Problematic destination blind there as the numbers and the top blind is just all in orange. But a freshly repainted Central Buses dart looking good in the Diamond livery.

 

no. EU06 KPA

Convolvulus is a genus of about 250 species of flowering plants in the bindweed family Convolvulaceae, with a cosmopolitan distribution. Common names include bindweed and morning glory, both names shared with other closely related genera.

 

They are annual or perennial herbaceous vines and (a few species) woody shrubs, growing to 0.3-3 m tall. The leaves are spirally arranged, and the flowers trumpet-shaped, mostly white or pink, but blue, violet, purple or yellow in some species.

 

Many of the species are problematic weeds, which can swamp other more valuable plants by climbing over them, but some are also deliberately grown for their attractive flowers. However, some other species are globally threatened.

 

This species occurs in many temperate regions. They are mostly slender, creeping winding vines. A few are small perennials. They have simple, alternate leaves and wide funnel-shaped flowers.

 

Convolvulus species are used as food plants by the larvae of some Lepidoptera species including the leaf-miner Bucculatrix cantabricella (feeds exclusively on Convolvulus cantabricus), Bedellia annuligera (recorded on Convolvulus arvensis) and Bedellia somnulentella.

 

Blaue Mauritius:

Gattung mit ca. 250 Arten.

Wuchsform: Klimmend, schlanksprossig, leicht verholzende Staude.

Blätter: Länglich bis breiteiförmig, mittelgrün, bis 3 cm lang.

Blüte: Flach trichterförmig, blass bis tief lavendelblau, 1,5 bis 2,5 cm breit, in Büscheln aus 1 bis 3 Blüten in den Blattachseln.

Herkunft: Spanien, Italien, Nord Afrika

 

Ich wünsche allen eine gute Woche! Vielleicht hat das Jahr noch ein paar Wunder paprat...

Have a nice week my friends!

A Bullfrog in a marsh on central Vancouver Island. Unfortunately these frogs are an invasive species that have been introduced from the east coast of North America. They are problematic to the native frog species (and other small animals, they will eat anything that fits in their mouth) as they are much larger and more aggressive than the native species.

Shakedown cruise for upcoming tour. Bike just shod with new Compass Switchback Hills. 48mm wide. They rode beautifully but make fenders problematic. Gotta solve that.

As I have said on numerous occasions, despite being born in Norfolk, my family did not have a car, so we had to rely on public transport. So, there are some places in the county I know very well, and others I had not heard of.

 

Reepham is a place I only knew existed, as I have a contact on Twitter who is from there, so I had no idea what the town would be like. What I found was a fine market town, with the market thriving, at least on the day we visited, with stalls doing a steady trade despite the dreadful weather. But of course, we were here to visit the church. But what I didn't know was that there were churches.

 

I believe I am right in saying this, but a parish boundary runs at the back of St Michael's, and the church of the neighbouring parish is right behind, and now there is a corridor joining St Mary and St Michael together.

 

St Michael is now more of a community resource, and when we visited a meeting or something was being held, but we could still visit the chancel.

 

In fact Reepham had a third church, but that burned down in 1543, and only a small portion of its wall remains. This making it only one of two places in Europe to have three churches. Or so says Wikki. But I am already thinking of Stamford in Lincolnshire that seemed to have at least three churches, if not four.

 

We walk past the people going into St Michael's for a meeting or coffee morning or something, and enter the entrance to St Mary's, not joined to St Michael's by a corridor.

 

For me, the joy here was the wonderful tiling, which extended right down the body of the church, as well as in the chancel. And pride of place is a an early tomb to a knight, depicted laying on a bed of pebbles, very unusual.

 

--------------------------------------------------------------

 

The surviving one of the three Reepham churches is tucked away beind the prominent, prettier Whitwell St Michael, to which it is now joined by a corridor. The parish boundary ran along the west wall, and so the tower is tucked neatly against the south side, in the manner of many of the churches of south-east Suffolk - although there, it usually forms the entrance, while here there is a rather awkward porch sandwiched to the west of the tower and to the east of the chancel of St Michael.

 

The interior was extensively restored in the 19th century in that municipal manner beloved of small-town worthies; it has an urban self-confidence that has pretty well eradicated any sense of the medieval. However, the few medieval treasures that do survive are significant. The font, for example, which evades the mundanity of its setting in encaustic tiles by topping out its large, square platform like the tier of a wedding cake. Still square, yet no longer Norman, the bowl is an excellent example of Early English patternwork.

 

Turning east, there are aisles but there is now no clerestory; it was removed in the late 18th century, presumably because of probems with the roof, and a single span roof over both nave and aisles replaced it. This makes the nave and chancel seem uncomfortably gloomy by contrast with the light beyond the arcades.

 

Up in the chancel, there are two remarkable relics of the Kerdiston family. One is a superb altar tomb to Sir William de Kerdiston (most guides give Sir Roger, but Pevsner is convincing on the matter) where he lies in full armour, a lion at his feet, on a bed of stones. The thing is, he looks alive - there is a tension in his arms and legs as if he might leap up at any moment. At the base of the tomb are eight weepers, all in 14th century dress and with traces of original colour behind them. A couple of them are damaged, but this does not appear to be iconoclasm - or, at least, one of the undamaged figures carries a rosary, which the reformers would have thought pertinent to destroy. A hanging lion pendant has done even better to survive the accidents of six hundred years.

 

A younger Sir William lies with his wife Cecily in brass on the chancel floor. You will miss this unless you look for it, as it is hidden by the carpet, but it is well worth the look, because pairs of 14th century figure brasses are few and far between. He is damaged, but she is more or less complete, and looks very pious. There are a number of other memorials in the chancel that vary from the mundane to the truly hideous. In addition, the east window is very meagre; it was installed in the 1840s, and Pevsner quotes architect Joseph Stannard as claiming the tiny slipper chapel at Walsingham as the source of its design, a curious choice for a church as big as this.

 

The view westward is better than the view eastward; thanks to that southerly tower, the west window is quite simply superb. Despite its restored character, this building has more to offer than might first appear.

 

Simon Knott, June 2004

 

www.norfolkchurches.co.uk/reepham/reepham.htm

 

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Reepham is one of those fine, tiny Norfolk towns that must once have been fiercely independent, in the days before there were commuters, and before shoppers could easily drive to the nearest edge-of-the-city supermarket. It has two churches in its churchyard, one hiding behind the other. Once there were three - the remains of the third are still apparent and easily found.

 

Reepham's three-in-one churchyard is very central, overlooking the little market place. How did it come to be home to three churches? Churches sharing churchyards is not that uncommon; there are at least a dozen examples in East Anglia, and there were once more. To understand why, we need to consider the difference between a parish and its town or village; we also need to consider the medieval functions of a parish church.

 

The English parish system is ancient, dating back to Saxon times. In East Anglia more than in most regions, the ecclesiastical parishes pretty much reflect what was there a thousand years ago, apart from the tidying up and rationalisation that have occured from time to time. Parishes are areas of land, most commonly about ten square miles, and they share contiguous borders - that is to say, there are no gaps between them. It is always possible to step from one parish into another. Everywhere in England is within a Church of England parish.

 

The great majority of parishes contain a single large settlement within their boundaries, which shares the parish name. To look at them on a map, you could be fooled into thinking that the parish has grown up around the settlement; but of course, this is not the case. Settlements occur naturally and organically over the centuries, almost always for economic reasons. Some parishes have more than one significant settlement, and very occasionally the largest settlement does not share the name of the parish.

 

Above all, a medieval church is a parish church, not a village church. It just so happens that most of them are in the main settlement of the parish; but in Norfolk and Suffolk more than in most places, a significant minority are outside the village of their parish name. And while we may assume that the settlement will be near the middle of the parish, there are plenty of examples where this is not the case at all. Often, it will be towards the edge; sometimes, the main settlements in two adjacent parishes will be joined on to each other, and when this happens it may have been found convenient in ancient times for the two parish churches to share consecrated ground. On a rare occasion, the settlements of three parishes may be adjacent - and this is what happened at Reepham.

 

The three churches here were all hard against their parish boundaries, although not actually joined on to each other. You might think this would make the holding of concurrent services awkward, but we need to remember that, at the time they were built, they were not used for 'services' in the way that we would understand the word to day. After all, they were not built as Anglican churches at all, but as Catholic churches, and at a time when congregational, corporate worship was a minor part of the life of the Church, if it existed at all. As I explored on the introduction to Cawston and Salle, a church building was designed to allow private devotions, the administration of sacraments, Masses to be said at different altars by different priests, and so on. Worship was active and communitarian, rather than passive and congregational. Medieval churches were busy places, and this would be the case whether or not all these activities were happening in a single building or in two, or even three.

