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Ceramic plaque. Grater function is doubtful as insignificant wear on these objects has been observed. Our hypothesis is that these instruments were used for removing fish scales or used for ritual purposes. Red pigment on outer rim. Intact. Measures 9 1/2". Esmeraldas region, Ecuador. 600BC/400AD. Also, this item has been published in Prima Dell America 4000 Anni Di Arte Precolombiana a Cura Di Giuliana Zanetti, p.253.
I'm not really sure what this is from yet. Intuition says maybe some kind of fish. I'm reasonably certain it's a marine creature at the least.
Anyway, it's 5 vertebra worth of something's spine.
Ive been going through a taking photos of the sky phase and this one just stood out so much :)
it was just before this amazing sunset
If you would like to purchase this photo please contact me on Arsh.k.singh@gmail.com
I know what yer thinkin', whyfore did someone shoot that giraffe in the head!? Except, they didn't! Poor Geoffrey here probably had some kind of sinus tumor that grew, and grew, until it busted a hole out the side of his head. I've inquired with experts, and they all assure me that's a very bad thing.
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”.
Since 2009, Daniel Kerkhoff, from Minneapolis, Minnesota, U.S.A., has been creating his own artist-in-residencies in communities in Ghana, Ecuador, and Vietnam.
Embedding himself in a community, he develops multiple connections through creating art (installations), writing poetic journals, making art with children, curating exhibitions, working with artists, assisting art libraries and community libraries, documenting walks and the community, and just being a part of everyday life.
Along with painting, collage, art installations, photography, and writing, his art practice involves connecting, sharing, and weaving people and places.
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”.
Assisting and creating libraries is part of my art practice.
During my art residencies, I continue to bring books and materials, art work, maps, magazines and journals, CDs, DVDs, and photos to the community centers in Adugyama, Ashanti Region Ghana and Sisid-anejo, Cañar, Ecuador. I also give a variety of art books, journals, and materials to fellow artists and art spaces.
In Accra, Ghana, I bring art books and magazines to The Nubuke Foundation and The Center for Contemporary Art, Ghana. In Cuenca, Ecuador, I'm connected to In-Arte Contemporáneo and bring art magazines and information. In Hanoi, I have provided various art publications and books to Cuci Fine Art, Chay Art, and Chaap Collective.
I bring art publications, art work, and music created by friends and colleagues of mine. I document their work in these different communities, creating another form of connection and awareness.
I consider this a weaving project, a form of sharing that can have many on-going effects. –Daniel Kerkhoff, www.danielkerkhoff.com
“Playing Catch, Giving and Receiving”
You are invited to play catch with my prints. Two dimensional prints that hang on the wall are transformed into three dimensional balls, a form of sculpture that is also performance and participatory.
Playing catch is a common past time that's relaxing and connecting. It is an act of giving (throwing) and receiving (catching) involving a ball, and, in this case, prints transformed into a ball (sculpture).
Instead of viewing the stationary print on a wall or a sculpture on the floor, it is viewed moving through time and space, dependent on the participants and their actions.
It is visual, transformative, therapeutic, sharing, interactive, and connecting, simple and playful actions of giving and receiving.
--Daniel Kerkhoff, www.danielkerkhoff.com
“The Insignificant is Significant”, A Library and Art Installation, a continuation of the series, “The Quiet and Ugly Artist (Hanoi, 1965-2015)”
“Walking the Path, Prints on Prints”
You are invited to walk on my prints, using them as a path.
It’s another way of experiencing art like a stepping stone meditation,
a different awareness may take place on an intentional walk, slower,
deliberate, a winding pathway, your prints touching these prints.
You become, in a way, the performer, the participant, the collaborator,
your soles connecting and becoming a part of these prints, adding steps,
humbling, engaging, liberating, creating another connection.
The title of this series is: "Paper Trail, A4 (All Over the Place)" from "The Quiet and Ugly Artist (Hanoi, 1965-2015)". These prints are collages made from my daily life in Hanoi -- collections of receipts, maps, brochures, business cards, food wrappers and waste.
They are my journal, a record of my consumption and daily activities, stamped with symbols that reflect my connection with Hanoi. They are painted over,
fragments remain revealed, information becomes cloudy, is lost and buried, like memory and history.
I created these collages during my artist-in-residency in Hanoi from
February 6, 2015 to October 26, 2015.
Walking is an important part of my art residencies. I document a familiar route in the community I’m living in by walking slowly, taking photos, and picking up “treasures”.
--Daniel Kerkhoff, www.danielkerkhoff.com
it may seem simple, insignificant, or even trivial... but today I finally made the switch! A step in a new direction. The beginning of a new era. A walk in faith, towards new horizons, the Promised Land...
