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Manuel Paredes, an Agricultural Engineer working at Candela Peru's Puerto Maldonado's processing plant is showing the 'certificates of origins' that accompanies each Castañes lots.
Germany 2017 Aachen in North Rhine-Westphalia.
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Aachener Domschatzkammer Cathedral Treasury.
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Aachen Cathedral Treasury has housed, throughout its history, a collection of liturgical objects. The origin of this church treasure is in dispute as some say Charlemagne himself endowed his chapel with the original collection, while the rest were collected over time. Others say all of the objects were collected over time, from such places as Jerusalem and Constantinople.[57] The location of this treasury has moved over time and was unknown until the 15th, century when it was located in the Matthiaskapelle (St. Matthew's Chapel) until 1873, when it was moved to the Karlskapelle (Charles' Chapel). From there it was moved to the Hungarian Chapel in 1881 and in 1931 to its present location next to the Allerseelenkapelle (Poor Souls' Chapel).[57] Only six of the original Carolingian objects have remained, and of those only three are left in Aachen: the Aachen Gospels, a diptych of Christ, and an early Byzantine silk. The Coronation Gospels and a reliquary burse of St. Stephen were moved to Vienna in 1798 and the Talisman of Charlemagne was given as a gift in 1804 to Josephine Bonaparte and subsequently to Rheims Cathedral.[57] 210 documented pieces have been added to the treasury since its inception, typically to receive in return legitimisation of linkage to the heritage of Charlemagne. The Lothar Cross, the Gospels of Otto III and multiple additional Byzantine silks were donated by Otto III. Part of the Pala d'Oro and a covering for the Aachen Gospels were made of gold donated by Henry II.[57] Frederick Barbarossa donated the candelabrum that adorns the dome and also once "crowned" the Shrine of Charlemagne, which was placed underneath in 1215. Charles IV donated a pair of reliquaries. Louis XI gave, in 1475, the crown of Margaret of York, and, in 1481, another arm reliquary of Charlemagne. Maximilian I and Charles V both gave numerous works of art by Hans von Reutlingen.[57] Continuing the tradition, objects continued to be donated until the present, each indicative of the period of its gifting, with the last documented gift being a chalice from 1960 made by Ewald Mataré.[57]
Origin by Evan Ducharme #EDORIGIN
Date: 04/29/16
Venue: SPACE 552 Clarke Dr, Vancouver
Photos: Ed Ng Photography
Sponsors: #wilhelmina; #labiosthetique; #labiosthetiqueparis; #familymanagement; #PortmanteauStereoCo; #hivemindmillinery; #hoyne; #hoynebrewingco
The origins of the Society are traced by some to about 1586 and the foundation of the College of Antiquaries. This Society seems to have dealt with 'antiquity' rather than 'antiquities' and to have been more in the nature of a debating society. It had the aim of establishing a 'cultural longevity' for England. In 1614, however, 'his Majesty (James I) took a little Mislike of our Society…yet hereupon we forebare to meet again…'
There are some indications of an informal society existing in the seventeenth century and at times the Royal Society (charter granted in 1662) displayed an interest in archaeology. It was not until the opening years of the eighteenth century that the Society was founded or, as some Society documents have it, 'refounded'.
Early meetings
The first minutes of the Society record that, on Friday, 5 December 1707, a meeting was held at the Bear Tavern in the Strand. The following January the Society agreed to meet in the Young Devil Tavern. The first President was Peter Le Neve, Norroy King of Arms, and it was agreed that the business of the Society should be the subject of antiquities, particularly as they related to the history of Great Britain. The period of study was that which pre-dated the reign of James I.
The Society encountered a few problems before it became firmly established, the bankruptcy of the owner of the Young Devil as well as matters of a more complex political, Jacobite nature. However, from 1717 the Society was established in the Mitre Tavern, Fleet Street, and there is a continuous series of minutes from then until the present day. The minute books of the Ordinary Meetings are still composed in manuscript.
The Royal Charter
In 1725 the Society moved to rented rooms in Gray's Inn, followed by rooms in King's Bench Walk and a return to the Mitre in 1729. Amongst the members was 'honest Tom Martin of Palgrave', whose 'thirst after Antiquities was as great as his thirst after liquors'. In 1736 the Society was presented with an iron mace to be laid before the President at each meeting, a practice which continues today, using a silver mace. In 1751 the Society was granted a Royal Charter and took on its present form.
