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Gerrit van Honthorst - (Gherardo delle Notti) (Utrecht 1592-1656), Orpheus, 1615-1616. Oil Canvas. Naples, Royal Palace.
Museo di Capodimonte is an art museum located in the Palace of Capodimonte, a grand Bourbon palazzo in Naples, Italy designed by Giovanni Antonio Medrano. The museum is the prime repository of Neapolitan painting and decorative art, with several important works from other Italian schools of painting, and some important ancient Roman sculptures. It is one of the largest museums in Italy. The museum was inaugurated in 1957
The Pelican Press was founded in 1916 by Sir Francis Meynell, with the active involvement of Stanley Morison - both of whom where key players in the world of British publishing.
The Glasgow Orpheus choir is still highly regarded - at this date, under conductor Hugh S Roberton, it was considered to be one of the best choirs in the UK.
"King of the butt." (closer look)
That moment when Orpheus realises there's nothing in Bob's pocket to steal.
Bob was leaning over the side of the couch to keep track of Arwen the Grey's (not pictured) progress as she walked across the floor -- mostly to make sure she didn't chew the computer cords. Orpheus, the red fan parrot, Deroptyusa. accipitrinus, flew off his cage and landed on Bob's posterior, and proceeded to look rather pleased with himself.
Orpheus is an adult (2006 hatch) male red fan (hawk-headed) parrot. He is usually quite sweet (although he does have his moments!). He was captive-bred and handfed in the USA and has lived as a companion pet all of his life. In this picture, his feathers are not quite immaculate because he is moulting right now.
Image: GrrlScientist, 8 June 2013.
One of my two favourite photographs of Orpheus.
Orpheus should be available for pre-order the second week of October, baring any set backs!
He's priced at $565, plus shipping. I'll have more info and pictures of St. George closer to release!
Two weeks in NOLA for the mardi gras 2017
Founded in 1993, the Krewe of Orpheus takes its name from the musically-inclined son of Zeus and Calliope. Founding members included Harry Connick, both the junior and senior.
In New Orleans, the krewe established themselves as a superkrewe with their first parade in 1994, which rolled with 700 riders. They were the first super Krewe to allow both male and female riders.
The Krewe's throws include a number of popular items including emblem beads, stuffed animals, signature beads, light-up Orpheus medallion beads, cups, three different types of doubloons, and 4-foot-long stuffed dragons.
They have a number of notable floats including the Dolly Trolley, the horse-drawn bus that was used in the opening of Hello Dolly with Barbra Streisand, the Smoking Mary which is a six unit float that looks like a steam locomotive, a Trojan horse and the Orpheus Leviathan Float, which is a three unit, 139-foot float, and the first Carnival float to use extensive fiber optic lighting.
Rock and Roll Hall of Fame inductee Fats Domino wass the honorary grand marshall for 2014. His eldest son, Antoine Domino III, rode in the parade and perform his 85 year old father's music.
In addition to Fats Domino, Quentin Tarantino reigned as the krewe's celebrity monarch.
From Pacific Stock Exchange statuary (not actual names)
San Francisco 2008
Thanks to xd360 for the frame and texture,
to which I added a cracked earth layer.
This commission presents the first large-scale installation in the United States by the artist Imran Qureshi (born 1972, Hyderabad, Pakistan). The sources for the lush patterns that sprout from his spills of paint are the detailed works on paper that he makes in the style of the miniaturists who worked for the Mughal court (1526–1857). Within the strictures of this ancient discipline, Qureshi continues to find remarkable room to experiment. In his exquisite miniatures, the artist pairs richly detailed landscapes with figures in modern dress, images of contemporary life in Pakistan, or portraits of himself at work. As they did in the Mughal era, miniatures remain for Qureshi a vehicle for conveying complex political references within the parameters of their small dimensions and refined imagery.
