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I found this book in my brother's room; he's got a great book shelf overflowing with novels and chapter books that nobody reads.
My mom has had these old tea cups in our cabinet for centuries it seems, and I've always wanted to do something with them, so I figured they'd go nicely on top of my other vintage-y stuff.
The alley leading to the entrance portal of the Château de Chenonceau, Chenonceaux, Loire Valley, France
Some background information:
On our first visit of the Château de Chenonceau (when this picture was taken) we explored the château and its gardens, but we did not get to the southern bank of the River Cher, from where you can take much better pictures. However, we made up for that two years later, when I took those two photos:
www.flickr.com/photos/pkitt/51964784827/in/album-72157719...
www.flickr.com/photos/pkitt/51966342745/in/album-72157719...
The Château de Chenonceau is a French château spanning the River Cher, near the small village of Chenonceaux in the French department of Indre-et-Loire. Hence, it is a water palace and as such one of the best-known châteaux of the Loire Valley. The Château de Chenonceau is situated about 40 km (25 miles) to the southeast of the city of Tours. It is also called "Château des Dames" (in English "Château of the ladies"), because it were mainly women, who decided its history and fate.
The estate of Chenonceau was first mentioned in a document in the 11th century. The current château was built between 1514 and 1522 on the foundations of an old mill and later extended to span the river. In the 13th century, the fief of Chenonceau belonged to the Marques family. The original château was torched in 1412 to punish the owner, Jean Marques, for an act of sedition. In the 1430s, he rebuilt a château and fortified mill on the site. However, Jean Marques' indebted heir Pierre Marques found it necessary to sell the estate.
Thomas Bohier, Chamberlain to King Charles VIII of France, purchased the castle from Pierre Marques in 1513 and demolished most of it (resulting in 2013 being considered the 500th anniversary of the castle), though its 15th-century keep was left standing. Between 1515 and 1521 Bohier built an entirely new residence. The work was overseen by his wife Katherine Briçonnet, who delighted in hosting French nobility, including King Francis I on two occasions.
In 1535 the château was seized from Bohier's son by King Francis I of France for unpaid debts to the Crown. After Francis' death in 1547, Henry II offered the château as a gift to his mistress, Diane de Poitiers, who became fervently attached to the château along the river. In 1555 she commissioned Philibert de l'Orme to build the arched bridge joining the château to its opposite bank. Diane then oversaw the planting of extensive flower and vegetable gardens along with a variety of fruit trees. Set along the banks of the river, but buttressed from flooding by stone terraces, the exquisite gardens were laid out in four triangles.
Diane de Poitiers was the unquestioned mistress of the castle, but ownership remained with the crown until 1555 when years of delicate legal manoeuvres finally yielded possession to her. After King Henry II died in 1559, his strong-willed widow and regent Catherine de' Medici forced Diane to exchange it for the Château Chaumont. Queen Catherine then made Chenonceau her own favourite residence, adding a new series of gardens.
As Regent of France, Catherine spent a fortune on the château and on spectacular nighttime parties. In 1560, the first-ever fireworks display seen in France took place during the celebrations marking the ascension to the throne of Catherine's son Francis II. The grand gallery, which extended along the existing bridge to cross the entire river, was dedicated in 1577. Catherine also added rooms between the chapel and the library on the east side of the corps de logis, as well as a service wing on the west side of the entry courtyard.
On Catherine's death in January 1589, the château went to her daughter-in-law, Louise of Lorraine, wife of King Henry III. Louise was at Chenonceau when she learned of her husband's assassination, in August 1589, and she fell into a state of depression. Louise spent the next eleven years, until her death in January 1601, wandering aimlessly along the château's corridors dressed in mourning clothes, amidst sombre black tapestries stitched with skulls and crossbones.
Henri IV obtained Chenonceau for his mistress Gabrielle d'Estrées by paying the debts of Catherine de' Medici, which had been inherited by Louise and were threatening to ruin her. In return, Louise left the château to her niece Françoise de Lorraine, at that time six years old and betrothed to the four-year-old César de Bourbon, duc de Vendôme, the natural son of Gabrielle d'Estrées and Henri IV. The château belonged to the Duc de Vendôme and his descendants for more than a hundred years. The Bourbons had little interest in the château, except for hunting. In 1650, Louis XIV was the last king of the ancien régime to visit.
