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Silver Geometry Project print #18B
Printed on albuminized paper salted with lite salt. The blues and greens are cyanotype, while the purples are silver nitrate.
This image was taken after several additional days of time, but no significant light exposure. The blues have fully developed.
This is geometry, this is the life of you and I;
How we pull for a second together, and down,
we're singing , Da-dee-dum-dum, da-dee-dum-dum, da-dee-dum !!
It's a call, it's a connection, we make to find a light,
And it's brighter than we remember it being the last time we tried...
quoted from "Geometry & C" by Chris Walla.so beautiful !!
Week 26 - Composition: Geometry
We live in a world surrounded by geometry. Use Geometry in your photo this week.
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Taken in 2008.
A study in geometries. The rectangular Hancock Tower (and its rhomboidal footprint) by architect I. M. Pei, and a sphere held by Science -- or Science as represented by a 1912 sculpture by Bela Pratt in front of the Boston Public Library in Copley Square.
Year II : an Heptagon and one of the associated seven armed star (rule and compass only / approximation). I am considering moving to Nasca
The door opening gear in use on a 3ft gauge saddleback hopper at Littleton Briquette Factory, Co Tipperary Sept 2009
Bristol, Vermont USA • Strange random geometry of the wide ends of plastic cosmetic containers.
☞ Seen during a plant tour of Autumn Harp. • From their website: Autumn Harp provides premium service and creative solutions in product development and manufacturing of hot pour products to the personal care industry. Our OTC licensed facility provides support for our clients who range from major global corporations to independent brands.
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HPAD May Scavenger Hunt: Geometry
Yes, I did have Ikea photo holders as tablecard holders at my wedding - both cheapo and saddo! However, I knew they'd come in handy somehow...
I've just used this as an excuse to play around with Gimp for nearly two hours. It's by no means perfect, but I'm rather pleased with it for a first attempt, even if I did only mess about with exposure and eraser settings.
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I'm working on my book on geometry in my mother's studio space. I finished two pages today! But to keep my mother from messing up my workspace, I claimed it using the knolling technique that I teach in the Design Lab at school. The result is this elegant-looking arrangement of tools and materials. It practically screams, "don't disrupt this— I'm coming back to work here."
The Dalà Theatre and Museum Figueres Catalonia Spain
(Catalan: Teatre-Museu DalÃ, IPA: [teˈatɾə muˈzÉ›w ðəˈɫi], Spanish: Teatro Museo DalÃ), is a museum of the artist Salvador Dalà in his home town of Figueres, in Catalonia, Spain.
Building
The heart of the museum is the building that housed the town's theater when Dalà was a child, where one of the first public exhibitions of young DalÃ's art was shown. The old theater was burned during the Spanish Civil War and remained in a state of ruin for decades. In 1960, Dalà and the mayor of Figueres decided to rebuild it as a museum dedicated to the town's most famous son.
In 1968, the city council approved the plan, and construction began the following year. The architects were Joaquim de Ros i Ramis and Alexandre Bonaterra. The museum opened on September 28, 1974,with continuing expansion through the mid-1980s. The museum now includes buildings and courtyards adjacent to the old theater building.
The museum displays the single largest and most diverse collection of works by Salvador DalÃ, the core of which was from the artist's personal collection. In addition to Dalà paintings from all decades of his career, there are Dalà sculptures, 3-dimensional collages, mechanical devices, and other curiosities from DalÃ's imagination. A highlight is a 3-dimensional anamorphic living-room installation with custom furniture that looks like the face of Mae West when viewed from a certain spot.
The museum also houses a small selection of works by other artists collected by DalÃ, ranging from El Greco and Bougereau to Marcel Duchamp and John de Andrea, In accordance with DalÃ's specific request, a second-floor gallery is devoted to the work of his friend and fellow Catalan artist Antoni Pitxot, who also became director of the museum after DalÃ's death.
A glass geodesic dome cupola crowns the stage of the old theater, and Dalà himself is buried in a crypt below the stage floor. The space formerly occupied by the audience has been transformed into a courtyard open to the sky, with Dionysian nude figurines standing in the old balcony windows.
A Dalà installation inside a full-sized automobile, inspired by Rainy Taxi (1938), is parked near the center of the space.
Art collection
The Dalà Theatre and Museum holds the largest collection of major works by Dalà in a single location. Some of the most important exhibited works are Port Alguer (1924), The Spectre of Sex-appeal (1932), Soft self-portrait with grilled bacon (1941), Poetry of America—the Cosmic Athletes (1943), Galarina (1944–45), Basket of Bread (1945), Leda Atomica (1949), Galatea of the Spheres (1952) and Crist de la Tramuntana (1968).
There is also a set of works created by the artist expressly for the Theater-Museum, including the Mae West room, the Palace of the Windroom, the Monument to Francesc Pujols, and the Cadillac plujós.