The role of the Society was, and continues to be defined as 'the encouragement, advancement and furtherance of the study and knowledge of antiquities and history in this and other countries'. The basic structure of the governance of the Society, with the annual election of Officers and Council on St George's Day (23 April) was also put in place at this time.
Somerset House
The Society left the Mitre Tavern in 1753 and moved into the former Robin's Coffee House in Chancery Lane. In 1780 the Society again moved to new premises in Somerset House granted by George III . These rooms, which now form part of the Courtauld Institute Art Galleries, still have the intertwined SA monogram of the Society as part of the ceiling decorations.
Burlington House
The Society remained at Somerset House until 1874. From 1856 onwards, however, the growth of the Government Civil Service, in particular of the Inland Revenue, led to increased pressure on space in Somerset House and a move for the Society became inevitable. Although the Society was reluctant to move, it was offered a suite of purpose-built apartments in Burlington House, Piccadilly, designed by architects Banks and Barry, which would give it significantly more room than was available in Somerset House. The move finally took place in December 1874.
”Berlusconi si e’ protetto con il lodo Alfano”, ”I giudici spieghino chiaramente l’origine del pagamento a Mills”, ”Cade la maschera del clown”, ”Buffone sciovinista”. Questi i titoli dei quotidiani esteri, tra i quali i britannici Times e Guardian ed il francese Liberation, che i candidati della listePer Unaltracittà e ‘Unaltraprovincia hanno esposto su alcuni striscioni stamani a Firenze, davanti a Palazzo Vecchio, per protestare contro Silvio Berlusconi, la cui visita elettorale in citta’ e’ prevista per questo pomeriggio. A guidare la protesta la candidata a sindaco per ”Per Unaltracittà” Ornella De Zordo e quella alla presidenza della Provincia Claudia Agati.
Shield
Place of origin:
Florence, Italy (probably, made)
Date:
ca. 1380-1450 (made)
Artist/Maker:
unknown (production)
Materials and Techniques:
Painted and gilt gesso on wood, lined with leather
Museum number:
3-1865
Gallery location:
Medieval and Renaissance, room 64, case 9
This shield is emblazoned with a griffin, a mythical beast that formed the coat of arms of the Villani family of Florence, who made their money in the wool trade in the years after 1300. I The shield was made for display rather than protection and it would have been carried by family retainers at processions and pageants staged in the city at the time. Until the 1460s, Florence was an oligarchic republic, where various merchant families vied with each other for supremacy. The theme of this shield is heraldic and serves to emphasise the importance of this particular family.
Shield made of wood covered with painted and gilt gesso on the outside and leather on the inside, charged with the arms of the Villani family of Florence, a "griffin rampant sable with a label of three points gules, within a bordure engrailed with gules" (Hayward:European Armour: "gules" is a heraldic term for red). The griffin is composed of thickly built up gesso painted black or dark blue set in a gilt gesso scrolled background. The border is indented with red dog-tooth patterns. According to the early museum records, there was no trace of an arm loop but three nails remained, presumably on the inside.
Fonte / Source:
Israel Folau escapes Brett Morris' clutches as he scores his first try of game two of the 2010 State of Origin.