In 1720, the Château de Chenonceau was bought by the Duke of Bourbon. Little by little, he sold off all of the castle's contents and many of the fine statues ended up at Versailles. In 1733 the estate was sold for 130,000 livres (corresponding to 2.1 million $ today) to a wealthy squire named Claude Dupin. His wife, Louise Dupin, was the natural daughter of the financier Samuel Bernard and the actress Manon Dancourt. She was regarded as an intelligent, beautiful, and highly cultivated woman.
Louise Dupin's literary salon at Chenonceau attracted such leaders of the Enlightenment as the writers Voltaire, Montesquieu, and Fontenelle, the naturalist Buffon, the playwright Marivaux, the philosopher Condillac, as well as the Marquise de Tencin and the Marquise du Deffand. Jean-Jacques Rousseau was Dupin's secretary and tutored her son. Rousseau, who worked on Émile at Chenonceau, wrote in his Confessions: "We played music there and staged comedies. I wrote a play in verse entitled Sylvie's Path, after the name of a path in the park along the Cher."
The widowed Louise Dupin saved the château from destruction during the French Revolution, preserving it from being destroyed by the Revolutionary Guard because "it was essential to travel and commerce, being the only bridge across the river for many miles."
In 1864 Marguerite Pelouze, a rich heiress, acquired the château. Around 1875 she commissioned the architect Félix Roguet to restore it. He almost completely renewed the interior and removed several of Catherine de' Medici's additions, including the rooms between the library and the chapel and her alterations to the north facade, among which were figures of Hercules, Pallas, Apollo, and Cybele that were moved to the park. With the money Marguerite spent on these projects and elaborate parties, her finances were depleted, and the château was seized and sold.
José-Emilio Terry, a Cuban millionaire, acquired Chenonceau from Madame Pelouze in 1891. Terry sold it in 1896 to a family member, Francisco Terry. In 1913, the château was acquired by Henri Menier, a member of the Menier family, famous for their chocolates, who still own it to this day.
During World War I Gaston Menier set up the gallery to be used as a hospital ward. During the Second World War, the château was bombed by the Germans in June 1940. It was also a means of escaping from the Nazi-occupied zone on one side of the river Cher to the "free" zone on the opposite bank. Occupied by the Germans, the château was bombed by the Allies in June 1944, when the chapel was hit and its windows destroyed. In 1951, the Menier family entrusted the château's restoration to Bernard Voisin, who brought the dilapidated structure and the gardens (ravaged in the Cher flood in 1940) back to a reflection of its former glory.
An architectural mixture of late Gothic and early Renaissance, Château de Chenonceau and its gardens are open to the public. The château has been designated as a Monument historique since 1840 by the French Ministry of Culture. Today, Chenonceau is a major tourist attraction. It receives more than 800,000 visitors each year and is the most visited château in France, apart from the Royal Palace of Versailles.
The Château de Chenonceau is also regarded as one of the haunted castles of France. Occasionally when the moon is full, Catherine may be seen combing the hair of her rival, Diane. On other occasions, Diane was seen standing unhappily in front of her bedroom mirror. At least, several people have stated that. Well, everyone has to decide for themselves whether she or he believes in ghosts or not.
Since 2000, the Château de Chenonceau belongs to the UNESCO Word Heritage Site "The Loire Valley between Sully-sur-Loire and Chalonnes" with its many breathtaking châteaux. Altogether there are more than 400 of them in the Loire region.
Elenco delle opere
L'abitudine preferita (A Favourite Custom, 1909)
Adriano in visita ad un ceramista gallo-romano (Hadrian Visiting A Romano-British Pottery, 1884)
Agrippina con le ceneri di Germanico (Agrippina With The Ashes Of Germanicus, 1866)
Un altare sulla via (A Street Altar, 1883)[CCLVI]
Al tempo di Costantino (In The Time Of Constantine, 1878)
Un amante dell'arte romana (A Roman Art Lover, 1870)
Animali nell'acqua (Water Pets, 1875)
Antonio e Cleopatra (Antony And Cleopatra, 1883)
L'architetto del Colosseo (1875)[CXLVIII]
Architettura nell'Antica Roma (Architecture In Ancient Rome, 1877)
Ascoltatore (A Listener, 1899)
Aspettative (Expectations, 1885)
L'assaggiatore di vini romano (The Roman Wine Tasters, 1861)
L'attraversamento del Berizina (The Crossing Of The River Berizina, 1859)
Autoritratto (Self Portrait, 1852)
Autoritratto (Self Portrait, 1896)[CCCXLI]
Autunno (Autumn, 1877)
Ave, Cesare! Io, Saturnalia! (Ave, Caesar! Io, Saturnalia!, 1880)
Baccanale (Bacchanale, 1871)
Un bacio (A Kiss, 1891)
Il bacio d'addio (The Parting Kiss, 1882)
I bagni di Caracalla (The Baths Of Caracalla, 1899)
Il bagno (A Bath, 1876)
In barca (Boating, 1868)
Un benvenuto silenzioso (A Silent Greeting, 1889)
Carcalla (id., 1902)
Caracalla e Geta (Caracalla And Geta, 1909)
Catullo presso Lesbia (Catullus At Lesbia's, 1865)
Il ceramista romano (The Roman Potter, 1884)
Chi è? (Who Is It?, 1884)
Ciliegie (Cherries, 1873)
La cognizione del successo (titolo convenzionale per A Coign Of Vantage, 1895)[CCCXXV ?]
