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Railfanning, on February 12th, 2026: (After Work Specials✅🚂️)
At CN Hampton BC, MP109.2 CNR Yale Subdivision.
TRAIN 1: CPKC Train 309-12 West (CPKC Grain, Loads) CP (ES44) 9363, Mid DPU CP (ES44) 8828, & End DPU CP (ES44) 8861. Axle count 618. (Length 8,572ft) (150 cars, G3 loads) (At 2:55PM) (South Track) (Killer K5HLB!!!) (50mph!)
TRAIN 2: CN Train C73151-12 West (CPKC Coal, Loads) CP (ES44) 8916, Mid DPU CP (ES44) 8890, & End DPU CP (ES44) 8837. Axle count 622. (Length 8,281ft) (151 cars, coalers) (At 4:15PM) (South Track) (Noice K5HL!) (50mph!)
TRAIN 3: CN Train M35651-12 East (CN Mixed, Freight) CN (DC) 2331, & Mid DPU CN (SD70) 8864. Axle count 408. (Length 8,528ft) (99 cars, mix bag) (At 4:20PM) (North Track) (Noice K5HL!) (30mph)
Railfanning, on February 13th, 2026: (After Work Specials✅🚂️)
At CN Port Kells BC, MP107.7 CNR Yale Subdivision.
TRAIN 1: CN Train C73051-13 East (CPKC Coal, Empty’s) CP (ES44) 8872, Mid DPU CP (ES44/CL) 8800, & End DPU CP (ES44/STRATHY) 8939. Axle count 626. (Length 8,291ft) (152 cars, coalers) (At 4:25PM) (South Track) (Noice K3LA!) (50mph!)
TRAIN 2: VIA Train P00251-13 East (The Canadian, Passenger) VIA (F40/LTW) 6454, & VIA (F40) 6404. Axle count 56. (Length 1,212ft) (12 coaches) (At 4:45PM) (South Track) (Epic K3 action!) (60mph!)
Railfanning, on February 14th, 2026: (An Outing Trackside✅🚂️)
At CN Hampton BC, MP’s110.35/109.2 CNR Yale Subdivision.
TRAIN 1: CN Train C73151-14 West (CPKC Coal, Loads) CP (ES44) 8707, Mid DPU CP (AC44/) 9737, & End DPU CP (CWM) 8202. Axle count 626. (Length 8,291ft) (152 cars, coalers) (At 3:00PM) (South Track) (Noice K5HL!) (50mph!)
TRAIN 2: CN Train C73051-14 East (CPKC Coal, Empty’s) CP (ES44) 8738, Mid DPU CP (AC44/) 9769, & End DPU CP (ES44) 8720. Axle count 626. (Length 8,291ft) (152 cars, coalers) (At 4:00PM) (North/South Track) (Noice K5HL!) (50mph!)
TRAIN 3: CPKC Train 303-14 West (CPKC Grain, Loads) KCSM (ES44) 4673, & End DPU KCSM (ES44) 4915. Axle count 468. (Length 6,600ft) (114 cars, grainers) (At 4:30PM) (North Track) (Noice K5HL!) (30mph)
Railfanning, on February 15th, 2026: (Adventures On BNSF’s Stevens Pass✅🚂️)
MP1758.0
TRAIN 1: BN STACKER West (BNSF Intermodal’s) BNSF (ES44) 8050, BNSF (Trash9/H2) 5276, BNSF (Trash9/H2) 4628, & End DPU BNSF (ES44) 7972. Axle count 324. (Length 8,060ft) (109 cars, stackers) (At 7:05AM) (Main) (Noice K5HL!) (60mph!)
MP1750.9
TRAIN 2: BN AUTORACK West (BNSF Autorack, Empty’s) BNSF (ES44) 6909, BNSF (ES44) 7725, & BNSF (SD70) 8434. Axle count 326. (Length 8,650ft) (77 cars, rackers) (At 7:50AM) (Main) (Noice K5HL!) (50mph!)
MP1753.2
TRAIN 3: BN STACKER East (BNSF Intermodal’s) BNSF (ES44) 8388, BNSF (T4) 3888, BNSF (ES44) 6979, & End DPU BNSF (ES44) 7606. Axle count 324. (Length 8,060ft) (109 cars, stackers) (At 8:15AM) (Main) (Noice K5HL!) (30mph)
MP1740.0
TRAIN 4: AMTRAK BUILDER West (The Empire Builder, Passenger) WDTX (CHARGER) 343. Axle count 24. (Length 600ft) (5 coaches) (At 9:00AM) (Main) (30mph)
MP1700.0
TRAIN 5: BN OIL East (BNSF Crude Oil, Empty’s) BNSF (T4) 3962, BNSF (SD70) 8419, & End DPU’s BNSF (ES44) 7296, BNSF (ES44) 7116. Axle count 464. (Length 6,340ft) (110 cars, 2 buffers, 108 tankers) (At 11:45AM) (Main) (Noice K5HL!) (15mph)
MP1722.0
TRAIN 6: BN GRAINER East (BNSF Grain, Empty’s) BNSF (Trash9/H2) 4689, BNSF (Trash9/H2) 5414, & End DPU BNSF (ES44) 8357. Axle count 466. (Length 6,570ft) (112 cars, grainers) (At 12:30PM) (Main) (Noice K5HL!) (30mph)
MP1728.0
TRAIN 7: BN COALER East (BNSF Coal, Empty’s) BNSF (ES44) 7080, BNSF (ES44) 7909, BNSF (SD70) 9156, & End DPU BNSF (ES44) 7027. Axle count 584. (Length 7,970ft) (140 cars, coalers) (At 2:35PM) (Main) (30mph)
MP50.0
TRAIN 8: BN LOCAL North (BNSF Local, Mixed) BNSF (GP38/H1) 2293, BNSF (GP38/GREEN) 2806, & BNSF (GP38/H3) 2586. Axle count 192. (Length 2,450ft) (45 cars, Sumas goods) (At 4:00PM) (Main) (65mph!)
Railfanning, on February 16th, 2026: (After Work Specials✅🚂️)
At CPKC Maple Meadows BC, MP106.1 CPKC Cascade Subdivision.
TRAIN 1: CN Train S70051-16 East (CN Sulphur, Empty’s) CN (T4) 3242, & CN (T4) 3071. Axle count 472. (Length 6,765ft) (115 cars, sulphs) (At 1:25PM) (North Track) (50mph!)
TRAIN 2: CPKC Train 301-16 West (CPKC Grain, Loads) CP (T4) 7492, & End DPU KCS (ES44) 4788. Axle count 612. (Length 9,620ft) (150 cars, grainers) (At 1:35PM) (South Track) (30mph)
TRAIN 3: CPKC Train A84-16 East (CPKC Local, Freight) CP (ECO) 5019, & CP (ECO) 5002. Axle count 124. (Length 2,480ft) (28 cars, Sumas goods) (At 2:00PM) (South Track) (Noice K3!) (50mph!)
TRAIN 4: CPKC Train 112-16 East (CPKC Intermodal’s) CP (T4) 7481, CP (T4) 7529, Mid DPU CP (T4) 7451, & End DPU CP (AC44/) 9701. Axle count 468. (Length 10,420ft) (165 cars, stackers) (At 3:55PM) (North Track) (Noice K5HL!) (15mph)
TRAIN 5: CPKC Train 600-16 East (CPKC Potash, Empty’s) CP (ES44) 9358, CP (ES44) 8953, & CP (CWM) 8117. Axle count 698. (Length 7,870ft) (170 cars, pots) (At 4:10PM) (South Track) (50mph!)
At CN Hampton BC, MP109.2 CNR Yale Subdivision.
TRAIN 6: VIA Train P00251-16 East (The Canadian, Passenger) VIA (F40) 6448, VIA (F40) 6415, & VIA (F40) 6459. Axle count 68. (Length 1,700ft) (14 coaches) (At 4:35PM) (North Track) (Noice K3!) (50mph!)
Railfanning, on February 17th, 2026: (After Work Specials✅🚂️)
At CN Hampton BC, MP’s109.2/110.35 CNR Yale Subdivision.
TRAIN 1: CN Train L51051-17 West (CN Local, Freight) CN (GP40) 9666, & CN (GP40) 9540. Axle count 52. (Length 1,300ft) (11 cars, Port Kells goods) (At 3:10PM) (North Track) (Killer K5LLA!) (40mph)
TRAIN 2: CN Train M35651-17 East (CN Mixed, Freight) CN (T4) 3231, & End DPU CN (ES44/CITI) 3937. Axle count 268. (Length 5,410ft) (64 cars, mix bag) (At 3:55PM) (North Track) (Noice K5HL!) (45mph)
TRAIN 3: CN Train C73051-17 East (CPKC Coal, Empty’s) CP (ES44) 9366, Mid DPU CP (ES44) 8748, & End DPU CP (ES44) 8929. Axle count 622. (Length 8,238ft) (151 cars, coalers) (At 5:35PM) (North Track) (Noice K5HL!) (40mph)
TRAIN 4: CN Train C73151-17 West (CPKC Coal, Loads) CP (CWM) 8154, Mid DPU CP (CWM) 8011, & End DPU CP (CWM) 8010. Axle count 622. (Length 8,238ft) (151 cars, coalers) (At 5:45PM) (South Track) (Classical K3L!) (30mph)
TRAIN 5: CN Train M30151-17 West (CN Mixed, Freight) CN (T4) 3241, & Mid DPU CN (ES44) 2850. Axle count 682. (Length 11,710ft) (166 cars, mix bag) (At 6:15PM) (North Track) (Noice K5HL!) (40mph)
Railfanning, on February 18th, 2026: (After Work Specials✅🚂️)
At CN Port Kells BC, MP108.15 CNR Yale Subdivision:
TRAIN 1: CN Train C73151-18 West (CPKC Coal, Loads) CP (ES44) 9354, Mid DPU CP (AC44/) 9740, & End DPU CP (ES44) 8887. Axle count 626. (Length 8,291ft) (152 cars, coalers) (At 1:20PM) (North Track) (Noice K3!) (50mph!)
