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It seems there are different implication of Dragon at Eastern & Western legend , in Chinese culture, Dragon is the symbol of royal , luckiness , blessings & power etc, all in all are positive meaning , therefore the emperors of ancient Chinese dynasty normally used the dragon to describe himself. The clothes, chair of Emperor will use the dragon as the key role in the pattern, same applied to the temple, means to bless the people within the dynasty.
Of course in modern demoncrative society , no president in Taiwan dare to describe himself as the dragon anymore,but still Dragon have positive implication & blessings to the people who believe Chinese tradition.
What you saw here are the combination of 9 different stylish dragons with changable colors , the number 9 means longlasting , normally is a positive blessing to the people, country for the new year through.
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Entirely made from vegetable glycerin soap and natural colors, all soap artwork is embedded into the center of each soap for longlasting designs as you consume the soap.
Scented in Pure Essential Oils or Fragrance Oils
pureheartsoap.etsy.com
It seems there are different implication of Dragon at Eastern & Western legend , in Chinese culture, Dragon is the symbol of royal , luckiness , blessings & power etc, all in all are positive meaning , therefore the emperors of ancient Chinese dynasty normally used the dragon to describe himself. The clothes, chair of Emperor will use the dragon as the key role in the pattern, same applied to the temple, means to bless the people within the dynasty.
Of course in modern demoncrative society , no president in Taiwan dare to describe himself as the dragon anymore,but still Dragon have positive implication & blessings to the people who believe Chinese tradition.
What you saw here are the combination of 9 different stylish dragons with changable colors , the number 9 means longlasting , normally is a positive blessing to the people, country for the new year through.
Anita Malfatti
Oil on canvas
Anita Malfatti, 1889–1964
Anita Malfatti was a trailblazing artist whose modernist paintings shocked the Brazilian establishment. She was born in São Paulo, of Italian and German American descent. Following the death of her father, the family moved to Germany. Malfatti lived in Berlin from 1910 to 1914 where she attended drawing classes and was deeply influenced by the museum collections she visited, then in 1915 moved to continue her education in the United States.
Malfatti returned to Brazil in the autumn of 1916, and in December the following year held the “Exposição de pintura moderna Anita Malfatti” (Anita Malfatti Modern Painting Exhibition) in São Paulo, clearly positioning herself as a modernist artist. Her work depicted ordinary Brazilians going about everyday tasks, hitherto a subject deemed unworthy for paintings.
The show was the first to challenge the orthodoxy of academic-based art, and as such is celebrated as the first modernist exhibition in Brazil. However, it was harshly criticised at the time; the impact on Malfatti was longlasting and caused her to be a less progressive artist going forward. Nonetheless, having befriended many in São Paulo’s modernists circles, she was to be a pivotal figure in the Semana de Arte Moderna (Modern Art Week) that took place in the city in 1922. This event played a crucial role in bringing Brazilian Modernism to prominence.
In 1923 Malfatti moved to Paris on a scholarship. Whilst living in Montparnasse and receiving guidance from the French painter Maurice Denis (1870–1943), she exhibited at the Salon d’Automne in 1927. She returned to São Paulo in 1928 but the days of her experimental and progressive art were behind her.*
From the exhibition
Brasil! Brasil! The Birth of Modernism
(January - April 2025)
A major exhibition featuring over 130 works by ten important Brazilian artists from the twentieth century, capturing the diversity of Brazilian art at the time.
In the early 20th century a new modern art was emerging in Brazil. Starting in the 1910s and continuing into the 1970s, Brazilian artists were adapting contemporary trends, international influences and artistic traditions to create a new type of modern art; art informed by the vibrant cultures, identities and landscapes of Brazil.
Everyday life in Brazil was the subject of this new modernism and the Indigenous identity and Afro-Brazilian experience were among the many influences these artists drew upon in their work. This was a group of people looking inward at their rich cultural resource to set a new course for modernism that was borne out across South America.
The exhibition will bring an expanded view of Brazilian Modernism to UK audiences, showing work by artists who have historically received less exposure in this country, including Anita Malfatti, who spearheaded the movement, and Tarsila do Amaral, now internationally celebrated as a leading female figure of Brazilian Modernism. The exhibition will also include the self-taught artists Alfredo Volpi and Djanira da Motta e Silva, an artist of indigenous descent, Afro-Brazilian artist Rubem Valentim and performance artist, Flávio de Carvalho.
This exhibition explores a rich period of Brazilian art history through the work of ten artists, active between 1910 and the 1970s. A flourishing in the arts – including painting, sculpture, graphic design, architecture, music and literature – swept across the country, and was known collectively as Brazilian Modernism.
This was not a defined movement but rather a coming together of different cultural figures who campaigned for Brazil to move away from the old-fashioned, traditional forms of art that were rooted in the colonial (1500– 1815) and Imperial (1815–89) periods before Brazil became a republic in 1889. As a young, ambitious and optimistic nation, Brazil wanted to create its own distinctive identity.
It rejected European tastes for academic art and typical subjects such as historical allegories and religious scenes in favour of those that reflected and celebrated the country’s cultural diversity.
