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Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
The endpapers to 'Mirror for Chance' published in 1951 by Chance Brothers Ltd. The subjects portrayed are not identified but were presumably picked from those men and women who worked for Chance Bros. in their Glass Works and Lighthouse Works in Smethwick or in other locations. I hope so - it's nice to see some ordinary working folk getting some recognition in this way. It makes a change from the usual collection of stiffly posed founders, directors and board members past and present who stare out from the pages of most company histories. Mirror for Chance, which covers the history of the firm and its range of products and activities in the year of the Festival of Britain, was written and designed for Chance Bros. by Cecil D Notley Advertising Ltd. and printed by Thomas Forman & Sons Ltd. of Nottingham
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For many reasons i love this shot.The lighting and the shadows are one of them.Also the facial expression. Its not the usual pregnant shot where the model is smiling and happy. This is more like "are you talking to me and my baby".
This shot was taken when she was 25 weeks preggy last sunday. Only few more weeks and im a daddy :)
Have a great sunday my friends!
it's her 91-th birthday today! And she loves blue...:)
Her fysical health is not so good, but her mental condition is 110%...:))
She is in a nursery-home and of course I have not so many time today for Flickr.
See you later! :))
Forget-me-not in my garden, mei 2012
Jackson Prep's brand new theatre and auditorium Centre for Arts and Leadership.
Taken for Portico Magazine.
Jackson, Mississippi
Strobist: Composite of 12 images. I used an AB1600 on full power and moved around the theatre lighting up different portions. They are almost all cross-lit in some fashion, especially the seats. The walls were slightly more direct and at less power. Assembled them in Photoshop.
These are for my Mum as it is Mothering Sunday here in the UK. These lovely spring flowers were growing in her garden last spring and I gave her a card today with this image on it.
So much of my art is sexually charged that it started to feel out of balance with who I am as a whole person. So, for five months this winter and spring, I knitted this 40-foot long scarf for my ex-boyfriend Curtis. As the following installation photo declares, I will always love this man, and I wanted to make something tangible to show it.
Kai Jal are more known for making extremely cheapo copies of already cheapo originals! Summer, low end Yatming and even Matchbox generics are their main source of inspiration but they also make a small series of more "realistic" castings too. Usually based on the products of Realtoy and even Norev they are unlicensed models with a bit more something to them.
Up until very recently I have seen them for sale in places like B&M Bargains but alas always in large play sets which include a big multi-storey garage. Even I draw the line at buying a handful of models I really want if they can only be had in this type of set so until now Ive not had any in my collection. Thanks once again to Mikaela I now have this loose BMW M3.
Its almost certainly a copy of the Realtoy original which has had its front end modified to avoid the licensors though still retains the universally recognised BMW Kidney style front grille design. Its quality is surprisingly acceptable compared to their normal offerings with an interior and sensible looking wheels.
This year I haven't seen any for sale in B&M Bargains, the only garage play sets they sell now contain.........HTI generics!
yesterday, i posted a different angle of this raindrop, and Lisa (chiligirlll) detected and admired the pastels and pinks in the image, and since this angle displays a good measure more of what Lisa likes, i suspect this shot will please her all the more.
image taken with Little BigShot P&S Macro Lens
For my six year old daughter Mia, who helped with the fractal processing (the layer of which was then blended in to the original).
Thank you, Mia! Love from Dad.
In my job, I do get around. You might have noticed.
This week my destination was Denmark's 3rd city, Odense. It is most famous for being the birthplace of one Hans Christian Andersen, story=teller supreme. Although he left town at the age of 15, and from what I gather, once famous sponged off people for a place to kip rather than use hotels. Each to their own.
My taxi driver back to the hotel said he translated HCA's diaries into French and found him to be a bore and not likable.
Who'd have thunk it?
I was dropped off at the Cathedral, dedicated to the last of the Viking Kings, Cnut, but found it locked, I was ten minutes after closing.
Anyway, I wandered around the town, looking for Hans# house, but saw plenty of signs pointing the way, but not the house. Did find the car park for the house, so snapped the sign for that and went back to the hotel.
