View allAll Photos Tagged Overcomer
This was suuuuch a great shoot with my best friend Amy.
We took a walk where we live, and ended up in this field, with lots of old dumped machinery (even an old beetle car), a tractor or two, some bikes, gates.. you get the idea.
We had a play around with a few things and Voilà this is what we came out with.
T'was a great shoot with lots of available light :D
To stand on the summit of Lupoglav, second highest peak of Prenj, in winter, and admire Himalayan kind of winter scenery, many things have to come together.
If this is how mild and dry winter looks up there just imagine the real winter. But even if you remove all the winter mountain weather obstacles it's still a huge climb, amazing 2000m altitude difference from the valley. There isn't a bigger climb in the entire Dinaric Alps.
Some 30 years ago 3 mountaineers lost their lives on Lupoglav in mid February. In their memory there is memorial climb each winter around that time of month. Many climbs failed because of all kind of inhumane conditions. But this year mountain was merciful and we overcame.
21 May 2019 - OECD Forum
Film Screening H is for Harry: A Boy Overcoming Illiteracy
Speakers : Jon Mc Goh, Producer - Mercurial Films
Jaime Taylor, Co-Director, H for Harry; Filmmaker - Postcode Films
Photo : © Andrew Wheeler / OECD
The reason being this picture represents overcome is because you can look at this picture as you do your own life. People have to cut down some trees in their life in order to move on and get rid of unnecessary things.
All we wanna do is take the chains off. All we wanna do is break the chains off. All we wanna do is be free; All we wanna do is be........free.
6th photo in my Forget Me Not Series. This whole series represents the stages of grief and sadness and how I deal with it. View on black, please.
View the whole series here
I think I can finally see the light at the end of the tunnel. There is a point in grieving that you begin to overcome the immense sadness weighing on your shoulders. You've gone as far as you can go, and there's no where else to go except up. That's what I've begun. That's what I'm doing. Going up. I can overcome.
Rania A. Al-Mashat, Minister of Tourism, Ministry of Tourism of Egypt speaking during the Session: Overcoming Fault Lines at the King Hussein Bin Talal Convention Centre during the World Economic Forum on the Middle East and North Africa, Jordan 2019. Copyright by World Economic Forum / Faruk Pinjo
It's those dog days of summer again. We went to the park yesterday and it was hot, she did a little running and jumping of course, but we didn't stay long. I don't like to take her when it's so hot but she had some energy she needed to burn off before we have class again (today).
Our dog park has some cute homemade jumps and weaving poles that some person donated to the park. I kinda want to take Skimo to an agility class. She's such a fast runner.
History of the suburb Country road
The suburban Landstraße is, with regard to surface, of the three former suburbs the greatest one. It gave its name to the later third district. The suburban Landstraße has developed from that settlement which was formed around the convent of Saint Nicholas previously located here before the Stubentor. In the area of today's Rochus church where the climb to the terrace of the Vienna valley is overcome developed the old core of the later district. The suburb was originally called, by 1200, "Niklas suburb", about a century later Country road.
Traffic routes
The two already in ancient times used traffic routes are the Landstraße and the Rennweg. Because of their importance, surely they contributed to the decision to establish here a settlement. The at the foot of the Arsenal terrace situated part was called Rennweg, the other, lain deeper, maintained the name Landstraße. Both parts were connected by the later Hungarian alley (Ungargasse). Its name derived from the fact that already in the early days many, mainly coming from Hungary merchants quartered here. The existence of this alley Hungargasse, as it was called earlier, the Landstraße owed much in terms of its development into a major suburb. Much like the later main street of the suburb also the second most important stretch of road of the Landstraße, the Rennweg, goes back to the Roman Limes Route. In the early days there only a kind of mule track may have passed through the shoreland.
Infrastructure
From the 14th century onwards, along the Rennweg (Racing lane) vineyards are provable. In the first half of the 16th century at Rennweg existed a shooting range at which the citizens could practice in the use of weapons. The name of this traffic route is derived from a horse race that from 1382-1534 here usually was held twice a year: the so-called "Scharlachrennen (Scarlet race)".
The Citizen's Hospital of St. Marx was one of the oldest institutions of the district Country road. 1394, it emerged from a former hospice for lepers. It was located far outside the city, also because of the then legitimate fear of contagious diseases. In the 16th century the hospital by generous foundations got to goods such as vineyards, fields and gardens, whose income was used for the maintenance of the hospital. As 1784 the (now old) General Hospital was opened and took over the patient care, the Citizen's Hospital for several decades still served as a retirement home. Finally, Adolf Mautner adapted it to a brewery. This one soon evolved into one of the largest breweries in Austria. As part of the centralization of beer production in Schwechat, St. Marx brewery was closed. The remains of the Citizen's Hospital were damaged during World War II and replaced after the war by new buildings.
Economic Development
From the middle of the 13th century for the suburban Landstraße began a 170-year period of peace. This important fact is often overlooked due to a lack of historic incisions. Not until the end of the Middle Ages Vienna found itself exposed to several sieges. The heavily affected suburbs needed decades to recover.
Only after the last Turkish siege, as no further threat coming from the east had to be expected, in the suburb Country road a very dynamic development set in, so also in the commercial sector. In addition to grocery stores emerged a sugar refinery, clothing stores, tailors, leather goods producers and glassware stores. Also manufactories and factories were founded in the 18th and 19th centuries: a chemical factory, textile factories, mirror factories, book printings. Particularly noteworthy is the piano factory of Johann Andreas Streicher. The stemming from Stuttgart Streicher his manufacturing facility in the first half of the 19th century soon developed to the center of piano manufacturing. In the concert hall in his house at Ungargasse 46 many prominent artists were guests; the "Streicher Hall" was the site of many concerts.
Decisive changes in the overall structure of the Landstraße brought the incorporation of the three suburban communities in 1850 which had been aggregated to the third district of Vienna. The quiet suburb was transformed into a modern district.
www.wien.gv.at/bezirke/landstrasse/geschichte-kultur/land...
Lara Habib, Senior Presenter, Al Arabiya, United Arab Emirates and Sabri Saidam, Minister of Education and Higher Education of the Palestinian National Authority at the World Economic Forum on the Middle East and North Africa 2017. Copyright by World Economic Forum / Faruk Pinjo
www.pcoschallenge.com | Clinical psychologist Ruth Wittersgreen provides help for emotional and psychological issues related to PCOS such as anxiety and depression.
Rania A. Al-Mashat, Minister of Tourism, Ministry of Tourism of Egypt speaking during the Session: Overcoming Fault Lines at the King Hussein Bin Talal Convention Centre during the World Economic Forum on the Middle East and North Africa, Jordan 2019. Copyright by World Economic Forum / Faruk Pinjo
After a few bad days, with no good news and a sense of unease. What can help me to bring back serenity?