Brazil has a significant Indigenous population but one that has been increasingly marginalised following the influx of immigrant settlers that began during the colonial period. Portuguese colonists forcibly brought more than four million enslaved people from West Africa across the Atlantic, with the abolition of slavery only taking place in 1888. Later, significant populations of Italians, Japanese, Germans and Syrians settled in Brazil, further enriching its extraordinary ethnic diversity. Although many modernists lived and studied abroad, mainly in Europe or the US, they returned to Brazil determined to fashion a new artistic identity that looked inwards rather than outwards for inspiration.
Aside from incorporating modern approaches to art, artists travelled across the country reflecting on the different peoples and places they encountered and integrating them into their work. This exhibition celebrates this sixty year period, revealing the gradual move from the representational to the abstract.
[*Royal Academy]
Taken in the Royal Academy
I love Adidas anything. These shoes are the proof. That's how they look 4 years in owning them and first time ever washing them. Built to last!
Anita Malfatti
Oil on canvas
Anita Malfatti, 1889–1964
Anita Malfatti was a trailblazing artist whose modernist paintings shocked the Brazilian establishment. She was born in São Paulo, of Italian and German American descent. Following the death of her father, the family moved to Germany. Malfatti lived in Berlin from 1910 to 1914 where she attended drawing classes and was deeply influenced by the museum collections she visited, then in 1915 moved to continue her education in the United States.
Malfatti returned to Brazil in the autumn of 1916, and in December the following year held the “Exposição de pintura moderna Anita Malfatti” (Anita Malfatti Modern Painting Exhibition) in São Paulo, clearly positioning herself as a modernist artist. Her work depicted ordinary Brazilians going about everyday tasks, hitherto a subject deemed unworthy for paintings.
The show was the first to challenge the orthodoxy of academic-based art, and as such is celebrated as the first modernist exhibition in Brazil. However, it was harshly criticised at the time; the impact on Malfatti was longlasting and caused her to be a less progressive artist going forward. Nonetheless, having befriended many in São Paulo’s modernists circles, she was to be a pivotal figure in the Semana de Arte Moderna (Modern Art Week) that took place in the city in 1922. This event played a crucial role in bringing Brazilian Modernism to prominence.
In 1923 Malfatti moved to Paris on a scholarship. Whilst living in Montparnasse and receiving guidance from the French painter Maurice Denis (1870–1943), she exhibited at the Salon d’Automne in 1927. She returned to São Paulo in 1928 but the days of her experimental and progressive art were behind her.*
From the exhibition
Brasil! Brasil! The Birth of Modernism
(January - April 2025)
A major exhibition featuring over 130 works by ten important Brazilian artists from the twentieth century, capturing the diversity of Brazilian art at the time.
In the early 20th century a new modern art was emerging in Brazil. Starting in the 1910s and continuing into the 1970s, Brazilian artists were adapting contemporary trends, international influences and artistic traditions to create a new type of modern art; art informed by the vibrant cultures, identities and landscapes of Brazil.
Everyday life in Brazil was the subject of this new modernism and the Indigenous identity and Afro-Brazilian experience were among the many influences these artists drew upon in their work. This was a group of people looking inward at their rich cultural resource to set a new course for modernism that was borne out across South America.
The exhibition will bring an expanded view of Brazilian Modernism to UK audiences, showing work by artists who have historically received less exposure in this country, including Anita Malfatti, who spearheaded the movement, and Tarsila do Amaral, now internationally celebrated as a leading female figure of Brazilian Modernism. The exhibition will also include the self-taught artists Alfredo Volpi and Djanira da Motta e Silva, an artist of indigenous descent, Afro-Brazilian artist Rubem Valentim and performance artist, Flávio de Carvalho.
This exhibition explores a rich period of Brazilian art history through the work of ten artists, active between 1910 and the 1970s. A flourishing in the arts – including painting, sculpture, graphic design, architecture, music and literature – swept across the country, and was known collectively as Brazilian Modernism.
This was not a defined movement but rather a coming together of different cultural figures who campaigned for Brazil to move away from the old-fashioned, traditional forms of art that were rooted in the colonial (1500– 1815) and Imperial (1815–89) periods before Brazil became a republic in 1889. As a young, ambitious and optimistic nation, Brazil wanted to create its own distinctive identity.
It rejected European tastes for academic art and typical subjects such as historical allegories and religious scenes in favour of those that reflected and celebrated the country’s cultural diversity.
Brazil has a significant Indigenous population but one that has been increasingly marginalised following the influx of immigrant settlers that began during the colonial period. Portuguese colonists forcibly brought more than four million enslaved people from West Africa across the Atlantic, with the abolition of slavery only taking place in 1888. Later, significant populations of Italians, Japanese, Germans and Syrians settled in Brazil, further enriching its extraordinary ethnic diversity. Although many modernists lived and studied abroad, mainly in Europe or the US, they returned to Brazil determined to fashion a new artistic identity that looked inwards rather than outwards for inspiration.
