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In anticipation of the upcoming 35th anniversary of the NASA/ESA Hubble Space Telescope, ESA/Hubble is continuing the celebrations with a new image of the Sombrero Galaxy, also known as Messier 104. An eye-catching target for Hubble and a favourite of amateur astronomers, the enigmatic Sombrero Galaxy has features of both spiral and elliptical galaxies. This image incorporates new processing techniques that highlight the unique structure of this galaxy.
As part of ESA/Hubble’s 35th anniversary celebrations, a new image series is being shared to revisit stunning Hubble targets that were previously released. First, a new image of NGC 346 was published. Now, ESA/Hubble is revisiting a fan-favourite galaxy with new image processing techniques. The new image reveals finer detail in the galaxy’s disc, as well as more background stars and galaxies.
Several Hubble images of the Sombrero Galaxy have been released over the past two decades, including this well-known Hubble image from October 2003. In November 2024, the NASA/ESA/CSA James Webb Space Telescope also gave an entirely new perspective on this striking galaxy.
Located around 30 million light-years away in the constellation Virgo, the Sombrero Galaxy is instantly recognisable. Viewed nearly edge on, the galaxy’s softly luminous bulge and sharply outlined disc resemble the rounded crown and broad brim of the Mexican hat from which the galaxy gets its name.
Though the Sombrero Galaxy is packed with stars, it’s surprisingly not a hotbed of star formation. Less than one solar mass of gas is converted into stars within the knotted, dusty disc of the galaxy each year. Even the galaxy’s central supermassive black hole, which at 9 billion solar masses is more than 2000 times more massive than the Milky Way’s central black hole, is fairly calm.
The galaxy is too faint to be spotted with unaided vision, but it is readily viewable with a modest amateur telescope. Seen from Earth, the galaxy spans a distance equivalent to roughly one third of the diameter of the full Moon. The galaxy’s size on the sky is too large to fit within Hubble’s narrow field of view, so this image is actually a mosaic of several images stitched together.
One of the things that makes this galaxy especially notable is its viewing angle, which is inclined just six degrees off of the galaxy’s equator. From this vantage point, intricate clumps and strands of dust stand out against the brilliant white galactic nucleus and bulge, creating an effect not unlike Saturn and its rings – but on an epic galactic scale.
[Image description: The Sombrero Galaxy is an oblong, pale white disc with a glowing core. It appears nearly edge-on but is slanted slightly in the front, presenting a slightly top-down view of the inner region of the galaxy and its bright core. The outer disc is darker with shades of brown and black. Different coloured distant galaxies and various stars are speckled among the black background of space surrounding the galaxy.]
Credits: ESA/Hubble & NASA, K. Noll; CC BY 4.0
*ADN Bad Witcher Ensemble
Features:
-BOM Bodysuit & Face Tattoos
-Hat
-Necklace
-Dress
-BOM Alpha (for Kupra)
COMPATIBILITY:
-Freya
-Hourglass
-Kupra (shown)
-Legacy
-Maitreya
-Maitreya FIX
-Reborn
ADN Mainstore: maps.secondlife.com/secondlife/Puffetta/26/192/21
~~~~~~~~~~
*Utopia Design: Anika - Available now at UBER
FEATURES:
- 20 Preset
- Multi-texture changer: click on each tab of the HUD to change style for each part of the shoes.
- Glossiness Level: 5 different levels of glossy (with "Advanced Lighting" enabled).
- Tinting: adjust color or add a Plain Texture and retint everything.
COMPATIBILITY:
- Maitreya Lara
- Slink Physique Hourglass
- Belleza Freya
- Legacy
- Kupra
Flickr: www.flickr.com/photos/utopia_design/
Facebook: www.facebook.com/elisabetta.hyun
Facebook Page: www.facebook.com/UtopiaDesignSL/
Facebook Group: www.facebook.com/groups/1609538299340809/
Twitter: twitter.com/elisabetta_hyun
Instagram: www.instagram.com/utopia.design.sl/
Store LM: slurl.com/secondlife/Triglav/208/124/501
Marketplace: marketplace.secondlife.com/stores/18951
My version of the ultimate minifig sized AAT. Features both a focus on absolute movie accurracy, as well as incorporating some minifig functions into the model where it made sense.
•Two versions: Trade federation variant, and Clone Wars edition Blue and gray
•868 parts for Tan version. 872 parts for CIS variant
•Main turret spins 360 degrees and gun barrel can pivot.
•Side Canons rotate up and down.
•Torpedo tube Stud-shooters
•Fully openable top hatch, with room for a folded up Commander Battle Droid, with the hatch closed.
•Openable front hatch section, with room for a Pilot Battle Droid (driver)
•Can carry two Infantry Battle Droids on each side.
Constructed between 1847 and 1849 by the Manchester, Sheffield and Lincolnshire Railway, (MS&LR - later became the Great Central), this is Torksey railway Viaduct, which crosses the River Trent between Lincolnshire & Nottinghamshire, roughly half way between Lincoln and Gainsborough. Designed by John Fowler (1817-1898), who later was one of the two engineers for the Forth Rail Bridge, Torksey Viaduct is a rare, and early surviving example of a tubular girder bridge.
There are two 130-foot spans over the River Trent, each consisting of two massive wrought iron girders - as seen here.
These are supported on stone piers - one in the centre and one at each side. On the Lincolnshire side is a 570-foot approach viaduct of 20 spans, and the bridge proper starts over a small natural island in the river. The position of the Bridge was chosen to use this island to simplify the task.
Captain Lintorn Simmons, the Board of Trade’s inspector, refused to grant permission for the viaduct to be opened, having “entertained doubts as to the ultimate security” of the bridge. After much argument, Fowler, supported by the Engineering profession, won the day, and the first train passed over in April 1850.
The bridge was twice strengthened - in 1877 & 1897, because increasing traffic and train loads. A conventional steel lattice girder (again, seen in this photograph) was inserted centrally into both main spans in the 1897 works, whilst the northern girders were moved out to maintain track clearances.
The "Leverton Branch", as this line (which ran between Sykes Junction near Lincoln and Clarborough, just West of Gainsborough), was known, was closed on November 3rd 1959, with Lincoln-Sheffield trains taking the only slightly less direct route through Gainsborough Lea Road. However, the line to the West of the Trent was reinstated in 1969 to serve the new power station at Cottam's need for coal, whilst on the Lincolnshire side, the line was run from Sykes Junction to the Shell petrol depot at Torksey. Only the viaduct itself remained closed.
The Oil traffic ceased in the late 1980s, and the track is now all lifted (and the road bridge on the Gainsborough-Lincoln road was removed).
Until the early 1990s it was possible the walk across the viaduct - this was no longer possible by the 1990s as the track bed had been removed on the bridge itself, and that part was fenced off. Happily, this was resolved during the las 12 months. The cycling and footpath charity Sustrans have installed the required safety fencing and reinstated the bridge bed on the North side. There is now a fine footpath over the impressive bridge to the riverbank on the Western (Nottinghamshire) side of the river. This shot shows the (still without a track bed) South side of the bridge.
The viaduct is rightly covered by a Grade II* listing but worryingly, also features on English Heritage's Buildings at Risk register.
Camera: Nikon F5
Lens: Nikkor 28-80mm zoom
Film: Kodak Ektar 100
I have an incurable appetite for a freshly laundered and astutely pressed satin blouse. The one which I'm wearing here has a rear fastening, which creates uncluttered clean lines at the front. Sadly this particular example has neither a high neckline nor tailored cuffs. Two features which when added to the rear fastening, makes for my most favourite of blouse designs. Unfortunately such blouses are rather rare and almost impossible to find these days
©️ July 2019
Like the predecessor, Arthur modified his new mode of transport with many hidden and extra features. This latest model features:
A flamethrower hidden in the grille setion
Stun blaster located on the left hand section of the chassis
Rotating gatling gun stored in the right hand compartment of the bonnet.
Lightweight, advanced winglets stored in the central chassis section.
Zander are often a greeny brown colour with dark vertical markings similar to the perch and a cream or white belly. Their distinctive features are a double dorsal fin, with the front fin containing hard and quite sharp rays. They also have a flat spine at the rear of the gill cover. They have two long sharp teeth at the front that are vampire-looking in appearance. Zander have large eyes that can often be opaque which is an adaptation to seeing in murky waters so that the zander can take advantage of its prey.
Features:
UC - Cocktail Dress
UC - Main Store - maps.secondlife.com/secondlife/Sounds%20Gravis%20Beach/10...
UC - Marketplace - marketplace.secondlife.com/en-US/stores/159240
Other Styling:
Hair - Magika - May Hair
Rings- Yummy - Celebration
💫My Socials💫
📌Primfeed www.primfeed.com/danity.mynx
📌Flickr www.flickr.com/photos/danity_mynx/
📌Facebook www.facebook.com/DanityMynx
This week's Saturday Timewatch features another photo taken from the excellent Rodney Legg book "Dorset Flight : The Complete History". I will of course be removing this and any other images should anyone moan about copyright. However, I think the photos deserve a wider showing.
It features the world's first submarine aircraft carrier, HMS M2. The aircraft is a Parnall Peto seaplane N255. Initially, once the aircraft wings were unfolded, the seaplane would be lowered into the sea for take off. On landing, the aircraft was hoisted back onto the deck and replaced into the hangar. That concept developed further in late 1928 when a hydraulic aircraft catapult was fitted, recovery still being via the derrick.
It is January 26th 1932 in Lyme Bay, Dorset, west of the Isle of Portland. Sea trials continue but take a dreadful turn for the worse. With water pouring in, the submarine sank, stern first, taking 60 lives. Two theories have been advanced for the disaster, opening the hangar doors too soon whilst the decks were still awash or the failure of the stern hydroplanes. However, what is known for certain is that after a salvage operation lasting almost a year, the hangar door was found open and the aircraft still in it. The salvage was never completed due to a storm and the wreck lies to this day on the seabed as a 'protected place' under the Protection of Military Remains Act 1986.
Check out the gallery here!
www.flickr.com/photos/48487023@N02/galleries/721576327017...
Support here!
Today’s ESA/Hubble Picture of the Week features the spiral galaxy NGC 4535, which is situated about 50 million light-years away in the constellation Virgo (The Maiden). This galaxy has been nicknamed the ‘Lost Galaxy’ because it’s extremely faint when viewed through a small telescope. With a mirror spanning 2.4 metres across, Hubble is well equipped to observe dim galaxies like NGC 4535 and pick out features like its massive spiral arms and central bar of stars.
