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www.annarauchenberger.com / Anna Rauchenberger - Wien, Austria - 06.09.2023 - WKO Ladies Lounge mit Patricia Neumann, CEO Siemens
This photo accompanies Figure 16.—Indicator A11 (Depleted Below Dark Surface). [Field Indicators of Hydric Soils in the United States].
Typical landscape, soil profile, and redox features of the Hegne soil. The Hegne series (Typic Calciaquerts) consists of very deep, poorly drained soils that formed in clayey calcareous lacustrine sediments on glacial lake plains. These soils have slow or very slow permeability. They have slopes of 0 to 2 percent. Mean annual precipitation is about 20 inches. Mean annual air temperature is about 42 degrees F.
The Hegne soils have slightly convex to slightly concave slopes of less than 2 percent on glacial lake plains and in a few places these soils are on flood plains. These soils commonly are on the higher lying positions of microrelief topography. They formed in clayey lacustrine sediments of Late Wisconsin age. Mean annual air temperature ranges from 38 to 45 degrees F. Mean annual precipitation ranges from 15 to 27 inches. Frost-free days range from 90 to 140. Elevation above sea level ranges from 650 to 1800 feet.
Nearly all of these soils are cultivated. Principal crops are small grains and sugar beets. Native vegetation is tall grass prairie. Hegne soils are of large extent principally in the Red River Valley of northwestern Minnesota and eastern North Dakota, also in smaller glacial lake basins in western Minnesota and north-central North Dakota.
______________________________
A, E, and calcic horizons may have low chromas and high values and may therefore be mistaken for a depleted matrix. They are excluded from the concept of depleted matrix unless the soil has common or many distinct or prominent redox concentrations occurring as soft masses or pore linings.
Soil profile and features:
This indicator often occurs in Mollisols (mollic epipedon) but also applies to soils with umbric epipedons and dark colored ochric epipedons. For soils with dark colored epipedons more than 30 cm (12 inches) thick, use indicator A12.
Note: A depleted matrix requires value of 4 or more and chroma of 2 or less. Redox concentrations, including soft iron-manganese masses and/or pore linings, are required in soils with matrix colors of 4/1, 4/2, or 5/2.
This soil has a depleted matrix directly under the surface horizon: (10YR 4/2) in the upper part (Bkssg1) and (10YR 5/2) in the lower part (Bkssg2) with common to many distinct or prominent redox concentrations (soft masses of iron accumulation) and redox depletions (iron depletions), increasing with depth.
Acrylic on Masonite
48"x72"
Licensed under a creative commons share-alike. Please feel free to use but give attribution to Donray, artist and link to www.donrayartist.com.
I'm so glad that I got to see this! This is one of those situations where 30 seconds can make the difference between a good shot and an amazing shot.
I was driving to a meeting and looked in my rear view mirror to see the sun just beginning to peak over the top of Mt. Garfield... by the time that I pulled over and stepped out of my truck the utter, pure magic of the moment had passed. I like this image... but is a pale comparison of what I saw just moments before.
I hope you all have a great weekend!!!
Blessings... Scott
Click here if you wish to download a hi-res version of this photo. If you put a photo somewhere public, please add the credit Photo by Barry Cornelius. Click here for more photos of the 2019 Oxfordshire XC Round 5 - Henley on Thames.
Go to Page 123 in the Internet Archive
Title: Manual of gynecology, v. 1
Creator: Hart, D. Berry (David Berry), 1851-1920
Creator: Barbour, A. H. Freeland (Alexander Hugh Freeland), 1856-
Publisher: New York : Wood
Sponsor: Open Knowledge Commons and Harvard Medical School
Contributor: Francis A. Countway Library of Medicine
Date: 1883
Vol: v. 1
Language: eng
Includes bibliographical references and index
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
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Free download of the entire Abode of Chaos' Opus IX (504 pages)
Secrets revealed of the Abode of Chaos (144 pages, adult only) >>>
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voir les secrets de la Demeure du Chaos avec 144 pages très étranges (adult only)
999 : visite initiatique au coeur de la Demeure du Chaos insufflée par l'Esprit de la Salamandre
Film HD d'Etienne PERRONE selon un scénario original de thierry Ehrmann.
courtesy of Organ Museum
©2014 www.AbodeofChaos.org
VIDEO: dai.ly/KcSWL4
Guanajuato, México, 15 de Mayo de 2012. Grafiti Poético [ Nº2 ] [ Acto Psicomágico sobre Poderes Políticos y Religiosos ] by #FFFFFF
¿Qué es Grafiti Poetico?
