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Because What I Am Will Become Nothing Anyway, And That Allows Me To Be Everything.
A concept by No.6 Collective. Thank you for allowing me to photograph this beautiful vision.
Visit www.numbersixcollective.com for more.
La Malaisie, en forme longue la Fédération de Malaisie, en malais Malaysia, مليسيا, est un pays d'Asie du Sud-Est, constitué de la Malaisie péninsulaire ou Malaisie occidentale (péninsule Malaise) et de la Malaisie orientale (nord de Bornéo). Elle est située à environ 200 km au nord de l'équateur. Sa capitale est Kuala Lumpur et sa superficie est égale à 329 750 km2.
Le pays est composé de deux régions distinctes :
* La Malaisie occidentale ou Malaisie péninsulaire (au sud de la Thaïlande) est divisée du Nord au Sud par une longue chaîne montagneuse dont le point culminant se situe à 2189 m (Mont Tahan) et où subsistent de vastes zones forestières. La côte Ouest est marécageuse et plate, la côte Est est, au contraire, composée de longues plages de sable. Les cultures et plantations sont d'abord situées le long des plaines côtières. Le Nord du pays (Perlis et Kedah) est considéré comme le grenier à riz du pays.
* La Malaisie orientale est composée des territoires du Sarawak et du Sabah et située au Nord de l'Indonésie (Bornéo). Cette partie représente 15 % de la population sur 60 % du territoire. Elle est essentiellement composée de forêts tropicales humides et d'un relief assez élevé (mont Kinabalu, 4100 m).
La Malaisie partage ses frontières terrestres avec le Brunei (381 km), l'Indonésie (1178 km) et la Thaïlande (506 km), et dispose de 4675 km de côtes. Elle est également reliée à Singapour par deux ponts traversant le détroit de Johor.
L'utilisation du nom de « Malaisie » pour désigner la péninsule Malaise est récente. Ce nom est la francisation de Malaya dans l'expression « British Malaya » (Malaisie britannique) de laquelle les Anglais désignaient, à partir de la fin du XIXe siècle, les territoires qu'ils contrôlaient sur la péninsule.
Jusqu'en 1912, le nom de « Fédération de Malaisie » ne s'appliquait qu'à l'entité créée en 1946-48 par les Britanniques et devenue indépendante en 1957, « l'Union malaise » (Malayan Union). Celle-ci regroupait, dans la péninsule Malaise, les États malais, qui avaient auparavant le statut de protectorats, et les Strait Settlements, c'est-à-dire les colonies de Malacca, Penang et Singapour.
Lorsque les territoires britanniques de Bornéo, Sabah (British North Borneo) et Sarawak deviennent indépendants en 1963 et acceptent de rejoindre la Malaisie, la nouvelle entité est baptisée du néologisme de « Malaysia ».
En français, « Malaisie » avait à l'origine un autre sens. En 1831, Jules Dumont d'Urville proposait à la Société de géographie de Paris une organisation de l'Océanie en quatre parties :
* la Polynésie (« les nombreuses îles »),
* la Mélanésie (« les îles noires »),
* la Micronésie (« les petites îles ») et
* la Malaisie.
Par ce dernier nom, Dumont d'Urville entendait une région regroupant l'Indonésie, la Malaisie et les Philippines actuelles. À l'époque en effet, on considérait que les habitants de cette région pouvaient être désignés par le terme englobant de « Malais ».
Au sens strict du terme, les Malais sont les populations qui parlent la langue malaise et qui habitent le littoral oriental de l'île de Sumatra, les îles Riau, la péninsule Malaise et le littoral de l'île de Bornéo.
Le traité de Londres de 1824 entre Anglais et Hollandais se traduira par un partage en deux de ce monde malais. On ne saurait donc identifier celui-ci à la seule Malaisie.
Pour éviter la confusion, on utilise le gentilé « malaisien » pour désigner ce qui relève de la Malaisie comme État, le mot « malais » désignant ce qui relève de la langue, de la culture, de l'ethnie, et couvrant donc un territoire plus vaste. Ainsi, l'expression « monde malais » au sens strict désigne l'aire géographique habitée par les Malais et décrite plus haut.
L'État du Pahang est le plus grand de la Malaisie péninsulaire avec 35964 km². Sa capitale est la ville de Kuantan, située sur la côte est de la mer de Chine méridionale.
Sources : wikipedia
Home of former Montreal mayor, Jean Drapeau, on Avenue des Plaines.
According to la Grand répertoire du patrimoine bâti de Montréal:
"Ce secteur, témoin important du mouvement City Beautiful, se caractérise par un ensemble de bâtiments résidentiels avec des rues en cul-de-sac, des terrains spacieux et des maisons aujourd’hui enfouies sous la voûte des arbres. Une cité-jardin où domine l’habitation unifamiliale à un étage et demi, coiffée d’un toit à deux versants, dont le charme rustique évoque celui d’une maison de villégiature."
W.A.L.Z. Performance Collective / Andrea Nagl, Karlheinz Essl, Markus Wintersberger
OFF Theater Wien, 18.&19.12.2021
Foto: © Günter Macho, Generalprobe am 17.12.2021
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Sepulcro de mármol, con forma de edículo, con una bóveda con casetones sostenida por dos columnas y pilastras con basamento y entablamento. Arriba se observa la escena de la Adoración de los Reyes, con figuras estilizadas.El conde está retratado como un joven (aunque murió a los setenta y un años), con vestido militar y en actitud de genuflexión, mirando a la Virgen. Dos figuras arrodilladas sostienen el escudo de armas del difunto.