Una collezione di dipinti al tempo di Augusto (A Collection of Pictures At The Time Of Augustus, 1867)
Il colosseo (The Colosseum, 1896)
Confidenze (Confidences, 1869)
Confidenze sgradite (Unwelcome Confidences, 1902)
La corte (Courtship)
Corte: la proposta (Courtship - The Proposal, 1892)
Corte vana (Vain Courtship, 1900)
Consacrazione a Bacco (A Dedication To Bacchus, 1889)[CCXCIII]
La conversione di Paola da parte di San Gerolamo (The Conversion Of Paula By Saint Jerome, 1898)
Danza Pirrica (A Pyrrhic Dance, 1869)
Da un assente (From An Absent One, 1871)
La dichiarazione (A Declaration, 1883)
Dipinto vascolare (Pottery Painting, 1871)
Divergenza d'opinioni (A Difference Of Opinion, 1896)[CCCXXXIX ?]
Dolce Far Niente (id., 1882)
Una domanda (1877)[CLXXXV]
Donna greca (A Greek Woman, 1869)
Le donne di Amfissa (The Women Of Amphissa, 1887)
Donne gallo-romane (Gallo-Roman Women, 1865)
Dopo l'udienza (After The Audience, 1879)
L'educazione dei figli di Clove (The Education Of The Children Of Clovis, 1861)
Entrata al teatro romano (Entrance To A Roman Theatre, 1866)
Ero (Hero, 1898)
Esedra (An Exedra, 1869)
Un'esedra, (1871[LXVIII ?]
Faust e Margherita (Faust And Marguerite, 1857)
Festa della mietitura (A Harvest Festival, 1880)
Fidia che mostra il fregio del Partenone ai suoi amici (Phidias Showing The Frieze Of The Parthenon To His Friends, 1868)
Fiori di primavera (Spring Flowers)
Flora, (id., 1877)[CLXXXI ?]
Il frigidarium (The Frigidarium, 1890)
Galleria di dipinti (A Picture Gallery, 1866)
La galleria di pittura (The Picture Gallery, 1874)[CXXVI]
Galleria di scultura (A Sculpture Gallery, 1867)
La galleria di statue (The Sculpture Gallery, 1874)[CXXV]
Giocatori di scacchi egiziani (Egyptian Chess Players, 1865)
Giuseppe, supervisore dei granai del faraone (Joseph, Overseer Of The Pharoah's Granaries, 1874)
Un imperatore romano nel 41 d.C. (A Roman Emperor AD 41, 1871)
Interno della casa di Gaio Marzio (Interior Of Caius Martius's House, 1901)
Interno della chiesa di San Clemente a Roma (Interior Of The Church Of San Clemente, Rome, 1863)
Interrotti (Interrupted, 1880)
John Parsons Millet (id., 1889)
Lesbia piangente su un rapace (Lesbia Weeping Over A Sparrow, 1866)
Una lettura da Omero (A Reading From Homer, 1885)[CCLXVII]
La luna di miele (The Honeymoon, 1868)
Maria Maddalena (Maria Magdalena, 1854)
Il massacro dei monaci di Tamond (The Massacre Of The Monks Of Tamond, 1855)
Maurice Sens (id., 1896)
Menadi esauste dopo la danza (Exhausted Maenides After The Dance, 1873-1874)
Il mercato di fiori (The Flower Market, 1868)
Il mio studio (My Studio, 1867)
Nel mio studio (In My Studio, 1893)
Miss Alice Lewis (id., 1884)
Missile d'amore (1909)[CCCXC]
La modella dello scultore (A Sculptor's Model, 1877)
Un mondo tutto loro (A World Of Their Own, 1905)
Morte del figlio primogenito del faraone (Death Of The Pharoah's Firstborn Son, 1872)
La morte di Ippolito (The Death Of Hippolytus, 1860)
Mrs Frank D. Millet (id., 1886)
Mrs George Lewis e sua figlia Elizabeth (Mrs George Lewis And Her Daughter Elizabeth, 1899)
Non a casa (Not At Home, 1879)
Non chiedermi nulla (Ask Me No More, 1896)
Offerta votiva (A Votive Offering, 1873)
L'oleandro (An Oleander, 1882)
Ora dorata (Golden Hour, 1897)
Pandora (id., 1881)
Paradiso terrestre (An Earthly Paradise, 1891)
Paragoni (Comparisons, 1892)[CCCXVI]
