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La Farmacia La Estrella forma parte de la historia nacional. Fue el Dr. Bernardino Rivadavia el creador de esta primera botica de la ciudad de Buenos Aires, cuando en 1834 encargó a un importante bioquímico y botánico la dirección de la misma. Con el tiempo, y ya bajo otro dominio, se sumó la droguería a la farmacia, llegando a convertirse en la más importante de Sudamérica. Fue en 1885 cuando la farmacia La Estrella inauguró este edificio con una decoración que impactaba por su valor artístico y detalles de gran nivel: cristales de murano, estanterías de nogal, mármol de carrara, y los frescos en los cielorrasos del artesano Barberis que se destacan por los simbolismos que aluden a “la salud”, “la enfermedad” y “la farmacopea”. Su fachada ostentan una herrería original en sus puertas y una cargada ornamentación, en la que tres angelitos parecen dejarse caer hacia la nada. La Estrella tuvo su fama bien ganada gracias a la oferta de prestigiosos productos originales, que aún son recordados con nostalgia: la limonada Roge, el tónico esperidina, y las píldoras para la tos Parodi, entre tantos otros. Además de su actividad comercial, en sus salones se realizaron importantes tertulias por donde pasaron las figuras más destacadas del ámbito político como Carlos Pelligrini, Julio A. Roca, y Bartolomé Mitre, entre otros. Es el comercio más antiguo de la Ciudad de Buenos Aires, que aún conserva su estilo y sus detalles originales de gran valor estético, gracias a lo cual ha merecido numerosos premios y reconocimientos. Hoy sigue prestando servicios de laboratorio Homeopático y Alopático de recetas magistrales, y ofrece importantes productos de herbonistería y perfumería.
ubicación: Defensa 201, Monserrat, Buenos Aires
fuente: info.todobuenosaires.com/descripcion/descripcion_lugar.ph...
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The form of this flower is remarkable! The spathe is a pure waxy white and enfolds a spiky white spadix held in place by a shiny, brilliant green stem. The flowers last for months, yellowing a bit but still remaining beautiful.
The genus Spathiphyllum is found on the forest floor in rain forests of tropical America. This explains its ability to cope with poor lighting and makes it a popular home and office plant. Here is South Florida it is used extensively in landscaping, adding a lovely flash of pure white wherever it grows.
You may also know it as Peace Lily.
Spathiphyllum, Peace Lily, Chinese Evergreen, Aglaonema, Aroid
Biscayne Park FL
The Eastern Ore Mountains form a natural region, that covers the eastern part of the Saxon Ore Mountains. It is part of the major landscape unit, the Saxon Highlands and Uplands. Its southern continuation covers an area of roughly the same extent in the Czech Republic.
The Eastern Ore Mountains is bounded in the west by the valley of the river Flöha and in the east by Saxon Switzerland, the German side of the Elbe Sandstone Mountains. The boundary with the Ore Mountain Foreland to the north is rather unclear, whilst in the south the crest of the mountain range closely follows the state border with the Czech Republic.
Das Osterzgebirge ist als Ostteil (flächenmäßig annähernd die Osthälfte) des sächsischen Erzgebirges ein Naturraum in Sachsen und Teil der Übereinheit Sächsisches Bergland und Mittelgebirge. Seine südliche Fortsetzung nimmt etwa gleich große Anteile Tschechiens ein.
Das Osterzgebirge wird im Westen vom Tal des Flusses Flöha und im Osten von der Sächsischen Schweiz, der deutschen, also der nördlichen Seite des Elbsandsteingebirges, begrenzt. Die Grenze zum Erzgebirgsvorland ist eher unscharf, während im Süden die Kammlinie annähernd mit der Staatsgrenze zu Tschechien zusammenfällt.
Mixed marine bivalve shells.
Top large shell: most likely Turkey Wing Ark / Zebra Ark Clam — Arca zebra, or a closely related ark shell. The long, wing-like form, dark reddish-brown patterning, and strong radiating rib sculpture fit Arca zebra. This species is described as a brown-and-white “turkey wing” patterned ark clam with 20–30 irregular radial ribs and fine concentric lines.
Lower smaller shells: most likely Coquina clams / Variable coquinas — Donax variabilis or closely related Donax species. The small wedge-shaped valves, smooth glossy surfaces, and pastel bands of white, blue, lavender, yellow, pink, and orange are typical of coquinas. Sources describe Donax variabilis as small, triangular or wedge-shaped, often 15–25 mm, with highly variable color bands.
Confidence
Coquina shells: high, assuming these are small beach-collected shells roughly under 1 inch.
Large ark shell: medium. It is clearly an ark-type bivalve shell, but a precise species ID is harder from this single exterior view. A close look-alike is Mossy Ark — Arca imbricata. The Bailey-Matthews National Shell Museum notes that Turkey Wing has stronger contrast and thinner raised radial lines, while Mossy Ark has less distinct patterning and flatter, broader ribs. Your shell leans toward Turkey Wing Ark, but the worn surface and partial view keep it from being certain.