TRAIN 2: CN Train L51051-18 West (CN Local, Freight) CN (GP40) 9666, & CN (GP40) 9540. Axle count 64. (Length 1,600ft) (14 cars, Port Kells goods) (At 1:50PM) (North Track) (Killer K5LLA!) (15mph)
Nikon D200
Focal Length: 420mm
Optimize Image: Custom
Color Mode: Mode II (Adobe RGB)
Long Exposure NR: Off
High ISO NR: Off
2008/02/21 12:32:23.6
Exposure Mode: Aperture Priority
White Balance: Auto
Tone Comp.: Auto
Compressed RAW (12-bit)
Metering Mode: Multi-Pattern
AF Mode: AF-S
Hue Adjustment: 0°
Image Size: Large (3872 x 2592)
1/640 sec - F/8
Flash Sync Mode: Not Attached
Saturation: Auto
Color
Exposure Comp.: -0.3 EV
Sharpening: Medium high
Lens: 100-300mm F/4D Sigma + TC 1.4
Sensitivity: ISO 100
Image Comment: (c) Gerard Prins All rights reserved
Tel.: (56) 22758 7209
Asset details
Name: TERRA MARIQUE
Flag: United Kingdom
Port of registry: Newport
IMO: 9281384
MMSI: 235039536
Call sign: MPHF6
Asset lifecycle status: In Service
AIS transponder class:Class A
General vessel type: General Cargo Barge, non propelled
Detailed vessel type:Inland, Freightbarge
Classification society:Lloyd's Shipping Register
Gross tonnage: 2786
Builder
Yard number: Y9281384
Keel laying date: 04 Dec 2002
Date of build: 27 Feb 2004
Country of build: Ukraine
Builder: Damen Shipyards Okean OAO
Okean Shipyard (Ukrainian: Завод «Океан»)
Principal dimensions
Length overall: 80 m
Length between perpendiculars: 77.6 m
Breadth moulded: 16.5 m
Breadth extreme: 16.5 m
Draught max: 2.75 m
Depth moulded: 6
Gross tonnage: 2786
Net tonnage: 835
Deadweight: 1425
Hull Material: Steel
Number of Cont. Decks: 1
Propulsion: NON-PROPELLED
Design draft : 1.6m to 4.8m dependant on cargo
Hold Dimensions
Length : 67m
Width : 9m
Roadway clear width : 8.4m
Cargo deadweight : 1350Te
Elevating roadway : 3 sections,
SWL 600Te each
Auxiliary equipment
Harbour set : 1 x Caterpillar 3304 NA Output : 1 x 50 ekW @ 1500 rpm
Ballast pumps : 4 x 680 m3/hr
Deck lay-out
Deck cranes : 2 x Knuckle boom type
Capacity : 10Te @ 14m
Spud poles : 2 x 7.5m
Cargo winches : 2 x 15 Te, electro-hydraulic driven
Mooring system : 4-point type
Extra ramps : 9 x 1m x 16.8m : 5 x 1m x 14m
Accommodation
1 x Air conditioned accommodation container
for 3 crew members with toilet and galley
facilities.
Ownership and management details
Registered owner: Robert Wynn and Sons Ltd.
Registered Address: Shaftesbury House High Street,Eccleshall Stafford ST21 6BZ United Kingdom
Tel: +44 (0) 1785 850334
Email: enquiries@robertwynnandsons.co.uk
1950s full-length bridal portrait with a printed-in-background by Strands Studio of Rugby, North Dakota
The Strand Studio negative collection 1948-1988 is housed at the NDSU Archives at North Dakota State University NDSU Libraries in Fargo,ND.
From our recent vacation to Costa Rica and Panama
Camera - Panasonic DMC-GH2
Exposure - 0.002 sec (1/640)
Aperture - f/9.0
Focal Length - 14 mm
ISO Speed - 160
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Brisbanes Story Bridge length is 777m (includes road approaches at both ends) and is the main city bridge on the edge of the city centre.
At the far side at water level are some heritage listed Howard Smith Wharves.
Brisbane City Council had initially proposed an extensive commercial development of the site that includes hotel, sport and entertainment facilities in new or refurbished old buildings.
This plan was rejected by the local community which resulted in a revised plan incorporating greater public space and less commercial development. The revised plan was then rejected by the state government over concerns with flooding.
During 1941 and 1942, five air-raid shelters were constructed below the cliff face, and still remain there.
Below is a shot of the walkway along the bridge.
Full length of handsome trendy man outdoor in city setting, male model wearing black jacket scarf and checked shirt against colorful graffiti wall
Japan Expo 2019 - ICWA - Day 4 - MBM & Ultima Sombra Vs Churaumi Saver & Gurukun Mask
MBM & Ultima Sombra def. (Pin) Churaumi Saver & Gurukun Mask
( Venez celebrer le 20e anniversaire de Japan Expo ! Ne en 2000, le festival poursuit depuis sa premiere edition l'ambition de reunir les amoureux du Japon, les fans de pop culture et les curieux en tout genre, pour leur permettre de profiter de leur passion et leur faire decouvrir le pays du soleil levant, sa culture et ses talents.
Japan Expo met sur le devant de la scene la culture japonaise la plus traditionnelle comme la plus moderne en invitant le public a rencontrer des invites de nombreux domaines, assistez a des spectacles en tout genre et participer a toutes sortes d'animations, de jeux ou d'ateliers. Rejoignez cette grande fete du 4 au 7 juillet 2019 au Parc des Expositions de Paris-Nord Villepinte ! )
The Cadillac V-16 (sometimes known as the Cadillac Sixteen) was Cadillac's top-of-the-line car from its January 1930 launch until production ceased in 1940 as the war in Europe killed sales. All were finished to custom order, and the car was built in very small numbers; only 4076 cars were constructed in the eleven years the model was offered. The majority of these were built in the single year of 1930, before the Great Depression really took hold. This was the first V16 powered car to reach production status in the United States.
Genesis:
In 1926, Cadillac began the development of a new, "multi-cylinder" car. A customer requirement was seen for a car powered by an engine simultaneously more powerful and smoother than any hitherto available. Development proceeded in great secrecy over the next few years; a number of prototype cars were built and tested as the new engine was developed, while at the same time Cadillac chief Larry Fisher and GM's stylist Harley Earl toured Europe in search of inspiration from Europe's finest coachbuilders. Unlike many builders of luxury cars, who sold bare chassis to be clothed by outside coachbuilding firms, General Motors had purchased the coachbuilders Fleetwood Metal Body and Fisher Body to keep all the business in-house. Bare Cadillac chassis could be purchased if a buyer insisted, but the intention was that few would need to do so. One Cadillac dealer in England, namely Lendrum & Hartman, ordered at least two such chassis in even rarer right hand drive (RHD) configuration and had Van den Plas (Belgium) build first an elegant limousine-landaulet (engine #702297), then a sports sedan with unusual cycle fenders and retractable step plates in lieu of running boards (engine #702298, which was successfully shown in various Concours d'Elegance events in Europe before being bought by the young Nawab of Bahawalpur); both these cars have survived. A third RHD chassis was ordered by the Indian Maharaja of Orccha (Bhopal) and sent to Farina in Italy, in July 1931, for a boat tail body (engine between #703136 and #703152).
It was not until after the stock market crash of 1929 that Cadillac announced to the world the availability of the costliest Cadillac yet, the new V-16. The new vehicle was first displayed at New York's automobile show on January 4, 1930.
Statistics:
1930–1937:
Generation 1 (Series 452 and 90)
Overview:
Model years1930–1937
Body and chassis
PlatformSeries 90: D-body
RelatedCadillac Series 370/85
Cadillac Series 355
Cadillac Series 75
Powertrain
Engine452 cu in (7.4 L) Cadillac V16
Dimensions
Wheelbase1930–31: 148.0 in (3,759 mm)
1932–33: 143.0 in (3,632 mm) and 149.0 in (3,785 mm)
1934–37: 154.0 in (3,912 mm)
Length1930–31: 222.5 in (5,652 mm)
1932–33: 216.0 in (5,486 mm) and 222.0 in (5,639 mm)
1934–35: 240.0 in (6,096 mm)
1936–37: 238.0 in (6,045 mm)
Width1931: 73.6 in (1,869 mm)
1932–35: 77.0 in (1,956 mm)
1936–37: 74.4 in (1,890 mm)
Height1931: 72.5 in (1,842 mm)
1932–33: 71.5 in (1,816 mm)
1934–37: 69.5 in (1,765 mm)
Curb weight5,300–6,600 lb (2,400–3,000 kg)
The new car attracted rave reviews from the press and huge public attention. Cadillac started production of the new car immediately. January production averaged a couple of cars per day, but was then ramped up to twenty-two cars per day. By April, 1,000 units had been built, and by June, 2,000 cars. These could be ordered with a wide variety of bodywork. The Fleetwood catalog for the 1930 V-16 included 10 basic body styles; there was also an envelope containing some 30 additional designer's drawings. Research by the Cadillac-La Salle Club, Inc. puts at 70 the number of different job/style numbers built by Fisher and Fleetwood on the sixteen chassis.
Beginning in June 1930, five new V-16s participated in a promotional tour of major European cities including Paris, Antwerp, Brussels, Amsterdam, Utrecht, Copenhagen, Stockholm, Berlin, Cologne, Dresden, Frankfurt, Hamburg, Munich, Nuremberg, Vienna (where they won prizes), Berne, Geneva, Lausanne, Zürich, Madrid, San Sebastian, La Baule and Angers. On the return journey from Spain, the V16 caravan stopped also in the town of Cadillac, in south-western France, although that city bears no relationship to the marque, other than its name.
After the peak in V-16 orders in mid-1930, production fell precipitously. During October 1930, only 54 cars were built. The lowest figures for the 452/452A cars of 1930–31 were August 1931 (seven units) and November 1931 (six units). Minimum production continued throughout the rest of the decade with a mere 50 units being built both in 1935 and in 1937. 1940 was only marginally better with a total of 51 units. Not surprisingly, Cadillac later estimated that they lost money on every single V-16 they sold.
Production of the original V-16 continued under various model names through 1937. The body was redesigned in 1933 as the model 452C. Innovations included Fisher no draft individually controlled ventilation (I.C.V. or vent windows).
For 1934, the body was redesigned again and denoted as 452D, and as 452E in 1935. The V-16 now featured the Fisher Turret Top all-steel roof, though the cars were still built by Fleetwood. This same basic design would remain virtually unchanged through 1937. With a wheelbase of 154.0 inches (3,912 mm) and a curb weight of up to 6,600 pounds (3,000 kg) these are perhaps the largest standard production cars ever produced in the United States. Combined production for the 1934 and 1935 model years was 150. It was redesignated the Series 90 in 1936 as Cadillac reorganized their model names. Fifty-two units were sold that year, with nearly half ordered as limousines. Hydraulic brakes were added for 1937, the last year of production. Fifty vehicles were produced.
[Text taken from Wikipedia]
1934 452D V16 Convertible-Sedan
The Cadillac 452D was designed by the legendary Harley Earl and was first debuted at the 1933 Chicago World Fair. It was powered by a V-16 engine placed in the front and powering the rear wheels. Large 15 inch mechanical drum brakes were placed on all four corners and the transmission was selective synchromesh transmission with three gears.
The V-16 Cadillac was the company's top-of-the-line car until production ceased in 1940. In total, there were just 4,076 examples built during the eleven years the model was offered. Most of the Sixteen's were built in the single year of 1930 before the Great Depression really took hold. For 1933, the boxy looks of the Twenties were giving way to the streamlined look of the Thirties featuring flowing, fully skirted fenders and graceful vee'd grilles with painted shells blending into the bodywork. The V16s featured a longer 149-inch wheelbase, unique grille, a larger 'Goddess' hood ornament and massive 'four-bar' bumpers. These cars were serially numbered with the owner's name displayed on a plate inside the car.
Twenty examples of this Convertible Sedan body style were produced from 1934 to 1937. The twin bi-plane style bumpers were only offered in 1934. This car rides on a 154-inche wheelbase, is 240-inches long (the longest of any American car) and weighed 6,800 pounds. Power is from the 452 cubic-inch engine produced 165 horsepower. Base price for this car in 1934 was $8,150.
This particular car was built for DuPont heiress, Edith duPont-Reigel, when she was just 21 years old. Her inheritance had placed her on Forbes list of the 400 richest Americans. The current owner acquired the car in 2007 from a family who owned it for 44 years. A restoration to its original color was completed in 2008.
[Text taken from 'Conceptcarz.com']
www.conceptcarz.com/view/photo/414550,10282,0,0/photo.aspx
This Lego miniland-scale 1934 Cadillac 452D V16 Custom Roadster has been created for Flickr LUGNuts' 88th Build Challenge, - "Let's go Break Some records", - for vehicles that set the bar (high or low) for any number of vehicles statistics or records.