---------------------------------------------
Odense (Danish pronunciation: [ˈoðˀn̩sə] ( listen)) is the third largest city in Denmark. It has a population of 173,814 as of January 2015,[citation needed] and is the main city of the island of Funen. By road, Odense is located 45 kilometres (28 mi) north of Svendborg, 144 kilometres (89 mi) to the south of Aarhus and 167 kilometres (104 mi) to the southwest of Copenhagen. The city is the seat of Odense Municipality and was the seat of Odense County until 1970, and Funen County from 1970 until 1 January 2007, when Funen County became part of the Region of Southern Denmark. Odense has close associations with Hans Christian Andersen who is remembered above all for his fairy tales. He was born in the city in 1805 and spent his childhood years there.
There has been human settlement in the Odense area for over 4,000 years, although the name was not mentioned in writing until 988, and by 1070, it had already grown into a thriving city. Canute IV of Denmark, generally considered to be the last Viking king, was murdered by unruly peasants in Odense's St Alban's Priory on 10 July 1086. Although the city was burned in 1249 following a royal rivalry, it quickly recovered and flourished as a centre of commerce in the Middle Ages. After a period of decline, large-scale plans for development were made during the 18th century, which led to the rebuilding of Odense Palace and the building of a canal to the Port of Odense, facilitating trade. In 1865, one of the largest railway terminals in Denmark was built, further increasing the population and commerce, and by 1900, Odense had reached a population of 35,000. Odense's Odinstårnet was one of the tallest towers in Europe when built in 1935 but was destroyed by the Nazis during World War II. The University of Southern Denmark was established in 1966.
In the present day, Odense remains the commercial hub of Funen, and has a notable shopping district with a diversity of stores. Several major industries are located in the city including the Albani Brewery and GASA, Denmark's major dealer in vegetables, fruits and flowers. The city is home to Odense Palace, erected by King Frederick IV who died there in 1730, the Odense Theatre, the Odense Symphony Orchestra, and the Hans Christian Andersen Museum, situated in the house that was the birthplace of Hans Christian Andersen. In sports, Odense has a number of football clubs including OB, BM, B1909, and B1913, the Odense Bulldogs professional ice hockey team, and the city also hosts the H.C. Andersen Marathon. Odense is served by Hans Christian Andersen Airport and Odense station, which lies on the line between Copenhagen and the Jutland peninsula.
The name Odense is derived from Odins Vé, meaning "Odin's sanctuary" as the area was known as a sanctuary for worshippers of the Nordic god, Odin.[1]
Odense is one of Denmark's oldest cities. Archaeological excavations in the vicinity show proof of settlement for over 4,000 years since at least the Stone Age.[2][1] The earliest community was centred on the higher ground between the Odense River to the south and Naesbyhoved Lake (now dry) to the north. Nonnebakken, one of Denmark's former Viking ring fortresses, lay to the south of the river.[3] Today, Odense's Møntergården Museum has many artefacts related to the early Viking history in the Odense area.[4] The Vikings built numerous fortifications along the river banks to defend it against invaders coming in from the coast.
The city celebrated its thousandth anniversary in 1988, commemorating the first mention of the town's name in a letter dated 18 March 988 from the German Emperor Otto III which granted rights to Odense and neighbouring settlements.[5] The first church in Odense appears to have been St Mary's,[6] probably built in the late 12th century.[7] The territory, previously part of the vast archbishopric of Hamburg, was created a Catholic diocese in 988. The first recorded bishops of Odense were Odinkar Hvide and Reginbert, who was consecrated by Æthelnoth, archbishop of Canterbury, in 1022.[8]
Recent excavations have shown that from the early 11th century, the town developed in the area around Albani Torv, Fisketorvet, Overgade and Vestergade.[3] By 1070, Odense had already grown into a city of stature in Denmark.[1] Canute IV of Denmark, generally considered to be the last Viking king, was murdered by unruly peasants, discontent with the high taxes he imposed on the town, in Odense's St Alban's Priory on 10 July 1086.[1] He was canonized in 1100.[9] The priory no longer exists, although a church has been situated on the site since about 900. At the beginning of the 12th century, Benedictine monks from England founded St Canute's Abbey. It was here the English monk Ælnoth wrote Denmark's first literary work, Vita et Passio S. Canuti (The Life and Passion of St Canute).[9] Canute's shrine in Odense Cathedral (which was attached to the priory) attracted pilgrims throughout the Middle Ages.