I've used my pink purse for quite some time now... and frankly, I love it. But it's time for one of those radical changes. An outward sign of an inner shift. Most girls might translate that into a sassy haircut. However, one [of the many] thing[s] I got out of the [abandoned] relationship is a love of my hair... an awareness of it's beauty... and frankly, I'm going to sport it, in all it's glory!
This lovely creation was made for me by miss Tracy Prybyla (in an exchange of creativity, I made her a hat & swirly scarf set long ago), but I didn't get it into my hands until more recently. Now, I have been holding onto it for a bit, waiting for the right moment to make the switch.
I officially started the HoodRiver end of the new employee processes... so my new job is in motion.
Today was the 27th. Muy importante for me... pressing forward in my own love for that day/number, is something I have to do.
And, Oddly enough, I actually got this from Tracy just as my eyes were being opened to all that was about to occur *shudders*
On a happier note: the pretty flower is from Miss Elizabeth. I stopped by to see here after worship practice (another awesome happenstance/providential-thang: I wore my ChrisTomlin tee, and they introduced one of my fave songs from the album at practice!) and she picked one for me, and one for [the other] Elizabeth (by proxy, she was on the phone!)
[blogged]
A small and seemingly insignificant little building facing St Stephen's Green, this is a little jewel of a church.
Newman was invited to Dublin by the Irish bishops to set up the Catholic University of Ireland. He built this little chapel in the grounds of the building on the right, which was used as a public hall. The church was consecrated on Ascension Day (1 May) 1856
I love when the sun creates this kind of natural spotlights, where little and insignificant plants have their 5 minutes of glory.
I couldn't resist testing the close-up capabilities of the Ideal 250/3 with this fantastic spotlight. Using Velvia 50 for it was a must.
More about Velvia 50, my favorite color slide film, in my blog.
Me encanta cuando el sol crea esta especie de focos naturales, con los que plantas pequeñas e insignificantes pueden gozar de sus 5 minutos de fama.
No pude resistir probar los primeros planos con la Ideal 250/3 con este fantástico foco. Utilizar Velvia 50 para la toma era obligatorio.
Más sobre Velvia 50, mi película de diapositivas en color favorita, en mi blog.
(Ideal 250/3, Fujichrome Velvia 50, ISO 50/18°)
Woke up ridiculously early on Sunday and went for a walk. Oh, and the title is inspired by the wonderfully amazing and yet totally insignificant book 'The Hitch hiker's guide to the galaxy - Douglas Adams'.
American World War II matchbooks, advertising war bonds on one side, with propaganda on the other. Down with the bad guys! Fuck yeah!
I think that it is human nature to feel a certain irreplaceable sentiment towards what we grew up with. After all, childhood is typically a time filled with fantasy and innocence, and once it's gone, there is no other period in our lives quite like it. But that being said, often this attachment creates a strong bias and we find ourselves looking at the new and unfamiliar changes that are bound to occur with disdain and contempt. This is no exception when it comes to the world of dollies. For a time, I definitely felt this way about the Barbies that appeared after my time as a child. Since I always grew up with secondhand dolls, it was easy to feel a connection towards the dollies of generations past. But after a five year hiatus from my plastic friends, I did not feel such warmth towards this new era that was foreign and mysterious to me. It was 2011 when my adult doll collecting journey began. Even though I had only refrained from buying dolls for five years, which in the grand scheme of life is quite insignificant, so much had changed. As I wandered the doll aisles for the first time in years, what I saw was almost unrecognizable. Barbie had new friends, new molds, new clothes, new packaging, and so did the rest of the dolly brands I encountered. I wasn't sure what to make of it all, or how I felt about it.
I recall that these first few encounters were conflicting. On the one hand, the part of me that naturally resists change and frowns upon the unknown felt repulsed by what I saw. But deep down, that inner dolly fanatic couldn't help but be curious. She couldn't stop herself from craving, wanting, lusting, and desiring these new Barbies. Even Colleen, who was always far more adamant that the "old was superior to the new" had to admit that some of these updated faces and ideas were too cool. And I recall there were many instances when we voiced that "We would have loved this set as kids," or "I wish I had this when I was younger." Most notably, we connected with the strong sisterly theme that stapled the Barbie franchise together. In the early 2000s, Skipper and Stacie slowly faded away, and even disappeared altogether for a brief time. But this dawning of the new decade brought with it a resurgence of family focus. There were so many sister sets and separately sold family dolls. And even though admittedly I was a tad bit offended that Kelly had been replaced by Chelsea, I was still glad to see Barbie had a younger sister represented. This made the 2010s Barbies so much more fun than I ever could have imagined. As kids, we yearned to collect all the sister dolls we could get our hands on, and it never lost novelty when Colleen and I bought a family set and divied up the dolls between us. The possibilities seemed endless, and I felt my inner 12 year old mind reeling with all the potential. We would have had a blast with that Sisters Go Camping! Camper. Colleen would have had a slew of Skipper and Stacie dolls to choose from. It wouldn't have been so easy for her to buy them all up in a short space of time, like it was when we were younger, since there are just so many available nowadays. And maybe that's what I loved most of all about this new side of Barbie. It made her world so much more fascinating knowing that there would be plenty to keep Colleen busy. I often felt bad growing up that I was always so easy to please and quick to be distracted/occupied by whatever dolls were on the market, whereas Colleen's natural interests were so much more limited and restrained. It was an awesome feeling going to the store for the first time in years, and each getting to pick out a doll we wanted so badly (like the time she picked out Sisters' Fun Day Stacie, aka Clara, and I got my Dead Tired re-release Cleo).