El sepulcro fue encargado por Juan de Aragón (sobrino del rey Fernando el Católico), cuando era virrey en Nápoles; quiso ser retratado joven y en actitud orante mirando a la Virgen de Montserrat. Lo hizo instalar en Montserrat, y lo ocupó el año 1528, cuando murió.
Durante la guerra de la Independencia, la sepultura fue profanada y las esculturas mutiladas. El monumento fue restaurado el año 1956.
Traducido de
Place Vintimille, 1911
Edouard Vuillard
West Building, Main Floor — Gallery 80
On this decorative screen, Edouard Vuillard painted the Place Vintimille (now the Place Adolphe-Max), as seen from his fifth-floor apartment. Vuillard was an avid photographer, and he took snapshots from his window to use as reference for these panels.
The sweeping curve of the sidewalk, which unifies the five panels, is dotted with small scenes of everyday life. Vuillard captures the bustling activity of a bright spring day in the city. While this subject is typically Parisian, the work reflects Vuillard’s fascination with Japanese art. Its seemingly casual arrangement of forms and cropped composition recalls Japanese woodblock prints.
A screen made up of five tall, rectangular panels, set side by side and each surrounded by a gold frame, is painted as a single scene showing a tree-lined sidewalk curving around a park in a city. The scene is loosely painted with short, rounded brushstrokes. The top two-thirds to three-quarters of most of the panels are filled with the lime and olive-green leaves of the trees that line the sidewalk and park. In the leftmost panel, the sidewalk and road lead back to a row of caramel-brown building façades. The sidewalk is pale taupe, and the street is painted with dashes of the same taupe against terracotta brown, suggesting cobblestones. Spindly trees are spaced in a row along the sidewalk in round holes covered with smoke-gray metal grates. A black fence, painted with thin, sometimes broken black lines encloses the park beyond, which has a path around plantings and the vivid green lawn. Touches of pink on a sage-green tree to our left in the park suggest flowers. A gray statue on a high plinth is partially lost in the break between the two rightmost panels. Men, women, and children, painted with a few strokes of black, gray, or marine or periwinkle blue, walk along the sidewalk and the garden path, or sit at the base of the fence or on benches spaced along the sidewalk. The women seem to wear long dresses and the men dark clothing and hats. Two carriages are pulled up on the street near a lamp post alongside the sidewalk near the lower left. In the leftmost panel, horse-drawn carriages move along the road leading back to the buildings, and more people seem to be gathered on the sidewalk near the left edge of the panel in the distance. The artist signed the work with brown paint in the lower right corner: “E. Vuillard.” The panels of the screen have been set up so the panels rest on a platform or on the floor in a shallow zig-zag pattern, in a room with an off white wall and bisque-brown molding along the floor.
Although best known today for the small, intimate interiors he painted in the 1890s while affiliated with the group of artists known as the Nabis (prophets), Edouard Vuillard also produced a number of large decorative works, such as Place Vintimille, for both public buildings and private residences. It was painted for Marguerite Chapin--later the princess of Bassiano--an American expatriate living in Paris whom Vuillard first met in March 1910 through his friend Pierre Bonnard. Shortly after this meeting she commissioned the artist to execute a large decorative panel, The Library (Musée d'Orsay, Paris), for her new apartment at 11, rue de l'Université. Following its installation in late April or early May 1911, Chapin commissioned a second work from Vuillard, the Place Vintimille, a five-panel decorative screen. Vuillard worked rapidly, and by early June 1911 the painting was mounted on a wood support backed by wallpaper and ready for installation in her home.
The painting's subject is the place Vintimille (now the place Adolf-Max) in springtime, as viewed from the artist's Paris apartment. In the summer of 1908, Vuillard took up residence in a fifth floor apartment at 26, rue de Calais, which would remain his home for the next eighteen years. During this time, he painted several street scenes from his window, including three panels showing the place Vintimille in wintertime that were commissioned by the playwright Henry Bernstein and that served as the inspiration for the Chapin screen. The format of Place Vintimille, however, clearly distinguishes it from these earlier paintings, which were closely related but ultimately independent panels executed as part of a larger group depicting the streets of Paris. By contrast, Place Vintimille was clearly a self-contained and articulated whole. While Vuillard was obviously intrigued by this format--he included screens into the backgrounds of several of his paintings--he only produced three such decorative screens, of which Place Vintimille is the last.
In many respects, Place Vintimille is a quintessential example of the artist's mature style. Its subject is drawn from modern life, and it reflects Vuillard's fascination with Japanese art, a passion he shared with fellow Nabis. The format itself--that of a folding screen--was based on Japanese prototypes, while the composition, with its striking bird's-eye view, off-center composition, and casual array of cropped forms and patches of color, seems drawn from Japanese prints. Even Vuillard's seemingly novel choice of medium reflects the artist's personal style. Although he used oil paint throughout his career, by the early twentieth century he was showing a marked preference for distemper, a glue-based paint. Here Vuillard juxtaposed the matte areas of color with the exposed portions of the beige cardboard, allowing the support to become an active part of the composition. The result is a richly patterned surface that retains a remarkable sense of freedom and freshness despite the work's imposing scale.
(Text by Kimberly Jones, published in the National Gallery of Art exhibition catalogue, Art for the Nation, 2000)
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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