Description
The image shows a shell arrangement on a black textured surface. The upper shell dominates the composition: elongated, heavy-looking, rust-brown to orange, with a rough ribbed surface and pale cream patches. Its texture is much coarser than the smaller shells below it.
The lower group consists of several polished, single bivalve valves. They are mostly white or pale cream with translucent-looking color bands: powder blue, lavender, mauve, yellow-green, orange, and faint pink. The shells have fine concentric growth lines and a smooth, porcelain-like finish.
Discussion
This is a useful comparison between two shell types:
Ark shell: heavier, rougher, more sculptural. Ark clams usually live attached to hard surfaces such as rocks, shells, or coral rubble by byssal threads rather than freely burrowing in sand. The rugged exterior reflects that harder-substrate life.
Coquina shells: lighter, smoother, and more streamlined. Coquinas live in wave-washed sandy beaches, where their wedge shape helps them burrow quickly in shifting sand. Their coloration is highly variable, which is why groups of coquina shells often look like small natural color studies.
Visually, the strongest feature is the contrast: one large dark, rough, ribbed shell above several smaller smooth pastel shells. The black background intensifies the blues, lavenders, oranges, and whites.
“These 'forms' were the subject of much banter between them. The one which Augusta called 'the bust' stood in the darkest corner of the room, upon a high wooden chest in which blankets and winter wraps were yearly stored. It was a headless, armless female torso, covered with strong black cotton, and so richly developed in the part for which it was named that the Professor once explained to Augusta how, in calling it so, she followed a natural law of language, termed, for convenience, metonymy. Augusta enjoyed the Professor when he was risque since she was sure of his ultimate delicacy. Though this figure looked so ample and billowy (as if you might lay your head upon its deep-breathing softness and rest safe forever), if you touched it you suffered a severe shock, no matter how many times you had touched it before. It presented the most unsympathetic surface imaginable. Its hardness was not that of wood, which responds to concussion with living vibration and is stimulating to the hand, nor that of felt, which drinks something from the fingers. It was a dead, opaque, lumpy solidity, like chunks of putty, or tightly packed sawdust — very disappointing to the tactile sense, yet somehow always fooling you again. For no matter how often you had bumped up against that torso, you could never believe that contact with it would be as bad as it was.”
(The Professor's House, Willa Cather)
Se recomienda ampliar. It is recommended to expand.
Formas. Pintadas por el Sol y el mar sobre las piedras de la playa, al atardecer.
Heliopsis scabra, is known also as "Summer sun"
Easily grown in average, dry to medium, well-drained soil in full sun. Tolerates drought, but does better if regularly watered. Tolerates wide range of soils, including poor ones. Tolerates some light shade, but plants grown in too much shade tend to require support. Remove spent flowers to extend the blooming season. This cultivar comes true from seed.
Noteworthy Characteristics
This oxeye cultivar is a compact, clump-forming, upright perennial which typically grows 2-3' tall. Features single to double, daisy-like flowers (2-3" diameter) with golden yellow rays and deep orange-yellow center disks atop stiff stems that seldom need staking. Noted for its lengthy summer to early fall bloom period. Coarse, serrate, ovate to lanceolate, deep green foliage. Heliopsis is both similar in appearance to and closely related to Helianthus, the true sunflower. Good fresh cut flower.
The gym at Allévägen in Tungelsta. Fitness is our new religion. Day 7 in my project 100 Days Of Darkness.
Una terna formata dalle motrici ATM 533 e 534 con intercalato il rimorchio 502 sosta al capolinea di Comasina M3 prima di partire per Limbiate Ospedale.
La tramvia per Limbiate è l'ultima interurbana ancora in servizio nell'area metropolitana di Milano.
Milano Comasina M3
27/09/2016
Foto di Andrea De Berti
The Louvre, is the world's most-visited museum, and a historic landmark in Paris, France. It is the home of some of the best-known works of art, including the Mona Lisa and the Venus de Milo. A central landmark of the city, it is located on the Right Bank of the Seine in the city's 1st arrondissement (district or ward). Approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square meters. , Attendance in 2021 was 2.8 million, the lowest since 1986, due to the COVID-19 pandemic. The museum was closed for 150 days in 2020, and attendance plunged by 72 percent to 2.7 million. Nonetheless, the Louvre still topped the list of most-visited art museums in the world in 2020.
The museum is housed in the Louvre Palace, originally built in the late 12th to 13th century under Philip II. Remnants of the Medieval Louvre fortress are visible in the basement of the museum. Due to urban expansion, the fortress eventually lost its defensive function, and in 1546 Francis I converted it into the primary residence of the French Kings. The building was extended many times to form the present Louvre Palace. In 1682, Louis XIV chose the Palace of Versailles for his household, leaving the Louvre primarily as a place to display the royal collection, including, from 1692, a collection of ancient Greek and Roman sculpture. In 1692, the building was occupied by the Académie des Inscriptions et Belles-Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years. During the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nation's masterpieces.
