some of these tapes were the basis for his literary work. Another audio-work of Warhol's was his "Invisible Sculpture", a presentation in which burglar alarms would go off when entering the room. Warhol's cooperation with the musicians of The Velvet Underground was driven by an expressed desire to become a music producer.[citation needed]
Time Capsules: In 1973, Warhol began saving ephemera from his daily life– correspondence, newspapers, souvenirs, childhood objects, even used plane tickets and food– which was sealed in plain cardboard boxes dubbed Time Capsules. By the time of his death, the collection grew to include 600, individually dated "capsules". The boxes are now housed at the Andy Warhol Museum.[72]
Television: Andy Warhol dreamed of a television show that he wanted to call The Nothing Special, a special about his favorite subject: Nothing. Later in his career he did create two cable television shows, Andy Warhol's TV in 1982 and Andy Warhol's Fifteen Minutes (based on his famous "fifteen minutes of fame" quotation) for MTV in 1986. Besides his own shows he regularly made guest appearances on other programs, including The Love Boat wherein a Midwestern wife (Marion Ross) fears Andy Warhol will reveal to her husband (Tom Bosley, who starred alongside Ross in sitcom Happy Days) her secret past as a Warhol superstar named Marina del Rey. Warhol also produced a TV commercial for Schrafft's Restaurants in New York City, for an ice cream dessert appropriately titled the "Underground Sundae".[73]
Fashion: Warhol is quoted for having said: "I'd rather buy a dress and put it up on the wall, than put a painting, wouldn't you?"[cite this quote] One of his most well-known Superstars, Edie Sedgwick, aspired to be a fashion designer, and his good friend Halston was a famous one. Warhol's work in fashion includes silkscreened dresses, a short sub-career as a catwalk-model and books on fashion as well as paintings with fashion (shoes) as a subject.[citation needed]
Performance Art: Warhol and his friends staged theatrical multimedia happenings at parties and public venues, combining music, film, slide projections and even Gerard Malanga in an S&M outfit cracking a whip. The Exploding Plastic Inevitable in 1966 was the culmination of this area of his work.[74]
Theater: Andy Warhol's PORK opened on May 5, 1971 at LaMama theater in New York for a two week run and was brought to the Roundhouse in London for a longer run in August, 1971. Pork was based on tape-recorded conversations between Brigin Berlin and Andy during which Brigid would play for Andy tapes she had made of phone conversations between herself and her mother, socialite Honey Berlin. The play featured Jayne County as "Vulva" and Cherry Vanilla as "Amanda Pork".[citation needed] In 1974, Andy Warhol also produced the stage musical Man On The Moon, which was written by John Phillips of the Mamas and the Papas.
Photography: To produce his silkscreens, Warhol made photographs or had them made by his friends and assistants. These pictures were mostly taken with a specific model of Polaroid camera that Polaroid kept in production especially for Warhol. This photographic approach to painting and his snapshot method of taking pictures has had a great effect on artistic photography. Warhol was an accomplished photographer, and took an enormous amount of photographs of Factory visitors, friends.[citation needed]
Computer: Warhol used Amiga computers to generate digital art, which he helped design and build with Amiga, Inc. He also displayed the difference between slow fill and fast fill on live TV with Debbie Harry as a model.[75] (video)
Producer and product
Warhol had assistance in producing his paintings. This is also true of his film-making and commercial enterprises.[citation needed]
He founded the gossip magazine Interview, a stage for celebrities he "endorsed" and a business staffed by his friends. He collaborated with others on all of his books (some of which were written with Pat Hackett.) He adopted the young painter Jean-Michel Basquiat, and the band The Velvet Underground, presenting them to the public as his latest interest, and collaborating with them. One might even say that he produced people (as in the Warholian "Superstar" and the Warholian portrait). He endorsed products, appeared in commercials, and made frequent celebrity guest appearances on television shows and in films (he appeared in everything from Love Boat to Saturday Night Live and the Richard Pryor movie, Dynamite Chicken).[citation needed]