On full display in this Hubble image are NGC 4535’s young star clusters, which dot the galaxy’s spiral arms. Many of the groupings of bright blue stars are enclosed by glowing pink clouds. These clouds, called H II (‘H-two’) regions, are a sign that the galaxy is home to especially young, hot, and massive stars that are blazing with high-energy radiation. By heating the clouds in which they were born, shooting out powerful stellar winds, and eventually exploding as supernovae, massive stars certainly shake up their surroundings.
This Hubble image incorporates data from an observing programme that will catalogue roughly 50 000 H II regions in nearby star-forming galaxies like NGC 4535. A previous image of NGC 4535 was released in 2021. Both the 2021 image and today’s image incorporate observations from the PHANGS programme, which seeks to understand the connections between young stars and cold gas. Today’s image adds a new dimension to our understanding of NGC 4535 by capturing the brilliant red glow of the nebulae that encircle massive stars in their first few million years of life.
[Image Description: A close-in view of a spiral galaxy that faces the viewer. Brightly lit spiral arms swing outwards through the galaxy’s disc, starting from an elliptical region in the centre. Thick strands of dark reddish dust are spread across the disc, mostly following the spiral arms. The arms also contain many glowing pink-red spots where stars form. The galaxy is a bit fainter beyond the arms, but speckled with blue stars.]
Credits: ESA/Hubble & NASA, F. Belfiore, J. Lee and the PHANGS-HST Team; CC BY 4.0
I'm honestly not sure why I built this, seeing as spaceships aren't something I usually do, but I enjoyed playing Jedi Fallen Order a few months ago and on a whim started working on this thing. The end result was better than I could have hoped!
Features rotating wings, opening hatches, and a full interior. I originally wanted to have working landing gear as well but that core drum section that the wings are attached to is a nightmare of engineering in-game and I don't think I can pull it off at this scale without seriously compromising its structural integrity.
Got another build coming up for you guys shortly, and I'll probably be more active for a bit thanks to quarantine. Hope everyone is doing well out there!
Lunenburg, Nova Scotia, Canada,
The Lunenburg Academy, built between 1893 en 1895, is an example of late 19th century Victorian architecture. It is a National Historic Site and still functions as a public school for the primary level, grades one to five. Each floor has six entrances, six classrooms and six staircases connecting up to the next level.
It is located at the top of Gallows Hill in Lunenburg.
Sited on a peninsula between two harbours, Lunenburg (pop. 2.800) is the prettiest and most colorful town in Nova Scotia. It features one of the best preserved examples of an 18th century British colonial town plan in North America, although most buildings standing today are from the 19th century, and some of the old wooden clapboards and shingles are replaced by plastic imitations.
Lunenburg's 'Old Town' is a 'UNESCO World Heritage Site' since 1995 (one of only two cities in North America to enjoy that status).
Clouds associated with the major winter storm that is bringing wintry precipitation and chilly temperatures to the U.S. south is the focus in an image from NOAA's GOES-East satellite today, February 12 at 1310 UTC/ 8:10 EST.
Rain, freezing rain, sleet and snow are part of the large front that stretches from eastern Texas to the Carolinas in the Geostationary Operational Environmental satellite or GOES image. NOAA's weather maps show several areas of low pressure along the frontal boundary. One low pressure is in the northern Gulf of Mexico, while the other is in the Atlantic Ocean, just south of South Carolina. (Insert link: www.hpc.ncep.noaa.gov/noaa/noaad1.gif).
NOAA's National Weather Service has been issuing watches and warnings throughout the south that extend along Mid-Atlantic east coast.
The visible cloud and ground snow data in this image was taken from NOAA's GOES-East satellite. The image was created by the NASA GOES Project at NASA's Goddard Space Flight Center in Greenbelt, Md. The clouds and fallen snow were overlaid on a true-color image of land and ocean created by data from the Moderate Resolution Imaging Spectroradiometer or MODIS instrument that flies aboard NASA's Aqua and Terra satellites.
NOAA's Weather Prediction Center, or WPC noted on Feb. 11 at 3:59 a.m. EST, "Once the intensifying surface low moves off the Southeast coast and begins its track up the Eastern Seaboard Wednesday night...winter weather will start lifting northward into the northern Mid-Atlantic states."
GOES satellites provide the kind of continuous monitoring necessary for intensive data analysis. Geostationary describes an orbit in which a satellite is always in the same position with respect to the rotating Earth. This allows GOES to hover continuously over one position on Earth's surface, appearing stationary. As a result, GOES provide a constant vigil for the atmospheric "triggers" for severe weather conditions such as tornadoes, flash floods, hail storms and hurricanes.
For updated information about the storm system, visit NOAA's WPC website;
For more information about GOES satellites, visit:
www.goes.noaa.gov/ or goes.gsfc.nasa.gov/
Rob Gutro
NASA's Goddard Space Flight Center
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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PADDY: “Hullo everyone! It was such a beautiful day today that Daddy has decided to take us out with him on an adventure to Billilla Mansion, in the Melbourne suburb of Brighton.”
SCOUT: “Paddy? Paddy!”
PADDY: “Yes Scout?”
SCOUT: “Why are there all these funny, sweeping patterns on Billilllilll….”
PADDY: “Billillia, Scout.”
SCOUT: “On this big old house?”
PADDY: “ Well Scout, Billilla is a mansion that was bought in 1888 by a man called William Weatherly, who was a very wealthy pastoralist. However, he had it altered, extended and remodelled at the turn of the Twentieth Century. These alterations were done in the popular style of the time, which was called Art Nouveau.”
SCOUT: “Ooooohhh!” *Jumps up and down excitedly.* “I know that style! It’s Daddy’s most favouritest style in the whole wide world! He has lots, and lots, and lots of books all about Art Nouveau.”
PADDY: “Yes he does, Scout.”
SCOUT: “Paddy? Paddy!”
PADDY: “Yes, Scout?”
SCOUT: “Do you see the pattern on the window behind us?”
PADDY: “Yes I do, Scout. What about it?”
SCOUT: “Well, I think it looks like a big Art Nouveau heart!”
PADDY: *Considers the pattern in the window.* “Why yes, Scout. I think you are right!”
SCOUT: “Then in that case I would like to wish Daddy and all our Flickr friends lots of big Art Nouveau love, big Art Nouveau bear hugs and snuffly Art Nouveau kisses from Billillilllll….”
PADDY: “Billilla, Scout.”
SCOUT: “From this big Art Nouveau House!”
PADDY: “Yes, we would like to wish Daddy and all our Flickr friends lots of big Art Nouveau love, big Art Nouveau bear hugs and snuffly Art Nouveau kisses from Billilla!”
Paddy is correct. He, Scout and I visited the historical Art Nouveau mansion of Billilla in the Melbourne suburb of Brighton recently, after it was opened to the public for the first time in many years as part of the Melbourne Open House weekend 2022.
Billilla Historic Mansion, which was the former the home of the Weatherly family, is a beautiful heritage property incorporating a stately formal garden and the magnificent historic house.
Billilla, at 26 Halifax Street, Brighton, is one of Melbourne’s few remaining significant homesteads. The mansion was built by merchant Robert Wright in 1878 on land which had originally been owned by Nicholas Were. The house has a mixture of architectural styles, featuring a Victorian design with Art Nouveau features. With exquisite formal gardens, which retain much of their original 19th Century layout, the property was owned by the Weatherley family (whom named it Billilla) from 1888 to 1972.
Billilla retains many original Victorian elements and a number of outbuildings still stand to the rear of the property including the butler’s quarters, dairy, meat house, stable garden store and coach house.
Billilla was used as a backdrop in the Australian 1980 Channel 10 miniseries adaptation of Sumner Locke Elliott's "Water Under the Bridge". It was used at the Sydney harbourside home of Luigi, Honor and Carrie Mazzini.
My Paddington Bear came to live with me in London when I was two years old (many, many years ago). He was hand made by my Great Aunt and he has a chocolate coloured felt hat, the brim of which had to be pinned up by a safety pin to stop it getting in his eyes. The collar of his mackintosh is made of the same felt. He wears wellington boots made from the same red leather used to make the toggles on his mackintosh.
He has travelled with me across the world and he and I have had many adventures together over the years. He is a very precious member of my small family.
Scout was a gift to Paddy from my friend. He is a Fair Trade Bear hand knitted in Africa. His name comes from the shop my friend found him in: Scout House. He tells me that life was very different where he came from, and Paddy is helping introduce him to many new experiences. Scout catches on quickly, and has proven to be a cheeky, but very lovable member of our closely knit family.
Being colder in the middle of winter here, both Paddy and Scout are wearing hand knitted scarves and Paddy is wearing hand knitted hat by Lorna's Lovely Looks. Paddy sports a crown pin and Scout insisted on wearing a pink tea cup one, which seems most appropriate. Both were gifts from a good friend who is very fond of Paddy and Scout.
WestCanna features products ranging all the way from flower, concentrates, and cartridges, to topicals, and even cannabis-infused bottled water! These are people that look to every avenue to find products that their medical customers need. Not solely to get stoned, but also relax and relieve bodily pain via bath bombs or salves
The active nucleus and some glowing outflows associated with it in the galaxy Markarian 78. I worked together with Dr. Mitchell Revalski on this one. Together I feel like we were able to pick the right datasets to really eke out as much detail as possible for the ionized (glowing) outflows, which are shown in blue. There were some old FOC data in the archive that I myself was too skeptical to try using, but after some encouragement from Mitch it turned out it was actually the best. Other noticeable features include dark dust, shown here in dark brown and orange colors.
Anyway, this may seem like a meager offering compared to other imagery from Hubble, but it's safe to say it's currently the best image (as of this writing) of Mrk 78's nucleus.
An arXiv link to the paper on this object is here!
Data from the following proposals were used to create this image. Two proposals from the late 90's and one from 2019. Glad the archive is so well maintained that it is possible to easily combine chronologically disparate datasets.
archive.stsci.edu/proposal_search.php?mission=hst&id=...
archive.stsci.edu/proposal_search.php?mission=hst&id=...
archive.stsci.edu/proposal_search.php?mission=hst&id=...
This ended up being a two color orange/cyan image, and the cyan channel is a bit unusual, comprised of data combined from the STIS/CCD 50CCD filter and FOC/96 F502M filter. Neither dataset provided full coverage, so each image makes up for what is missing in the other, and what features showed up in both were similar enough to create a smooth and coherent image despite being from totally different instruments and not quite similar filters.
Orange: ACS/WFC F814W
Cyan: STIS/CCD 50CCD + FOC/96 F502M
North is up.
