View allAll Photos Tagged Ibid
Para las personas educadas de hoy en día, es evidente que los hechos deben comprobarse por observación, no consultando las autoridades antiguas. Pero ésta es una concepción completamente moderna, que apenas existía antes del siglo XVII. Aristóteles afirmaba que las mujeres tienen menos dientes que los hombres. Aunque se casó dos veces, jamás se le ocurrió verificar su juicio examinando las bocas de sus mujeres. También dijo que los niños serían más sanos si se los concebía cuando el viento soplaba del norte. Se desprende de ello que ambas señoras Aristóteles debían salir a mirar la veleta cada noche antes de ir a la cama. Dice que un hombre mordido por un perro rabioso no se volverá rabioso, pero sí cualquier otro animal (Hist. Am., 704a); que la mordedura de una musaraña es peligrosa para los caballos, sobre todo si aquélla está preñada (ibid., 604b); que los elefantes que sufren de insomnio pueden curarse frotándoles el lomo con sal, aceite de oliva y agua caliente (ibid., 605a); y así sucesivamente. Sin embargo, los profesores de clásicas, que nunca observaron un animal a excepción del gato y el perro, continúan alabando a Aristóteles por su fidelidad a la observación.
Lo mejor de Bertrand Russell
Innenhof des Castello del Buonconsiglio in Trient | Inner Courtyard of the Castello del Buoncosiglio, Trento (1875)
Aquarell, Deckweiß | Watercolour, opaque white
From the exhibition "Jakob, Franz and Rudolf
von Alt" in the ALBERTINA in Vienna
www.albertina.at/en/exhibitions/jakob-franz-rudolf-von-alt/
Rudolf von Alt (* 28 August 1812 in Vienna; † 12 March 1905 ibid.) is one of the most popular artists of 19th century Vienna. de.wikipedia.org/wiki/Rudolf_von_Alt en.wikipedia.org/wiki/Rudolf_von_Alt
Ernst Fuchs
(* 13 February 1930 in Vienna; † 9 November 2015 ibid.) was an Austrian painter, graphic artist, sculptor, stage designer, composer and author. He is considered a co-founder of the Viennese School of Fantastic Realism.
Ernst Fuchs
(* 13. Februar 1930 in Wien; † 9. November 2015 ebenda) war ein österreichischer Maler, Grafiker, Bildhauer, Bühnenbildner, Komponist und Autor. Er gilt als ein Mitbegründer der Wiener Schule des Phantastischen Realismus.
Altarpiece in the parish church of St. Elisabeth in Vienna's 4th district Wieden from 1866. The artist was "Franz Josef Dobiaschofsky (* 23 November 1818 in Vienna; † 7 December 1867 ibid.)", a "history painter and painter of religious paintings in the succession of the Nazarenes". de.wikipedia.org/wiki/Franz_Josef_Dobiaschofsky
de.wikipedia.org/wiki/Pfarrkirche_St._Elisabeth_(Wien-Wieden)
the circle segment with the 4 spot-lights, you can see above is the bridge of Hans Hollein from which I took the photos I show in the comment boxes ...
as I said, he was a genius ...
good architecture is an exiting experience, an adventure area ...
gute Architektur ist ein Erlebnisraum ...
;-) ...
and key figure of postmodern architecture.
Hans Hollein (b. March 30, 1934 in Vienna; † April 24, 2014 ibid.) was an Austrian architect and designer, sculptor, object artist, exhibition designer, architectural theorist and key figure of postmodern architecture. He belonged to the Viennese avant-garde. I do have dozens of architecture photos of his buildings in my account.
_DSC0710_pt2
Quiet, peaceful town where I live :) Concho Lake is very dry right now you can barely see it. It goes down every year due to irrigation but due to the drought it is extremely low right now. It is spring fed so wil fill back up over the winter months and the process will repeat itself. It is beautiful when full of water :)
The village (CDP) of Concho, sometimes referred to as "Old Concho", is rich in tradition and folklore. Each year the villagers enjoy coming together for the San Rafael Fiestas, when residents and relatives from afar gather for joyful celebration and reminiscing. Concho also celebrates Memorial Day with the only Memorial Day parade and town picnic in Arizona that actually takes place on Memorial Day.
The newer portion of Concho, outside the CDP, is the highland country referred to as "Concho Valley", established in 1971. Growth in this development primarily took place as a result of the construction of the Coronado Generating Station located west of St. Johns. The main attraction, until its closure in 2010, was the local country club and golf course. The clubhouse of the country club became a pizza place for awhile, but is now a residence, and the old golf course is mostly residential, with a high end RV park for travelers coming soon. Concho Lake, which primarily serves as an irrigation reservoir for "Old Concho", serves as a home for wildlife of all kinds, though the water is typically too low for fish. Both the old and new portions of Concho enjoy the peacefulness of a quiet country atmosphere, with clear skies and a sense of community. The total population of the Concho CDP ("Old Concho") and "Concho Valley" is approximately 800–900 persons.
