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Rudolph Frank Ingerle was born in Vienna, Austria on April 14, 1879. His family came from Moravia, a mountainous region in what is now Czechoslovakia. The Moravian people have a very rich culture, with colorful native dress and a traditional way of life. As a child, Ingerle enjoyed visiting his grandparents in their small mountain village and he developed a love for rural life that was later expressed in many of his paintings.

Ingerle and his family immigrated to the United States when he was twelve years old. The family initially settled in Wisconsin, but soon relocated to the urban center of Chicago. There, Ingerle had the opportunity to attend art classes at the Schmidt Art Academy and later at the Art Institute of Chicago, where he often sketched from the Institute’s museum collection. Though Ingerle had a strong sense of Moravian pride, he felt that as a new American he should focus on subjects from his newly adopted country. In the early 1900s, he joined with Indiana artist T. C. Steele and others to form the Indiana School of Painting in Brown County. However, he soon left the Indiana School to help found the Society of Ozark Painters.

Ingerle made his first trip to the Great Smoky Mountains of North Carolina around 1920 and immediately fell in love with the region. Perhaps his childhood memories of mountain life led him to return to the area for a few months every year to paint what he called, “the grandest people in the world; the finest Americans in the country.” The rural, isolated, hard-working lifestyle of the mountain people appealed to Ingerle’s conservative values, both artistically and politically, and his art quickly became very popular among the people of Western North Carolina and Eastern Tennessee.

At the turn of the century, a railroad was built running through the Great Smoky Mountains and logging became a major industry. Lumber companies threatened the natural beauty of the remote forest land between Asheville, North Carolina and Knoxville, Tennessee with their clear-cutting techniques. In the 1920s and early 1930s, travel writers, nature photographers, artists and motorists campaigned together with local citizens to protect the scenic area. Due in part to the efforts of Ingerle and other artists interested in protecting the untamed and beautiful views of the region, the Great Smoky Mountains National Park was officially established in 1934 and its environment is now protected indefinitely for all Americans to enjoy.

Throughout his career, Ingerle painted many inspiring images of the mountains and mountain life and became known as the “Painter of the Smokies.” He was given several one-man shows at prominent museums in the region, such as the Mint Museum in Charlotte and the Hickory Museum of Art in Western North Carolina. When not painting in the mountains, Ingerle maintained a studio in Chicago from which he exhibited work in many major museums and galleries throughout the Midwest. He was also very active in the artistic organizations of that city and served as the president of the Chicago Society of Artists for two years.

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www.flickr.com/photos/ugardener/albums/72177720322921517/

THE JOHNSON COLLECTION - A Private Collection for Public Good

thejohnsoncollection.org/the-collection/

Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.

What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.

Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.

.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.

Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.

Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.

Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.

In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."

"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer.'

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"If you’re looking for a vibe, this is where you’ll find it. Spartanburg is one of South Carolina’s most established, respected, progressive, and diverse art communities with everything from the fine arts—ballet, symphonies, and opera—to the cutting edge—street performers, graffiti, and dance mobs.

Experience the Cultural District

Downtown Spartanburg has even been designated as a cultural district by the South Carolina Arts Commission. Within the cultural district, you can walk to and enjoy world-class art galleries, studios, music venues, breweries, culinary arts, local literature publishers, coffee shops, libraries, museums, and more. Regardless of when you visit, you’re likely to encounter live music in the streets, featuring jazz, rock ‘n’ roll, or beach music.

Come experience how we put the art in SpARTanburg."

www.visitspartanburg.com/things-to-do/arts/

Superando Limites 8-4-2017 Bittencourt 086 by Rebas

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A7M4_AW08_DSC-06287 by calpha19

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- Wien ou Vienne en Autriche.

- L'église votive, Votivkirche) de Vienne est une église catholique de style néogothique. Elle a été édifiée selon le projet de l'architecte Heinrich Ferstel au milieu du XlXe siècle sur le Ring, le boulevard circulaire de la capitale de l'Autriche.