Wise written words
A pretty detail like a bookmark made with a pink ribbon
A tiny and old vase of carved crystal
The velvety texture of sage´s leaves, their unique aroma and beautiful color
Sun light
The composition of a tiny still life - I rather would say a improvised altar- with everyday items (...)
read more here: myhealingmoments.blogspot.com.es/2012/08/day-288.html
Annotation: I´m developing a 365 project which includes not only a daily photo, but also a daily post in my blog. This is the number 288. If you want to see all the photos: www.flickr.com/photos/healingmoments/sets/72157627759889118/
The Elliott School of International Affairs and the Gender Equality Initiative in International Affairs at George Washington University hosted a panel featuring three International Women of Courage (IWOC) honorees and Ambassador Reuben Brigety, Dean of the Elliott School. The IWOC award recognizes women around the globe who have demonstrated exceptional courage and leadership in advocating for peace, justice, human rights, gender equality, and women’s empowerment, often at great personal risk and sacrifice.
To learn how to overcome rejection, stop asking why you got rejected. Instead, focus on how you can improve and become an even better artist!
Børge Brende, President, World Economic Forum speaking during the Session: Overcoming Fault Lines at the King Hussein Bin Talal Convention Centre during the World Economic Forum on the Middle East and North Africa, Jordan 2019. Copyright by World Economic Forum / Faruk Pinjo
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The Bachem Ba 349 Natter (English: Colubrid, grass-snake) was a World War II German point-defence rocket-powered interceptor, which was to be used in a very similar way to a manned surface-to-air missile. In 1943, Luftwaffe air superiority was being challenged by the Allies over the Reich and radical innovations were required to overcome the crisis. Surface-to-air missiles appeared to be a promising approach to counter the Allied strategic bombing offensive; a variety of projects were started, but invariably problems with the guidance and homing systems prevented any of these from attaining operational status. Providing the missile with a pilot, who could operate a weapon during the brief terminal approach phase, offered a solution.
After a rather fast and troublesome development phase the Natter was rushed into production. The SS ordered 150 Natters, and the Luftwaffe ordered 50, and the first serial production aircraft, now designated Ba 349 A-1, reached operational status in April 1945 with the Erprobungskommando (EK) 349. An operational launch site under the code name “Operation Kroku”s was being established in a small, wooded area called Hasenholz, south of the Stuttgart to Munich autobahn and to the east of Nabern unter Teck. Around the end of February and the beginning of March the Organisation Todt had been in action, constructing each set of the trios of concrete foundations (or "footings") for the stationary launch towers. These three launch pads and their towers were arranged at the corners of an equilateral triangle, 120 m per side.
By August 1945, 91 aircraft had been delivered to EK 349 and the first operational unit, the JG 400, into which the test unit was soon integrated. But a persistent lack of fuel, staff and maintenance resources kept most of them grounded. It was clear that the original plan for a huge network of Ba 349 bases that protected important locations would never be realized, and the idea of stationary bases made this network vulnerable to air raids, too. As a consequence mobile launch rigs for the Natter were developed, the so-called “Rampenwagen I”. This self-propelled vehicle was based on repurposed Königstiger battle tank hulls that had their engine moved into a mid-chassis position behind the driver’s compartment. This arrangement offered enough space at the heavy chassis’ rear section to carry an erectable ramp and two vacuum pumps that powered the launch sled for a single Natter that ran on rails on the ramp. The Natter interceptor was hooked with the ehlp of a crane into the erected ramp and started vertically. Beyond the Ba 349 this device could also be used to start the Messerschmitt E-4 “Enzian” anti-aircraft missile in a similar fashion, as well as the unmanned Fieseler Fi 103 “V1” cruise missile at a shallow launch angle
Adapting the existing Tiger II chassis turned out to be relatively easy, and unfinished hulls could be modified without major problems. A side benefit of the new mid-engine layout was that the driving shaft to the gearbox in the Jagdtiger’s front hull was shorter, saving material, weight, and internal space behind the engine bay. As a drawback the access to the engine compartment was limited through the low and long launch ramp – it had to be erected or even removed before the engine could be changed. Another characteristic feature of the modified hull was a different running gear. It used elements of Porsche’s original Tiger I running that was rejected for the heavy battle tank but adopted for the heavy Ferdinand/Elefant SPG that was based on Porsche’s Tiger I design. It consisted of four wheel-units per side made from pairs of 700 mm diameter steel road wheels and a longitudinal torsion bar suspension that remained outside of the hull. While its off-road performance was not as good as the original interleaved running gear with torsion bars inside of the hull, the Porsche system offered a production advantage over the Henschel running gear: it took a third less time to produce than Henschel’s system, reduced the hull construction time as well as machining time, required less maintenance, and could actually be completely replaced in the field without (theoretically) removing other parts and without the use of a jack. The Porsche system also saved about 1,200 kg in weight, 450 man-hours of work time, gained 100 mm more ground clearance, and saved RM 404,000 (Reichsmarks) in cost per vehicle. Much more importantly though, the use of this suspension freed up space inside the vehicle, an entire cubic meter extra! A few standard Jagdtiger SPGs were finished with this running gear, too, but it only became a standard on refurbished vehicles.
In service the Rampenwagen I received the official designation of Sd.Kfz. 282, and only a handful of these complex and bulky vehicles were build oer deilevered to frontline units until late 1945. In practice the Rampenwagen I was operated in combination with other vehicles to from mobile launch units for the Natter - plans envisioned groups with Sd.Kfz. 282s, accompanied by trabsporters for the tiny fighters, two cranes to lift them onto the launch sled on the ramp, plus fuel bowsers, a command and radio unit, plus supprt vehicles for staff and pilots as well as other equipment, and ideally even a mobile radar system that could guide and coordinate the interceptions. This, however, never materialized, due to the lack of resources, and only the Luftwaffe's JG 400 became operational enough to make some Ba 349 starts in the defense of the Stuttgart area, with very limited success.
Specifications:
Crew: 2 (Driver, Radio operator/ramp engineer)
Weight: 59.5 tons (131.050 lb)
Length: 14,04 m (45 ft 11 ¾ in) overall
7,80 m (25 ft 6 ½ in) hull only
Width: 3.625 m (11 ft 10 ½ in)
Height: 4.97 m (16 ft 3 ½ in) with launch sled
14,54 m (47 ft 7 ¾ in) with erected ramp
Ground clearance: 56,5 cm (22¼ in)
Suspension: Longitudinal torsion bars
Fuel capacity: 860 Liter (190 imp gal, 230 US gal)
Armor:
20–180 mm (0.79 – 7 in)
Performance:
Maximum road speed: 34 km/h (21 mph)
Operational range: 120 km (75 mi) on road
80 km (50 mi) off road
Power/weight: 10,08 PS/ton
Engine:
V-12 Maybach HL230 P30 with 600 hp/441 kW
Transmission:
Maybach eight-speed OLVAR OG40-1216B gearbox
Armament:
None installed
The kit and its assembly:
Well, it's not really armour, but since this... thing is based on a Jagdtiger I put it here. It's actually cross-linked with the Ba 349 Natter that I am building in parallel - after all, how should that tiny rocket fight start? This thought had been on my mind for quite a time, and I had the Brengun Natter stashed away for some time. But creating a mobile launch platofrm - or better: coming up with a concept that could be turned into a model somehow, took really long. First ingredient was a Fujimi steam catapult kit from WWII, which works with an external sled, towed by a cable, quite different to the launch catapults that were for instance used for the Fi 103 VI, which operated like aircraft carrier steam catapults with a sled in a pressurized tube.
