View allAll Photos Tagged GARDENSCAPES
A human tended garden merges seamlessly into the natural forest.
This photo was taken by a Kowa/SIX medium format film camera with a KOWA 1:3.5/55mm lens and HOYA 67mm INFRARED (R72) filter using Rollei IR 400 film, the negative scanned by an Epson Perfection V600.
Theme 'Panorama' - My 31st shot of 2014 for this 52 week group.
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Syon House, and its 200 acre park, is in west London. It belongs to the Duke of Northumberland and is now his family's London residence. The family's traditional central London residence was Northumberland House. The eclectic interior of the house was designed by the architect Robert Adam in the 1760s.
This is the centre piece to the gardens.
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Image Used On This Website - www.gardenscape.ca/
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Thanks for your Views & Fave & your comments are always welcome.
Please don't use this image on websites, blogs or other media without my explicit permission. © Some Rights Reserved
Images can be used with permission commercially or non but must have creditation and link back to flickr.
Please contact me via email or flickrmail, images can be purchased with conditions.
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Lisbon [Portugal] - Taken at Cerca da Graça garden. © 2021 Alexandra Galvão
Discover more on my website:
Excerpt from artgalleryofguelph.ca:
In 1983, the Art Gallery of Guelph (AGG) grounds were developed into the Donald Forster Sculpture Park to be used for permanently sited sculptures, temporary installations of large-scale pieces, and an outdoor activity space for events like children’s art classes. The outdoor sculpture collection is enhanced with landscaping elements such as paved areas, lighting, berms, and plantings appropriate to the design of the park and siting of individual works. The objective is to acquire sculptures that represent the best work being produced in Canada while including some examples of historical and international works. The Sculpture Park is a unique tourist attraction for the city and region and an important educational resource for area educational institutions. Six commissions have been funded with the generous support of du Maurier Arts Ltd. The AGG Volunteer Association has also contributed to the development of the Sculpture Park by raising art acquisition funds through the annual Gardenscapes garden tour. This outstanding venue for permanent sculpture by Canadian artists ranks among the best and most diverse sculpture parks in Canada.
The Donald Forster Sculpture Park, located on two-and-a-half acres adjacent to the building, is a major curatorial project that contributes significantly to AGG’s overall programming objective to present exhibitions, research, and a dynamic collection of contemporary Canadian Art. It is the largest sculpture park at a public gallery in Canada, featuring 39 works by prominent Canadian and international artists. The Sculpture Park is open daily from dawn to dusk.
Before Flight by Janet Morton (born 1963, lives and works in Guelph, ON) was created to explore the idea of home through materiality and time. The sculpture is composed of two parts: a bronze-cast bird’s nest measuring approximately 6-feet-across perched on top of a 20-foot-tall limestone Doric column. Morton used the Doric column as a Classical motif that references Greek architecture as well as the columned porch at the entrance to the gallery. Columns are the foundation for modern architecture and symbolize stability, power, authority, and quality. In Before Flight, Morton is interested in the dichotomies of permanence and impermanence, stability and transition, the domesticated and the feral. The sculpture also combines two conceptual themes that have persisted in Morton’s work for almost twenty years: the monumental and the idea of home. This seemingly simple juxtaposition posits the tensions between natural and constructed worlds: one is a temporal structure, the other is an architectural form intended to stand the test of time.
The Harvester by Florence Wyle (1881-1968) depicts a standing male figure drinking deeply from a water jug. This representational sculpture emphasizes the physicality of the figure, particularly the dynamic upper torso. An agricultural labourer, his posture communicates strength and his gesture replenishment. He is a noble and dignified figure. Throughout her practice Wyle honoured the working class, both male and female. Wyle and her partner Frances Loring together were known as “The Girls.” They lived in the American Midwest before moving to Toronto. Both prolific artists, they were well known for their war memorials and sculptures of workers in the munitions industry. Wyle originally studied medicine; however, after taking mandatory drawing, painting, and sculpting courses, she chose to be a professional artist.