Nel peristilio (In The Peristyle, 1866)
Poesia (Poetry, 1879)
Il poeta preferito (The Favourite Poet, 1888)
I preferiti d'argento (Silver Favourites, 1903)[CCCLXXIV]
Preparazioni per la festa (Preparations For The Festivities, 1866)
Un prezzo per il corpo dell'artista (A Prize For The Artists' Corp)
Primavera (Spring, 1894)
Primavera nel giardino di Villa Borghese (Collezione privata 1895)
Processione verso il tempio (1882)[CCXXXIX oppure CCXXXIV ?]
La proclamazione di Claudio a imperatore (Proclaiming Claudius Emperor, 1867)
Promesse di primavera (Promises Of Spring, 1890)[CCCIII]
Prosa (Prose, 1879)
Quando i fiori ritornano (When Flowers Return, 1911)
Ragazza con fiori (Young Girl With Roses, 1911)
Riposo (Resting, 1882)
Ritratto di Aime-Jules Dalou, di sua moglie e di sua figlia (Portrait Of Aime-Jules Dalou, His Wife And Daughter, 1876)
Ritratto di Anna Alma-Tadema (Portrait Of Anna Alma-Tadema, 1883)
Ritratto del cantante George Henschel (Portrait Of The Singer George Henschel, 1879)
Ritratto di donna (Portrait Of A Woman, 1902)
Ritratto di Ignazio Han Paderewski (Portrait Of Ignacy Jan Paderewski, 1891)
Ritratto di Laura Theresa Epps (Portrait Of Miss Laura Theresa Epps)
Ritratto della signora Charles Wyllie (Portrait Of Mrs Charles Wyllie)
Il ritrovamento di Mosè (The Finding Of Moses, 1904)
Rivali inconscie (Unconscious Rivals, 1893)
Le rose di Eliogabalo (The Roses Of Heliogabalus, 1888)
Saffo e Alceo (Sappho And Alcaeus, 1881)
La sala del parto (A Birth Chamber, 1868)
La scala (1870)
Scena familiare (A Family Group, 1896)
Scriba romano mentre compila i dispacci (A Roman Scribe Writing Dispatches)
Scultori nell'antica Roma (Sculptors In Ancient Rome, 1877)
Sempre benvenuto (Always Welcome, 1887)
La siesta (The Siesta, 1868)
Sincero benvenuto (A Hearty Welcome, 1878)
Il soldato di Maratona (The Soldier Of Marathon, 1865)
Speranzosa (Hopeful, 1909)
La strada per il tempio (The Way To The Temple, 1882)
Strigili e spugne (Strigil and sponges, 1879)
Sulla via per il tempio di Cerere (On The Road To The Temple Of Ceres, 1879)
Tarquinio il superbo (Tarquinius Superbus, 1867)
I tempi andati nell'antico Egitto, 3.000 anni fa (Pastimes In Ancient Egypt, 3,000 Years Ago, 1863)
Nel tempio (In The Temple, 1871)
Nel tepidarium (In The Tepidarium, 1881)[CCXXIX]
Tibullo nella casa di Delia (Tibullus At Delia's, 1866)
Timida (Shy, 1883)
Tra speranza e paura (Between Hope And Fear, 1876)
Tra Venere e Bacco (Between Venus And Bacchus, 1882)
Il trionfo di Tito (The Triumph Of Titus, 1885)
Tu rosa di tutte le rose (Thou Rose Of All The Roses, 1883)
Un'udienza da Agrippa (An Audience at Agrippa's)
Il vasaio anglo-romano (1884)[CCLXI-C]
La vedova egizia
Venanzio Fortunato legge i suoi poemi a Radegonda VI (Venantius Fortunatus Reading His Poems To Radegonda VI, 1862)
Vino greco (1873[CXV]
La voce della primavera (The Voice Of Spring, 1910)
When a woman finds the man she wants to marry, she sees the potential in him to become the man she knows he can be. When a man finds the woman he wants to marry, he sees exactly what he wants for the rest of his life. The woman of his dreams and things will always be the same. But boys are boys and it takes us a long time to grow up and women, they carry babies and become mothers and pick-up responsibilities and sensibilities quickly.