The museum opened on 10 August 1793 with an exhibition of 537 paintings, the majority of the works being royal and confiscated church property. Because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum was renamed Musée Napoléon, but after Napoleon's abdication, many works seized by his armies were returned to their original owners. The collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic. The collection is divided among eight curatorial departments: Egyptian Antiquities; Near Eastern Antiquities; Greek, Etruscan, and Roman Antiquities; Islamic Art; Sculpture; Decorative Arts; Paintings; Prints and Drawings.
The Musée du Louvre contains more than 380,000 objects and displays 35,000 works of art in eight curatorial departments with more than 60,600 square metres dedicated to the permanent collection. The Louvre exhibits sculptures, objets d'art, paintings, drawings, and archaeological finds.
The Louvre Palace, which houses the museum, was begun by King Philip II in the late 12th century to protect the city from the attack from the West, as the Kingdom of England still held Normandy at the time. Remnants of the Medieval Louvre are still visible in the crypt. Whether this was the first building on that spot is not known, and it is possible that Philip modified an existing tower.
The origins of the name "Louvre" are somewhat disputed. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den (via Latin: lupus, lower Empire: lupara). In the 7th century, Burgundofara (also known as Saint Fare), abbess in Meaux, is said to have gifted part of her "Villa called Luvra situated in the region of Paris" to a monastery, even though it is doubtful that this land corresponded exactly to the present site of the Louvre.
The Louvre Palace changed a lot over the centuries. In the 14th century, Charles V converted the building from its military role into a residence. In 1546, Francis I started its rebuilding in French Renaissance style. After Louis XIV chose Versailles as his residence in 1682, construction works slowed to a halt. The royal move away from Paris resulted in the Louvre being used as a residence for artists, under Royal patronage.
Meanwhile, the collections of the Louvre originated in the acquisitions of paintings and other artworks by the monarchs of the House of France. Francis acquired what would become the nucleus of the Louvre's holdings, his acquisitions including Leonardo da Vinci's Mona Lisa. At the Palace of Fontainebleau, Francis collected art that would later be part of the Louvre's art collections, including Leonardo da Vinci's Mona Lisa.
The Cabinet du Roi consisted of seven rooms west of the Galerie d'Apollon on the upper floor of the remodeled Petite Galerie. Many of the king's paintings were placed in these rooms in 1673, when it became an art gallery, accessible to certain art lovers as a kind of museum. In 1681, after the court moved to Versailles, 26 of the paintings were transferred there, somewhat diminishing the collection, but it is mentioned in Paris guide books from 1684 on, and was shown to ambassadors from Siam in 1686.
By the mid-18th century there were an increasing number of proposals to create a public gallery in the Louvre. Art critic Étienne La Font de Saint-Yenne in 1747 published a call for a display of the royal collection. On 14 October 1750, Louis XV decided on a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. A hall was opened by Le Normant de Tournehem and the Marquis de Marigny for public viewing of the "king's paintings" (Tableaux du Roy) on Wednesdays and Saturdays. The Luxembourg gallery included Andrea del Sarto's Charity and works by Raphael; Titian; Veronese; Rembrandt; Poussin or Van Dyck. It closed in 1780 as a result of the royal gift of the Luxembourg palace to the Count of Provence (the future king, Louis XVIII) by the king in 1778. Under Louis XVI, the idea of a royal museum in the Louvre came closer to fruition. The comte d'Angiviller broadened the collection and in 1776 proposed to convert the Grande Galerie of the Louvre – which at that time contained the plans-reliefs or 3D models of key fortified sites in and around France – into the "French Museum". Many design proposals were offered for the Louvre's renovation into a museum, without a final decision being made on them. Hence the museum remained incomplete until the French Revolution.
The Louvre finally became a public museum during the French Revolution. In May 1791, the National Constituent Assembly declared that the Louvre would be "a place for bringing together monuments of all the sciences and arts". On 10 August 1792, Louis XVI was imprisoned and the royal collection in the Louvre became national property. Because of fear of vandalism or theft, on 19 August, the National Assembly pronounced the museum's preparation as urgent. In October, a committee to "preserve the national memory" began assembling the collection for display.
The museum opened on 10 August 1793, the first anniversary of the monarchy's demise, as Muséum central des arts de la République. The public was given free accessibility on three days per week, which was "perceived as a major accomplishment and was generally appreciated". The collection showcased 537 paintings and 184 objects of art. Three quarters were derived from the royal collections, the remainder from confiscated émigrés and Church property (biens nationaux). To expand and organize the collection, the Republic dedicated 100,000 livres per year. In 1794, France's revolutionary armies began bringing pieces from Northern Europe, augmented after the Treaty of Tolentino (1797) by works from the Vatican, such as the Laocoön and Apollo Belvedere, to establish the Louvre as a museum and as a "sign of popular sovereignty".
The early days were hectic. Privileged artists continued to live in residence, and the unlabeled paintings hung "frame to frame from floor to ceiling". The structure itself closed in May 1796 due to structural deficiencies. It reopened on 14 July 1801, arranged chronologically and with new lighting and columns. On 15 August 1797, the Galerie d'Apollon was opened with an exhibition of drawings. Meanwhile, the Louvre's gallery of Antiquity sculpture (musée des Antiques), with artefacts brought from Florence and the Vatican, had opened in November 1800 in Anne of Austria's former summer apartment, located on the ground floor just below the Galerie d'Apollon.
