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In it's infancy the River Nidd is flowing over a weir under the long footbridge. You can see the difference in height of the water either side of the footbridge. The weir controls the flow of water into Angram Reservoir, Nidderdale.
There is a channel at the end of the weir that will take water passed Angram and directly down to the the lower reservoir, Scar House
The path descends to the left of the fence and over the footbridge and is part of the 2.5 miles path around Angram.
Le graphisme est l'enfance de l'Art.
La draisienne est l'enfance de la route.
Que dire de plus ?
Chut. Laissons cette minisilhouette s'entraîner... en toute sécurité.
Revisited an old shot I took in April 2016 with the iPhone but never used it until today, originally I used olive oil and soya milk (gently placed inside the oil, and also pumped into the water by syringe to get the shadowed fluid effect) in water, A4 yellow and orange tissue paper, Makita 18v torch, Olloclip macro @ 7x, Manfrotto tripod, Hisy remote, conceived in Snapseed on iPad Pro.
“Taught from their infancy that beauty is woman's sceptre, the mind shapes itself to the body, and roaming round its gilt cage, only seeks to adorn its prison.”
― Mary Wollstonecraft, A Vindication of the Rights of Woman
“If I find a green meadow splashed with daisies and sit down beside a clear-running brook, I have found medicine. It soothes my hurts as well as when I sat in my mother’s lap in infancy, because the Earth really is my mother, and the green meadow is her lap.”
from Quantum Healing, by Deepak Chopra
Soundtrack : www.youtube.com/watch?v=wTvfzEdUTH4
SOMEONE I KNEW – GORDON HASKELL
MOTHER NATURE HEALS ALL WOUNDS
Sunshine and sultry, shifting shadows
dappled through meandering meadows
grasses swaying gently in the breeze
walking through up to my knees
tickling moths and butterflies
from their hiding place where nature breathes
they flutter by and say hello
sprinkling generous saffron yellow
pollen particles like golden speckles
land like freckles on my arms and nose
buzzing bees and hummingbird hawk moths
hover lazily above roses as round and ripe as apricots
and purple flowering butterfly bushes
Summer breeze and sugared trees
so sweet with trickling honey bees
bumbling; buzzing; busy beings
blend with nature; blackbirds sing
up high on terracotta chimney pots
their joyful tunes before the dusk
thank the world for this golden hour
when the sun shines brighter before it sleeps
and sends us promises it means to keep
that tomorrow a glorious dawn will come
and welcome us all over again
for each new day is one that's blessed
with such beautiful things that bring us rest
tranquil pools with dragonflies
balmy days and sumptuous skies
padded out with scudding clouds
that make me want to sing aloud
and restless spirits cannot be found
amid the softness of the ground
that roots us to this wondrous world
and if our story were to end
then we are blessed to have this friend
for Mother Nature heals all wounds
in mind and body; through all our trials
and wraps us in her loving arms
so warm and gentle, calming balm
that soothes and whispers us to sleep
in swinging hammocks slung between the trees
in orchards thick with apples; pears
and swollen plums and quinces too
where blueberries mingle with redcurrants
and vie with figs and grapes bruised blue
and creeping hops that scent the air
with promises of home-made beer
my eyelids are heavy with all this heaven
as I am lulled and fall asleep to dream
of endless Summers found within my childhood
thoughts evoked by smells and sounds
the gentle caress of the Southern wind
that absolves this day of any sins
for tomorrow is another day
and if it's possible to be
more perfect than this day has been
then I'll know that we let Heaven in.
- AP – Copyright remains with the author
'copyright image please do not reproduce without permission'
Special thanks to my flickr friend Mac Evans who has very generously created a gallery in my name. I don't know what I have done to deserve such generosity, but I am humbled and honoured. Mac, I dedicate this picture to you, my friend : 0)
Happy Infancy
HDR 7 scatti
Fotocamera: Nikon D750
Aperture: f/11
Shutter Speed: 4 s
Lente: 24 mm
ISO: 100
Exposure Bias: 0 EV
Flash: Off, Did not fire
Lens: Nikkor AF-S FX 24-70mm f/2.8 G ED
The Frank M. & Annie G. Covert House was built in 1898 by Frank and Annie Covert. Covert began his career in the stationery and book business; by 1887, he had moved to real estate and insurance, and in 1914, he opened one of Austin’s first automobile dealerships. He donated the Mt. Bonnell lookout to Travis County for a public park.
The Covert family lived in the house until about 1905 and has had numerous owners since then. The Home of the Holy Infancy, a Catholic orphanage and home for unwed mothers, later known as the Marywood Home, occupied the house from 1927 to 1931. Dr. John and Ann Horan, who owned the house from 1998 until 2008, earned the Heritage Society Award in 2001 for their restoration efforts.