No esperes más de la mayoría de la gente de lo que esperarías de una piedra,
pues al menos las piedras no te darían una patada en el culo sin venir a cuento.
Children catching and expecting to catch some token of the moment. The line as to what age leaves childhood behind has become quite blurred in this scene and in all of Mardi Gras. King Arthur Parade New Orleans 2022. photo by Louis Dutrey
Best Viewed BLACK
Taken from the underground on my way back from a street shoot.. returning the gear to my office.. There she was .. wow. could not resist.. and fuzzed it just right... She looked despaired waiting for someone who perhaps never came... I captured this take just off the escalator, i had the cam in hand et voila.. instant reflex.. :-) It is awesome also in B/W.. Lol.
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Prise rapide du weekend.. je rentrais justement de ma sortie et me preparait a remettre mon equipement a mon bureau losquelle est apparue au sommet de l'escalateur.. J'avais toujours le D300 en main et vlan.. prise sur le vif avec juste l'effect broulle que je souhaitait.. Banco .. :-)
Bonne semaine a tous..
Even though I don't know what I'm expecting for
I have this feeling in my heart that make me look to the horizon
Always imagining what is next
Silvia Nov/2015
unplanned visit unplanned shoot. I told her to pretend she was waiting for her husband to come home. d800 85mm 1.8g @1.8
My last series of photos inspired by Funny Face/Paris and my last Poppy! She was also my very first Poppy and therefore very special to me.
Cookies for my daughter's daycare Halloween party. After my first week back at work full-time, I had to reduce my expectations for this set and go simple. I don't think the 3 yr olds will care too much ;)
Sir Lawrence Alma-Tadema
Oil on canvas
26 x 17 5/8 inches (66.1 x 45 cm)
Netherlands Academic painter & draftsman
born 8 January 1836 - died 28 June 1912
Ok I admit. As a portrait photographer it's not often that I use a tripod. Or that I use filters (Lee graduated ND saved the day here). It's also uncommon for me to use an ultra wide-angle lens (like the 14-24mm), nor do I recall ever taking a portrait with my aperture down to f/16. I love fusing my love of landscapes with portraiture. I think it's a win-win situation, wouldn't you say? :-)
Thanks to my little assistant for keeping the strobes pointed right where it needed to be, to our wonderful model for making the trek from 4 hours away (you're the best, Christina!), and to Sophie for being my radio DJ during the many hours we've spent on the road, and for her attention to posing, hair, wardrobe, and everything else that went into making this (couldn't have done it without you).
Badwater is an odd place. You're standing at a dry lake, 282 feet below sea level, while out in the distance, Mt. Whitney (just past that mountain range) soars at 14,505 feet. The lowest (and highest) point in the 48 states. Talk about extremes. But we didn't pick this place because it would be easy. What's the fun in that?
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©2014 Michael Kormos. All Rights Reserved. Visit my website at www.michaelkormos.com
Photo captured at Ruby Beach via Minolta MD Zoom Rokkor-X 50-135mm F/3.5 lens and the bracketing method of photography. Olympic Peninsula. Olympic National Park. Jefferson County, Washington. Late November 2015.
Exposure Time: 1/400 sec. * ISO Speed: ISO-400 * Aperture: F/11 * Bracketing: +1 / -1
Portraiture. It conjures ideas of a painted image of a person when it is an entry to be adjudicated against the rules of the Archibald Prize. Something like this one of Pippin Drysdale by Yolanda Grey.
The title — I won't wish, I will — describes a determined subject. Everything matches. Look at the hands, the eyes, expression, the light and shadow. This, in my view, is a well executed work; painterly. There is no clutter, no begging of the viewer to understand more than is on the canvas.
It didn't win. The best often don't.