Grafiti Poetico [ GP ] es anti color, es anti estetica. Transforma el entorno psicogeográfico, apoderándose de los estereotipos tan criminalizados del Grafiti y de su "modus operandi".
Consideramos a los aromas como una herramienta artistica que pueden tambien transformar los espacios publicos con esencias aromáticas que emanan de un aerosol y que asumen un significado en el contexto de un acto poético. GP es en si mismo un artificio situacionísta con el que se pretende activar un lugar comun y cuestionar los límites de lo social, de lo permitido y de lo legal.
Es un acto de provocación intelectual que surte efecto al generar una reacción de asombro en los que transitan, asi como de las mismas autoridades. Es una puesta en escena que a manera de ritual transforma radicalmente aquello sobre lo que es rociado alterando lo transparente, volatilizando los espacios y las dinamicas ciudadanas. GP es anti criminalización del arte en el espacio público. Es en si un acto poetico que invita a soñar, a crear no a partir de la estetica, si no a partir de los aromas y a transformar el espacio público con olores y escencias.
Otro ardid con el que esquivar el pensamiento único.
www.xn--lngtidsparkeringarlanda-k8b.se
långtidsparkering arlanda
Chances are that there has been some point in your life where you needed to fly out of town. Now it may be for business or even for pleasure however there is
one thing that makes unpleasant to think about going to the airport. And that one thing is parking. That's right I said it. Parking at the any airport is
such a drag. You have to attempt to get to the airport earlier then needed just to secure a parking place. And the chances are still the same that you will
get a parking space that is a little further than you are willing to walk. Have you consider långtidsparkering arlanda? Stockholm's busiest airport makes it
easy for any traveler to get a parking spot and have transportation back and forth to the terminals.
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V Curso de Trompeta con el Profesor Juan Carlos Alandete, organizado por el Centro Contrapunto y Juventudes Musicales de León que tiene lugar del viernes 15 al domingo 17 de enero´16.
Country artist and People’s Choice Award winner Hunter Hayes performs for a large crowd on the Ederle Track and Field May 19 during his concert supported by USO.
Hayes also performed in England before heading to the States.
Photo by Laura Kreider/USAG Vicenza PAO
Learn more about us on www.usag.vicenza.army.mil and www.facebook.com/VMCItaly.
Source: en.wikipedia.org/wiki/Memphis,_Tennessee
Memphis is a city along the Mississippi River in southwestern Shelby County, Tennessee, United States. The 2019 population was 651,073, making Memphis the largest city on the Mississippi River, the second most populous in Tennessee, as well as the 26th largest city in the United States. Greater Memphis is the 42nd largest metropolitan area in the United States, with a population of 1,348,260 in 2017. The city is the anchor of West Tennessee and the greater Mid-South region, which includes portions of neighboring Arkansas, Mississippi, and the Missouri Bootheel. Memphis is the seat of Shelby County, Tennessee's most populous county. One of the more historic and culturally significant cities of the southern United States, Memphis has a wide variety of landscapes and distinct neighborhoods.
The first European explorer to visit the area of present-day Memphis was Spanish conquistador Hernando de Soto in 1541 with his expedition into the New World. The high Chickasaw Bluffs protecting the location from the waters of the Mississippi was then contested by the Spanish, French, and the English as Memphis took shape. Modern Memphis was founded in 1819 by three prominent Americans: John Overton, James Winchester, and future president Andrew Jackson.
Memphis grew into one of the largest cities of the Antebellum South as a market for agricultural goods, natural resources like lumber, and the American slave trade. After the American Civil War and the end of slavery, the city experienced even faster growth into the 20th century as it became among the largest world markets for cotton and lumber.