Prior to the arrival of Europeans, the Concho area was home to Indigenous Ancestral Puebloan peoples; the ruins of their pueblos can still be seen all over the area to this day. Indigenous Athabaskan speakers – the ancestors of today's Apache and Navajo peoples, the largest Indigenous groups in northeastern Arizona – arrived in the region somewhere between the 1100s and 1400s CE, the earliest confirmed physical evidence of their presence being a Diné-style three-fork dwelling dated to about 1389 CE.[6] The Concho area remained firmly in Apache control until the end of the Apache Wars in the late 19th century, following the surrender of Lozen and Goyaałé.
The first permanent, non-Indigenous settlers of Concho were several Hispanic New Mexican families in the late 1800s. The exact date of Concho's founding is unknown, but likely occurred in the late 1850s or early 1860s.[7] Don Manuel Antonio Candelaria, originally of Cubero, NM, is generally credited with being the first known settler of Concho: he first entered the area in the 1840s, when he was a child and an Apache captive. He was adopted by the tribe and lived among them as a full Apache tribal member for many years, until deciding to return to Cubero as a young man to reconnect with his birth family. After re-learning Spanish and eventually marrying Regina Baca, Candelaria returned to Concho with his family and 700 head of sheep and goats to permanently settle the area in 1861 (though he indicated that a scant handful of other Hispanic New Mexicans had also come to settle the area a few years prior).[7] Several other Hispanic New Mexican families - most notably the Archunde, Atencio, Baca, Chavez, Gallegos, Padilla, and Romero families - followed suit and founded the town by the 1870s.
While some folklore says that the name "Concho" comes from a Basque word meaning "a small valley," there is no linguistic, ethnographic, or historical evidence that seems to support this claim - or indeed, that there was ever a sustained Basque presence in the region. Instead, based on historical and ethnographic data (ibid.: 31), the name most likely comes from the Spanish word concha (meaning "shell"). Early settlers noted an abundance of small shells along the Concho Creek (which then ran year-round) and named the settlements "Las Conchas," or "The Shells." New Mexican church records indicate that the Las Conchas settlement was officially known as "El Rio Colorado Chiquito" ("The Small Red/Colored River"), but locals simply referred to it as Las Conchas (ibid.). Over time, this name transmuted into "El Concho", which eventually was shortened to "Concho."
A group of Latter-Day Saints led by William J. Flake arrived in 1879 after Flake and Bateman H. Wilhelm purchased some of the land from José Francisco Chaves under the direction of Apostle Erastus Snow. The LDS community adopted the name Erastus in honor of Snow, but changed the name back to Concho to match the continuing Mexican community in 1890.[8]
"The town was once the major population and financial center of the northeast quarter of what is now Arizona. It continued as a thriving small town for many years."[9] Nevertheless, circumstances such as World War II caused residents to leave the area, and in time Concho dwindled down to a small community.
www.youtube.com/watch?v=pzhByjC_Qds
Wish I Didn't Know Now - Ella Langley
www.youtube.com/watch?v=HU0bJhFoD8w
Young Love - Jamey Johnson & Ella Lagley
www.youtube.com/watch?v=blOfEw4nrZc
Stuck - Mrogan Wallen and Noah Cyrus
www.youtube.com/watch?v=Tz3wYf9rs0A
Frost on the Windshield - Luke Combs
Jean-Michel Basquiat (* 22 December 1960 in New York City; † 12 August 1988 ibid.)
Oilstick on paperboard
From the exhibition BASQUIAT. THE RETROSPECTIVE at the Albertina Museum in Vienna
"Virtually no other artist comes anywhere close to being as representative of the 1980s and that decade’s pulsating New York art scene as does the brilliantly exceptional artistic phenomenon that was Jean-Michel Basquiat." www.albertina.at/en/exhibitions/basquiat/
Jean-Michel Basquiat (* 22 December 1960 in New York City; † 12 August 1988 ibid.)
Acrylic, oilstick and paper collage on canvas
From the exhibition BASQUIAT. THE RETROSPECTIVE at the Albertina Museum in Vienna
"Virtually no other artist comes anywhere close to being as representative of the 1980s and that decade’s pulsating New York art scene as does the brilliantly exceptional artistic phenomenon that was Jean-Michel Basquiat." www.albertina.at/en/exhibitions/basquiat/
I took this photo at the entrance to the mangrove swamp in the National Park Marino Ballena. It is about a mile from where I'm staying in Uvita, Costa Rica.
Jean-Michel Basquiat (* 22 December 1960 in New York City; † 12 August 1988 ibid.)
Oilstick and ink on paper
From the exhibition BASQUIAT. THE RETROSPECTIVE at the Albertina Museum in Vienna
"Virtually no other artist comes anywhere close to being as representative of the 1980s and that decade’s pulsating New York art scene as does the brilliantly exceptional artistic phenomenon that was Jean-Michel Basquiat." www.albertina.at/en/exhibitions/basquiat/
Jean-Michel Basquiat (* 22 December 1960 in New York City; † 12 August 1988 ibid.)