This product features:
- 2 hold styles
- Cigarette/Joint props
- ASMR Sipping sound
- Smooth Drinking Animation
- Fully customizable HUD
The types of tea you can choose from:
English Breakfast, Peppermint, Ginger, Earl Grey, Cannabis, Green Tea, Lemon & Chai.
(If you read this far, the Tredente group is FREE to join today)
Available to purchase now at the Equal10 Event.
St Andrew and St Patrick, Elveden, Suffolk
As you approach Elveden, there is Suffolk’s biggest war memorial, to those killed from the three parishes that meet at this point. It is over 30 metres high, and you used to be able to climb up the inside. Someone in the village told me that more people have been killed on the road in Elveden since the end of the War than there are names on the war memorial. I could well believe it. Until about five years ago, the busy traffic of the A11 Norwich to London road hurtled through the village past the church, slowed only to a ridiculously high 50 MPH. If something hits you at that speed, then no way on God's Earth are you going to survive. Now there's a bypass, thank goodness.
Many people will know St Andrew and St Patrick as another familiar landmark on the road, but as you are swept along in the stream of traffic you are unlikely to appreciate quite how extraordinary a building it is. For a start, it has two towers. And a cloister. And two naves, effectively. It has undergone three major building programmes in the space of thirty years, any one of which would have sufficed to transform it utterly.
If you had seen this church before the 1860s, you would have thought it nothing remarkable. A simple aisle-less, clerestory-less building, typical of, and indistinguishable from, hundreds of other East Anglian flint churches. A journey to nearby Barnham will show you what I mean.
The story of the transformation of Elveden church begins in the early 19th century, on the other side of the world. The leader of the Sikhs, Ranjit Singh, controlled a united Punjab that stretched from the Khyber Pass to the borders of Tibet. His capital was at Lahore, but more importantly it included the Sikh holy city of Amritsar. The wealth of this vast Kingdom made him a major power-player in early 19th century politics, and he was a particular thorn in the flesh of the British Imperial war machine. At this time, the Punjab had a great artistic and cultural flowering that was hardly matched anywhere in the world.
It was not to last. The British forced Ranjit Singh to the negotiating table over the disputed border with Afghanistan, and a year later, in 1839, he was dead. A power vacuum ensued, and his six year old son Duleep Singh became a pawn between rival factions. It was exactly the opportunity that the British had been waiting for, and in February 1846 they poured across the borders in their thousands. Within a month, almost half the child-Prince's Kingdom was in foreign hands. The British installed a governor, and started to harvest the fruits of their new territory's wealth.
Over the next three years, the British gradually extended their rule, putting down uprisings and turning local warlords. Given that the Sikh political structures were in disarray, this was achieved at considerable loss to the invaders - thousands of British soldiers were killed. They are hardly remembered today. British losses at the Crimea ten years later were much slighter, but perhaps the invention of photography in the meantime had given people at home a clearer picture of what was happening, and so the Crimea still remains in the British folk memory.
For much of the period of the war, Prince Duleep Singh had remained in the seclusion of his fabulous palace in Lahore. However, once the Punjab was secure, he was sent into remote internal exile.
The missionaries poured in. Bearing in mind the value that Sikh culture places upon education, perhaps it is no surprise that their influence came to bear on the young Prince, and he became a Christian. The extent to which this was forced upon him is lost to us today.
A year later, the Prince sailed for England with his mother. He was admitted to the royal court by Queen Victoria, spending time both at Windsor and, particularly, in Scotland, where he grew up. In the 1860s, the Prince and his mother were significant members of London society, but she died suddenly in 1863. He returned with her ashes to the Punjab, and there he married. His wife, Bamba Muller, was part German, part Ethiopian. As part of the British pacification of India programme, the young couple were granted the lease on a vast, derelict stately home in the depths of the Suffolk countryside. This was Elveden Hall. He would never see India again.
With some considerable energy, Duleep Singh set about transforming the fortunes of the moribund estate. Being particularly fond of hunting (as a six year old, he'd had two tutors - one for learning the court language, Persian, and the other for hunting to hawk) he developed the estate for game. The house was rebuilt in 1870.
The year before, the Prince had begun to glorify the church so that it was more in keeping with the splendour of his court. This church, dedicated to St Andrew, was what now forms the north aisle of the present church. There are many little details, but the restoration includes two major features; firstly, the remarkable roof, with its extraordinary sprung sprung wallposts set on arches suspended in the window embrasures, and, secondly, the font, which Mortlock tells us is in the Sicilian-Norman style. Supported by eight elegant columns, it is very beautiful, and the angel in particular is one of Suffolk's loveliest. You can see him in an image on the left.
Duleep Singh seems to have settled comfortably into the role of an English country gentleman. And then, something extraordinary happened. The Prince, steeped in the proud tradition of his homeland, decided to return to the Punjab to fulfill his destiny as the leader of the Sikh people. He got as far as Aden before the British arrested him, and sent him home. He then set about trying to recruit Russian support for a Sikh uprising, travelling secretly across Europe in the guise of an Irishman, Patrick Casey. In between these times of cloak and dagger espionage, he would return to Elveden to shoot grouse with the Prince of Wales, the future King Edward VII. It is a remarkable story.
Ultimately, his attempts to save his people from colonial oppression were doomed to failure. He died in Paris in 1893, the British seemingly unshakeable in their control of India. He was buried at Elveden churchyard in a simple grave.
The chancel of the 1869 church is now screened off as a chapel, accessible from the chancel of the new church, but set in it is the 1894 memorial window to Maharaja Prince Duleep Singh, the Adoration of the Magi by Kempe & Co.
And so, the Lion of the North had come to a humble end. His five children, several named after British royal princes, had left Elveden behind; they all died childless, one of them as recently as 1957. The estate reverted to the Crown, being bought by the brewing family, the Guinnesses.
Edward Cecil Guinness, first Earl Iveagh, commemorated bountifully in James Joyce's 1916 Ulysses, took the estate firmly in hand. The English agricultural depression had begun in the 1880s, and it would not be ended until the Second World War drew the greater part of English agriculture back under cultivation. It had hit the Estate hard. But Elveden was transformed, and so was the church.
Iveagh appointed William Caroe to build an entirely new church beside the old. It would be of such a scale that the old church of St Andrew would form the south aisle of the new church. The size may have reflected Iveagh's visions of grandeur, but it was also a practical arrangement, to accommodate the greatly enlarged staff of the estate. Attendance at church was compulsory; non-conformists were also expected to go, and the Guinnesses did not employ Catholics.
Between 1904 and 1906, the new structure went up. Mortlock recalls that Pevsner thought it 'Art Nouveau Gothic', which sums it up well. Lancet windows in the north side of the old church were moved across to the south side, and a wide open nave built beside it. Curiously, although this is much higher than the old and incorporates a Suffolk-style roof, Caroe resisted the temptation of a clerestory. The new church was rebenched throughout, and the woodwork is of a very high quality. The dates of the restoration can be found on bench ends up in the new chancel, and exploring all the symbolism will detain you for hours. Emblems of the nations of the British Isles also feature in the floor tiles.
The new church was dedicated to St Patrick, patron Saint of the Guinnesses' homeland. At this time, of course, Ireland was still a part of the United Kingdom, and despite the tensions and troubles of the previous century the Union was probably stronger at the opening of the 20th century than it had ever been. This was to change very rapidly. From the first shots fired at the General Post Office in April 1916, to complete independence in 1922, was just six years. Dublin, a firmly protestant city, in which the Iveaghs commemorated their dead at the Anglican cathedral of St Patrick, became the capital city of a staunchly Catholic nation. The Anglicans, the so-called Protestant Ascendancy, left in their thousands during the 1920s, depopulating the great houses, and leaving hundreds of Anglican parish churches completely bereft of congregations. Apart from a concentration in the wealthy suburbs of south Dublin, there are hardly any Anglicans left in the Republic today. But St Patrick's cathedral maintains its lonely witness to long years of British rule; the Iveagh transept includes the vast war memorial to WWI dead, and all the colours of the Irish regiments - it is said that 99% of the Union flags in the Republic are in the Guinness chapel of St Patrick's cathedral. Dublin, of course, is famous as the biggest city in Europe without a Catholic cathedral. It still has two Anglican ones.
Against this background then, we arrived at Elveden. The church is uncomfortably close to the busy road, but the sparkle of flint in the recent rain made it a thing of great beauty. The main entrance is now at the west end of the new church. The surviving 14th century tower now forms the west end of the south aisle, and we will come back to the other tower beyond it in a moment.
You step into a wide open space under a high, heavy roof laden with angels. There is a wide aisle off to the south; this is the former nave, and still has something of that quality. The whole space is suffused with gorgeously coloured light from excellent 19th and 20th century windows. These include one by Frank Brangwyn, at the west end of the new nave. Andrew and Patrick look down from a heavenly host on a mother and father entertaining their children and a host of woodland animals by reading them stories. It is quite the loveliest thing in the building.
Other windows, mostly in the south aisle, are also lovely. Hugh Easton's commemorative window for the former USAAF base at Elveden is magnificent. Either side are windows to Iveaghs - a gorgeous George killing a dragon, also by Hugh Easton, and a curious 1971 assemblage depicting images from the lives of Edward Guinness's heir and his wife, which also works rather well. The effect of all three windows together is particularly fine when seen from the new nave.
Turning ahead of you to the new chancel, there is the mighty alabaster reredos. It cost £1,200 in 1906, about a quarter of a million in today’s money. It reflects the woodwork, in depicting patron Saints and East Anglian monarchs, around a surprisingly simple Supper at Emmaus. This reredos, and the Brangwyn window, reminded me of the work at the Guinness’s other spiritual home, St Patrick’s Cathedral in Dublin, which also includes a window by Frank Brangwyn commisioned by them. Everything is of the highest quality. Rarely has the cliché ‘no expense spared’ been as accurate as it is here.
Up at the front, a little brass plate reminds us that Edward VII slept through a sermon here in 1908. How different it must have seemed to him from the carefree days with his old friend the Maharajah! Still, it must have been a great occasion, full of Edwardian pomp, and the glitz that only the fabulously rich can provide. Today, the church is still splendid, but the Guinesses are no longer fabulously rich, and attendance at church is no longer compulsory for estate workers; there are far fewer of them anyway. The Church of England is in decline everywhere; and, let us be honest, particularly so in this part of Suffolk, where it seems to have retreated to a state of siege. Today, the congregation of this mighty citadel is as low as half a dozen. The revolutionary disappearance of Anglican congregations in the Iveagh's homeland is now being repeated in a slow, inexorable English way.
