View allAll Photos Tagged OPTIMISTIC
SE W810i, Location; Gherdaia - Algeria
"A child can teach an adult three things: to be happy for no reason, to always be busy with something, and to know how to demand with all his might that which he desires." The fifth mountain, Paulo Coelho.
Just like the 2D paintings with a restricted colour scheme, I moved on to a secondary colour after painting pieces with the primary colours. This time, I decided to go with the cheerful yellow.
Yellow was used to represent joy and happiness in the ‘Power of Joy’, and this painting aims to exude the same emotion as well. On top of that, this painting utilises another effect of the colour yellow – optimism. The bush medicine leaves mainly represent the vat optimism and self-esteem one can have when going on in life.
The symbol in the middle is a combination of various signs across a few cultures. The horizontal line represents the horizon, showing a sign of hope. The round symbol in the middle is called the ‘Nyame Biribi Wo Soro’, a West African symbol of hope. On the whole, the symbol shows that one should be optimistic when encountered with obstacle or detour as one would get to one’s objective eventually.
On the whole, the painting shows the importance of being optimistic in life. One should take every step in life with a positive attitude, even in the face of adversity. That way, one can be sure to achieve one’s goals.
Details:
Acrylic on Canvas
24” x 24”
I thought this would be funny, and original.
Please view on black; you have to see it bigger to read the words. CLICK HERE! =)
A pessimist sees only the dark side of the clouds, and mopes; a philosopher sees both sides, and shrugs; an optimist doesn’t see the clouds at all – he’s walking on them.
~Leonard Louis Levinson
Like the lady in white, you have to be optimistic, even at funerals. Taken in 2009, Bragadiru, Teleorman, Romania
At Queen St. West and Bay St. This gentleman was kind enough to sing to bystanders. He was one of the few bright spots in an overall gloomy day.
This image is Copyright © 2010 Dawid Werminski. All rights reserved.
I welcome commentary but if you post logos/icons/photos, I may delete them.
This sign magically appeared on MLK near the baseball field.
Is it an omen predicting lower unemployment and rising wages?
Or just a comment on the proposed Mixed Use development for the 1600 block of MLK?
Around Christmas time we had some rather unusual fruit at our home - persimmons like here & watermelon radish. Both were acquired rather cheaply and more for photographing than really eating - but we made an attempt to savor as well :>)
Thomas Rowlandson
Hand-coloured etching
Hardwearing breeches of thick leather had long been a functional option for working men, but the softer; more pliable skins such as doeskin and lambskin were now highly desirable among men of fashion. Achieving the requisite tight fit was not without its difficulties, ridiculted in this print in which a man of large girth is being manhandled into an optimistically small pair of breeches by two tailors. Despite their tendency towards exaggeration, satirical prints reveal underlying attitudes towards dress and offer a contrast to sanitised and perfectly arranged formal portraits.
According to one account:
When a gentleman was in labour of a new pair of leather breeches, all his strength was required to force himself into them ... when it was nearly accomplished, the maker put his hands between the patient's legs, closed them, and bade him sit on them like a saddle, and kick out one leg at a time, as if swimming. They could not be buttoned without the help of an instrument.*
From the exhibition
Style & Society: Dressing the Georgians
(April to October 2023)
The display brings together over 200 works from the Royal Collection, including paintings, prints and drawings by artists such as Gainsborough, Zoffany and Hogarth, as well as rare surviving examples of clothing and accessories. The exhibition builds up a layer-by-layer picture of what the Georgians wore - from the practical dress of laundry maids to the glittering gowns worn at court - and chart the transformation of clothing and silhouettes from the accession of George I in 1714 to the death of George IV in 1830.
At the heart of the exhibition is a rarely displayed, full-length portrait of Queen Charlotte by Thomas Gainsborough, c.1781, which usually hangs in the White Drawing Room at Windsor Castle. Painted by candlelight, it depicts the Queen in a magnificent gown, worn over a wide hoop and covered with gold spangles and tassels. The painting is be shown alongside a beautifully preserved gown of a similar style, worn at Queen Charlotte’s court in the 1760s, on loan from the Fashion Museum Bath.