Acylic and oilstick on wood
From the exhibition BASQUIAT. THE RETROSPECTIVE at the Albertina Museum in Vienna
"... Basquiat shows the police officer here as a black man. The title alludes to the brutal police violence, sharply criticized by him, against African American citizens by casting the oppressed in the role of the authoritarian oppressor..." (Information text in the museum)
"Virtually no other artist comes anywhere close to being as representative of the 1980s and that decade’s pulsating New York art scene as does the brilliantly exceptional artistic phenomenon that was Jean-Michel Basquiat." www.albertina.at/en/exhibitions/basquiat/
Jean-Michel Basquiat (* 22 December 1960 in New York City; † 12 August 1988 ibid.)
Acrylic and oilstick on panel
From the exhibition BASQUIAT. THE RETROSPECTIVE at the Albertina Museum in Vienna
"Virtually no other artist comes anywhere close to being as representative of the 1980s and that decade’s pulsating New York art scene as does the brilliantly exceptional artistic phenomenon that was Jean-Michel Basquiat." www.albertina.at/en/exhibitions/basquiat/
Himalayan brown bears exhibit sexual dimorphism. Males range from 1.5m up to 2.2m (5 ft - 7 ft 3in) long, while females are 1.37m to 1.83m (4 ft 6 in - 6 ft) long. They are the largest animals in the Himalayas and are usually sandy or reddish-brown in colour.
"Dzu-Teh," a Nepalese term, has also been associated with the legend of the Yeti, or Abominable Snowman, with which it has been sometimes confused or mistaken. During the Daily Mail Abominable Snowman Expedition of 1954, Tom Stobart encountered a "Dzu-Teh". This is recounted by Ralph Izzard, the Daily Mail correspondent on the expedition, in his book The Abominable Snowman Adventure. The report was also printed in the Daily Mail expedition dispatches on May 7, 1954 . However Tom Stobart was not a native of the region and his identification was merely based on a presumption that he knew an animal that he had never seen before from very ambiguous evidence. Native Tibetans deny that Dzu-Teh refers to any kind of a bear (It means "Cattle raider") and the name is used in areas where bears are not found. George Eberhart in MYSTERIOUS CREATURES, A Guide to Cryptozoology, Clio Books 2002, articles Dzu-Teh p. 151 and Dre-Mo p. 148-149, says that the problem is the result of conflating the Dzu-Teh with a different creature known as the Dre-Mo, and that one definitely is a bear. Eberhart says under the article Dzu-Teh that "there is considerable doubt that the locals made any such claim." (ibid, p. 152)
Let there always be quiet, dark churches in which men can take refuge. Places where they can kneel in silence. Houses of God, filled with His silent presence. There, even when they do not know how to pray, at least they can be still and breathe easily. Let there be a place somewhere in which you can breathe naturally, quietly, and not have to take your breath in continuous short gasps. A place where your mind can be idle, forget its concerns, descend into silence, and worship the Father in secret. There can be no contemplation where there is no secret.
-Thomas Merton, New Seeds of Contemplation (New York: New Directions, 1967), 81. 9 Ibid., 82–83.
Jean-Michel Basquiat: Self-portrait (1983)
Oilstick on paper on wood
"Jean-Michel Basquiat ([basˈkja] * 22 December 1960 in New York City; † 12 August 1988 ibid.) was an American artist, painter and sketcher. He was the first African American artist to make a breakthrough in the mainly white art world." de.wikipedia.org/wiki/Jean-Michel_Basquiat
He "rose to success during the 1980s as part of the Neo-expressionism movement. [...] Since Basquiat's death at the age of 27 from a heroin overdose in 1988, his work has steadily increased in value. In 2017, Untitled, a 1982 painting depicting a black skull with red and yellow rivulets, sold for a record-breaking $110.5 million, becoming one of the most expensive paintings ever purchased." en.wikipedia.org/wiki/Jean-Michel_Basquiat
From the exhibition BASQUIAT. THE RETROSPECTIVE at the Albertina Museum in Vienna
"Virtually no other artist comes anywhere close to being as representative of the 1980s and that decade’s pulsating New York art scene as does the brilliantly exceptional artistic phenomenon that was Jean-Michel Basquiat." www.albertina.at/en/exhibitions/basquiat/
Prisoners at Tuol Sleng
Mug shot exhibited in the Tuol Sleng Genocide Museum in Phnom Penh
This museum chronicles "the Cambodian genocide. The site is a former secondary school which was used as Security Prison 21 (S-21) by the Khmer Rouge regime from its rise to power in 1975 to its fall in 1979. From 1976 to 1979, an estimated 20,000 people were imprisoned at Tuol Sleng [...]" Out of them "there were only twelve known survivors: seven adults and five children." en.wikipedia.org/wiki/Tuol_Sleng_Genocide_Museum
"Tuol Sleng was just one of at least 150 torture and execution centers established by the Khmer Rouge..." [ibid.] "The Cambodian genocide [...] was carried out by the Khmer Rouge regime under the leadership of Pol Pot, and it resulted in the deaths of approximately 1.5 to 2 million people from 1975 to 1979, nearly a quarter of Cambodia's 1975 population (c. 7.8 million)." en.wikipedia.org/wiki/Cambodian_genocide
Heavily post-processed in Lightroom due to extreme backlighting.