Like other homes in the neighborhood, it features an eclectic combination of styles, including a Queen Anne form and Romanesque and Classical Revival details. The house features irregular massing, a two-story wraparound veranda, and masonry construction, which is unusual in Hyde Park. Its Queen Anne style is apparent in its two-story wraparound porch, paired Doric columns, and off-centered pedimented portico. Its elaborate roofscape includes mansard, gabled and hipped roof forms and corbelled brick chimneys. The eclectic Queen Anne style can also be seen in the home’s strong horizontal emphasis, diversity of textures and materials, and decorative detailing. Modernization meets historic conservation in this charming and remarkable Hyde Park gem, arguably the neighborhood’s grande dame.
The Covert House is a City of Austin Historic Landmark and was added to the National Register of Historic Places in 1990. The Hyde Park Historic District, added to the National Register of Historic Places the same year as the Covert House, includes an eclectic mixture of architectural styles, from late 19th-century Queen Anne and Classical Revival homes to 20th-century bungalows and ranch houses. Additionally, many of the houses and buildings in Hyde Park have been designated City of Austin Historic Landmarks and Texas Historic Landmarks.
Sources:
2023 Hyde Park Neighborhood Association Homes Tour Guide
Frank M. & Annie G. Covert House, Wikipedia
The Frank M. & Annie G. Covert House was built in 1898 by Frank and Annie Covert. Covert began his career in the stationery and book business; by 1887, he had moved to real estate and insurance, and in 1914, he opened one of Austin’s first automobile dealerships. He donated the Mt. Bonnell lookout to Travis County for a public park.
The Covert family lived in the house until about 1905 and has had numerous owners since then. The Home of the Holy Infancy, a Catholic orphanage and home for unwed mothers, later known as the Marywood Home, occupied the house from 1927 to 1931. Dr. John and Ann Horan, who owned the house from 1998 until 2008, earned the Heritage Society Award in 2001 for their restoration efforts.
Like other homes in the neighborhood, it features an eclectic combination of styles, including a Queen Anne form and Romanesque and Classical Revival details. The house features irregular massing, a two-story wraparound veranda, and masonry construction, which is unusual in Hyde Park. Its Queen Anne style is apparent in its two-story wraparound porch, paired Doric columns, and off-centered pedimented portico. Its elaborate roofscape includes mansard, gabled and hipped roof forms and corbelled brick chimneys. The eclectic Queen Anne style can also be seen in the home’s strong horizontal emphasis, diversity of textures and materials, and decorative detailing. Modernization meets historic conservation in this charming and remarkable Hyde Park gem, arguably the neighborhood’s grande dame.
The Covert House is a City of Austin Historic Landmark and was added to the National Register of Historic Places in 1990. The Hyde Park Historic District, added to the National Register of Historic Places the same year as the Covert House, includes an eclectic mixture of architectural styles, from late 19th-century Queen Anne and Classical Revival homes to 20th-century bungalows and ranch houses. Additionally, many of the houses and buildings in Hyde Park have been designated City of Austin Historic Landmarks and Texas Historic Landmarks.
Sources:
2023 Hyde Park Neighborhood Association Homes Tour Guide
Frank M. & Annie G. Covert House, Wikipedia
Copyright © 2006 Tatiana Cardeal. All rights reserved.
Reprodução proibida. © Todos os direitos reservados.
Pará State, Suruacá Community.
Tapajós/Arapiuns Extractivist Reserve.
Brazil
A few days with Health and Happiness Project
Alguns dias, visitando o Projeto Saúde e Alegria
Published by www.livinginperu.com/blogs/features/235 - interview
There are certain places in this world that haunt me since I read about them during my infancy. One of this places is Kolmanskop. The town became a ghost town in the mid fifties of the last century. Prior to that it was the epicenter of the diamond boom of the German colony “Südwest Afrika”.
Since Kolmanskop has been abandoned the surrounding desert is claiming the area back. The buildings are progressively falling apart and there is nothing attractive about the site. My first impression was all but uplifting. Only once I started entering the buildings and wandered through the rooms I experienced the remote beauty of this place.
The blend of the first and soft light of the day entering through the windows, the differently painted colors of the rooms, the visible decay and the raw nature invading the houses with sand and forming dunes was a complete new and unique experience.
Diamonds are not to be found there anymore, but the images to be created there are real true gems.
Interested in a photo tour through the American Southwest, Brazil, Bolivia, Namibia or Tuscany? I can help you with it and make you come back with unique shots.
