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This is an acrylic and oil painting on canvas over a panel, 22 x 29 inches. I’ve been looking at this artist’s paintings for some time now, but it took me a long time to find her. I love the casual realism in her artworks. They really speak to me. See more of her wonderful art at: www.gabriellegarland.org.
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Locale: Milwaukee Art Museum - Milwaukee, Wisconsin, USA.
Year: 2017
Illumination Aids: (none)
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Camera: Olympus E-M5 Mark II
Sensor: Micro four-thirds
IBIS: Yes ; OIS: No
Support: Hand-held
Lens: Olympus M.Zuiko Digital 17mm f/1.8
Effective Focal Lg (AOV): 34mm (2 x 17mm)
Effective Aperture (DOF): f/5.6 (2 x f/2.8)
Filters: (none)
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Exposure Program: Aperture priority
Metering Mode: Average
Drive/Focus Mode: Single-shot/Auto focus
Focus Region: Spot
Exposure Quality: Raw (Lightroom DNG)
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Processing: Lightroom 6.10.1 (CR 9.10.1)
Lightroom Presets: (none) ; Processing Plug-Ins: (none)
Original File Aspect & Size: 4:3 ; 15.9MP (4608 x 3456)
Cropped Aspect & **Size: 4:3 ; 9.53MP (3781 x 2521)
**Size is prior to downsizing and JPG conversion using Lightroom.
JPG Size: 2.80MP (2048 x 1365)
File ID: Stroller1 Nom(Clr)V01R00 Milw.Art.Mus.20170420-02-01 80%StdShrp.jpg
Our new release for the February round of the "Syndicate Sunday" event.
Find this at our main store for L$69
Sun. Feb 3rd to Feb 10th (extending till Feb 15th)
On Sale - 13 DAYS!
* This item will be regular price after Feb 15th.
Find vendor booth here near our mainstore TP:
Visit Our Store for Syndicate Sunday Sale!
Event Website: secondlifesyndicate.com/syndicate-sunday/
For more Sci-fi & Fantasy product finds from us:
DESIGN DETAILS
I've always enjoyed the shape of the Moravian star, so I have come out with a mini collection in the vein of a more fantasy / vintage look. For Syndicate Sunday I have 4 colourations of this type of style in ceiling pendant form and each pack comes with 12 lights. Basically you are getting 4 chain lengths in 3 overall light sizes so you can choose based on your ceiling height. The lights have an on/off touch function with subtle glow, full brightness, and ambient environmental lighting included to offer more realism. You can mix and match these as well for colour, size and lengths. These are an unique option if you are wanting a different light style in your space.
A graceful spiral staircase draws the eye downward in this elegant architectural capture, leading visitors toward the entrance of the Timeless Mucha exhibition. The photo, taken from above, cleverly frames the curve of the stairs as they descend in a half-moon arc, their dark carpeted steps contrasting beautifully with the warm wood parquet flooring below. The golden handrail gleams softly under the ambient lighting, adding a luxurious touch to the otherwise minimalist interior.
Along the wall, the stylized text "TIMELESS MUCHA" appears in distinctive Art Nouveau-inspired lettering, honoring the iconic style of Alphonse Mucha himself. Below the title, a directional note guides viewers to the exhibition beginning on the third floor, hinting at the cultural richness that awaits beyond the staircase.
This image doesn’t just document a space—it invites contemplation. The interplay of textures, from the rich wood grain to the soft carpeting and crisp white walls, adds depth and dimension. The clean architectural lines of the building’s interior are softened by the curvature of the stairs, echoing the organic elegance of Mucha’s own work, known for its flowing lines and natural forms.
Exhibitions dedicated to Alphonse Mucha often highlight his influence on turn-of-the-century visual culture—posters, panels, and decorative designs that helped define the Art Nouveau movement. By starting the viewer’s journey with a moment of calm and beauty, this staircase shot pays homage to the thematic harmony and detail found in Mucha’s compositions. The lighting is warm and subtle, lending a museum-like serenity to the image while emphasizing form and function in the architectural design.
Captured in an art museum or gallery setting, this photo functions both as documentary evidence and a standalone artistic piece. It plays with the concepts of perspective and narrative, positioning the viewer as if they are about to descend and explore the world of Mucha firsthand.