A collection of holographic art by DalÃ, and a collection of jewelry he designed are on display. Another room contains a bathtub and a side table with an open drawer and a lamp, all of which Dalà had installed upside-down on the ceiling.
An extension to the museum building contains a room dedicated to optical illusions, stereographs, and anamorphic art created by DalÃ. The artist's final works, including his last oil painting, The Swallow's Tail (1983), are on display here.
THE DALINIAN SYMBOLS
A study of the work of DalÃ, reveals some systematically present symbols in all his work. It's fetish objects that apparently have little in common: crutches, sea urchins, ants, bread...
Dalà uses these symbols so as to make it more meaningful to the message of his painting. The contrast of a hard shell and a soft interior is at the heart of his thinking and his art. This contrast outside-(hard/soft) is consistent with psychological design whereby individuals produce (hard) defenses around the vulnerable psyche (flexible). Dalà knew very well the work of Freud and his followers, even if its iconography derives absolutely no psychoanalytic thought.
ANGELS
They have the power to enter the celestial vault, communicating with God and thus achieve mystical union that concerns both the painter. Figures of angels painted by Dalà often borrow traits of Gala, incarnation, for Dali, purity and nobility.
CRUTCHES
It may be the only support of a figure or the necessary support of a form unable to stand alone. Dalà the view child, in the attic of his father's House. It should take and will never part. This subject gave him an assurance and an arrogance which he had never yet been able. In the short dictionary of Surrealism (1938), Dalà gives the following definition: "wooden Support deriving from the Cartesian philosophy. Generally used to serve as a support to the tenderness of the soft structures."
ELEPHANTS
The dalinian elephants are usually represented with the long legs of desire invisible to many bearings, bearing on their Obelisk back symbol of power and domination. The weight supported by the frail legs of the animal evokes weightlessness.
SNAILS
The snail is related to an important milestone in the life of DalÃ: his encounter with Sigmund Freud. Dalà believed that nothing happens just by accident, he was captivated by the vision of a snail on a bicycle outside the home of Freud. The link is then made him between a human head and the snail, he associated specifically with the head of Freud. As for the egg, the outer part of the (hard) shell and the inner (soft) body of the snail site and the geometry of its curves it enchantèrent.
ANTS
Symbol of decay and decomposition. Dalà ants first met in his childhood, observing the remains decomposed small animals devoured by them. He observed with fascination and repulsion, and continued to use them in his work, as a symbol of decadence and ephemeral.
SOFT WATCHES
Dalà has often said, "the materialization of the flexibility of time and the indivisibility of space... It is a fluid." The unexpected softness of the watch also represents the psychological aspect by which the speed of time, although accurate in its scientific definition, can greatly vary in its human perception. The idea came to him after a meal while he contemplated the remains of a runny camembert. He decided to paint over the landscape that served as backdrop for two soft watches which one hung miserably to an olive branch.
EGG
Christian symbol of the resurrection of Christ and the emblem of purity and perfection. The egg evokes by its appearance and its minerality dear symbolism to Dali, earlier, intrauterine life and re-birth.
SEA URCHIN
His "exoskeleton" (the shell sits outside), Harris of thorns, can make you very unpleasant a first contact with the animal. The shell on the other hand contains soft body (one of the favorite dishes of Dali, who was known to eat a dozen at each meal). The Sea Urchin shell, stripped of its spines, appears in many of his paintings.
BREAD
Is it fear of Miss, Dalà represents it in his paintings and also begins to make surrealist objects with bread. In his paintings, loaves more often have something 'hard' and phallic, opposed to the "soft" watches. Dali has always been a great admirer of the bread. It tapissera of Catalan round loaves Figueras Museum walls.
LANDSCAPES
Traditional space (based on the perspective and the paintings of the Renaissance). Realistic landscape strewn with strange and unreal objects located in a natural environment. The background and how to use landscapes are one of the strengths of the art of Dali. They contribute to create the atmosphere of unreality of his paintings (landscape of his native Catalonia and vast plain of Ampurdan surrounding Figueras).
DRAWERS
Human bodies that open by drawers are found repeatedly in paintings and objects from Dali. They symbolize the memory and the unconscious and refer to "thought to be drawers", a concept inherited from the reading of Freud. They express the mystery of hidden secrets. Most of the children explore each drawer, cabinet and wardrobe of their home.
VENUS OF MILO
It is part long's personal mythology of the painter. She is the first woman he model child in clay from a reproduction adorning the family dining room. It is also that he discovered on a box of crayons in New York. He finds stupid expression on his face that he nevertheless considered own to perfect but inadequate female beauty in an elegant woman whose gaze should be or seem intelligent. Dalà made several transformations of Venus: the space Venus, Venus with drawers...
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16 pentagons, 6 circles, 1 rectangle
Contemporary art intervention in an old frame. Frequently renewed - see www.flickr.com/photos/tags/sealstreetartintervention/ for previous and later versions.