Home to Tennessee's largest African-American population, Memphis played a prominent role in the American civil rights movement and was the site of Dr. Martin Luther King, Jr.'s 1968 assassination. The city now hosts the National Civil Rights Museum—a Smithsonian affiliate institution. Since the civil rights era, Memphis has become one of the nation's leading commercial centers in transportation and logistics. Its largest employer is the multinational courier corporation FedEx, which maintains its global air hub at Memphis International Airport, making it the second-busiest cargo airport in the world. In addition to being a global air cargo leader, the International Port of Memphis also hosts the 5th busiest inland water port in the U.S., with access to the Mississippi River allowing shipments to arrive from around the world for conversion to train and trucking transport throughout the United States, making Memphis a multi-modal hub for trading goods for imports and exports despite its inland location.
Memphis is a regional center for commerce, education, media, art, and entertainment. It has long had a prominent music scene, with historic blues clubs on Beale Street originating the unique Memphis blues sound in the early 20th century. The city's music has continued to be shaped by a multicultural mix of influences: the blues, country, rock n' roll, soul, and hip-hop. Memphis barbecue has achieved international prominence, and the city hosts the World Championship Barbecue Cooking Contest, which attracts over 100,000 visitors to the city annually.
Source: en.wikipedia.org/wiki/Beale_Street
Beale Street is a street in Downtown Memphis, Tennessee, which runs from the Mississippi River to East Street, a distance of approximately 1.8 miles (2.9 km). It is a significant location in the city's history, as well as in the history of blues music. Today, the blues clubs and restaurants that line Beale Street are major tourist attractions in Memphis. Festivals and outdoor concerts frequently bring large crowds to the street and its surrounding areas.
Ga voor meer informatie naar: Corendon Vliegvakanties.
Op een van de mooiste plekken van de westkust van Turkije ligt dit luxueuze villapark. Mooie en sfeervolle villa’s bieden u alle comfort en luxe die de meest verwende reiziger versteld zal doen staan. Op korte afstand van de luchthaven ligt het Turquoise park direct aan zee en op een heuvel gebouwd, de meeste wooneenheden uitzicht hebben op het meer. Het complex leent zich ideaal voor de individueel ingestelde reizigersgroepen. Men heeft er alle privacy, het comfort van thuis en de zon van Turkije.
Click here if you wish to download a hi-res version of this photo. If you put a photo somewhere public, please add the credit Photo by Barry Cornelius. Click here for more photos of the 2019 Cotswold Classic 10.
Choosing a daycare center for your child involv... t.co/vu52VHiJBV (via Twitter twitter.com/lileinsteins2/status/1315757054640955393)
Episode 038 - Drink Or No Drink with Claudia Jordan and Aubrie Lemon - Part 2 of 3
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Title: Physical training; junior course : Swedish exercises, games, swimming, diving, life-saving
Creator: Solano, E. John
Publisher: London : Murray
Sponsor: Wellcome Library
Contributor: Wellcome Library
Date: 1913
Language: eng
Contains errata slip
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
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POPAI Mission & Vision
Our Vision
To advance the evolution of marketing at retail as a strategic advertising medium integrated into the marketing mix globally.
Our Mission
POPAI is the trade association of the marketing at retail industry dedicated to serving its more than 1,700 members internationally by promoting, protecting, and advancing the broader interests of marketing at retail through research, education, trade forums, networking, and legislative efforts.Who We Are
POPAI is an international trade association for the marketing at retail industry. Founded in 1936, POPAI prepares to celebrate its 75th anniversary with over 1,700 member companies representing Fortune 500 brand manufacturers and retailers, as well as, marketing at retail producer companies and advertising agencies from six continents and over 45 countries from around the world.
POPAI is the premier source of learning, knowledge and future-oriented research for the marketing at retail industry, and provides resources, education, ideas and advocacy to enhance the power and performance of the marketing at retail professional and community.
Our membership draws on leaders from some of the industry’s premier companies, like: Anheuser-Busch, Coca-Cola, Energizer, Johnson & Johnson, McDonalds, Pepsi-Cola, Target, Walmart, and Wendy’s to name a few.