On display for the first time is Queen Charlotte’s book of psalms, covered in the only silk fabric known to survive from one of her dresses. The expensive fabric, decorated with metal threads to glimmer in candlelight, was most likely repurposed after the dress had passed out of fashion. As textiles were highly prized, Georgian clothing was constantly recycled, even by the royal family, and there was a thriving market for second-hand clothes.
The exhibition includes items of jewellery from Queen Charlotte’s famed collection, such as a diamond ring featuring a miniature of her husband George III, given to her on her wedding day. Other accessories on display will include beautiful English and French fans, which reached their fashionable zenith during this period, some representing topical events such as the first hot air balloon flight, and jewel-encrusted snuffboxes, reflecting the craze amongst both men and women for taking snuff throughout the 18th century.
The exhibition reveals how the Georgians ushered in many of the cultural trends we know today, including the first stylists and influencers, the birth of a specialised fashion press and the development of shopping as a leisure activity. From the popularity of fancy-dress and the evolution of childrenswear, to the introduction of military uniforms and the role of clothing in showing support for revolutions at home and abroad, Style & Society will explore what clothing can tell us about all areas of life in the rapidly changing world of 18th-century Britain.
[*IanVisits]
From the Queen's Gallery, Buckingham Palace
Buckingham Palace
Royal Palace. 1825 design, begun 1826 by John Nash, rebuilding Buckingham House of 1705 as a palace for George IV, completed 1837 with alterations by Edward Blore; The east range added 1847-50 by Blore; the Ballroom block of 1853-54, with Ambassadors' Court, by Sir James Pennethorne; the east front refaced 1913 by Sir Aston Webb for George V
Marble faced east front, the rest Bath stone except for Blore's west quadrangle front in Caen stone; slate and leaded roofs. Quadrangle plan. Monumental Graeco-Roman, composed with picturesque intent by Nash; Webb's east front a stiff Dixhuitieme exercise constrained by Blore's existing range but with elegant detailing: East front: three storeys with ground and attic floor mezzanines. Fenestration in rhythm 3:7:3:7:3 with centrepiece and terminal pavilion. Channelled ground floor with semicircular arched central gateway flanked by square headed doorways, all with fine ornamental iron gates of 1847; end pavilions and main range with square headed and semicircular arched gateways respectively; architraved sashes with open pediments on first floor and cornices on second floor; fluted Corinthian pilasters rise through first and second floors supporting main entablature with blocking course and balustraded parapet; centrepiece and terminal pavilions with Corinthian columns in antis and plain outer pilasters, in pairs on centrepiece, crowned by blind attics with pediments; continuous balustraded balcony to first floor.
West front: of Blore's east range; advanced centrepiece with tetrastyle giant fluted Corinthian column portico above archway; sculpture in pediment. North and South quadrangle ranges: by Nash and given uniform three storey height, with attic, by him in 1828; slightly advanced five-window wide pilastered centrepieces; ground floor Greek Doric colonnades filled in by Blore; to the south Ambassadors' Court with temple portico-porch and flanking ranges with Corinthian colonnade in antis, adjoining Pennethorne's 1853-1854 Ballroom block which continues giant columned corner pavilion theme of Nash's garden front.
East front of Nash's West range: originally open to deep forecourt and Mall, has storeys and attic main block, 11 windows wide, with three storey three-window wings, the main block with prominent, tetrastyle, two storey portico centrepiece, its low ground storey with cast iron coupled Greek Doric columns and the upper with giant coupled stone Corinthian columns carrying entablature and pediment with sculpture by Baily and crowning figures in Coade stone by W Croggan; the cast iron Doric colonnade is returned across ground floor of main block which has pavilion end bays dressed with giant pairs of Corinthian columns; tall blind attic; the friezes either side of portico by Westmacott and originally intended for the attic of Marble Arch.