For fans of architecture, interior design, or art history, the photo offers more than a visual—it's an invitation to step into the world of one of the great decorative artists of the early 20th century. Whether viewed as part of a personal travelogue or a larger project focused on museum spaces and cultural exhibitions, the image gracefully captures a moment of stillness and anticipation, poised at the threshold of timeless beauty.
I often think that the night is more alive and more richly colored than the day. ~Vincent Van Gogh~
Wow another click,delete,click,delete,,but finally i got a few that did not look like daylight......
30 Day Photography Challenge
seventh challenge night shot
****view on black****
there are more photo on my blog
The Small Wild Goose Pagoda was built in the year 707 A.D during the Tang Dynasty (618-907). This multi-eave brick pagoda is thirteen stories tall, reaching 43.38 meters (142 feet). It is square on plane and rises skyward in an elegant spindle shape. Above the ground floor, the height of each storey diminishes, rendering a graceful curve to the contour. Multi-eaves are made by overlapping bricks which curve inward, a characteristic of the Tang Dynasty construction. The ground floor has arched doors facing north and south; the other floors have arched windows instead. The fine drawings on the doors reflect the artistic style prevailing in the Tang Dynasty. Inside, a narrow wooden stairway winds its way to the top of the pagoda. (Source: www.travelchinaguide.com/attraction/shaanxi/xian/small_go... )
Heather and I climbed to the top, from where I took some photos of the city shrouded in smog. The height of each floor gets smaller and the stairs get narrower and steeper as you ascend. There was wonderful light coming into each level from the north and south facing windows. The top of the pagoda would offer a wonderful view of the city if you could see further than about a hundred meters through the smog!
Afternoon light streams through the clerestory windows of this quintessential Sea Ranch living space, transforming its vaulted wooden beams into lines of rhythm and repose. The interplay of architecture and sunlight—the way shadows taper along the ceiling, the way warmth settles into the grain of the floor—captures the serene balance that defines life on California’s rugged Sonoma coast.
At the heart of the room stands a minimalist fireplace framed in black, grounding the composition with quiet confidence. Above it, a trio of sculpted birds soars mid-flight, their brass tones catching the fading light like a visual echo of the Pacific winds outside. This is not mere decoration but a continuation of the Sea Ranch ethos: a reverence for the natural world and a commitment to design that harmonizes with it.
The exposed beams, so integral to the modern-rustic Sea Ranch aesthetic, lead the eye outward toward walls of glass that dissolve boundaries between interior and exterior. Beyond them, the landscape unfolds—rolling meadows, salt air, and the muted blues of the distant ocean. Inside, wood dominates: honey-toned, tactile, alive. Even the furniture and cabinetry respect this material honesty, blending utility and simplicity in perfect proportion.
Light is the true designer here. As the sun descends, it paints the interior with gradients of amber and rose, transforming what might otherwise feel utilitarian into something lyrical. The geometric precision of the ceiling becomes poetic; the natural imperfections in the woodgrain seem to breathe. There’s no ornamentation for ornament’s sake—just thoughtful restraint and a deep awareness of place.
This space embodies the human scale and quiet luxury envisioned by the original Sea Ranch architects—Charles Moore, Joseph Esherick, William Turnbull, and others—who sought to create buildings that yield to the landscape rather than dominate it. The room’s warmth comes not only from the materials but from its purpose: to provide refuge, perspective, and communion with nature.
As the viewer lingers, it’s easy to imagine the sound of the ocean mingling with the crackle of the fire, the faint call of seabirds overhead, and the peaceful rhythm of the coast. In this Sea Ranch interior, every line, every beam, every ray of light feels intentional—part of a living architecture that still teaches us how to dwell with humility and grace.
In this quietly luminous corner of the Doolan-Larson Building, time feels suspended. The honeyed light filtering through the blinds catches the polished grain of the wood-paneled walls, bathing the room in tones of amber and nostalgia. Once the heart of a historic San Francisco landmark at the intersection of Haight and Ashbury, this space—intimate and steeped in history—embodies the layered soul of the city itself.