On 19 November 1802, Napoleon appointed Dominique Vivant Denon, a scholar and polymath who had participated in the Egyptian campaign of 1798–1801, as the museum's first director, in preference to alternative contenders such as antiquarian Ennio Quirino Visconti, painter Jacques-Louis David, sculptor Antonio Canova and architects Léon Dufourny or Pierre Fontaine. On Denon's suggestion in July 1803, the museum itself was renamed Musée Napoléon.
The collection grew through successful military campaigns. Acquisitions were made of Spanish, Austrian, Dutch, and Italian works, either as the result of war looting or formalized by treaties such as the Treaty of Tolentino. At the end of Napoleon's First Italian Campaign in 1797, the Treaty of Campo Formio was signed with Count Philipp von Cobenzl of the Austrian Monarchy. This treaty marked the completion of Napoleon's conquest of Italy and the end of the first phase of the French Revolutionary Wars. It compelled Italian cities to contribute pieces of art and heritage to Napoleon's "parades of spoils" through Paris before being put into the Louvre Museum. The Horses of Saint Mark, which had adorned the basilica of San Marco in Venice after the sack of Constantinople in 1204, were brought to Paris where they were placed atop Napoleon's Arc de Triomphe du Carrousel in 1797. Under the Treaty of Tolentino, the two statues of the Nile and Tiber were taken to Paris from the Vatican in 1797, and were both kept in the Louvre until 1815. (The Nile was later returned to Rome, where the Tiber has remained in the Louvre to this day.) The despoilment of Italian churches and palaces outraged the Italians and their artistic and cultural sensibilities.
After the French defeat at Waterloo, the looted works' former owners sought their return. The Louvre's administrator Denon was loath to comply in absence of a treaty of restitution. In response, foreign states sent emissaries to London to seek help, and many pieces were returned, though far from all. In 1815 Louis XVIII finally concluded agreements with the Austrian government for the keeping of works such as Veronese's Wedding at Cana which was exchanged for a large Le Brun or the repurchase of the Albani collection.
For most of the 19th century, from Napoleon's time to the Second Empire, the Louvre and other national museums were managed under the monarch's civil list and thus depended much on the ruler's personal involvement. Whereas the most iconic collection remained that of paintings in the Grande Galerie, a number of other initiatives mushroomed in the vast building, named as if they were separate museums even though they were generally managed under the same administrative umbrella. Correspondingly, the museum complex was often referred to in the plural ("les musées du Louvre") rather than singular.
During the Bourbon Restoration (1814–1830), Louis XVIII and Charles X added to the collections. The Greek and Roman sculpture gallery on the ground floor of the southwestern side of the Cour Carrée was completed on designs by Percier and Fontaine. In 1819 an exhibition of manufactured products was opened in the first floor of the Cour Carrée's southern wing and would stay there until the mid-1820s. Charles X in 1826 created the Musée Égyptien and in 1827 included it in his broader Musée Charles X, a new section of the museum complex located in a suite of lavishly decorated rooms on the first floor of the South Wing of the Cour Carrée. The Egyptian collection, initially curated by Jean-François Champollion, formed the basis for what is now the Louvre's Department of Egyptian Antiquities. It was formed from the purchased collections of Edmé-Antoine Durand, Henry Salt and the second collection of Bernardino Drovetti (the first one having been purchased by Victor Emmanuel I of Sardinia to form the core of the present Museo Egizio in Turin). The Restoration period also saw the opening in 1824 of the Galerie d'Angoulême, a section of largely French sculptures on the ground floor of the Northwestern side of the Cour Carrée, many of whose artefacts came from the Palace of Versailles and from Alexandre Lenoir's Musée des Monuments Français following its closure in 1816. Meanwhile, the French Navy created an exhibition of ship models in the Louvre in December 1827, initially named musée dauphin in honor of Dauphin Louis Antoine, building on an 18th-century initiative of Henri-Louis Duhamel du Monceau. This collection, renamed musée naval in 1833 and later to develop into the Musée national de la Marine, was initially located on the first floor of the Cour Carrée's North Wing, and in 1838 moved up one level to the 2nd-floor attic, where it remained for more than a century.
Following the July Revolution, King Louis Philippe focused his interest on the repurposing of the Palace of Versailles into a Museum of French History conceived as a project of national reconciliation, and the Louvre was kept in comparative neglect. Louis-Philippe did, however, sponsor the creation of the musée assyrien to host the monumental Assyrian sculpture works brought to Paris by Paul-Émile Botta, in the ground-floor gallery north of the eastern entrance of the Cour Carrée. The Assyrian Museum opened on 1 May 1847. Separately, Louis-Philippe had his Spanish gallery displayed in the Louvre from 7 January 1838, in five rooms on the first floor of the Cour Carrée's East (Colonnade) Wing, but the collection remained his personal property. As a consequence, the works were removed after Louis-Philippe was deposed in 1848, and were eventually auctioned away in 1853.