 

It was only after the Reformation, with the advent of divine service at prescribed times, that churches sharing churchyards became problematic. If they also shared a Rector (as increasingly happened) then it made good sense to take down one building and just use the other. Hackford church's demise is attributed to a fire in 1546, but this date looks suspiciously similar to that of the many examples of churches derelicted by the protestant reformers. Most often, churches served by monasteries were taken down and cannibalised for their building materials. We know that masonry from Hackford church was used in the expansion of Whitwell church.

 

So Hackford church was lost; but the two other buildings underwent all the considerable changes that the protestant Reformation and the subsequent years of conflict could bring. When the Church of England entered its century of torpor in the 1700s they probably settled down with a quiet sigh of relief, but the 19th century Anglican revival brought new challenges and changes, and both churches underwent major restorations and rebuildings.

 

The two surviving churches remained in separate parishes up into the 1930s, but this was increasingly an anomaly, and it was probably only the revival that allowed them to sustain this for so long. In 1970, Whitwell church was at last declared redundant, and became the parish hall; a happy outcome for the town, and in reality no more than just another reinvention of this once-medieval building.

 

www.norfolkchurches.co.uk/threeinone/threeinone.htm

For those who are from or who frequent the Skagit Valley, you most likely know where I took these. It has become a favorite spot of mine during my eagle trips to photograph at during the day. In fact, I actually spent my entire last day at this location. I'm sure many know where it is, but due to the disrespect and problematic actions that took place here last year when a rare species was located here... I would rather not disclose where it is. It makes me sad to know that there are some photographers have such little respect for their subjects and only care about getting the shot... parts of their habitat were destroyed last year. Makes me sick :( STILL I absolutely love this place and for the first time ever I got more flight shots than I did stills... and I am so lucky to have gotten so many of these beautiful birds.

 

The thing Bempton is famous for , enjoyable watching these but the strong light was problematic for photography but interesting

Castilleja disticha, somewhat atypical, CA Hwy. 140 (Big Oak Flat Rd.) S of Mather, Yosemite National Park, Tuolumne Co., CA, 15 May 2016.

 

This population is somewhat problematic and may show some mixing with C. applegatei var. pinetorum. The plants had the short secondary calyx clefts and long, brightly colored corollas of C. disticha, and many of the bracts were entirely greenish, as in C. disticha, but there were also some plants with more upper bracts colored reddish than is usually the case in C. disticha, and the plants were fairly leafy, at least at this stage in their growth. Some stems, though, were elongating, and their aspect may have become more typical with time...

Alien She

 

Photos and Video by Mario Gallucci

 

Alien She

Sep 3, 2015 â Jan 9, 2016

 

Alien She, curated by Astria Suparak + Ceci Moss, is the first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today. A pioneering punk feminist movement that emerged in the early 1990s, Riot Grrrl has had a pivotal influence, inspiring many around the world to pursue socially and politically progressive careers as artists, activists, authors and educators. Emphasizing female and youth empowerment, collaborative organization, creative resistance and DIY ethics, Riot Grrrl helped a new generation to become active feminists and create their own culture and communities that reflect their values and experiences, in contrast to mainstream conventions and expectations.

 

Riot Grrrl formed in reaction to pervasive and violent sexism, racism and homophobia in the punk music scene and in the culture at large. Its participants adapted strategies from earlier queer and punk feminisms and â70s radical politics, while also popularizing discussions of identity politics occurring within academia, but in a language that spoke to a younger generation. This self-organized network made up of teenagers and twenty-somethings reached one another through various platforms, such as letters, zines, local meetings, regional conferences, homemade videos, and later, chat rooms, listservs and message boards. The movement eventually spread worldwide, with chapters opening in at least thirty-two states and twenty-six countries.* Its ethos and aesthetics have survived well past its initial period in the â90s, with many new chapters forming in recent years. Riot Grrrlâs influence on contemporary global culture is increasingly evident â from the Russian collective Pussy Riotâs protest against corrupt government-church relations to the popular teen website Rookie and the launch of Girls Rock Camps and Ladyfest music and art festivals around the world.

 

Alien She focuses on seven people whose visual art practices were informed by their contact with Riot Grrrl. Many of them work in multiple disciplines, such as sculpture, installation, video, documentary film, photography, drawing, printmaking, new media, social practice, curation, music, writing and performance â a reflection of the movementâs artistic diversity and mutability. Each artist is represented by several projects from the last 20 years, including new and rarely seen works, providing an insight into the development of their creative practices and individual trajectories.

 

Artists: Ginger Brooks Takahashi (Pittsburgh), Tammy Rae Carland (Oakland), Miranda July (Los Angeles), Faythe Levine (Milwaukee), Allyson Mitchell (Toronto), L.J. Roberts (Brooklyn), Stephanie Syjuco (San Francisco) and more.

 

Archival Materials from: dumba collective; EMP Museum, Seattle; Interference Archive; Jabberjaw; the Riot Grrrl Collection at the Fales Library & Special Collections, NYU; and many personal collections.

 

Collaborative Projects and Platforms include: Counterfeit Crochet Project, Feminist Art Gallery (FAG), General Sisters, Handmade Nation, Joanie 4 Jackie, Learning to Love You More, LTTR, projet MOBILIVRE-BOOKMOBILE project, Sign Painters and more

Womenâs Studies Professors Have Class Privilege / Iâm With Problematic, from the series Creep Lez, Allyson Mitchell, 2012.

 

Altered t-shirts with iron-on transfer and vinyl letters. Courtesy of the artist and Katharine Mulherin Gallery, Toronto.

 

Alien She is curated by Astria Suparak and Ceci Moss, and organized by the Miller Gallery at Carnegie Mellon University, Pittsburgh

  

Alien She is presented in two parts:

 

Museum of Contemporary Craft

724 NW Davis

Portland, OR 97209

 

511 Gallery @ PNCA

511 NW Broadway

Portland, OR 97209

 

Both venues are open Tuesday through Saturday from 11am to 6pm.

This was our third posed "studio" style shoot, and we've been working really hard to prepare for it.

 

You might recall that we had practiced sit-stay's for the last shoot, and everything was looking good until I set the camera on the floor.

 

(sigh)

 

So we've spent the intervening time solidifying our sits AND trying to make the camera less interesting.

 

This was a bit problematic, as Toby wasn't really that interested in the camera when I was holding it, just when I wasn't.

 

So I ended up setting a plastic basket upside-down on the floor where the camera normally sits (in place of the books I normally use) with a smaller plastic basket on top (where the camera would go) and then walked away.

 

Toby's interest lasted about 5 minutes, as the objects weren't nearly as interesting when Momma wasn't running toward him like a mad-woman screaming "No!"

 

He batted the baskets around, climbed on top, pushed them around, and then wandered off.

 

I tried it 2-3 times when I wasn't trying to get pictures, and then pulled then out again today when I was.

 

After I had the "studio" set up I flipped the bottom basket over, put the smaller basket inside, and set a couple books on top to raise the height to above the lip of the basket.

 

My camera went on top of that, and then I quickly move into the "studio" with some tasty treats.

 

It worked!

 

Puppy steps.

 

We take puppy steps to build a solid foundation that will hopefully result in many years of happy photo shoots.

 

Stop on by Henry and Toby's blog: bzdogs.com - The Secret Life of the Suburban Dog

So, I've been shooting 6x6 for quite a while now. And it really poses some difficult composition problems. When shooting detail, it's great. But when trying to capture a "scene" it is often problematic.

 

There's a bit more foreground in this shot than I really wanted. And way more sky. (You can see the central Andes shrouded in haze in the background, can't you? Me either.) Makes me nostalgic for my old Mamiya 645.

I've not produced many Freightliner locos because the green has proved problematic; hopefully it has worked on this fictional Class 50. This is of course the original Freightliner green livery, rather than the current 'Powerhaul' scheme (I won't be going there). In reality, 50149 appeared in Railfreight triple-grey livery during a brief but unsuccessful foray as a freight locomotive (25-Aug-13).

 

All rights reserved. For the avoidance of doubt, this means that it would be a criminal offence to post this image on Facebook or elsewhere (please post a link instead). Please follow the link below for further information about my Flickr collection:

www.flickr.com/photos/northernblue109/6046035749/in/set-7...

The sun crossing the narrow gap at the top of the gully, while I was there, was certainly a bonus but it made exposure settings problematic. Much trial and error was needed. Glad I wasn't using film.