The 1933-37 Cadillac V16 (model codes 452D and 452E) set the record for the 'longest overall length' series production convertible (and coupe): 6,096mm (240 in) and 'longest wheelbase' series production convertible (and coupe): 3,912mm (154in). Also 'heaviest curb weight' series production convertible (and coupe): 2,721.5–2,857.5 kg (6,000–6,300 lb).
Just noting my current length. It is nearly what I would consider waist length. I don't often see my hair from the back, so it's interesting to see that the hemline is a little lopsided looking after a year of no trims. It is usually put up though, so I am not going to bother with it now. Right is completely untouched after a wash, I let it air dry as usual, no finger combing or anything. Left is with a bit of combing while the hair is drying. I have noticed that it tends to make the hair dry a little smoother.
People have told me that my hair is an inspiration to them to grow theirs.
If my hair is to be an inspiration, then let it be an inspiration not because I was born with perfect, nylon-strength hair that grows in a perfect growth pattern - but because I was not.
As you can see, my hair started growing from very, ahem, humble beginnings.
My hair is not very strong, even now that it is Silver. I have to care for it and, as my Friend and Teacher Susan Lancto (Lady Grace) always says: Treat it like spun glass.
I had to trim a lot of the damaged hair off (about half the original length) in order to get it to be healthy enough not to die on the vine.
My hair grows in a strange pattern. The front grows faster than the back. So, I can't have one of those fairy princess type Vs. I have to keep it straight across and the hair that I can keep is my *shortest*, not longest hairs, as in the case with those whose hair grows in a normal growth patter.
With all those disadvantages, this is the result of 8 years of Patience, cultivation and TLC. If I can have hair this long, others, who think they can't as I once did, can too.
Another jumper found at work, one of the larger ones I've seen lately (~9-10mm body length). Found along with many smaller, younger P. audax on a rosebush; it was a popular spot. Already has the metallic chelicerae and strong abdomen spots (orange), but the background color is brown. I originally thought it was P. audax, but now that I've examined it more closely I'm fairly certain it's P. clarus; I've never found a female or immature of the species, but the white band around the abdomen, and the brown markings are strange for an audax. the abdomen is also strangely colored for that species, but I'm going to hang onto it until maturity and see what it turns out to be.
The background here was a bunch of crape-myrtle blossoms. It proved pretty hard to photograph without blowing out, while still getting a good, clear and strong reflection on the eyes. So while editing these images I decreased the saturation of the background - I didn't want to distract from the spider too much. If it still is shocking to your eyes let me know, and I'll re-edit and replace the images. It's always hard to tell what a photo will look like on another monitor.
He didn't like the blossoms much and kept making for the edge of the table I use to photograph many of my jumpers, so I usually only got a couple shots of him at a time. I shot this and the P. undatus male closeup at the same time, and the pair took me about two hours or so because they weren't very cooperative!
Nikkor 18-55 reversed (at ~30mm), Nikkor SB-400, homemade flash bracket and diffuser.
Glenn and Mary Beaulieu opened The Main Pub Tavern in 1980, originally 14’ wide and 50’ in length and serving only beer as allowed with a Tavern license. Within a year, a liquor license was acquired, the building was purchased and we became The Main Pub Restaurant, expanding into the vacuum cleaner sales store and the carpet store on either side that became our lounge and dinning areas. In 1985 we purchased and tore down the lime-green Pine Hurst Grocery Store to add parking spaces, and in the 90s we added the atrium to our dinning space. Now in our 40th year of business, The Main Pub is still thriving as the longest running family owned restaurant in Manchester.
Keith Beaulieu purchased the restaurant from his proud parents in 2008 and with a passion for good food, craft beers and live music, has put fourth a fresh energy towards revitalizing The Main Pub Restaurant. In 2012 we renovated and expanded our kitchen facilities, allowing us to improve the quality of the food served and shorten the duration between ordering and reaching your table. There are many wonderful and delicious menu choices that will serve a wide range of tastes. We’re proud to offer a unique catering menu for parties of any size, and our dinning area, lounge and the atrium are available to accommodate parties of up to 75 guests.
The Main Pub is proud to offer one of the largest beer selections in the area, with 23 draught lines, 18 that are constantly rotating in and out, offering some of the finest craft and microbrews for you to discover and enjoy, as well as more than 30 different bottled beers on hand. Whether you’re thirsty for a familiar domestic beer, a locally brewed beverage or an atypical craft brew that you won’t find anywhere else – The Main Pub has your suds. We also have a huge selection of fine wines and premium liquors including bourbons, whiskeys, vodkas and tequilas.
Keith set out to bring a wider variety of artists and bands in as entertainment, constructed a hand built stage, installed a concert PA system as well as the lovely red stage curtains that now adorn the front windows and hide the candescent evening street light. Some of the finest local (Kung Fu, Bronze Radio Return) and nationally (Tim Reynolds, Karl Denison) touring bands have since graced the stage at The Main Pub and the room has developed a solid reputation as a regular tour stop between Boston and New York for many groups and artists.
If you’re a sports fan, you’ll find your game on one of our 9 large screen TVs in our lounge or bar. Join us on Sunday’s throughout football season and of course we’ll be showing UCONN football and men’s and women’s hoops games. And whether you’re a Red Sox fan or a Yankee fan, we’ll certainly have the game on the tube for you. If you’re a golf fan or a NHL fan, we’ll certainly be showing the major televised tournaments and hockey games.
There’s something cooking or happening every night of the week at The Main Pub. If you’re in the mood for excellent comfort food cooked just right or an exquisite evening out with someone special, our staff will proudly serve you with the same excellent service as we have for 40 years. Then, when your belly has been satisfied, there is always some entertainment happening to stick around for. On Sunday evenings, it’s local bluegrass and karaoke; Thursday’s it’s trivia; and on Friday and Saturday’s it’s live music.
Whether you’re a new customer visiting us for the first time or an old friend who has been with us for the journey, the Beaulieu family and The Main Pub staff thank you for your patronage. We’re pleased to have been a staple in the Manchester community for as long as we have and we look forward to being here for many years to come.
Wave Lengths is an audiovisual ode to swimming. In a pool, as in life, we are alone together. Yet there is something about the immersive nature of swimming that further separates an individual from their peers. In the water time slows and speeds up. Thoughts roam and regulate. We move in new ways. Wave Lengths will explore the lived experiences of swimmers. What they think in the water, what that space feels like and its significance in their lives. Centennial pool members will be invited to explore their understanding of swimming in conversation with artists Veronica Simmonds and Katie McKay. These interviews will be audio recorded as well as photographed. Veronica Simmonds will edit each audio interview into a 4 minute piece which will be accompanied by Katie McKay’s images of the interviewee and the pool space. There will be four interviews in total making a 14 minute audio slideshow, looped and projected onto the side wall of Centennial Pool at 1970 Gottingen Street.
JXM_1793
Severance Inspired - Full Length: Outfit inspired by Helly R, shot with blue gel on Godox AD200 against white backdrop. Godox V1 left and right.
This is my true story. Mr. X (Me) and Miss Y (my wife) fell in love when they were in college. She was beautiful, very fair, thin but with curvy body. Her hair were of shoulder length and she had beautiful black eyes. They used to talk on phone for hours and hours, making plans for their future life. He wanted the time to fly quickly so that he can make love to her. It was very difficult to wait, specially when he thought of how beautiful she was. At last, day of their marriage came and she arrived at his home. After some time, she was taken to their wedding room, which was beautifully decorated. Room was full of flowers and bed was full of rose petals. Very soon, everyone left, and they were alone in the room. She was sitting on the bed, wearing her bridal dress, looking down and felling very shy as she could hear him locking the door and then sitting on the bed next to her. He sat on the bed, she was looking down. He gently removed her dupata, which was covering her head, and held her face in his hand. “You are very beautiful”, he said. He kissed her on her forehead, then cheeks and then on her lips. Her lips parted under his pressure. His tongue entered her mouth for the first time, and he just could not believe how sweet it was. He searched for her tongue and sucked at it. Her smell made him crazy. They kept kissing until they were out of breath. He was in no hurry and wanted to enjoy every moment of the night. She was in her room, and her whole body was waiting for him to touch and explore her pleasures. He helped her in removing her jewellary and then she went to the washroom as she wanted to remove her makeup and wear something easy. He also quickly took shower in the other washroom and wore a t shirt with shorts. She was still in the washroom when he returned. He put a Kenny G’s disk in the player to make the environment more romantic. His cock stiffened by just thinking about the coming moments. He turned towards the door when she appeared from the washroom. Wow, he was stunned, standing there, just staring at her. She was looking very sexy in her sleeveless, skin colour, silk nighty. She had just taken shower, as her body was still wet and drops of water were shining on her body. He could see her black bra underneath the thin cloth of her nighty. She got nervous by his gaze, and asked,” What happened? Do I look all right?” he smilled and said,” Oh my God, I cant believe my eyes, you are looking so sexy. I am so lucky to have you”. He hugged her and started kissing again, this time more intensely. He could feel her wet body which drove him crazy. His cock jumped up with excitement. She felt it pinching her belly as if trying to find its way towards her pussy. It felt so big and hard, she got worried how will it go inside her. He brought her towards the bed and made her lie down. He quickly removed his shirt and lied next to her. Room was lit with just a dim bulb, making it look very erotic with music playing in the background. He, felt the warmth of her body against him and kissed her again. His lips moved towards her neck with hands also exploring her breast. He lightly touched her right breast, feeling it with his hand then pressed it. It felt very soft like jelly. “Ahh”, she whispered. He licked her neck from her ear lob to the neck line. She felt an unknown enjoyment emanating from deep inside her body, which felt wonderful. He could not wait to see her beautiful round breast and nipples. He pulled her nighty up and removed it, leaving her lying on the bed in her black bra and panty. He took her in his arms, and she felt his rough chest rubbing against her soft breast. He had a very smart and muscular chest with hair on it. She touched his back and then moved her hands on his hairy chest which felt solid. He was getting mad by her beautiful body. Black bra was looking awesome on her glowing white skin. He tried to remove her bra by using his hand on her back, but failed. “You need some experience to do it with one hand”, she laughed and unhooked it for him. He could not wait any more, and removed her bra. “Wow, look at you. What a pair.”, He said, still looking down at her boobs, which were so beautiful. They were round, not very big but firm. She had light brown nipples which looked like small sunflowers. He first kissed her right nipple and then hesitantly sucked at it. “hmmmmm, stop”, she said. He knew, she was enjoying it but just trying to resist him, because of her shyness. He eyes were closed and pleasure was evident from her face. He didn’t stop and kept working hard on both the breasts, one by one. He kissed, licked and sucked both her cock with out stopping for a long time. It was beyond his control to stop it. He, moved his left hand, down toward her panty. He moved it inside. He was taken by surprised as it was all wet down their. It was his first experience of touching a women's cunt. She had shaved it and it seemed like a pool of jelly which was very slippery and sticky. He found her opening and inserted a finger in there. “AAhhhhhhhhh”, she cried with pleasure. He pulled her panty down and kept rubbing her pussy with his hand paying special attention to her cunt and at the same time kept sucking her nipples. She was trembling with excitement as she could feel a wave building inside her. She could not understand what was happening but could feel something building inside her. “Ohhh, ahhhh, hmmmmm”, She cried with pleasure as she exploded. He body bent upwards as she came. He could feel her body tremble when she had her orgasm. He waited till her breathing slowed down, and then kissed her. Now it was his turn to enjoy the bliss of her body. He removed his shorts also. His cock was hard like a rod, and some pre cum was oozing out of it. He opened her legs and lied on top of her. “honey, just relax but hold me tightly. I will stop if it pains alot”, he told her. He felt her pussy with his hand, and placed head of his cock on her entrance. She was drenching with her fluids. He just rubbed his cock on it, so that it becomes moist. He pushed it forward, and after some efforts, hit the right spot. He felt her pussy opened on her cock as it forced entry. He felt her body tightened as she cried with some pain. He felt her stiffen a bit beneath him as he pressed slightly forward. In a few seconds, the whole head popped inside. She moaned beneath him. She had her hands on his hips, ready to push back if she felt too much pain, but she only felt incredible fullness at this point.