- Le 24 avril 1856, la première pierre, un calcaire du Cédron (mont des Oliviers) à Jérusalem, fut posée par l'empereur François-Joseph, le cardinal Joseph Othmar von Rauscher, devant quelque 80 archevêques et évêques. La construction de l'église a duré plus de vingt ans. Le 18 août 1868, l'anniversaire de l'empereur, ses tours ont atteint leur hauteur définitive de 99 mètres ; ils ont limité à 98 mètres la hauteur de celle de l’hôtel de ville voisin. Il s'agit du deuxième bâtiment religieux le plus haut de Vienne, derrière la cathédrale Saint-Étienne.

- L'église votive fut inaugurée le 24 avril 1879, le jour des noces d'argent de François-Joseph Ier et de son épouse Élisabeth. À la même époque, le bâtiment principal de l'université de Vienne, un autre œuvre de l'architecte Heinrich Ferstel, fut construit à proximité directe. L'église de la Commémoration protestante à Spire fut bâtie sur le modèle de l'église votive à partir de 1890.

( source Wikipédia )

- Merci pour vos passages sur les vues, favoris et commentaires

- Thanks all for the views, favs and comments, very appreciated

Brands Hatch No Limits 09/10/21 Bike Racing Championship by Ross Denyer

The No Limits Bike Racing Championship made its formal Return to the World Famous Brands Hatch Grand Prix Circuit for a Very Special 8 Hour Endurance Race.

Each and Every Team Had a selection of High Powered Racing Machinery that would along with the Rider take on the Might of Brands Hatches' Grand Prix Circuit for a Gruelling 8 Hours Straight.

While Some Teams had as many as Four Riders to make the job a Little Bit Easier other Teams Had decided to go with just Two Riders for 4 Hours Each knowing they Had the Skills and Determination to Keep Racing Hard.

The Championship was in is Last Race of the Season here at Brands and Whoever Won this Final Event would take the No Limits Bike Racing Championship Crown.

Qualifying was up First and setting the Pace at the Top of the Timings was (Andelle Leathers / RatMally Graphic) on their Kawasaki 998/Kawasaki 1000 Racing Bikes with an Incredible Time of 1.31.846 and a Top Speed of 95.37 to take Pole at The Start of the Race.

In Second Place was (Delkevic Racing) Kawasaki 1000/BMW 1000/Kawasaki 1000 Yamaha 1000 Racing Bikes with a Lap Time of 1.31.784 and a Top Speed of 95.34mph.

In Third Place was (Earnshaw's Motorcycles) BMW 1000/BMW 1000 Racing Bikes with A Lap Time of 1.32.099 and an Top Speed of 95.11mph.

With Qualifying Over and a 11:46am Start Fast Approaching all of the Riders to head out for the First 2 Hours. Just like Old School Le Mans the Riders all Lined Up on the Opposite Side of the Pitlane with their Respective Teams Holding onto the Bikes Ready for them to Blast off into the Distance around the Circuit.

A Loud Bang from the Calcian Signalled the Start of an 8 Hour Endurance Race and each Rider Ran Towards their Bikes Fired them Up and Set off onto the Race Track.

During the First Hour All Riders Made it through the First Opening Laps without any Problems and already many of them were getting up to Speed while some other Riders Preferred to nurse their Machinery for the First Hour to Avoid anything Breaking or Failing on thease High Powered Machines.

As Hour two Approached Everyone was still going strong and The Riders were Each Getting into a Really Good Rhythm of the Grand Prix circuit while other Teams had opted to Head to the pits to swap Riders and Give themselves more of a chance to take Victory with a selection of different Talents and Bikes available.

The Start of Hour Three saw a lot of Different Battles Going on thought the field and on the Back Straight there was some Close Wheel to Wheel Action Between Every Rider traveling at Speeds close to Nearly 100mph. Some Riders were Pushing so Hard that Even their Front Wheels Rose into the Air Making for some Epic and Thrilling Moments. An Overtake by Rider Number 97 on 36 was the Highlight so Far.