I was down in the Phoenix area photographing the wildflower bloom with Steve Flowers over the weekend. Wildflower shooting was a bit problematic due to the wind...thus my favorite shot of the weekend was probably this one of a Black-Chinned Hummingbird feeding on the aloe vera bloom at Steve's house. Hummers are sure a hoot to shoot!

They wanted a photo with the movie poster... so I obliged :D

 

Camera focus still problematic... > . < !!

GAS TRACTION COMPANY, BIG FOUR 30, Sold for $294,000 (Year not Listed, possibly 1910?)

 

Prairie tractor ahead of its time.

The Big Four trademark number 4 within a circle first began being used in December 1910. The company promoted itself the first and largest builder of 4-cylinder farm tractors

Vertical inline 4-cylinder engine, which features a unique headless engine design.

 

Excellent gearing

30 HP - drawbar

60 HP - belt

Bore and stroke dimensions- 6.5x10 inches

All new sheet metal

Rear Wheels 8 foot in diameter.

 

Mecum Gone Farmin’ Auction

Schaaf Truck & Tractor Museum

Frankfort, Illinois

Will County, USA.

 

{Note} Another Big Four 30 identical to this one sold at Mecum’s Gone Farmin’ Auction in Davenport, Iowa on November 9 2019 for $315,000 It might even have been this very one??

 

======================

 

Additional information found online…..

 

Few antique tractors have the immense scale of the Big 4 Thirty Tractor built by the Gas Traction Company. Indeed for collectors the Big 4 represents the spirit of an era when the large prairie tractors dominated the plains. They bragged in a company advertisement from 1910 that they were “the first and largest builder in the world of four-cylinder engines.”

 

The Big 4 Thirty gets its name from the horsepower, able to produce 30 horsepower on the drawbar and 60 horsepower on the belt.

 

The Gas Traction Company has its origin with D. M. Hartsough who in 1904 built a four-cylinder tractor with a four-inch bore and five-inch stroke. Hartsough met Patrick J. Lyons in about 1905 who was impressed with the smooth four-cylinder engine and the overall tractor design.

 

The two men formed the Transit Thresher Company which was the first four-cylinder traction engine offered to farmers. In 1908 they formed a new company called the Gas Traction Company and a year later took the name Big 4 as the company trademark.

 

In 1912 the Gas Traction Company was purchased by the Emerson-Brantingham Implement Company of Rockford, Illinois. Emerson continued to build tractors until it was purchased by the J. I. Case Company in 1928.

 

The Gas Traction Company was one of dozens of agricultural manufactures trying to get into the tractor market in the early days of gas tractor development. In the first decade of the 1900s there was a need for larger tractors to break the virgin grasslands of the western United States and parts of Canada. The large tractors included models by International Harvester, J. I. Case, Hart-Parr, Fairbanks-Morris, Rumely, Nicholas & Shepard, Minneapolis and Imperial.

 

Each company had its own ideas for how the tractor should be designed, but these early models had a few things in common; large steel rear wheels, heavy channel iron frames, and chain steering. Much of this was continuing the basic design of the steam traction engine.

The engines were more varied, from single cylinder to two-cylinder opposed or side by side and larger four-cylinder engines such as the engine in the Big 4 Thirty. It's not just the size of the Big 4 that’s impressive, but its powerful engine. It's a headless, four-cylinder, vertical, inline engine, with a 6-½ by 10 inch bore and stroke. Its high tension magneto system was reliable even in adverse conditions.

 

The Big 4 won a few plowing competitions including First Place Gold Metal for internal combustion engines over 30 hp at the 1910 Winnipeg Motor Contest. The Big 4 pulled a seven bottom John Deere gang plow at the rate of 2.54 acres per hour. It might have been this competition that caught the eye of some John Deere Branch manager. Around the same time some Deere branch houses sold the Big 4 Thirty tractor.

  

Deere was known for its line of quality implements, but had still not got into the gas tractor market. The company saw the potential of the Big 4 tractor. It may have also aided Deere dealers in selling their line of large gang plows.

The Big 4 was sold till at least 1912 as shown in a Deere dealer catalog from that time. It's unclear exactly how long Deere sold the tractor, but the end might have coincided with the purchase of the Waterloo Boy Company in 1918.

 

Deere continued to sell the Waterloo Boy tractor until the introduction of the Model D tractor in 1923.

 

Few of these Big 4 thirty tractors survived, either traded in for smaller modern models or dismantled during the World War 2 scrap drives. For many years there were only about 20 complete Big 4 Thirty tractors that survived. At one time it was thought there was more rolling chassis than complete existing tractors. That is until more recently when a group of collectors decided to build more.

  

Al Serverson of Blooming Prairie, Minnesota was one of these collectors. Al had always wanted to own a Big 4 Thirty, but obtaining a complete running model wasn’t possible. When he had the chance to buy the remains of one in 2009 he jumped at the opportunity.

Al purchased a Big 4 Thirty parts tractor from the estate of Morris Blomgren in Siren, Wisconsin. Morris passed away on November 1, 2009 at age 92. He was a long-established collector of all kinds of antique machinery and had amassed quite a collection.

  

Morris’ Big 4 Project came from the Reynolds Museum near Edmonton, Alberta. Morris had corresponded with the museum for a couple of years before buying the tractor in 1988 for $5,900 US dollars. The tractor was missing the engine, transmission, pinion gears and many of the small parts. Morris did some work on the project which included getting new pinion gears. The tractor chassis remained in his yard near his driveway until the time of his death.

  

Since no parts for these tractors remain, Al had a big task ahead of him building an entire engine assembly and transmission from nothing. This type of undertaking wasn’t without precedent. Harold Ottoway of Wichita, Kansas set out on a similar endeavor in the early 1980s. Harold found the crankshaft for a Big 4 Forty Five, the six-cylinder version of the Big 4 “30”. Harold started with nothing but a crankshaft and built the only known example of the Big 4 Forty Five Tractor.

Harold’s search led him to the White River in Kadoka, South Dakota where he found the remains of a Big 4 Forty Five laying on its side in the river bank.

 

He and a group of other collectors were able to pull the remains of the crankcase and transmission from the river. Using these pieces he was able to reconstruct, make patterns, pour new casting and rebuild the Big 4 Forty Five. This tractor now resides in the John Tysse collection in Crosby, North Dakota who was instrumental in completion of the project.

 

Al had a little to go by when starting his project. Al had restored the Big 4 Thirty tractor owned by the Little Log House Pioneer Village in Hastings, Minnesota in the mid-1990s. He borrowed this tractor and brought it back to his shop to disassemble measure and copy parts.

 

They built wooden patterns, casted new upper and lower crankcases and all of the engine parts including: the pistons, connecting rods, cylinders, manifolds and the crankshaft. Every part of the transmission was also cast.

 

Al noted that, “The process was much more difficult than could have been anticipated.”

The cylinders proved the most problematic part of the project. The cylinders are headless, unlike modern engines with a removable head which is sealed with a gasket.

 

Al recalled, “It was the complexity of it, with the water jackets and valve chambers and so on. There’s just so much that goes on in cylinders. This particular cylinder is a headless design, so the valves and head are part of the casting.

 

That means a need for more cores and if anything moves or anything happens, you get a bad part. When you pour metal, gases build up and need an escape route, which is too often blowing a hole in the casting. So the cylinders were doubtless the hardest part.”

 

Al used two different foundries and after several failed casting was finally able to get enough usable cylinders. Along with the castings and all that machining, Al also made new fenders for the Blomgren tractor and built not just one, but five radiators for the Big 4.

 

Al personally put together not just one, but two Big 4 Thirty tractors at his shop in Blooming Prairie, Minnesota. Along with the Morris Blomgren tractor, Al also purchased a 1908 Big 4 Thirty from the Brett Kemper estate. While putting his two together, Al assisted about a dozen different collectors from four different continents with their Big 4 Thirty projects. In the end Alan helped to assemble five complete Big 4 Thirty engines.

 

The finished Blomgren Big 4 tractor is an amazing site. When you walk up to it, the first thing you notice is the scale and its tall rear wheels some 8 feet, 3 inches in height. It's a fantastic restoration with Al’s attention to detail and craftsmanship shown throughout. It's hard to believe that the engine and transmission are all brand new. If you didn’t know it you’d swear it was all original.

 

In 2021 Al decided to part with the Blomgren Big 4 Thirty. The tractor will be sold on the Aumann Vintage Power Pre-30 Auction on April 24, 2021 in Nokomis, Illinois. It is only the second time a Big 4 Thirty tractor has sold at auction in the past thirty years.