He pushed forward a bit more and forced the walls of her cunt to stretch and accept another bit of the intruder. He stopped and allowed her seconds to adjust to the new feeling and pressure. She was tight. Her pussy squeezed his cock, almost to the point of pain. After giving her a few moments, he pushed forward again. This time he didn't go far before reaching her barrier. She groaned loudly beneath him when his cock stretched her hymen. He stopped and looked at her for guidance. Her eyes were closed but opened after several seconds. She had a strained look that worried him. "Take me, my love," she said to him.
He pulled back until just the head remained inside and then shoved forward. His cock rammed forward, hit her barrier, paused momentarily, before tearing ahead. She arched her back and cried an agonizing groan. He stopped moving, even breathing, to make sure She was okay. She settled back down to the bed and looked at him. The pain in her face was obvious. She nodded okay to him and he pushed forward a bit more. The last of her hymen gave way and She cried out one more time. He waited again but soon she urged him on.
He pushed slowly forward into her completely uncharted waters. Her pussy still resisted, fighting every inch with its tightness. The intruder was too powerful and slowly her cunt stretched to accept its monstrous visitor. It took several more seconds for him to work his whole cock in. She bucked again as he first hit her cervix, and then moved deeper. She whimpered her pain and she pulled back a little. He waited there to allow her time to adjust to the fullness and pain.
She was amazed. She still had pain from her torn hymen but the incredible fullness shocked her. It felt like an alien monster had invaded her body through her pussy. He threatened to push her insides out of the way as he sought to go deeper. She wasn't sure she'd ever feel comfortable, and probably never pleasure, with his's huge phallus inside her. He, patiently waited above her, watching her face with keen interest. 'God, she is tight,' he thought. 'I hope I'm not hurting her to much.'
"Hey, you okay?" he asked.
"Yes, my darling, keep doing it" she said. He could feel her body sweating which felt very sexy against his skin and he enjoyed her moist body. He started making slow, long thrusts and Her cries changed into soft moans indicating her pleasure. Her pussy was very tight around his cock and its sensation took him to some other world. His movements changed into fast strokes, as he also came closer to his own orgasm. He licked her neck and her nipples as his cock plundered her pussy. He rammed into her with little regard for the fact she was a virgin minutes earlier. His cock was in control now; his mind was a frenzy of sexual bliss. He'd cum soon and there was no way he wanted to stop it.
Fortunately he did not need to worry if she would make it because she was already there. For a while now, she had been meeting his thrusts and pushed up into them. Her brain had never known this kind of pleasure. The exquisite feels radiating from her cunt had reached her brain and pushed it to overload. She bucked up against him one last time and froze stiff. Rockets burst in her head as her orgasm rocked her like an atomic bomb.
He continued to pump into her even as she clenched her pussy muscles tightly. The feelings were beyond anything she had ever felt before. Time seemed to stand still as her climax bore through her. She barely came down when his consistent thrusts drove her right over the edge again as she felt his seed explode into her cock. “Ohhhhhhhhhhhhh, Ahhhhhhh, I love youuuuuuu”, he cried as he exploded inside her.It seemed to scald the walls of her pussy and burn right through to her brain.
She clung onto his hips with a white knuckled death grip, wanting him to never stop pumping her or her orgasm to end. But somehow, after the last of his cum flooded her cunt and he slowed down, she started to come back to reality. It took a bit for them both to recover and breathe more normally. She felt his pull back and his long penis slide from her pussy. It was immediately followed by a flood of fluid that ran down the crack of her ass onto the bed. He slid over next to her on the bed and looked at her. She turned her head to look at him. His hand came up to caress her left breast and nipple.
“Are you alright?” he asked as he saw her cleaning herself. She had some blood on her pussy. “yea, I m ok”, she replied as she went to washroom to take shower again. They had a wonderful wedding night as they made love three times that night, making it a memorable experience.
Wow, what an awesome little Macro lens. Nikon's new 40mm f/2.8 Macro lens is a STELLAR piece of glass. It's 35mm equivalent focal length is 60mm on DX(which is a really useful focal length). This lens is capable of 1:1 magnification @ a close focus distance of about 6 inches. Nikon has a long history of making very SHARP Macro lenses and this little beast is no departure. I compared it to the venerable AF-S Micro-Nikkor 105mm f/2.8G VR lens and at 1:1, i couldn't tell the difference. Sharpness when stopped down is criminal and contrast is amazing. Just have a look at the sample images!
Please feel free to view these images at full-resolution. This lens can't be fully appreciated unless you view at 100%.
Sticking to tradition, we were one of the first people to get a copy of the new Nikon AF-S Micro-Nikkor 40mm f/2.8G Macro lens. The same thing happened with the Nikon AF-S Nikkor 50mm f/1.8G Prime a few months back. We were very lucky to be able to be one of the first to get copies of these new lenses.
Exif:
Nikon D7000
AF-S Micro-Nikkor 40mm f/2.8G Macro lens
ISO-2000
f/16
1/60th sec
hand-held
Strobist:
Nikon SB-900 Speedlight (Off-camera), triggered by D7000 in Wireless Commander Mode
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Full length VIDEO on YouTube:
Auld Lang Syne by Lea Michele (New Year's Eve -Motion Picture)
www.youtube.com/watch?v=1yrEKGCHsqA
A special THANK YOU to flickr members who shared their photo.
Photographer’s Name ~ Flickr Name ~ Photo Caption
(in order of appearance in video)
Maiken Vestergard – MaikenVL – 82/366 - Music night
www.flickr.com/photos/maikenvl/8028018022/
Kenneth Barker – kenny barker – Almost There
www.flickr.com/photos/kenny_barker/10994105496/
Margot Komine – Margot - Dark Days...are not over yet
www.flickr.com/photos/maruchan313/5574363744/
Ron Doke – Rdoke – 56 Years
www.flickr.com/photos/cobalt220/6159710662/
Yulia Trunina – yuliatrunina - Christmas New Year decor
www.flickr.com/photos/108041380@N03/11611530075/
Website: Food Photo by Yulia Trunina
Juline – JulineB - Auld Lang Syne
www.flickr.com/photos/julineb/2821118570/
Carmen Ortiz – Baking is my Zen – One Silent Night by Jaci Velasquez
www.flickr.com/photos/bakingismyzen/6517936025/
Yoann JEZEQUEL - Zeeyolq Photography – happy new year 2014
www.flickr.com/photos/zeeyolqpictures/11560068776/
Carmen Ortiz – Baking is my Zen – Me and my guitar
www.flickr.com/photos/bakingismyzen/4347161209/
Josine and Harry Frankhuisen – Frankhuisen Photography – The Piano Player
www.flickr.com/photos/frajh/8395642432/
Gina Blank - gina.blank - We'll Take a Cup of Kindness Yet...
www.flickr.com/photos/gina_blank/11594728615/
Bernarda/Gloria Gospic/Simunic - zakonslike - have a cup of kindness
www.flickr.com/photos/zakonslike/4224589656/
Jeff Johnston – Non Paratus - Arcadian Slope
www.flickr.com/photos/73417912@N00/9559173858/
Christopher Porter – Canadian Veggie - Winter Walk in the Park
www.flickr.com/photos/canadianveggie/11630177683/
Ginny Griffin - Auld Lang Syne
www.flickr.com/photos/ggriffin1288/4227290464/
Anthony Beyga - Anthony Beyga - Happy New Year Everyone :) (Explore)
www.flickr.com/photos/anthonybeyga/8331078942/
Carmen Ortiz – Baking is my Zen – New Year's Eve (Auld Lang Syne)
www.flickr.com/photos/bakingismyzen/11665382916/
Andy Pitt – Super70 Photography – auld lang syne
www.flickr.com/photos/23434444@N08/5312625865/
Anne Adema – ademaann1 - violinist
www.flickr.com/photos/99144369@N03/11069591303/
l4ts - Violinist
www.flickr.com/photos/35884794@N04/8407165906/
Carmen Ortiz – Baking is my Zen – Summertime
www.flickr.com/photos/bakingismyzen/5927395680/
Ron Doke – Rdoke - Morning Sun
www.flickr.com/photos/cobalt220/4607781590/
Melfoody - Starry Starry Night
www.flickr.com/photos/melfoody/9326170868/
Kaye E - batang_igat - Auld Lang Syne
www.flickr.com/photos/batang_igat/6606315827/
Aaron_ - Riz_Aaroni - New Years Hat
www.flickr.com/photos/rizaaroni/2307601437/
Anthony Quintano - New Waterford Crystal Installed On The New Year's Eve Ball
www.flickr.com/photos/quintanomedia/11590441285/
Flickr Set –Anthony Quintano - New Waterford Crystal Installation On The New Year's Eve Ball
www.flickr.com/photos/quintanomedia/sets/72157639090930144/
Website: Anthony Quintano
Blog: Anthony Quintano
anthonyquintano.com/2013/12/27/times-square-new-years-eve...
Christi - ChristiNYCa - Times Square: Confetti Wishing Wall 2013
www.flickr.com/photos/christinyca/8306372530/
Christi - ChristiNYCa - Times Square: Confetti Wishing Wall 2013 (closeup)
www.flickr.com/photos/christinyca/8306374794/
S R – R I V A – (Sandro Riva) happy new year 2014
www.flickr.com/photos/sandroriva/2485427817/
Aina - **Aina** - HAPPY NEW YEAR
www.flickr.com/photos/23179744@N03/4229298056/
Len Janes - Len Janes Photography - Bird of Peace "Happy New Year" 2014
www.flickr.com/photos/amazing-capture/5311610017/
Carmen Ortiz – Baking is my Zen – Bubbly…
Boa Vista - Cap-Vert - January 2020 - Cartes postales de Boa Vista
Boa Vista ne manque pas de beaux paysages et cette excursion exclusive en 4x4 le long du littoral nord de l'ile ne manquera pas de vous faire decouvrir ses cotes pittoresques. Vous traverserez des paysages a la beaute intacte pour rejoindre l'epave de Cabo Santa Maria, Fundo das Figueiras, la chapelle de Fatima et une ferme typique pour rencontrer les habitants. Il s'agit de l'une de nos excursions TUI Collection, qui vous donnera un apercu des saveurs locales de cette destination tout en presentant ses valeurs uniques, authentiques et responsables.
Votre aventure a Boa Vista debutera par une balade en 4x4 pour rejoindre la chapelle isolee de Fatima. L'excursion se poursuivra ensuite a l'epave de Cabo Santa Maria, ou un cargo espagnol s'est echoue, et nous continuerons ensuite vers le village colore de Bofareira.
A Fundo das Figueiras, nous nous arreterons pour une pause et pour prendre un repas de midi typique dans un restaurant local pittoresque. Apres quoi vous pourrez vous promener a votre gre le long des rues fleuries bordees de maisons aux couleurs pastelles. Pour completer cette belle journee, vous visiterez le musee des tortues pour en apprendre plus sur ces creatures fascinantes.