Canadiana/Begging Bear by Carl Skelton (born 1961, lives and works in Toronto, ON) references Canada’s rich and varied wildlife traditions and is inspired by the stylized art forms of Canada’s Inuit. Skelton’s sculpture stands at the bus stop located on Gordon Street in front of the Art Gallery of Guelph. Canadiana/Begging Bear is arguably the most beloved sculpture in the park and is often costumed by clandestine members of the Guelph community, who use the bear’s popularity and street presence to promote community based events or to make public announcements. Although it wasn’t the artist’s original intent for the sculpture to perform as a public forum, Skelton welcomes this kind of community interaction with his art. Canadiana/Begging Bear stands at 7.5 feet tall and weighs over 300 pounds. Posed with one paw outstretched in a pleading gesture, the sculpture is an artistic metaphor for Canada’s native animals who have been displaced by cities built on their natural territories.
Excerpt from artgalleryofguelph.ca:
In 1983, the Art Gallery of Guelph (AGG) grounds were developed into the Donald Forster Sculpture Park to be used for permanently sited sculptures, temporary installations of large-scale pieces, and an outdoor activity space for events like children’s art classes. The outdoor sculpture collection is enhanced with landscaping elements such as paved areas, lighting, berms, and plantings appropriate to the design of the park and siting of individual works. The objective is to acquire sculptures that represent the best work being produced in Canada while including some examples of historical and international works. The Sculpture Park is a unique tourist attraction for the city and region and an important educational resource for area educational institutions. Six commissions have been funded with the generous support of du Maurier Arts Ltd. The AGG Volunteer Association has also contributed to the development of the Sculpture Park by raising art acquisition funds through the annual Gardenscapes garden tour. This outstanding venue for permanent sculpture by Canadian artists ranks among the best and most diverse sculpture parks in Canada.
The Donald Forster Sculpture Park, located on two-and-a-half acres adjacent to the building, is a major curatorial project that contributes significantly to AGG’s overall programming objective to present exhibitions, research, and a dynamic collection of contemporary Canadian Art. It is the largest sculpture park at a public gallery in Canada, featuring 39 works by prominent Canadian and international artists. The Sculpture Park is open daily from dawn to dusk.
Colony by Mary Anne Barkhouse (born 1961, lives and works in Minden, ON) and Michael Belmore (born 1971, lives and works in Thunder Bay, ON) addresses notions of Aboriginal and colonial histories within the context of the Canadian wilderness. It features a beaver cast in bronze and an Ojibwa “Mishipeshu” carved in stone that reference the power of nature in the construction of identity. Barkhouse and Belmore have collaborated on several sculpture projects although they each maintain independent art practices. As Aboriginal artists, they strive to create work that both celebrates nature and forces us to consider our place within it. The massive piece of Laurentian granite was extracted from the Haliburton Highlands and carved by Belmore in Barkhouse’s Minden studio before being transported to Guelph. Belmore’s deep relief carving is of a “Mishipeshu,” the underwater lynx or panther that protects the marine world in Ojibwa culture, creating an illusion that the creature is emerging from the rock as if from water. Barkhouse created the bronze beaver that sits on top of the stone as a symbol of Canada’s rich and industrious history and as a comment on nature’s ability to overcome adversity. The beaver is one of the most resilient and adaptable creatures that has survived colonialism and land development over hundreds of years. Barkhouse’s beaver is a naturalistic rendering that is the counterpart to Belmore’s stylized “Mishipeshu.”
Agricultura by Jane Buyers (born 1948, lives and works in Elmira, ON) explores themes of education, nature, and knowledge. In conceiving the work, Buyers learned that the Sculpture Park was originally a garden plot used by students studying the domestic sciences at the Macdonald Consolidated School, in the building now occupied by the Art Gallery of Guelph. Buyers was inspired to create a sculpture that would reflect this history. The sculpted books in Agricultura are open to allow viewers to “read” them: one contains abstracted organic forms and the other contains finely detailed leaves. Supported by pedestals constructed from branches, the books reference nature and also allude to the idiom “to turn over a new leaf” meaning “to begin again” or “start a new chapter.” Buyers’ sculpted books also posit a visual library (aesthetic signs and symbols) rather than a written language. Buyers deconstructs the books’ essential meanings, transforming them into objects and inviting viewers to consider education in the context of nature. Agricultura also reflects the Guelph community’s historical roots and its investment in agricultural business practices.