 

Mithraism, also known as the Mithraic mysteries, was a mystery religion centred around the god Mithras that was practised in the Roman Empire from about the 1st to the 4th century CE. The religion was inspired by Persian worship of the god Mithra (proto-Indo-Iranian Mitra), though the Greek Mithras was linked to a new and distinctive imagery, and the level of continuity between Persian and Greco-Roman practice is debated.The mysteries were popular in the Roman military.

Worshippers of Mithras had a complex system of seven grades of initiation and communal ritual meals. Initiates called themselves syndexioi, those “united by the handshake”. They met in underground temples, called mithraea, which survive in large numbers. The cult appears to have had its centre in Rome. Numerous archaeological finds, including meeting places, monuments and artifacts, have contributed to modern knowledge about Mithraism throughout the Roman Empire. The iconic scenes of Mithras show him being born from a rock, slaughtering a bull, and sharing a banquet with the god Sol (the Sun). About 420 sites have yielded materials related to the cult. Among the items found are about 1000 inscriptions, 700 examples of the bull-killing scene (tauroctony), and about 400 other monuments.[6] It has been estimated that there would have been at least 680 mithraea in Rome. No written narratives or theology from the religion survive; limited information can be derived from the inscriptions and brief or passing references in Greek and Latin literature. Interpretation of the physical evidence remains problematic and contested. The Romans regarded the mysteries as having Persian or Zoroastrian sources. Since the early 1970s the dominant scholarship has noted dissimilarities between Persian Mithra-worship and the Roman Mithraic mysteries. In this context, Mithraism has sometimes been viewed as a rival of early Christianity with similarities such as liberator-saviour, hierarchy of adepts (bishops, presbyters, deacons), communal meal and a hard struggle of Good and Evil (bull-killing/crucifixion). The term "Mithraism" is a modern convention. Writers of the Roman era referred to it by phrases such as "Mithraic mysteries", "mysteries of Mithras" or "mysteries of the Persians". Modern sources sometimes refer to the Greco-Roman religion as "Roman Mithraism" or "Western Mithraism" to distinguish it from Persian worship of Mithra. The exact form of a Latin or classical Greek word varies due to the grammatical process of declension. There is archaeological evidence that in Latin worshippers wrote the nominative form of the god's name as "Mithras". However, in Porphyry's Greek text De Abstinentia (Περὶ ἀποχῆς ἐμψύχων), there is a reference to the now-lost histories of the Mithraic mysteries by Euboulus and Pallas, the wording of which suggests that these authors treated the name "Mithra" as an indeclinable foreign word. Sanskrit Mitra (मित्रः), the name of a god praised in the Rig Veda. In Sanskrit, "mitra" means "friend" or "friendship". the form mi-it-ra-, found in an inscribed peace treaty between the Hittites and the kingdom of Mitanni, from about 1400 BCE. Iranian "Mithra" and Sanskrit "Mitra" are believed to come from an Indo-Iranian word mitra meaning contract / agreement / covenant. Modern historians have different conceptions about whether these names refer to the same god or not. John R. Hinnells has written of Mitra / Mithra / Mithras as a single deity worshipped in several different religions.On the other hand, David Ulansey considers the bull-slaying Mithras to be a new god who began to be worshipped in the 1st century BCE, and to whom an old name was applied. Mary Boyce, a researcher of ancient Iranian religions, writes that even though Roman Empire Mithraism seems to have had less Iranian content than historians used to think, none the less "as the name Mithras alone shows, this content was of some importance". Mithras-worship in the Roman Empire was characterized by images of the god slaughtering a bull. Other images of Mithras are found in the Roman temples, for instance Mithras banqueting with Sol, and depictions of the birth of Mithras from a rock. The practice of depicting the god slaying a bull seems to be specific to Roman Mithraism. According to David Ulansey, this is "perhaps the most important example" of evident difference between Iranian and Roman traditions: "...The image may be a relief, or free-standing, and side details may be present or omitted. The centre-piece is Mithras clothed in Anatolian costume and wearing a Phrygian cap; who is kneeling on the exhausted bull, holding it by the nostrils with his left hand, and stabbing it with his right. As he does so, he looks over his shoulder towards the figure of Sol.

 

Banquet

The second most important scene after the tauroctony in Mithraic art is the so-called banquet scene. The banquet scene features Mithras and the Sol Invictus banqueting on the hide of the slaughtered bull. On the specific banquet scene on the Fiano Romano relief, one of the torchbearers points a caduceus towards the base of an altar, where flames appear to spring up. Robert Turcan has argued that since the caduceus is an attribute of Mercury, and in mythology Mercury is depicted as a psychopomp, the eliciting of flames in this scene is referring to the dispatch of human souls and expressing the Mithraic doctrine on this matter. Turcan also connects this event to the tauroctony: the blood of the slain bull has soaked the ground at the base of the altar, and from the blood the souls are elicited in flames by the caduceus.

Birth from a rock..Mithras is depicted as being born from a rock. He is shown as emerging from a rock, already in his youth, with a dagger in one hand and a torch in the other. He is nude, standing with his legs together, and is wearing a Phrygian cap. However, there are variations. Sometimes he is shown as coming out of the rock as a child, and in one instance he has a globe in one hand; sometimes a thunderbolt is seen. There are also depictions in which flames are shooting from the rock and also from Mithras' cap. One statue had its base perforated so that it could serve as a fountain, and the base of another has the mask of the water god. Sometimes Mithras also has other weapons such as bows and arrows, and there are also animals such as dogs, serpents, dolphins, eagles, other birds, lion, crocodiles, lobsters and snails around. On some reliefs, there is a bearded figure identified as Oceanus, the water god, and on some there are the gods of the four winds. In these reliefs, the four elements could be invoked together. Sometimes Victoria, Luna, Sol and Saturn also seem to play a role. Saturn in particular is often seen handing over the dagger to Mithras so that he can perform his mighty deeds. In some depictions, Cautes and Cautopates are also present; sometimes they are depicted as shepherds. On some occasions, an amphora is seen, and a few instances show variations like an egg birth or a tree birth. Some interpretations show that the birth of Mithras was celebrated by lighting torches or candles.

Rituals and worship

"the Mithraic Mysteries had no public ceremonies of its own. The festival of Natalis Invicti, held on 25 December, was a general festival of the Sun, and by no means specific to the Mysteries of Mithras."Mithraic initiates were required to swear an oath of secrecy and dedication, and some grade rituals involved the recital of a catechism, wherein the initiate was asked a series of questions pertaining to the initiation symbolism and had to reply with specific answers.

... He will say: 'Where ... ?

... he is/(you are?) there (then/thereupon?) at a loss?' Say: ... Say: 'Night'. He will say: 'Where ... ?' ... Say: 'All things ...' (He will say): '... you are called ... ?' Say: 'Because of the summery ...' ... having become ... he/it has the fiery ... (He will say): '... did you receive/inherit?' Say: 'In a pit'. He will say: 'Where is your ...?... (Say): '...(in the...) Leonteion.' He will say: 'Will you gird?' The (heavenly?) ...(Say): '... death'. He will say: 'Why, having girded yourself, ...?' '... this (has?) four tassels. Very sharp and ... '... much'. He will say: ...? (Say: '... because of/through?) hot and cold'. He will say: ...? (Say): '... red ... linen'. He will say: 'Why?' Say: '... red border; the linen, however, ...' (He will say): '... has been wrapped?' Say: 'The savior's ...' He will say: 'Who is the father?' Say: 'The one who (begets?) everything ...' (He will say): '('How ?)... did you become a Leo?' Say: 'By the ... of the father'. ... Say: 'Drink and food'. He will say '...?'

 

'... in the seven-...