In the Middle Ages, a number of churches and monasteries were built in the town. St Canute's Church (Skt. Knuds Kirke), now the cathedral, dates from the end of the 13th century and was closely connected to the Benedictine Order. The town's other old churches are St Mary's (Vor Frue Kirke) and St John's (Skt. Hans Kirke) with its adjacent monastery. Greyfriars Monastery (Gråbrødre Kloster) was founded by the Franciscans in 1279.[5]
In 1247 Odense was burned by Abel of Denmark during conflicts with his brother King Erik IV.[11] The cathedral had to be completely rebuilt.[12] Nevertheless, the town continued to flourish as a commercial centre, and was charted in 1335.[10] The city thrived economically during the Middle Ages, attracting many merchants and craftsman who traded their goods.[2]
In 1482 Bishop Karl Rønnov brought the German printer Johann Snell to Odense to print a short prayer book, Breviarium Ottoniense, considered to be the first work to be printed in Scandinavia. In parallel Snell printed De obsidione et bello Rhodiano, an account of the Turkish siege of the island of Rhodes.[13][14]
After the Danish Reformation, involving the suppression of the Catholic bishopric in 1536, the city enjoyed a sustained period of prosperity from the 1530s to the mid-17th century, becoming northern Funen's commercial centre. One of the main sources of income was the sale of cattle, providing substantial funds for the construction of fine half-timbered houses for the local merchants. The local nobility also participated in the city's development by building residences where they spent the winter months. But the city's prosperity came to an abrupt end in the late 1650s heavy taxes were imposed after the end of the Swedish Wars. A period of stagnation ensued until the end of the 18th century.[9]
From the 16th century the town was the meeting-place of several parliaments, and until 1805 Odense was the seat of the provincial assembly of Funen. By 1700 Odense's population was about 4,000.
Odense is the see of the bishop of Funen. Saint Canute's Cathedral (Danish: Sankt Knuds Kirke) was formerly connected with the great Benedictine monastery of the same name, and is one of the largest and finest buildings of its kind in Denmark.[55][56] Originally dating from 1081–1093, the church was rebuilt in the 13th century in brick in a pure Gothic style. Under the altar lies Canute (Danish: Knud), the patron saint of Denmark and his brother on public display. A large fragment of Byzantine cloth is displayed next to the two skeletons. The cathedral also boasts one of Denmark's most remarkable altarpieces, a magnificent triptych by Claus Berg. Kings John (Danish: Hans) and Christian II are buried in the city.[57]
St Alban's Church, built in the Neogothic style and consecrated in 1908, is the Roman Catholic church of Odense. Its steeple is 54 m (177 ft) high.[58] St Mary's Church (Vor Frue Kirke or Our Lady's Church), built in the 13th century and restored in 1851–1852 and again in 1864, contains a carved 16th-century altarpiece by Claus Berg of Lübeck.[59] St John's Church (Sankt Hans Kirke), first mentioned in 1295, was built by the Knights Hospitaller, also known as the Order of Saint John. Not much of the original building remains as it was rebuilt in 1636 and subsequently restored. Built of red brick with horizontal decorations on the chancel wall, it has large Gothic windows. The date of 1496 on one of the bells in the step-ribbed tower may well be the year the church was completed. The tower is adjacent to Odense Palace which was originally built as a monastery.[60]
Ansgars Church was the first church to be built in Odense since the Middle Ages. Completed in 1902, it was designed by Niels Jacobsen in the late Romanesque style in red brick on granite foundations. The cross-shaped interior is complemented by a spired bell-tower, 45 m (148 ft) high.[61] The Peace Church (Fredenskirke) consecrated in 1920 was so named in gratitude for the end of the First World War. The church was the work of Peder Vilhelm Jensen-Klint who went on to design Copenhagen's Grundtvig's Church.