I think the major difference between the later years of our childhood collection and our present day one is the amount of focus we put on purchasing dolls brand new in the store. 2002 to 2004 was a time we spent buying brand new dolls nearly every weekend on our excursions with Dad. We therefore had lots of fairly up to date playsets, clothes, and dolls in our collection. But even so, I'd still say that a fair amount of what we decided to get was considered mildly out of date. Our resurgence back into dolls has been marked quite differently. While there were bouts of time we spent hunting stores for certain dolls, like Monster High, Moxie Girlz, and the latest Bratz, our Barbie collection for the most part remained mostly secondhand. It seemed a bit silly to buy the dolls brand new for more money, when they rarely went on good sales, when it was only a matter of time before they turned up discarded at the flea market in hardly played with condition. I think a lot of people confuse this absence of modern Barbies in my collection as a lack of interest, when that's not the case at all. In fact, I'd say the approach we have toward Barbies these days is very reminiscent of my early childhood. And in a way, that makes me that much fonder of my newer ladies and gents. For instance, my Life in the Dreamhouse Barbie isn't all that different from my very first doll, 1989 Ice Capades Barbie (aka Christina). Both were used, abused, and abandoned within the first few years of life. Christina was left half bald and without a trace of her clothes, and Life in the Dreamhouse Barbie had a strange burn hole through her dress that melted part of her stomach. Likewise, many of my earliest Fashionistas dolls were in various stages of mutilation when I rescued them from flea market lots, despite the fact they were not even five years old at the time. The feeling I get when I see a doll that is still sold in stores, sitting in a disheveled, neglected state at the flea market is one that cannot be compared to. It breaks my heart, whether the doll looks so mint, that it was obvious she was never truly loved, or whether she was tormented during her brief stint in life. And sadly it seems that these days more and more dolls are unloved, unwanted, and under appreciated by children who would rather play with a tablet or phone than interact with a plastic doll.
For this reason, I have a soft spot for the newer Barbies that isn't quite like how I feel for any of the other prior decades. And to top it off, most collectors also have little to no interest in this new generation. It's far more often I see scathing reviews ripping Barbie apart, than I see happy smiles and kind words towards these dolls. To some extent, I understand..after all, there is no shame in feeling fondness for what you grew up with. And to be fair, these newer dolls come with their share of issues--molded/painted clothes, hollow bodies, glue laden hair, recycled/repackaged faces, and generic, dull packaging. It's easy to overlook all the wonderful things that this decade of Barbie has offered that other generations lacked, but if you look close enough, you'll find so much to appreciate. Never before have I seen such diversity in a Barbie line. You can get tall Barbies, short Barbies, curvy Barbies, and dolls with every skin color under the sun. There are dolls with half shaven heads, man buns, and even Ken has body mold diversity. The sophistication of articulation has also increased with dolls like the Made to Move line that can literally sit cross-legged and touch their chins. And let's not forget that Barbie's accessories and playsets have also updated--she has a house that you can talk to. As a kid, it was so hard to find African American dolls, and growing up in the 90s/2000s, it was far easier for me than children of the 60s, 70s, and 80s. Barbie's family members were the only true mold diversity. But nowadays, Barbie herself can take on so many forms. I think it's easy to focus on what is lacking from the current Barbie franchise, but once you redirect, it's plain to see how far she's come, and for the better, even if she does miss the mark from time to time.
