View allAll Photos Tagged FORMAL
Oranienbaum Park is a most valuable example of garden and park art from the second half of the 18th to the mid-19th century. It covers an area of 162 hectares. Until the 1770s, the main artistic technique in the park's design was the formal layout, which was later replaced by the landscape style. The park consists of several historically developed sections, each formed during specific periods of the palace and park complex creation.
Upper Park: 18th - 20th centuries - formation of the general landscape, 1710 - 1720s - development of the water system, garden masters: L. Lamberti, D. Bush, L. Meinecke.
Bryant Park CitiPond ice rink, Manhattan, New York.
Explore #324, February 17, 2013
Canon EF 135mm f/2L USM
©2013 Patrick J Bayens
In many formal portrait settings the photographer has painted backdrops they can change that add a lot to a photograph.
I was happy to catch this deer framed by a broken down wooden fence this week and could not have done more even if I had a fake one.
Note how the coloring of his hide is changing.
(Photographed near Cambridge,MN)
I recently attended a black attire party ...it was awesome!....my best friend for over 25 yrs, Kathy on the far left along with Jovan her grand daughter ...then myself along with my daughter Afea
Posed at Lost Eden
Poses by Image Essentials - Playmate
Dress by TIFFANY DESIGNS - Ruby Gown in Pink
Noya Make-Up with essences Blush
Garage Eye Lashes
Hope's Creation Shoes - Provoke Heels
GeWungo Jewelry - Jasmine Necklace and Earrings
Truth Hair - Bobbie (reds01Fade)
National Museum, Oslo – Cast Hall
Visitors to the new National Museum in Oslo may be surprised—and perhaps moved—to find a dedicated hall of plaster casts among the sleek, modern galleries. The presence of these replicas pays homage to a formative chapter in art education and museum history: a time before commercial travel, digital media, and visual saturation, when even well-educated Europeans could rarely, if ever, encounter the originals of world art.
In 1904, when painter Ivar Lund depicted the Interior of the National Gallery, cast halls served both pedagogical and cultural missions. They democratized access to Greco-Roman antiquity and Renaissance masterworks, offering a surrogate form of aesthetic communion. These casts were not dismissed as mere imitations; rather, they were prized as tools of knowledge—objects to be studied, copied, and internalized.
Importantly, many casts were made using molds taken directly from the originals. Classical sculptures in major European collections—such as the Louvre, the Vatican Museums, and the British Museum—were at times permitted to serve as sources for plaster molds, particularly in the 19th century. If viewers knew or believed that a cast had been taken from such a mold, that knowledge was often sufficient to establish the object’s authenticity in their eyes. Few would have fixated on the missing aura of the original.
Even today, in an era obsessed with provenance, attribution, and originality, the authenticity of so-called “originals” is far from guaranteed. In the murky world of dealers, restorers, and curators, forgeries and misattributions remain a known hazard. A museum label, even in the British Museum or the Met, is not a metaphysical guarantee of truth. What casts offer—paradoxically—is clarity: a frank acknowledgment of derivation and replication that frees the viewer to engage directly with the sculpture’s visual and formal language.
As Jeannine’s pencil drawing of the Nike of Samothrace (a cast of the Louvre original) reminds us, to draw is still to see. The museum provides paper and pencils and invites the public to try their hand at sketching under the motto "to draw is to see." The replication of the ancient masterpiece, no less than the act of sketching it, forms a bridge between observer and observed. It demands attention, patience, and fidelity—not to provenance, but to form.
The very presence of casts in a 21st-century museum affirms a deeper philosophy: that art’s value lies not only in originality but in transmission. That touchstones of cultural memory must remain physically accessible, even in duplicate. That learning still begins with looking—long and hard—and that beauty survives translation.
This text is a collaboration with Chat GPT.
Ahhhhh...so nice to be back around Flickr (Away from Flickr usually means too much work and responsibility for me).
Things are good in Central Florida and I look forward to making my way around.
The baby Eaglets just started to fly, so I will share more pictures soon.
Model: Harsch Sharktooth
Photographer: Annough Lykin
harshstyle.wordpress.com/2011/08/07/harschstyle-lotd-0807...
CSXT SD80MAC #4597 idles on the north end of four track at Benning yard in Washington, DC, April 16, 2009. 4597 was the last of CSX's 80MACs to lose it's Conrail blue in favor of CSX paint which it received a few months prior. 4597 began life in March 1996 for Conrail as that road's 4116. By late 2015, 4597 and it's 80MAC brethren would be sold to Norfolk Southern where this unit is now the 7223. Nikon F100, Kodachrome 64.