( Holiday Boa Vista - Cap-Vert
Pourquoi Boa Vista?
x Une mer cristalline et des plages d'un blanc eclatant dignes des Caraibes
x L'ile des dunes mobiles, un superbe spectacle, surtout au Deserto de Viana
x Sal Rei, une localite paisible a l'atmosphere calme et exotique
x Une destination ensoleillee et un mode de vie africain tranquille
L'exotisme a quelques heures de vol a peine. Le Cap-Vert, c'est la destination coup de coeur des fanas de la plage. Car tout y invite a de longues heures de farniente absolu. En approchant le Riu Touareg, vous aurez l'impression de voir un 'fata morgana' dans un paysage inaltere. )
we decided to substitute the silver umbrellas with white convertible shoot-through umbrellas
www.photoflexlightingschool.com/Equipment_Lessons/Lessons...
View length of village from Springwood Street. I.O.O.F. site.
To compliment and complete my pictures of the small settlement established years ago homes for elderly members of this Friendly Society been here before the Central Coast north of Sydney became so popular.
Showing the electric wires removed and the newer smaller in-fill houses.
File name: 12_02_000017
Call number: PN2067.L49 1900zx
Title: A woman standing in a pink floor-length dress in three quarters profile.
Creator/Contributor: Codognato, Plinio (artist)
Created/Published: [Italy]
Date created: 1900 - 1999 (questionable)
Physical description: 1 drawing mounted on board : watercolor ; 33 x 15 cm.
Genre: Costume design drawings
Subjects: Operas & operettas; Costumes
Notes: Title supplied by cataloger.; Colored original costume designs by Plinio Codognato for the characters in ""Lezione d'amore"".
Collection: Brown Collection
Location: Boston Public Library, Music Department
Rights: No known restrictions.
Wien - Graben
The Graben is one of the most famous squares in Vienna's first district, the city center. It begins at Stock-im-Eisen-Platz next to the Palais Equitable, and ends at the junction of Kohlmarkt and Tuchlauben. Another street in the first district is called Tiefer Graben (deep ditch). It is crossed by Wipplinger Straße by means of the Hohe Brücke, a bridge about 10 meters (33 ft) above street level.
History
Origins
The Graben traces its origin back to the old Roman encampment of Vindobona. The south-western wall of the settlement extended along the length of the present-day Graben and Naglergasse; before the wall lay a trench (Graben). This trench still stood in front of the medieval city walls. At the end of the 12th century, the city was enlarged by the Babenberg Dukes, who also filled in and leveled the trench. This was funded by the ransom money collected from Richard the Lionheart. The Graben thereby became one of the first residential streets in the new section of the city. In this area of the city, large unbuilt areas were still available, which probably contributed to the maintenance of the name "Graben" up until the present day.
Middle Ages
The planned character of the city extension is still visible in the differing characters of the building patterns to the north and to the south of the Graben. The building pattern on the north side (that of the old city) has remained irregular to this day, and only one, narrow side-street opens off the Graben to the north: the Jungferngässchen, which gives access to the Peterskirche. On the other hand, five regular side-streets were constructed to the south of the Graben in the 13th century: the Obere Bräunerstraße (today known as Habsburgergasse), the Untere Bräunerstraße (Bräunerstraße), the Färberstraße (Dorotheergasse), the Laderstraße (Spiegelgasse), and the Reifstraße (Seilergasse). Although at first these side-streets remained relatively underbuilt, the situation rapidly changed.
According to the historian Karl Oettinger, the Graben replaced the Hoher Markt and Wipplingerstraße as Vienna's main arterial road. The new route supposedly led from Am Hof over Bognergasse and the Graben to Stock-im-Eisen-Platz, at that point turning in the direction of St. Stephen's Cathedral, then passing over Rotenturmstraße to reach the Wollzeile. Traffic would therefore no longer have needed to pass through the main market at Hoher Markt. However, as there was little reason at the time to travel in the direction of the Schottentor, this theory has been disputed.
At that time the Graben was lined primarily with wooden houses, which led to a catastrophe on March 23, 1327. A fire broke out in the Wallnerstraße house of a priest of St. Stephen's, Heinrich von Luzern, and quickly spread over Kohlmarkt to the Graben, destroying the area completely. King Frederick the Handsome participated in the rescue effort. At that time the Graben had not yet become a preferred residence for the nobility; its seems that its residents were primarily Swabians, who had come to Vienna in the time of Rudolph I. The only building known from this time is the Freisingerhof.
At the turn of the 14th century, houses were built at both ends of the Graben. This activity led to the construction of the Paternostergässchen, an extension of the Naglergasse, at the northwestern end, and at the southwestern end of the Grabengasse and the infamously narrow Schlossergässchen, where the metal-workers (Schlosser) built their workshops. Other craftsmen, including blacksmiths, were found at this spot. The narrowness of the Schlossergässchen was a source of constant criticism as an obstruction to the flow of traffic. On account of these new constructions, the Graben came to be seen more as a piazza than as a street. It was however not yet an exclusive address, particularly as the so-called Mörung originated there. This was a stream used for sewage disposal, and gave rise to a corresponding stench. Over time, however, various local dignitaries took up residence on the Graben, at first primarily the wealthy bourgeoisie.
Baroque Era
Although the form of the Graben remained more or less the same, its character began to change. It was marked above all by the construction of the Arkadenhof, a striking Renaissance building, which in 1873 was replaced by the present-day Grabenhof. The Graben became the site of various festivities, including public displays of homage to the ruling house. This prompted the residents to rebuild their houses and to deck out their facades. In 1701 the old Peterskirche was torn down, and the new structure was completed in 1708.
In the course of the 18th century the use of the Graben as a market was suppressed. In 1753 the produce-sellers were removed, and in 1772 the Christmas market was relocated. The Graben became the most fashionable promenade, the chief arena for the self-display of the urban elite. This was not limited to the nobility, but included the entrepreneurial class as well, who were most visibly represented by the construction of the Trattnerhof by the printer Thomas von Trattner. Prostitutes were also in evidence — the famous Grabennymphen.
Regularization
The ascendancy of the Graben resumed at the start of the 19th century. It became the site of ever more luxury shops, marked by artistically significant signs. On account of this growth in business, and the corresponding increase in traffic, the housing blocks on either side of the Graben were increasingly seen as obstructions. In 1835 the Erste österreichische Spar-Casse had the corner houses on Tuchlauben torn down and erected its headquarters, which stand to this day, in their stead. In 1840 the buildings on the northwestern end of the Graben followed in their wake. Between 1860 and 1866 the houses between Grabengasse and Schlossergassl were removed, with the result that the Graben led directly to Stock-im-Eisen-Platz, and became once more a proper street. In fact, nearly all the houses on the Graben disappeared, with the exception of the Palais Bartolotti-Partenfeld. The Jungferngässchen was widened, and an open passage to the Peterskirche was created. Even the Trattnerhof was replaced by two new buildings in 1911, between which a second passage to the old city was opened.
20th century
With the increase in car traffic, the Graben also became a heavily traveled street. However, traffic was limited, as previously, to the southern half of the street. On December 4, 1950, the first neon lights in Vienna were installed here.
Numerous plans for the development of the Graben were proposed, including two for its surveillance. On November 22, 1974, the Graben became, on a provisional basis, Vienna's first pedestrian zone. In the course of the construction of the U-Bahn, the Graben was rebuilt in successive phases, and the pedestrian zone was gradually expanded. In this connection, development proposals from five architects and architectural firms were commissioned. The proposal of Gruppe M for the roofing of the Graben was hotly debated.
Today the Graben is again one of the most important promenades and shopping streets in Vienna.
Graben as a marketplace
The Graben has served as a marketplace from the very beginning. Already in 1295, shortly after the Graben was first named in documents, a fruit dealer was mentioned. The selling of cabbage began around 1320, and other vegetables were introduced around a hundred years later. These products lent the Graben the additional names of Grüner Markt and Kräutermarkt. Beginning in the 14th century, flour and bread sellers are also mentioned. In 1442 the bakers were granted permission to sell their own wares. The so-called Brotbänke, which the bakers were required to rent, originated on the Graben. The Paternostergässchen was occupied by the Paternosterer, makers of rosaries. Beginning in 1424, butchers are also mentioned in treasury documents, which strictly regulate their opening hours. According to a decree issued in 1564 by Ferdinand I, the butchers were to be moved on account of their offensive smell, but the law did not meet with full compliance. In the 18th century the commercial activity was pushed increasingly into the outlying buildings, and in 1753 the last-remaining market (the vegetable market) was shut down.
Graben as a festival site
On account of its location and size the Graben was particularly suitable for festival processions. Fronleichnamsprozessionen (processions on the occasion of the Feast of Corpus Christi) are first mentioned in 1438, but probably took place even earlier. With the arrival of Protestantism, these processions played a particularly important role in the demonstration of Catholic faith. During the era of Emperor Charles VI, daily masses were held at the Pestsäule. In the 18th century processions took place nearly every week, but this was curtailed by Empress Maria Theresa. Finally, Emperor Joseph II forbade all processions save the Corpus Christi.
The Graben also served as a site for triumphal processions, in particular for the arrival of Archdukes and Emperors. It is known to have also been the site of the public displays of homage, at which the notables demonstrated their reverence for the rulers. Such displays are first mentioned in 1620, in the era of Emperor Ferdinand II.
Traffic
It is unclear to what degree the Graben served as an arterial road in the Middle Ages (see above), as the construction of buildings at either end eventually rendered it unsuitable for such a function. However, after its regularization in the 19th century, it became one of the most heavily traveled streets in Vienna even before the arrival of cars. Traffic was always permitted only on the southwestern end. Already, in the 19th century, numerous coaches-for-hire were found on the Graben.
Beginning on March 1, 1912, the first bus-line in the city ran from Stephansplatz via the Graben to the Volksoper. Later, numerous bus-lines would travel the Graben. In connection with the construction of the U-Bahn, the Graben became a pedestrian zone. A test-run of the pedestrian zone was inaugurated at the Christmas parade on November 27, 1971. The final project for the establishment of the pedestrian zone was the work of Hermann Stiegholzer, and was inaugurated in 1978. The project was completed in 1988 with the incorporation of the stretch between Peterskirche and the Kohlmarkt.
The U-Bahn Line U3 has run under the portion between Stock-im-Eisen-Platz and Jungferngasse since 1991. Stephansplatz Station had already been built as a shell during the original construction of the U-1, rendering its extension under the Graben necessary. An exit from this station leads up to the Graben. This is unroofed, in an attempt to render it as unobtrusive as possible, as incorporation of the exit into the neighboring buildings was not possible on account of the high compensatory payments that would have been necessary.
(Wikipedia)
Der Graben ist einer der bekanntesten Plätze im Zentrum der Wiener Innenstadt, des 1. Bezirks. Er zieht sich vom Stock-im-Eisen-Platz / Stephansplatz (mit dem Stephansdom) beim Beginn der Kärntner Straße aus und führt Richtung Nordwesten zur Querachse Kohlmarkt–Tuchlauben. Vom Graben, der als Fußgängerbereich gestaltet wurde, zweigen schmale historische Gassen ab. Er fungiert als luxuriöse Einkaufs- und Flaniermeile und bildet mit der Kärntner Straße und dem Kohlmarkt das „Goldene U“ des Wiener Handels.