Finding a suitable chassis was more complicated. First bet was "Karl Gerät" mortar, which turned out to be much too big and also not really compatible with the Fujimi catapult, and the project went into hiatus again. Until inspiration struck and I remembered the Jagdtiger that I had built last year or so, with an oversized L/100 gun and the casemate moved to the rear of the hull (and the engine in a mid-positionj behind the drivers' compartment). That could work in size and arrangement!
Said and done, I procured an(other) Trumpeter Jagdtiger with the late Porsche running gear, with simplified and standardized elements that were intended for the E-Series of tanks, what would fit well into the model's intended time frame of mid 1945. And from that on things went straightforward, only that the catapult was shortened by 3" at the rear and modified to stand vertical - with the bonus that was able to construct a joint so that this is even functional. The launch sled, which was slightly tailored to hold the Natter, is movable, too. That area inside of the Jagdtiger hull had to be filled/improvised, but that worked well, too, thanks to some donor parts from a Modelcollect E-50 tank.
Painting and markings:
The paint scheme caused the next headaches. This is supposed to be a special vehicle, (re)constructed from a Jagdtiger hull, and somehow I did not find Dunkelgelb to be a proper solution. Late in WWII many tanks received an overall Olivgrün factory finish, but I also did not like that idea for this massive thing. Luftwaffe vehicles were, at least during early war stages, painted in their own color, RAL 7016, a dark and rather bluish tone slightly lighter than RAL 7021 Panzergrau, but that did not appear suitable, either. Red Oxidprimer was another option, but rejected, too.
Eventually I settled for a very simple overall RAL 7021 finish - a tone which was still available in considerable volume and applied to operational tanks - and in this case it would be a "2nd line vehicle". The dark tone would also work well to hide the launch platform's bulk in the shadows of trees or buildings, and it simply "looks German". Since the lattice girder catapult with the pressure piston inside was build before painting I used a rattle can - another argument for a uniform livery. After that the model was dry-brushed, decals and matt varnish were applied, and some dirt and dust was added with water colors and pigments.
Overcoming adversity speaker www.PaulFDavis.com/overcoming-adversity-speaker on peace and thankfulness (info@PaulFDavis.com) Support Paul www.PayPal.com (RevivingNations@yahoo.com) overcoming adversity speaker www.PaulFDavis.com/substance-abuse-prevention-speaker www.NY-life-coach.com www.Twitter.com/PaulFDavis.com www.Facebook.com/speakers4inspiration www.Linkedin.com/in/worldproperties
Today I finished a big essay which has been stressing me for a few weeks now (along with other deadlines as well!). Had a few ideas for photos along the way to express how I felt. Took the opportunity to snap a few before returning books to the library.
Tenuous Link: well
GENERATION OF HIGH QUALITY:
(Is a human / generation that is able to do as follows below):
1. OVERCOME VARIOUS problema ACHIEVE ANY DESIRE =
= Healing .......................for self and others; distance / near
= Achieve ...... .................for self and others; distance / near
= Reach ......................... love for self and others; distance / near
= Happiness, etc. ............ for self and others; distance / near
2. CHILDREN UNDER THE NEED = BEFORE / AFTER BIRTH =
= Face......... to conform with the wishes
= Nature ......to conform with the wishes
= Genitals .....to conform with the wishes
= Twin / no.. accordance with the wishes
= Ability ........to comply with the wishes
= IQ..............for liking
= Its future, ..etc. to conform with the wishes
3. SOME LETTERS PASSWORD..... free ( OWN CREATION)
4. COPYRIGHT COMBINED SOME POETRY FROM NAME =
= Name and meaning / purpose of poetry depends request ....(Free)
Please Sorry not to be discussed, discussed in the liver and then get GENERATION HIGH QUALITY send USD; 1,500,000 (to point 1 and point 2) to: Rosida no. rek.654801002820505 BRI branch: 6548 units Sumenep Kalianget East Java Indonesia then send it to us: full address, profiles, and desire through PO.BOX, sms / call, email.atau you can come directly to our hut.
Then you will get:
1. some books to guide science GENERATION HIGH QUALITY good to use before marriage / after, before the birth / thereafterwith this book you will learn and be able to:
a. OVERCOME VARIOUS problema ACHIEVE ANY DESIRE =
= .............. Healing for self and others; distance / near
= Achieve .............. for self and others; distance / near
= Reach ............. love for self and others; distance / near
= Happiness, etc. ............ for self and others; distance / near
b. CHILDREN UNDER THE NEED = BEFORE / AFTER BIRTH =
= Face ...................... to conform with the wishes
= Nature................... to conform with the wishes
= Genitals..................to conform with the wishes
= Twin / no................to accordance with the wishes
= Ability .....................to comply with the wishes
= IQ ..........................for liking
= Its future,............... etc. to conform with the wishes
2. MIXED FOODS, BEVERAGES efficacious for consumption during the 24h X a month, so you will learn and be able to:
a. OVERCOME VARIOUS problema ACHIEVE ANY DESIRE =
= .............. Healing for self and others; distance / near
= Achieve .............. for self and others; distance / near
= Reach ............. love for self and others; distance / near
= Happiness, etc. ............ for self and others; distance / near b. CHILDREN UNDER THE NEED = BEFORE / AFTER BIRTH =
= Face ...................... to conform with the wishes
= Nature................... to conform with the wishes
= Genitals..................to conform with the wishes
= Twin / no................to accordance with the wishes
= Ability .....................to comply with the wishes
= IQ ..........................for liking
= Its future,............... etc. to conform with the wishes
3. manual close / far away forever (if we die our generation will continue; (transfer of energy and other such) so you will learn and be able to:
a. OVERCOME VARIOUS problema ACHIEVE ANY DESIRE =
= .............. Healing for self and others; distance / near
= Achieve .............. for self and others; distance / near
= Reach ............. love for self and others; distance / near
= Happiness, etc. ............ for self and others; distance / near b. CHILDREN UNDER THE NEED = BEFORE / AFTER BIRTH =
= Face ...................... to conform with the wishes
= Nature................... to conform with the wishes
= Genitals..................to conform with the wishes
= Twin / no................to accordance with the wishes
= Ability .....................to comply with the wishes
= IQ ..........................for liking
= Its future,............... etc. to conform with the wishes
alifi30271@hotmail.comalif30271@yahoo.co.idalif30271@ymail.comalifi30271@gmail.comalifi30271@yahoo.comal30271@yahoo.comhttp://alifi30271.blogspot.com/http://generationofhighlyqualified.blogspot.com/http://alif30271.blogspot.com/http://www.mybloglog.com/buzz/alif30271http://my.opera.com/alif30271http://www.filmannex.com/alifiyasintadewi-nurqodrihttp:generationofhighlyqualified.blogspot.com/www.myspace.com/551149748http://groups.google.com/group/generation-high-qualityhttp://www.mixpod.com/alif30271http://www.flickr.com/photos/alifi30271yahoocomhttp://alifi30271.blogspot.com/http://generationofhighlyqualified.blogspot.com/http://alif30271.blogspot.com/http://profile.typepad.com/alifiyasintadewisahidi.achmad @ yahoo.com rsida@ymail.com
SMS = 081331412197 = 087850539399 = 081939047397
Rosida SAHIDI / alifiyasintadewi nurqodri Klg POBOX.30271 69 471 INDONESIA JL. PORT KERTASADA No.38 RT.02/01 Kalianget SUMENEP 69 471 EAST JAVA INDONESIA
* While it is not yet born, later born, the child - children, adolescence, adulthood, so parents, if in the future it is better than all the elements (Chronicle, seeds, lathe, ancestor, and weight), it will be good precisely on The next period, or the next descent. (That's rotation system, if either it will be good also in the future - which will be passed next time.) But that does not mean there is a problem for which the system can not get / create GENERATION OF HIGHLY qualified ...! Before the marriage, before birth, or after birth, GENERATION OF HIGHLY qualified to be created.