The short-lived Second Republic had more ambitions for the Louvre. It initiated repair work, the completion of the Galerie d'Apollon and of the salle des sept-cheminées, and the overhaul of the Salon Carré (former site of the iconic yearly Salon) and of the Grande Galerie. In 1848, the Naval Museum in the Cour Carrée's attic was brought under the common Louvre Museum management, a change which was again reversed in 1920. In 1850 under the leadership of curator Adrien de Longpérier, the musée mexicain opened within the Louvre as the first European museum dedicated to pre-Columbian art.
The rule of Napoleon III was transformational for the Louvre, both the building and the museum. In 1852, he created the Musée des Souverains in the Colonnade Wing, an ideological project aimed at buttressing his personal legitimacy. In 1861, he bought 11,835 artworks including 641 paintings, Greek gold and other antiquities of the Campana collection. For its display, he created another new section within the Louvre named Musée Napoléon III, occupying a number of rooms in various parts of the building. Between 1852 and 1870, the museum added 20,000 new artefacts to its collections.
The main change of that period was to the building itself. In the 1850s architects Louis Visconti and Hector Lefuel created massive new spaces around what is now called the Cour Napoléon, some of which (in the South Wing, now Aile Denon) went to the museum. In the 1860s, Lefuel also led the creation of the pavillon des Sessions with a new Salle des Etats closer to Napoleon III's residence in the Tuileries Palace, with the effect of shortening the Grande Galerie by about a third of its previous length. A smaller but significant Second Empire project was the decoration of the salle des Empereurs below the Salon carré.
The Louvre narrowly escaped serious damage during the suppression of the Paris Commune. On 23 May 1871, as the French Army advanced into Paris, a force of Communards led by Jules Bergeret set fire to the adjoining Tuileries Palace. The fire burned for forty-eight hours, entirely destroying the interior of the Tuileries and spreading to the north west wing of the museum next to it. The emperor's Louvre library (Bibliothèque du Louvre) and some of the adjoining halls, in what is now the Richelieu Wing, were separately destroyed. But the museum was saved by the efforts of Paris firemen and museum employees led by curator Henry Barbet de Jouy
Following the end of the monarchy, several spaces in the Louvre's South Wing went to the museum. The Salle du Manège was transferred to the museum in 1879, and in 1928 became its main entrance lobby. The large Salle des Etats that had been created by Lefuel between the Grande Galerie and Pavillon Denon was redecorated in 1886 by Edmond Guillaume, Lefuel's successor as architect of the Louvre, and opened as a spacious exhibition room. Edomond Guillaume also decorated the first-floor room at the northwest corner of the Cour Carrée, on the ceiling of which he placed in 1890 a monumental painting by Carolus-Duran, The Triumph of Marie de' Medici originally created in 1879 for the Luxembourg Palace.
Meanwhile, during the Third Republic (1870–1940) the Louvre acquired new artefacts mainly via donations, gifts, and sharing arrangements on excavations abroad. The 583-item Collection La Caze, donated in 1869 by Louis La Caze, included works by Chardin; Fragonard, Rembrandt and Watteau. In 1883, the Winged Victory of Samothrace, which had been found in the Aegean Sea in 1863, was prominently displayed as the focal point of the Escalier Daru. Major artifacts excavated at Susa in Iran, including the massive Apadana capital and glazed brick decoration from the Palace of Darius there, accrued to the Oriental (Near Eastern) Antiquities Department in the 1880s. The Société des amis du Louvre was established in 1897 and donated prominent works, such as the Pietà of Villeneuve-lès-Avignon. The expansion of the museum and its collections slowed after World War I, however, despite some prominent acquisitions such as Georges de La Tour's Saint Thomas and Baron Edmond de Rothschild's 1935 donation of 4,000 prints, 3,000 drawings, and 500 illustrated books.
From the late 19th century, the Louvre gradually veered away from its mid-century ambition of universality to become a more focused museum of French, Western and Near Eastern art, covering a space ranging from Iran to the Atlantic. The collections of the Louvre's musée mexicain were transferred to the Musée d'Ethnographie du Trocadéro in 1887. As the Musée de Marine was increasingly constrained to display its core naval-themed collections in the limited space it had in the second-floor attic of the northern half of the Cour Carrée, many of its significant holdings of non-Western artefacts were transferred in 1905 to the Trocadéro ethnography museum, the National Antiquities Museum in Saint-Germain-en-Laye, and the Chinese Museum in the Palace of Fontainebleau. The Musée de Marine itself was relocated to the Palais de Chaillot in 1943. The Louvre's extensive collections of Asian art were moved to the Guimet Museum in 1945. Nevertheless, the Louvre's first gallery of Islamic art opened in 1922.