Straßengeschichte
Die Entstehung des Grabens
Der Graben geht schon auf das alte Römerlager Vindobona zurück, wo eine Mauer entlang des heutigen Straßenzugs und der heutigen Naglergasse die südwestliche Umwallung des Kastells bildete, wobei sich davor ein Graben befand. Auch vor der mittelalterlichen, zwei bis drei Meter dicken und sechs Meter hohen Burgmauer war dieser Graben noch immer vorhanden. Am Ende des 12. Jahrhunderts kam es zur babenbergischen Stadterweiterung, die durch das Lösegeld für Richard Löwenherz finanziert wurde. Dabei wurde der Graben – wahrscheinlich mit den Resten der Mauer – zugeschüttet und planiert. Der Graben wurde somit zu einem der ersten Straßenzüge in der Stadterweiterungszone. In diesem Bereich der Stadt waren noch größere unbebaute Gebiete vorhanden, was wohl dazu beigetragen hat, dass der Name Graben bis heute überlebt hat.
Der Graben im Mittelalter
Die planmäßige Anlage der Stadterweiterung ist auch an den unterschiedlichen Bebauungen nördlich und südlich des Grabens zu erkennen. Die Bebauung an der Nordseite ist bis heute unregelmäßig und es gab nur einen einzigen schmalen Durchgang zur Peterskirche, das so genannte Jungferngässchen. Ein noch heute existierendes Wäschegeschäft Zur schwäbischen Jungfrau, dessen Namen auch auf die dort angesiedelten Schwaben hinweist, wurde bereits 1720 gegründet. Dagegen wurden im 13. Jahrhundert an der Südseite fünf Gassen regelmäßig angelegt, und zwar die Obere Bräunerstraße (heutige Habsburgergasse), die Untere Bräunerstraße (Bräunerstraße), die Färberstraße (Dorotheergasse), die Laderstraße (Spiegelgasse) und die Reifstraße (Seilergasse). Zwar war hier noch recht viel unverbaut, doch änderte sich das rasch.
Laut dem Historiker Karl Oettinger löste die Anlage des Grabens den Straßenzug Hoher Markt–Wipplingerstraße als Hauptverkehrsader ab. Die neue Verbindung führte angeblich von Am Hof über die Bognergasse und den Graben zum Stock-im-Eisen-Platz und bog dort in Richtung Stephansdom ein, um über die Rotenturmstraße die Wollzeile zu erreichen. Der Verkehr musste daher nicht mehr über den Hauptmarkt am Hohen Markt verlaufen. Da aber praktisch alle Wege in der Stadt ihr Ende fanden und es damals kaum einen Grund gab, in Richtung Schottentor zu fahren, ist diese Theorie umstritten.
Am Graben befanden sich damals hauptsächlich Holzhäuser, was am 23. März 1327 zu einer Katastrophe führte. Im Haus des Pfarrers von St. Stephan, Heinrich von Luzern in der Wallnerstraße brach ein Feuer aus, das in kurzer Zeit über den Kohlmarkt den ganzen Graben erfasste und das ganze Gebiet vernichtete. Bei den Rettungsarbeiten war auch König Friedrich der Schöne anwesend. Zwar zählte der Graben damals noch nicht zu einer bevorzugten Lage des Adels, doch wohnten dort offenbar schwäbische Geschlechter, die mit Rudolf I. nach Wien gekommen waren.
Das einzige Gebäude, das aus dieser Zeit bekannt ist, ist der Freisingerhof.
Um die Wende vom 13. ins 14. Jahrhundert wurde der Graben an beiden Enden mit Häusergruppen verbaut. Dadurch entstand am Nordwestende das Paternostergässchen, eine Verlängerung der Naglergasse und am Südostende die Grabengasse und das berüchtigte schmale Schlossergässchen, wo die Schlosser ihre Werkstätten einrichteten. Auch verwandte Handwerker, wie Schmiede, befanden sich dort. Die Enge des Schlossergässchen gab immer wieder Anlass zu Kritik als Verkehrshindernis. Der Graben wurde durch diese Anlage mehr als Platzanlage denn als Straße gesehen. Zu dieser Zeit galt er aber noch nicht als exklusive Adresse, insbesondere, weil in seinem Bereich die so genannte Mörung entsprang, ein offener Bach, der zur Abwasserentsorgung genutzt wurde und einen dementsprechenden Gestank verursachte. Mit der Zeit nahm die Ansiedlung verschiedener Honoratioren jedoch zu, anfänglich vor allem begüterte Bürger der Stadt.
Der Graben zur Barockzeit
Obwohl die Struktur des Grabens mehr oder weniger gleich blieb, begann sich der Charakter zu wandeln. Geprägt wurde er vor allem durch den Arkadenhof, ein markantes Renaissancegebäude, das erst 1873 dem heutigen Grabenhof weichen musste. Der Graben wurde zum Schauplatz verschiedenster Festivitäten, darunter auch Erbhuldigungsfeiern. Dies veranlasste die ansässigen Hausbesitzer, ihre Gebäude umzubauen und die Fassaden mit reichem Dekor auszustatten. 1701 wurde die alte Peterskirche abgerissen und bis 1708 neu errichtet.
Im Verlauf des 18. Jahrhunderts wurde die Marktnutzung zurückgedrängt, 1753 wurden die Grünwarenhändler entfernt und 1772 musste auch der Christkindlmarkt weichen. Der Graben wurde zum Hauptschauplatz des städtischen Lebens und zum bevorzugten Promenadeplatz. Dies beschränkte sich nicht nur auf den Adel, auch der Aufstieg der Unternehmer war zu erkennen, wobei das deutlichste Kennzeichen die Errichtung des Trattnerhofes durch den Buchdrucker Thomas Edler von Trattnern war. Allerdings tauchten auch Prostituierte, die berühmten Graben-Fräule bzw. Graben-Nymphen auf.
Die Regulierung des Grabens
Der Aufschwung des Grabens setzte sich zu Beginn des 19. Jahrhunderts fort. Es siedelten sich immer mehr Luxusgeschäfte an, wobei die Läden mit künstlerisch wertvollen Schildern versehen waren. Durch diese Ansiedlungen und den zunehmenden Verkehr wurden die beiden Häuserblöcke an den Enden des Grabens immer mehr zu Hindernissen. Die Erste österreichische Spar-Casse ließ 1835 die Eckhäuser zu den Tuchlauben abreißen und bis 1838 ihr heute noch bestehendes Hauptgebäude errichten. 1840 wurden die Gebäude am Nordwestende des Grabens entfernt. Nach Felix Czeike wurde 1866 begonnen, die Häuser am östlichen Ende zwischen Grabengasse und Schlossergasse (beide aufgelassen) zu entfernen, wodurch der Graben nun direkt in den Stock-im-Eisen-Platz überging und über diesen der freie Blick auf den Stephansplatz möglich wurde. Im 19. Jahrhundert wurden fast alle alten Häuser am Graben, ausgenommen das Palais Bartolotti-Partenfeld, durch Neubauten ersetzt. Die Jungferngasse wurde verbreitert und damit ein offener Zugang zur Peterskirche geschaffen. Der Trattnerhof wurde 1911 durch einen zweiteiligen Neubau ersetzt, der mittig einen (nach dem Hof benannten) Durchgang zur Goldschmiedgasse erhielt.
Der Graben im 20. und 21. Jahrhundert
Der Graben war nun nicht nur ein Ort zum Luxuseinkaufsbummel und für Kaffeepausen, sondern auch stark befahrene Verkehrsfläche. Die Anfang des 20. Jahrhunderts noch eingesetzten Pferdeomnibusse wurden durch Linienautobusse ersetzt, für die der angrenzende Stephansplatz einen Verkehrsknotenpunkt bildete. Pferdefuhrwerke und Fiaker wurden in den 1910er und 1920er Jahren von Autos verdrängt, für die sukzessive immer mehr Platz benötigt wurde. Der Verkehr auf dem Stock-im-Eisen-Platz, Verbindung vom Graben zum Stephansplatz, wurde zuletzt von oben geregelt; die Kabine des Verkehrspolizisten befand sich auf einem hohen Ständer über dem Gewühl. Am 4. Dezember 1950 wurde hier die erste Neonbeleuchtung Wiens in Betrieb genommen.
Nach dem Zweiten Weltkrieg wurden diverse Vorschläge zur Ausgestaltung diskutiert, darunter zwei zur Überdachung des Grabens. Im Mai 1973 begannen, großteils in offener Bauweise, die Arbeiten an der U-Bahn-Station Stephansplatz, wodurch der Graben als Durchfahrt zu anderen Teilen der Altstadt ausfiel. Am 22. November 1971 wurde hier daher, vorerst versuchsweise, die erste Fußgängerzone Wiens eingerichtet. Im Zuge des U-Bahn-Baus wurde der Graben in mehreren Phasen umgebaut und die Fußgängerzone etappenweise erweitert. In diesem Zusammenhang wurden fünf Architekten beziehungsweise Architektenteams mit Vorschlägen zur Ausgestaltung beauftragt. Bei der Gestaltung der Fußgängerzone wurde der Niveauunterschied zwischen früheren Gehsteigen und Fahrbahnen größtenteils beseitigt.
Heute ist der Graben wieder eine der wichtigsten Promenade- und Geschäftsstraßen Wiens. Er wird von Touristen stark frequentiert und in der Sommersaison von Gastronomiebetrieben mit zahlreichen Schanigärten belegt. Gemeinsam mit Kohlmarkt und Kärntner Straße bildet der 200 Meter lange Graben das sogenannte „Goldene U“ an traditionsreichen Altstadt-Einkaufsstraßen, die über gehobenes Angebot verfügen und als Fußgängerzonen gestaltet sind.
Der Graben als Marktplatz
Der Graben diente schon in frühester Zeit als Marktplatz. Schon 1295, also kurz nachdem der Graben selbst erstmals in Urkunden genannt wurde, wurde der Obsthandel erwähnt. Um 1320 begann der Handel mit Kraut, circa hundert Jahre später auch mit anderem Gemüse. Diese Produkte brachten dem Graben auch die Namen Grüner Markt und Kräutermarkt ein. Ab dem 14. Jahrhundert sind auch Mehl- und Brothändler überliefert. Die Bäcker selbst erhielten erst 1442 wieder die Erlaubnis, große Brote selbst zu backen. Am Graben entstanden so genannte Brotbänke, die die Bäcker mieten mussten. Im Paternostergässchen siedelten sich Paternosterer, also Erzeuger von Rosenkränzen an. ab 1424 sind in den Kammeramtsrechnungen auch Fleischbänke am Graben erwähnt, wobei es strenge Vorschriften über deren Öffnungszeiten gab. Wegen der Geruchsbelästigung sollten nach einem Erlass von Ferdinand I. 1564 die Fleischbänke verlegt werden, doch geschah das nicht vollständig. Im 18. Jahrhundert verlagerte sich die Geschäftstätigkeit immer mehr in die angrenzenden Häuser und 1753 wurde als letzter Markt der Gemüsemarkt aufgelöst.
Der Graben als Festplatz
Wegen seiner Lage und seiner Größe eignete sich der Graben besonders für Festumzüge. Seit 1438 sind Fronleichnamsprozessionen bekannt, gegeben dürfte es sie aber schon früher haben. Mit Aufkommen des Protestantismus spielten sie eine ganz besonders wichtige Rolle zur Demonstration des katholischen Glaubens. Zur Zeit von Kaiser Karl VI. fand täglich eine Messe bei der Pestsäule statt. Im 18. Jahrhundert fand fast wöchentlich eine Prozession statt, doch wurde dies von Maria Theresia eingeschränkt, und Joseph II. ließ überhaupt nur mehr die Fronleichnamsprozession übrig.