_______________________________
Image is under Copyright by Peter Boehringer.
Contact me by email if you want to buy or use my photographs.
_______________________________
The photo is about two different stories of two different age. The photo was taken from a train window where two person was sitting and a seat divided them. On the left side of the frame a child is sitting and looking outside the window and watching the mysterious world. It is new to the boy because he did not get enough chance to see the outer world. On the other hand on the right side we can see a hand holding a newspaper maybe he/she is watching the world through the newspaper and it is window to him/her.
Still in its infancy (around 9 months at this time), and operating under a Hook And Pull arrangement with Australian National, a relatively short westbound SCT service wraps around the curves a few KM Northwest of Port Augusta at what could be argued as being South Australia's most notable hack spot, Yorkeys Crossing. Trailing the pair of 4000hp AN class EMD's are a mix of Maroon and Green ABFX and ABFY vans (as was the style at the time). March 1997.
We are always in infancy.
This photo was inspired by The Curious Case of Benjamin Button, an excellent movie I might add.
There are few things that scream childhood more to me than holly hobby sheets and fort-building. And I like to think that I'm no further from those things now than I was then.
The infancy life-cycle of an elephant is not a brief period. Young elephants are started on the process of weaning in their first year of life and may continue to be weaned until their tenth year, or until another sibling is born. This prolonged dependency period is vital to the elephant. As a minimum, the African elephant calf is entirely dependent (emotionally and physically) on his/her mother for three to five years.
This little guy is still wobbly on his feet, he is brand new.
The Infancy of the Power Cosmic.
for sale
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FUJIFLEX Professional Paper
$300 CDN + tax & shipping
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Digital/Lease:
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.Raw image, no Photoshop. Very clean. Ultra Quality Assured.
*Larger print formats/mediums available, Just ask.
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Black then white are all I see in my infancy.
red and yellow then came to be, reaching out to me.
lets me see.
As below, so above and beyond, I imagine
drawn beyond the lines of reason.
Push the envelope. Watch it bend.
Over thinking, over analyzing separates the body from the mind.
Withering my intuition, missing opportunities and I must
Feed my will to feel my moment drawing way outside the lines.
Black then white are all I see in my infancy.
red and yellow then came to be, reaching out to me.
lets me see there is so much more
and beckons me to look through to these infinite possibilities.
As below, so above and beyond, I imagine
drawn outside the lines of reason.
Push the envelope. Watch it bend.
Over thinking, over analyzing separates the body from the mind.
Withering my intuition leaving all these opportunities behind.
Feed my will to feel this moment urging me to cross the line.
Reaching out to embrace the random.
Reaching out to embrace whatever may come.
I embrace my desire to
feel the rhythm, to feel connected
enough to step aside and weep like a widow
to feel inspired, to fathom the power,
to witness the beauty, to bathe in the fountain,
to swing on the spiral
of our divinity and still be a human.
With my feet upon the ground I lose myself
between the sounds and open wide to suck it in.
I feel it move across my skin.
I'm reaching up and reaching out.
I'm reaching for the random or what ever will bewilder me.
And following our will and wind we may just go where no one's been.
We'll ride the spiral to the end and may just go where no one's been.
Spiral out. Keep going...
choir of angels - Stories of the Virgin and infancy of Christ - 1527-1530 - Paolo da Caylina the Younger (1485-1545) - Church of San Salvatore - Santa Giulia Museum in Brescia
La basilica di San Salvatore è una delle testimonianze più importanti dell'architettura religiosa alto-medievale conservata in alzato.
Nel progetto del re Desiderio, che nel 753 d.C. fondò il monastero dedicandolo a San Salvatore, e più tardi facendovi collocare le spoglie della martire Santa Giulia, la chiesa-mausoleo doveva porsi come uno dei simboli del potere dinastico della monarchia e dei ducati longobardi.
Gli interventi condotti all'interno dell'edificio hanno messo in luce non solo parte delle sue murature originarie, ma anche resti di una domus romana sottostante (I-IV secolo d.c.),alcune strutture riferibili alla prima età longobarda (568-650) e le fondazioni di una chiesa più antica, ora parzialmente visibili.
The church of San Salvatore is one of the most important surviving examples of Early Medieval religious architecture.
King Desiderius (re Desiderio) founded the monastery, dedicated to San Salvatore, in AD 753 and later had the remains of the martyr Saint Julia (Santa Giulia) brought there. The church-mausoleum was intended as a symbol of the dynastic power of the monarchy and the Lombard dukes.