Almost no Mithraic scripture or first-hand account of its highly secret rituals survives; with the exception of the aforementioned oath and catechism, and the document known as the Mithras Liturgy, from 4th century Egypt, whose status as a Mithraist text has been questioned by scholars including Franz Cumont. The walls of Mithraea were commonly whitewashed, and where this survives it tends to carry extensive repositories of graffiti; and these, together with inscriptions on Mithraic monuments, form the main source for Mithraic texts. Nevertheless, it is clear from the archeology of numerous Mithraea that most rituals were associated with feasting – as eating utensils and food residues are almost invariably found. These tend to include both animal bones and also very large quantities of fruit residues. The presence of large amounts of cherry-stones in particular would tend to confirm mid-summer (late June, early July) as a season especially associated with Mithraic festivities. The Virunum album, in the form of an inscribed bronze plaque, records a Mithraic festival of commemoration as taking place on 26 June 184. Beck argues that religious celebrations on this date are indicative of special significance being given to the Summer solstice; but this time of the year coincides with ancient recognition of the solar maximum at midsummer, whilst iconographically identical holidays such as Litha, St John's Eve, and Jāņi are observed also. For their feasts, Mithraic initiates reclined on stone benches arranged along the longer sides of the Mithraeum – typically there might be room for 15 to 30 diners, but very rarely many more than 40 men. Counterpart dining rooms, or triclinia, were to be found above ground in the precincts of almost any temple or religious sanctuary in the Roman empire, and such rooms were commonly used for their regular feasts by Roman 'clubs', or collegia. Mithraic feasts probably performed a very similar function for Mithraists as the collegia did for those entitled to join them; indeed, since qualification for Roman collegia tended to be restricted to particular families, localities or traditional trades, Mithraism may have functioned in part as providing clubs for the unclubbed. However, the size of the Mithraeum is not necessarily an indication of the size of the congregation.Each Mithraeum had several altars at the further end, underneath the representation of the tauroctony, and also commonly contained considerable numbers of subsidiary altars, both in the main Mithraeum chamber and in the ante-chamber or narthex. These altars, which are of the standard Roman pattern, each carry a named dedicatory inscription from a particular initiate, who dedicated the altar to Mithras "in fulfillment of his vow", in gratitude for favours received. Burned residues of animal entrails are commonly found on the main altars indicating regular sacrificial use. However, Mithraea do not commonly appear to have been provided with facilities for ritual slaughter of sacrificial animals (a highly specialised function in Roman religion), and it may be presumed that a Mithraeum would have made arrangements for this service to be provided for them in co-operation with the professional victimarius of the civic cult. Prayers were addressed to the Sun three times a day, and Sunday was especially sacred. It is doubtful whether Mithraism had a monolithic and internally consistent doctrine. It may have varied from location to location.However, the iconography is relatively coherent. It had no predominant sanctuary or cultic centre; and, although each Mithraeum had its own officers and functionaries, there was no central supervisory authority. In some Mithraea, such as that at Dura Europos, wall paintings depict prophets carrying scrolls, but no named Mithraic sages are known, nor does any reference give the title of any Mithraic scripture or teaching. It is known that intitates could transfer with their grades from one Mithraeum to another. Mithraeum..A mithraeum found in the ruins of Ostia Antica, Italy. Temples of Mithras are sunk below ground, windowless, and very distinctive. In cities, the basement of an apartment block might be converted; elsewhere they might be excavated and vaulted over, or converted from a natural cave. Mithraic temples are common in the empire; although unevenly distributed, with considerable numbers found in Rome, Ostia, Numidia, Dalmatia, Britain and along the Rhine/Danube frontier; while being somewhat less common in Greece, Egypt, and Syria. According to Walter Burkert, the secret character of Mithriac rituals meant that Mithraism could only be practiced within a Mithraeum. Some new finds at Tienen show evidence of large-scale feasting and suggest that the mystery religion may not have been as secretive as was generally believed.

For the most part, Mithraea tend to be small, externally undistinguished, and cheaply constructed; the cult generally preferring to create a new centre rather than expand an existing one. The Mithraeum represented the cave to which Mithras carried and then killed the bull; and where stone vaulting could not be afforded, the effect would be imitated with lath and plaster. They are commonly located close to springs or streams; fresh water appears to have been required for some Mithraic rituals, and a basin is often incorporated into the structure. There is usually a narthex or ante-chamber at the entrance, and often other ancillary rooms for storage and the preparation of food. The extant mithraea present us with actual physical remains of the architectural structures of the sacred spaces of the Mithraic cult. Mithraeum is a modern coinage and mithraists referred to their sacred structures as speleum or antrum (cave), crypta (underground hallway or corridor), fanum (sacred or holy place), or even templum (a temple or a sacred space). In their basic form, mithraea were entirely different from the temples and shrines of other cults. In the standard pattern of Roman religious precincts, the temple building functioned as a house for the god, who was intended to be able to view through the opened doors and columnar portico, sacrificial worship being offered on an altar set in an open courtyard; potentially accessible not only to initiates of the cult, but also to colitores or non-initiated worshippers. Mithraea were the antithesis of this.

Degrees of initiation. In the Suda under the entry "Mithras", it states that "No one was permitted to be initiated into them (the mysteries of Mithras), until he should show himself holy and steadfast by undergoing several graduated tests."Gregory Nazianzen refers to the "tests in the mysteries of Mithras". There were seven grades of initiation into Mithraism, which are listed by St. Jerome.Manfred Clauss states that the number of grades, seven, must be connected to the planets. A mosaic in the Ostia Mithraeum of Felicissimus depicts these grades, with symbolic emblems that are connected either to the grades or are just symbols of the planets. The grades also have an inscription beside them commending each grade into the protection of the different planetary gods. In ascending order of importance, the initiatory grades were: GradeSymbolsPlanet/tutelary deity Corax, Corux or Corvex (raven or crow)beaker, caduceus Mercury... Nymphus, Nymphobus (Bridegroom)lamp, hand bell, veil, circlet or diadem Venus...Miles (soldier)pouch, helmet, lance, drum, belt, breastplateMars Leo (lion)batillum, sistrum, laurel wreath, thunderbolts Jupiter..Perses (Persian) akinakes, Phrygian cap, sickle, sickle moon and stars, sling pouchLuna

Heliodromus (sun-runner)torch, images of the sun god, Helios whip, robes Sol...Pater (father)patera, Mitre, shepherd's staff, garnet or ruby ring, chasuble or cape, elaborate robes jewel encrusted with metallic threads Saturn 'Note: In the table above, the article or picture links to the religious titles or impedimenta are merely illustrative approximations because, being an orally transmitted mystery cult, few reliable historical references have survived. However, similar contemporary artefacts have been identified, and at the Mithraeum of Constantine, a 2nd-century mosaic does depict several Mithraic implements and symbols. Spade, sistrum, lightning bolt Sword, crescent moon, star, sickle Torch, crown, whip Patera, rod, Phrygian cap, sickle Elsewhere, as at Dura-Europos, Mithraic graffiti survive giving membership lists, in which initiates of a Mithraeum are named with their Mithraic grades. At Virunum, the membership list or album sacratorum was maintained as an inscribed plaque, updated year by year as new members were initiated. By cross-referencing these lists it is possible to track some initiates from one Mithraeum to another; and also speculatively to identify Mithraic initiates with persons on other contemporary lists such as military service rolls, of lists of devotees of non-Mithraic religious sanctuaries. Names of initiates are also found in the dedication inscriptions of altars and other cult objects. Clauss noted in 1990 that overall, only about 14% of Mithriac names inscribed before 250 CE identify the initiate's grade – and hence questioned the traditional view that all initiates belonged to one of the seven grades. Clauss argues that the grades represented a distinct class of priests, sacerdotes. Gordon maintains the former theory of Merkelbach and others, especially noting such examples as Dura where all names are associated with a Mithraic grade. Some scholars maintain that practice may have differed over time, or from one Mithraeum to another. The highest grade, pater, is far the most common found on dedications and inscriptions – and it would appear not to have been unusual for a Mithraeum to have several men with this grade. The form pater patrum (father of fathers) is often found, which appears to indicate the pater with primary status. There are several examples of persons, commonly those of higher social status, joining a Mithraeum with the status pater – especially in Rome during the 'pagan revival' of the 4th century. It has been suggested that some Mithraea may have awarded honorary pater status to sympathetic dignitaries. The initiate into each grade appears to have been required to undertake a specific ordeal or test, involving exposure to heat, cold or threatened peril. An 'ordeal pit', dating to the early 3rd century, has been identified in the Mithraeum at Carrawburgh. Accounts of the cruelty of the emperor Commodus describes his amusing himself by enacting Mithriac initiation ordeals in homicidal form. By the later 3rd century, the enacted trials appear to have been abated in rigor, as 'ordeal pits' were floored over. Admission into the community was completed with a handshake with the pater, just as Mithras and Sol shook hands. The initiates were thus referred to as syndexioi (those united by the handshake). The term is used in an inscription by Proficentius and derided by Firmicus Maternus in De errore profanarum religionum,a 4th Century Christian work attacking paganism. In ancient Iran, taking the right hand was the traditional way of concluding a treaty or signifying some solemn understanding between two parties.