So far away before marriage, there was no system of creation, how generations / children that we want, of this process we will know how to actually solve various problems from within ourselves or others, and how to achieve all desires ranging fromin themselves, then help others After birth we were able to drive to create, how abilitasnya, his IQ, character, future, etc., so that our children become the generation that highly qualified.
After birth GENERATION OF HIGHLY Qualified created through two methods:
1.metode in dlahir / sharia / real (through our assistance)
2.metode inner / supernatural (through our assistance)
* After being born under the control arms with MOTHER LOVE:1.method is dlahir / visible / tangible, MOM, DAD, and FAMILY will be more visible to direct, create for children / generation is to become GENERATION OF HIGHLY qualified. 2. methods are unseen through our aid.
* Nature after birth will be brought to nature - nature in the natural maturation of the length distribution, this is where (in nature after the birth of many banks and management of data storage for your child / children / next generation), negatifpenyimpananannya / planting, it will be negative pendewasaannya . then .......... how to create pendewasaannya?GENERATION OF HIGHLY order to become qualified ?.... contact us to get the method. (All goods will be shipped to your place)
* In the arms of the mother and father, and families: making peace happily embrace the affection (without interference of other negative plan brain thinking) that would make the implementation of ITS THE PEACEFUL, HAPPY, LOVE, affectionate, THE ALMIGHTY CREATOR
* Starting from happiness within yourself, then direct the happiness to the wife, or husband, (co-exist and complement between husband and wife). Subsequent to the generation / our child, in community groups, state, and even the world so it will be in accordance with the purpose of the creator, and the goal THE ALMIGHTY CREATOR will be the creation of perfect beings called human.
By creating GENERATION OF HIGHLY qualified then, each of the individual, every family, every group of society, every citizen, and every race and human beings will be in accordance with the wishes, goals, ideals of every self, every family, every human being on earth as the purpose of religion, state and nation, even as the purpose of the creator, as the purpose of THE ALMIGHTY CREATOR will be the creation of perfect beings called human
GENERASI BERKWALITAS TINGGI :
(adalah manusia/generasi yang mampu untuk berbuat sebagaimana berikut di bawah ini) :
1. ATASI BERBAGAI MACAM PROBLEMA MENCAPAI SEGALA KEINGINAN=
=penyembuhan..............untuk diri dan orang lain ; jarak jauh/dekat
=mencapai cita..............untuk diri dan orang lain; jarak jauh/dekat
=mencapai cinta.............untuk diri dan orang lain; jarak jauh/dekat
=kebahagiaan,dll............untuk diri dan orang lain; jarak jauh/dekat
2. ANAK SESUAI KEINGINAN =SEBELUM/SETELAH LAHIR=
=wajahnya......................agar sesuai dengan keinginan
=sifatnya........................ agar sesuai dengan keinginan
=kelaminnya...................agar sesuai dengan keinginan
=kembar/tidaknya..........agar sesuai dengan keinginan
=ability............................agar sesuai dengan keinginan
=IQ-nya..........................agar sesuai dengan keinginan
=masa depannya,dll.......agar sesuai dengan keinginan
3. BEBERAPA HURUF SANDI CIPTAAN SENDIRI ........................(gratis)
4. CIPTA PUISI DARI GABUNGAN BEBERAPA NAMA=
=nama dan makna/tujuan puisi tergantung permintan............................. (gratis)
Mohon ma'af bukan untuk di diskusikan, diskusikan pada hati lalu dapatkan GENERATION HIGH QUALITY
kirim Rp;1.500.000 (untuk point 1 dan point 2)
ke :ROSIDA no. rek.654801002820505 BRI cabang: 6548 unit kalianget sumenep Jawa Timur Indonesia
kemudian kirim kepada kami: alamat lengkap, profil, dan keinginan lewat Po.Box,sms/call, email.atau anda dapat datang langsung ke gubug kami.
Maka anda akan mendapatkan:
1. beberapa kitab ilmu penuntun menjadi GENERATION HIGH QUALITY baik digunakan sebelum nikah/setelahnya, sebelum adanya kelahiran/setelahnya
dengan kitab ini anda akan belajar dan mampu untuk bisa:
a. ATASI BERBAGAI MACAM PROBLEMA MENCAPAI SEGALA KEINGINAN=
=penyembuhan..............untuk diri dan orang lain ; jarak jauh/dekat
=mencapai cita..............untuk diri dan orang lain; jarak jauh/dekat
=mencapai cinta.............untuk diri dan orang lain; jarak jauh/dekat
=kebahagiaan,dll............untuk diri dan orang lain; jarak jauh/dekat
b. ANAK SESUAI KEINGINAN =SEBELUM/SETELAH LAHIR=
=wajahnya...................... agar sesuai dengan keinginan
=sifatnya........................agar sesuai dengan keinginan
=kelaminnya...................agar sesuai dengan keinginan
=kembar/tidaknya..........agar sesuai dengan keinginan
=ability............................agar sesuai dengan keinginan
=IQ-nya..........................agar sesuai dengan keinginan
=masa depannya,dll.......agar sesuai dengan keinginan
2. CAMPURAN MAKANAN,MINUMAN BERKHASIAT untuk di konsumsi selama 24jam X satu bulan, sehingga anda akan belajar dan mampu untuk bisa:
a. ATASI BERBAGAI MACAM PROBLEMA MENCAPAI SEGALA KEINGINAN=
=penyembuhan..............untuk diri dan orang lain ; jarak jauh/dekat
=mencapai cita..............untuk diri dan orang lain; jarak jauh/dekat
=mencapai cinta.............untuk diri dan orang lain; jarak jauh/dekat
=kebahagiaan,dll............untuk diri dan orang lain; jarak jauh/dekat
b. ANAK SESUAI KEINGINAN =SEBELUM/SETELAH LAHIR=
=wajahnya...................... agar sesuai dengan keinginan
=sifatnya........................ agar sesuai dengan keinginan
=kelaminnya...................agar sesuai dengan keinginan
=kembar/tidaknya..........agar sesuai dengan keinginan
=ability............................agar sesuai dengan keinginan
=IQ-nya..........................agar sesuai dengan keinginan
=masa depannya,dll.......agar sesuai dengan keinginan
3. panduan jarak dekat/jauh selamanya (jika kami mati generasi kami akan melanjutkannya; (transfer energi dan lain lain semacamnya) sehingga anda akan belajar dan mampu untuk bisa:
a. ATASI BERBAGAI MACAM PROBLEMA MENCAPAI SEGALA KEINGINAN=
=penyembuhan..............untuk diri dan orang lain ; jarak jauh/dekat
=mencapai cita..............untuk diri dan orang lain; jarak jauh/dekat
=mencapai cinta.............untuk diri dan orang lain; jarak jauh/dekat
=kebahagiaan,dll............untuk diri dan orang lain; jarak jauh/dekat
b. ANAK SESUAI KEINGINAN =SEBELUM/SETELAH LAHIR=
=wajahnya......................agar sesuai dengan keinginan
=sifatnya........................ agar sesuai dengan keinginan
=kelaminnya...................agar sesuai dengan keinginan
=kembar/tidaknya..........agar sesuai dengan keinginan
=ability............................agar sesuai dengan keinginan
=IQ-nya..........................agar sesuai dengan keinginan
=masa depannya,dll.......agar sesuai dengan keinginan
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*Semasih belum lahir, kemudian lahir, masa anak - anak, masa remaja, dewasa, jadi orang tua, jika dalam pada masa itu adalah baik dari semua unsur (babad, bibit, bubut, bebet,dan bobot), maka akan baik pulalah pada masa berikutnya, atau keturunan berikutnya.(itulah sistem rotasi , jika baik maka akan baik pula pada masa - masa yang akan dilalui berikutnya).