You wander outside, and there are more curiosities. Set in the wall are two linked hands, presumably a relic from a broken 18th century memorial. They must have been set here when the wall was moved back in the 1950s. In the south chancel wall, the bottom of an egg-cup protrudes from among the flints. This is the trademark of the architect WD Caroe. To the east of the new chancel, Duleep Singh’s gravestone is a very simple one. It is quite different in character to the church behind it. A plaque on the east end of the church remembers the centenary of his death.
Continuing around the church, you come to the surprise of a long cloister, connecting the remodelled chancel door of the old church to the new bell tower. It was built in 1922 as a memorial to the wife of the first Earl Iveagh. Caroe was the architect again, and he installed eight bells, dedicated to Mary, Gabriel, Edmund, Andrew, Patrick, Christ, God the Father, and the King. The excellent guidebook recalls that his intention was for the bells to be cast to maintain the hum and tap tones of the renowned ancient Suffolk bells of Lavenham... thus the true bell music of the old type is maintained.
This church is magnificent, obviously enough. It has everything going for it, and is a national treasure. And yet, it has hardly any congregation. So, what is to be done?
If we continue to think of rural historic churches as nothing more than outstations of the Church of England, it is hard to see how some of them will survive. This church in particular has no future in its present form as a village parish church. New roles must be found, new ways to involve local people and encourage their use. One would have thought that this would be easier here than elsewhere.
The other provoking thought was that this building summed up almost two centuries of British imperial adventure, and that we lived in a world that still suffered from the consequences. It is worth remembering where the wealth that rebuilt St Andrew and St Patrick came from.
As so often in British imperial history, interference in other peoples’ problems and the imposition of short-term solutions has left massive scars and long-cast shadows. For the Punjab, as in Ireland, there are no simple solutions. Sheer proximity has, after several centuries of cruel and exploitative involvement, finally encouraged the British government to pursue a solution in Ireland that is not entirely based on self-interest. I fear that the Punjab is too far away for the British to care very much now about what they did there then.
Looking towards the mountains of Connemara, across Pollacappul Lough, from the grounds of Kylemore Abbey (County Galway, in western Ireland), on an afternoon of mixed sun, cloud, and rain in mid-September (2013).
The mountain towards the right is Benbaun or Ben Baun (Irish name: Binn Bhán -- "white peak"), the lower of two Connemara mountains of that name at 477 metres / 1,565 feet, which is also known in Irish as Maolán. It is the northernmost of the Northern Bens, one of the so-called "Twelve Bens" (Twelve Mountains), in the western Connemara region; it is considered a subsidiary of the higher Benbrack (582 metres / 1,909 feet), to its south -- only a bit of it is visible here in the far right background). Part of Benbaun is within the boundaries of the Connemara National Park / Páirc Naisiúnta Chonamara, which includes land that was once part of Kylemore Abbey Estate.
Kylemore Abbey, in the Connemara region, was built 1867-1871 as the private home of Englishman Mitchell Henry, member of a wealthy Manchester family, and Margaret, his wife. The estate included the neo-Gothic Kylemore "Castle" and church, a family mausoleum, gardens, and woodland. Despite Margaret's death in 1874, as well as the death of his daughter, Henry stayed on until 1903, when he sold the estate to the Duke and Duchess of Manchester, who later sold it again. Since 1920, Kylemore has been an abbey, established by Benedictine nuns who had become World War I refugees from Ypres (Belgium); for decades, they ran a girls' boarding school. It is also open to visitors and has become a very popular tourist site. In addition to the main building, Kylemore features an allée, restored late-Victorian walled garden, café, and gift shop. (The Irish name of the Abbey is Mainistir na Coille Móire.)
(Historical information from the Abbey website, last consulted 27 July 2020, and Wikipedia, last consulted 27 July 2020. Topographical information confirmed on Ordnance Survey Ireland Discovery Series map no. 37 (4th edition, 2010) and the Mountain Views website, last consulted 9 August 2020.)
[Kylemore garden mountains framed afternoon 2013 sep 16 c; IMG_3642]
Another lovely short pleated skirt added to my collection. This one has 2 stand out features for me. Firstly it is pink which is always a nice colour to get a skirt in, but secondly it has 2 horizontal white stripes around it just above the hem. This gives it a bit of a cheerleader skirt look, which I love :-)
This Copernicus Sentinel-2 image features an area in the Wheatbelt region of Western Australia.
The term ‘wheat belt’ refers to inland agricultural areas in eastern and southern Australia named for their production of wheat – which was the main agricultural product in the early history of Australia’s development. Wheatbelt areas are usually arid, making agriculture largely reliant on rainfall and irrigation.
The Wheatbelt is one of the nine regions of Western Australia and lies in the southwest section of the state. Covering an area of around 160 000 sq km., the region only has an estimated population of around 75 000 residents.
This image shows a part of the region which is very arid and is used mainly for agricultural production. The area is a major producer of wheat, barley and wool. The area is also used for the livestock production and the pastoral sheep farming, as well as horticulture.
Fields have a distinctive appearance in this week’s image, creating a colourful patchwork of geometric shapes. This composite image was created by combining three separate images from the near-infrared channel from the Copernicus Sentinel-2 mission.
The first image, from 9 May 2019, is visible in red; the second from 6 September 2019, can be seen in green; and the third from January 2020 can be seen in blue. All other colours visible in the image are different mixtures of red, green and blue, and vary according to their stage of growth over the nine-month period.
According to reports from the Department of Primary Industries and Regional Development, Western Australia’s climate has changed over recent decades, with significant reductions in growing-season rainfall. Climate variability and changing weather patterns strongly affect agriculture – increasing production risk for crops and pastures.
Owing to their unique perspective from space, Earth observation satellites are key in mapping and monitoring croplands. The Copernicus Sentinel-2 mission is specifically designed to provide images that can be used to distinguish between different crop types as well as data on numerous plant indices, such as leaf area index, leaf chlorophyll content and leaf water content – all of which are essential to accurately monitor plant growth.
This image is also featured on the Earth from Space video programme.
Credits: contains modified Copernicus Sentinel data (2019-20), processed by ESA, CC BY-SA 3.0 IGO
Le titre de l'œuvre fait référence à la parabole du Christ adressée aux Pharisiens : « Laissez-les. Ce sont des aveugles qui guident des aveugles. Or, si un aveugle guide un aveugle, ils tomberont tous deux dans la fosse. » (Mt 15,14 ; Lc 6,39).
Conformément à la tradition médiévale, Bruegel choisit de représenter les aveugles comme des vagabonds vêtus de haillons et se livrant sans doute à la mendicité. La scène, subtil mélange de ridicule et d'effroi, rend l'inévitabilité de la chute par une gradation de la représentation. Tandis que le premier aveugle de cette étrange procession est déjà tombé, le second trébuche, le troisième va trébucher, le quatrième semble pressentir le danger et les deux derniers ne se doutent encore de rien. La gradation des postures physiques s'accompagne d'une gradation des sentiments, visible dans la physionomie des visages aux yeux caves. Dans cette œuvre tardive, l'émotion qui se dégage est moins due à une accumulation de détails horribles, comme dans Le Triomphe de la Mort, qu'au sentiment d'inévitable fatalité que la misère humaine engendre.
Ce tableau fit partie des œuvres conservées en Italie (à Naples) et spoliées par l'armée allemande pendant la Seconde Guerre mondiale, sous le couvert de leur protection par le principe établi du Kunstschutz. Elle a été restituée grâce aux actions menées pendant et après la guerre par Rodolfo Siviero.
Au musée du Louvre figure une copie exécutée par Pieter Bruegel le Jeune. La petite église de Sint-Anna-Pede, dont mention est déjà faite en 1259, est à l'arrière-plan de l'œuvre
The title of the work refers to Christ's parable to the Pharisees: "Leave them alone. They are blind people who guide the blind. But if a blind man guides a blind man, they will both fall into the pit. (Mt 15,14, Lk 6,39).
In accordance with medieval tradition, Bruegel chose to portray the blind as vagrants dressed in rags and no doubt begging for begging. The scene, subtle mixture of ridicule and fright, makes the inevitability of the fall by a gradation of representation. While the first blind man of this strange procession has already fallen, the second stumbles, the third stumbles, the fourth seems to sense the danger, and the last two still do not suspect anything. The gradation of the physical postures is accompanied by a gradation of the feelings, visible in the face of the faces with the cellar eyes. In this late work, the emotion that emerges is less due to an accumulation of horrible details, as in The Triumph of Death, than to the inevitable feeling of inevitability that human misery engenders.
This painting was part of the works kept in Italy (in Naples) and despoiled by the German army during the Second World War, under cover of their protection by the established principle of Kunstschutz. It was restored thanks to the actions carried out during and after the war by Rodolfo Siviero.
The Louvre Museum features a copy by Pieter Bruegel the Younger. The small church of Sint-Anna-Pede, whose mention is already made in 1259, is in the background of the work..
👉 Our first release of 2025: Flurry features cute pigtails and comes with and without bangs (50L$ all colors pack).
Get it Jan. 10 - 12 in Wasabi main store.
Items used in our posters are ➜ HERE.
Blocks September 2019 issue features my Pick-up truck instructions in "MOC this" column. You can build the little truck following the instructions. It has been funny taking "step by step" pictures and I love the outcome.
Alternatively you can see the instructions straight by clicking here.
Blocks is one of the most popular magazine about LEGO bricks. Each month it’s full of reviews, hints, how-to features, from LEGO experts. Honored to spot my MOCs on there!
Blocks is available here.
Don’t miss it!
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[777] Runabout
Features included:
️🌊 High quality PBR materials
🌊 Optional Accessories
️🌊 Drinks Dispenser with MyStory Compatible Drinks
🌊 Global Fuel System & MyStory plugins
️🌊 Natural Rocking Motion
🌊 Realistic Water Particles
🌟 Ultra smooth sim crossing!
Facebook: www.facebook.com/777MotorsSL
Flickr: www.flickr.com/photos/777motors
Primfeed: www.primfeed.com/jamesnguyen94.resident
Market piace: marketplace.secondlife.com/en-US/stores/200353
Mainstore: maps.secondlife.com/secondlife/Highway%20Star/144/134/23
Fitted for SWALLOW Gauged XL
Features
-Materials Enabled
-Control Hud
-Left & Right Earrings
-Female Only
This detailed image features Abell 3827, a galaxy cluster that offers a wealth of exciting possibilities for study. It was observed by Hubble in order to study dark matter, which is one of the greatest puzzles cosmologists face today.