Recent restoration work inside the building has brought to light part of the original walls, the remains of an underlying Roman domus (1st - 4th centuries AD), several early Lombard constructions (568-650) and the foundations of an earlier church, now only partially visible.
Taken at a large sculpture, "The Meaning of Life", depicting life through its various stages from infancy to death. Note details of finger creases and nails
This early photograph of the Irish Police (while they were still known as the Civic Guards) shows a police service in its infancy. Two officers, three sergeants and the remaining "Guards" make up the station party of what would appear to be Wexford Town. But is that the case?
And the consensus is that it probably *is* the case - with a strong possibility that this image was captured outside the barracks in Wexford town...
Photographer: A. H. Poole
Collection: Poole Photographic Studio, Waterford
Date: c.7 June 1924
NLI Ref: POOLEWP 3181
You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie
Beastie
From early days of infancy, through trembling years of youth,
Long murky middle-age and final hours long in the tooth,
He is the hundred names of terror, creature you love the least.
Picture his name before you and exorcise the beast.
He roved up and down through history spectre with tales to tell.
In the darkness when the campfire's dead to each his private hell.
If you look behind your shoulder as you feel his eyes to feast,
You can witness now the everchanging nature of the beast.
Beastie
If you wear a warmer sporran, you can keep the foe at bay.
You can pop those pills and visit some psychiatrist who'll say
There's nothing I can do for you, everywhere's a danger zone.
I'd love to help get rid of it, but I've got one of my own.
Beastie
There's a beast upon my shoulder and a fiend upon my back.
Feel his burning breath a heaving, smoke oozing from his stack.
And he moves beneath the covers or he lies below the bed.
He's the beast upon your shoulder. He's the price upon your head.
He's the lonely fear of dying, and for some, of living too.
He's your private nightmare pricking. He'd just love to turn the screw.
So stand as one defiant yes, and let your voices swell.
Stare that beastie in the face and really give him hell.
Beastie
There's a beast upon my shoulder and a fiend upon my back.
Feel his burning breath a heaving, smoke oozing from his stack.
And he moves beneath the covers or he lies below the bed.
He's the beast upon your shoulder. He's the price upon your head.
Jethro Tull ~ Beastie ~ 1982
Thanks to Models: Jay Stormborn & Nick Redcreek
Taken at Pendle Hill Sim maps.secondlife.com/secondlife/Pendle%20Hill/174/125/28
Beastie
From early days of infancy, through trembling years of youth,
Long murky middle-age and final hours long in the tooth,
He is the hundred names of terror, creature you love the least.
Picture his name before you and exorcise the beast.
He roved up and down through history spectre with tales to tell.
In the darkness when the campfire's dead to each his private hell.
If you look behind your shoulder as you feel his eyes to feast,
You can witness now the everchanging nature of the beast.
Beastie
If you wear a warmer sporran, you can keep the foe at bay.
You can pop those pills and visit some psychiatrist who'll say
There's nothing I can do for you, everywhere's a danger zone.
I'd love to help get rid of it, but I've got one of my own.
Beastie
There's a beast upon my shoulder and a fiend upon my back.
Feel his burning breath a heaving, smoke oozing from his stack.
And he moves beneath the covers or he lies below the bed.
He's the beast upon your shoulder. He's the price upon your head.
He's the lonely fear of dying, and for some, of living too.
He's your private nightmare pricking. He'd just love to turn the screw.
So stand as one defiant yes, and let your voices swell.
Stare that beastie in the face and really give him hell.
Beastie
There's a beast upon my shoulder and a fiend upon my back.
Feel his burning breath a heaving, smoke oozing from his stack.
And he moves beneath the covers or he lies below the bed.
He's the beast upon your shoulder. He's the price upon your head.
Jethro Tull ~ Beastie ~ 1982
Thanks to Models: Jay Stormborn & Nick Redcreek
Taken at Pendle Hill Sim maps.secondlife.com/secondlife/Pendle%20Hill/174/125/28
Dramatic 1928 Mercedes Benz 680 S short chassis Torpedo by Saoutchik....the last surviving of 3, and Best in Show at the 2013 Pebble Beach Concours.
In the infancy of the automobile, decades before the advent of mechanised production lines and six-figure build numbers, the private car could be as unique to its well-heeled owner as a handmade shoe or bespoke suit. During the early 1900s, the car was also an art form, a source of individual expression that made minor celebrities of the men creating them and established an enduring mythology around their rarefied craft. Perhaps the most visionary of these traditional coachbuilders, sought-after by the great and good across Europe and beyond for almost half a century, was Iakov Savtchuk, better known today as Jacques Saoutchik.