Tetapi bukan berarti bagi yang sistemnya ada masalah tidak bisa mendapatkan/menciptakan GENERATION OF HIGHLY QUALIFIED...!
Sebelum menikah, sebelum lahir,ataupun setelah lahir,GENERATION OF HIGHLY QUALIFIED dapat diciptakan.
Maka jauh jauh sebelum menikah, dari sana sudah ada sistem penciptaan, bagaimana generasi/anak yang kita inginkan, dari proses ini kita akan tahu bagaimana sebenarnya mengatasi berbagai macam problema dari dalam diri kita sendiri atau orang lain,dan bagaimana cara mencapai segala keinginan mulai dari dalam diri, kemudian membantu orang lain
Setelah lahir pun kita dapat mengarahkan menciptakan; bagaimana abilitasnya, IQ-nya, sifatnya,masa depannya,dll, sehingga anak kita menjadi generasi yang highly qualified.
Setelah lahir GENERATION OF HIGHLY QUALIFIED diciptakan melalui dua metode:
1.metode secara dlahir/syariat/nyata (melalui bantuan kami)
2.metode batin/ghaib (melalui bantuan kami)
*Setelah lahir yang tengah berada dalam kekuasaan dekapan KASIH IBU dengan:
1. metode secara dlahir/nampak/ nyata,IBU,AYAH, dan KELUARGA akan lebih nampak untuk mengarahkan,menciptakan agar anak/generasi adalah menjadi GENERATION OF HIGHLY QUALIFIED.
2. metode secara ghaib melalui bantuan kami.
*Alam setelah kelahiran pun akan di bawa kepada alam - alam yang panjang pendistribusiannya pada alam pendewasaan, disinilah (pada alam setelah kelahiran ini banyak dan penuh bank penyimpanan data bagi si kecil/anak/generasi penerus), negatifpenyimpananannya/penanamannya,maka akan negatif pendewasaannya.
lalu.......... bagaimana menciptakan pendewasaannya? agar menjadi GENERATION OF HIGHLY QUALIFIED?.... hubungi kami untuk mendapatkan metodenya. (semua barang akan dipaketkan ke tempat anda)
*Dalam dekapan sang ibu dan ayah ,serta keluarga: menjadikan dekapan damai bahagia kasih mesra (tanpa dicampuri pemikiran otak rencana negatif lain) yang akan menjadikan implementasi dari SANG PEMBERI DAMAI, BAHAGIA, KASIH,MESRA, SANG MAHA PENCIPTA
*Dimulai dari kebahagiaan dalam diri, kemudian mengarahkan kebahagiaan pada istri,atau suami,(saling mengisi dan melengkapi antara suami istri).selanjutnya pada generasi/anak kita, pada kelompok masyarakat,negara,bahkan dunia sehingga akan sesuai dengan tujuan pencipta, serta tujuan SANG MAHA PENCIPTA akan diciptakannya makhluk sempurna yang bernama manusia.
Dengan mencipta GENERATION OF HIGHLY QUALIFIED maka,setiap diri pribadi,setiap keluarga,setiap kelompok masyarakat,setiap warga negara,dan setiap umat dan makhluk manusia akan sesuai dengan keinginan,tujuan,cita-cita dari setiap diri,setiap keluarga,setiap umat manusia didunia sebagaimana tujuan agama,negara dan bangsa,bahkan sebagaimana tujuanpencipta, sebagaimana tujuan SANG MAHA PENCIPTA akan diciptakannya makhluk sempurna yang bernama manusia.
SO much to do within the next two weeks before the end of school. Just thinking about it has me overly stressed....BUT I am going to a dubstep paint party tonight!!!:] It's gonna be great! I'll try and snap some pictures before I get too messy. lol
Adnan Mjalli, Executive Chairman, Mjalli Investment Group, Palestinian Territories at the World Economic Forum on the Middle East and North Africa 2017. Copyright by World Economic Forum / Faruk Pinjo
Adnan Mjalli, Executive Chairman, Mjalli Investment Group, Palestinian Territories at the World Economic Forum on the Middle East and North Africa 2017. Copyright by World Economic Forum / Faruk Pinjo
I’ve always wondered why society is all crazy about censoring nudity in social media, television, and so on, when we’re surrounded by it in the art world? What’s the difference? Art is different not only due to the esthetic value of the pieces but the intention of the artists when capturing the nude body, and I understand that some nudes we see in mainstream media aren’t precisely art. But what about those that do fit the description? Why do platforms like Instagram censor an artistic photograph of a naked body and not a picture of a random sculpture on the streets? Is there really a difference? My first guess would be that most of these sculptures and statues are protected by the sole fact that they are considered classic art and thus cultural heritages, while a modern photograph is just an artistic expression. This makes me think about why are there so many nude artworks and why we love exhibiting them in public when we clearly can’t overcome those prudish behaviors that censor the body? But more importantly, how nudity in art was conceived and evolved from one historical period to the other and how has it helped set beauty standards that are still ingrained in our collective imagination? If you think about prehistoric art, the first works that come to our mind are the amazing cave paintings that portrayed everyday life at the time. Now, the human figures are portrayed more like shadows, so we can’t really talk about nudity here. However, there are some examples of sculptures, often called Venus figurines, that depict nude female bodies. They’re extremely interesting because, more than highlighting the shape of the female body, they are kind of deformed to emphasize those parts they worshiped as symbols of fertility like the hips, breasts, abdomen, and even the vulva. For people in the prehistoric period, more than praising the female body in terms of erotic pleasure, the idea of beauty was precisely a woman fit to reproduce and bear children. Interestingly, the figurines that have been found are mainly female, which has led historians to believe that they were actually used for ritualistic purposes, as amulets to conceive, or even as sexual accessories. However, almost no male figurines have been found. This clearly evolved as soon as civilizations settled and blossomed. Of course, when we think about nudity in art, the first images that come to our mind are the classic Greek and Roman marble sculptures, right? It was widely believed that the Greeks were more liberal when it came to nudity and that these sculptures were a faithful depiction of their everyday life. There are even texts suggesting that some people would go nude on the streets or with almost no clothes. Now, this hypothesis has been shattered for the past century, and actually historians found that nudity was seen as a way of glorifying the perfection of the human body.As you know, sports played an important role for the Ancient Greeks. They were part of the religious activities to praise and honor the gods. Therefore, athletes were seen as the perfect examples of humans who had been blessed by the gods with their abilities and strength. During competitions, athletes, all male, competed naked so that people and the gods could see those perfect bodies moving and contorting with the physical effort. Moreover, sculptures of athletes were placed near temples and in the stadiums where these competitions took place. These pieces captured athletes practicing the sport they excelled in, but also were used to represent the main gods, since they were the only human link close to them. They represented the best of humanity and were also were embodiments of glory, triumph, and moral excellence. All in all, athletes were some sort of mortal deities people looked up to. As for female nudity, they kept the idea that the female body represented the divine act of procreation. However, unlike our prehistoric ancestors, the Greeks did praise the eroticism of the female shape. Most of the statues of nude women were representations of the goddess Aphrodite, who not only represented love, eroticism, and sexual desire, but also a means to procreation. For that reason, sculptors now paid attention to the shape following mathematical proportions fit to represent the most beautiful female figure of the Olympus. Unlike male nude sculptures that depict men proudly showing their bodies, women were portrayed as if they had been just caught in an intimate moment. It