Architect: Gisbert von Teuffel, actually Gisbert Teuffel Freiherr von Birkensee, (* 5 August 1881 in Karlsruhe; † 4 March 1970 ibid.) was a German architect and university lecturer who taught as professor at the Technical University of Karlsruhe from 1919 to 1945.
The Dachstein in the Salzkammergut as seen from the Vorderer Gosausee (1840)
Rudolf von Alt (1812 in Vienna - 1905 ibid.)
Aquarell auf Papier | Watercolor on paper
From the current exhibition "Travels. Artists on the move" ("Fernweh. Künstler:innen auf Reisen") in the ALBERTINA in Vienna
www.albertina.at/en/exhibitions/travels/
Interieur im Palais Harrach auf der Freyung in Wien | Interior of Palais Harrach on the Freyung in Vienna (1844)
Rudolf von Alt (* 28 August 1812 in Vienna; † 12 March 1905 ibid.)
Aquarell | Watercolour
From the exhibition "Jakob, Franz and Rudolf
von Alt" in the ALBERTINA in Vienna
Raimundo Sarriegui Echeberría (en euskera: Raimundo Sarriegi Etxeberria) (San Sebastián, País Vasco, 15 de marzo de 1838 -ibid., 23 de abril de 1913) fue un músico popular español conocido principalmente como autor de la Marcha de San Sebastián, del resto de composiciones musicales que se interpretan en la Tamborrada de San Sebastián y en sus carnavales tradicionales. (Wikipedia)
🇪🇸 Monument to Raimundo Sarriegui-Echeberría
Raimundo Sarriegui Echeberría (in Basque: Raimundo Sarriegi Etxeberria) (San Sebastián, Basque Country, March 15, 1838 - ibid., April 23, 1913) was a Spanish popular musician known mainly as the author of the Marcha de San Sebastián, of the rest of the musical compositions that are performed in the Tamborrada of San Sebastián and in its traditional carnivals.
Donostia - San Sebastián - Euskadi - Pais Vasco - Basque Country - España - Spain - Europa - Europe
43.32307° N, 1.98313° W - IMG_1721
Jean-Michel Basquiat (* 22 December 1960 in New York City; † 12 August 1988 ibid.)
Acrylic, oil and enamel on canvas
From the exhibition BASQUIAT. THE RETROSPECTIVE at the Albertina Museum in Vienna
"In his 1982 diptych Untitled (Pollo Frito), Basquiat created a key work that established a link between the rough life and dangers of the streets of New York, his "Studio of the Street" of the years 1980/81, and the subsequent work phase. Like warning signs in public space, he writes DANGER and BROKEN GLASS in the wet acrylic paint on the right side of the picture. Underneath a monumental head on the left panel of the painting, he scratches ASBESTOS into the black paint deeply enough to make flashes of the bright orange of the primer shine through - a reference to the highly heat-resistant and superbly insulating, but carcinogenic material, whose hazardousness was very much present in US media in the year the painting was created. The asbestos products manufactorer Johns Manville Corporation was forced to file for bankruptcy due to the victims' liability claims. The clash of gestural-painterly and figurative elements, letters and words as opposed to running acrylic paint and sprayed-on lines leads to a dynamized pictorialness, a web of markings and meanings, a mirror of vibrant downtown Manhattan and its art scene." (Information text in the museum)
The pilgrimage must begin, then, with the stirring of desire. The movement of faith does not arise ‘by fear or by natural necessity, but by the desire and longing to share in what is good’ (in cant. I. 768C), and so is awakened by beauty (ibid. cf. de virginitate, PG. 4.6. 360c–364A)...
...Thus we read, to take one passage out of very many, that, ‘since what was required was that the whole of nature should be raised up again from death. He stretched out His hand to the body laid out for burial; and having thereby bent down to our corpse He drew near to death, so as to lay hold on our mortal state and give to this mortal nature a beginning of the resurrection through His own body, raising up in power with Himself the whole man’ (or. catechetica 32). So in the dawning of our liberation (as for Irenaeus) is the demonstration in the flesh of the transformation of worldly human existence, including suffering and death. This is the ‘beauty’ which draws us and which we, like Moses, must preach.
--The Wound of Knowledge The Wound of Knowledge Christian Spirituality from the New Testament to St John of the Cross, ROWAN WILLIAMS
Hinterzarten, Black Forest, Germany.
Architect: Gisbert von Teuffel, actually Gisbert Teuffel Freiherr von Birkensee, (* 5 August 1881 in Karlsruhe; † 4 March 1970 ibid.) was a German architect and university lecturer who taught as professor at the Technical University of Karlsruhe from 1919 to 1945.
GOUVEIA (Portugal): Anta da Pedra da Orca (Anta do Rio Torto / Dólmen da Pedra da Orca)
Terá sido o fundador, na cidade de Guimarães, da referencial "Sociedade Martins Sarmento", e respectivo museu, o conhecido investigador Francisco Martins de G. M. Sarmento (1833-1899), quem examinou primeiramente de perto a "Anta da Pedra da Orca", ou "Anta do Rio Torto", como será localmente mais conhecida, assim como o termo "anta" corresponde à denominação regional de uma tipologia megalítica conhecida pela comunidade científica internacional a partir da sua designação francesa: dolmen.