Abell 3827 has been observed previously by Hubble, because of the interesting gravitational lens at its core. Looking at this cluster of hundreds of galaxies, it is amazing to recall that until less than 100 years ago, many astronomers believed that the Milky Way was the only galaxy in the universe.
Gravitational lenses occur when the gravity of tremendously massive objects, such as galaxy clusters, bend and distort the light of more-distant objects behind them, making it possible to see those objects despite their distance.
Credit: ESA/Hubble & NASA, R. Massey
For more information, visit: esahubble.org/images/potw2118a/
This Hubble Picture of the Week features the galaxy LEDA 857074, located in the constellation Eridanus. LEDA 857074 is a barred spiral galaxy, with partially broken spiral arms. It also has a particularly bright spot right in its bar: this is a supernova snapped by Hubble, named SN 2022ADQZ, and quite relevant to this Picture of the Week.
The NASA/ESA Hubble Space Telescope has observed a vast range of celestial objects, from galaxies, to nebulae, to star clusters, to planets in the Solar System and beyond. Observing programmes usually seek to gather data so that astronomers can answer a specific question. Naturally, this means most scheduled observations target an object that astronomers have already researched. Some are famous, like the Crab Nebula or the globular cluster Omega Centauri; others might not be so well known to the public, but still be featured in hundreds of scientific papers, such as the Spider Galaxy or NGC 4753. Not so with this galaxy: LEDA 857074 is named in fewer than five papers, one of which is the Lyon-Meudon Extragalactic Database itself. Virtually no data have been recorded about it, other than its position: since its discovery, it simply hasn’t been studied. So how did it attract the gaze of the legendary Hubble?
The supernova is the answer — SN 2022ADQZ was detected by an automated survey in late 2022, and led to Hubble being pointed at its host galaxy, LEDA 857074, in early 2023. Astronomers have catalogued millions of galaxies, so while today tens of thousands of supernovae are detected annually, the chance that one is spotted in any particular galaxy is slim. We also do not know how actively LEDA 857074 is forming stars, and therefore how often it might host a supernova. This galaxy is therefore an unlikely and lucky target of Hubble, thanks to this supernova shining a spotlight on it! It now joins the ranks of many more famous celestial objects, with its own Hubble image.
[Image Description: A close-in view of a barred spiral galaxy. The bright, glowing bar crosses the centre of the galaxy, with blurred spiral arms curving away from its ends and continuing out of view. It’s surrounded by bright points of light that indicate stars and galaxies. The galaxy also hosts a bright supernova in its central bar.]
Credits: ESA/Hubble & NASA, R. J. Foley; CC BY 4.0
South Flagler House is an ultra-luxury waterfront condominium development located at 1355 South Flagler Drive in West Palm Beach, Florida. Developed by Related Ross and designed by the globally renowned Robert A.M. Stern Architects (RAMSA), the project features two 28-story limestone-clad towers rising from a shared garden podium. The development topped out in late 2025 and is scheduled for completion in Fall 2027.
Residences & Pricing
The project features 105 to 121 private residences, including townhomes, multi-bedroom condos, and expansive penthouses. Interiors are custom-designed by Pembrooke & Ives, combining classic Palm Beach elegance with floor-to-ceiling glass and expansive terraces overlooking the Intracoastal Waterway and Atlantic Ocean.
According to current Zillow property listings, available units broadly range from $7.5 million to over $28 million.
Large-scale penthouses within the complex have reportedly commanded contracts upwards of $40 million.
World-Class Amenities
The complex boasts approximately 50,000 square feet of resort-style amenities and hospitality-driven services.
Wellness & Pools: A 25-meter lap pool, lakefront cabanas, hot tub, and private men’s and women’s spas featuring ice plunges, steam rooms, and saunas.
Athletics & Recreation: A private pickleball court, sports simulator lounge, golf simulator, and state-of-the-art fitness center.
Leisure & Conveniences: On-site elevated dining, a coffee shop, private gardens, a children's playroom, co-working spaces, and a fenced outdoor dog run with a sculpture garden.
Service Layer: 24-hour onsite staff, concierge, 24-hour valet parking, private keyed elevators, and two deeded parking spaces per residence.
Situated along the Gold Coast at the southern edge of West Palm Beach’s arts district, South Flagler House sits right across the bridge from Palm Beach Island. It offers immediate access to the Norton Museum of Art, Palm Harbor Marina, and the luxury shopping of Worth Avenue.
Credit for the data above is given to the following websites:
www.google.com/search?q=south+flagler+house+west+palm+bea...
www.google.com/search?q=what+is+the+architectural+style+o...
© All Rights Reserved - you may not use this image in any form without my prior permission.
Rowan features Alita sculpt and 4.1 Beauty Bust body in Latte resin.
The fashion is by L'Atelier de Paris. Rowan's boots are by Ursi Sarna. Cornrow hard cap wig by me.
The 3D wall elements of the diorama are by Julia Gartung and painted by me. Miniatures are Re-ment. The miniature cabinet is a Japanese antique and I collected the hardwood furniture when living in China in the past decade.
Winds bear down on the ocean to create surface currents, seen here swirling off the coast of Florida in this NASA-created image, a still capture from a 4-minute excerpt of "Dynamic Earth: Exploring Earth's Climate Engine," a fulldome, high-resolution movie playing at planetariums around the world.
The excerpt explores the fundamental power of the sun and how its energy drives the climate on Earth, and is made up entirely of new visualizations -- created by NASA Goddard's Scientific Visualization Studio -- that illustrate NASA satellite and model data of a coronal mass ejection from the sun, Earth's magnetic fields, and winds and ocean currents circulating around our planet.
To see the full, narrated excerpt, go to: youtu.be/ujBi9Ba8hqs
These visualizations were recently accepted to be shown at the SIGGRAPH 2012 computer animation conference. To read more about this, go to:
www.nasa.gov/topics/earth/features/dynamic-earth.html
The excerpt was also the basis for the 100th story released through the Scientific Visualization Studio's iPad app, called NASA Visualization Explorer. To see the app story in web form and to download the app, go to:
Reaching this thermal area requires some bushwhacking through the forest you see here. (We didn't go there.) Unusually for Yellowstone, it has no water features - just a lot of unusual gasses.
Soil scientists record the characteristics of the pedons, associated plant communities, geology, landforms, and other features that they study. They describe the kind and arrangement of soil horizons and their color, texture, size and shape of soil aggregates, kind and amount of rock fragments, distribution of plant roots, reaction, and other features that enable them to classify and identify soils. They describe plant species present (their combinations, productivity, and condition) to classify plant communities, correlate them to the soils with which they are typically associated, and predict their response to management and change.
The Icknuun soil series (a hydric soil) consists of very deep, very poorly drained soils that formed in organic material interlayered with thin strata of mineral material. Icknuun soils are in depressions on till plains. Slopes range from 0 to 3 percent.
Hydric soils are formed under conditions of saturation, flooding, or ponding long enough during the growing season to develop anaerobic conditions in the upper part (Federal Register, 1994). Most hydric soils exhibit characteristic morphologies that result from repeated periods of saturation or inundation that last more than a few days.
To download the latest version of "Field Indicators of Hydric Soils" and additional technical references, visit:
www.nrcs.usda.gov/wps/portal/nrcs/detail/soils/ref/?cid=s...
TAXONOMIC CLASS: Euic Fluvaquentic Cryohemists
USE AND VEGETATION: Wildlife habitat and recreation. The natural vegetation is mainly sedges, sphagnum moss, bog birch, Labrador tea, and other low-growing shrubs and forbs.
DISTRIBUTION AND EXTENT: Cook Inlet-Susitna Lowlands. The series is of small extent.
For a detailed description, visit:
soilseries.sc.egov.usda.gov/OSD_Docs/I/ICKNUUN.html
For geographic distribution, visit:
Musée Marmottan Monet features over three hundred Impressionist and Post-Impressionist paintings by Claude Monet, including his 1872 Impression, Sunrise.
Marmottan Museum's fame is the result of a donation in 1966 by Michel Monet, Claude's second son and only heir.
Camera: Canon EOS 1V
Film: Kodak Vision 2 500T
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From Wikipedia, the free encyclopedia
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Rencontres d'Arles
The Rencontres d’Arles (formerly called Rencontres internationales de la photographie d’Arles) is an annual summer photography festival founded in 1970 by the Arles photographer Lucien Clergue, the writer Michel Tournier and the historian Jean-Maurice Rouquette.
The Rencontres d’Arles has an international impact by showing material that has never been seen by the public before. In 2015, the festival welcomed 93,000 visitors.
The specially designed exhibitions, often organised in collaboration with French and foreign museums and institutions, take place in various historic sites. Some venues, such as 12th-century chapels or 19th-century industrial buildings, are open to the public throughout the festival.
The Rencontres d’Arles has revealed many photographers, confirming its significance as a springboard for photography and contemporary creativity.
In recent years the Rencontres d’Arles has invited many guest curators and entrusted some of its programming to such figures as Martin Parr in 2004, Raymond Depardon in 2006 and the Arles-born fashion designer Christian Lacroix.
Contents
1 Art directors
2 The festival
3 The Rencontres d'Arles award winners
4 Exhibitions
5 References
6 External links
Art directors
A photographer, Jean-Pierre Sudre, discussing his work, Rencontres d'Arles, 1975
1970 - 1972: Lucien Clergue, Michel Tournier, Jean-Maurice Rouquette
1973 - 1976: Lucien Clergue
1977: Bernard Perrine
1978: Jacques Manachem
1979 - 1982: Alain Desvergnes (fr)
1983 - 1985: Lucien Clergue
1986 - 1987: François Hébel
1988 - 1989: Claude Hudelot (fr)
1990: Agnès de Gouvion Saint-Cyr
1991 - 1993: Louis Mesplé (fr)
1994: Lucien Clergue
1995 - 1998, délégué général: Bernard Millet (fr)
1995, artistic director: Michel Nuridsany (fr)
1996, artistic director: Joan Fontcuberta
1997, artistic director: Christian Caujolle (fr)
1998, artistic director: Giovanna Calvenzi
1999 - 2001: Gilles Mora (fr)
2002 - 2014: François Hébel
Since 2015: Sam Stourdzé (fr)
The festival
A photography exhibition, Rencontres d'Arles, 2010
Events
Opening week at the Rencontres d’Arles features photography-focused events (projections at night, exhibition tours, panel discussions, symposia, parties, book signings, etc.) in the town’s historic venues, some of which are only open to the public during the festival. Memorable events in recent years include Europe Night (2008), an overview of European photography; Christian Lacroix’s fashion show for the festival’s closing (2008); and Patti Smith’s concert for the Vu agency’s 20th anniversary (2006).