The Sickle and the Cell Phone by Gu Xiong (born 1953, lives and works in Vancouver, BC) explores cultural loss and transformation. Xiong’s artistic practice is influenced by his personal experiences in Maoist China where he was an agricultural labourer under the regime of Chairman Mao and the Communist Party. In the 1980s, multinational corporations targeted China as a place for the manufacture of commercial goods and many ordinary Chinese abandoned their traditional agricultural lifestyles to work in urban cities. Economic reform together with the desire for consumption of consumer goods made China one of the largest commercial markets in the world. Xiong represents agriculture with the sickle, which is a hand tool for cutting crops. The curved blade of the sickle can also be linked to the crescent moon, known as the planting moon. The sculpture balances on the blade, giving it an upsweeping verticality. The tip of the sickle is embedded inside a grossly oversized Nokia cell phone, which serves as a symbol of urbanization. The scale and the stark materiality of the sculpture represent the shifting balance of globalization and the agricultural economy.
Cantigny Park
Wheaton, Illinois 41.854608, -88.153362
June 22, 2021
This is a monochrome variation of this shot
www.flickr.com/photos/jimfrazier/51276741616/
COPYRIGHT 2022 by JimFrazier All Rights Reserved. This may NOT be used for ANY reason without written consent from Jim Frazier.
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Syon House Gardens The Great Conservatory this is an internal one to go with all the other outdoor ones in the Syon House Set.......
Getting a bit keen with these panorama shots, even though the quality isn't great it's the novelty that outways its imperfections.
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Image Used On This Website - www.gardenscape.ca/
Also this one - www.myhavenhomes.com/2014/10/05/organic-horticulture-tips...
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Thanks for your Views & Fave & your comments are always welcome.
Please don't use this image on websites, blogs or other media without my explicit permission. © Some Rights Reserved
Images can be used with permission commercially or non but must have creditation and link back to flickr.
Please contact me via email or flickrmail, images can be purchased with conditions.
www.flickr.com/photos/simon__syon/
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Fibre Art - freestyle machine & hand stitched.
Produced for Gardenscape in Saskatoon SK Canada March 2014. Inspired by my old stomping grounds. : )
Excerpt from artgalleryofguelph.ca:
In 1983, the Art Gallery of Guelph (AGG) grounds were developed into the Donald Forster Sculpture Park to be used for permanently sited sculptures, temporary installations of large-scale pieces, and an outdoor activity space for events like children’s art classes. The outdoor sculpture collection is enhanced with landscaping elements such as paved areas, lighting, berms, and plantings appropriate to the design of the park and siting of individual works. The objective is to acquire sculptures that represent the best work being produced in Canada while including some examples of historical and international works. The Sculpture Park is a unique tourist attraction for the city and region and an important educational resource for area educational institutions. Six commissions have been funded with the generous support of du Maurier Arts Ltd. The AGG Volunteer Association has also contributed to the development of the Sculpture Park by raising art acquisition funds through the annual Gardenscapes garden tour. This outstanding venue for permanent sculpture by Canadian artists ranks among the best and most diverse sculpture parks in Canada.
The Donald Forster Sculpture Park, located on two-and-a-half acres adjacent to the building, is a major curatorial project that contributes significantly to AGG’s overall programming objective to present exhibitions, research, and a dynamic collection of contemporary Canadian Art. It is the largest sculpture park at a public gallery in Canada, featuring 39 works by prominent Canadian and international artists. The Sculpture Park is open daily from dawn to dusk.