Apesar de viver em Guimarães e convergir a sua investigação essencialmente para a região minhota, F. Martins Sarmento seria convidado pela não menos referencial Sociedade de Geographia de Lisboa, da qual era membro, a coordenar uma das secções (a de Arqueologia) a integrar a célebre (em razão do papel precursor que assumiria no panorama científico português da época) expedição Scientifica à Serra da Estrella.
Projectada um ano volvido sobre as comemorações nacionais desse momento tão importante para a afirmação do país no palco da política internacional - o centenário camoniano -, e após o acolhimento, em Lisboa, de uma das sessões (a IX) mais concorridas e amplamente divulgadas pelos periódicos europeus da altura do Congresso Internacional de Anthropologia e Archeologia Prehistorica, sob a égide do consagrado antropólogo e arqueólogo francês Gabriel de Mortillet (1821-1898), a Expedição previa a realização de um levantamento exaustivo das riquezas (como eram então entendidas) de uma das regiões mais inóspitas do país. Mas não só. Com efeito, para além das características agrestes da zona, atraía certamente a direcção da Sociedade o facto de a Serra da Estrela se ter confundido desde cedo no imaginário e na historiografia nacional como o último reduto de resistência de um povo - o Lusitano - ao poder de Roma, personificada pela figura de Viriato, habitante dos Montes Hermínios.
E por se tratar de uma região escassamente percorrida por individualidades munidas dos conhecimentos necessários à identificação das suas especificidades, independentemente da sua origem, acreditava-se que seria precisamente aí, nesses recônditos mal conhecidos, que se encontrariam as características primeiras do ser, estar e actuar português, como que cristalizado pela barreira que a sua Natureza lhe conferira ao longo dos séculos. Particularidades que se acreditava materializadas nos testemunhos megalíticos, designadamente funerários, porquanto considerados durante largo tempo como as estruturas humanas mais antigas.
Foi, no entanto, objecto de investigação apenas em 1895, dessa feita da responsabilidade de Maximiliano Apolinário. Recolheu, então, neste arqueossítio, várias pontas de seta de sílex e de quartzo, a par de contas, um vaso de argila, diversos fragmentos cerâmicos e ossos humanos, conduzidos para o Muzeu Etnographico Portuguez, fundado dois anos antes por José Leite de Vasconcellos (1858-1941), seu carismático director.
Composta de câmara sepulcral de planta poligonal, com cerca de três metros e meio de diâmetro, formada por sete esteios inclinados para o interior, com o respectivo corredor (curto) de acesso, a anta (erguida no cimo de uma pequena elevação) ainda mantém a laje de cobertura - ou "chapéu", não se detectando, contudo, vestígios da mamoa - ou tumulus - que cobriria originalmente todo o monumento. br>Indicando a antiguidade do povoamento humano nesta região, o dólmen inserir-se-á no terceiro grupo esquematizado por S. O. Jorge para o megalitismo da Beira Alta, a partir da sua análise morfológica: "[...] dólmens de câmara subtrapezoidal ou poligonal, de corredor mais ou menos indiferenciado." (JORGE, S. O., 1990., p. 135), certamente como reflexo de um processo capital de evolução estrutural da sociedade (Ibid.) que o projectou e fruiu.
[AMartins]
info: DGPC | Pesquisa Geral. www.patrimoniocultural.gov.pt/pt/patrimonio/patrimonio-im.... Acedido 13 de Janeiro de 2022.
Jean-Michel Basquiat (* 22 December 1960 in New York City; † 12 August 1988 ibid.)
Acrylic on canvas
From the exhibition BASQUIAT. THE RETROSPECTIVE at the Albertina Museum in Vienna
Basquiat was guided here by the expressiveness of comic books to depict police violence. "He depicts the protagonist as a comic figure with a tumuscent bump towering on his head, who asks himself amid BOOM and BANG: WO BIN ICH [WHERE AM I]? The fact that Baquiat writes these words on the canvas in German could be an indication of the business relationship established in 1982 with the Swiss art dealer and collecor Bruno Bischofberger, who remained his gallerist until Basquiat's death." (Information text in the museum)
When in the moment of inspiration the poet’s creative intelligence is married with the inborn wisdom of human language (the Word of God and Human Nature—Divinity and Sophia) then in the very flow of new and individual intuitions, the poet utters the voice of that wonderful and mysterious world of God-manhood—it is the transfigured, spiritualized and divinized cosmos that speaks through him, and through him utters its praise of the Creator.
-Thomas Merton, Ibid., 20–21; cf. CGB, 11, on wisdom as the attunement of “the divine and cosmic music” within us.
Teufelsbrücke in der Schöllenenschlucht auf dem Weg über den Gotthardpass mit einem Maultierzug, vor 1805
Devils Bridge in the Schöllenen Gorge on the Way across the St. Gotthard Pass with a Mule Train, before 1805
Peter Birmann (* 24 December 1758 in Basel; † 18 July 1844 ibid.)
Pen , brush and ink on paper
From the current exhibition "Travels. Artists on the move" ("Fernweh. Künstler:innen auf Reisen") in the ALBERTINA in Vienna www.albertina.at/en/exhibitions/travels/
Portrait of a Young Venetian Woman
Albrecht Dürer (* May 21, 1471 in Nuremberg; † April 6, 1528 ibid.)