Photo: Claudia Baxter Queensland Times
Burton Agnes Manor House
Grade I Listed
List Entry Number: 1280994
Detail
BURTON AGNES MAIN STREET TA 1063-1163 (north side, off) 11/22 Burton Agnes Manor House
GV I
Manor house. Origins of c1170-5 for Roger de Stuteville with C15 roof, outer walls c1601-10 with later alterations including probably early-mid C18 fenestration. Pinkish-red brick in English bond with magnesian limestone ashlar dressings, with coursed magnesian limestone to rear and west and concealed roof. 3 storeys, 4 bays. 2- and 3-course chamfered plinth. Quoins. Entrance to fourth bay a C20 plank door within chamfered round ashlar arch. Windows: ground floor has 6-pane sashes, first floor has 12-pane sashes; second floor has 6-pane sashes, all within double-chamfered, ovolo-moulded ashlar surrounds. Cavetto-moulded cornice. North side. Ground floor has 3 blocked segmentally-arched openings, one blocked straight-headed opening, and remains of lancet window with chamfered surround. First floor: remains of further round-arched opening, now blocked. Ashlar chimney rises from first-floor level on corbel table. East side has blocked entrance within double-chamfered surround and similar fenestration to front facade. West side has blocked window opening which breaks moulded first-floor band; a chamfered ashlar architrave with 2-light mullion window to head; slit window. Interior. C12 undercroft of 4 by 2 bays with short, thick-set round piers with spurs to the bases, square abaci and waterleaf capitals; to westernmost pier are holes marked for 'Nine Men's Morris'. Vaults have single-chamfered ribs. Pointed arch to spiral staircase in north-west corner which leads to 2-storey former great hall. Hall: remains of blocked pointed window with Perpendicular tracery to head to west wall. Remains of fireplace. Window openings are deeper to inside on south and west facades indicating position of Elizabethan windows. Remains of segmentally-arched window to north wall. Roof: arch braces on corbels support chamfered tie beams. Dentil cornice. Exposed rafters. Moulded ridge purlin. Pevsner N, Yorkshire, York and The East Riding, 1978, p 207. M Wood, Burton Agnes Old Manor House, 1981.
Listing NGR: TA1025163251
Arts plastiques en anglais, séance expérimentale Juillet 2011 n°2. Veuillez inscrire vos enfants au plus vite pour la rentrée septembre 2011, cette activité menée par l'artiste américaine Rose Coogan plait beaucoup et bientôt la salle sera complète !
65 €/trimestre, frais de matériel et maintenance de ce somptueux local. Tous les samedis, de 10H à 12H30, enfants + de 6 ans. On parle anglais, un rapport mensuel de vocabulaire illustré sera distribué à chacun.
Seuls les adultes anglophones d'origine sont admis (gratuitement) ainsi que les parents accompagnants leurs enfants pour s'initier et pratiquer l'anglais tout en réalisant des missions artistiques. En ce moment, terre glaise (qui sera cuite au four) thème jardinage, Peter Rabbit...
Châteauvieux (Loir-et-Cher).
Le château d'origine médiévale fut constamment habité. Il passa par héritage en 1821 à Augustine Marie Rosalie de Forges de Châteaubrun (1772-1853), épouse de Pierre-Paul Royer-Collard (1763-1845).
Issu d’une famille de la bourgeoisie rurale de la Marne, Pierre-Paul Royer-Collard devint avocat. Il participa aux évènements révolutionnaires. Proche des Girondins, il dut quitter Paris durant la Terreur.
En 1797, il devint membre du Conseil des Cinq-Cents pour le département de la Marne. Il en fut exclu suite au coup d’Etat du 18 fructidor en IV.
Partisan de la monarchie constitutionnelle, il entra au conseil secret du comte de Provence, futur Louis XVIII.
Après le coup d'État du 18 Brumaire, l'espoir d'un retour à la royauté disparaît et Royer-Collard se rapproche de l'Empire.
Professeur d’histoire de la philosophie moderne à la Sorbonne, il prit en 1815 la direction de la Commission de l'Instruction publique.
En 1816, il obtint l'instruction communale gratuite. La même année, il devint le porte-parole des "doctrinaires", qui voulaient un retour à une monarchie tempérée, contre les "ultras" qui voulaient une restauration pure et simple.
En 1820, suite a l'arrivée au pouvoir des "ultras",
Entré dans l’opposition, il se rapprocha de François Guizot avec lequel il créa la société "Aide toi, le ciel t’aidera".
En 1828, il revint au premier plan comme président de la Chambre des députés (il fut la même année élu à l’Académie française). C'est à ce titre que le 18 mars 1830 il présente l'adresse des 221 à Charles X, prélude à la Révolution de juillet 1830.
Sous Louis-Philippe, il siège encore à l'Assemblée nationale mais il s'éloigne de la vie politique. Il juge la démocratisation trop rapide et dangereuse.
Il passa les dernières années de sa vie à fréquenter assidument ses amis et voisins, en particulier Talleyrand.
Royer-Collard défendit le principe de la séparation de l’Église et de l’État, mais il le fit parce qu’il considérait que laisser le pouvoir temporel agir sur la religion était un rabaissement de cette dernière.