No matter how Barbie evolves, or even if she's discontinued one day because nobody cares anymore, I'll always have a warm place for her in my heart and memories. Barbie was the one that started it all for me, even though my first doll was nothing flashy or exotic. She was the staple, the backbone of our doll games. And furthermore, getting back into dolls in 2011 would not have been nearly as exciting were it not for Barbie still being around. Some of my dolls from the 2010s are the most special in my collection, and in a way they really aren't all that different from my childhood companions. The Dolls of the World line was still in full swing back in 2011, when I purchased my very first store bought Barbie in half a decade--2011 India Barbie. When I freed her from her package that December night, she made me feel the same way my 1995 DOTW Indian Barbie, aka Nova, did back in 2003 when I got her at the flea market. And who could forget two of the dolls that I quite literally drool over every time I see them--Hair-Tastic! Color & Design Salon and 2011 Fashionistas Barbie?!! Even though these dolls were only out for a brief time compared to the other dolls from past decades I've coveted, I still feel that same magic when a doll I ogled at stores pops up at the local flea market. I was over the moon when I got Designable Hair, I Can Be...TV Chef Barbie, and my very first Barbie Basics doll. I'll never forget those early days of rediscovering my love for dolls, and the way this generation of Barbie still sparked my imagination and fueled this passion further. I've come to see that dolls are dolls, no matter what time frame they originated from or what brand they are. If I had to survive in a world where only present day Barbies existed, I know I'd still be a happy, fulfilled collector. At the end of the day, it's not really about the dolls themselves, but the memories you make and the attitude you choose to have towards them, and I know my collection would feel a bit lonely without my 2010s friends.
Soviet propaganda poster from the 1980s. The caption at the bottom reads: "Party", referring to the Communist Party of the Soviet Union.
The railway line has to go on a huge detour round the hills in order to stay at the same height, so it took absolutely ages to get too far ahead of us. Here it is, skirting the base of Beinn Dórain.
These look rather insignificant. They are hallucagenic and in this field I saw more than I had seen in over 30 years, there were thousands of them. These specimens are a bit past their best. I left them in situ.. I knew one person who had a really bad trip on these, I spent hours looking after him.
The light was awful as a thick cloud cover happened .
Bishop's Wood North Near Loggerheads Staffordshire UK 9th October 2015
He’s a famous film director , I was just a an insignificant extra , but he saw something in me I , something I’d suppressed , the look of a girl ! Whilst on set he is always so demanding , has an aura about him , he approached me , he asked if I’d , just for one particular scene , dress as a girl , to this day I don’t know why , but I sad “Yes , for you I’d love to “ fatal words you might think , but that was the turning point of my young life , now dominated by him and my need to be his woman , whilst , as he insists , still being me under this sensual , female , facade , happiness can come in the strangest of ways , I’ve just accepted his marriage proposal ! ( one day the full story will be told )
part of a new project ; insignificant.
All photos taken on iPhone 6
Macro x10
© Copyright SASnashall 2015. All Rights Reserved.
Ginkgo biloba (prehistoric tree) 2020 photo - Common Name: Maidenhair tree, Size at 10 years: 60x50ft., Fan shaped leaves, insignificant flower, USDA Hardiness Zone 3, In Garden Bed U3 for 22.8 YEARS (-). Planted in 1997.
Missouri Botanical Garden: Ginkgo biloba is a large, deciduous tree that matures to 100' tall and is considered to be a living fossil. It is the only surviving member of a group of ancient plants believed to have inhabited the earth up to 150 million years ago. It features distinctive two-lobed, somewhat leathery, fan-shaped, rich green leaves with diverging (almost parallel) veins. Leaves turn bright yellow in fall. Ginkgo trees are commonly called maidenhair trees in reference to the resemblance of their fan-shaped leaves to maidenhair fern leaflets (pinnae). Ginkgos are dioecious (separate male and female trees). Nurseries typically sell only male trees (fruitless), because female trees produce seeds encased in fleshy, fruit-like coverings which, at maturity in autumn, are messy and emit a noxious, foul odor upon falling to the ground and splitting open.
Have one on the NE fenceline and another near the birdhouse garden in front. Makes you think. Leaves are used to make “extracts” that are used as medicine. Oldest living tree species. Can live as long as 1,000 years and grow to a height of 120 feet.
pruh-nuhn-see-ey-shuh n: GINK-oh by-LOE-buh
#Ginkgo #Maidenhairtree
Additional photos of this plant:
What happens when a planet falls to earth......?
Not a lot by the looks of it.
Dog toy found on Lossie beach or a small blue green planetoid, Mostly Harmless (cheers Douglas A).
I like the idea of asking for a discount of what is perceived...or at least a new way of looking at what is around us.
"Insignificant events can take on monumental proportions when your head is full of practically nothing."
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Krka National Park
The national park is a vast and primarily unaltered area of exceptional natural value, including one or more preserved or insignificantly altered ecosystems. The purpose of the park is primarily to serve science, culture, education and recreation, while tourism activities have also been introduced for its visitors.
Including the submerged part of the river at the mouth, the Krka River is 72.5 km long, making it the 22nd longest river in Croatia. It springs in the foothills of the Dinara mountain range, 2.5 km northeast of Knin. With its seven waterfalls and a total drop in altitude of 242 m, the Krka is a natural and karst phenomenon. The travertine waterfalls of the Krka River are the fundamental phenomenon of this river.