In the late 1920s, Louvre Director Henri Verne devised a master plan for the rationalization of the museum's exhibitions, which was partly implemented in the following decade. In 1932–1934, Louvre architects Camille Lefèvre and Albert Ferran redesigned the Escalier Daru to its current appearance. The Cour du Sphinx in the South Wing was covered by a glass roof in 1934. Decorative arts exhibits were expanded in the first floor of the North Wing of the Cour Carrée, including some of France's first Period Room displays. In the late 1930s, The La Caze donation was moved to a remodeled Salle La Caze above the salle des Caryatides, with reduced height to create more rooms on the second floor and a sober interior design by Albert Ferran.
During World War II, the Louvre conducted an elaborate plan of evacuation of its art collection. When Germany occupied the Sudetenland, many important artworks such as the Mona Lisa were temporarily moved to the Château de Chambord. When war was formally declared a year later, most of the museum's paintings were sent there as well. Select sculptures such as Winged Victory of Samothrace and the Venus de Milo were sent to the Château de Valençay. On 27 August 1939, after two days of packing, truck convoys began to leave Paris. By 28 December, the museum was cleared of most works, except those that were too heavy and "unimportant paintings [that] were left in the basement". In early 1945, after the liberation of France, art began returning to the Louvre.
New arrangements after the war revealed the further evolution of taste away from the lavish decorative practices of the late 19th century. In 1947, Edmond Guillaume's ceiling ornaments were removed from the Salle des Etats, where the Mona Lisa was first displayed in 1966. Around 1950, Louvre architect Jean-Jacques Haffner streamlined the interior decoration of the Grande Galerie. In 1953, a new ceiling by Georges Braque was inaugurated in the Salle Henri II, next to the Salle La Caze. In the late 1960s, seats designed by Pierre Paulin were installed in the Grande Galerie. In 1972, the Salon Carré's museography was remade with lighting from a hung tubular case, designed by Louvre architect Marc Saltet with assistance from designers André Monpoix, Joseph-André Motte and Paulin.
In 1961, the Finance Ministry accepted to leave the Pavillon de Flore at the southwestern end of the Louvre building, as Verne had recommended in his 1920s plan. New exhibition spaces of sculptures (ground floor) and paintings (first floor) opened there later in the 1960s, on a design by government architect Olivier Lahalle.
In 1981, French President François Mitterrand proposed, as one of his Grands Projets, the Grand Louvre plan to relocate the Finance Ministry, until then housed in the North Wing of the Louvre, and thus devote almost the entire Louvre building (except its northwestern tip, which houses the separate Musée des Arts Décoratifs) to the museum which would be correspondingly restructured. In 1984 I. M. Pei, the architect personally selected by Mitterrand, proposed a master plan including an underground entrance space accessed through a glass pyramid in the Louvre's central Cour Napoléon.
The open spaces surrounding the pyramid were inaugurated on 15 October 1988, and its underground lobby was opened on 30 March 1989. New galleries of early modern French paintings on the 2nd floor of the Cour Carrée, for which the planning had started before the Grand Louvre, also opened in 1989. Further rooms in the same sequence, designed by Italo Rota, opened on 15 December 1992.
On 18 November 1993, Mitterrand inaugurated the next major phase of the Grand Louvre plan: the renovated North (Richelieu) Wing in the former Finance Ministry site, the museum's largest single expansion in its entire history, designed by Pei, his French associate Michel Macary, and Jean-Michel Wilmotte. Further underground spaces known as the Carrousel du Louvre, centered on the Inverted Pyramid and designed by Pei and Macary, had opened in October 1993. Other refurbished galleries, of Italian sculptures and Egyptian antiquities, opened in 1994. The third and last main phase of the plan unfolded mainly in 1997, with new renovated rooms in the Sully and Denon wings. A new entrance at the porte des Lions opened in 1998, leading on the first floor to new rooms of Spanish paintings.
As of 2002, the Louvre's visitor count had doubled from its pre-Grand-Louvre levels.
President Jacques Chirac, who had succeeded Mitterrand in 1995, insisted on the return of non-Western art to the Louvre, upon a recommendation from his friend the art collector and dealer Jacques Kerchache [fr]. On his initiative, a selection of highlights from the collections of what would become the Musée du Quai Branly – Jacques Chirac was installed on the ground floor of the Pavillon des Sessions and opened in 2000, six years ahead of the Musée du Quai Branly itself.
The main other initiative in the aftermath of the Grand Louvre project was Chirac's decision to create a new department of Islamic Art, by executive order of 1 August 2003, and to move the corresponding collections from their prior underground location in the Richelieu Wing to a more prominent site in the Denon Wing. That new section opened on 22 September 2012, together with collections from the Roman-era Eastern Mediterranean, with financial support from the Al Waleed bin Talal Foundation and on a design by Mario Bellini and Rudy Ricciotti.
In 2010, American painter Cy Twombly completed a new ceiling for the Salle des Bronzes (the former Salle La Caze), a counterpoint to that of Braque installed in 1953 in the adjacent Salle Henri II. The room's floor and walls were redesigned in 2021 by Louvre architect Michel Goutal to revert the changes made by his predecessor Albert Ferran in the late 1930s, triggering protests from the Cy Twombly Foundation on grounds that the then-deceased painter's work had been created to fit with the room's prior decoration
On 6 June 2014, the Decorative Arts section on the first floor of the Cour Carrée's northern wing opened after comprehensive refurbishment.