wasn’t well seen for women to deliberately show their body, but at the same time, it gave the viewer a voyeuristic role. Both ideas of nudity, for male and female bodies, were followed by the Romans and other civilizations that came to belong to the empire, but more than showing the human body as diverse as it might be, the works stick to idealized representations of what was considered beautiful and appealing. All this naturally changed during the Middle Ages, a time reigned by Christianism and its more conservative ways of perceiving the world. If you take a look at the art created at the time, there are almost no nude artworks. Medieval art was more focused on religious subjects that reflected not only stories present on the Bible, but images that could encourage people to lead a morally accepted life, or that would work as morality tales to prevent them from sinning. As you can guess, the few nude artworks were from that category, and the protagonists were basically our first sinful ancestors, Adam and Eve. In these images, they’re often portrayed right at the moment when Eve is tempted by the snake or right when they’re about to be thrown away from paradise. Nudity in that age was used to show how an impious life can condemn you for eternity. This last point was specifically for full nudity, since there were plenty images portraying Madonnas breastfeeding baby Jesus. According to art historian Margaret Miles, the main reason why there were so many paintings with this motif that was used until the early Renaissance was more of a propagandistic resource. Rich families used to hire nurses to feed their babies and naturally, most of them were poor and sometimes “sinful” women. According to Miles, the Church believed that it was the obligation of every Christian mother to nurse their children, and so Virgin Mary became the example to follow. The Renaissance wasn’t just an era of innovations in more scientific terms, but it was also a cultural movement where art played an important role. It was a time of awakening and rediscovery, so the classic art from Ancient times that was banned and conceived as sinful during the Middle Ages was seen now as a rich source of inspiration artists extolled. The moral values that the Church established were still prioritized, so there weren’t many nude artworks depicting normal people. Instead, artists made use of the inexhaustible lore of stories and images from Ancient mythology and traditions. So, besides exploring those rich cultures from the past, artists were well aware of the sexual and erotic connotations of nudity. Through these mythological characters and scenes they sought to highlight the sensuality of both the male and female naked body, (although they focused more on the female figure). Unlike the few naked bodies portrayed during the Middle Ages, where artists emphasized Eve’s belly as symbol of motherhood and the long process of carrying a child, Renaissance’s artists, like their Ancient counterparts, were looking for an idealized image of the body: a beautiful and well-shaped body that could awake everyone’s passions. That enthrallment for ancient motifs continued, and perhaps it still fascinates us. However, it was the Baroque current the one that gave us for the first time a more realistic and less idealized perception of the naked body. Both male and female bodies were often represented, but here the idea was to show the most lavished side. While they attempted to show more realistic bodies, conveying the idea that even certain flaws can be beautiful and alluring, that doesn’t mean the art at the time didn’t care for beauty ideals. We can still see some of these patterns being reinforced in the images that were being made. Yes, Rubens’ graces don’t really have the body of Botticelli’s Venus or Ancient sculptures have, but at the same time, they were seen as models of beauty. It was more of a change on beauty standards than being more inclusive and diverse. By the late eighteenth and the nineteenth century, the themes and motifs of nudity in art changed. For the first time, artists dared to portray common women and their nakedness without having to convey any moral message or disguising them through mythical characters. Artists explored new techniques and subjects in a freer way. There were bolder and more controversial paintings, like Gustave Courbet’s L’origine du monde, or Manet’s Le Déjeuner sur l’herbe. They wanted to show that beauty can be seen in everyday life and even challenged the art academia and the public by painting what no one had painted before, or at least nothing that had been displayed publicly, like prostitutes and their daily life. There were more provocative faces looking directly at the spectator, instead of the blushing woman who had been surprised while being naked. The social perception of nudity changed forever. Finally, let’s talk a bit about modern and contemporary art. There were no boundaries for the modern artist to explore it, and thus it is reflected in the many styles, motifs, and currents of the time. Now, even though we have nude paintings like Picasso’s Les Demoiselles d’Avignon where there’s a completely different approach to the body, we can’t really talk about a disappearance of beauty ideals. Although they evolved to fit different social standards throughout history, they still prevail in our conception of what’s beautiful and attractive and what’s not. This has been a long journey throughout the history of nudity in art, but let’s go back to our initial question. Why do we like seeing nudes in public? The obvious answer for me is that we still have some ingrained ideas of morality and censorship, so when art subverts them and allows us to explore our interest in a more open way, we feel a sort of rebellious pleasure. Still, that doesn’t mean this pleasure doesn’t allow us to understand and enjoy the artistic beauty of these works of art. On the contrary, the esthetic quality makes them even more alluring. Now, another possibility that would require a deeper sociological analysis is our constant need to establish certain beauty standards. We love looking at an idealized image. It doesn’t matter if they’re naked or not, and no matter how free, inclusive, and diverse art has become, we’ll always be enthralled by the ideal beauty of classic art.
culturacolectiva.com/en/art/nudity-in-art-museums-through...
It’s a talk my students know is coming from the whispered rumors that circulate the hallways.
Of course, I’m talking about nudity in art.
You might think middle school—a time rife with the three “G’s” of gossip, giggles, and goofiness—is a terrible time to try and discuss this mature topic. However, I wholeheartedly disagree.
Kids love to be treated like adults. It makes them feel important, capable, and trustworthy. If handled in the right way, this discussion can do just that.
In other words, the success or failure of this discussion lies with us, the educators. So, how can we make sure it goes smoothly?
1. Let your students know you trust them.
Preface the delicate discussion with the fact that this is a conversation for mature students only, students that can be serious and sophisticated. Make it dramatic, pause, and change the volume or tone of your voice… it adds gravitas. Immediately, they will sit at attention, eager to hear what you have to share, showing off their very sophisticated manners. It works every time.
2. Discuss the difference between “naked” and “nude.”
I have the talk with my students before they dive into their annual artist research project. Of course, during their exploration, they will, in most cases, come across some type of nudity in art. Whether it be the slightly-exposed breast in Botticelli’s The Birth of Venus or the enormity of Michelangelo’s marble David bearing down on them, it’s all nudity. The Venus and David are certainly not NAKED.