Kivioq’s Journey Ends by William Noah (born 1943, lives and works in Baker Lake, NU) is a contemporary retelling of the story of the Inuk hero Kivioq. Kivioq symbolizes the continuation of the Inuit culture and the Inuktitut language in the midst of modern society. The story tells the tale of Kivioq, who slays his unfaithful wife and her lover, and his subsequent unending journey across the unforgiving waters and terrain of the Arctic. Noah’s sculpture re-interprets the story by providing an ending to Kivioq’s journey. When he comes ashore, Kivioq and his kayak, together with a whale and a goose representing sea and land, are all turned to stone. The sculpture Kivioq’s Journey Ends is a contemporary inuksuk, a standing stone landmark that was historically used by the Inuit as a tool for navigation and communication. Noah depicts Kivioq with two standing stones upon which a large stone is placed: Kivioq resting his kayak upon the shore. The glittering quality of the stone reflects the glistening water as he emerges out of the sea. Most of Noah’s sculpture is made of limestone; however, Kivioq himself is represented by the granite stone with amethyst flecks.
Frances Loring’s (1887-1968) Turkey was one of the earliest sculptures acquired for permanent installation in the sculpture park. It depicts a life-sized, fully plumed turkey, cast in bronze. This sculpture was cast posthumously (after the artist’s death in 1968). Loring and her partner and fellow sculptor, Florence Wyle, worked to bring the practice of representational sculpture into the realm of fine arts. They were jointly recognized for their post-war sculpture and became known as “The Girls.” Loring’s first major commission with Wyle was a series of bronze statuettes that depicted the Canadian War effort. Loring became a Charter Member of the Sculptors Society of Canada, performing the roles of treasurer (1928-1952) and vice president (1942).
Mask by Evan Penny (born 1953, lives and works in Toronto, ON) challenges the idea of traditional monumental art and its association with the highest norms in society: as a propaganda tool promoting civic causes, serving the wealthy or powerful figures. Penny states that “the intent of the work is to counter-evoke the authoritative posture of most historical public figurative sculpture.” Mask was created to encourage viewers to interact with the sculpture, as well as to question their perception of the piece. Penny installed his larger-than-life sculpture in a location that would be immediately accessible to the general public, easily visible to passersby and street traffic. Mask depicts the features of a youthful androgynous face, its nose pressed into the slope of the ground and the concave (reverse) side of the mask facing up. The optics of the mask make it appear to be more solid and idealized from the distance, its perspective and dimensionality changing based on the viewer’s proximity to the sculpture. The viewer is placed in an authoritarian position, playing a role in the creation and meaning of the image, a reversal of the traditional public viewer’s role.
Passages by Kosso Eloul (1920-1995) was the first sculpture to be permanently sited in the Donald Forster Sculpture Park, located at the symbolic entrance to the park at the corner of Gordon Street and College Avenue. Eloul intended viewers to experience the sculpture on four different levels: (1) as a physical object that, originally, included an open thruway that could be traversed by visitors; (2) as an emotional experience with the three large rectangular forms in a seemingly precarious balance; (3) on an intellectual level through the high modern aesthetic of minimalist form and colour; and (4) as a symbol of the historic and architectural formalism of traditionally built structures. Made from steel and concrete, Passages evokes strength and reveals something of the human psyche, compelling a multitude of experiential responses in the viewer.
ex ovo omnia was created by FASTWÜRMS, the artist collective formed in 1979 by Kim Kozzi and Dai Skuse, who are based in Creemore, ON. The artists’ multidisciplinary practice includes the making of artworks that integrate time based, performance, and visual art in the context of immersive installations, public sculpture, social exchange, and event architecture. ex ovo omnia is designed to be the “egg” of the new millennium, shaped by the future and the adventure of science: the space capsule, the bathysphere, the egg of embryology, the cell of biology, and DNA. The interior of ex ovo omnia suggests a living space as organic shapes appear to grow from the walls like shelf fungi. By day, the interior is illuminated through circular window portholes; by night, ex ovo omnia glows from within. Through ex ovo omnia, FASTWÜRMS celebrate twenty-first century improvements in technology and human society, including the discovery of the human genetic code, while presenting strange animal/human hybrids as talismans for transformation and change.