Oil on spruce panel
32.5 × 24.5 cm
Kunsthistorisches Museum, Vienna
Unfortunately, the signature typical of Dürer (year + monogram), placed above the head of the young woman, disappears almost entirely in the dark shadow of the frame, and I have therefore also removed the rest.
From 1963 until the early 1990s, this portrait used to adorn the 5 Deutsche Mark bills. de.wikipedia.org/wiki/Bargeld_der_Deutschen_Mark#/media/D...
There should be at least a room, or some corner where no one will find you and disturb you or notice you. You should be able to untether yourself from the world and set yourself free, loosing all the fine strings and strands of tension that bind you, by sight, by sound, by thought, to the presence of other men.
-Thomas Merton, New Seeds of Contemplation (New York: New Directions, 1967), 81. 9 Ibid., 82–83.
Vienna Street Life Scene
Maximilian Lenz
Aquarell, Deckbarbe und Tinte auf Papier | Watercolor, gouache, and ink on paper
Currently at the exhibition "THE VIENNESE BOHÈME. Works from the Hagen Society" ("DIE WIENER BOHÈME. Werke der Hagengesellschaft") in the ALBERTINA in Vienna
www.albertina.at/ausstellungen/wiener-boheme/
Maximilian Lenz ( * 4 October 1860 in Vienna; † 18 May 1948 ibid.) was an Austrian painter, graphic artist and sculptor. Lenz was a founding member of the Vienna Secession.
BURGUNDY FAIRYTALE
painter’s got a canvas. A writer’s got reams of empty paper. A musician has silence,” said British musician Keith Richards.
My canvas is all that my eyes can see.
A life-size canvas, white sheet of paper, silence
or thousands of sounds blending in.
And then comes my paintbrush, my pen,
and my little madness,
gathered
to create a unique painting, story, melody.
Here is a whole series of photographs
taken in my pretty Burgundy,
at dawn,
and then at dusk,
which recreates somewhat of a fairytale.
Creativity
is I think,
the keyword
— for these few pictures.
A voice, a fight.
For a life, for desires
— follies.
It’s an hymn, a song, an hommage almost
to what my dad once told me:
“They don’t realise
how much energy you put
into your own little crazy things.”
The impossible is possible,
so was his motto,
his way of life,
and even his way to laugh and smile.
And even Ginny Weasley,
in a world of magic,
at all costs reminds us of it:
“Anything’s possible
if you’ve got enough nerve.”
======================================================
I took one sip; I closed my eyes, and every beautiful thing that I had ever known crowded into my memory. In the old fairy tales the price drinks a magic potion, or looks into a magic crystal, and all the secrets of the earth are revealed to him. I have experienced that miracle. The song of armies sweeping into battle, the roar of the waves upon a rocky shore, the glint of sunshine after rain on the leaves of a forest, the depths of the church organ, the voices of children singing hymns, all these and a hundred other things seemed to be blended into one magnificence….Yes, I, a devotee of Bordeaux, solemnly declare that the three greatest bottles I have ever tasted were all from Burgundy.”
– Ibid., pp. 167-168. [Healy’s three greatest bottles]
from : onmywaybymarie.com/blog/2018/07/09/burgundy-fairytale/
Jean-Michel Basquiat (* 22 December 1960 in New York City; † 12 August 1988 ibid.)
Acrylic, oil and colored oilstick on canvas
From the exhibition BASQUIAT. THE RETROSPECTIVE at the Albertina Museum in Vienna
"Pater is the Latin word for father. Basquiat presents a generalized archetypal father image. This father can be a hero and role moderl, but also has an air of severity and authority about him. [...]" He is "both victimizer and victim, oppressor and oppressed, winner and loser. This polarity is not least expressed through the scribbly halo over the head and the cartoonishly overdrawn male genitals." (Information text in the museum)
"Virtually no other artist comes anywhere close to being as representative of the 1980s and that decade’s pulsating New York art scene as does the brilliantly exceptional artistic phenomenon that was Jean-Michel Basquiat." www.albertina.at/en/exhibitions/basquiat/
Aureate foliage in the winter forest.
DeKalb County (North Druid Hills), Georgia, USA.
3 February 2021.
***************
▶ "The American beech (Fagus grandifolia) occurs across much of the eastern United States and southeastern Canada, with a disjunct population in Mexico. It is the only Fagus species in the Western Hemisphere. Prior to the Pleistocene Ice Age, it is believed to have spanned the entire width of the continent but now is confined to the east of the Great Plains. American beech is rarely encountered in developed areas except as a remnant of a forest that was cut down for land development."
— Wikipedia.
▶ "The leaves of beech trees are often not abscissed (dropped) in the autumn and instead remain on the tree until the spring. This process is called marcescence."
— Ibid.
***************
▶ Photo by Yours For Good Fermentables.com.
▶ For a larger image, type 'L' (without the quotation marks).
— Follow on Twitter: @Cizauskas.
— Follow on Facebook: YoursForGoodFermentables.
