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Nancy (Meurthe-et-Moselle) - Musée des beaux-arts - "L'Automne (Portrait de Méry Laurent)" (Edouard Manet, 1882).
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Young Woman in Riding Costume, 1882. Oil on canvas (1832-1883) Museo Thyssen-Bornemisza, Madrid. Getty Center
Manet 'Berthe Morisot', Museum of Art, Cleveland Ohio
The museum doesn't allow you to take photos of works from after 1900, so I missed out on all the best things…
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DUPLEX DUAL EXIT EXHAUST Yoshimura TRI-OVAL
Marchesini Forged MAGNESIUM RIMS
ZERO GRAVITY WINDSCREEN
Covering VORTEX RACET-REX CHASSIS MOUNTING OF PROTECTION
Fork lifting devices TUNER X
Hayabusa ALTERNATOR COVER LOGO
KEVLAR CARBON CLUTCH COVERKEVLAR CARBON
INPUTS RAM-AIRFAR PROTECTION
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Pazzo MANET LOGO STEERING Hayabusa YANASHIKILOWERING APPARATUS
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CARBON KEVLAR FRONT FENDER
REAR WING AND CHAIN GUARD CARBON KEVLAR
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CLEAR FRONT SIGNALS
ST MACHINE WITH LED MIRRORS
CARBON TANK PAD
SPECIAL RACE SEAT
MECHANICAL CHANGES ------- -----PROCESSED
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STAGE 3 GRADE EGZANTİRİKLER
Titanium valves
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FUEL PUMP 135 PSI
SPECIAL OIL PRESSURE PUMP AND GEAR
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Yoshimura AIR-BOX MODIFICATIONAIR
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BRAKING DISCS RACE
Goodridge Steel brake hoses
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TACHOMETER Hayabusa 340 ORIGINAL
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OIL PRESSURE GAUGE
AnnMaree viewing Manet's racy (for its time) "Dejeuner sur l'herbe" at the Musee d'Orsay in Paris. We had to wait until a large party of school kids moved on before we could get anywhere near the painting. I must admit, it's a bit confronting: a naked woman sitting with two fully clothed men, and another woman in her underwear wading in the pond behind them, in a public park setting.
EDOUARD MANET (1832-1883)
Claude Monet peignant dans son atelier- bateau à Argenteuil / Claude Monet Painting on His Boat-Studio in Argenteuil / DIE BARKE (1874)
Oil on canvas / Öl auf Leinwand, 82,7 x 105,0 cm
Neue Pinakothek, Munich / München
EDOUARD MANET (1832-1883)
Claude Monet peignant dans son atelier- bateau à Argenteuil / Claude Monet Painting on His Boat-Studio in Argenteuil / DIE BARKE (1874)
Oil on canvas / Öl auf Leinwand, 82,7 x 105,0 cm
Neue Pinakothek, Munich / München
Vice-Admiral John Baker (d. 1716)
The monument was by Francis Bird
Inscription reads:
To the memory of John Baker Esqr., Vice Admiral of ye White Squadron of the British Fleet: who, when he commanded in the Mediterranean dyed at Port Mahon the 10th of November 1716, Aet. [aged] 56. He was a brave, judicious, and experienced officer, a sincere friend, and a true lover of his country. Manet post funera virtus [virtue remains after the funeral].
John was born in 1660, a son of James Baker, a mariner of Deal in Kent, and his wife Elizabeth. He was appointed a second lieutenant in 1688 and rose through the ranks to become a Rear-Admiral in 1708. In peacetime he became a Member of Parliament but soon returned to the Mediterranean to negotiate treaties with Tripoli and Tunis and build up the naval base at Port Mahon.
[Westminster Abbey]
Taken inside Westminster Abbey
Westminster Abbey (The Collegiate Church of St Peter)
In the 1040s King Edward (later St Edward the Confessor) established his royal palace by the banks of the river Thames on land known as Thorney Island. Close by was a small Benedictine monastery founded under the patronage of King Edgar and St Dunstan around 960A.D. This monastery Edward chose to re-endow and greatly enlarge, building a large stone church in honour of St Peter the Apostle. This church became known as the "west minster" to distinguish it from St Paul's Cathedral (the east minster) in the City of London. Unfortunately, when the new church was consecrated on 28th December 1065 the King was too ill to attend and died a few days later. His mortal remains were entombed in front of the High Altar.