Syon House Gardens The Great Conservatory, not the normal angle for this, but wanted the sun shade contrast.
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Image Used On This Website - www.gardenscape.ca/
Also this one - www.youtube.com/watch?v=BbFV9C-ZbuI
Also this one - www.auntannshomecare.org/2014/09/11/getting-the-most-gree...
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Thanks for your Views & Fave & your comments are always welcome.
Please don't use this image on websites, blogs or other media without my explicit permission. © Some Rights Reserved
Images can be used with permission commercially or non but must have creditation and link back to flickr.
Please contact me via email or flickrmail, images can be purchased with conditions.
www.flickr.com/photos/simon__syon/
Follow me on Photocrowd -
May 16, 2016
Forthwith:
[fawrth-with, -with , fohrth-]
adverb
1. immediately; at once; without delay
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After an overwhelmingly gray and meek weekend, it was nice to come across some colour downtown today.
The crab apple trees have blossoms adding in an extra layer to the colour palette provided by the blooming tulips, and when the world starts painting scenery colourful, you won't find me complaining!
The temperatures are suppose to rise again this week, and after a chilly few days, I welcome the warmth!
Hope everyone has had a good day.
Click "L" for a larger view.
Cantigny Park
Wheaton, Illinois (from 41.856195, -88.155623 shooting north)
May 7, 2021
COPYRIGHT 2021 by JimFrazier All Rights Reserved. This may NOT be used for ANY reason without written consent from Jim Frazier.
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Prompt: enormous gothic Kris Kuksi style sculpture of a marble castle carved into a cliff covered with flowers and lace in an extradimensional fairytale world, extradimensional, cliff landscape, tons of plants and flowers, waterfall off of cliff, starry sky, intricate, Aurora borealis, Gardenscape, fireflies, dreamy atmosphere, bright beautiful lighting, photorealistic, hyper realistic, in the style of Thomas Kinkade, blender render, cinematic, 3d, --ar 4:5 --v 6.1
Excerpt from www.burlington.ca/paletta: The mansion is an 11,000 square foot house designed by Stewart Thomson McPhie, in association with Lyon Sommerville (1886-1965). Built of local limestone, the mansion has many formal design elements. Classical influences can be seen in the Tuscan columns on the east and south elevations and the scroll pediment above the west entrance. The mansion is almost a square in design, a descendant of Edwardian simplicity.
Excerpt from heritageburlington.ca:
The Main House on the Estate is an excellent representative of estate homes designed and built throughout the 1930's. It is a three storey structure with an exposed basement on the northern exposure where the garage is located. The exterior is said to reflect the original farmhouse which was located on the same site.
The rectangular plan of the house is unusual in that each of the four elevations are distinctly different, in arrangement of features. A common set of architectural treatments tie the four elevations together. The third floor is graced with a hip roof of green shingles, and a regular arrangement of dormer windows on all four sides. The style of the house has a classical influence with a broken scroll pediment above the main entrance on the West Elevation. This was the entrance for visitors with a circular driveway which facilitated dropping off guests, and a one storey sunroom on the south end. Above the main entrance is a full height arched window which is set in a stone arch. The pediment is supported by simple Tuscan columns, which are copied on the Southern Elevations as supports for the roof over the covered, tiled porch which has an octagonal room on top.
All four elevations are generously fenestrated with a some what regular pattern of similar sized windows with green shutters. Each rectangular window has a keystone with a five stone pattern lintel above also reinforcing the classical and French influences.
The East Elevation is a repetitive series of windows with doors accessing the formal gardens on this side of the house. The service entrance on the north elevation also has a series of standard windows.
The house is clad with grey and burgundy stone set in a course rubble pattern with approximately continuous, horizontal courses. The green roof, shutters and wood trim with the grey and burgundy trim combine for a stately complementary colour scheme, which blend in well with the surrounding vegetation.