Built in 1903, the Doolan-Larson Building has witnessed the full sweep of San Francisco’s transformation—from Edwardian prosperity to the bohemian counterculture that defined the 1960s. Within these interiors, the craftsmanship of another era endures: wainscoting, crown molding, and marbleized plaster walls that glow softly in the afternoon sun. The faint scuffs on the hardwood floor, the uneven warmth of the blinds—all speak to decades of lived experience. It’s not just a room; it’s a document of continuity and care.
The photograph’s architectural composition plays on symmetry and shadow, evoking the quiet introspection of historic interiors. Here, the eye drifts naturally to the small writing table—a gesture of human scale amid the architectural order. The mood suggests solitude and reflection, a private moment within a public story. It captures not only a beautiful room, but also the feeling of stewardship that defines heritage architecture and historic preservation across San Francisco.
Spaces like this invite reverence. The Doolan-Larson’s interiors have been lovingly preserved through the efforts of preservationists and the San Francisco Landmarks Board, maintaining their role as witnesses to both architectural and cultural evolution. In an age of steel and glass, such interiors remind us of the tactile poetry of wood, plaster, and filtered sunlight—the materials that once defined urban sophistication.
To photograph this scene is to honor a lineage of design: architectural detail that values restraint, craft, and proportion. The subdued palette enhances the sense of intimacy, while the geometry of the blinds and wall panels forms a natural rhythm—a symphony in light and line.
This image is both portrait and preservation: a study in how light interacts with memory. It tells a story not just of a building, but of the city that continues to reinvent itself while holding fast to its most beautiful spaces.
Framed by warm wooden trim and a staircase that gently invites upward, this photo captures the approach to the museum bookstore at The Phillips Collection in Washington, D.C. The setting is a harmonious blend of modern lighting, sleek white walls, and colorful artworks that draw the viewer's eye toward the open, welcoming space beyond.
The image highlights one of the most dynamic transitional areas within the museum, where a traditional gallery atmosphere meets a more casual, interactive environment. The space ahead bursts with vibrant hues—bright yellow walls, deep violet tones, and vertical artworks that echo modernist optimism and energy. Visitors are seen browsing the store’s curated selection of books, prints, and objects, adding a human element that contrasts the formality of the staircase in the foreground.
Wooden treads with visible grain give the stairs a grounded, organic feel, complemented by minimal steel railings and clean architectural lines. The symmetry of the composition guides the viewer’s gaze forward, centering the threshold as both a literal and figurative passage between contemplation and conversation.
This bookstore serves as more than just a commercial nook. It’s part of The Phillips Collection’s broader mission to connect people with modern and contemporary art in intimate, meaningful ways. Visitors often linger here, inspired by the art they’ve just encountered or making thoughtful selections to take a piece of the experience home.
The lighting design deserves special mention. Subtle recessed spotlights from above gently illuminate the artwork and merchandise without overpowering the scene. It’s a space designed for browsing and reflection, where art appreciation seamlessly extends into cultural consumption. There’s an inviting rhythm to the scene—light, color, wood, and movement—all orchestrated to make the visitor feel welcomed and engaged.
To the right, a circular abstract work hangs prominently on the white wall, perhaps a nod to the museum’s rich holdings in geometric abstraction and color field painting. The staircase, while architecturally simple, plays a starring role in the composition. It provides not only physical elevation but a narrative one—symbolizing a rise from observation to engagement, from passive viewer to active participant.
The Phillips Collection is known for weaving art into the fabric of everyday life, and this scene exemplifies that ethos. Here, the boundaries between gallery and gathering place dissolve. The image celebrates not just the art itself but the architecture, atmosphere, and social energy that surround it.
For photographers, designers, and museumgoers alike, this space showcases how thoughtful design can enhance the art-viewing experience—creating moments of pause, interaction, and inspiration at every step.
Wearing the ‘Bus and Coach Council’s' anti-de-regulation livery, SYPTE Metrobus 1856 gingerly edges its way passed two sister Metrobuses in Sheffield Bus Station on 5th February 1986. Most of the PTE's had at least one bus painted into the B&CC's 'We'd all miss the bus' livery. Sadly, it did nothing to deter the then Tory government from de-regulating the bus industry in the October of that year.