Ritual re-enactments Reconstruction of a mithraeum with a mosaic depicting the grades of initiation..Activities of the most prominent deities in Mithraic scenes, Sol and Mithras, were imitated in rituals by the two most senior officers in the cult's hierarchy, the Pater and the Heliodromus. The initiates held a sacramental banquet, replicating the feast of Mithras and Sol.Reliefs on a cup found in Mainz, appear to depict a Mithraic initiation. On the cup, the initiate is depicted as being led into a location where a Pater would be seated in the guise of Mithras with a drawn bow. Accompanying the initiate is a mystagogue, who explains the symbolism and theology to the initiate. The Rite is thought to re-enact what has come to be called the 'Water Miracle', in which Mithras fires a bolt into a rock, and from the rock now spouts water. Roger Beck has hypothesized a third processional Mithraic ritual, based on the Mainz cup and Porphyrys. This so-called Procession of the Sun-Runner features the Heliodromus, escorted by two figures representing Cautes and Cautopates (see below) and preceded by an initiate of the grade Miles leading a ritual enactment of the solar journey around the mithraeum, which was intended to represent the cosmos.Consequently, it has been argued that most Mithraic rituals involved a re-enactment by the initiates of episodes in the Mithras narrative,a narrative whose main elements were: birth from the rock, striking water from stone with an arrow shot, the killing of the bull, Sol's submission to Mithras, Mithras and Sol feasting on the bull, the ascent of Mithras to heaven in a chariot. A noticeable feature of this narrative (and of its regular depiction in surviving sets of relief carvings) is the complete absence of female personages.Membership Only male names appear in surviving inscribed membership lists. Historians including Cumont and Richard Gordon have concluded that the cult was for men only.The ancient scholar Porphyry refers to female initiates in Mithraic rites. However, the early 20th-century historian A. S. Geden writes that this may be due to a misunderstanding.According to Geden, while the participation of women in the ritual was not unknown in the Eastern cults, the predominant military influence in Mithraism makes it unlikely in this instance.[2] It has recently been suggested by David Jonathan that "Women were involved with Mithraic groups in at least some locations of the empire." Soldiers were strongly represented amongst Mithraists, and also merchants, customs officials and minor bureaucrats. Few, if any, initiates came from leading aristocratic or senatorial families until the 'pagan revival' of the mid-4th century; but there were always considerable numbers of freedmen and slaves.

Ethics

Clauss suggests that a statement by Porphyry, that people initiated into the Lion grade must keep their hands pure from everything that brings pain and harm and is impure, means that moral demands were made upon members of congregations. A passage in the Caesares of Julian the Apostate refers to "commandments of Mithras".Tertullian, in his treatise 'On the Military Crown' records that Mithraists in the army were officially excused from wearing celebratory coronets on the basis of the Mithraic initiation ritual that included refusing a proffered crown, because "their only crown was Mithras".

Beginnings of Roman Mithraism

The origins and spread of the Mysteries have been intensely debated among scholars and there are radically differing views on these issues.[111] According to Clauss mysteries of Mithras were not practiced until the 1st century CE. According to Ulansey, the earliest evidence for the Mithraic mysteries places their appearance in the middle of the 1st Century BCE: the historian Plutarch says that in 67 BCE the pirates of Cilicia (a province on the southeastern coast of Asia Minor) were practicing "secret rites" of Mithras. However, according to Daniels, whether any of this relates to the origins of the mysteries is unclear. The unique underground temples or Mithraea appear suddenly in the archaeology in the last quarter of the 1st century CE. the emergence of Mithraism as a popular religion in Rome.

 

Mosaic (1st century AD) depicting Mithras emerging from his cave and flanked by Cautes and Cautopates (Constantine Museum) The philosopher Porphyry (3rd–4th century AD) gives an account of the origins of the Mysteries in his work De antro nympharum (The Cave of the Nymphs). Citing Eubulus as his source, Porphyry writes that the original temple of Mithras was a natural cave, containing fountains, which Zoroaster found in the mountains of Persia. To Zoroaster, this cave was an image of the whole world, so he consecrated it to Mithras, the creator of the world. Later in the same work, Porphyry links Mithras and the bull with planets and star-signs: Mithras himself is associated with the sign of Aries and the planet Mars, while the bull is associated with Venus. Porphyry is writing close to the demise of the cult, and Robert Turcan has challenged the idea that Porphyry's statements about Mithraism are accurate. His case is that far from representing what Mithraists believed, they are merely representations by the Neoplatonists of what it suited them in the late 4th century to read into the mysteries. However, Merkelbach and Beck believe that Porphyry’s work "is in fact thoroughly coloured with the doctrines of the Mysteries". Beck holds that classical scholars have neglected Porphyry’s evidence and have taken an unnecessarily skeptical view of Porphyry. According to Beck, Porphyry's De antro is the only clear text from antiquity which tells us about the intent of the Mithriac Mysteries and how that intent was realized. David Ulansey finds it important that Porphyry "confirms ... that astral conceptions played an important role in Mithraism." "Mithras – moreover, a Mithras who was identified with the Greek Sun god Helios" was among the gods of the syncretic Greco-Armenian-Iranian royal cult at Nemrut, founded by Antiochus I of Commagene in the mid 1st century BCE. While proposing the theory, Beck says that his scenario may be regarded as Cumontian in two ways. Firstly, because it looks again at Anatolia and Anatolians, and more importantly, because it hews back to the methodology first used by Cumont. Merkelbach suggests that its mysteries were essentially created by a particular person or persons and created in a specific place, the city of Rome, by someone from an eastern province or border state who knew the Iranian myths in detail, which he wove into his new grades of initiation; but that he must have been Greek and Greek-speaking because he incorporated elements of Greek Platonism into it. The myths, he suggests, were probably created in the milieu of the imperial bureaucracy, and for its members. Clauss tends to agree. Beck calls this "the most likely scenario" and states "Until now, Mithraism has generally been treated as if it somehow evolved Topsy-like from its Iranian precursor – a most implausible scenario once it is stated explicitly." Archaeologist Lewis M. Hopfe notes that there are only three Mithraea in Roman Syria, in contrast to further west. He writes: "Archaeology indicates that Roman Mithraism had its epicenter in Rome ... the fully developed religion known as Mithraism seems to have begun in Rome and been carried to Syria by soldiers and merchants." Taking a different view from other modern scholars, Ulansey argues that the Mithraic mysteries began in the Greco-Roman world as a religious response to the discovery by the Greek astronomer Hipparchus of the astronomical phenomenon of the precession of the equinoxes – a discovery that amounted to discovering that the entire cosmos was moving in a hitherto unknown way. This new cosmic motion, he suggests, was seen by the founders of Mithraism as indicating the existence of a powerful new god capable of shifting the cosmic spheres and thereby controlling the universe. However, A. D. H. Bivar, L. A. Campbell and G. Widengren have variously argued that Roman Mithraism represents a continuation of some form of Iranian Mithra worship. According to Antonia Tripolitis, Roman Mithraism originated in Vedic India and picked up many features of the cultures which it encountered in its westward journey.

The first important expansion of the mysteries in the Empire seems to have happened quite quickly, late in the reign of Antoninus Pius (b. 121 CE, d. 180 CE) and under Marcus Aurelius. By this time all the key elements of the mysteries were in place. Mithraism reached the apogee of its popularity during the 2nd and 3rd centuries, spreading at an "astonishing" rate at the same period when the worship of Sol Invictus was incorporated into the state-sponsored cults.At this period a certain Pallas devoted a monograph to Mithras, and a little later Euboulus wrote a History of Mithras, although both works are now lost. According to the 4th century Historia Augusta, the emperor Commodus participated in its mysteries but it never became one of the state cults. It is difficult to trace when the cult of Mithras came to an end. Beck states that "Quite early in the [fourth] century the religion was as good as dead throughout the empire."Inscriptions from the 4th century are few. Clauss states that inscriptions show Mithras as one of the cults listed on inscriptions by Roman senators who had not converted to Christianity, as part of the "pagan revival" among the elite. Ulansey holds that "Mithraism declined with the rise to power of Christianity, until the beginning of the fifth century, when Christianity became strong enough to exterminate by force rival religions such as Mithraism."According to Speidel, Christians fought fiercely with this feared enemy and suppressed it during the 4th century. Some Mithraic sanctuaries were destroyed and religion was no longer a matter of personal choice. According to Luther H. Martin, Roman Mithraism came to an end with the anti-pagan decrees of the Christian emperor Theodosius during the last decade of the 4th century. At some of the mithraeums which have been found below churches, for example the Santa Prisca mithraeum and the San Clemente mithraeum, the ground plan of the church above was made in a way to symbolize Christianity's domination of Mithraism. According to Mark Humphries, the deliberate concealment of Mithraic cult objects in some areas suggests that precautions were being taken against Christian attacks. However, in areas like the Rhine frontier, purely religious considerations cannot explain the end of Mithraism and barbarian invasions may also have played a role. There is virtually no evidence for the continuance of the cult of Mithras into the 5th century. In particular large numbers of votive coins deposited by worshippers have been recovered at the Mithraeum at Pons Sarravi (Sarrebourg) in Gallia Belgica, in a series that runs from Gallienus (253–268) to Theodosius I (379–395). These were scattered over the floor when the Mithraeum was destroyed, as Christians apparently regarded the coins as polluted; and they therefore provide reliable dates for the functioning of the Mithraeum.It cannot be shown that any Mithraeum continued in use in the 5th century. The coin series in all Mithraea end at the end of the 4th century at the latest. The cult disappeared earlier than that of Isis. Isis was still remembered in the middle ages as a pagan deity, but Mithras was already forgotten in late antiquity. Cumont stated in his book that Mithraism may have survived in certain remote cantons of the Alps and Vosges into the 5th century. The John, the Lord Chamberlain series of historical mystery novels depicts a secret Mithraist community still active in Justinian's court, but there is no historical evidence for such a late survival of the religion.