Nights at the Roman Theatre
At night, work by a photographer or a photography expert is projected in the town’s open-air Roman theatre accompanied by concerts and performances. Each event is a one-off creation. In 2009, 8,500 people attended evenings at the Roman theatre, an average of 2,000 a night, and 2,500 were there on closing night, when the Tiger Lilies played during a projection of Nan Goldin’s “The Ballad of Sexual Dependency”. In 2013 over 6,000 people attended the nighttime photography projections, an average of approximately 1,000 each night.
The Night of the Year
The Night of the Year, which was created in 2006, allows visitors to walk around and see the festival’s favourite works by artists and photographers as well as carte blanche exhibitions by institutions.
Cosmos-Arles Books
Cosmos-Arles Books is a Rencontres d’Arles satellite event dedicated to new publishing practices.
Over the past 15 years large-scale photographic publications, self-published books, and ebooks have become essential media for experimentation by photographers and artists. They allow photography to be rediscovered as a means of expression and distribution, providing a rich terrain of expression for the art’s fundamentally hybrid forms.
Symposia and panel discussions
Photographers and professionals participating in symposia and panel discussions during opening week discuss their work or issues raised by the images on display. In recent years the themes included whether a black-and-white aesthetic is still conceivable in photography (2013); the impact of social networks on creativity and information (2011); breaking with past, a key idea for photography today (2009); photography commissions: freedom or constraint (2008); challenges and changes in the photography market (2007).
The Rencontres d’Arles awards
Since 2002 the Rencontres d’Arles awards have been an opportunity to discover new talents. In 2007 the number of annual awards was reduced to three, presented at the closing ceremony of the festival’s professional week: the Discovery Award (€25,000), Author’s Book Award (€8,000) and History Book Award (€8,000).
Luma Rencontres Dummy Book Award
In 2015 the Rencontres d’Arles offered an award to assist with the publication of a dummy book. Endowed with a €25,000 budget production budget, this new prize is open to all photographers and artists using photography who submit a dummy book that has never been published.
The winner’s book will be produced in autumn 2015 and be presented at the 2016 Rencontres d’Arles.
Photo Folio Review & Gallery
Since 2006 aspiring photographers have been able to submit their portfolios to international photography experts in various fields, including publishers, exhibition curators, heads of institutions, agency directors, gallery owners, collectors, critics and photo editors, for appraisal during the festival’s opening week. Photo Folio Review & Gallery offers them an opportunity to show their work throughout the festival.
Photography classes
The Rencontres d’Arles has always been a place where professional photographers and practitioners on every level have been able to meet each other and exchange ideas. Each year, photography class participants undertake a personal journey of creation through photography’s aesthetic, ethical and technological issues. Leading photographers such as Guy le Querrec, Antoine d’Agata, Martin Parr, René Burri and Joan Fontcuberta regularly teach at the Rencontres d’Arles.
Rentrée en Images
“Rentrée en Images” has been a key part of the festival’s educational activities since 2004. During the first two weeks in September, special mediators take students from the primary to graduate school level on guided tours of the exhibitions. Based on the festival’s programming, the event aims to introduce young people to the visual arts and fits in with a wider policy of cultural democratisation. “Rentrée en Images” reaches thousands of students, and for many of them it is their first exposure to contemporary art.
Budget
Public funding accounted for 40% of the 2015 festival’s €6.3-million budget, sales (mainly of tickets and derivative products), 40% and private partnerships, 20%[clarification needed][citation needed].
Executive Committee
Hubert Védrine, president
Hervé Schiavetti, vice-president
Jean-François Dubos, vice-president
Marin Karmitz, treasurer
Françoise Nyssen, secretary
Lucien Clergue, Jean-Maurice Rouquette, Michel Tournier, founding members
The Rencontres d'Arles award winners
2002
Jury: Denis Curti, Alberto Anault, Alice Rose George, Manfred Heiting, Erik Kessels, Claudine Maugendre, Val Williams
Discovery Award: Peter Granser
No Limit award: Jacqueline Hassink
Dialogue of the humanity award: Tom Wood
Photographer of the year award: Roger Ballen
Help to the project: Pascal Aimar, Chris Shaw
Author’s Book Award: Sibusiso Mbhele and His Fish Helicopter by Koto Bolofo (powerHouse Books, 2002)
Help to publishing: Une histoire sans nom by Anne-Lise Broyer
2003
Jury: Giovanna Calvenzi, Hou Hanru, Christine Macel, Anna Lisa Milella, Urs Stahel
Discovery Award: Zijah Gafic
No Limit award: Thomas Demand
Dialogue of the humanity award: Fazal Sheikh
Photographer of the year award: Anders Petersen
Help to the project: Jitka Hanzlova
Author’s Book Award: Hide That Can by Deirdre O’Callaghan (Trolley Books, 2002)
Help to publishing: A Personal Diary of Chinese Avant-Garde in the 1990s, China (1993-1998) by Xing Danwen
2004
Jury: Eikoh Hosoe, Joan Fontcuberta, Tod Papageorge, Elaine Constantine, Antoine d’Agata
Discovery Award: Yasu Suzuka
No Limit award: Jonathan de Villiers
Dialogue of the humanity award: Edward Burtynsky
Help to the project: John Stathatos
Author’s Book Award: Particulars by David Goldblatt (Goodman Gallery, 2003)
2005
Jury: Ute Eskildsen, Jean-Louis Froment, Michel Mallard, Kathy Ryan, Marta Gili
Discovery Award: Miroslav Tichy
No Limit award: Mathieu Bernard-Reymond
Dialogue of the humanity award: Simon Norfolk
Help to the project: Anna Malagrida
Author’s Book Award: Temporary Discomfort (Chapter I-V) by Jules Spinatsch (Lars Müller Publishers, 2005)
2006
Jury: Vincent Lavoie, Abdoulaye Konaté, Yto Barrada, Marc-Olivier Wahler, Alain d’Hooghe
Discovery Award: Alessandra Sanguinetti
No Limit award: Randa Mirza
Dialogue of the humanity award: Wang Qingsong
Help to the project: Walid Raad
Author’s Book Award: Form aus Licht und Schatten by Heinz Hajek-Halke (Steidl, 2005)
2007
[1]
Jury: Bice Curiger, Alain Fleischer, Johan Sjöström, Thomas Weski, Anne Wilkes Tucker
Discovery Award: Laura Henno
Author’s Book Award: Empty Bottles by WassinkLundgren (Thijs groot Wassink and Ruben Lundgren) (Veenman Publishers, 2007)
Historical Book Award: László Moholy-Nagy: Color in Transparency: Photographic Experiments in Color, 1934–1946 by Jeannine Fiedler (Steidl & Bauhaus-Archiv, 2006)
2008
[2]
Jury: Elisabeth Biondi, Luis Venegas, Nathalie Ours, Caroline Issa and Massoud Golsorkhi, Carla Sozzani
Discovery Award: Pieter Hugo
Author’s Book Award: Strange and Singular by Michael Abrams (Loosestrife, 2007)
Historical Book Award: Nein, Onkel: Snapshots from Another Front 1938–1945 by Ed Jones and Timothy Prus (Archive of Modern Conflict, 2007)
2009
[3]
Jury: Lucien Clergue, Bernard Perrine, Alain Desvergnes, Claude Hudelot, Agnès de Gouvion Saint-Cyr, Louis Mesplé, Bernard Millet, Michel Nuridsany, Joan Fontcuberta, Christian Caujolle, Giovanna Calvenzi, Martin Parr, Christian Lacroix, Arnaud Claass, Christian Milovanoff
Discovery Award: Rimaldas Viksraitis
Author’s Book Award: From Back Home by Anders Petersen and JH Engström (Bokförlaget Max Ström, 2009)
Historical Book Award: In History by Susan Meiselas (Steidl and International Center of Photography, 2008)
2010
[4] [5]
Discovery Award: Taryn Simon
LUMA award: Trisha Donnelly
Author’s Book Award: Photography 1965–74 by Yutaka Takanashi (Only Photograph, 2010)
Historical Book Award: Les livres de photographies japonais des années 1960 et 1970 by Ryuichi Kaneko and Ivan Vartanian (Seuil, 2009)
2011
[6] [7]
Discovery Award: Mikhael Subotzky and Patrick Waterhouse[8]
Author’s Book Award: A Living Man Declared Dead and Other Chapters by Taryn Simon (Mack, 2011)[8]
Historical Book Award: Works by Lewis Baltz (Steidl, 2010)[8]
2012
[9] [10] [11]
Discovery Award: Jonathan Torgovnik
Author’s Book Award: Redheaded Peckerwood by Christian Patterson (Mack, 2011)
Historical Book Award: Les livres de photographie d’Amérique latine by Horacio Fernández (Images en Manœuvres Éditions, 2011)
2013
Discovery Award: Yasmine Eid-Sabbagh and Rozenn Quéré
Author’s Book Award: Anticorps by Antoine d’Agata (Xavier Barral & Le Bal[disambiguation needed], 2013)[12]
Historical Book Award: AOI [COD.19.1.1.43] – A27 [S | COD.23 by Rosângela Rennó (Self-published, 2013)
2014
Discovery Award: Zhang Kechun
Author’s Book Award: Hidden Islam by Nicolo Degiorgis (Rorhof, 2014)
Historical Book Award: Paris mortel retouché by Johan van der Keuken (Van Zoetendaal Publishers, 2013)
2015
Discovery Award: Pauline Fargue
Author’s Book Award: H. said he loved us by Tommaso Tanini (Discipula Editions, 2014)
Historical Book Award: Monograph Vitas Luckus. Works & Biography by Margarita Matulytė and Tatjana Luckiene-Aldag (Kaunas Photography Gallery and Lithuanian Art Museum, 2014)
Dummy Book Award: The Jungle Book by Yann Gross
Photo Folio Review: Piero Martinelo (winner); Charlotte Abramow, Martin Essi, Elin Høyland, Laurent Kronenthal (special mentions)
2016
Discovery Award: Sarah Waiswa
Author’s Book Award: Taking Off. Henry My Neighbor by Mariken Wessels (Art Paper Editions, 2015)
Historical Book Award: (in matters of) Karl by Annette Behrens (Fw: Books, 2015)
Photo-Text Award: Negative Publicity: Artefacts of Extraordinary Rendition by Edmund Clark and Crofton Black (Aperture, 2015)
Dummy Book Award: You and Me: A project between Bosnia, Germany and the US by Katja Stuke and Oliver Sieber
Photo Folio Review: David Fathi (winner); Sonja Hamad, Eric Leleu, Karolina Paatos, Maija Tammi (special mentions)
2017
[13]
Discovery Award: Carlos Ayesta and Guillaume Bression
Author's Book Award: Ville de Calais by Henk Wildschut (self-published, 2017)
Special Mention for Author's Book Award: Gaza Works by Kent Klich (Koenig, 2017)
Historical Book Award: Latif Al Ani by Latif Al Ani (Hannibal Publishing, 2017)
Photo-Text Award: The Movement of Clouds around Mount Fuji by Masanao Abe and Helmut Völter (Spector Books, 2016)
Dummy Book Award: Grozny: Nine Cities by Olga Kravets, Maria Morina, and Oksana Yushko
Photo Folio Review: Aurore Valade (winner); Haley Morris Cafiero, Alexandra Lethbridge, Charlotte Abramow, Catherine Leutenegger (special mentions)
Exhibitions
1970
Gjon Mili, Edward Weston, ...