The medieval castle was constantly inhabited. He passed by inheritance in 1821 to Augustine Marie Rosalie Forges Chateaubrun (1772-1853), wife of Pierre-Paul Royer-Collard (1763-1845).
Coming from a family of rural bourgeoisie of the Marne, Pierre-Paul Royer-Collard became a lawyer. He participated in the revolutionary events. Close to the Girondins, he had to leave Paris during the Terror.
In 1797 he became a member of the Council of Five Hundred for the department of Marne. He was expelled following the coup of 18 Fructidor in IV.
Supporter of constitutional monarchy, he entered the secret counsel of the Count of Provence, the future Louis XVIII.
After the coup d'état of 18 Brumaire, the hope of a return to monarchy disappears and Royer-Collard approximates the Empire.
Professor of history of modern philosophy at the Sorbonne in 1815 he took the direction of the Commission of Public Instruction.
In 1816, he received instruction communal free. The same year, he became the spokesman for the "doctrinaire" who wanted a return to monarchy, against the "ultras" who wanted to restore pure and simple.
In 1820, following the rise to power has the "ultras"
Joined the opposition, he approached François Guizot, with whom he founded the company "Help yourself, heaven help you."
In 1828, he returned to the forefront as president of the Chamber of Deputies (the same year he was elected to the French Academy). It is for this reason that March 18, 1830 it has the address of 221 to Charles X, a prelude to the Revolution of July 1830.
Under Louis-Philippe, it still serves the National Assembly, but he distanced himself from politics. It considers democratization too fast and dangerous.
He spent the last years of his life to attend assiduously his friends and neighbors, especially Talleyrand.
Royer-Collard defended the principle of separation of church and state, but he did it because he felt that leaving the temporal power to act on religion was a lowering of the latter.
Artista: Origin
Evento: Summer Breeze Festival
Fotografo: Emanuela Giurano
Data: 20 agosto 2010
Città: Dinkelsbuhl - Germania
Performed by Drum Feng at the Esplanade Outdoor Theatre during Moonfest 2018 for the Mid-Autumn Festival celebrations.
Origins at North High School Phoenix, AZ 4/2/09
Moderator: Lawrence Krauss
Nobel Laureates: David Gross, Baruch Blumberg, Steve Weinberg.
In true Elastic City form, we bring you our version of the "benefit." We'll play with sound and spirits to collectively transform Jack Geary Contemporary over the course of the night.
Please join us at our festival’s closing night party and help Elastic City continue to bring participatory walks, talks and ways to the public.
Tuesday, October 7, 2014
7–10pm
Jack Geary Contemporary
185 Varick Street; Manhattan
Admission: $40/person
Open bar with cocktails by Tim Miner (Magic Touch Cocktails)& Tristan Willey
Hors d'oeuvre: Butterfield Catering
Spirits: Tito's Handmade Vodka
Water: Perrier
Chocolate: JoMart Chocolates
Red carpet performances: luciana achugar, Nancy Nowacek, Niegel Smith
Portraits: Kate Glicksberg
DJ: John DeCicco
Lighting: Esteban Varas
MC: Ben Weber
Party marm: Nicolette Dixon
Current exhibition: Richard Jacobs
We'll have a raffle with prizes from: Beggars Group, HERE Arts Center, Joe's Pub, Kings County Distillery, a cocktail class with Tim Miner, Origins, Red Hook Winery, Shankminds, United Airlines/Peter Shankman, and more!
Host Committee: John DeCicco, Nora Hennessy, Heather Janoff Johnson, Carla Kasumi, Sonya Kolowrat, Keith Paul Medelis, Tim Miner, Nancy Nowacek, Todd Shalom, Peter Shankman, Niegel Smith, Ryan Tracy and Ben Weber
Festival partnering organizations: Pratt Institute's new MFA in Writing; Columbia University Graduate School of Architecture, Planning and Preservation (GSAPP); Brooklyn Museum; Jack Geary Contemporary; Aerial Arts NYC and Lab/Shul
This program is supported, in part, by public funds from The New York City Department of Cultural Affairs in partnership with The City Council.
Festival foundation support: Asylum Arts & Foundation for Contemporary Arts
Media partner: Hyperallergic
Photo by Caitlin Ruttle
Eugene, Oregon
Artists: David Thompson & Betsy Wolfston 2005
Wandering around outside the Eugene Amtrak station late yesterday afternoon and into the evening waiting for the train from Seattle which was running late so I was quite happy I'd brought my camera.