In recent years Qureshi has transplanted his landscapes from the boundaries of the page to specific architectural environments. Flooding his chosen sites with acrylic, the artist then works the paint into thickets of ornamental leaves with foliate patterns that evoke the luxuriant walled gardens of the Mughals—a ubiquitous subject in historic miniatures. Here, on the Roof Garden, the blooms also echo the verdant foliage of Central Park—a green space conceived in the nineteenth century to function as a site of respite and tranquility in the midst of the chaotic and cacophonous city.
Three years ago Qureshi began to use red acrylic in his installations in response to brutal bombings in Lahore. While many of the world's citizens have become accustomed to almost daily attacks on their streets, such cruelty striking so close to home provoked a deep response in his work. "Yes, these forms stem from the effects of violence," he said of his visceral blooms of paint. "They are mingled with the color of blood, but, at the same time, this is where a dialogue with life, with new beginnings and fresh hope starts." Given the devastating recent events in Boston, Qureshi's theme of tragedy giving rise to a blossoming of new growth is all the more poignant as a message of recovery and regeneration.
Boughton House, Northamptonshire, is a country house about 3 miles north-east of Kettering near Geddington. Part of an estate of 11,000 acres, it is one of the seats of the Duke of Buccleuch and famed for its beauty, its collections, and the fact it has survived virtually unchanged since the 17th century. While possessing a medieval core, its exterior evokes an opulent French chateau, causing it to be called 'The English Versailles'.
In keeping with the French style of its exterior, Boughton House is set amidst a highly impressive formal, yet arcadian garden of strict geometry, designed on the golden ratio. Vast swathes of turf, planes of reflecting water, strong lines of trees and linear earth forms create an intellectually meditative landscape indicative of the Age of Enlightenment and the idea that a garden could be a journey of the mind, yet acknowledge the natural world. The 2nd Duke, who had been nicknamed John The Planter, swept away the previous ornamental parterres, multiplied the avenues of elms and planes, and developed the role of water which structures the garden. Later, the landscaper of the garden at Stowe, Charles Bridgeman, who was under his employ, is believed to have created the sculptural earth forms.
Restoration of the garden was begun by the 9th Duke, and has continued under the 10th Duke. It included returning the River Ise to its eighteenth-century width, which required two miles of green oak boarding, fixed by coach bolts. In 2009 landscape designer Kim Wilkie was commissioned to create a new work to complement an existing pyramidal grassed mount. The result, called Orpheus, is named after the famed musician of Greek mythology who, when his wife Eurydice died, went down into the underworld to try to reclaim her. His music was so beautiful that Hades relented and allowed Eurydice to return to the world of the living. This striking landform seamlessly continues the garden's intellectual dialogue via an immense inverted pyramid and spiral rill, both set within a golden ratio. In 2015 The Grand Etang, or ‘large lake’ in French, a long-vanished lake of almost one-acre with a 75 ft tall water jet was recreated, to once again reflect the main frontage of Boughton. Located immediately to the north-west of the House, it is one of the earliest surviving features from the original gardens and designed landscape. It was created in the early 18th century as a reflecting pool for the house and was also used for ice-skating in the winter.
Near the gate to the fort stands the 22' high bronze statue of the Greek hero Orpheus, upon a marble pedestal 15' high and decorated with a carved portrait of Francis Scott Key and a procession of muses. The monument, by sculptor Charles H. Niehaus, was dedicated in 1922 to Key, author of the Star Spangled Banner, and the soldiers and sailors who took part in the Battle of North Point and the defense of the fort during the War of 1812. The monument to Col. George Armistead, the commander of the fort, was dedicated in 1914 during the Centennial celebration of the writing of the National Anthem. This life-sized statue by sculptor Edward Berge stands outside the visitors' center. A bronze portrait tablet of Francis Scott Key, by sculptor Hans Schuler and also dedicated in 1914, hangs on the brick wall of the fort.
From NPS Source
Boughton House, Northamptonshire, is a country house about 3 miles north-east of Kettering near Geddington. Part of an estate of 11,000 acres, it is one of the seats of the Duke of Buccleuch and famed for its beauty, its collections, and the fact it has survived virtually unchanged since the 17th century. While possessing a medieval core, its exterior evokes an opulent French chateau, causing it to be called 'The English Versailles'.