Born in western Russia in 1880, Saoutchik left his homeland at the age of 19, heading with his brother for the bright lights and untold possibilities of fin de siècle Paris. Having trained as a cabinet maker in a small town near Minsk, Saoutchik was able to join a modest furniture business in the 11th arrondissement from where he quickly became familiar with the machinations and mores of his newfound homeland. His sights as a designer and maker were soon set far higher than mere household furniture; Saoutchik had spied a niche in the newly emerging industry of the motorcar.
In 1906, having formerly adopted a more western interpretation of his name, Saoutchik set up his own coachbuilding company in the nearby district of Neuilly-sur-Seine and began building highly elaborate horseless carriage on bare chassis supplied by automotive pioneers like Hotchkiss and Panhard. In a period where the rules of car-making were loosely defined and the clientele invariably insistent on the finer things, Saoutchik spoke to his market with crystal clarity. Even his earliest creations demonstrated an ingenuity, attention to detail and sheer extravagance that was unrivalled anywhere in the world.
At the Concours d’Élegance de La Grande Cascade, an exhibition designed to introduce Parisian high-society to the wonders of the automobile, Saoutchik’s display was the star attraction, the combination of elegant design and peerless quality cementing his reputation as the definitive ‘manufacture de voitures de luxe’. Cars such as the 22 CV Berliet, completed in 1907, offered a fit and finish hitherto unseen, the lustre of its bodywork and jewel-like details captivating audiences from across the social strata.
Orders began to flood in, from aristocrats and wealthy industrialists to international royalty as far afield as Norway and Spain. In 1911, a commission arrived at the modest premises at 46 Rue Jacques Dulud to design the original Popemobile, built with such characteristic discretion that no pictures have survived.
After the end of the First World War, Saoutchik rose to new heights, developing what was known as the ‘transformable’, versatile and adaptable car bodies that could be fully open or fully closed and a variety of combinations in between. It was during this period that Saoutchik’s flamboyance and attention to detail began to be matched by his innovation. Patents were filed for a wide variety of inventions, including an adjustable windshield, a convertible roof, a window-lowering mechanism and cantilevered doors.
As the century progressed, Saoutchik’s creations evolved in step with rapid and dramatic societal change, becoming increasingly more modern and adventurous as the Art Nouveau landscape around him reshaped contemporary fashions. He supplied cars to the new royalty of Hollywood, Douglas Fairbanks and Mary Pickford famously exporting to their Los Angeles home a Saoutchik-bodied six-cylinder Delage coupé that they had alighted upon at the Paris Salon in 1921. In advertising material, ‘J. Saoutchik, Carrossier De Luxe’ became ‘Le Carrossier En Vogue’, with the promise that his cars were ‘adoptes par les femmes élegantes et sportives dans le monde entire.’ Beautiful to behold, Saoutchik’s cars were even more remarkable to experience first-hand, with sumptuous interiors using exotic hardwoods and finely hand-stitched quilted leathers to provide a level of luxury unprecedented and unrivalled in the world of private transportation.
By the mid-1920s, Saoutchik was working in close cooperation with most of the established engine and chassis builders, with Rolls Royce, Bentley Hizpano-Suiza, Isotta-Fraschini, Minerva and Mercedes all on the books. In 1927, he travelled to the US to visit his brother and engage in some urgent consultancy work for a failing Pierce-Arrow. He returned emboldened by many aspects of American automobile design, bringing the nouveau riche grandiosity of the East Coast aristocracy back to Europe and deploying it with new found vigour.
Meanwhile, developments in third party engineering and Saoutchik’s own manufacturing processes were also allowing the traditional, upright carriage of the earlier part of the century to be abandoned in favour of increasingly rakish designs with lower roof lines, sweeping pontoon fenders and vast bonnets. Stately elegance was now sharing space with a new-found dynamism and potency, and the late 1920s became a something of a Zenith for Saoutchik, his cars the perfect accompaniment to an age of excess. (Hagerty)
Exclusive in every way, It showcases some of the more exotic materials available to the coachbuilders of the day. The hides used to create the lizard skin interior were supplied by Alpina, a company that sourced products from the French colonies in Southeast Asia. The beautiful trim wood, known as Purpleheart, was also sourced out of the French colonies in South America.
Double click on the Image to Enlarge
AS ALWAYS....COMMENTS & INVITATIONS with AWARD BANNERS will be respectfully DELETED!
Note : Location outdoors; Maremagnum Barcelona.
I was riding one horse when I take the photo, adds difficulty to the shot. :lol:
I used Nikon 180mm f/2.8 AI
It is the Distinguished Company at the Bijou Planks!