— Follow on Instagram: @tcizauskas.
▶ Camera: Olympus OM-D E-M10 II.
— Edit: Photoshop Elements, Nik Collection.
▶ Commercial use requires explicit permission, as per Creative Commons.
The night is something of nature: the opposite of the light, enveloping us and all things. It is not an object (Gegenstand) in the true sense of the word: it does not stand over against us, nor does it stand upon itself. . . . It is invisible and formless. And yet we perceive it; indeed it is much nearer to us than all objects and forms, it is much more closely related to our being. Just as the light causes the things and their visible qualities to stand out, so the night swallows them up and threatens to swallow us up, too. . . . At the same time our own being is not only outwardly threatened by the dangers that are hidden in the night, but it is also inwardly affected by it. The night takes away the use of our senses, it impedes our movements, paralyzes our faculties; it condemns us to solitude and makes us our own selves shadowy and ghostlike. It is a foretaste of death. And this has not only a natural, but also a psychological and spiritual significance. . . . The dark and uncanny night has as its contrast the gentle, magic night, flooded by the soft light of the moon. This night does not swallow up the things but lights up their nocturnal aspect. All that is hard, sharp or crude is now softened and smoothed; features which in the clear daylight never appear are here revealed. . . . The dark night, too, has values of its own. It makes an end of the noise and bustle of the day; it brings quiet and peace. And there is a deep and grateful rest in the peace of the night. (ibid., 211–212).
-THE SCIENCE OF THE CROSS Edith Stein
Saint Teresa Benedicta of the Cross
Discalced Carmelite The Collected Works of Edith Stein VI Translated by Josephine Koeppel, O.C.D.
Edited by Dr. L. Gelber and Romaeus Leuven, O.C.D.
Forest Lake - Bathing Woman, 1896/97
Josef Engelhart (1864 Vienna - 1941 ibid.)
Oil on canvas
Wien Museum
Engelhart was one of the co-founders of the Vienna Secession.
From the current exhibition "Secessions" www.wienmuseum.at/secessions_klimt_stuck_liebermann
Emperor Maximilian I (1519)
Lindenholz | Limewood panel
From the exhibition "Holbein. Burgkmair. Dürer.
Renaissance in the North" in the Kunsthistorisches Museum in Vienna
www.khm.at/en/visit/exhibitions/holbein-burgkmair-duerer/
Albrecht Dürer (* 1471 in Nuremberg, † 1528 ibid.) is one of the outstanding representatives of the Renaissance in Germany.
The heart does not look for an easy stability. Augustine again uses similar language to that of Gregory of Nyssa in describing the never-ceasing pilgrimage of the heart or spirit or mens (an important concept for Augustine, as including understanding and will or love together). Desire impels us on, so ‘let us run, let us strain forward’ (en. in Ps. 38.6); for ‘the only way you can be perfect in this life is by knowing that you cannot be perfect in this life’ (ibid. 14). ‘It is a great evil to have no hope in this life’ (en. in Ps. 129.10). The heart is ‘perfect’ when it knows what it lacks (in Ps. 38.14), knows that there will be no resting place for it among the things of earth. To be in the way of salvation is to be dissatisfied, ‘disquieted within’, never complacent about your condition or secure in your understanding or your stable spiritual attainment (in Ps, 41.10–12). The psalmist says (in Augustine’s Latin version), ‘I poured out my soul beyond myself’ (super me); that is where final delight is to be sought. The mystery of the depths of the self directs us beyond the world of clear and orderly sense experience but is itself only a stage on the road to the greater mystery of God: there is no substantial continuity between soul and God (in Ps. 41.7–8). So there is no rest in mere self-awareness, because to know the self properly is to see it set in the midst of the vast landscape of God’s workings, a landscape with no human map, trusting only to the hand of God. Once having glimpsed this vastness and heard the distant sounds of the ‘holiday of heaven’ (ibid. 9), the spirit must live by hope, knowing as clearly as ever it will that nothing else can substitute for that vision and its delights.
---The Wound of Knowledge The Wound of Knowledge Christian Spirituality from the New Testament to St John of the Cross, ROWAN WILLIAMS
Himalayan brown bears exhibit sexual dimorphism. Males range from 1.5m up to 2.2m (5 ft - 7 ft 3in) long, while females are 1.37m to 1.83m (4 ft 6 in - 6 ft) long. They are the largest animals in the Himalayas and are usually sandy or reddish-brown in colour.