“Naked” implies a certain element of surprise, an accidental viewing and possibly even embarrassment. You are accidentally caught naked getting out of the shower when your mom tries to enter the bathroom and you weren’t expecting it. (Insert riotous laughter here). You are not posing waiting for her to sculpt you in the nude sans towel.
This example highlights the difference nicely. Nudity is intentional. It has a purpose and it is not usually vulgar. While there certainly are examples to disprove this claim, I intentionally do not provide the students with artists that focus on risqué or indecorous content in their work.
nude statue
3. Explain why artists study nudes and how different people feel about it.
Another thing that helps is to explain that nude models serve as subjects for artists learning to better paint and sculpt the human form. It’s also nice to discuss the idea of nudity in art from a historical and cultural perspective; what is covered and when changes based on culture, religion, and time period.
For example, in 1857, the Grand Duke of Tuscany quite generously gifted Queen Victoria with a cast of David by Michelangelo only to find she was shocked by the nudity. She immediately turned the statue over to a museum and ordered that a “proportionally accurate fig leaf” be created and hung over the offending area to protect the modesty of women visitors. Recently in Rome, statues displaying nudity were covered with large white panels when the President of Iran visited (see image below). Many Italian art lovers took to social media to express their outrage.
image courtesy of cnn.com
image courtesy of cnn.com
4. Have students censor their own art to see how it feels.
To hammer home your point, lead students through the quick exercise below.
Group students into partners.
Have each partner choose a piece of art they feel proud of. Then, have them switch pieces.
Using small scraps of black construction paper, have students censor parts of each other’s work.
Ask students how they feel. Is their piece whole, or has it been changed by their neighbor’s action? Many students will express feeling outraged.
It becomes clear that censoring even small parts of an artwork changes the piece without the artist’s consent. What the artist chooses to depict is what they want the viewer to see.
5. Let students know it’s OK not to feel comfortable with nudity.
Of course, I do not insist students be comfortable with the nudity. I make it very clear that is their prerogative. If a student wishes to avoid it in their presentations, they can. I simply insist they acknowledge the difference between naked and nude. It’s an important distinction.
Worried about parent reactions?
While I’ve never once fielded a phone call or had a parent concerned after this discussion, I can imagine some teachers might be apprehensive. Consider this: what middle school student has not watched any number of pop-stars writhe around with little to no clothing on during primetime television, to speak nothing of what children have access to on the web? We are not condoning bad or lewd behavior. We are sharing masterpieces of art that enlighten and enrich our world.
This is about art that fills museums, which have no “R” ratings. This is for everyone. Learning how to discern the difference between artistic nudity and crass nakedness is a critical step towards ensuring that aware children become cultured adults.
Do you (or would you) address this issue in your classroom? What hints do you have to ensure it goes well?
Do you agree or disagree with the idea that omission or censoring is an affront to an artist and their work?
theartofeducation.edu/2016/04/april-naked-vs-nude-discuss...
The allegations against Chuck Close raise new questions about how to work with nudity. Here's a guide for artists and models.
Sarah Cascone, January 30, 2018
Michael Grimaldi (standing, right) draws Iggy Pop in the Life Class by Jeremy Deller st the Brooklyn Museum, February 21, 2016. Photo courtesy of Elena Olivo and the Brooklyn Museum.
Michael Grimaldi (standing, right) draws Iggy Pop in the "Life Class" by Jeremy Deller at the Brooklyn Museum, 2016. Photo courtesy of Elena Olivo and the Brooklyn Museum.
Last month, several women came forward with complaints that artist Chuck Close sexually harassed them while they were modeling in his studio. The allegations, published in the Huffington Post and Hyperallergic, tended to follow a common pattern: A woman was invited to pose for the artist, asked to undress, and then endured lewd sexual remarks from Close. The women tended to leave feeling exploited and disrespected, they said.
From time immemorial, the nude body has played a vital function in art across cultures and eras. But in the 21st century, we have come to expect a certain level of professionalism to safeguard both models and artists in what can be a sensitive interaction.
Regardless of one’s opinions about Close, the controversy offers a teaching opportunity: What is and is not acceptable behavior when it comes to working with nude models?
artnet News spoke with two nude models and the director of the drawing department at the New York Academy of Art, which relies heavily on figure drawing in its curricula, and provides handbooks outlining protocols to its roster of around 68 models. From these interviews we compiled a list of guidelines for both the artist and model.
Michael Grimaldi teaching figure drawing. Courtesy of the New York Academy of Art.
Michael Grimaldi teaching figure drawing. Courtesy of the New York Academy of Art.
Do: Communicate up front whether or not the model will pose nude.
Some of the women who complained about Close said that they went to his studio with the belief that he would paint their face for a large-scale portrait. They were not expecting to be asked to take off their clothes, they said.
“Most of the time the artist and the subject discuss ideas about what the concept of the final product will look like, including the wardrobe or lack thereof,” said Natalie White, an artist and model, who has posed nude for George Condo, Peter Beard, Marc Quinn, Spencer Tunick, and Close himself.
“If the model isn’t well known for taking their clothes off it should definitely be discussed ahead of time. And if the artist feels that the subject should take their clothes off in the middle of the session, they should schedule the unclothed session for a later day to give the model a chance to think about it,” said White, but pointed out that there may be exceptions with models who frequently pose nude. Otherwise, a model may change her mind afterward, meaning “you’ve just wasted time and resources on something you may not be able to use, or left the model feeling bad about what they have just done.”
The British actors’ union has laid this issue out in its code of conduct, which states that “any nudity/semi nudity will be personally approved by the model before the shoot takes place.”
Photo courtesy of Natalie White.
Don’t: Touch the models.
That is the most important rule, said White. “Don’t move their arm to a different angle, don’t touch their face to change the angle in which it’s tilted,” she says. “If you want a nude model to alter their pose it should be described with words, or the photographer or artist can show them by [demonstrating with their own body].”
Michael Grimaldi, faculty chair and director of New York Academy of Art’s drawing program, agreed—but offered a few limited exceptions. “The only instances where [touching] may occur is during the marking of a long pose and, in my experience, during lectures focusing on anatomical structures. For instance, using calipers to measure a distance directly on the model or using resistance to activate a muscle action. Whatever the circumstance, any potential physical contact is brought up beforehand, always with consent, boundaries respected, and exclusively work-based and professional.”
George Condo, Toy Face with Ponytail (2014). Artist and model Natalie White posed nude for this painting. Courtesy of the artist/Skarstedt Gallery.
George Condo, Toy Face with Ponytail (2014), a painting for which Natalie White posed nude. Courtesy of the artist/Skarstedt Gallery.
Do: Put the model’s comfort before the artist’s interests.
Carla Rodriguez, a former intern at New York’s 20×24 Studio, an instant photography studio that worked regularly with Close on his large-format Polaroid portraits, was invited to pose for the artist in 2009. She told Hyperallergic that she was surprised when Close allegedly asked her to undress beneath a spotlight in the darkened studio, rather than in a dressing room. “Having been a figure model, I’m used to being able to undress privately. It’s mostly inappropriate to take your clothes off in the middle of the classroom,” she said.
