View allAll Photos Tagged Icon
Presented by ICON Lifestyle Magazine and TOO SEXY Magazine.
Date: 9th July 2010
Picture taken by Tillie Ariantho, more can be seen here: www.flickr.com/photos/tillie/sets/72157624337352463/show/
Shoes sponsored by: Nardcotix
Skins sponsored by: Tuli
Jewelry sponsored by: Chop Zuey Couture
Dress: MEB - Panarea
Skin: Tuli - Eva (tone 3/br) 03b
Earrings: Chop Zuey Couture - Le Chat Noir
Bracelet: Chop Zuey Couture - Bonzai! - Black
Shoe: Nardcotix - MANA Anessa Ebony
Introducing My Wife's Icon Paintings made totally by hand painted in Egg Tempera gilded in 24ct Gold on thick Plywood
Valentine Love Icon Set available for download at Pretty Office Icon Set Part 4
Copyright © 2007-2011 CUSTOM ICON DESIGN, All Rights Reserved
Title: Blucifer
This original oil painting by artist Christopher Clark is of the giant blue horse statue outside the Denver International Airport (DIA). The locals seem to have a love-hate relationship with the aptly nicknamed "Blucifer" statue: some love it, and some hate it. It seems that the Denver residents who lived here long before the statue was installed are the ones who dislike it the most, and the newer arrivals enjoy it a bit more. It seems it would bring to mind the city's obsession with the local NFL team the Denver Broncos, but the glowing red eyes and general demonic disposition of this fellow leave one feeling a tad perplexed. Regardless of the mixed feelings on this eery blue bronco, it has become an icon of Denver, being one of the first sights to welcome visitors at the DIA.
If the statue isn't strange enough, the history of it makes it even moreso. While still being created, a section of the bloodthirsty bronco actually fell on and killed its artist, Luis Jiménez, severing an artery in his leg. His sons finished the sculpture and it was successfully installed in 2008 to mixed reviews. Many Denver residents have even petitioned to have it removed, but it's unlikely that Blucifer will be going away any time soon.
As part of my journey capturing the beautiful city of Denver in oil paint, I felt it necessary to include this astonishing icon as well. Though I have to admit, strangely, that while painting this intimidating and beautiful beast, at one point the canvas came loose from the easel and… fell on me. I escaped with just a little paint on my arm and I lived to tell the tale, but it's apparent that the spirit of the Blue Bronco reaches far and wide.
Size: 31x43"
Oil paint on stretched canvas.
I am available for custom commission paintings of all kinds.
Contact me for purchase information. Also available as a fine art print, stretched canvas print, or hand-embellished giclée. Inquire for details.
Homepage Portfolio Getty Images Facebook Whitewall Print
Sydney, Australia, is magical during dusk.
Captured about 40min after sunset you can see the icons of Sydney and Australia.
The photograph was taken from Mrs. Macquarie Chair, close to the Botanical Gardens of Sydney.
Feel free to contact me direclty if you are interested in this photograph: +61 402 254 235.
graph Icon is icluded into Artistic Toolbar Icons. You can view all business icons here:
777icons.com/libs/artistic-toolbar-icons.htm
These icons are delivered in sizes 16x16, 24x24, 32x32, 48x48 and also 256x256 used for Windows Vista. The icons come in two color variants: 256 colors and True Color with semi-transparency. They also have several file formats, such as ICO, PNG, GIF and BMP.
Download link: www.777icons.com/downloads/artistic-toolbar-icons.zip
Andrea Rico Di Candia
Cretan, active 1451-1492
Virgin of the Passion
Tempera on wood panel
Although Constantinople, the capital of the Byzantine Empire, fell to the Ottoman Turks in 1453, the Byzantine art of icon painting continued to flourish on the island of Crete. Andrea Rico di Candia, a Cretan painter who specialized in icons of the Madonna, here adheres to Byzantine conventions, including flattened, striated draperies, and the traditional gesture of the Madonna Hodegetria, in which the Virgin, "showing the way," points to the Child.
Russian Bronze and Brass Traveller Icons
Icons are the most characteristic objects identifying the eastern Orthodox faith from other Christian denominations. They are present in great number in Orthodox churches as well as in the homes of the believers where they are venerated as the precious holly objects. Orthodox worship is an intricate combination of spiritual intensity and sensual perception. It is based on a belief in the inseparable link of the spiritual and material aspects of humanity and the mystery of the Incarnation. Icons can be beautiful examples of artistic creativity, but they are also “windows” into the other world. Hence icons often contain a deep theological and philosophical meaning.
Icons are usually painted on wooden panel in egg tempera technique, but there is a special group of metal icons of small dimensions. They are usually of portative character and they are referred to as traveller’s icons. Traditionally they were carried by believers during long journeys as a protection and a subject of devotion, offering a possibility to a traveller to prey where ever he is. Portative traveller’s icons could be in a form of triptych or diptych (or in some instances of other kinds of polyptych). But the most commonly used were single plate icons, often with a small loop so that they could be suspended on a fine leather cord and worn around the neck. Icon worn as a pendant on chests is also known as panagia or encolpion.
Traveller icons were cast in metal, usually in bronze or brass. Afterword the details of the represented scene were incised into the surface, usually very meticulously with many features depicted. The further decoration in polychrome champlevé enamel was also used as a prominent characteristic of some more precious Russian metal icons, reflecting the influence of Byzantine art.