"Dzu-Teh," a Nepalese term, has also been associated with the legend of the Yeti, or Abominable Snowman, with which it has been sometimes confused or mistaken. During the Daily Mail Abominable Snowman Expedition of 1954, Tom Stobart encountered a "Dzu-Teh". This is recounted by Ralph Izzard, the Daily Mail correspondent on the expedition, in his book The Abominable Snowman Adventure. The report was also printed in the Daily Mail expedition dispatches on May 7, 1954 . However Tom Stobart was not a native of the region and his identification was merely based on a presumption that he knew an animal that he had never seen before from very ambiguous evidence. Native Tibetans deny that Dzu-Teh refers to any kind of a bear (It means "Cattle raider") and the name is used in areas where bears are not found. George Eberhart in MYSTERIOUS CREATURES, A Guide to Cryptozoology, Clio Books 2002, articles Dzu-Teh p. 151 and Dre-Mo p. 148-149, says that the problem is the result of conflating the Dzu-Teh with a different creature known as the Dre-Mo, and that one definitely is a bear. Eberhart says under the article Dzu-Teh that "there is considerable doubt that the locals made any such claim." (ibid, p. 152)
Movie The Other Boleyn Girl. Film location Penshurst Place. New Enterprise Coaches provided the coaches for the movie. Penshurst Place (listed grade I) lies in the south-west corner of the site and forms a visual ensemble, when viewed from the park, with St John the Baptist's church, 60m to the south-west. The house is built in sandstone of varying colours, with some brickwork; the elevations are mostly battlemented but with some steeply pitched roofs visible. The plan of the house is extensive: the oldest part, the hall house or Baron's Hall built in 1341, forms the core, to the south-west of which a second hall, known as the Buckingham Wing, was added in the mid C15. The towers and sections of curtain wall which surround the house survive from the complete fortification of his manor house by Sir John Devereux in 1392 (Newman 1969; CL 1972). Considerable alterations took place in the C16: the south-west wing with an upper long gallery was added in 1574-5 and the King's Tower, in the centre of the north front, was built or remodelled as an entrance tower in 1585 (Newman 1969). The north front and part of the west front were refaced by J B Rebecca in 1818 and the stable range, with wrought-iron gates of c 1729 brought from Wingerworth Hall (ibid), added east of the King's Tower in 1834. Further extensive restoration was carried out by George Devey (1820-86) in the mid C19 and again after war damage in 1945.
Jean-Michel Basquiat (* 22 December 1960 in New York City; † 12 August 1988 ibid.)
Acylic and oilstick on wood
From the exhibition BASQUIAT. THE RETROSPECTIVE at the Albertina Museum in Vienna
"The depiction of the police officer in Basquiat's works is an explosive socially critical commentary on the problem of ruthless police brutality and the racism associated with it. La Hara is a Puerto-Rican slang word for "police"..." (Information text in the museum)
"Virtually no other artist comes anywhere close to being as representative of the 1980s and that decade’s pulsating New York art scene as does the brilliantly exceptional artistic phenomenon that was Jean-Michel Basquiat." www.albertina.at/en/exhibitions/basquiat/
Himalayan brown bears exhibit sexual dimorphism. Males range from 1.5m up to 2.2m (5 ft - 7 ft 3in) long, while females are 1.37m to 1.83m (4 ft 6 in - 6 ft) long. They are the largest animals in the Himalayas and are usually sandy or reddish-brown in colour.
"Dzu-Teh," a Nepalese term, has also been associated with the legend of the Yeti, or Abominable Snowman, with which it has been sometimes confused or mistaken. During the Daily Mail Abominable Snowman Expedition of 1954, Tom Stobart encountered a "Dzu-Teh". This is recounted by Ralph Izzard, the Daily Mail correspondent on the expedition, in his book The Abominable Snowman Adventure. The report was also printed in the Daily Mail expedition dispatches on May 7, 1954 [1]. However Tom Stobart was not a native of the region and his identification was merely based on a presumption that he knew an animal that he had never seen before from very ambiguous evidence. Native Tibetans deny that Dzu-Teh refers to any kind of a bear (It means "Cattle raider") and the name is used in areas where bears are not found. George Eberhart in MYSTERIOUS CREATURES, A Guide to Cryptozoology, Clio Books 2002, articles Dzu-Teh p. 151 and Dre-Mo p. 148-149, says that the problem is the result of conflating the Dzu-Teh with a different creature known as the Dre-Mo, and that one definitely is a bear. Eberhart says under the article Dzu-Teh that "there is considerable doubt that the locals made any such claim." (ibid, p. 152)
Fungal-spotting jelly ears in...
Decatur (Legacy Park), Georgia, USA.
4 February 2022.
▶ Forty-eight hours later, the 'ears' were gone, shriveled to black.
***************
▶ "Appearing on the wood of hardwoods or conifers, especially after rains or in wet conditions, the jelly ear ranges from disc-shaped to ear-shaped to irregular and floppy. Its surfaces are brown to reddish brown, and the consistency of the flesh is rubbery and gelatinous."
▶ Native to the southeastern U.S., Auricularia fuscosuccinea is virtually identical, to the naked eye, to Auricularia americana (endemic to North America), but differs microscopically. Both are closely related to the jelly ear fungi (Auriculariales) of Europe and Asia.
— Ibid.
***************
▶ Photo by Yours For Good Fermentables.com.
▶ For a larger image, type 'L' (without the quotation marks).
— Follow on Facebook: YoursForGoodFermentables.
— Follow on Instagram: @tcizauskas.
▶ Camera: Olympus OM-D E-M10 II.
— Meike MK 25mm f1.8
— Focal length: 25 mm
— Aperture: ƒ/4.0
— Shutter speed: 1/40 sec
— ISO: 200
— Edit: Photoshop Elements 15, Nik Collection.
▶ Commercial use requires explicit permission, as per Creative Commons.