1971
Pedro Luis Raota, Charles Vaucher, Olivier Gagliani, Steve Soltar, Judy Dater, Jack Welpott, Gordon Bennett, John Weir, Linda Connor, Neal White, Jean-Claude Gautrand, Jean Rouet, Pierre Riehl, Roger Doloy, Georges Guilpin, Alain Perceval, Jean-Louis Viel, Jean-Luc Tartarin, Frédéric Barzilay, Jean-Claude Bernath, André Recoules, Etienne-Bertrand Weill, Rodolphe Proverbio, Jean Dieuzaide, Paul Caponigro, Jerry Uelsmann, Heinz Hajek-Halke, Rinaldo Prieri, Jean-Pierre Sudre, Denis Brihat, …
1972
Hiro, Lucien Clergue, Eugène Atget, Bruce Davidson, …
1973
Imogen Cunningham, Linda Connor, Judy Dater, Allan Porter, Paul Strand, Edward S. Curtis, …
1974
Brassaï, Ansel Adams, Georges A. Tice, …
1975
Agence Viva, André Kertész, Yousuf Karsh, Robert Doisneau, Lucien Clergue, Jean Dieuzaide, Ralph Gibson, Charles Harbutt, Tania Kaleya, Eva Rubinstein, Michel Saint Jean, Kishin Shinoyama, Hélène Théret, Georges Tourdjman, …
1976
Ernst Haas, Bill Brandt, Man Ray, Marc Riboud, Agence Magnum, Eikō Hosoe, Judy Dater, Jack Welpott, Doug Stewart, Duane Michals, Leslie Krims, Bob Mazzer, Horner, S. Sykes, David Hurn, Mary Ellen Mark, René Groebli, Guy Le Querrec, …
1977
Will Mac Bride, Paul Caponigro, Neal Slavin, Max Waldman, Dennis Stock, Josef Sudek, Harry Callahan, R. Benvenisti, P. Carroll, William Christenberry, S. Ciccone, W. Eggleston, R. Embrey, B. Evans, R. Gibson, D. Grégory, F. Horvat, W. Krupsan, W. Larson, U. Mark, J. Meyerowitz, S. Shore, N. Slavin, L. Sloan-Théodore, J. Sternfeld, R. Wol, …
1978
Lisette Model, Izis, William Klein, Hervé Gloaguen, Yan Le Goff, Serge Gal, Marc Tulane, Lionel Jullian, Alain Gualina, …
1979
David Burnett, Mary Ellen Mark, Jean-Pierre Laffont, Abbas, Pedro Meyer, Yves Jeanmougin, Manuel Alvarez Bravo, …
1980
Willy Ronis, Arnold Newman, Jay Maisel, Christian Vogt, Ben Fernandez, Julia Pirotte, …
1981
Guy Bourdin, Steve Hiett, Sarah Moon and Dan Weeks, Art Kane, Cheyco Leidman, André Martin, François Kollar, …
1982
Willy Zielke, Henri Cartier-Bresson, Alexey Brodovitch, Robert Frank, William Klein, Max Pam, Bernard Plossu, …
1983
Robert Rauschenberg, Bruce Davidson, …
1984
Jean Dieuzaide, Marilyn Bridges, Mario Giacomelli, Augusto De Luca, Joyce Tenneson, Luigi Ghirri, Albato Guatti, Mario Samarughi, Arman, Raoul Ubac, …
1985
David Hockney, Fritz Gruber, Franco Fontana, Milton Rogovin, Gilles Peress, Jane Evelyn Atwood, Eugene Richards, Sebastião Salgado, Robert Capa, Lucien Hervé, …
1986
Collection Graham Nash, Annie Leibovitz, Sebastião Salgado, Martin Parr, Robert Doisneau, Paulo Nozolino, Ugo Mulas, Bruce Gilden, Georges Rousse, Peter Knapp, Max Pam, Miguel Rio Branco, Michelle Debat, Andy Summers, Baron Wolman. …
1987
Brian Griffin, Dominique Issermann, Nan Goldin, Max Vadukul, Gabriele Basilico, Paul Graham, Thomas Florschuetz, Gianni Berengo Gardin, … Autres invités des Rencontres 88: Hans Namuth, Jean-Marc Tingaud, Mary Ellen Mark, Charles Camberoque, Martine Voyeux, Marie-Paule Nègre, Xavier Lambours, Patrick Zachmann, Jean-Marie Del Moral, Nittin Vadukul, Jean Larivière, Bruce Weber, Germaine Krull, Jean-Paul Goude, Jean-Louis Boissier, Sandra Petrillo, Daniel Schwartz, Laurent Septier, Jean-Marc Zaorski, Bernard Descamps, Marc Garanger, Yan Layma, Michel Delaborde, Michel Semeniako, Françoise Huguier, Paolo Calia, Deborah Turbeville, Gundunla Schulze. Ainsi que Henri Alekan, Arielle Dombasle, Jacques Séguéla, Roland Topor, Serge July, Lucinda Childs, invited to comment on their private screening at parties in Roman Theatre, where Christian Lacroix organised a show.
1988
La danse, la Chine, la pub. Chinese photography is presented for the first time abroad as a major exhibition with 40 Chinese photographers, including Wu Yinxian, Zhang Hai-er, Chen Baosheng, Ling Fei, Xia Yonglie, curated by Karl Kugel, co-director of the film China: Inner views / Chine: vues intérieures, released at the opening of the festival. Most major photographers who have covered this country are also present either in the exhibition of Magnum Photos, curated by François Hébel, either in solo exhibitions, such as Marc Riboud ou de Jeanloup Sieff.
1989
Arles fête ses vingt ans (1969-1989); with Lucien Clergue, Lee Friedlander, Cristina García Rodero, John Demos, Philippe Bazin, George Hashigushi, Eduardo Masférré, Hervé Gloaguen, Elizabeth Sunday, Pierre de Vallombreuse, Robert Frank's The lines of My Hand (commissioned by Charles-Henri Favrod); in honour of Pierre de Fenoÿl; Julio Mitchel, Roland Schneider, Rafael Vargas, John Phillips, Annette Messager, Christian Boltanski, la collection Bonnemaison, Javier Vallhonrat, Thierry Girard, Dennis Hopper. Exhibition Ils annoncent la couleur with Stéphane Sednaoui, Jean-Baptiste Mondino, Max Vadukul, Nick Night, Nigel Shafran, Tony Viramontes, Cindy Palmano; commissioned by Marc Vascoli. Exposition et soirée Deep South with Robert Frank, Bruce Davidson, Duane Michals, Gordon Parks, Alain Desvergnes, Gilles Mora, Paul Kwilecki, William Christenberry, William Eggleston, Marylin Futtermann, Debbie Fleming Caffery, Fern Koch, Jay Leviton, Eudora Welty; commissioned by Gilles Mora.