POPAI ITALIA -
Piazzetta Umberto Giordano 4 - 20122 MILANO - tel. 02 76016405
战地之鹰：罗伯特.卡帕 罗伯特 卡帕Robert Capa罗伯特 卡帕（Robert Capa）,匈牙利人，1913年生于布达佩斯，原名安德烈，卡帕是他的笔名。他17岁时就立志要当摄影家，二十世纪最著名的战地摄影记者之一。在柏林大学求学后，先在柏林一家通讯社做暗房工作，后到巴黎当记者。由于他的摄影作品受到一家摄影杂志社的重视，他便被委派到战地进行采访。马格南图片社创始人之一。作品影响1936年西班牙内战，卡帕在西班牙战场拍摄了一个战士中弹将要倒下，这幅使人有身临其境之感的作品以《西班牙战士》、《战场的殉难者》、《阵亡的一瞬间》等标题发表，立刻震动了当时的摄影界，成为战争摄影的不朽之作，也成为卡帕的传世之作。和卡帕一起到西班牙采访的还有他的年青女友，德藉女摄影家葛尔德·达娜。他们共同奋不顾身地出没于硝烟弥漫的战场，达娜不幸死于坦克履带下。悲伤的卡帕，从此永远凝视关注着战场。他一生的摄影创作多取材于战争。他把照相机作为揭露战争的武器。卡帕说：“照相机本身并不能阻止战争，但照相机拍出的照片可以揭露战争，阻止战争的发展”。1954年，卡帕不顾亲友的劝阻，悄悄来到越南战场，1954年5月25日，卡帕不幸误踏地雷身亡，时年四十一岁。卡帕的名言如果你的照片拍的不够好，那是因为你靠的不够近。光有才华是不够的，你还得是个匈牙利人。真相是最好的照片，最好的宣传。这场战争（指二战）就像个正在变老的女演员，越来越不上相了，也越来越危险。 来自http://www.semon.name/post/2013-10-22/40054916369
www.emergencyrooms.org/Welcome_Film_Festival.html
For the Welcome Film Festival artists and filmmakers with non-Danish backgrounds invite guests into their private homes
to show the films they have created.
04 to 17 March 2026 — Copenhagen
Over the course of the festival, films will be screened not in cinemas, but in private spaces — creating site-specific micro-cinemas
shaped by each host’s context and hospitality. Press image and poster
No jury. No institutional filters. (No censorship.) Each creator selects their own work and defines the conditions of viewing.
The result is a plurality of voices, formats, experiments, and experiences.
Through its decentralized and self-organized structure, the Welcome Film Festival challenges the conventions of cultural presentation,
offering an alternative model rooted in openness, conviviality, and autonomy.
Participants 2026 Artists – Filmmakers:
Alice de Champfleury, Jella Bethmann, Juan Hein, Ada Ortega Camara, Valerie Collart, Thomas Fleurquin, Frank Franzen,Maia Hauser ,
Thierry Geoffroy, Rebeka Szalai, Arturo Fabbro,Abel Alazo Rangel
Contact the artists for availability :)
en.wikipedia.org/wiki/Fountain_Grove
www.pressdemocrat.com/article/20100313/ARTICLES/100319686...
This barn is a elegant image of a nearly forgotten past. I say "elegant" because both the inside and the outside were meant for a purpose, but in a way few others emulated "in the round."
The news and wiki articles explain this.
I'd like to point out that there is no fence or protection around this landmark. It should be protected and hence preserved. If you look at the photos that include the interior you'll see what I mean. The interior shots were done through holes in the door or over the top of the wall.
I hope this gets protected, then I hope it gets used so people can spend time here. It is a very unique space. It has little or no evidence of degradation, even though it has sat as such for many many years. It is like the Carrillo Adobe in that respect. See my shots of the Adobe here: www.flickr.com/photos/desertbuzz/sets/72157627116910640/910640/
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www.nga.gov/stories/1874-birthday-of-impressionism.html
www.nga.gov/exhibitions/2024/paris-1874-impressionist-mom...
www.thebulwark.com/p/the-moment-when-impressionism-took-t...
"The National Gallery’s exhibition on the first Impressionist show is serious, elegant, and packed with beauties.
This past April, I started a series of stories about Impressionism, the movement launched — unofficially, anecdotally, and circumstantially — in April 150 years ago at an exhibition in Paris of around 200 works by 30 artists, some renegades, some misfits, some mainstream, some simply mad as hell. What is now called the first Impressionist salon — there were to be eight, the last in 1886 — ran from April 15 to May 15, 1874.
Enough by-the-numbers. The collective was called the Société anonyme des artistes peintres, sculpteurs, graveurs, etc., a joint-stock company whose investors — the artists, painters, sculptors, printmakers, and whatever et cetera slapped down a few sous — could display and sell works of their own choosing, unjuried by the heavy hand of official taste.