The only traces of Edward's monastery to be seen today are in the round arches and massive supporting columns of the undercroft and the Pyx Chamber in the cloisters. The undercroft was originally part of the domestic quarters of the monks. Among the most significant ceremonies that occurred in the Abbey at this period was the coronation of William the Conqueror on Christmas day 1066, and the "translation" or moving of King Edward's body to a new tomb a few years after his canonisation in 1161.
Edward's Abbey survived for two centuries until the middle of the 13th century when King Henry III decided to rebuild it in the new Gothic style of architecture. It was a great age for cathedrals: in France it saw the construction of Amiens, Evreux and Chartres and in England Canterbury, Winchester and Salisbury, to mention a few. Under the decree of the King of England, Westminster Abbey was designed to be not only a great monastery and place of worship, but also a place for the coronation and burial of monarchs. This church was consecrated on 13th October 1269. Unfortunately the king died before the nave could be completed so the older structure stood attached to the Gothic building for many years.
Every monarch since William the Conqueror has been crowned in the Abbey, with the exception of Edward V and Edward VIII (who abdicated) who were never crowned. The ancient Coronation Chair can still be seen in the church.
It was natural that Henry III should wish to translate the body of the saintly Edward the Confessor into a more magnificent tomb behind the High Altar in his new church. This shrine survives and around it are buried a cluster of medieval kings and their consorts including Henry III, Edward I and Eleanor of Castile, Edward III and Philippa of Hainault, Richard II and Anne of Bohemia and Henry V.
There are around 3,300 burials in the church and cloisters and many more memorials. The Abbey also contains over 600 monuments, and wall tablets – the most important collection of monumental sculpture anywhere in the country. Notable among the burials is the Unknown Warrior, whose grave, close to the west door, has become a place of pilgrimage. Heads of State who are visiting the country invariably come to lay a wreath at this grave.
A remarkable new addition to the Abbey was the glorious Lady chapel built by King Henry VII, first of the Tudor monarchs, which now bears his name. This has a spectacular fan-vaulted roof and the craftsmanship of Italian sculptor Pietro Torrigiano can be seen in Henry's fine tomb. The chapel was consecrated on 19th February 1516. Since 1725 it has been associated with the Most Honourable Order of the Bath and the banners of the current Knights Grand Cross surround the walls. The Battle of Britain memorial window by Hugh Easton can be seen at the east end in the Royal Air Force chapel. A new stained glass window above this, by Alan Younger, and two flanking windows with a design in blue by Hughie O'Donoghue, give colour to this chapel.
Two centuries later a further addition was made to the Abbey when the western towers (left unfinished from medieval times) were completed in 1745, to a design by Nicholas Hawksmoor.
Little remains of the original medieval stained glass, once one of the Abbey's chief glories. Some 13th century panels can be seen in the Queen's Diamond Jubilee Galleries. The great west window and the rose window in the north transept date from the early 18th century but the remainder of the glass is from the 19th century onwards. The newest stained glass is in The Queen Elizabeth II window, designed by David Hockney.
History did not cease with the dissolution of the medieval monastery on 16th January 1540. The same year Henry VIII erected Westminster into a cathedral church with a bishop (Thomas Thirlby), a dean and twelve prebendaries (now known as Canons). The bishopric was surrendered on 29th March 1550 and the diocese was re-united with London, Westminster being made by Act of Parliament a cathedral church in the diocese of London. Mary I restored the Benedictine monastery in 1556 under Abbot John Feckenham.
But on the accession of Elizabeth I the religious houses revived by Mary were given by Parliament to the Crown and the Abbot and monks were removed in July 1559. Queen Elizabeth I, buried in the north aisle of Henry VII's chapel, refounded the Abbey by a charter dated 21 May 1560 as a Collegiate Church exempt from the jurisdiction of archbishops and bishops and with the Sovereign as its Visitor. Its Royal Peculiar status from 1534 was re-affirmed by the Queen and In place of the monastic community a collegiate body of a dean and prebendaries, minor canons and a lay staff was established and charged with the task of continuing the tradition of daily worship (for which a musical foundation of choristers, singing men and organist was provided) and with the education of forty Scholars who formed the nucleus of what is now Westminster School (one of the country's leading independent schools). In addition the Dean and Chapter were responsible for much of the civil government of Westminster, a role which was only fully relinquished in the early 20th century.
[Westminster Abbey]
Original Info:
1882
Oil on canvas
37 3/4 x 51 1/4 in. (96 x 130 cm)
Courtauld Institute Galleries, England.