West garden front, by Nash: Long symmetrical composition with five accents; basement, ground floor, piano nobile through two storeys and attic to main block with three-storey wings; the main block with five-window central bow and three-window side ranges terminating in one-window pavilions; the wings each of four windows with similar pavilion end bays; ground floor channelled, giant engaged Corinthian columns to bow and detached coupled Corinthian columns to pavilions carrying entablature with rich rinceau frieze; large frieze panels of Coade stone over first floor by Croggan; the attic above half dome of bow (Blore's replacement of Nash's dome) has a frieze by Westmacott intended for Marble Arch; the range is flanked at east of terrace by projecting conservatories in the form of hexastyle Ionic temples with pediments; the south conservatory altered as palace chapel in 1893 and as the Queen's Gallery in 1962.
Interior: State Apartments in west range at firs floor level, with two suites divided by the Picture Gallery, c1829-36 by Nash and Blore, in rich and already eclectic Graeco-Roman style with Louis XIV and Wren details in mouldings and motifs, approached via the Grand Hall with marble columns and Nash's recasting of the original Buckingham House staircase as well as by Pennethorne's Grand Staircase to south extended by Pennethorne to give access to his Ballroom block; the Picture Gallery redecorated 1914; the interior of the Ballroom retains Pennethorne's ceiling and throne recess but redecorated by Ludwig Gruner in 1902 when the walls, windows and doorways were remodelled by Verity; the plainer ground floor rooms below the State Apartments survive virtually as designed by Nash. Marble Arch (qv) designed by Nash in 1828 as the forecourt gateway was removed by Blore's east range and re-erected in 1851 on its present site.
[Historic England]
The optimistic me is the real me. Last night, when I said that things suck I was focused on trees, not the forest. Caught this shot today. My daughter left her sparkly glitter shoes in the living room, where the sun struck them and spread the light everywhere. This is me. I believe in possibilities. I am probably stupidly optimistic, but, honestly, I don't care to change that about myself. Deal with it. :)
Taken on the early hours of a Saturday morning. The sun creeping in through the foliage and the fence sits with me well, it has a particular optimistic and wishful feel to it.
A lucky image I managed. I saw about four (4) shooting stars that night and never saw this one, but it appeared in the RAW image. And if you look close you will see a trail of a possible satellite that got drowned out in processing [I may have overdone it a bit; more tinkering to this image has to be done].
This one I used Affinity Photo to eliminate some of the noise in RAW mode before doing a bit more to the image.
Make a wish, and lots of luck!
(1/366/2020)
It's 2020. The wine and beer have been drunk and it's time to look ahead at the new year approaching us.
2019 has had some great stuff going on, but is probably the year with the most political upheaval that I can remember. I am not optimistic that this year will be any different or better. However, other parts of my life should continue to be really great - I can just pretend all that other stuff isn't going on I suppose.
(I won't)
Let's make 2020 as good as we can, while the incompetents in charge make a colossal mess of everything. Be kind, be charitable, be creative.
Despite the public ululations and optimistic expectation of the return of most sports following the president’s green light on sports activities on Sunday, the return of pool maybe a little complicated.
The NCS recently named pool among the low-risk sports alongside archery, cycling, darts, skating athletics motorsport, swimming and skating. However, the return of pool is encountering financial complications citing the adjustments to the new normal a little hard to implement inasmuch as playing under social distancing and playing behind closed doors a walk in the park.
This financial strained has not only come recently even when the COVID-19 pandemic has exacerbated the already worse situation that caused the Pool Association of Uganda to haphazardly call off some of its activities.
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Furthermore, the players have also been affected by the inadequate access to training facilities as most of them do not own personal training equipment like the tables and cues and have in the past relied on bars and clubs for training and these have since been closed following the corona outbreak. This therefore has caused serious retardation amongst most of the players. bit.ly/309YlOu