This is my fifth and my last Impressionism-anniversary story. It’s not a case of saving the best for last, but Paris 1874: The Impressionist Moment at the National Gallery in Washington, D.C., is the pièce de résistance. It’s so bracing, so keen and sharp, it alone might compel the Swamp to drain itself, conceding that art invigorates and heals but also disinfects.
Paris 1874 doesn’t reconstitute all of what’s known today as the first Impressionist salon, though it comes close. Rather, it clarifies and cleanses old thinking and situates the exhibition that unfolded at 35, Boulevard des Capucines, in a social, political, and, especially, an economic context. Good, old-fashioned, how-do-we-market-the-merde-out-of-these-dabs economics.
Art for art’s sake aside, nothing exists in a vacuum. What was this thing, the birth of Impressionism?
The first gallery presents a juxtaposition of old against new, bite-size and in a nutshell. Paris 1874 then challenges, surprises, and delights as the curators tease complexity from what seemed so easy. Monet’s Impression, Sunrise, long touted as the first Impressionist picture, is there. It’s not really “the first.” We learn along the way that Impressionism wasn’t so much Athena springing fully grown from the head of Zeus as a sumptuous cassoulet, one that simmered not overnight but for years.
That said, Impression, Sunrise is famous, a beauty, and almost never leaves the Musée Marmottan in Paris, having been stolen in 1985 by Japanese gangsters and missing until it was found in Corsica five years later.
What’s old? The official Salon, that’s what. Next to Impression, Sunrise is Jean-Léon Gérôme’s L’Éminence Grise, from 1873, a medal-winner at the 1874 Salon, which opened two weeks after the Société show. The annual Salon, and the affair started in the 1660s, was sponsored by the Académie des beaux-arts, France’s most prestigious art school, think tank, and honors society. It was a juried art show displaying what was seen as the pinnacle of taste in art, filtered by tradition. It was also, though it was unaware of this, the Western world’s preeminent art fair.
In 1874, about 3,700 works by nearly 2,000 artists were on view, packed floor to ceiling at the Palais de l’Industrie, the Gothic Revival pile built in 1855 for the Paris World Fair and thanks to Napoléon III’s effort to exceed the splendor of the Crystal Palace and London’s Great Exhibition of 1851. Around 500,000 people attended.
Gérôme’s painting is emblematic. It’s a history painting. A hierarchy among genres still governed French establishment taste, with history painting on top and, in descending order, religious and landscape subjects, scenes of everyday life, and portraits. Mixed in the hierarchy were sculpture, highly regarded, drawings, near the bottom because they were seen as preparatory, and prints, nice but small and, since geared to individual, private contemplation, unable to convey the grandeur that was French culture. Gérôme’s painting is highly finished, each inch crisp, clear, and resolved, crafted with both élan and precision. We can imagine the artist’s intellect and skill but don’t want to see his gestures. That would be tacky.
L’Éminence Grise is an inspired choice, too, because of its subject, François Leclerc du Tremblay, a Capuchin friar and Cardinal Richelieu’s fixer and right-hand man. Richelieu was the power behind the throne of Louis XIII, so Tremblay possessed discrete, hidden power — much as the Salon’s jury did. It had overt power in selecting what was and wasn’t displayed, considered not only quality but politics and personalities, ruled with opacity, and rankled in its rejections. The jury’s selection process was rigged to favor older, successful artists, some also professors.
Also in the first gallery are Monet’s Boulevard des Capucines, from 1873, displayed in the Société show, a sparkling, fleeting view of a crowded, upscale city street where, in the spacious, luxurious studio of the photographer known as Nadar, the Société show happened. It’s dappling and fresh and a glass hive. It’s peak Impressionism.
Near it is Camille-Léopold Cabaillot-Lasalle’s La Salon de 1874, a view of a gallery in the official exhibition. That’s a clever choice, too. It shows us the Salon’s display strategy, which is mind-blowing abundance, and its well-heeled visitorship, social, attentive, and refined, no jeans, and shirtlessness and bare feet “prohibé.” And no pet-eating illegals allowed.
Praise the Lord and all the saints, and let’s toss the seraphim, the cherubim, and the Four Living Creatures in the mix, too. Nowhere in Paris 1874 do we wade through puddles of tears over white supremacy, settler colonialism, or the prison-industrial complex. The exhibition is straight art history. What a tonic.