Check out the new dress on my eBay shop :) www.ebay.com/usr/eifeldolldress
Check out the new dress on my eBay shop :) www.ebay.com/sch/eifeldolldress/m.html?item=261672350654&...
For Iron Photographer 256:
1 - two things that are the same
2 - two other things that are the same
3 - the color red
Top: SPD (Social Democrats)
Bottom: FDP (Free Democrats)
Why is your significant other called your Valentine? Should a married person's spouse be that Valentine? Can one have more than just one Valentine, today and every day? Answer: _____________
While discerning the above, contemplate on these words from my Padre (Roman Catholic priest) friend, who is a Carmelite, O.C.D.
"Despite the commercialization of this day by Zales jewelers and Whitman chocolates, we know it’s really a religious holiday. What we might not know is the Carmelite connection. Valentine was a physician and priest in 3rd century Rome. He assisted martyrs during the Christian persecution under Claudius II, who ordered all Romans to worship all the gods, under punishment of death. Valentine was arrested and imprisoned for his Christian faith in the one true God. He tried, unsuccessfully, to convert the emperor, who condemned him to death on February 14, 270 AD. While imprisoned, Valentine converted his jailer by restoring the sight of the jailer’s daughter, Julia. On the eve of his death, Valentine wrote a note to Julia, telling her to stay close to God. He signed it, “from your Valentine.” In 496 AD, Pope Gelasius marked February 14th as a celebration in honor of his martyrdom. In 1836 Pope Gregory XVI gave the body of St Valentine to the Carmelites for their newly built church of Our Lady of Mount Carmel on Whitefriars Street in Dublin, Ireland, where he is venerated to this day.
EXPLORE # 192 & 278 on Saturday, February 16, 2008
Model: Torrie Gregor
Shot in Los Angeles
I'm on a conquest to battle some of my own fears and challenge myself. I want to show characters who are in confident or vulnerable states of mind. Either beginning, going through or winning personal and internal battles.
Looking for some spray paint? Let me recommend KRYLON FIZ-LON!
Tutorial for spray 'paint' coming soon! Complete with the FIZ-LON label!
Strobist: 1 SB-25 with plum gel at 1/1 to the back. 1 SB-25 at 1/4 bounced of umbrella on each side of me about 5 feet away. 430ex on camera at 1/8 for the spray can. the logo is a stencil placed over a soft box and it is alos done in camera. the room was pitch black
This roadside stall was selling ballo, the local Torajan palm wine. At under 20 cents a glass I had to try.
Reskilling Revolution: Enabling A Business Imperative . Ahmad Belhoul, Minister of Education of the United Arab Emirates
Shravan Goli, Chief Operating Officer, Coursera, USA. Tan Kok Yam, Chief Executive Officer, SkillsFuture Singapore, Singapore. Melonie Parker, Chief Diversity Officer, Google, USA. Madeleine von Holzen, Editor-in-Chief, Temps, Switzerland
Tuesday 2 May 2023
16.00 - 16.45
Stakeholder Dialogue
World Economic Forum Headquarters, Eiger
Copyright: World Economic Forum/Jean-Luc Auboeuf
The Growth Summit: Jobs and Opportunity for All 2023 in Geneva, Switzerland
the black lines have been there since Thomas was a kid.
he used to play with his little cars and Lego on this road
our tables and chairs and other furniture where on this playground then :-)
later i bought a wooden floor and i actually forgot about it
now it will be part of the monument
when i painted this road i couldn't have imagined it would end up like this
:*
***UPDATE*** Beth has a clearly defined vision, and its actually coming together now... a room with some serious chops! This one adds even more beauty.
Alright y'all. I'm giving major props to my bud Josh (who owns an amazing Usonian house) for saving this beauty. I brought this one back to life with thunder cat grey woven upholstery that I dialed up lean and mean. Thin to win!!! (Thanks, Josh!)
A shot from my promotional shoot with the menacing post-rock group Pray for Sound. These guys really are fantastic - check out their new single 23:55!
