LIVING VENICE
View allAll Photos Tagged Modi,
Bookworm.
Valeurs jugements productions historiques large éventail exceptions épisodes questions centrales lignes métaphysiques large lecture exploration des poètes,
contesto rinascimentale fattori importanti discussioni impossibili implicazioni tempo statico rimuovendo modi periodi ambigui pratiche di ortografia antichità antica tentativi moderni edizioni fuorvianti uso asterisco,
obojętne druki pędzi reputacja istotne założenia niepewny status kontrolowanie odpowiedzi prasy drukarskie prezentacje kulturalne,
deflorationis de sexcentis exagitant glossas differences innovations poetica vulgaribus litteris arcana verba collaborations texts potens opera condita,
aufrechterhaltene verblüffende Schrägstellung direkte oppositionelle Stile alternative Programme militante Regierungszeit entfernte Schriftsteller strenge Schläge subtile Abstufungen,
過度のシンボルは自由を規律します終末論的な闘争システムを独占します精神的な高揚出現畏敬の念予定説儀式男性的な論争の放棄ページ.
Steve.D.Hammond.
✅ARABIC TATTOO'S STUDIO PRESENTS
HAPPY HALLOWEEN TATTOO
COMES WITH A DRESS AND BODY TATTOO AND FACE TATTOO
✔ STORE LM:
Amedeo Modigliani (1884-1920) - Le jeune apprenti [The young apprentice] (1918-1919). In the Walter-Guillaume Collection at the Musée de l'Orangerie, Paris.
Modi'in is an Israeli city located in central Israel, about 30 kilometres west of Jerusalem. The population about 100 thousend.
Alvise Vivarini (Venice, between 1442 and 1453 - Venice, between 1503 and 1505)) - crucifixion with Mary Magdalene and devotee (1473) - tempera on panel 47.8 x 29.3 cm. - Poldi Pezzoli Museum, Milan
La tavola era forse parte di un polittico o di un paliotto andato disperso. La monaca in ginocchio, che prega ai piedi della croce, è la committente dell'opera, ed è stata dubitativamente identificata con una donna della nobile famiglia veneziana dei Contarini, ritratta in un celebre dipinto di Jacometto Veneziano (oggi a New York, Metropolitan Museum of Art). Alvise Vivarini, alla cui attività giovanile è stata recentemente assegnata l'opera, databile intorno al 1475, fu l'ultimo rappresentante di una delle grandi botteghe familiari veneziane, fondata a Murano dal padre Antonio e condotta successivamente dallo zio Bartolomeo. Appare notevole in questa tavola, l'idea compositiva, con le croci in primo piano, su un terreno roccioso, e l'aprirsi, subito dietro, di un ampio paesaggio. La minuziosa descrizione dei colli alberati e dei sentieri che li percorrono, mostra una vena aneddotica, particolarmente nel gruppo di viandanti e cavalieri, sulla destra, condivisa da molti pittori veneziani in questi anni. Il disegno appare netto, quasi tagliente: si veda il profilo fortemente marcato del torso di Cristo, o la resa dell'anatomia dei ladroni. Sono tratti di stile che derivano ad Alvise dalla conoscenza della pittura padovana, e in particolare di Andrea Mantegna; dalla medesima tradizione deriva un'accentuazione dell'aspetto drammatico ed espressivo, nella rappresentazione del volto del cattivo ladrone, sulla destra, o del volto piangente della Maddalena. La gamma cromatica fredda e squillante è quella tipica della bottega dei Vivarini, che il giovane pittore mostra di aver assimilato dal padre e dallo zio; egli è però già fortemente influenzato, almeno nell'impianto della scena, dai modi del maggior maestro veneziano dell'epoca, Giovanni Bellini, la cui opera sarà determinante, soprattutto negli anni successivi, per il suo sviluppo stilistico
The panel was perhaps part of a polyptych or an antependium that has gone missing. The kneeling nun, praying at the foot of the cross, is the commissioner of the work, and has been dubiously identified with a woman of the noble Venetian Contarini family, portrayed in a famous painting by Jacometto Veneziano (now in New York, Metropolitan Museum of Art). Alvise Vivarini, to whose youthful activity this work, datable to around 1475, has recently been assigned, was the last representative of one of the great Venetian family workshops, founded in Murano by his father Antonio and later conducted by his uncle Bartolomeo. In this panel, the compositional idea is remarkable, with the crosses in the foreground, on a rocky ground, and the opening, immediately behind, of a wide landscape. The meticulous description of the tree-lined hills and the paths that run through them shows an anecdotal vein, particularly in the group of wayfarers and horsemen on the right, shared by many Venetian painters in those years. The drawing appears sharp, almost cutting: see the strongly marked profile of Christ's torso, or the rendering of the anatomy of the thieves. These are style traits that derive from Alvise's knowledge of Paduan painting, and in particular of Andrea Mantegna; from the same tradition comes an accentuation of the dramatic and expressive aspect, in the representation of the face of the bad thief, on the right, or the weeping face of Mary Magdalene. The range of cold, bright colors is typical of the Vivarini workshop, which the young painter shows he has assimilated from his father and uncle. However, he is already strongly influenced, at least in the layout of the scene, by the manner of the greatest Venetian master of the time, Giovanni Bellini, whose work will be decisive, especially in later years, for his stylistic development.