There’s real trauma on one score, though, and this helps us understand the Impressionist phenomenon. The Prussian invasion and the Commune — Paris was sacked by revolutionaries, chunks of the city burned, and thousands died — unfolded in 1870 and 1871. The Haussmann demolition and reimagining of Paris had just happened. Promethean bounce-back is part of the miracle that’s human nature, but, in Paris, the will to make something new rather than to rehash the old seems to have been a powerful part of Impressionism’s DNA and an impetus for the Société.
The année terrible cut multiple ways. Artists hoping to pay the bills, much less thrive, believed that the Commune endangered careers because, being a communist movement, it would destroy the bourgeois, art-buying public. Degas, Giuseppe De Nittis, and Henri Rouart, all Société exhibitors, were from affluent backgrounds, but Monet, Cézanne, Sisley, Pissarro, and Boudin couldn’t afford to be too nonconformist. Many of the Société artists had fled Paris during the war and subsequent upheaval. New, impromptu studios and new settings were a creative jolt. Napoleon III was out in 1870. The Third Republic was in.
Questioning authority had cachet, but unhappiness with the Salon wasn’t new. Some was natural. Reject an artist — and Degas was rejected many times — and a new belligerent is born. Manet’s Déjeuner sur l’herbe was notoriously nixed by the Salon. Starting in 1863, artists whose work the Salon jury had rejected held a Salon des Refusés. And by 1873, artists such as Degas, Renoir, and Monet, whose work showed a freer, outdoorsy, more spontaneous character, saw the Salon’s jury system as a road to nowhere. For them, the Société offered the freedom to exhibit, which meant the freedom to market. The Société show would give no awards, which the Société’s members felt were warped by art-world politics.
Paris 1874 celebrates the eccentricity of the Société show, and it also explains it. Renoir’s The Dancer, whose skirt is like a puffy cloud, Sisley’s and Pissarro’s luminous, breezy landscapes, Boudin’s pastel cloud studies, Degas’s ballet dancers, and Monet’s work are iconic. They’re impressions, through their quick-take look and free handling of paint. There’s no moral message, though voyeurs would be pleased. Berthe Morisot’s bourgeois women at leisure and views of the new Paris are there, too, as well as the technology of a modern age. With a palette of gray-blue, ochre, and rose, Sisley’s Seine at Port-Marly has to be the prettiest water-pump station on Earth. Mundane and exurban, it supplied the water to irrigate Versailles’s gardens.
Then there are the oddball artists and objects. Auguste Ottin’s marble bust of Ingres is far removed from the avant-garde, but he was famous and had agreed to be the Société’s treasurer. Édouard Brandon painted scenes of Jewish life. Degas, his buddy, twisted his arm, not for aesthetic reasons but to boost the Société’s paying shareholders. Ludovic Lepic was another Degas friend. He was rich and influential and had a fondness for dogs, whose portraits in the Société show have to be its most counterintuitive works.
The location of the Société show — Nadar’s studio — was much calculated and symbolic. The pioneer of Paris portrait photography, Nadar was modern to the core and then some. An amateur balloonist, he organized mail delivery by hot-air balloon during the Commune blockade, inventing airmail. Nadar’s space was free, the biggest point in its favor, but the movers and shakers among the Société — mostly Degas — thought the neighborhood was in sync with their mission and spirit. It was the heart of the new Paris.
Nearby were Garnier’s new opera house; Le Printemps, the fancy department store; boutiques; the House of Worth; and the Bourse, Paris’s commodities exchange, though it hadn’t been rebuilt yet. Nadar’s space had skylights with adjustable blinds, an elevator, an interior fountain for gentle gurgles, and, in case of a hot spell, air-conditioning.
The walls, to the artists’ delight, were smoky red fabric, the floors were carpeted in red abstract flowers against a black field. Blues and greens in landscapes popped like firecrackers. Red is the color of passion and a good color for evening events meant to enliven and engage rather than sedate. It’s a good dining-room color, especially if dinner is by candlelight. Set against a red wall, Renoir’s The Theater Box got an extra jolt of drama. Unlike the Salon, the Société show wasn’t packed and stacked. Art had room to breathe.