OM System OM-5
Panasonic Leica DG Summilux 25mm f/1.4
After ten years and more than 103,000 photographs I still keep finding something new to photograph. I did not know that there was a ‘round tower’ in Swords until today.
The town's origins date back to 560 AD when it was founded by Saint Colmcille (521–567). Legend has it that the saint blessed a local well, giving the town its name, Sord, meaning "clear" or "pure". However, An Sord also means "the water source" and could indicate a large communal drinking well that existed in antiquity.St. Colmcille's Well is located on Well Road off Swords Main Street. Sord may also refer to a "sward", an 'expanse of grass'.
The most ubiquitous landscape indicators of Early Christian Settlement are the ecclesiastical enclosures. In Swords case the street pattern has been influenced by the circular alignment of the settlement. The medieval town developed in a linear pattern along the Main Street in a north – south direction. Swords, has one of the best examples of this settlement pattern in the Dublin region. The round tower, 26m in height, is also an indicator of early Christian settlement. At the northern end of the street stands Swords Castle, 200m northeast of the ecclesiastical site, which was built in the early 13th century. A short distance north of the Castle is an elevation known as Spittal Hill, where a hospital once stood.
In 1994, Swords became the county seat of the new county of Fingal after the breakup of the former County Dublin; in 2001, it also became the administrative centre for Fingal, upon the completion of Fingal's County Hall.
During its 400 year history, Kennedy Quay and its associated docklands have been the seat of commerce and trade for the City of Cork however the area has been in decline for many years.
Kennedy Quay still operates commercially and has a number of interesting features including a number of old buildings but there has been a lot of demolition work in the area since I first visited ten years ago.
One of the key landowners in Cork Docklands, Origin Enterprises owns close to thirty acres of land on Cork’s south docks and demolition has taken place of their silos on Kennedy Quay by the R&H Hall building. Origin Enterprises, a subsidiary of convenience food group IAWS, has recently submitted a plan for a major retail and residential development of the docklands area of Cork.
In March the Government announced that three major housing developments in Cork City will benefit from combined State support of €25.89 million through the Local Infrastructure Housing Activation Fund (LIHAF). According to the press release - “The new funding will catalyse the development of three sites: a 600 unit suburban greenfield site at the Old Whitechurch Road; the former “Atlantic Quarter” site on the former Ford Depot site on Centre Park Road; and the R & H Hall site on Kennedy Quay.”
Label: Origins Summer ‘14
Photography, Post, Hair, Makeup & Styling: Mohsin Khawar Photography
Model: Hina
Facebook business page: www.facebook.com/mohsinkhawarphotography
Instagram: www.instagram.com/mohsinkhawarphotography
Twitter: www.twitter.com/mohsinkhawar
Website: www.mohsinkhawar.com
We are available for domestic & international travel!
For queries: info@mohsinkhawar.com
The Palatine Hill
Rome has its origins on the Palatine. Excavations show that people have lived in the area since the 10th century BC. Excavations performed on the hill in 1907 and again in 1948 unearthed a collection of huts believed to have been used for funerary purposes between the 9th and 7th century BC approximating the time period when the city of Rome was founded.
Pallantium (Ancient Greek: Παλλάντιον) was an ancient city near the Tiber river on the Italian peninsula. Roman mythology, as recounted in Virgil's Aeneid for example, states that the city was founded by Evander of Pallene and other ancient Greeks sometime previous to the Trojan War. In addition, Dionysius of Halicarnassus writes that Romans say that the city was founded by Greeks from Pallantium of Arcadia, about sixty years before the Trojan war and the leader was Evander. The myth of the city's origin was significant in ancient Roman mythology because Pallantium became one of the cities that was merged later into ancient Rome, thereby tying Rome's origins to the ancient Greek heroes. Other cities in the area were founded by various Italic tribes.
Virgil states that Evander named the city in honor of his ancestor, Pallas, although Pausanias as well as Dionysius of Halicarnassus say that Evander's birth city was Pallantium, and thus he named the new city after the one in Arcadia. Dionysius of Halicarnassus also mention that some writers, including Polybius of Megalopolis, say that the town was named after Pallas, who was the son of Heracles and Lavinia, the daughter of Evander, and when he died his grandfather raised a tomb to him on the hill and called the place Pallantium, after him.