Der Graben diente aber auch als Platz für Triumphzüge, insbesondere beim Einzug der Erzherzöge und Kaiser. Nachweislich ab 1620 war er immer wieder Schauplatz der Erbhuldigungsfeiern, bei denen die Stände dem Landesherren die Reverenz erwiesen, das erste bekannte Mal bei Ferdinand II.
Verkehr
Inwiefern der Graben im Mittelalter ein Hauptverkehrsweg war, ist unklar (siehe oben). Durch die Verbauung an beiden Enden war er aber dazu ungeeignet. Ab dem 19. Jahrhundert gehörte er allerdings schon vor der Motorisierung zu den meistbefahrenen Straßen in Wien, wobei meist die südwestliche Seite genutzt wurde. Im 19. Jahrhundert befanden sich zahlreiche Plätze für Fiaker und Stellwagen am Graben.
Die erste mit Akkumulatoren betriebene Buslinie der städtischen Stellwagenunternehmung verkehrte ab 1. März 1912 vom Stephansplatz über den Graben zur Volksoper. In der Folge verkehrten zahlreiche Buslinien über den Graben. Im Zusammenhang mit dem auf dem Stephansplatz 1973 begonnenen U-Bahn-Bau wurde der Graben ab 1974 zu einer Fußgängerzone umgestaltet. Als Testlauf war zuvor im Zusammenhang mit dem Weihnachtskorso am 27. November 1971 hier die erste Fußgängerzone Wiens eingerichtet worden, die nur von Fiakern befahren werden durfte (siehe Abbildung von 1973). Das endgültige Projekt zur Ausgestaltung stammt von Wilhelm Holzbauer und Team und konnte 1978 realisiert werden. 1988 wurde auch das letzte Stück zwischen Jungferngasse und Kohlmarkt einbezogen, die Querung von der Habsburgergasse zur Jungferngasse wird aber von kleinen Citybussen befahren.
Unter dem Graben verläuft seit 1991 die U-Bahn-Linie U3. Die U3-Trasse in der 1978 eröffneten Station Stephansplatz wurde im Rohbau schon beim Bau der U1 errichtet, so dass der weitere Verlauf unter dem Graben ein Zwangspunkt war. Ein Aufgang aus dieser Station führt auf den Graben. Der Aufgang ist nicht überdacht, da man das Stadtbild möglichst schonen wollte; sein Einbau in eines der angrenzenden Häuser war wegen viel zu hoher Ablöseforderungen nicht möglich.
(Wikipedia)
Appliques and Ruching Decorate Bodice Sweetheart Neckline Mini-length 2013 Prom Dress
Item ID #:DR1HNPT018
modernbridalshop.stores.yahoo.net/21monchmomod19.html
Dress shown in Sapphire/Teal.
Two-piece soft tulle over taffeta dress set, softly curved strapless A-line dress, directionally pleated bodice features hand-crafted flower accent at ruched Empire waistband, gathered tulle overlay skirt, matching bolero jacket with unique hand-crafted detail and three-quarter length sleeves. Matching shawl and removable straps included.
From the information provided by the V&A Museum accompanying the object. Copyright the V&A Muesum
'Head of Narcissus' - 1975
Physical description: A larger than life-size male figure of Narcissus made up of 8 hand-blown and mirrored body parts.
Place of Origin: Frauenau, Germany (made)
Date: 1975 (made)
Artist/maker: Erwin Eisch, born 1927 (maker)
Materials and Techniques: Glass, hand-blown
Descriptive line: Glass Sculpture, Head of 'Narcissus', Erwin Eisch, Frauenau, Germany, 1975.
Bibliographic References (Citation, Note/Abstract, NAL no)
New Glass Review Corning Museum of Glass, 2015, p.111.
Erwin Eisch was one of the first artists in Europe to use glass as a material purely for artistic expression. From 1971 he made three installations themed around Narcissus, a mythological figure who drowned in a pond after falling in love with his own reflection. This third version was made for the opening of the new glass museum in Frauenau, in 1975, where it was shown in a mirrored glass box, representing the pond.
Germany (Frauenau)
Mould-blown, silvered and glued
Gift of the artist
Museum no. C.223-2014
[1/5/2015]
Materials: Glass
Techniques: Hand-blown
Pride and Prejudice: on Raphael Perez's Artwork
Raphael Perez, born in 1965, studied art at the College of Visual Arts in Beer Sheva, and from 1995 has been living and working in his studio in Tel Aviv. Today Perez plays an important role in actively promoting the LGBT (lesbian, gay, bisexual and transsexual) art and culture in Tel Aviv, and the internet portal he set up helps artists from the community reach large audiences in Israel and abroad. Hundreds of his artworks are part of private collections in Israel and abroad, and his artworks were shown in several group exhibitions: in Tel Aviv Museum of Art, "Zman Le'Omanut" art gallery, Camera Obscura, The Open House in Jerusalem, Ophir Gallery, The Haifa Forum and other private businesses and galleries.
In 2003-4 his paintings and studio appeared in a full-length movie, three student films and two graduation films.
Raphael Perez is the first Israeli artist to express his lifestyle as a Gay. His life and the life of the LGBT community are connected and unfold over hundreds of artwork pieces. His art creation is rare and extraordinary by every Israeli and international artistic standard. His sources of inspiration are first and foremost life events intertwined in Jewish and Israeli locality as well as influences and quotes from art history (David Hockney, Matisse). This uniqueness has crossed international borders and has succeeded in moving the LGBT and art communities around the world.
This is the first time we meet an Israeli artist who expresses all of his emotions in a previously unknown strength. The subjects of the paintings are the everyday life of couples in everyday places and situations, along with the aspiration to a homosexual relationship and family, equality and public recognition. Perez's works bring forward to the cultural space and to the public discourse the truth about living as LGBT and about relationships, with all of their aspects – casual relationships and sex, the yearning for love, the everyday life and the mundane activities that exist in every romantic relationship – whether by describing two men in an intimate scene in the bathroom, the bedroom or the toilet, a male couple raising a baby or the homosexual version of the Garden of Eden, family dinners, relationship ups and downs, the complexity in sharing a life as well as mundane, everyday life competing with the aspiration to self realization – through Perez's life.
Perez's first artworks are personal diaries, which he creates at 14 years of age. He makes sure to hide these diaries, as in them he keeps a personal journal describing his life events in the most genuine way. In these journals he draws thousands of drawings and sketches, next to which he alternately writes and erases his so-called "problematic texts", texts describing his struggle with his sexual orientation. His diaries are filled with obsessive cataloging of details, daily actions, friends and work, as well as repeating themes, such as thoughts, exhibits he has seen, movies, television, books and review of his work.
When he is done writing, Perez draws on his diaries. Each layer is done from beginning to end all along the journal. In fact, the work on the diaries never ends.
This struggle never ends, and when the emotion is passed on to paper, and it ends its role and becomes meaningless in a way, the visual-graphic side becomes dominant, due to the need to hide the written text, according to Perez. In books and diaries this stands out even more – when he chooses to draw in a style influenced by children's drawings, the characters are cheerful, happy, naïve and do not portray any sexuality, and when he tries drawing as an adult the sketches became more depressed and somber. During these years Perez works with preschool children, teaching them drawing and movement games. Perez says that during this period he completely abandoned the search for a relationship, either with a woman or a man, and working with children has given him existential meaning. This creation continues over 10 years, and Perez creates about 60 books-personal journals in various sizes (notepads, old notebooks, atlases and even old art books).
In his early paintings (1998-1999) the transition from relationships with women to relationships with men can be seen, from restraint to emotional outburst in color, lines and composition. Some characters display strong emotional expression. The women are usually drawn in restraint and passiveness, while a happy and loving emotional outburst is expressed in the colors and style of the male paintings.
"I fantasized that in a relationship with a woman I could fly in the sky, love, fly. However, I felt I was hiding something; I was choked up, hidden behind a mask, as if there was an internal scream wanting to come out. I was frustrated, I felt threatened…"
His first romance with a man in 1999 has drawn out a series of naïve paintings dealing with love and the excitement of performing everyday actions together in the intimate domestic environment.
"The excitement from each everyday experience of doing things together and the togetherness was great, so I painted every possible thing I liked doing with him."
From the moment the self-oppression and repression stopped, Perez started the process of healing, which was expressed in a burst of artworks, enormous in their size, amount, content and vivid colors – red, pink and white.
In 2000 Perez starts painting the huge artworks describing the hangouts of the LGBT community (The Lake, The Pool) and the Tel Avivian balcony paintings describing the masculine world, which, according to him, becomes existent thanks to the painting. Perez has dedicated this year to many series of drawings and paintings of the experience of love, in which he describes his first love for his new partner, and during these months he paints from morning to night. These paintings are the fruit of a long dialogue with David Hockney, and the similarity can be seen both in subjects and in different gestures.
In 2001 Perez creates a series of artworks, "Portraits from The Community". Perez describes in large, photorealistic paintings over 20 portraits of active and well-known members of the LGBT community. The emphasis is on the achievements that reflect the community's strong standing in Tel Aviv.
As a Tel-Avivian painter, in the past two years Perez has been painting urban landscapes of central locations in his city. Perez wanders around the city and chooses familiar architectural and geographical landmarks, commerce and recreation, and historical sites, and paints them from a homosexual point of view, decorated with the rainbow flag, which provide a sense of belonging to the place. His artworks are characterized by a cheerful joie de vivre and colors, and they also describe encounters and meetings. The touristic nature of his paintings makes them a declaration of Tel Aviv's image as a place where cultural freedom prevails.
Perez's Tel Aviv is a city where young families and couples live and fill the streets, the parks, the beach, the houses and the balconies – all the city's spaces. The characters in his paintings are similar, which helps reinforcing the belonging to the LGBT community in Tel Aviv. The collective theme in Perez's artwork interacts with the work of the Israeli artist Yohanan Simon, who dealt with the social aspects of the Kibbutz. Simon, who lived and worked in a Kibbutz, expressed the human model of the Kibbutznik (member of a Kibbutz) and the uniqueness of the Kibbutz members as part of a group where all are equal. Simon's works, and now Perez's, have contributed to the Israeli society what is has been looking for endlessly, which is a sense of identity and belonging.
Perez maps his territory and marks his boundaries, and does not forget the historical sites. Unlike other Tel Avivian artists, Perez wishes to present the lives of the residents of the city and the great love in their hearts. By choosing the historical sites in Tel Aviv, he also pays tribute to the artist Nachum Gutman, who loved the city and lived in it his whole life. In his childhood Gutman experienced historical moments (lighting the first oil lamp, first concert, first pavement), and as an adult he recreated the uniqueness of those events while keeping the city's magic.
Like Gutman, Perez has also turned the city into an object of love, and it has started adorning itself in rich colors and supplying the energy of a city that wishes to be "the city that never sleeps", combining old and new. Perez meticulously describes the uniqueness and style of the Bauhaus houses and balconies along the modern glass and steel buildings, all from unusual angles in a rectangular format that wishes to imitate the panorama of a diverse city in its centennial celebrations.
Daniel Cahana-Levensohn, curator.