Today we see Anna Mary Robertson Moses (September 7, 1860 – December 13, 1961), known by her nickname Grandma Moses. Moses was an American folk artist. She began painting in earnest at the age of 78 and is often cited as an example of an individual who successfully began a career in the arts at an advanced age.
Her works have been shown and sold in the United States and abroad and have been marketed on greeting cards and other merchandise. Moses' paintings are displayed in the collections of many museums. Sugaring Off was sold for US$1.2 million in 2006.
Moses appeared on magazine covers, television, and in a documentary of her life. She wrote an autobiography (My Life's History), won numerous awards, and was awarded two honorary doctoral degrees.
The New York Times said of her: "The simple realism, nostalgic atmosphere and luminous color with which Grandma Moses portrayed simple farm life and rural countryside won her a wide following. She was able to capture the excitement of winter's first snow, Thanksgiving preparations and the new, young green of oncoming spring...
In person, Grandma Moses charmed wherever she went. A tiny, lively woman with mischievous gray eyes and a quick wit, she could be sharp-tongued with a sycophant and stern with an errant grandchild."
She was a live-in housekeeper for a total of 15 years, starting at 12 years of age. One of her employers noticed her appreciation for their prints made by Currier and Ives, and they supplied her with art materials to create drawings.
Moses and her husband began their married life in Virginia, where they worked on farms. In 1905, they returned to the Northeastern United States and settled in Eagle Bridge, New York. The couple had ten children, five of whom survived infancy.
She expressed an interest in art throughout her life, including embroidery of pictures with yarn, until arthritis made this pursuit too painful.
She was a member of the Society of Mayflower Descendants and Daughters of the American Revolution. Her 100th birthday was proclaimed "Grandma Moses Day" by New York Governor Nelson Rockefeller. LIFE magazine celebrated her birthday by featuring her on its September 19, 1960, cover. The children's book Grandma Moses Story Book was published in 1961.
Grandma Moses died at age 101 on December 13, 1961 at the Health Center in Hoosick Falls, New York. She is buried there at the Maple Grove Cemetery.
President John F. Kennedy memorialized her: "The death of Grandma Moses removed a beloved figure from American life. The directness and vividness of her paintings restored a primitive freshness to our perception of the American scene. Both her work and her life helped our nation renew its pioneer heritage and recall its roots in the countryside and on the frontier. All Americans mourn her loss."
After her death, her work was exhibited in several large traveling exhibitions in the United States and abroad.
Grandma Moses, a distinguished individual!
__________________________
A year of the shows and performers of the Bijou Planks Theater.
.... Thus prolonged infancy shapes human desires in two contradictory directions: on the one hand, on the subjective side, toward omnipotent indulgence in pleasure freed from the limitations of reality; on the other hand, on the objective side, toward powerless dependence on other people. The two tendencies come into conflict because the early experience of freedom and absorption in pleasure must succumb to the recognition of the reality-principle, in a capitulation enforced by parental authority under the threat of loss of parental love ...
(N.B.)
When Conrail was in its infancy and definitely before it was called Big Blue, you could wander into the IHB's Blue Island yard, whose east end was in Riverdale, and find this kind of stuff every day. They kept the neat stuff on the north side of the Harbor's yard, like this Reading GP35, stuffed between an EL U25B and a PennCentral GP35. Front and rear coupled? Yeah, I don't care, I'd still shoot it. How could you walk away from this scene without burning some film? Sometimes, I feel sorry for "purists" who wouldn't touch this.
In unexperienced infancy
Many a sweet mistake doth lie:
Mistake though false, intending true;
A seeming somewhat more than view;
That doth instruct the mind
In things that lie behind,
And many secrets to us show
Which afterwards we come to know.
Thus did I by the water's brink
Another world beneath me think;
And while the lofty spacious skies
Reverséd there, abused mine eyes,
I fancied other feet
Came mine to touch or meet;
As by some puddle I did play
Another world within it lay.
-Excerpt from Shadows in the Water by Thomas Traherne
PASTICHE
\pas-ˈtēsh, päs-\
A mixture of different things
Here the clouds and their reflections in the water with the colours of sunset painted onto them combine into a beautiful swirling watercolour like scene. Pastiche. The reflections, a phenomenon that has always left me in awe, repeats the world (in this case of the sky) for our pleasure.
This week the theme is a "Different angle", which can mean photographing something at an odd angle or photographing a favourite location from a different angle than usual. I chose the latter. This location is Cap Brulé, which is a beautiful beach in New Brunswick where I grew up. I usually photograph towards the west where the sun sets and there are cliffs (Here is one example: flic.kr/p/d5pF1m). Today I photographed facing away from the sunset (which itself is a different angle) towards the North-East, and got quite a treat with the beautiful colours reflected into the clouds and water. Then a full moon came out hidden behind these clouds for another set of photos. It was stunning marred only by Attack of the Mosquitos!