According to Livy, after the immigration of the Sabines and the Albans to Rome, the original Romans lived on the Palatine. The Palatne Hill was also the site of the ancient festival of the Lupercalia.
Many affluent Romans of the Republican period (c.509 BC – 44 BC) had their residences there.
From the start of the Empire (27 BC) Augustus built his palace there and the hill gradually became the exclusive domain of emperors; the ruins of the palaces of at least Augustus (27 BC – 14 AD), Tiberius (14 – 37 AD) and Domitian (81 – 96 AD) can still be seen.
Augustus also built a temple to Apollo here.
The great fire of 64 AD destroyed Nero's palace, the Domus Transitoria, but he replaced it by 69 AD with the even larger Domus Aurea over which was eventually built Domitian's Palace
From the 16th century, the hill was owned by the Farnese family and was occupied by the Farnese Gardens, still partially preserved above the remains of the Domus Tiberiana.
At the top of the hill, between the Domus Flavia and the Domus Augustana, the Villa Mattei was built in the 16th century, then purchased around 1830 by the Scot Charles Mills who turned it into an elaborate neo-Gothic villa. At the end of the 19th century the villa was converted into a convent. This was partially demolished from 1928 to allow excavations and in the surviving part of the building the Palatine Museum has been installed.
The Roman Forum
The Roman Forum, also known by its Latin name Forum Romanum (Italian: Foro Romano), is a rectangular forum (plaza) surrounded by the ruins of several important ancient government buildings at the center of the city of Rome. Citizens of the ancient city referred to this space, originally a marketplace, as the Forum Magnum, or simply the Forum.
For centuries the Forum was the center of day-to-day life in Rome: the site of triumphal processions and elections; the venue for public speeches, criminal trials, and gladiatorial matches; and the nucleus of commercial affairs. Here statues and monuments commemorated the city's great men. The teeming heart of ancient Rome, it has been called the most celebrated meeting place in the world, and in all history. Located in the small valley between the Palatine and Capitoline Hills, the Forum today is a sprawling ruin of architectural fragments and intermittent archaeological excavations attracting 4.5 million or more sightseers yearly.
Many of the oldest and most important structures of the ancient city were located on or near the Forum. The Roman Kingdom's earliest shrines and temples were located on the southeastern edge. These included the ancient former royal residence, the Regia (8th century BC), and the Temple of Vesta (7th century BC), as well as the surrounding complex of the Vestal Virgins, all of which were rebuilt after the rise of imperial Rome.
Other archaic shrines to the northwest, such as the Umbilicus Urbis and the Vulcanal (Shrine of Vulcan), developed into the Republic's formal Comitium (assembly area). This is where the Senate—as well as Republican government itself—began. The Senate House, government offices, tribunals, temples, memorials and statues gradually cluttered the area.
Over time the archaic Comitium was replaced by the larger adjacent Forum and the focus of judicial activity moved to the new Basilica Aemilia (179 BC). Some 130 years later, Julius Caesar built the Basilica Julia, along with the new Curia Julia, refocusing both the judicial offices and the Senate itself. This new Forum, in what proved to be its final form, then served as a revitalized city square where the people of Rome could gather for commercial, political, judicial and religious pursuits in ever greater numbers.
Eventually much economic and judicial business would transfer away from the Forum Romanum to the larger and more extravagant structures (Trajan's Forum and the Basilica Ulpia) to the north. The reign of Constantine the Great saw the construction of the last major expansion of the Forum complex—the Basilica of Maxentius (312 AD). This returned the political center to the Forum until the fall of the Western Roman Empire almost two centuries later.
“In this space, abstract figures form together and organize colorful transcendental structures that represent a mutual whole between opposing forces.”
-Oree Original
Pueblo Nuevo presents, ORIGIN, the first solo exhibit by Oree Original (aka Daniel Jimenez). This new series of paintings are intensely bright, kaleidoscope-like puzzles that evoke pre-Columbian iconography remixed with Oree's personal mythology of our universe. Triangles, circles, squares and lines are used to construct complicated hypnotic patterns which form larger entities. Different combinations of these basic shapes, coupled with the vibrating relationships of solid colors give Oree's creations a seemingly infinite life with endless possibilities of their origins.