Stewart McPhie, a Hamilton Architect, who also designed the McNab Street Presbyterian Church, was the designer of the approximately 11,000 square foot house. The existing architect's sketches of the home as it appears today, are dated 1931, but it is unclear as to the date the house was completed.
Its massive proportions, classical features and formal elements reflect those of a French Country Estate home. The house has access to the formal gardens on the east, the fabulous lake views to the south and the more informal pastures to the west. Access to nature was one of the main considerations in the
Architectural Movement in the 1930's which started with American Architect Frank Lloyd Wright, and also was strongly evident in the English Arts and Crafts movement started in the second half of the 19th century. Both the home at Shoreacres and Lakehurst Villa were designed as excellent examples of the concept of the relationship of interior spaces to exterior spaces.
The interior of the home is decorated with the original screen panels in the lower hall, and the mural in the dining room. Both features were considered desirable in homes of this stature during the time in which it was built. Original lighting and bathroom fixtures are still present, as well as kitchen cabinets. The house is presently unfurnished.
The home consists of a basement, a ground floor with generously sized formal rooms, a second floor with 5 large bedrooms with fireplaces, and an attic with unfinished bedrooms as well. In the basement is a large room for storing riding gear, and preparing for riding. The room was most likely used to entertain
after riding as well. There is a stable on the north-west corner of the property, as well as a Play house situated in a stand of ferns, west of the main entrance of the home.
To the east of the home is a group of formal gardenscapes or garden rooms. These are somewhat overgrown at present, but were once beautiful places to pass an afternoon.
my inner landscape…
after the architectural landscapes, the human landscapes, the gardenscapes in memory of Talbot… now seems to be the time for more abstract landscapes of our own mind…
Agfa Brovira paper, expired probably some time in the 40s…
…
after the architectural landscapes, the human landscapes, the gardenscapes in memory of Talbot… now seems to be the time for more abstract landscapes of our own mind…
Agfa Brovira paper, expired probably some time in the 40s…
Lisbon [Portugal] - Taken at Gulbenkian garden. © 2019 Alexandra Galvão
Website: alexandragalvao.wixsite.com/photography
Instagram: www.instagram.com/alexandracsog
5x5" minis of my favorite pieces.
Produced for Gardenscape in Saskatoon SK Canada March 2014. Inspired by my old stomping grounds. : )
Lisbon [Portugal] - Taken at Miraflores Park. © 2020 Alexandra
Website: alexandragalvao.wixsite.com/photography
Instagram: www.instagram.com/alexandracsog
Setubal [Portugal] - Taken at the Saude's garden. © 2021 Alexandra Galvão
Explore more on my website:
Yes, that is a shrub full of Hairy Balls (and where a lot of my shots come from this year)
Idea Garden
Cantigny Park
Wheaton, Illinois 41.854049, -88.153040
October 23, 2021
Part of my continuing series - Hairy Balls
www.flickr.com/photos/jimfrazier/sets/72157719764088721
And Fall of 2021 is turning into the Festival of the Hairy Balls
www.flickr.com/photos/jimfrazier/sets/72157720072120488
COPYRIGHT 2021 by JimFrazier All Rights Reserved. This may NOT be used for ANY reason without written consent from Jim Frazier.
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Lisbon [Portugal] - Taken at the Mario Soares garden. © 2019 Alexandra Galvão
Discover more on my website:
Cinderella's Castle
Magic Kingdom
Walt Disney World, FL
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My Book The Land of Wizards & Witches: Images of 'The Wizarding World of Harry Potter' on Blurb!!!!
... and eBook Verison (Free!!!)
Took a picture from about the same spot last year, but at the beginning of October instead of the end. A different focal length resulted in different framing and perspective. There's way more fall color and the grass not as green. And there's only solitary pumpkin this year.
www.flickr.com/photos/jimfrazier/50454746991
From the Keyhole Garden
Cantigny Park
Wheaton, Illinois - from 41.853857, -88.154911 looking north
October 31, 2021
COPYRIGHT 2021 by JimFrazier All Rights Reserved. This may NOT be used for ANY reason without written consent from Jim Frazier.
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