Interview with the painter Raphael Perez about his family artist book
An interview with the painter Raphael Perez about an artist's book he created about his family, the Peretz family from 6 Nissan St. Kiryat Yuval Jerusalem
Question: Raphael Perez, tell me about the family artist book you created
Answer: I created close to 40 artist books, notebooks, diaries, sketch books and huge books. I dedicated one of the books to my dear family, a book in which I took a childhood photograph of my family, my parents and brothers and sisters.. I pasted the photographs inside a book (the photograph is 10 percent of the total painting) and I drew with acrylic paints, markers and ink on the book and the photograph, so that the image of the photograph was an inspiration to me Build the story that includes page by page..
Question: Tell me when you were born, where, and a little about your family
Answer: I was born on March 4, 1965 in the Kiryat Yuval neighborhood in Jerusalem
I have a twin brother named Miki Peretz and we are seven brothers and sisters, five boys and two girls
Question: Tell us a little about your parents
Answer: My parents were new immigrants from Morocco, both immigrated young.
My mother's name before the wedding was Alice - Aliza ben Yair and my father's name was Shimon Peretz,
My mother was born in the Atlas Mountains and was orphaned at a young age and was later adopted by my father's family at the age of 10, so that my mother and father spent childhood and adolescence together....
They had a beautiful and happy relationship but sometimes when they argued my mother would say "even when she was a child she was like that..." This means that their acquaintance and relationship dates back to childhood..
Question: What did your parents Shimon and Aliza Peretz work for?
Answer: My father, Shimon Perez, born in 1928 - worked in a building in his youth and then for thirty years worked as a receptionist at Hadassah Ein Kerem Hospital in Jerusalem... My father's great love was actually art, he loved to draw as a hobby, write, read, solve crossword puzzles and research Regarding the issue of medicinal plants, as a breadwinner he could not fulfill his dream of becoming an artist, in order to support and feed seven children. But we are the next generation, his children are engaged in the world of creativity and education, a field in which both of my parents were engaged during their lives. My father died at the age of 69
My mother, Alice Aliza Perez, born in 1934, worked as an assistant to a kindergarten teacher, and later took care of a baby at home. She is a woman of wholehearted giving and caring for children and people, a warm, generous and humble woman.. and took care of us in our childhood for every emotional and physical deficiency.. My mother is right For the year 2023, the 89-year-old is partly happy and happy despite the difficulties of age.. May you have a long life..
My mother really loved gardening and nature and both of them together created a magnificent garden, my parents have a relatively large garden so they could grow many types of special and rare medicinal plants and my father even wrote a catalog (unpublished) of medicinal plants and we even had botany students come to us who were interested in the field... today they They also grow ornamental plants, and fruit trees...
Question: A book about the brothers and sisters
Answer: My elder brother David Perez repented in his mid-twenties.. He was a very sharp, opinionated, curious and very charismatic guy who brought many people back to repentance, and also helped people with problems through the yeshiva and the synagogue to return to the normal path of life, he died young at the age of 56
Hana Peretz: My lovely sister, raised eight children, worked in the field of education, a kindergarten teacher, and child care.
She has a very large extended family of grandchildren, great-grandchildren and great-great-grandchildren...
My brother Avi (Abraham) Peretz studied in Israel at the University of Philosophy and Judaism, he married a wonderful woman named Mira Drumi, a nurse by profession, and together they had three wonderful children, when they moved to the United States in their mid-twenties, where my brother Avi Peretz completed his master's degree in education, worked in the field Education and for the last twenty years is A conservative rabbi
The fourth brother is Asher Peretz - a great man of the world, very fond of traveling and has been to magical places all over the world, engaged in the creation of jewelry with two children.
I am Rafi Peretz english raphael perez the fifth and after fifteen minutes my twin brother was born
My mother still gets confused and can't remember who was born first :-)
My twin brother Miki micky - Michael Peretz, a beloved brother (everyone is beloved), a talented industrial designer, he has three children, his wife Revital Peretz Ben, who is a well-known art curator, active and responsible for the art field in Tel Aviv, they are a dynamic and talented couple, full of talents and action
The lovely little sister Shlomit Peretz - has been involved in the Bezeq telephone company for almost three decades, and is there in management positions, raising her lovely and beloved child.
The art book I dedicated to my family is colorful, rich in details, shows a very intense childhood, happy, cheerful, colorful, ... We were taught to be diligent and to be happy in our part and to see the glass half full in life, to have emotional intelligence and to put the relationship and love at the center with self-fulfillment in work that will interest you us and you will give us satisfaction.
Each of us is different in our life decisions and my family is actually a mosaic of the State of Israel that includes both religious and secular people from the entire political spectrum who understand that the secret to unity is mutual respect for each other... when my mother these days is also the family glue in everyone's gatherings on Shabbat and holidays..
The personification of the flower couple paintings by the Israeli painter Raphael Perez
Raphael Perez, also known as Rafi Peretz, is an Israeli painter who
explores his personal and sexual identity through his flower paintings. He created a series of flower paintings from 1995 to 1998, when he was in his early thirties and still in relationships with women, despite feeling gay. His flower paintings reflect his emotional turmoil and his struggle with his sexual orientation. He painted two flowers, one blooming and one wilting, to represent the contrast and conflict between his heterosexual relationships and his true self. He also painted single flowers or two flowers in their prime, to express his longing for a harmonious relationship that matches his nature. He chose sunflowers, white lilies, and red lilies as symbols of expression, purity, and joy, respectively. He painted from real flowers, using different styles and light to create drama and mood. Perez’s paintings of the flower couples are minimalist and focused on the theme of the complex relationship. He omitted any background or context, leaving only the canvas and the drawing of the flower couples. In some of the paintings, he added a very airy abstract surface with thin oil paints that give an atmosphere of watercolors. He also made drawings of flowers in ink, markers and gouache on paper. Later on, he created large acrylic paintings of flowers and still life. Perez’s flower paintings are not mere illustrations or decorations. They are autobiographical and psychological expressions of his inner state and his struggle with his sexuality. He wanted to reveal his loneliness, distress and concealment through these paintings, and to connect with people who are in a similar situation. He deliberately chose only two flowers and no more to intensify the engagement in the charged and complex relationship. Perez also painted and drew couples of men and women with charged psychological states, as well as states of desire for connection and realization of a heterosexual relationship that did not succeed. He used hyperrealism and expressive styles to convey his frozen and calculated state, as well as his mental stress. He used harsh lighting to create contrast and drama, with one side very bright and the other side darker. Perez was influenced by some of the famous artists who painted flowers, such as Van Gogh, who also used sunflowers as a symbol of expression. He also used white lilies and red lilies to convey freshness, cleanliness, purity, color, joy, movement, eruption, and splendor. Perez also painted some single flowers or two flowers in their prime, to show his aspiration for a future where he will have a harmonious relationship. Today, he is 58 years old and in a happy relationship for 10 years with his partner Assaf Henigsberg. He is surrounded by female friends and soulmates and not conflicted with heterosexual relationships as he used to be. He occasionally paints flowers in pots to symbolize home, stability, and peace. Sometimes I paint flowers in pots, which represent home, stability, and solid ground for me. I don’t paint just a couple of flowers, but pots full of flowers that overflow with life. This means that we also have a supportive network of family, friends, and peers around us. We live in a rich, supportive, and protective world. These paintings are a personification of my psychological state, when I had no words to express my feelings to myself. The painting began In 35 years of my creation (starting in 1998), you can read more about how my art and style evolved over time. Perez’s flower paintings are a unique and extraordinary artistic creation that reveals his personal journey and his sexual identity. His work is honest, expressive, and emotional, as well as beautiful and vibrant.
The characteristics of the naive painting of the painter Raphael Perez
A full interview with the Israeli painter Raphael Perez (Hebrew name: Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and curriculum vitae Question: Raphael Perez Tell us about your work process as a naive painter? Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers. Question: How do you give depth in your naive paintings? Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites. A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard. Question: Raphael Perez, what characterizes your naive painting? Answer: Most naive paintings have the same characteristics (Definition as it appears in Wikipedia) • Tells a simple story to absorb from everyday life, usually with humans. • The representation of the painter's idealization to reality - the mapping of reality. • Failure to maintain perspective - especially details even in distant details. • Extensive use of repeating patterns - many details. • Warm and bright colors. • Sometimes the emphasis is on outlines. • Most of the characters are flat, lack volume • No interest in texture, expression, correct proportions • No interest in anatomy. • There is not much use of light and shade, the colors create a three-dimensional effect. I find these definitions to be valid for all my naive paintings Question: Raphael Perez, why do you choose the city of Tel Aviv? Answer: I was born in Jerusalem, the capital city which I love very much and also paint, I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel. Question: Raphael Perez, are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem? Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism today In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs Question: Raphael Perez, tell me about which buildings and their architects you usually choose in your drawings of cities Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples: In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality, In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more I also created three paintings of the city of Haifa and one painting of Safed In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city Question: Raphael Perez, have you created series of other cities from around the world? Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city Question: Raphael Perez What is the general idea that accompanies your paintings Answer: To create a good, beautiful, naive, innocent world in which we will see the innovation of the modern city through the skyscrapers in front of small and low buildings that bring the history and past of each country, all with an abundance of vegetation, boulevards, trees Resume, biography, CV of the painter Rafi Peretz and his family Question: When was Raphael Perez born in hebrew his name rafi peretz? Answer: Raphael Perez in Hebrew his name Rafi Peretz was born on March 4, 1965 Question: Where was Raphael Perez born? Answer: Raphael Perez was born in Jerusalem, Israel Question: What is the full name of Raphael Perez? Answer: His full name is Raphael Perez Question: Which art institution did Raphael Perez graduate from? Answer: Raphael Perez graduated from the Visual Arts Center in Be'er Sheva Question: When did Raphael Perez start painting? Answer: Raphael Perez started painting in 1989 Question: When did you start making a living selling art? Answer: Raphael Perez started making a living selling art in 1999 Question: Where does Raphael Perez live and work? Answer: Since 1995, Raphael Perez has been living and working from his studio in Tel Aviv Question: In which military framework did Raphael Perez serve in the IDF? Answer: Raphael Perez served in the artillery corps Question: Raphael Perez, what jobs did he work after his military service? Answer: Raphael Perez worked for 15 years in education in therapeutic settings for children and taught arts and movement Question: How many brothers and sisters does Raphael Perez, the Israeli painter, have? Answer: There are seven children in total, with the painter 5 sons and two daughters, that means the painter Raphael Perez has 4 more brothers and two sisters Question: What do the brothers and sisters of the painter Raphael Perez do? Answer: The elder brother David Peretz Perez was involved in the field of religious studies, the sister Hana Peretz Perez is involved in the field of education, a kindergarten teacher and child care, the brother Avi Peretz Perez who is in the United States today is a conservative rabbi but in the past was involved in education and therapy, the brother Asher Peretz Perez is involved in the fields of creativity and jewelry The twin brother Mickey Peretz Perez is a well-known industrial designer and seller. The younger sister Shlomit Peretz Perez works in a managerial position at Bezeq. Question: Tell me about the parents of the painter Raphael PerezAnswer: The painter Raphael Perez's parents are Shimon Perez Peretz and Eliza Alice Ben Yair, they were married in 1950 in Jerusalem, both were born in Morocco and immigrated to Israel in 1949, Shimon Peretz worked in a building in his youth and later as a receptionist at the Hadassah Ein Kerem Hospital, Eliza Alice Peretz dealt in child care Kindergarten, working in kindergartens and of course taking care of and raising her seven children
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