The Louvre, like many other museums and galleries, felt the impact of the COVID-19 pandemic on the arts and cultural heritage. It was closed for six months during French coronavirus lockdowns and saw visitor numbers plunge to 2.7 million in 2020, from 9.6 million in 2019 and 10.2 million in 2018, which was a record year.
[Whippingham Church, Isle of Wight, England]
[between ca. 1890 and ca. 1900].
1 photomechanical print : photochrom, color.
Notes:
Title from the Detroit Publishing Co., Catalogue J--foreign section, Detroit, Mich. : Detroit Publishing Company, 1905.
Print no. "10699".
Forms part of: Views of the British Isles, in the Photochrom print collection.
Subjects:
England--Isle of Wight.
Format: Photochrom prints--Color--1890-1900.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Views of the British Isles (DLC) 2002696059
More information about the Photochrom Print Collection is available at hdl.loc.gov/loc.pnp/pp.pgz
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ppmsc.09010
Call Number: LOT 13415, no. 1023 [item]
This sand "dune field" that formed in the northeast corner of Colorado's San Luis Valley as the wind-driven sand met the barrier of the Sangre de Cristo Mountains, in the backdrop here, has the tallest sand dunes in the U.S.. I found it utterly fascinating how the contours and shapes, contrast, colors, and the direction and quality of the light change the dunes' appearance over the course of a day.
This was shot shortly after our mid-afternoon arrival on a day in which the sunlight was muted by clouds and atmosphere made hazy by dust and smoke from wildfires to the west. The result was what I would call a "painterly" image, as if a skilled artist had laid it on a canvas.
The green patches are Indian rice grass and/or blowout grass that somehow flourish in the extreme habitat of the sand dunes.
Taken on the "Stachus" in Munich. The arriving T-Storm provided an interesting background. When things started to get really gloomy, almost apocalyptical (at least when looking at the scene through the display of the GR II with the monochrome mode activated) my eye caught the arriving pigeon and I knew it would cross in front of the lense. It was just a matter of timing the shutter press with the “bird of doom” visible in the frame. With the fix focus of the Ricoh activated there is hardly any shutter lag and I succeeded “shooting” the bird.
Image Details:
-Camera: Ricoh GR II
-Exposure: 1/400 sec at f/7.1, ISO 140 and 18,3mm (28mm in
35mm equivalent) focal length
-Equipment: handheld
-Postprocessing: Raw conversion in Lightroom
Please visit my street photography blog at www.streetsofnuremberg.com
My images are all copyrighted © All rights reserved. No usage allowed in any form without my written consent.
You can download or view Macroscopic Solutions’ images in more detail by selecting any image and clicking the downward facing arrow in the lower-right corner of the image display screen.
Three individuals of Macroscopic Solutions, LLC captured the images in this database collaboratively.
Contact information:
Mark Smith M.S. Geoscientist
mark@macroscopicsolutions.com
Daniel Saftner B.S. Geoscientist and Returned Peace Corps Volunteer
daniel@macroscopicsolutions.com
Annette Evans Ph.D. Student at the University of Connecticut
annette@macroscopicsolutions.com
Type : lego gundam
Name : Gundam Barbatos
Form : from 1st to 6th
Code name : ASW-G-08
Pilot : Mikazuki August
Series : Mobile Suit Gundam IRON-BLOODED ORPHANS / (機動戦士ガンダム 鉄血のオルフェンズ Kidō Senshi Gandamu Tekketsu no Orufenzu?)
Frame Building Instrucktion : www.youtube.com/watch?v=dZKA5cjuXu4
Youtube link : www.youtube.com/watch?v=GXaGvuq01hI
Life form is always represented in the form of order or symmetry.
The existence of life in universe is known to be contrary to the second law of thermodynamics.
The fact that human can see beauty in living beings is even more amazing. Is this perception of beauty just extension of human consciousness?
Is beauty not an objective property existed in life form or other things?
Have a great philosophical Monday!
The Crocosmia is my favorite flower these few days.
This Chandra image shows the Carina Nebula, a star-forming region in the Sagittarius-Carina arm of the Milky Way a mere 7,500 light years from Earth. Chandra's sharp X-ray vision has detected over 14,000 stars in this region, revealed a diffuse X-ray glow, and provided strong evidence that massive stars have already self-destructed in this nearby supernova factory.
The lower energy X-rays in this image are red, the medium energy X-rays are green, and the highest energy X-rays are blue. The Chandra survey has a large field of 1.4 square degrees, made of a mosaic of 22 individual Chandra pointings. In total, this image represents 1.2 million seconds -- or nearly two weeks -- of Chandra observing time. A great deal of multi-wavelength data has been used in combination with this new Chandra campaign, including infrared observations from the Spitzer Space Telescope and the Very Large Telescope (VLT).