In this respect Warhol was a fan of "Art Business" and "Business Art"– he, in fact, wrote about his interest in thinking about art as business in The Philosophy of Andy Warhol from A to B and Back Again.[citation needed]
Dedicated museums
Two museums are dedicated to Andy Warhol. The Andy Warhol Museum, one of the Carnegie Museums of Pittsburgh, is located at 117 Sandusky Street in Pittsburgh, Pennsylvania. It is the largest American art museum dedicated to a single artist, holding more than 12,000 works by the artist.[citation needed]
The other museum is the Andy Warhol Museum of Modern Art, established in 1991 by Andy's brother John Warhola, the Slovak Ministry of Culture, and the Warhol Foundation in New York. It is located in the small town of Medzilaborce, Slovakia. Andy's parents and his two brothers were born 15 kilometres away in the village of Miková. The museum houses several originals donated mainly by the Andy Warhol Foundation in New York and also personal items donated by Warhol's relatives.[citation needed]
Movies about Warhol
Dramatic portrayals
Warhol (right) with director Ulli Lommel on the set of 1979's Cocaine Cowboys, in which Warhol appeared as himselfIn 1979, Warhol appeared as himself in the film Cocaine Cowboys.[76]
After his passing, Warhol was portrayed by Crispin Glover in Oliver Stone's film The Doors (1991), by David Bowie in Basquiat, a film by Julian Schnabel, and by Jared Harris in the film I Shot Andy Warhol directed by Mary Harron (1996). Warhol appears as a character in Michael Daugherty's 1997 opera Jackie O. Actor Mark Bringleson makes a brief cameo as Warhol in Austin Powers: International Man of Mystery (1997). Many films by avant-garde cineast Jonas Mekas have caught the moments of Andy's life. Sean Gregory Sullivan depicted Warhol in the 1998 film 54. Guy Pearce portrayed Warhol in the 2007 film, Factory Girl, about Edie Sedgwick's life.[77] Actor Greg Travis portrays Warhol in a brief scene from the 2009 film Watchmen.
Gus Van Sant was planning a version of Warhol's life with River Phoenix in the lead role just before Phoenix's death in 1993.[78]
Documentaries
The 2001 documentary, Absolut Warhola was produced by Polish director Stanislaw Mucha, featuring Warhol's parents' family and hometown in Slovakia.[79]
Andy Warhol: A Documentary Film is a reverential four-hour 2006 movie by Ric Burns.[80]
Andy Warhol: Double Denied is a 52 minute movie by lan Yentob about the difficulties in authenticating Warhol's work.[81]
Kimiko and John Powers (1916-99) began collecting Japanese art in 1960. Their collection started with the purchase of a unique pair of six-panel landscape screens by Kusumi Morikage and a hanging scroll titled Courtesan Blowing Soap Bubbles by Shiba Kokan. These pieces formed the basis of a grand collection of Japanese art from the fourth to mid-nineteenth centuries. The original emphasis for the collection was haboku (broken ink) paintings. Later, the focus shifted to Buddhist art, especially Zen painting, and literati painting of the eighteenth century. More than three hundred objects in the collection have been documented and published in Traditions of Japanese Art (1970) and Extraordinary Persons (portfolio of screen paintings, 1988; three volume set, 1999). In its Summer 2000 issue, ArtNews ranked Kimiko Powers among the top 200 collectors in the world. Kimiko was born in Tokyo, where she attended university. In 1963 she came to the United States and married John Powers. John's intense passion for art and life helped them make many friends in the modern art world. Together they built up an impressive collection of 1960s contemporary art featuring artists like Andy Warhol and Willem de Kooning. Kimiko now resides in Colorado and Japan and carries on John’s legacy and love of all art. A favorite quote of John’s was: “Nothing in the world is yours to keep / You may have but not hold / In the end you receive only that which you have given”