Paris 1874 smartly avoids a black-and-white contrast between the Société and Salon exhibitions and debunks a good-versus-evil approach to them. Both shows, we see, were an eclectic affair. Manet’s The Railway, from 1873, was in the Salon show and, now, it’s in Paris 1874. It’s a scene of modern life, dab-packed, luminous, bright, and less narrative than anecdotal and serendipitous. Gérôme’s L’Éminence Grise is didactic. Manet’s picture stars a sassy, multi-blue bow, a sleeping puppy, a bunch of grapes, an iron grate, and puffs of steam. It’s as Impressionist as it gets. Zacharie Astruc, with 14 works in the Société show, many watercolors, was, like Gérôme, an Orientalist.
There are 45 or so works of art in Paris 1874 that were in that year’s Salon. This is a lot, and the old-versus-new point could have been made with far fewer. Still, I can’t begrudge a place in the sun for Bouguereau, Alma-Tadema, or Henri-Paul Motte, whose Trojan Horse was his Salon debut and a favorite of mine this week.
The first-rate catalogue is edited by Sylvie Patry from the Musée d’Orsay and Anne Robbins from the National Gallery. What’s becoming standard in museum catalogues now are lots of essayists — Paris 1874 has 15 — and short essays that are themselves either impressions and shallow or tangential tributes steered by the curators to their friends. Nothing of the sort here, since the essays, most a few pages, are still rich and satisfying, and, if the French practiced cronyism, at least the cronies delivered substance.
Anchor pictures such as Impression, Sunrise get an essay of their own. It’s too bad the National Gallery didn’t incorporate more of the gold nuggets in this essay into the gallery interpretation of Impression, Sunrise. The painting was placed in the introductory gallery, so it gets introductory messaging. In the book, we learn that the painting is a case study in Impressionism’s complexities and contradictions. Depicting Le Havre’s harbor, it’s lovely and quintessential, with wet-on-wet execution to make the colors blend, single, rapidly applied strokes, cool blue grays, passages of pink, streaks of yellow, and an orange-red sun. It’s morning in Le Havre, then one of France’s most polluted cities, so pretty it’ll kill you. Impressionism isn’t always parks, beaches, and gardens. An astrophysicist recently found, looking at the painting and weather records, that it was done on November 13, 1872. Many of the works by Pissarro, Sisley, and Renoir in the Société show were done around the same time, so what was first is up for grabs.
Paris 1874 isn’t a miniature survey of Impressionism. It does, though, review basic themes and dedicates spaces to modern life in public spaces and at home, suburban leisure, and landscape. I loved the section on the Parisienne, the chic, sophisticated young Paris woman who has managed to remain an icon through every phase of modernity. She’s lively, frank, elegant, and sometimes she’s a courtesan, but who cares? Renoir’s Parisian Girl from the Société exhibition might look like a bit of a simp, but her blue hat, blue dress, and blue gloves make the picture more a color and a craze than a portrait of a person. Indigo-mania reigned supreme in 1874.
Paris 1874 isn’t a miniature survey of Impressionism. It does, though, review basic themes and dedicates spaces to modern life in public spaces and at home, suburban leisure, and landscape. I loved the section on the Parisienne, the chic, sophisticated young Paris woman who has managed to remain an icon through every phase of modernity. She’s lively, frank, elegant, and sometimes she’s a courtesan, but who cares? Renoir’s Parisian Girl from the Société exhibition might look like a bit of a simp, but her blue hat, blue dress, and blue gloves make the picture more a color and a craze than a portrait of a person. Indigo-mania reigned supreme in 1874.
By the by, the Société show attracted only 3,500 visitors, a decimal point of a fraction of what the Salon got. Only four works of art sold. By the end of 1874, the Société dissolved. Word of mouth, though, was good, and critics were more positive than negative.
Patry, one of the curators of Paris 1874, wrote a good essay on whether or not the 1877 renegade exhibition really started the movement we call Impressionism. Only 18 artists exhibited so it was more focused, the idiosyncratic artists from the 1874 Société show were gone, and the look was more coherent. Monet, Degas, Cézanne, Renoir, Sisley, and Pissarro each displayed more than 20 paintings, so, for each artist, the show was a miniature solo survey.