Several pieces of evidence support the idea that supernova production has already begun in this star-forming region. Firstly, there is an observed deficit of bright X-ray sources in Trumpler 15, suggesting that some of the massive stars in this cluster were already destroyed in supernova explosions. Trumpler 15 is located in the northern part of the image, as shown in a labeled version, and is one of ten star clusters in the Carina complex. Several other well known clusters are shown in the labeled image.
The detection of six possible neutron stars, the dense cores often left behind after stars explode in supernovas, provides additional evidence that supernova activity is ramping up in Carina. Previous observations had only detected one neutron star in Carina. These six neutron star candidates are too faint to be easily picked out in this large-scale image of Carina.
Credit: NASA/CXC/Penn State/L. Townsley et al.
Read entire caption/view more images: chandra.harvard.edu/photo/2011/carina/
Caption credit: Harvard-Smithsonian Center for Astrophysics
Read more about Chandra:
p.s. You can see all of our Chandra photos in the Chandra Group in Flickr at: www.flickr.com/groups/chandranasa/ We'd love to have you as a member!
Puente Genil es una ciudad y municipio español de la provincia de Córdoba, en Andalucía. Forma parte de la Campiña Sur Cordobesa y su término municipal limita con la provincia de Sevilla.
La historia de Puente Genil es la historia de dos núcleos de población diferenciados y separados por una barrera física, el río Genil. A la izquierda del río se encontraba el Pontón de Don Gonzalo o La Puente de Don Gonzalo, perteneciente al municipio de Aguilar de la Frontera, y a la derecha del río el barrio de Miragenil, perteneciente a la provincia de Sevilla. En 1834 ambas poblaciones se unen formando un único municipio independiente bajo el nombre de Puente Genil, nombre que hace alusión a los dos núcleos poblacionales de los que nace: "Puente", de La Puente de Don Gonzalo y "Genil" de la zona de MiraGenil.
The city of Sarajevo - BOSNIA, as we know it today was founded by the Ottoman Empire in the 1450s upon conquering the region, with 1461 typically used as the city’s founding date. It quickly grew into the largest city in the region. In the early 16th century, Jewish refugees from Andalusia settled in Sarajevo. They were descendants of the Sephardic Jews expelled in 1492 from Spain. For the first time in its history, Sarajevo was the city of four religions (Islam, Judaism, and Christianity - Eastern Orthodox as well as Roman Catholic). The city's Jewish population made note of this, naming Sarajevo "Jerusalem of Europe"
The Old Sephardic Jewish Cemetery of Sarajevo is one of the most famed Sephardic burial grounds in the world. Founded in 1630, when Rabbi Samuel Baruch rented the land, it is the oldest intact burial ground of any religious group in Sarajevo and is known for its age and beauty. The cemetery is entered through a triple arched gateway (> see the photograph). The chief glory of the cemetery are the gravestones, erected in a style found nowhere else expect Spain. The unusually shaped tombstones are inscribed in Hebrew and Ladino (Judeo-Spanish) with epigraphs written in poetic form.
In her guidebook Jewish Heritage Travel, Ruth Ellen Gruber writes: "[The] big, slightly rounded blocks with Hebrew inscriptions on one face, thrust out of the ground on the hillside like miniature pillboxes, making an eerie, unforgettable site." The form of the tombstones is unique in Europe: large, rounded in shape and lying horizontally, often set into the hillside. They were quarried in a stone-pit near the cemetery and carried to the site. Most are almost identical in size and form, giving the hillside a patterned look. Only the gravestones of prominent rabbis and scholars were larger or more lavish.
A falcon hunts amongst the mass of green budgies. Budgerigars form murmurations consisting of thousands of individuals flying close together in a bid to confuse predators. To successfully hunt the falcon must try and seperate an individual bird that he can lock onto, and chase. -------------------------------During the summer months in central Australia (November to February), the temperature can be in the 40s and water is scarce. I knew that budgies (Melopsittacus undulatus) would start to flock together as they sought out what little water remained . It was a challenge to locate where they might gather but I heard reports from an area south of the town of Alice Springs. I drove up and down the desert searching the horizon for flocks. I eventually found a small waterhole littered with little green feathers and fresh droppings. I returned just before dawn. It was silent but it wasn’t long before the sky above me was filled with the flutters of thousands of budgies, all desperate to drink. Birds of prey also gathered to take advantage. To confuse the hunting raptors the budgies erupted into mesmerising clouds of green, creating huge murmurations like starlings in the UK. to February), the temperature can be in the 40s and water is scarce. I knew that budgies (Melopsittacus undulatus) would start to flock together as they sought out what little water remained . It was a challenge to locate where they might gather but I heard reports from an area south of the town of Alice Springs. I drove up and down the desert searching the horizon for flocks. I eventually found a small waterhole littered with little green feathers and fresh droppings. I returned just before dawn. It was silent but it wasn’t long before the sky above me was filled with the flutters of thousands of budgies, all desperate to drink. Birds of prey also gathered to take advantage. To confuse the hunting raptors the budgies erupted into mesmerising clouds of green, creating huge murmurations like starlings in the UK.