Born and raised in East Los Angeles, Oree moved to the Bay Area to begin an internship with Pueblo Nuevo and continue building on a career as a self taught visual artist. Currently residing in Berkeley, Oree has gained quite a reputation on dance floors of nightclubs and house parties all over the Bay. Only being kicked out of a handful of venues, he continues to steal hearts with his impeccable flowing locks.
Opening Reception
February 11th 2012 6pm-12am
Pueblo Nuevo Art Space & Gallery
1828 San Pablo Ave #1 Berkeley CA
with DJ Smokestack
Jean-Baptiste van Loo, né le 11 janvier 1684 à Aix-en-Provence et mort le 19 décembre 1745 dans la même ville, est un peintre français né et élevé dans une dynastie de peintres d'origine néerlandaise. Auteur de nombreux portraits, tableaux d'histoire et de cinq plafonds, il voyage en Italie et en Angleterre.
Louis, XV, roi de France et de Navarre (1723)
Huile sur Toile
Dimensions 2,05 x 1,71 m
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Website : GALERIE JUGUET
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Website : MÉMOIRE DES PIERRES
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Contexte historique et fonction du portrait
En 1723 Louis-XV a atteint la majorité (né en 1710) : la France sort progressivement de la période de régence (Philippe d’Orléans). Les portraits officiels réalisés à cette date ont une fonction politique évidente : affirmer l’autorité du jeune roi, sa légitimité dynastique et sa capacité à commander, dès l’enfance. Ce portrait s’inscrit donc dans une stratégie visuelle d’ »éducation du regard public » : on montre un souverain jeune mais déjà roi-chef des armées.
Attribution et ateliers Van Loo, Parrocel, variantes
Jean-Baptiste Van Loo est un portraitiste formé en Italie, actif à Paris et en Europe ; il produit de nombreux portraits officiels. Pour les grands formats équestres ou officiels, il était courant que l’atelier ou un peintre spécialisé (par ex. Charles Parrocel, spécialiste des chevaux/scènes militaires) collabore d’où l’existence de variantes et d’attributions multiples pour les portraits de Louis-XV réalisés autour de 1723. Selon les notices et reproductions, la version versaillaise et d’autres variantes d’atelier circulent sous le nom de Van Loo (parfois associées à Parrocel pour la partie équestre).
Description formelle (composition, pose, éléments iconographiques)
Format et composition : grand format (2,05 × 1,71 m) permettant une présence monumentale. Le roi est représenté en stature souveraine soit à cheval (dans la version équestre officielle de 1723) soit, dans des variantes en pied/mi-corps, debout en armure posture trois-quarts dynamique, main droite dirigée vers un bâton de commandement ou posée sur la hanche.
Attributs militaires et royaux : armure brillante, bâton de commandement fleurdelisé, écharpe/cordon bleu (ordre du Saint-Esprit), manteau d’hermine ou drapé aux armes de France ; colonne et tenture rouge en arrière-plan ; parfois, dans la version équestre, un paysage de campagne ouvert sur l’horizon. Ces éléments codifiés renvoient simultanément à la puissance militaire, à l’ordre dynastique et au faste monarchique.
Couleur & lumière : palette dominée par ors/métalliques (armure), bleu (sceptre/écharpe) et rouge (tenture) contrastes classiques pour isoler la figure royale par rapport à l’arrière-plan atmosphérique. La lumière souligne l’armure et le visage, accentuant la tridimensionnalité et l’autorité.
Lecture stylistique et technique
Trait et facture : Van Loo (et son atelier) privilégient un rendu soigné du visage une douceur dans la carnation, regard posé tandis que l’armure et les étoffes montrent un travail précis des reflets et des drapés. La juxtaposition du traitement délicat du visage et du rendu plus sculptural de l’armure renforce l’idée du roi « homme » + « puissance » incarnée.
Modèles et références : le portrait emprunte au vocabulaire baroque/classique des grands portraits royaux (Rigaud pour Louis XIV, les modèles équestres d’empereurs romains) mais l’exécution montre déjà un goût plus discret, plus « rocaille » dans l’élégance du costume et des couleurs propre aux premières décennies du XVIIIᵉ siècle.