The hands of women, (the power of organizations and infancy education) hold the power to change reality, reaching out to every woman wherever she is, we need to choose the right path for us and make sure to embark on this journey strong and determined.
Equality and adequate representation in the work world is possible, rewarding, and is worth fighting for. This book is an invitation to a journey through (via) authentic life stories of 111 women in the Israeli society who have not given up, fell and rose up over and over again. They made their voices heard, progressed and made a personal breakthrough.
The writing in the book is about real life and career. A Women and Career Book -A Leading Influential Presence - A fascinating, instructive and transformative journey which transforms business discourse about leadership.
Seven months into the infancy of Conrail and renumberings were quite evident. Some were acceptable by the Conrail "Fallen Flags" followers and some were just plain brutal. Ex EL, exx Erie NW2 #415 has been renumbered and it seemed to me that Conrail had no standardization when it came to dealing with it's "Patch Jobs" at this time. Shop workers probably did the best that they could do under the circumstances. Suffern N.Y. 11-03-1976. Howard Kent Jr. photo.
El parque de mis recuerdos // The park of my memories © All rights reserved - © Todos los Derechos Reservados
Aconsejo verla sobre fondo negro // I advise to see it on a black
Llegará un día que nuestros recuerdos serán nuestra riqueza.
(Paul Géraldy)
A day that our memories are our wealth.
(Paul Géraldy)
Dando un paseo en el coche con mi mujer, por una carretera poco transitada, ella me comentó que muy cerca de allí, disfrutaba en su infancia de un pequeño parque infantil, pero no recordaba donde estaba exactamente.
Pasados unos dias volví solo y lo busqué, el resultado es la imagen que estais viendo. Mi mujer lo vio, para sorpresa de ella, el recuerdo que conservaba de él, coincidia exactamente con lo fotografiado por mí, treintaytantos años después. Mereció la pena, dar vida a sus recuerdos...
Taking a ride in the car with my wife, on a road with little traffic, she told me that very near there, enjoy your infancy in a small playground, but could not remember where it was exactly.
After a few days I went back and searched only, the result is the image that you are seeing. My wife saw, to her surprise, retaining the memory of him, coincided exactly with the photographed by me, thirtysomething years later. It was worth it, give life to your memories ...
www.youtube.com/watch?v=g0XotjqSAjA
Born in 1865, Miksa Róth was 19 years old when he took over his father Zsigmond’s workshop.
The craft of glass painting was still in its infancy. In 1855 English glass workers succeeded in creating an "antique glass" effect.
This coloured glass was suitable for the repair and restoration of the windows of medieval churches, as well as for decorating the new romantic, and the historically eclectic designs. By 1880, workshops were sprouting up in the capital, the most significant of which belonged to Miksa Róth, who at the turn of the century was providing work for 10 trainees, working on both public and private building commissions.
Miksa Róth’s first significant work was in 1886 in Máriafalva (Mariasdorf, Austria) where Imre Steindl was leading the reconstruction of the Roman Catholic church.
Earlier Róth had studied the stained glass windows of Gothic cathedrals on a tour of Europe.
During the reconstruction of many other national monuments, Róth designed Gothic stained glass windows at Keszthely for the reconstruction of the Roman Catholic church led by Samu Pecz (architect of the main market hall in Budapest) in 1896.
In Budapest, you can see examples of his beautiful work in the Gresham Palace (now the newly opened Four Seasons hotel), the Agricultural Museum, the Music Academy and the Andrássy Dining Room amongst many others. The plans for the stained glass windows of the Parliament building were prepared in 1890. Róth took into account both the staircase’s light source and the building’s interior decoration, and decided to use the Grotesque style originating from the Renaissance period.
Reflecting the multi-coloured nature of Hungarian architecture at the turn of the century, Róth created windows in many styles: Historic, Hungarian Secession, Art Nouveau, Jugendstil and Viennese Secession.
Róth’s craft was given a new inspiration when he saw the "opalescent" and "favril" glass made by Louis Comfort Tiffany, whose display at the 1893 Chicago World Trade Fair, entitled Four Seasons featured shimmering, iridescent colours and an immediately popular natural marbling effect of the glass.
Róth was also influenced by the work of the English pre-Raphaelite artists, in particular Edward Burne-Jones and William Morris. In 1897, Miksa Róth bought a collection of opalescent glass from the Hamburg glass painter Karl Engelbrecht, and began to regularly order glass from his factory.