Like the artist, a model is a working professional and should be treated as such. “This includes making sure that the model stand, drapery, and props are clean and in place; that the model’s changing room is secure and clean; that the temperature is comfortable and additional space heaters are in place in consideration that the model will be nude and in a relatively static pose, potentially for an extended period of time,” said Grimaldi.
“If a nude subject is uncomfortable in any way, whether it’s the temperature being too cold or they want assistants out of the room, they should say so immediately,” said White. “You need to be direct about how you feel. If you are uncomfortable it will come out in the images, and for that reason the artist should want you to be comfortable because they understand that too.”
Kurt McVey modeling for the Artful Bachelorette. Photo courtesy of Kristy May/the Artful Bachelorette.
Kurt McVey modeling for the Artful Bachelorette. Photo courtesy of Kristy May/the Artful Bachelorette.
Don’t: Ignore red flags.
“I can’t stress enough, if you are uncomfortable in any way it’s really important for you to say it out loud,” said White. “Good people don’t want you to feel uncomfortable in a work environment, so if they don’t react well to you telling them you feel uncomfortable then they aren’t a good person and you probably are not in a good work environment.”
“Red flags for a model might be requests from students, requests to be photographed, inappropriate language, poses that might threaten their physical or mental comfort,” Grimaldi said. “That does not necessarily mean a sexual pose—it could even mean a pose that the model says would be physically difficult to execute and hold the pose for the necessary time.”
Do: Decide what environment is most comfortable for you.
Some situations may be strictly silent, such as at the academy, where “students do not initiate conversation with the model,” Grimaldi said. But model Kurt McVey finds such buttoned-up atmospheres stifling.
That’s why he got involved with the Artful Bachelorette, which hosts nude figure drawing classes for brides-to-be and their friends. He was struck by the amount of laughter in the room, which he found to be “a counterbalance to the often pretentious New York art world,” McVey told artnet News.
“They encourage engagement with the model and the people in the class,” he said. “As the model, I’m providing a space for what I like to call consensual objectification!”
He finds the experience of modeling in this environment to be “continually cathartic and therapeutic for me as an individual—and incredibly liberating for the women.”
A party with nude figure drawing hosted by the Artful Bachelorette. Photo courtesy of the Artful Bachelorette.
A party with nude figure drawing hosted by the Artful Bachelorette. Photo courtesy of the Artful Bachelorette.
Don’t: Bring your cell phone.
Posing nude for a drawing or painting is a completely different beast than posing for a photograph—and permission for one does not imply permission for the other.
“Because cell phones have the capability of taking photographs (along with the instant ability to post images on social media), students are notified that cell phone use under any circumstance is strictly forbidden in the classroom,” said Grimaldi. “The models are also encouraged that should they see a cell phone, they have every right to terminate the pose.”
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news.artnet.com/art-world/guide-to-nude-modeling-1196627
Images of the naked human body provoke conflicting feelings: shame, admiration, curiosity, desire, disgust, anger. This is especially true when these images appear in public spaces, whether physical or virtual. Nudity on European beaches, for example, is falling in popularity because of shame linked to social media. Facebook has drawn ire for removing images of naked bodies by celebrated artists such as Peter Paul Rubens and Pablo Picasso. And here in Los Angeles, art museums are not allowed to display nude images on street banners and billboards because they may offend, but perhaps also because they divert drivers’ eyes from the road. This is why you will see only a discreet detail on the street banners for The Renaissance Nude, an exhibition opening at the Getty Center on October 30.
None of these conflicted responses to the human body, however, is especially new. Ever since the Renaissance of the 1400s and 1500s, the nude—the unclothed human form—has been one of the defining features of art in Europe. Yet artists’ and viewers’ attitudes toward the nude were as varied and complex centuries ago as they are today.
The exhibition The Renaissance Nude (October 30, 2018–January 27, 2019), for which I served as lead curator, explores precisely this theme. It traces the gradual emergence of the naturalistic nude to artistic prominence over the course of more than a century and explores the many ways nudes appeared in art, how and where they were displayed, and how people reacted to them. Along the way, the exhibition and accompanying book explode some long-held myths about the nude in the European art tradition, revealing parallels between Renaissance Europe and our own cultural moment.
Myth #1: Renaissance Europeans Were Comfortable with Nude Bodies in Art
The rise of the nude in art in the Renaissance was driven by a revival of interest in Greek and Roman art, which is centered on the body, and by a rise in the closer study of nature. In Italy during the later 1400s, drawing of undressed models became common practice for artists. Within a few decades, this new practice spread to northern Europe as well. In fact, the dominant role of observing and sketching from the nude in an artist’s training has lasted into our own era.
But the use of the nude in art, particularly religious art, was controversial during the Renaissance. Images of beautiful bodies can be highly sensual, which made some observers uncomfortable—then as much as now.
The classical revival resulted in new types of Christian imagery, such as in the depictions of Christ and Christian martyr-saints as partially or fully undressed heroes. In the exhibition you can see this transformation between two paintings of Christ as the Man of Sorrows, one by the Italian artist Michele Giambono (shown below), and another by his compatriot Marco Zoppo, which shows Christ as a much more muscular, heroic figure.
Myth #2: Renaissance Nudes Always Reflected the Highest Ideals of Humankind
Graceful, classically inspired representations of the unclothed human body became the ideal for artists from the Renaissance onward, first in Italy and France during the 1400s and soon thereafter in the rest of Europe.
As a result, intellectuals devised elaborate justifications for the representation of the sensual nude. A Greek humanist of the time living in Italy did so by admitting that it is sinful to admire a woman for her physical allure, but that depictions of the human body undressed can and should be appreciated as a reflection of the intelligence and abilities of the artist. In the Renaissance, achievement in representing the body became the standard for measuring artistic genius.
The humanist’s argument, intended for an elevated circle of cultivated, largely male patrons and collectors, may seem a bit disingenuous today. Scholars have argued that some men of that era commissioned major artists to paint images of erotic subjects such as the Loves of the Gods as metaphorical tributes to their own sexual prowess. Painted for Federico II Gonzaga, Duke of Mantua, Correggio’s Danaë, with its exquisitely rendered and ethereal representation of female beauty, is a good example This painting was enjoyed then for its erotic appeal, and is still by some viewers today. Others find it challenging to reconcile the painting’s exceptional artistry with its objectification of the female body.
Myth #4: Renaissance Artists Were Only Interested in Ideal Bodies
Expressions of the flawless body were an important manifestation of the nude in the Renaissance. But artists also depicted nude figures in a range of human conditions, both physical and spiritual. Images of the sick, the anxious, and the aged are an important part of the story of the Renaissance nude.
Christian figures and stories were the most widespread subject in Renaissance art, serving to decorate churches, private chapels, and homes. And these religious figures often look very different from the ideal body.
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A cowgirl works through the pole bending course in the rain -- while I work around wranglers and dads. It never changes. Overcoming obstacles is just part of the charm of rodeo.
From the Georgia High School Rodeo Association event in Madison, Georgia.
Nikon D7200 -- Nikon 80-200mm F2.8
200mm
F4@1/1,250
ISO 1,000
(DOL_5536)
©Don Brown 2019