Nikon D600 • 28mm f/1.8 • Alienbees AB800s
Copyright © 2013 Chris Coe
International show jumping in Chester...England.
jetbluestone's photos on Flickriver
Texture used on this shot www.flickr.com/photos/skeletalmess/
For Halloween, I created a tribute to the 3 classic Universal Studios monsters: Dracula, Frankenstein, and the Wolfman... by recreating their posters, LEGO style.
All three posters also appear in Episode 42 of my LEGO-brick based webcomic, Zombie Outbrick.
For my english speaking friends a Translation :
The Old Man On The Right Says :
My favourite Beatle was always Keith Richards!
The Old Man on the right answers:
Yes, they never had a better Drummer !
For some reason I always had a bit of an affinity towards these cars, largely due to the fact that they seemed to be smiling with those light clusters. But much like the Maestro, it had purpose, it was innovative, and it was a car that refused to die!
The Austin Montego first started development life way back in 1977 under project code LC10 (Leyland Cars 10), as an intended replacement for the Morris Marina and the Princess. However, like many of the company's promising projects, such as the Maestro and the Metro, it was shelved for years on account of the fact that British Leyland ran out of money! After a corporate bailout by the British Government, the company chose instead to prolong the development of these cars and instead simply give the existing Marina and Princess a facelift, resulting in the Morris Ital and Austin Ambassador, both cars notable for being unimpressively bland masterpieces.
However, this delay did give British Leyland a chance to tie up with Honda, and in 1980 launched the Triumph Acclaim as both the first Japanese/British hybrid car, but also British Leyland's first consistently reliable product! The result was that both the simultaneously developed Austin Maestro and Montego could take some leaves out of Honda's book and therefore improve the reliability. Styling came from David Bache, who had previously had a hand in penning the Rover P4, the Rover SD1 and the Range Rover, and Roy Axe, who would later go on to style the Rover 800 and the Rolls Royce Silver Seraph. The lengthy development time of the car however clearly showed as the first sketches of the car were done back in 1975. Apparently when Roy Axe, who took over as Director of Design in 1982, saw the first prototype with the original design, he was so horrified that he suggested they scrap the whole thing and start over!
However, their combined design talent truly shows through with the Montego as in essence these are very handsome cars, with a long smooth body, a pleasing frontal alignment and design, and internally very capable and comfortable. Some novel features included were the colour coordinated bumpers that matched the rest of the car, and the wiper spindles hiding under the bonnet when parked.
Although many consider the Maestro just to be a hatchback version of the Montego, there were many features the Montego had that made it an all around better car. These included a new S-Series engine in place of the A-Series engine that dated back to the 1950's, and a more practical and robust dashboard. Variations of the car included the stylish and luxury Vanden Plas, which was styled internally by the world renowned coachbuilder with lavish wood veneer and seating (thankfully not given a chrome nose, that would have been insane!), the sporty MG Montego which featured a higher performance O-Series Turob Engine and a revolutionary synthesised computer voice that announced problems and warnings, and finally the Estate versions which were by far the most popular and received almost unanimous acclaim for their spacious interior.
The Montego was launched on April 25th 1984, being available at first as a 4-door saloon to replace the standard Morris Ital, but the Ital in estate form continued on until August, bringing an end to the 11 year old Morris Marina family. In October the Estate version was launched at the British International Motor Show. Initially things were looking up for the Montego, as mentioned the Estate version was lauded for its practicality, the MG Montego became the fastest MG ever built with 115hp to rocket it up to a top speed of 126mph at a rate of 0-60 in 7.1 seconds, and the Vanden Plas was a modest success for the business executive, as well as finding a home in the company car market.
Promotion for the car also helped to seal the deal with a fantastically choreographed advert where professional stunt driver Russ Swift, pretty much danced around a crowded car park in a Montego, doing reverse 180's in gaps only a few feet wide, and driving the car on two wheels through a gap only a ruler's length apart! Jeremy Clarkson would attempt to do the same thing 14 years later on one of his DVD's in another Montego, again with the help of Russ Swift, which went well the first time, but not so well the second, third, fourth, fifth, sixth or seventh time. Eventually the Montego was smashed in half by a large truck in a fiery explosion.