The Modi Khola Valley, located in the heart of the Annapurna Conservation Area in Nepal is a supremely cool place. After you leave the village of Deurali at 3200m, you head down into this spectacular place, with peaks soaring on all sides. As you walk up the valley, following the path of the river, Gangapurna (7455m) lies visible at the head, with Machhapuchare Base Camp your destination.
This shot was taken after a light snowfall in the early morning light. The sun had only just started rising over the peaks, leaving most of the valley in shadow.
This was a very challenging shot to process and I am still not 100% convinced I have it down pat. It is a blend of two exposures, with areas manually painted in using masking in Photoshop. After many hours of work, scrapping and restarting, I settled on this. Thoughts?
Michele di Matteo (Bologna, doc. 1409-1470) Crucifix (Shaped cross with the Eternal Father, Our Lady of Sorrows, St. John and St. Mary Magdalene) - tempera on panel (1435-45) - National Gallery Bologna
legato ai modi di Giovanni da Modena, anche se cercò un rinnovamento del linguaggio gotico locale.
questo crocifisso è situabile tra il 1430 ed il 1435 o in date prossime al soggiorno veneziano.
related to the manner of Giovanni da Modena, although he sought a renewal of the local Gothic language.
this crucifix can be located between 1430 and 1435 or at dates close to his Venetian sojourn.
modi :3alosh
كومنتات مع صور ولا كوبي بست راح تنمسح
غربلني واانا اصوره =P
أهــــدآآآآآء =$
must :اذكرو الله
Modi'in is an Israeli city located in central Israel, about 30 kilometres west of Jerusalem. The population about 100 thousend.
Album : B747.
Air India 747 'VT-ESO' touches down at Dublin carrying Indian Prime Minister Narendra Modi on an official State visit. He was the first Indian Prime Minister to visit this country in 60 years.
Modi'in is an Israeli city located in central Israel, about 30 kilometres west of Jerusalem. The population about 100 thousend.
DJ Flossy every monday 12 PM SLT @ La Fabrik Club
Wearing: pink Sol mini-skirt from -ADI- (design by modi taha)
Available at Swank event in Second Life:
One of the highlights at Dublin in 2015, Air India 747-400 VT-ESO as "Air India One " with Indian Prime Minister Narendra Modi on board, on a very brief half day state visit to Ireland.
Originating in New Dehli via Dublin enroute to the United Nations, it was a real treat as Air India does not serve Dublin nor does the 747 these days either.
Both arrival & departure during daylight hours & tipped off well in advance ensured everybody got their photos & really was an " Indian summer ".
Delivered to Air India in December 1993 & named Khajuraho.
When NASA’s Terra satellite passed over Russia’s Kamchatka Peninsula at noon local time (00:00 Universal Time) on October 6, 2012, Shilveluch Volcano was quiet. By the time NASA’s Aqua satellite passed over the area two hours later (bottom image), the volcano had erupted and sent a plume of ash over the Kamchatskiy Zaliv. The plume traveled about 90 kilometers (55 miles) toward the south-southeast, where a change in wind direction began pushing the plume toward the east.