In keeping with the French style of its exterior, Boughton House is set amidst a highly impressive formal, yet arcadian garden of strict geometry, designed on the golden ratio. Vast swathes of turf, planes of reflecting water, strong lines of trees and linear earth forms create an intellectually meditative landscape indicative of the Age of Enlightenment and the idea that a garden could be a journey of the mind, yet acknowledge the natural world. The 2nd Duke, who had been nicknamed John The Planter, swept away the previous ornamental parterres, multiplied the avenues of elms and planes, and developed the role of water which structures the garden. Later, the landscaper of the garden at Stowe, Charles Bridgeman, who was under his employ, is believed to have created the sculptural earth forms.
Restoration of the garden was begun by the 9th Duke, and has continued under the 10th Duke. It included returning the River Ise to its eighteenth-century width, which required two miles of green oak boarding, fixed by coach bolts. In 2009 landscape designer Kim Wilkie was commissioned to create a new work to complement an existing pyramidal grassed mount. The result, called Orpheus, is named after the famed musician of Greek mythology who, when his wife Eurydice died, went down into the underworld to try to reclaim her. His music was so beautiful that Hades relented and allowed Eurydice to return to the world of the living. This striking landform seamlessly continues the garden's intellectual dialogue via an immense inverted pyramid and spiral rill, both set within a golden ratio. In 2015 The Grand Etang, or ‘large lake’ in French, a long-vanished lake of almost one-acre with a 75 ft tall water jet was recreated, to once again reflect the main frontage of Boughton. Located immediately to the north-west of the House, it is one of the earliest surviving features from the original gardens and designed landscape. It was created in the early 18th century as a reflecting pool for the house and was also used for ice-skating in the winter.
Near the gate to the fort stands the 22' high bronze statue of the Greek hero Orpheus, upon a marble pedestal 15' high and decorated with a carved portrait of Francis Scott Key and a procession of muses. The monument, by sculptor Charles H. Niehaus, was dedicated in 1922 to Key, author of the Star Spangled Banner, and the soldiers and sailors who took part in the Battle of North Point and the defense of the fort during the War of 1812. The monument to Col. George Armistead, the commander of the fort, was dedicated in 1914 during the Centennial celebration of the writing of the National Anthem. This life-sized statue by sculptor Edward Berge stands outside the visitors' center. A bronze portrait tablet of Francis Scott Key, by sculptor Hans Schuler and also dedicated in 1914, hangs on the brick wall of the fort.
From NPS Source
acrylic, pens and gold flakes on canvas, 50x60 cm, 2007
video at
www.youtube.com/watch?v=48K4BWiEq_o&feature=BFa&l...
and
The 'Flambeaux' of Mardi Gras in New Orleans were originally slaves who would light the parade route with torches in the days before electricity. Todays Flambeaux are performers that dance along the route with their kerosene fueled lights engaging the crowd between floats. This scene unfolded at this year's (2012) Orpheus parade along St. Charles Avenue in New Orleans.
The story of Orpheus and Eurydice,
as told by Apollonius of Rhodes, Virgil and Ovid
(and retold by Edith Hamilton in Mythology)
Orpheus: "On his mother's side he was more than mortal. He was the son of one of the Muses and a Tracian prince. His mother gave him the gift of music and Thrace where he grew up fostered it. The Thracians were the most musical of the peoples of Greece. But Orpheus had no rival there or anywhere except the gods alone. There was no limit to his power when he played and sang. No one and nothing could resist him.
In the deep still woods upon the Thracian mountains
Orpheus with his singing lyre led the trees,
Led the wild beasts of the wilderness.
Everything animate and inanimate followed him. He moved the rocks on the hillside and turned the courses of the rivers....