I recall this being a bitterly cold day and that I was glad to get back into the car. The journey back to the West Midlands was quite treacherous, but scenic at the same time.
Looking up from the center of the Potomac Atrium in the National Museum of the American Indian, visitors are met with a mesmerizing architectural spectacle: a concentric oculus spiraling upward toward the sky. This iconic interior element, located at the heart of the Smithsonian museum in Washington, D.C., echoes Indigenous architectural traditions that center light, circularity, and the natural world.
Designed by Douglas Cardinal (Blackfoot/Algonquin) in partnership with Johnpaul Jones (Cherokee/Choctaw) and the firm Jones & Jones, the building opened in 2004 and stands as a celebration of Native peoples across the Western Hemisphere. The oculus—symbolizing the connection between earth and sky—is central to that vision. As natural light pours in from the skylight above, it moves with the sun, tracing daily and seasonal rhythms deeply rooted in Native cosmologies.
This photograph captures the oculus looking straight up, emphasizing the soft radial flow of the architecture. The gentle curves—free of sharp corners—echo the natural erosion of stone by wind and water. Rings of light fixtures sparkle like stars or ancestral spirits, reinforcing a sense of cosmic unity. From this vantage point, the building becomes almost celestial, a quiet act of reverence and grounding in a city of marble and monuments.
Unlike the rigid symmetry of classical architecture found elsewhere on the National Mall, the Potomac Atrium’s spiraling form draws on organic and Indigenous spatial concepts, honoring communal gathering spaces such as kivas and longhouses. It functions not just as a dramatic architectural moment but as a ceremonial center—where festivals, dances, and public programs come to life.
The oculus is more than a design flourish. It is a spiritual and cultural gesture, framing the sky as a place of story, ceremony, and continuity. It connects the past with the present and future—linking generations of Native peoples to each other and to the land.
Photographing from the center looking up offers viewers a rare perspective on this sacred geometry, revealing layers of meaning that transcend materials and form. In a city dominated by power and politics, the National Museum of the American Indian reminds us of deeper truths—of cycles, light, land, and legacy.
Sunlight slices through the high clerestory windows of this quiet Sea Ranch bedroom, painting geometric patterns across the white walls and unmade bed. The architecture here is quintessentially Sea Ranch—spare yet deeply intentional, where every line and volume responds to the rugged California coast outside. Designed for simplicity and reflection, this interior balances light, texture, and shadow in a way that feels almost meditative.
The tall, asymmetrical window invites the Pacific sky inside, framing a fleeting play of clouds that echo the organic patterns of the bedding below. The smaller operable windows, inset with frosted glass, filter light through a soft diffusion—just enough to preserve privacy while maintaining the rhythm of the façade. Together they form a quiet dialogue between openness and enclosure, a hallmark of Sea Ranch design.
On the bedside table, a modest lamp anchors the scene—its vintage base and pleated shade introducing a touch of human warmth to the otherwise architectural calm. Beside it, a single framed seascape connects interior and exterior worlds, as if to remind the viewer that this home exists within the larger continuum of wind, salt, and sea. The rumpled bedding, left just as the morning light enters, adds a necessary imperfection—a trace of lived-in authenticity that balances the precision of the space.
This moment captures the emotional architecture that defines Sea Ranch: restraint that never feels cold, form that honors function, and beauty that emerges not from excess but from essence. The play of light on surfaces is the real protagonist here, moving like a slow tide across the room. Even the shadows participate in the design, creating depth and dimension that change by the minute.
As a photograph, the composition embraces asymmetry—the dark triangle of shadow at left counterbalances the bright upper window, leading the eye from corner to corner. The use of natural light transforms what might otherwise be an ordinary morning into something timeless and contemplative. It’s a perfect illustration of what architect Charles Moore and the original Sea Ranch designers envisioned: a life lived in tune with nature, where architecture doesn’t dominate the landscape but listens to it.
In this quiet room, the viewer can almost hear the distant ocean and the soft creak of wood expanding in the morning sun. It’s not just a photograph of a room—it’s an invitation to pause, breathe, and appreciate the luxury of simplicity.