Iconographie et message politique
Jeunesse et autorité : représenter Louis-XV en armure et avec le bâton de commandement vise à effacer l’idée d’une minorité ou d’un pouvoir affaibli. L’armure symbolise le commandement sur les armées et la continuité du pouvoir monarchique.
Légitimation dynastique : les symboles héraldique (ermine, fleurs de lys, bleu du grand ordre) rappellent l’origine divine et l’immutabilité de la monarchie. La colonne/tapisserie et le paysage donnent une dimension temporelle et universelle au règne pas seulement un portrait privé, mais un manifeste d’État.
Variantes, copies et destination muséale
Il existe plusieurs versions et copies d’atelier : portraits en pied, versions équestres, tirages d’après l’original pratique courante pour diffuser l’image royale à la Cour et dans les résidences royales. La présence de ce tableau au château de Versailles s’inscrit dans la politique muséographique de conservation des portraits royaux exposés pour rappeler la continuité historique.
Appréciation critique forces et limites
Forces : puissance du dispositif symbolique, efficacité communicative (le message politique est clair), belle maîtrise technique pour la carnation et les textures (armure, velours, fourrures). L’œuvre remplit sa fonction de représentation officielle.
Limites : le portrait reste fortement codifié ; la liberté d’expression artistique est au service de la propagande dynastique on n’attend pas ici une grande expérimentation psychologique ; le visage juvénile peut sembler idéaliser le roi pour renforcer sa stature.
CES PHOTOS NE SONT PAS À VENDRE ET NE PEUVENT PAS ÊTRE REPRODUITES, MODIFIÉES, REDIFFUSÉES, EXPLOITÉES COMMERCIALEMENT OU RÉUTILISÉES DE QUELQUE MANIÈRE QUE CE SOIT.
UNIQUEMENT POUR LE PLAISIR DES YEUX.
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This pic compels me to tell the story of a scientific study into the origins of optimism and pessimism. Before they set out on their study, the researchers decided that since these traits could be caused by environment as well as heredity, it would be necessary to find two very young test subjects so that they had not experienced much in their lives in hopes that they would get the most accurate data possible. Because of this and their need to be able to communicate with their test subjects, the scientists focused their search on finding 5 year old children for their test subjects. Ultimately, they settled on an initial test with a pair of kids, one from optimistic parents and one born of pure pessimists.
In the their first test, they placed each child in separate rooms full of toys with no instructions other than to do as they liked. After a couple of hours they checked in on the optimist child and found he was playing and laughing and having a great time. When they sat and talked with him, he told them,"You guys must really like me! You gave me all of these great toys and let do whatever I wanted. This is great!"
When they checked up on the pessimist child, he was sitting in the center of the room with his head down and all of the toys were completely untouched. When they asked him why he wasn't playing, he said, "I'm afraid of breaking something. If I break these toys you will surely hate me even more than you did when you left me here alone."
For the next test, they placed each child in a room filled with fresh horse manure. When they checked back on the kids a couple of hours later, they first checked on the pessimist child. When they talked to him he said, "I don't understand. I didn't break any of the toys but you punished me by putting me in a room full of poop. I don't think you ever liked me and now I don't like you."
When they checked on the optimist child, they were stunned when they opened the door. The kid was up to his waist in waste and was wildly throwing dung everywhere. When they stopped him and asked what he was doing, he looked at them with a huge grin and said, "With all of this shit, there's gotta be pony in here somewhere!"
Ely Cathedral is an Anglican cathedral in the English city of Ely, Cambridgeshire.
The cathedral has its origins in AD 672 when St Etheldreda built an abbey church. The present building dates back to 1083, and cathedral status was granted it in 1109. Until the reformation it was the Church of St Etheldreda and St Peter, at which point it was refounded as the Cathedral Church of the Holy and Undivided Trinity of Ely, continuing as the principal church of the Diocese of Ely, in Cambridgeshire, England. It is the seat of the Bishop of Ely and a suffragan bishop, the Bishop of Huntingdon. Architecturally it is outstanding both for its scale and stylistic details. Having been built in a monumental Romanesque style, the galilee porch, lady chapel and choir were rebuilt in an exuberant Decorated Gothic. Its most famous feature however is the central octagonal tower, with lantern above, which provides a spectacular internal space and, along with the West Tower, gives a unique exterior landmark that dominates the surrounding landscape.