Sadly though, the honeymoon like with all good British Leyland cars was short lived, and soon afterwards the various faults and build quality problems became once again apparent. Although many of the features fitted to these cars such as the synthesised voice, the computer engine management and the redesigned dashboard were endearing, the main fault that these cars had were in the electrics, which would frequently go wrong. Some examples I've heard from early Montego owners have included the car failing to start, pressing the indicator switch only to blow the horn, or the synthesised talking lady never, ever, ever shutting up! Because of these problems the cars built up a very quick and poor reputation, added to by the poor construction of the actual car, with the colour coded bumpers being particularly problematic as they'd crack in cold weather.
But British Leyland didn't give up on the Montego, and in the background designers continued to tinker with the idea of further additions and changes to the car. Throughout the period following its introduction, British Leyland began to be broken up by the Thatcher Government, with Jaguar being made independent, the various parts manufacturers such as UNIPART being sold off, Leyland Trucks and Buses being sold to Volvo and DAF, and eventually the whole outfit being reduced to just MG and Rover. The Montego has been credited with being the last car to carry the Austin name, the badge being dropped in 1988 with future cars simply being dubbed the Montego. This coincided with a facelift in 1989 and the re-engineering of the car to be fitted with a Perkins Diesel. In 1989 a new seven-seater estate model was created called the Montego Countryman, built to combat the rising trend of People-Carriers such as the Renault Espace, but still being able to perform as well as a regular car. This, much like the original estate, proved immensely popular, especially in France for some reason, which went on to be one of the Montego's major markets.
In the early 90's the Montego did start getting back some reputation, winning the CAR Magazine's 'Giant Test' (all technical names I'm sure) when competing against the likes of the Citroen BX and the Audi 80. In fact the Rover Montego Turbo became a favourite with the RAF, and was used to whisk Officers across airfields as a personal transport. The Montego may have failed to outdo the Volkswagen Passat, but as for the British mob such as the Ford Sierra and the Vauxhall Cavalier, it was able competition. In fact when I was young in the 90's a lot of kids I'd see dropped off to school would be in then new Montego's because by this point the reliability issues had been ironed out following Rover Group's return to private ownership under British Aerospace.
But by 1992 the car was very much looking its age and was in desperate need of a replacement. In 1993 the Rover 600 was launched which pretty much ended the Montego for mass-production then and there, but special orders for the car continued until 1995. The machines continued to be a favourite among Company Car firms, and a lot of the developments made in the Montego lived on in later Rover cars, primarily the 600 and the 75, which inherited its rear suspension which was often held in high regard. But the curtain did eventually fall for the official Montego production in 1995 as new owners BMW desired nothing more than to be out with the old and in with the new, with facelifts all around including a new Rover 25 to replace the 200, a new Rover 45 to replace the 400, and a new Rover 75 to replace the 800, and the original Range Rover was revamped into the absolutely magnificent Range Rover P38 in 1995. The Maestro too was axed and the Metro followed not long afterwards in 1999, with the classic Mini being killed off in 2000, only to be brought back to life the same year under BMW management after the breakup of Rover that year.
But like the Maestro, the Montego simply wouldn't die, but unlike the Maestro, attempts to revive the car under bootlegged brands weren't as prosperous. In India, the company Sipani Automobiles, notable for attempting to recreate British cars such as the Reliant Kitten but instead consistently turning out garbage, attempted to built a few, but folded soon afterwards. In Trinidad & Tobago, a small firm attempted to sell their own copycat versions of the Montego, which were notable for their exceptional poor quality. But most famously was the attempt to recreate the car in China with the Lubao CA 6410, which yoked the nose of a Montego onto the back of a Maestro using a Maestro platform. Today that car is technically still in production as the Jiefang CA 6440 UA Van, but owes more to the Maestro than the Montego.
Today the Montego is a very rare car to find. Of the 571,000 cars built, only 296 remain, making it Britain's 8th most scrapped car. Contributing to this, areas of the bodywork that were to be covered by plastic trim (such as the front and rear bumpers) were left unpainted and thus unprotected. In addition, pre-1989 models cannot run on unleaded petrol without the cylinder head being converted or needing fuel additives.