1990
Volker Hinz, Erasmus Schröter, Stéphane Duroy, Raymond Depardon, Frédéric Brenner, Drtikol, Saudek, …
1991
Tina Modotti, Edward Weston, Graciela Iturbide, Martín Chambi, Sergio Larrain, Sebastião Salgado, Juan Rulfo, Miguel Rio Branco, Eric Poitevin, Alberto Schommer, …
1992
Don McCullin, Dieter Appelt, Béatrix Von Conta, Denise Colomb, José Ortiz-Echagüe, Wout Berger, Thibaut Cuisset, Knut W. Maron, John Statathos, …
1993
Richard Avedon, Larry Fink, Ernest Pignon-Ernest, Cecil Beaton, Raymonde April, Koji Inove, Louis Jammes, Eiichiro Sakata, …
1994
Andres Serrano, Roger Pic, Marc Riboud, Bogdan Konopka, Sarah Moon, Pierre et Gilles, Marie-Paule Nègre, Edward Steichen and Josef Sudek, Robert Doisneau, André Kertész, …
1995
Alain Fleischer, Roger Ballen, Noda, Toyoura, Slocombe, Nam June Paik, France Bourély. …
1996
Ralph Eugene Meatyard, William Wegman, Grete Stern, Paolo Gioli, Nancy Burson, John Stathatos, Sophie Calle, Luigi Ghirri, Pierre Cordier, …
1997
Collection Marion Lambert, Eugene Richards, Mathieu Pernot, Aziz + Cucher, Jochen Gerz, Antoni Muntadas, Ricard Terré, …
1998
David LaChapelle, Herbert Spring, Mike Disfarmer, Francesca Woodman, Federico Patellani, Massimo Vitali, Dieter Appelt, Samuel Fosso, Urs Lu.thi, Pierre Molinier, Yasumasa Morimura, Roman Opalka, Cindy Sherman, Sophie Weibel, …
1999
Lee Friedlander, Walker Evans, …
2000
Tina Modotti, Jakob Tuggener, Peter Sakaer, Masahisa Fukase, Herbert Matter, Robert Heinecken, Jean-Michel Alberola, Tom Drahaos, Willy Ronis, Frederick Sommer, Lucien Clergue, Sophie Calle, …
2001
Luc Delahaye, Patrick Tosani, Stéphane Couturier, David Rosenfeld, James Casebere, Peter Lindbergh, …
2002
Guillaume Herbaut, Baader Meinhof, Astrid Proll, Josef Koudelka, Gabriele Basilico, Rineke Dijkstra, Lise Sarfati, Jochen Gerz, Collection Ordoñez Falcon, Larry Sultan, Alex Mac Lean, Alastair Thain, Raeda Saadeh, Zineb Sedira, Serguei Tchilikov, Jem Southam, Alexey Titarenko, Andreas Magdanz, Sophie Ristelhueber, …
2003
Collection Claude Berri, Lin Tianmiao & Wang Gongxin, Xin Danwen, Gao Bo, Shao Yinong & Mu Chen, Hong Li, Hai Bo, Chen Lingyang, Ma Liuming, Hong Hao, Naoya Hatakeyama, Roman Opalka, Jean-Pierre Sudre, Suzanne Lafont, Corinne Mercadier, Adam Bartos, Marie Le Mounier, Yves Chaudouët, Galerie VU, Harry Gruyaert, Vincenzo Castella, Alain Willaume, François Halard, Donovan Wylie, Jérôme Brézillon & Nicolas Guiraud, Jean-Daniel Berclaz, Monique Deregibus, Youssef Nabil, Tina Barney, …
2004
Dayanita Singh, Les archives du ghetto de Lodz, Stephen Gill, Oleg Kulik, Arsen Savadov, Keith Arnatt, Raphaël Dallaporta, Taiji Matsue, Tony Ray-Jones, Osamu Kanemura, Kawauchi Rinko, Chris Killip, Chris Shaw, Kimura Ihei, Neeta Madahar, Frank Breuer, Hans van der Meer, James Mollison, Chris Killip, Mathieu Pernot, Paul Shambroom, Katy Grannan, Lucien Clergue, AES + F, György Lörinczy, …
2005
Collection William M. Hunt, Miguel Rio Branco, Thomas Dworzak, Alex Majoli, Paolo Pellegrin, Ilkka Uimonen, Barry Frydlender, David Tartakover, Michal Heiman, Denis Rouvre, Denis Darzacq, David Balicki, Joan Fontcuberta, Christer Strömholm, Keld Helmer-Petersen, …
2006
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
2007
The 60th year of Magnum Photos, Pannonica de Koenigswarter, Le Studio Zuber, Collections d’Albums Indiens de la Collection Alkazi, Alberto Garcia-Alix, Raghu Rai, Dayanita Singh, Nony Singh, Sunil Gupta, Anay Mann, Pablo Bartholomew Bharat Sikka, Jeetin Sharma, Siya Singh, Huang Rui, Gao Brothers, RongRong & inri, Liu Bolin, JR, …
2008
Richard Avedon, Grégoire Alexandre, Joël Bartoloméo, Achinto Bhadra, Jean-Christian Bourcart, Samuel Fosso, Charles Fréger, Pierre Gonnord, Françoise Huguier, Grégoire Korganow, Peter Lindbergh, Guido Mocafico, Henri Roger, Paolo Roversi, Joachim Schmid, Nigel Shafran,[14] Georges Tony Stoll, Patrick Swirc, Tim Walker, Vanessa Winship, …
2009
Robert Delpire, Willy Ronis, Jean-Claude Lemagny, Lucien Clergue, Elger Esser, Roni Horn, Duane Michals, Nan Goldin (invitée d'honneur), Brian Griffin, Naoya Hatakeyama, JH Engström, David Armstrong, Eugene Richards[15] (The Blue Room), Martin Parr, Paolo Nozolino, …[16]
2010
Robert Mapplethorpe[17] Lea Golda Holterman[18]
2011
Chris Marker, photos du New York Times, Robert Capa, Wang Qingsong, Dulce Pinzon, JR, ...
2012
Les 30 ans de l'ENSP, Josef Koudelka, Amos Gitai, Klavdij Sluban & Laurent Tixador, Arnaud Claass,[19] Grégoire Alexandre, Édouard Beau, Jean-Christophe Béchet, Olivier Cablat, Sébastien Calvet, Monique Deregibus & Arno Gisinger, Vincent Fournier, Marina Gadonneix, Valérie Jouve, Sunghee Lee, Isabelle Le Minh, Mireille Loup, Alexandre Maubert, Mehdi Meddaci, Collection Jan Mulder, Alain Desvergnes,[20] Olivier Metzger, Joséphine Michel, Erwan Morère, Tadashi Ono, Bruno Serralongue, Dorothée Smith, Bertrand Stofleth & Geoffroy Mathieu, Pétur Thomsen, Jean-Louis Tornato, Aurore Valade, Christian Milovanoff,[21]
2013
Hiroshi Sugimoto, Sergio Larrain, Guy Bourdin, Alfredo Jaar,[22] John Stezaker,[23] Wolfgang Tillmans,[24] Viviane Sassen,[25] Jean-Michel Fauquet, Arno Rafael Minkkinen, Miguel Angel Rojas, Pieter Hugo,[26] Michel Vanden Eeckhoudt, Xavier Barral,[27] John Davis, Antoine Gonin,[28] Thabiso Sekgala, Philippe Chancel, Raphaël Dallaporta, Alain Willaume, Cedric Nunn, Santu Mofokeng, Harry Gruyaert, Jo Ractliffe, Zanele Muholi, Patrick Tourneboeuf, Thibaut Cuisset, Antoine Cairns, Jean-Louis Courtinat, Christina de Middel, Stéphane Couturier, Frédéric Nauczyciel, Jacques Henri Lartigue, Pierre Jamet, Raynal Pellicer, Studio Fouad, Erik Kessels.
2014
Lucien Clergue, Christian Lacroix, Raymond Depardon, Léon Gimpel, David Bailey, Vik Muniz, Patrick Swirc, Denis Rouvre, Vincent Pérez, Chema Madoz, Élise Mazac, Robert Drowilal, Anouck Durand, Refik Vesei, Pleurat Sulo, Katjusha Kumi,Ilit Azoulay, Katharina Gaenssler, Miguel Mitlag, Victor Robledo, Youngsoo Han, Kechun Zhang, Pieter Ten Hoopen, Will Steacy, Kudzanai Chiurai, Patrick Willocq, Ciril Jazbec, Milou Abel, Sema Bekirovic, Melanie Bonajo, Hans de Vries, Hans Eijkelboom, Erik Fens, Jos Houweling, Hans van der Meer, Maurice van Es, Benoît Aquin, Luc Delahaye, Mitch Epstein, Nadav Kander.
2015
Walker Evans, Stephen Shore, Robert Venturi, Denise Scott Brown, Toon Michiels, Olivier Cablat, Markus Brunetti, Paul Ronald, Sandro Miller, Eikoh Hosoe, Masahisa Fukase, Daido Moriyama, Masatoshi Naito, Issei Suda, Kou Inose, Sakiko Nomura, Daisuke Yokota, Martin Gusinde, Paolo Woods, Gabriele Galimberti, Natasha Caruana, Alex Majoli, Paolo Pellegrin, Ambroise Tézenas, Thierry Bouët, Anna Orlowska, Vlad Krasnoshchok, Sergiy Lebedynskyy, Vadym Trykoz, Lisa Barnard, Robert Zhao Renhui, Pauline Fargue, Julián Barón, Delphine Chanet, Omar Victor Diop, Paola Pasquaretta, Niccolò Benetton, Simone Santilli, Dorothée Smith, Rebecca Topakian, Denis Darzacq, Swen Renault, Paolo Woods, Elsa Leydier, Alice Wielinga, Cloé Vignaud, Louis Matton, Swen Renault et Pablo Mendez.
References
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_214_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_213_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_212_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_211_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_3_VFo...
O'Hagan, Sean (11 July 2011). "Tower blocks and tomes dominate the Rencontres d'Arles". The Guardian. Retrieved 17 November 2014.
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
www.rencontres-arles.com/C.aspx?VP3=CMS3&VF=ARL_709_V...
O'Hagan, Sean (9 July 2012). "Torgovnik's powerful portraits from Rwanda take top prize at Arles". London: The Guardian. Retrieved 2 February 2015.
O'Hagan, Sean (8 July 2013). "Lost and found: Discovery award winners at Recontres d'Arles 2013". The Guardian. Retrieved 25 October 2015.
"2017 Book Awards". Rencontres d'Arles. 4 July 2017. Retrieved 7 July 2017.
"Exhibitions". Rencontres d'Arles. Retrieved 26 August 2016.
"Exhibitions: Eugene Richards: The Blue Room". Rencontres d'Arles. Retrieved 26 June 2015.
"Rencontres d’Arles 2009 Photography", Rencontres d'Arles. Accessed 3 December 2014.
Présentation de Robert Mapplethorpe sur le site rencontres-arles.com
"Lea Golda Holterman, Orthodox Eros". Retrieved 24 August 2016.
Arles 2012: Arnaud Claass sur La Lettre de la Photographie.com
Arles 2012: Alain Desvergnes sur La Lettre de la Photographie.com
Signe des temps: Arles 2012, un festival courageux (Photographie.com)
Fiche d'Alfredo Jaar sur rencontres-arles.com
Fiche de John Stezaker sur rencontres-arles.com
Fiche de Wolfgang Tillmans sur rencontres-arles.com
Fiche de Viviane Sassen sur rencontres-arles.com
Fiche de Pieter Hugo sur rencontres-arles.com
Fiche de Xavier Barral sur rencontres-arles.com
Fiche de Antoine Gonin sur rencontres-arles.com
*Features:
- 100% Mesh structure
- 100% seamlessly tillable, several buildings next to each other - sideways
- 100% original mesh and design made by myself
- Fully rendered textures with light and shadows for a realistic effect
- Exterior textures come with NORMAL MAPS.
- Contains 7 Template Textures with full perms (see details below). These textures are for personal use only and can't be shared.
Floor.
Ceiling.
Wall right side (Interior).
Wall left side (Interior).
Wall Middle (Interior).
Awning cloth (Both sides).
- The prefabs buildings come in four different exterior textures which are sold separately and also as a Fatpack.
Each pack contains six different building shapes.
See details bellow:
Size 11x11x10
Prim count 14
Size 11x11x15
Prim count 14
Size 11x11x20
Prim count 16
Size 11x11x10 With Awning
Prim count 20
Size 11x11x15 With Awning
Prim count 20
Size 11x11x20 With Awning
Prim count 22
- Footprint: 11x11 Without Awning
- Footprint: 11x14 With Awning
- Minimum Parcel Size Required: 512sq. meters
- Permissions
Copy / Modify / No Transfer
maps.secondlife.com/secondlife/Antares/138/96/2003
marketplace.secondlife.com/p/The-Village-Shops-Fatpack-Bo...
Features:
-Custom painted Brick Affliction SCA Armor set.
-Custom sculpted pants pockets, knee pads, gloves, vambraces, and armored sleeves (done by me.)
I've been working on this guy on and off for a couple months now and finaly finished him! :)
Andrew (pecovam) put so much detail into these pieces and it was so much fun painting them! :D
I really like how this guy turned out and I hope you guys do too. :) (as usual, it looks sooooo much better in person :P)
Enjoy!
-John