Small cast metal Christian icons were known in Kiev by the 10th century. They arrived with Byzantine travellers, soldiers and prisoners even before the baptism of the Russ in 988. The old tradition of casting metal icons persisted until the 17th century in Novgorod and Pskov. The end of the 17th century saw cultural and religious changes with pervasion of Western European influences into the Russian culture and state. Thus the emerging of religious conservatives was provoked, and they soon came to be known as the “Old Believers”.
The Old Believers came in to existence during the region of Tsar Alexis as a result of the decisions of the Moscow councils in 1666 – 1667, which reformed the established liturgical texts and practices. During the reigns of Tsar Alexis and his successors there were enacted a variety of laws and decrees limiting the social and religious rights of the Old Believers. Nevertheless, from the second half of the 17th century in to the middle of the 19th century, they were founding many enclaves where they nurtured Old Russian cultural and religious traditions.
They also came to dominate the production of metal icons. The most use of bronze and brass icons in the period from the 17th century and onward was made by the Old Believers and their followers. They were present in their religious observances and they were meaning of expressing the ardour for traditional Russian Orthodox Christian fate.
Bronze and brass icons and crosses were deeply rooted in the Russian religious history. Hence they were of great importance for the Old Believers, who regarded themselves as the true keepers of the Russian Orthodox Christianity. The first centre of production of Old Believer metal icons was in the North of the Russian Empire, in Pomore region by the White Sea. The earliest dated metal icons are from 1719 and 1731, but they are among rare dated artefacts of this kind, since the practise of incising years on metal icons generally was uncommon.
Moscow also became an important centre of manufacture and trading in metal icons, especially after 1771 when Old Believers community became firmly established in the capital. By the middle of the 19th century the major areas for casting metal icons were the provinces of Moscow, Olonets and Yaroslavl, as well as the number of places in the province of Nizhniy Novgorod.
It is interesting to mention that in 1723 (during the reign of Peter the Great) Holly Governing Synod of Russian Orthodox Church forbade the casting and selling of holly images made of metal. It is possible that this decision was made because of the need of the government to conserve metal for military purposes so the large-scale minting of metal objects was required. Though the producing and selling of bronze and brass icons remained technically illegal into the 19th century, they were largely produced and the trading was conducted openly all over Russian Empire.
Literary source: “Russian Copper Icons and Crosses from the Kunz Collection: Castings of Faith” group of authors, editors Richard Eighme Ahlborn and Vera Beaver – Bricken Espinola, published by Smithson Institution Press.
In a Greek Orthodox church here in Tallahassee. (I doubt if this chair is actually called an icon throne -- that's only what it looks like to me.)
From the rooftops of San Francisco's Chinatown one can clearly see Coit Tower atop Telegraph Hill to the east. The tower, a landmark and icon of San Francisco, was built in 1933 at the bequest of Lillie Hitchcock Coit to beautify the City that she loved. The art deco tower is 210 ft. in height and was designed by architects Arthur Brown, Jr. and Henry Howard. It took five years to build and is, undoubtedly, one of the most photographed sights in San Francisco.
© EVAN READER
Copyright for this photo belongs solely to EVAN READER, GREATEST PAKA PHOTOGRAPHY. Images may not be copied, downloaded, or used in any way without the express written permission of the photographer.
We redesigned our Basic 1 icon set from ground up and added 60 brand new icons. Picons Basic 1 is a set of 200 most essential vector icons. It is our first icon bundle, originally created in 2009, which was now completely redesigned and upgraded to fully match all our other icons. Every icon is hand-crafted, with great detail and unlimited scalable. This icon set is a must-have for all interface, website, mobile app & print designers.
Get it at: picons.me/
Coachwork by Pininfarina
At the 1954 Turin Motor Show, a remarkable car was unveiled : the Maserati 2000 Sport, an A6CGS fitted with an elegantly styled closed "Berlinetta" body by Pininfarina. Originally designed as an open 2-seater for road racing, the 2000 Sport was widely appreciated by racing drivers of the era for its exceptional handling and performance. As Pininfarina could not directly work for Maserati due to an exclusive agreement with Ferrari, Rome-based Maserati dealer Gugliemo "Mimmo" brought the concept to life, purchasing six bare A6GCS/53 chassis. Four received Pininfarina's exquisite berlinetta bodywork. One was prominently displayed at the 1954 Turin Motor Show, stirring considerable envy within the Ferrari camp. This design became an iconic masterpiece in automotive history, and are among the most coveted historic Maseratis.
1.985 cc
6 In-line
170 hp
Maserati 110 Years
19/12/2024 - 23/02/2025
Autoworld
Brussels - Belgium
July 2024
This is a paper collage I made for a college project in 2001, two years after I came to USA.
For some reason I collected interesting news paper ads. Then one day at an art class we got an assignment to make a collage. I always liked icons. One of the adds in my collection, with the tree timelines, associated me to the texture of an old icon. I started working on the face and the rest fell in its place. Usually real icons have diamonds around saint’s head. Instead of diamonds I put nowadays valued things and mayor corporation logos. There are also numbers and letters by some icons. Instead I put prices and bills. I clothed my icon with images from nature.
Balancing the material and spiritual world in this modern fast pacing environment can be challenging.