Aside from incorporating modern approaches to art, artists travelled across the country reflecting on the different peoples and places they encountered and integrating them into their work. This exhibition celebrates this sixty year period, revealing the gradual move from the representational to the abstract.
[*Royal Academy]
Taken in the Royal Academy
Entirely made from vegetable glycerin soap and natural colors, all soap artwork is embedded into the center of each soap for longlasting designs as you consume the soap.
Scented in Pure Essential Oils or Fragrance Oils
pureheartsoap.etsy.com
VAX-D is a non-invasive treatment for patients with severe back pain and leg pain. VAX-D is an effective and safe procedure without surgery, injections, or anesthesia. Recovery time is minimal, and relief from pain is longlasting.
The New Pure Life Shoe is the ultimate skateboard shoe with Volunized Sole, padded tounge, Double Stitching around the Outsole for longlasting. This is the ultimate skateboard Shoe.
After a longlasting fued on some breadcrumbs, a place to nest and the right to poop on a statue, Edgar, the clumsy duck was finally caught offguard by Franz the stark who layed out a trap.
Dangling out the window, lynched by a grinning Franz, some trees, as Nina Simone pointed out, bear strange fruit...
Entirely made from vegetable glycerin soap and natural colors, all soap artwork is embedded into the center of each soap for longlasting designs as you consume the soap.
Scented in Pure Essential Oils or Fragrance Oils
pureheartsoap.etsy.com
It seems there are different implication of Dragon at Eastern & Western legend , in Chinese culture, Dragon is the symbol of royal , luckiness , blessings & power etc, all in all are positive meaning , therefore the emperors of ancient Chinese dynasty normally used the dragon to describe himself. The clothes, chair of Emperor will use the dragon as the key role in the pattern, same applied to the temple, means to bless the people within the dynasty.
Of course in modern demoncrative society , no president in Taiwan dare to describe himself as the dragon anymore,but still Dragon have positive implication & blessings to the people who believe Chinese tradition.
What you saw here are the combination of 9 different stylish dragons with changable colors , the number 9 means longlasting , normally is a positive blessing to the people, country for the new year through.
22 of us gathered at Morninglory Farm in Killaloe, ON, Canada this
evening, upstream from Canada's capital, for a potluck, local,
organic, low-carbon feast, lighting beeswax candles to the honouring
of our Mother Earth. We call for a real deal in Copenhagen, one which
truly cleans up the environment, is binding and longlasting, is fair
to all peoples and works in harmony with Nature. May our intentions
flow downriver and be heard by our country's leaders in Ottawa,
passed on to Copenhagen, and be acted upon!
Sincerely,
Christina, Robbie, Ben & Ethan Anderman and the Morninglory clan
P.S.: Dried organically grown pear slices from our farm spell out
350ppm, let's get our carbon levels down to that sustainable level
P.S.S.: Happy Hanukah all, our menorah is adding it's candles of hope
also
24 feet wide. Painted canvas cover. Pretty rugged, and longlasting, but it needs to be secured on the edges, so bees can't nest (which they currently do).
Entirely made from vegetable glycerin soap and natural colors, all soap artwork is embedded into the center of each soap for longlasting designs as you consume the soap.
Scented in Pure Essential Oils or Fragrance Oils
pureheartsoap.etsy.com
Entirely made from vegetable glycerin soap and natural colors, all soap artwork is embedded into the center of each soap for longlasting designs as you consume the soap.
Scented in Pure Essential Oils or Fragrance Oils
pureheartsoap.etsy.com
Arizona Iron Patio Furniture offers a plethora of options to add that final touch to your own personal outdoor retreat. All of our furniture is super durable, long lasting, and very comfortable.
For more information click here: www.arizonaironfurniture.com/
Entirely made from vegetable glycerin soap and natural colors, all soap artwork is embedded into the center of each soap for longlasting designs as you consume the soap.
Scented in Pure Essential Oils or Fragrance Oils
pureheartsoap.etsy.com
Fourty years ago, when Tom was still at school, his thrifty mother invested in a job-lot of grey socks that were billed as "indestuctable" in the hopes they would be the last set of scholl uniform socks she's have to buy,
Her hopes were fullfilled and Tom has been wearing those awful grey sicks (with a texture akin to a brillo pad) throughout the years since. And I HATE them. They look horrible, feel horrible and are just an abomination.
Not quite indestructable, but certinly hard-wearing and longlasting.
But today he finally realized he'd worn through the toe of one of the final remaining pair.
Found in Queensland Australia, Papua and New Guinea and surrounding islands on high tree branches in coastal forest, mangrove swamps, savannah and rainforests at elevations below 800 meters, this small to large sized, hot growing species has erect, cylindrical, cane-like pseudobulbs swollen basally with coriaceous, narrowly oblong leaves, and a lax, to 10" [25 cm] long, 3 to 15 flowered inflorescence that may be stiff, horizontal or curved and arises from nodes near the end of a pseudobulb. They have longlasting, fragrant flowers that occur in the summer months. Even, year round humid conditions with bright light suit this plant fine.