Edouard Manet's 1882 painting A Bar at the Folies-Bergeres, of a barmaid in a cabaret, intrigues the viewer with its spatial and psychological complexity. The mirror behind her transforms the shallow space in which she stands into a view of the entire room, where a lively and sophisticated crowd is enjoying the aerial act high above their heads. The barmaid appears lost in thought, but in the reflection, she is seen attending to a customer. To the end of his career Edouard Manet sought to portray the spirit of modern life.
My Art Collection Series. * I have an extra used pc for trade.*
"A Bar at The Folies- Bergeres.
(1881-82.)
Edouard Manet. (1832-1883)
Oil painting, masterpiece.
A painting of illusionism that was practiced.
EDOUARD MANET (1832-1883)
LE DÉJEUNER DANS LE STUDIO / The Luncheon in the Studio (1868)
Detail
Öl auf Leinwand / Huile sur toile / Oil on canvas, 118,3 x 154,0 cm
München / Munich, Neue Pinakothek
1. Fortuny vivió en Granada desde 1870 a 1872. Allí pintaría al “plein air”, en lo que hubiera coincidido con Manet si no fuera por su temprana muerte, en 1875. Fortuny ni firmó ni dató su Paisaje de Granada; la obra pasó a Roma y más tarde al taller de París. Al morir se subastaron todas las pinturas de ese taller —en general apuntes y obras menores—, pero la viuda se quedó con el Paisaje de Granada. Nunca se supo a quién lo vendió posteriormente. En 1922, Joaquim Folch i Torres, entonces director de museos de Barcelona, viajó a París para comprar “La vicaria”, pero terminó adquiriendo un lote de tres obras en la Casa Jacobi por 22.000 francos. Así, esa tela pasó a formar parte de la colección del Museo Nacional d’Art de Catalunya.
2. Por su parte, Manet viajó en 1871 a Oloron-St.-Marie, en el Pirineo vasco francés, donde pintó cuatro lienzos. Los estudiosos acreditaron que una de ellas era ese paisaje —sin datar y con la firma muy borrosa— que hoy cuelga en la Staatsgalerie de Stuttgart. Lo que sí es seguro es que ambos cuadros fueron enmarcados en París porque los marcos son también idénticos y propios de la época.
3. ¿Pero dónde y cuándo Manet pudo ver la obra de Fortuny? Manet estuvo en agosto de 1865 en España; visitó Madrid, Burgos y Toledo, admiró los cuadros de Velázquez y pintó algunas obras, pero no se acercó a Granada, ni tampoco a Roma, donde estuvo un tiempo la pintura de Fortuny. Ahora bien, en 1878 se expusieron 30 obras de Fortuny en la Exposición Universal de París, cuatro de las cuales eran propiedad de su viuda. Puede ser que Manet decidiera plantar su caballete y esbozar lo que sería su Oloron-St.-Marie. ¿Dónde, si no, pudo copiar la obra?
¿Por qué copiaría Manet ese paisaje granadino? La respuesta forma parte del misterio.
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1. Fortuny lived in Granada from 1870 to 1872. There he would have painted "al plein air", in which he would have coincided with Manet if it were not for his early death in 1875. Fortuny neither signed nor dated his Landscape of Granada; the work went to Rome and later to the Paris studio. When she died, all the paintings from that workshop were auctioned - generally notes and minor works - but the widow kept the Granada Landscape. It was never known to whom she sold it later. In 1922, Joaquim Folch i Torres, then director of museums in Barcelona, travelled to Paris to buy "The Vicar", but ended up buying a lot of three works at the Jacobi House for 22,000 francs. Thus, this canvas became part of the collection of the Museu Nacional d'Art de Catalunya.
2. For his part, Manet travelled in 1871 to Oloron-St.-Marie, in the French Basque Pyrenees, where he painted four canvases. Scholars credited one of them as the undated and very blurred landscape that today hangs in the Staatsgalerie in Stuttgart. What is certain is that both paintings were framed in Paris because the frames are also identical and typical of the period.
3. But where and when did Manet see Fortuny's work? Manet was in Spain in August 1865; he visited Madrid, Burgos and Toledo, admired Velázquez's paintings and painted some works, but he did not go to Granada, nor to Rome, where Fortuny's painting was for some time. However, in 1878, 30 works by Fortuny were exhibited at the Universal Exhibition in Paris, four of which were owned by his widow. It may be that Manet decided to plant his easel and sketch what would be his Oloron-St.-Marie. Where else could he copy the work?
Why would Manet copy that Granada landscape? The answer is part of the mystery.