At the 1898 Budapest Museum of Applied Arts’ Christmas Exhibition Róth displayed glass windows prepared using a type of Tiffany glass, seen for the first time in the Austro-Hungarian monarchy.
Róth won the silver medal at the Paris World Exhibition in 1900 with the Pax and Rising Sun mosaics made with opalescent glass.
The Róth workshop then made a large number of stained glass windows with floral designs, whose success could be attributed to the nostalgia felt by people living then in large cities for the lost world of nature.
In Budapest the stairwells and lifts were brightened up with luxuriant gardens in place of the drab partition walls and dark corridors.
Middle class citizens even decorated their parlours with the symbolic motives of flowers: Irises, lilies, sunflowers, poppies and roses, birds such as peacocks and swans, and fauns, nymphs, fairies and female figures frolicking in gardens, arbours and riverbanks to recall the lost period of the Golden Age.
One of Róth’s most significant creations using opalescent glass was for cupola of the Teatro Nacional in Mexico City, which he carried out according to designs by Géza Maróti.With this work he showed details of geometric design of the Jugenstil and Viennese Secession which he also used in windows for Bank Building (1905 Ignác Alpár), the Gresham Palace (1907 Zsigmond Quittner and József Vágó) and the Music Academy (1907 Flóris Korb and Kálmán Giergl) . Róth worked with many of the best architects, builders and designers of the time.
For Ödön Lechner's magnificent Post Office Savings Bank building, Róth created an unusual mosaic, embedded into cement. In 1910, Róth created the gorgeous windows of the Culture Palace in Marosvásárhely (Targu Mures in Romania). In the Hall of Mirrors, scenes from traditional Székely fairy tales, ballads and legends are featured in the 12 stained glass windows which fill the entire length of the long hall. It is worth a visit to Marosvásárhely alone to stand among these magical and colourful designs.
Róth worked for a long time in conjunction with two artists from the Gödöllô artists’ settlement, Sándor Nagy and Aladár Kriesch Körösfôi. Together they created the Hungarian Secession style windows for the National Salon and the windows and mosaics for the Hungarian House in Venice. For the Marosvásárhely Culture House triptych, also based on Nagy’s designs, Róth used a special medieval technique, employing thick leading and strong lines. From the 1920s Róth mainly received commissions from the Church and State.
He died in 1944 after a lifetime of bringing joy and colour to the world with his beautiful creations.
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Róth Miksa (1865. december 26. Pest - 1944. június 14. Budapest) a magyar üvegfestészet és mozaik művészet egyik legjelentősebb alkotója volt. A pesti Eötvös Reálgimnáziumban tanult s az apja műhelyében sajátította el a mesterség alapjait. Később Német-, Francia- és Olaszországban tanulmányozta a kora-középkori üvegfestészet technikáját és képszerkesztési módszerét. A XIII. századi üvegfestészet egész életét meghatározó befolyással volt művészeti tevékenységére. Emlékirataiban a német Sigismund Frankot valamint az angol preraffaelitákat, Burne Jones-t, William Morrist nevezi meg művészeti példaképeinek.
Első sikereit historizáló stílusú képeivel érte el: az 1896-os Ezredévi Kiállítás és az Országház üvegfestményei hozták meg számára az országos elismertséget. 1897-től az Osztrák-Magyar Monarchiában elsőként használta fel a Tiffany-üveget szecessziós stílusú alkotásaihoz. Számos hazai és nemzetközi elismerést szerzett: elsőként ő kapta meg az Iparművészeti Állami Aranyérmet, az 1900-as párizsi világkiállításon ezüstéremmel, az 1902-es torinói és az 1904-es St. Louisin pedig arannyal díjazták munkáit.
Alkotásai megtalálhatóak az oslói Fegeborg templomtól a mexikói Theatro Nationalig - ahová Maróti Gézával készítettek 1500 négyzetláb nagyságú üvegkupolát és mozaik képeket. 1939-ben, a második zsidó törvény meghozatala után szüntette meg a Nefelejcs utcai házában működő "üvegfestészeti műintézet" tevékenységét.
Róth Miksa 1944-ben halt meg, természetes halállal, hiszen kikeresztelkedettként akkor még védett helyzetben volt, de ekkor már állandó rettegésben élt. Családja sok tagja a holokauszt áldozata lett.
www.rakovszky.net/D1_DisplRemImg/Rako_DRI_ShowARemoteImag...
disappearingbudapest.blogspot.hu/2011/03/miksa-roth-geniu...
csomalin.csoma.elte.hu/~toti/uvegek/roth.htm