Inside Lisbon’s MAAT (Museum of Art, Architecture and Technology), this soaring oval gallery immerses visitors in a contemporary photography exhibit. The curved white walls cradle black-and-white and color works, displayed in glowing frames that draw the eye down the dramatic corridor. The overhead grid of linear lighting and exposed ceiling structure enhances the modern, industrial aesthetic. Subdued and spacious, the room invites quiet contemplation, while visitors casually stroll or pause to admire the details. As one of MAAT’s signature interior spaces, this architectural marvel embodies Lisbon’s vibrant fusion of cultural heritage and cutting-edge design in the Belém riverside district.
Looking skyward inside the Waldorf Astoria Washington D.C. reveals the architectural heart of the former Old Post Office Pavilion: a vast atrium capped by a steel-and-glass skylight. Spanning multiple stories, this breathtaking space blends industrial innovation with Romanesque design elements—characterized by rounded arches, iron ornamentation, and layered stone and plaster detailing.
Originally completed in 1899, the Old Post Office was designed by Supervising Architect Willoughby J. Edbrooke and featured cutting-edge construction for its time, including a steel internal skeleton that allowed for the open vertical space seen here. The atrium once served a practical purpose—allowing natural light into the mail sorting floors—and has since been preserved as a centerpiece of the building’s adaptive reuse as a luxury hotel.
The photo captures the latticework of the skylight, intersected by iron beams and flanked by repeating columned arcades on all sides. Suspended acoustic panels float below the glass ceiling, subtly modern additions to a historic structure. Decorative ironwork and ornamental capitals around the perimeter reflect the building's 19th-century grandeur.
Today, the atrium functions as a public and private gathering space—dramatic yet peaceful, airy yet grounded in stone and steel. This is one of Washington D.C.'s few remaining Romanesque Revival interiors on such a monumental scale.
HABS Architectural Survey Standard:
Documented according to standards of the Historic American Buildings Survey (HABS):
Structure Name: Old Post Office
Location: 1100 Pennsylvania Avenue NW, Washington, D.C.
Style: Richardsonian Romanesque
Date of Construction: 1892–1899
Architect: Willoughby J. Edbrooke
HABS Reference Number: DC-275
Bathed in soft natural light, the kitchen of the historic Doolan-Larson Building in San Francisco radiates warmth, history, and craftsmanship. Every inch of this space celebrates the honest beauty of wood—the golden tones of the cabinetry, the vertical grain of the paneled walls, and the time-worn patina of the countertop. Together, they tell the story of a building that has evolved with the city while preserving its architectural soul.
The Doolan-Larson Building, located at the gateway to the Haight-Ashbury district, is a San Francisco landmark known for its Victorian exterior and richly detailed interior restoration. The kitchen, seen here, feels both utilitarian and intimate—a study in proportion and restraint. Brass hardware glows softly against the warm wood, and the cabinetry’s clean lines nod to early-20th-century design sensibilities. Glass-front cupboards display neatly arranged dishes and glassware, offering a glimpse into the building’s layered domestic past.
The light filtering through the frosted window brings a sense of serenity to the room, casting faint reflections across the wooden surfaces. It’s easy to imagine generations of residents or caretakers pausing here—boiling water for coffee, rinsing fresh produce from a local market, or preparing meals during decades of San Francisco’s cultural evolution. The kitchen embodies both preservation and adaptation: old materials serving new purposes, in keeping with the building’s ongoing story of adaptive reuse and historic preservation.
Architecturally, this kitchen is a masterclass in tactile harmony. The tones of the cabinetry complement the original floors, creating a cohesive warmth that defines the space without ornament. The sturdy craftsmanship speaks to a bygone era when materials were selected for longevity rather than fashion. Yet, despite its vintage construction, the space feels timeless—an organic blend of form and function that remains deeply relevant today.
This photograph captures not just an interior, but an atmosphere—a quiet intersection of memory, design, and place. It’s a reminder that in a city constantly reinventing itself, certain corners still hold onto their original rhythm. The Doolan-Larson kitchen stands as a testament to care, craft, and continuity: the enduring appeal of heritage architecture meeting the quiet poetry of everyday life.