However, as mentioned, the Montego estate was a huge hit in France, and chances are you'll find a fair number ambling about the countryside there. Malta too was another popular locale for the Montego, as well as many other British Leyland cars, including Marina's, Allegros and even Princesses!
My opinion on the Montego? Like most British Leyland cars it had prospects and purpose, but lacked the desire to build good, honest cars. It was comfortable, it was handsome, it performed as well as a family saloon car should, it was spacious and very well equipped, and like many British Leyland cars, such as the Princess with its Hydragas suspension, it was innovative. If these cars had been built better and had some of the teething problems ironed out with the electrical systems, then British Leyland could have easily gone on to make the family car of the 1980's. But like all pathfinders in the world of technology, they will suffer the full brunt of the problems they are most likely to experience.
People rarely remember the originals, only the one's that perfected it...
I had the BESTEST Birthday "Day" with my MOM and Aly yesterday...
Ok, well Aly couldn't really hang much past the MAMMOTH sized CHOCOLATE, Chocolate Chip Muffin...but she made it to the Mani and Pedi's...and had to get out of dodge soon thereafter!
It was UBER fun! We shopped all day and mom hung out at EVERY photog place in town...We had Margaritas that we could have swam laps in first! It was so much fun! And then...she bought me a new camera...OMG...and not just a body...3 lenses too. I may have died and went to heaven...
Mom, I LOVE YOU SOOOO MUCH...and not just for the camera. You are sooo good to me, my BESTIE! :)
Please...don't expect greatness for a few months though...this is a little tougher than the point and shoot.
But...this shot is SOOC, less a little crop...
It is so fun I can hardly stand it.
Ok...deep breath....
(easily excitable today)
Lots of chores today...but I will be back to marvel at all of your streams!
Happy Sunday~~
For this special Remembrance Day (11/11/11), I thought I'd revisit one of the most powerful and saddest memorials I've come across, The Shot at Dawn Memorial at the National Memorial Arboretum, more details can be found here - en.wikipedia.org/wiki/Shot_at_Dawn_Memorial
I thought I'd also include the poem 'For The Fallen', verse 4 is often quoted on war memorials across the country.
For The Fallen by Laurence Binyon
With proud thanksgiving, a mother for her children,
England mourns for her dead across the sea.
Flesh of her flesh they were, spirit of spirit,
Fallen in the cause of the free.
Solemn the drums thrill: Death august and royal
Sings sorrow up into immortal spheres.
There is music in the midst of desolation
And a glory that shines upon our tears.
They went with songs to the battle, they were young,
Straight of limb, true of eye, steady and aglow.
They were staunch to the end against odds uncounted,
They fell with their faces to the foe.
They shall grow not old, as we that are left grow old;
Age shall not weary them, nor the years condemn.
At the going down of the sun and in the morning
We will remember them.
They mingle not with laughing comrades again;
They sit no more at familiar tables of home;
They have no lot in our labour of the day-time;
They sleep beyond England's foam.
But where our desires are and our hopes profound,
Felt as a well-spring that is hidden from sight,
To the innermost heart of their own land they are known
As the stars are known to the Night;
As the stars that shall be bright when we are dust,
Moving in marches upon the heavenly plain,
As the stars that are starry in the time of our darkness,
To the end, to the end, they remain.
For the longest time, shooting large format, to me, was all about tonal control in the image. Each sheet of film can be catered through exposure and processing to yield a certain "look" that the photographer desires. There are some cases, though, in which I forego comfort and consistency in the name of "feeling" in an image.
Only about 20 feet away from my previous photograph (check the full size for details), today's photo is an exercise in line, simplicity, and mood. Click "L" to view it larger on black.
Sinar P2 8x10
Schneider Symmar 360mm f/6.8
1/30th @ f/6.8
Kodak Green Latitude X-Ray Film
Obsidian Aqua 1:500
Semi-Stand in stainless steel hangers and tanks