 

en.wikipedia.org/wiki/Mithraism

Beppu, Oita Pref., Japan

 

Onigawara are decorative features found most often on Buddhist temple roofs, though sometimes also on shrines or residences. Kawara is the word for ceramic roof tiles that were introduced into Japan along with Buddhism and temple architecture from the Korean Peninsula in the 6th century during the Asuka Period of Japanese history.

 

The word oni is somewhat more problematical to translate, with the word demon most often used, but in English the word demon has connotations of evil, whereas the Japanese oni does behave in evil ways, it is also capable of acting for good, so the word ogre is perhaps better.

 

Onigawara are found at the ends of the main roof ridge, the Ohmune, and at the ends of the descending ridges, the Kudarimune, and their practical purpose is to protect against weathering, and though primarily made of ceramic, stone or wood is not unknown.

 

Source: www.japanvisitor.com/japanese-culture/onigawara

Overnight we had the best kind of snow: wet and clingy, pretty, non-problematic. After I dropped the kids at school I went to the same spot I went Wednesday to capture it with a dusting of snow. Word on the street is that spring arrives next week, when we can anticipate temperatures in the 70s.

If your sexual fetishes are problematic there are possible solutions.

* I am a 31-year-old male with a fetish for very hairy women.

* I have a humiliating problem. I am a 28-year-old woman who still sucks her thumb. What’s worse, is I fantasize about being babied by a lactating woman.

* Of all t...

 

howdoidate.com/sex/sexual-fetishes-can-create-problems-so...

Pride and Prejudice: on Raphael Perez's Artwork

   

Raphael Perez, born in 1965, studied art at the College of Visual Arts in Beer Sheva, and from 1995 has been living and working in his studio in Tel Aviv. Today Perez plays an important role in actively promoting the LGBT (lesbian, gay, bisexual and transsexual) art and culture in Tel Aviv, and the internet portal he set up helps artists from the community reach large audiences in Israel and abroad. Hundreds of his artworks are part of private collections in Israel and abroad, and his artworks were shown in several group exhibitions: in Tel Aviv Museum of Art, "Zman Le'Omanut" art gallery, Camera Obscura, The Open House in Jerusalem, Ophir Gallery, The Haifa Forum and other private businesses and galleries.

 

In 2003-4 his paintings and studio appeared in a full-length movie, three student films and two graduation films.

   

Raphael Perez is the first Israeli artist to express his lifestyle as a Gay. His life and the life of the LGBT community are connected and unfold over hundreds of artwork pieces. His art creation is rare and extraordinary by every Israeli and international artistic standard. His sources of inspiration are first and foremost life events intertwined in Jewish and Israeli locality as well as influences and quotes from art history (David Hockney, Matisse). This uniqueness has crossed international borders and has succeeded in moving the LGBT and art communities around the world.

   

This is the first time we meet an Israeli artist who expresses all of his emotions in a previously unknown strength. The subjects of the paintings are the everyday life of couples in everyday places and situations, along with the aspiration to a homosexual relationship and family, equality and public recognition. Perez's works bring forward to the cultural space and to the public discourse the truth about living as LGBT and about relationships, with all of their aspects – casual relationships and sex, the yearning for love, the everyday life and the mundane activities that exist in every romantic relationship – whether by describing two men in an intimate scene in the bathroom, the bedroom or the toilet, a male couple raising a baby or the homosexual version of the Garden of Eden, family dinners, relationship ups and downs, the complexity in sharing a life as well as mundane, everyday life competing with the aspiration to self realization – through Perez's life.

     

Perez's first artworks are personal diaries, which he creates at 14 years of age. He makes sure to hide these diaries, as in them he keeps a personal journal describing his life events in the most genuine way. In these journals he draws thousands of drawings and sketches, next to which he alternately writes and erases his so-called "problematic texts", texts describing his struggle with his sexual orientation. His diaries are filled with obsessive cataloging of details, daily actions, friends and work, as well as repeating themes, such as thoughts, exhibits he has seen, movies, television, books and review of his work.

   

When he is done writing, Perez draws on his diaries. Each layer is done from beginning to end all along the journal. In fact, the work on the diaries never ends.

 

This struggle never ends, and when the emotion is passed on to paper, and it ends its role and becomes meaningless in a way, the visual-graphic side becomes dominant, due to the need to hide the written text, according to Perez. In books and diaries this stands out even more – when he chooses to draw in a style influenced by children's drawings, the characters are cheerful, happy, naïve and do not portray any sexuality, and when he tries drawing as an adult the sketches became more depressed and somber. During these years Perez works with preschool children, teaching them drawing and movement games. Perez says that during this period he completely abandoned the search for a relationship, either with a woman or a man, and working with children has given him existential meaning. This creation continues over 10 years, and Perez creates about 60 books-personal journals in various sizes (notepads, old notebooks, atlases and even old art books).

   

In his early paintings (1998-1999) the transition from relationships with women to relationships with men can be seen, from restraint to emotional outburst in color, lines and composition. Some characters display strong emotional expression. The women are usually drawn in restraint and passiveness, while a happy and loving emotional outburst is expressed in the colors and style of the male paintings.

   

"I fantasized that in a relationship with a woman I could fly in the sky, love, fly. However, I felt I was hiding something; I was choked up, hidden behind a mask, as if there was an internal scream wanting to come out. I was frustrated, I felt threatened…"

   

His first romance with a man in 1999 has drawn out a series of naïve paintings dealing with love and the excitement of performing everyday actions together in the intimate domestic environment.

   

"The excitement from each everyday experience of doing things together and the togetherness was great, so I painted every possible thing I liked doing with him."

   

From the moment the self-oppression and repression stopped, Perez started the process of healing, which was expressed in a burst of artworks, enormous in their size, amount, content and vivid colors – red, pink and white.

   

In 2000 Perez starts painting the huge artworks describing the hangouts of the LGBT community (The Lake, The Pool) and the Tel Avivian balcony paintings describing the masculine world, which, according to him, becomes existent thanks to the painting. Perez has dedicated this year to many series of drawings and paintings of the experience of love, in which he describes his first love for his new partner, and during these months he paints from morning to night. These paintings are the fruit of a long dialogue with David Hockney, and the similarity can be seen both in subjects and in different gestures.

   

In 2001 Perez creates a series of artworks, "Portraits from The Community". Perez describes in large, photorealistic paintings over 20 portraits of active and well-known members of the LGBT community. The emphasis is on the achievements that reflect the community's strong standing in Tel Aviv.

 

As a Tel-Avivian painter, in the past two years Perez has been painting urban landscapes of central locations in his city. Perez wanders around the city and chooses familiar architectural and geographical landmarks, commerce and recreation, and historical sites, and paints them from a homosexual point of view, decorated with the rainbow flag, which provide a sense of belonging to the place. His artworks are characterized by a cheerful joie de vivre and colors, and they also describe encounters and meetings. The touristic nature of his paintings makes them a declaration of Tel Aviv's image as a place where cultural freedom prevails.

 

Perez's Tel Aviv is a city where young families and couples live and fill the streets, the parks, the beach, the houses and the balconies – all the city's spaces. The characters in his paintings are similar, which helps reinforcing the belonging to the LGBT community in Tel Aviv. The collective theme in Perez's artwork interacts with the work of the Israeli artist Yohanan Simon, who dealt with the social aspects of the Kibbutz. Simon, who lived and worked in a Kibbutz, expressed the human model of the Kibbutznik (member of a Kibbutz) and the uniqueness of the Kibbutz members as part of a group where all are equal. Simon's works, and now Perez's, have contributed to the Israeli society what is has been looking for endlessly, which is a sense of identity and belonging.