Hour Four and Still Each Rider was not Giving Up on the Chance of Victory with Half of the Endurance Race Completed by Now it was Time for Another Rider Change and with Many Teams Heading for the Pits Once Again Each New Rider Ventured Out onto the Brands Hatch GP Circuit it Beautiful Sunlit Conditions Although thease Must Have Been Playing Havoc with the Visibility for the Riders. Non the Less After Just One Retirement Earlier Due to an Engine Fire and a Marshall that should Have Really Been More Prepared. the Remaining Riders Soldered on.

The Fifth Hour was now Upon them and after a Very Hectic and Fast set of Laps Earlier Many Riders were setting down into their Positions to make sure the Bike they were on would Survive to the End. Druids was a Place to witness some Incredible Overtakes During this Time with the Light Levels Lowering and The Riders Really Looking like they were Pushing Hard and Encouraging their Machines to solder onto Victory.

Hour Six and with the Light Levels Now Falling even Lower it looked like this Endurance Race would be Ending in Nearly Dark Conditions as the Rider Kept on Going. The Few Retirement's Earlier on during Hour 2 and 3 were now just a Memory in the Surviving Riders Minds who all had One Goal in Mind. Get This Bike to the End of The Race.

Hour Seven and by now the Light was Nearly all But Gone with the Last Rays of Sunshine Disappearing Entirely from the Tops of Druids and yet Despite this now disadvantage i terms of Having a lot less light The Riders Still Continued to Push Hard and Fight their was To Victory in the Closing Stages as the Race Reached its Climax.

The Final Hour was Finally here and Every Rider who Had Been Concentrating Hard all Day was Now in a Position to Push Hard for that Final Hour of Glory that would mean the Difference Between either a Race Victory or a Race Loss. As The Minuets Slowly Ticked Down and The Last Light of Day Had been Long Extinguished from the Circuit. it was the Team of (Delkevic Racing's Liam Marchant / Gary Johnson / James Edwards and Luke Scott who took a Resounding Victory after 232 Laps and a Gruelling 8 Hour's of Racing 2 For Each of The Riders. Congratulations Delkevic Racing an Incredible Achievement.

In Second Place was The Team of (Earnshaw's Motorcycles Jonathan Lodge and James Lodge) after 232 Laps and 4 Hour's Between Them a Super Effort and Very Well Deserved Second Place Battle Through some Very Tough Competitors.

In Third Place was (Josh Daley Racing/RC Express by Dafabet Josh Daley and Rob Hodson) after a Very Hard and Gruelling 231 Laps in the Seat of Their Racing Bikes. Amazing Work Josh Daley Racing Incredible Ride and a Very Well Deserved Third Place.

An Exceptional Day of Endurance Racing from the No Limits Bike Racing Championship with Delkevic Racing's Liam Marchant / Gary Johnson / James Edwards and Luke Scott Taking The Final Victory of the Season with Datasys Racing Mark Daines / Jeremy Watson / Johnny Panter and Joe Higham taking The Championship for 2021.

A Big Congratulations to all of the Riders who took Part in this Event in my Opinion you Made everyone who Races in the Bennet's British Super Bike Championship look like Amateurs. You Guys are the Real Deal and am Really Looking forward to Watching this Epic Race all over Again Next Year. Until Then Keep Racing and Never Give Up Hope of One Day Standing on the Top Step of the Podium.

8 Jun 21 DaC Pan2-E e1 small by David W Geddes

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Druim a Chaoruinn - view from the drying green.

Clematis, Azalea, Hebe, Columbine, Pieris, Thyme, Salix, Broom, Berberis. The old bothy sitooterie.

This is about 10% of the garden, of which 75% is under some form of care and maintenance.

4 image composite. Put through Pixel enhancement. Saved as Jpg - but too large for the file limit on Flickr which is 200 Mb for a single photo image and 1Gb for a video file. Then resaved at 8/10 JPG quality.

A test of the resolution boundaries the camera, computer, broadband, and display in Flickr combination, can cope with.