On October 6, 2012, the Kamchatka Volcanic Emergency Response Team (KVERT) reported that the ash plume from Shiveluch reached an altitude of 3 kilometers (9,800 feet) above sea level, and had traveled some 220 kilometers (140 miles) from the volcano summit.
Shiveluch (also spelled Sheveluch) ranks among the biggest and most active volcanoes on the Kamchatka Peninsula. Rising to 3,283 meters (10,771 feet) above sea level, Shiveluch is a stratovolcano composed of alternating layers of hardened lava, compacted ash, and rocks ejected by previous eruptions. The beige-colored expanse of rock on the volcano’s southern slopes (visible in both images) is due to an explosive eruption that occurred in 1964. Part of Shiveluch’s southern flank collapsed, and the light-colored rock is avalanche debris left by that event. High-resolution imagery of Shiveluch shows very little vegetation within that avalanche zone.
On October 6, 2012, KVERT cited observations from the Moderate Resolution Imaging Spectroradiometer (MODIS) instruments on Terra and Aqua in detecting the Shiveluch eruption. This was not the first time that MODIS observed a Shiveluch eruption shortly after it started. In 2007, MODIS captured an image within minutes of the eruption’s start, before winds could blow the ash away from the summit.
When NASA’s Terra satellite passed over Russia’s Kamchatka Peninsula at noon local time (00:00 Universal Time) on October 6, 2012, Shilveluch Volcano was quiet (top image). By the time NASA’s Aqua satellite passed over the area two hours later (bottom image), the volcano had erupted and sent a plume of ash over the Kamchatskiy Zaliv. The plume traveled about 90 kilometers (55 miles) toward the south-southeast, where a change in wind direction began pushing the plume toward the east.
On October 6, 2012, the Kamchatka Volcanic Emergency Response Team (KVERT) reported that the ash plume from Shiveluch reached an altitude of 3 kilometers (9,800 feet) above sea level, and had traveled some 220 kilometers (140 miles) from the volcano summit.
Shiveluch (also spelled Sheveluch) ranks among the biggest and most active volcanoes on the Kamchatka Peninsula. Rising to 3,283 meters (10,771 feet) above sea level, Shiveluch is a stratovolcano composed of alternating layers of hardened lava, compacted ash, and rocks ejected by previous eruptions. The beige-colored expanse of rock on the volcano’s southern slopes (visible in both images) is due to an explosive eruption that occurred in 1964. Part of Shiveluch’s southern flank collapsed, and the light-colored rock is avalanche debris left by that event. High-resolution imagery of Shiveluch shows very little vegetation within that avalanche zone.
On October 6, 2012, KVERT cited observations from the Moderate Resolution Imaging Spectroradiometer (MODIS) instruments on Terra and Aqua in detecting the Shiveluch eruption. This was not the first time that MODIS observed a Shiveluch eruption shortly after it started. In 2007, MODIS captured an image within minutes of the eruption’s start, before winds could blow the ash away from the summit.
Credit: NASA Earth Observatory
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
Follow us on Twitter
Like us on Facebook
Find us on Instagram
A massive phytoplankton bloom stained the waters of the Atlantic Ocean north of Iceland with brilliant jewel tones in late summer, 2014. The Moderate Resolution Imaging Spectroradiometer (MODIS) aboard NASA’s Aqua satellite captured this true-color image on August 2. Huge colonies of the floating, plant-like organisms create swirls of green, teal and turquoise and cover over 80% of the visible ocean off the northeast coast of Iceland.
Marine phytoplankton require just the right amount of sunlight, dissolved nutrients and water temperatures which are not too hot, nor too cold to spark explosive reproduction and result in blooms which can cover hundreds of square kilometers. Phytoplankton form the base of the marine food chain, and are a rich food source for zooplankton, fish and other marine species. Some species, however, can deplete the water of oxygen and may become toxic to marine life.
Credit: NASA
Image Number: GSFC_20171208_Archive_e001018
Date: August 2, 2014