In 1874, artists and critics were calling the style and technique of the intransigeants, the rebels — and, yes, the Impressionists — the new thing, for it wasn’t yet seen as a movement. In 1877, “Impressionism” entered French dictionaries. And Renoir’s Bal du moulin de la Galette was there. By then, each of the Impressionists was better known, more successful, and had committed collectors. The Salon still had a few more years to go but not many. In 1881, the French government stopped giving it money. By 1890, it was splitting into pieces. So was Impressionism, too, but the torch was passed."
www.nationalreview.com/2024/09/an-impressionism-150th-bir...
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YAY!!! I am officially at the end of my one month of photographs!! This was suprisingly a massive challange, I barely remembered most of the time but it has been heaps of fun seeing what I wear all of the time and mixing things up so I dont wear the same outfit everyday like I usually would. But there is another thing off my List Horray!!!
If you dont know what the List is you can check it out here --
chickentherapy.blogspot.com/2008/03/ok-i-keep-meaning-to-...
Source: livinghistories.newcastle.edu.au/nodes/view/47887
This image was scanned from a photograph in the University's historical photographic collection held by Cultural Collections at the University of Newcastle, NSW, Australia.
If you have any information about this photograph, or would like a higher resolution copy, please contact us.
The Western Heritage Community Challenge Committee initiated a new program to raise awareness of the Show’s 75th anniversary while continuing its focus on celebrating our Western heritage. Boot Scoot 2007 features 85 six-foot high cowboy boots that have been transformed into works of art that will be displayed all over the city of Houston.
Location: Post Oak Park at Post Oak Blvd. and 610 Loop
200枚いっぱいなのでアップロードをfotolofueに移行します→http://fotologue.jp/t1r0ru1032
厳密には200枚まであと4枚ありますが、それはもっとレタッチが上手くなって、一眼レフを手にしたら戻ってきて埋める事にします。それでは有難うございました！
OCALA- Club Zanzabar on HWY 441 Ocala, FL was hopping to the beat of Tha Mixfits this night (Saturday October 11 , 2008).
Music was provided by DJ X-CELL and DJ LeSage of Tha Mixfits
Photography supplied by Steve Beger of www.beger.com. Your premier Ocala photographer.
View the entire set by clicking Here or visit: http://www.flickr.com/photos/beger/sets/72157608563612094/ or beger.com/photos/?title=Club+Zanzabar,+Ocala+10/11/2008&a...
www.vanderbiltcupraces.com/blog/article/mystery_friday_fo...
Mystery Friday Foto #36 Solved: Harry Grant in an Alco at the 1912 Old Orchard Beach Meet in Maine.
Identify:
The driver
Harry Grant, winner of the 1909 and 1910 Vanderbilt Cup Races.
The manufacturer and model of the automobile and its manufacturing location
Grant is driving his own Alco built in Providence, Rhode Island. Rationale: The Alco logo on the wheel and the license plate#7815. Note the Mystery Foto is misidentified in the Maine Historical Society's website as a 1911 Locomobile.
During the 5-mile event in the Old Orchard Beach Meet held on July 4, 1912, Grant won the 5-mile event in a Berkshire owned by Stuart H. Clapp, a co-owner of the company. The Berkshire was manufactured in Pittsfield, Massachusetts,
The race event, date and its location
Old Orchard Beach Meet held from July 4-6, 1912 in Old Orchard Beach, Maine.
Comments (3)
Congrats to David Miller, Steve Lucas and Ariejan Bos for identifying Harry Grant.
Kudos to the amazing Ariejan Bos for recognizing the chain-driven Alco. Was it a modified Black Beast as suggested by Ariejan?
Enjoy,
Howard Kroplick
www.vanderbiltcupraces.com/blog/article/mystery_friday_fo...
www.stylespotted.com/spot_profiles/281-Secondhand-Blaugold, Antiquitäten, Accessoires, Männer, Frauen, Unikate, Schmuck, Taschen, Gepäck, nostalgisch, anitk, romantisch, ungewöhnlich, aussergewöhnlich
東大門批發王 04/12
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東大門批發王 04/12
各位老闆，欲知道批價及下單代批，請透過P將的LINE或FB粉絲專頁私訊聯繫。
下單或詢問批價，請告知標題上的『日期-流水號』。
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東大門批發王 04/12
各位老闆，欲知道批價及下單代批，請透過P將的LINE或FB粉絲專頁私訊聯繫。
下單或詢問批價，請告知標題上的『日期-流水號』。
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