When he first met and how he wooed the maiden he loved, Euridice, we are not told, but it is clear that no maiden he wanted could have resisted the power of his song. They were married, but their joy was brief. Directly after the wedding, as the bride walked in a meadow with her bridesmaids, a viper stung her and she died. Orpheus' grief was overwhelming. He could not endure it. He determined to go down to the world of death and try to bring Eurydice back. He said to himself,
With my song
I will charm Demeter's daughter,
I will charm the Lord of the Dead,
Moving their hearts with my melody.
I will bear her away from Hades.
He dared more than any other man ever dared for his love. He took the fearsome journey to the underworld. There he struck his lyre, and at the sound all that vast multitude were charmed to stillness....
O Gods who rule the dark and silent world,
To you all born of a woman needs must come.
All lovely things at last go down to you.
You are the debtor who is always paid.
A little while we tarry up on earth.
Then we are yours forever and forever.
But I seek one who came to you too soon.
The bud was plucked before the flower bloomed.
I tried to bear my loss. I could not bear it.
Love was too strong a god, O King, you know
If that old tale men tell is true, how once
The flowers saw the rape of Proserpine,
Then weave again for sweet Eurydice
Life's pattern that was taken from the loom
Too quick. See, I ask a little thing,
Only that you will lend, not give, her to me.
She shall be yours when her years' span is full.
No one under the spell of his voice could refuse him anything. He
Drew iron tears down Pluto's cheek,
and made Hell grant what Love did seek.
They summoned Eurydice and gave her to him, but upon one condition: that he would not look back at her as she followed him, until they had reached the upper world. So the two passed through the great doors of Hades to the path which would take them out of the darkness, climbing up and up. He knew that she must be just behind him, but he longed unutterably to give one glance to make sure. But now they were almost there, the blackness was turning gray; now he had stepped out joyfully into the daylight. Then he turned to her. It was too soon; she was still in the cavern. He saw her in the dim light, and he held out his arms to clasp her; but on the instant she was gone. She had slipped back into the darkness. All he heard was one faint word, "Farewell."
Desperately he tried to rush after her and follow her down, but he was not allowed. The gods would not consent to his entering the world of the dead a second time, while he was still alive. He was forced to return to the earth alone, in utter desolation. Then he forsook the company of men. He wandered through the wild solitudes of Thrace, comfortless except for his lyre, playing, always playing, and the rocks and the rivers and the trees heard him gladly, his only companions. But at last a band of Maenads [women] came upon him....They slew the gentle musician, tearing him limb from limb, borne along past the river's mouth on to the Lesbian shore; nor had it suffered any change from the sea when the Muses found it and buried it in the sanctuary of the island. His limbs they gathered and placed in a tomb at the foot of Mount Olympus, and there to this day the nightingales sing more sweetly than anywhere else. "
Here is another version, taken from Thomas Bulfinch and retold by Juliana Podd in Encyclopedia Mythica.
Eurydice and Orpheus were young and in love. So deep was their love that they were practically inseparable. So dependent was their love that each felt they could not live without the other. These young lovers were very happy and spent their time frolicking through the meadows. One day Eurdice was gaily running through a meadow with Orpheus when she was bitten by a serpent. The poison of the sting killed her and she descended to Hades immediately.
Orpheus was son of the great Olympian god Apollo. In many ways Apollo was the god of music and Orpheus was blessed with musical talents. Orpheus was so sad about the loss of his love that he composed music to express the terrible emptiness which pervaded his every breath and movement. He was so desperate and found so little else meaningful, that he decided address Hades. As the overseer of the underworld, Hades heart had to be hard as steel, and so it was. Many approached Hades to beg for loved ones back and as many times were refused. But Orpheus' music was so sweet and so moving that it softened the steel hearted heart of Hades himself. Hades gave permission to Orpheus to bring Eurydice back to the surface of the earth to enjoy the light of day. There was only one condition--Orpheus was not to look back as he ascended. He was to trust that Eurydice was immediately behind him. It was a long way back up and just as Orpheus had almost finished that last part of the trek, he looked behind him to make sure Eurydice was still with him. At that very moment, she was snatched back because he did not trust that she was there. When you hear music which mourns lost love, it is Orpheus' spirit who guides the hand of the musicians who play it.
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