 

Perez maps his territory and marks his boundaries, and does not forget the historical sites. Unlike other Tel Avivian artists, Perez wishes to present the lives of the residents of the city and the great love in their hearts. By choosing the historical sites in Tel Aviv, he also pays tribute to the artist Nachum Gutman, who loved the city and lived in it his whole life. In his childhood Gutman experienced historical moments (lighting the first oil lamp, first concert, first pavement), and as an adult he recreated the uniqueness of those events while keeping the city's magic.

 

Like Gutman, Perez has also turned the city into an object of love, and it has started adorning itself in rich colors and supplying the energy of a city that wishes to be "the city that never sleeps", combining old and new. Perez meticulously describes the uniqueness and style of the Bauhaus houses and balconies along the modern glass and steel buildings, all from unusual angles in a rectangular format that wishes to imitate the panorama of a diverse city in its centennial celebrations.

   

Daniel Cahana-Levensohn, curator.

       

Interview with the painter Raphael Perez about his family artist book

 

An interview with the painter Raphael Perez about an artist's book he created about his family, the Peretz family from 6 Nissan St. Kiryat Yuval Jerusalem

     

Question: Raphael Perez, tell me about the family artist book you created

 

Answer: I created close to 40 artist books, notebooks, diaries, sketch books and huge books. I dedicated one of the books to my dear family, a book in which I took a childhood photograph of my family, my parents and brothers and sisters.. I pasted the photographs inside a book (the photograph is 10 percent of the total painting) and I drew with acrylic paints, markers and ink on the book and the photograph, so that the image of the photograph was an inspiration to me Build the story that includes page by page..

     

Question: Tell me when you were born, where, and a little about your family

 

Answer: I was born on March 4, 1965 in the Kiryat Yuval neighborhood in Jerusalem

 

I have a twin brother named Miki Peretz and we are seven brothers and sisters, five boys and two girls

   

Question: Tell us a little about your parents

 

Answer: My parents were new immigrants from Morocco, both immigrated young.

 

My mother's name before the wedding was Alice - Aliza ben Yair and my father's name was Shimon Peretz,

 

My mother was born in the Atlas Mountains and was orphaned at a young age and was later adopted by my father's family at the age of 10, so that my mother and father spent childhood and adolescence together....

 

They had a beautiful and happy relationship but sometimes when they argued my mother would say "even when she was a child she was like that..." This means that their acquaintance and relationship dates back to childhood..

     

Question: What did your parents Shimon and Aliza Peretz work for?

 

Answer: My father, Shimon Perez, born in 1928 - worked in a building in his youth and then for thirty years worked as a receptionist at Hadassah Ein Kerem Hospital in Jerusalem... My father's great love was actually art, he loved to draw as a hobby, write, read, solve crossword puzzles and research Regarding the issue of medicinal plants, as a breadwinner he could not fulfill his dream of becoming an artist, in order to support and feed seven children. But we are the next generation, his children are engaged in the world of creativity and education, a field in which both of my parents were engaged during their lives. My father died at the age of 69

   

My mother, Alice Aliza Perez, born in 1934, worked as an assistant to a kindergarten teacher, and later took care of a baby at home. She is a woman of wholehearted giving and caring for children and people, a warm, generous and humble woman.. and took care of us in our childhood for every emotional and physical deficiency.. My mother is right For the year 2023, the 89-year-old is partly happy and happy despite the difficulties of age.. May you have a long life..

   

My mother really loved gardening and nature and both of them together created a magnificent garden, my parents have a relatively large garden so they could grow many types of special and rare medicinal plants and my father even wrote a catalog (unpublished) of medicinal plants and we even had botany students come to us who were interested in the field... today they They also grow ornamental plants, and fruit trees...

   

Question: A book about the brothers and sisters

 

Answer: My elder brother David Perez repented in his mid-twenties.. He was a very sharp, opinionated, curious and very charismatic guy who brought many people back to repentance, and also helped people with problems through the yeshiva and the synagogue to return to the normal path of life, he died young at the age of 56

   

Hana Peretz: My lovely sister, raised eight children, worked in the field of education, a kindergarten teacher, and child care.

 

She has a very large extended family of grandchildren, great-grandchildren and great-great-grandchildren...

   

My brother Avi (Abraham) Peretz studied in Israel at the University of Philosophy and Judaism, he married a wonderful woman named Mira Drumi, a nurse by profession, and together they had three wonderful children, when they moved to the United States in their mid-twenties, where my brother Avi Peretz completed his master's degree in education, worked in the field Education and for the last twenty years is A conservative rabbi

   

The fourth brother is Asher Peretz - a great man of the world, very fond of traveling and has been to magical places all over the world, engaged in the creation of jewelry with two children.

   

I am Rafi Peretz english raphael perez the fifth and after fifteen minutes my twin brother was born

 

My mother still gets confused and can't remember who was born first :-)

   

My twin brother Miki micky - Michael Peretz, a beloved brother (everyone is beloved), a talented industrial designer, he has three children, his wife Revital Peretz Ben, who is a well-known art curator, active and responsible for the art field in Tel Aviv, they are a dynamic and talented couple, full of talents and action

   

The lovely little sister Shlomit Peretz - has been involved in the Bezeq telephone company for almost three decades, and is there in management positions, raising her lovely and beloved child.

     

The art book I dedicated to my family is colorful, rich in details, shows a very intense childhood, happy, cheerful, colorful, ... We were taught to be diligent and to be happy in our part and to see the glass half full in life, to have emotional intelligence and to put the relationship and love at the center with self-fulfillment in work that will interest you us and you will give us satisfaction.

   

Each of us is different in our life decisions and my family is actually a mosaic of the State of Israel that includes both religious and secular people from the entire political spectrum who understand that the secret to unity is mutual respect for each other... when my mother these days is also the family glue in everyone's gatherings on Shabbat and holidays..

   

The personification of the flower couple paintings by the Israeli painter Raphael Perez

 

Raphael Perez, also known as Rafi Peretz, is an Israeli painter who

 

explores his personal and sexual identity through his flower paintings. He created a series of flower paintings from 1995 to 1998, when he was in his early thirties and still in relationships with women, despite feeling gay. His flower paintings reflect his emotional turmoil and his struggle with his sexual orientation. He painted two flowers, one blooming and one wilting, to represent the contrast and conflict between his heterosexual relationships and his true self. He also painted single flowers or two flowers in their prime, to express his longing for a harmonious relationship that matches his nature. He chose sunflowers, white lilies, and red lilies as symbols of expression, purity, and joy, respectively. He painted from real flowers, using different styles and light to create drama and mood. Perez’s paintings of the flower couples are minimalist and focused on the theme of the complex relationship. He omitted any background or context, leaving only the canvas and the drawing of the flower couples. In some of the paintings, he added a very airy abstract surface with thin oil paints that give an atmosphere of watercolors. He also made drawings of flowers in ink, markers and gouache on paper. Later on, he created large acrylic paintings of flowers and still life. Perez’s flower paintings are not mere illustrations or decorations. They are autobiographical and psychological expressions of his inner state and his struggle with his sexuality. He wanted to reveal his loneliness, distress and concealment through these paintings, and to connect with people who are in a similar situation. He deliberately chose only two flowers and no more to intensify the engagement in the charged and complex relationship. Perez also painted and drew couples of men and women with charged psychological states, as well as states of desire for connection and realization of a heterosexual relationship that did not succeed. He used hyperrealism and expressive styles to convey his frozen and calculated state, as well as his mental stress. He used harsh lighting to create contrast and drama, with one side very bright and the other side darker. Perez was influenced by some of the famous artists who painted flowers, such as Van Gogh, who also used sunflowers as a symbol of expression. He also used white lilies and red lilies to convey freshness, cleanliness, purity, color, joy, movement, eruption, and splendor. Perez also painted some single flowers or two flowers in their prime, to show his aspiration for a future where he will have a harmonious relationship. Today, he is 58 years old and in a happy relationship for 10 years with his partner Assaf Henigsberg. He is surrounded by female friends and soulmates and not conflicted with heterosexual relationships as he used to be. He occasionally paints flowers in pots to symbolize home, stability, and peace. Sometimes I paint flowers in pots, which represent home, stability, and solid ground for me. I don’t paint just a couple of flowers, but pots full of flowers that overflow with life. This means that we also have a supportive network of family, friends, and peers around us. We live in a rich, supportive, and protective world. These paintings are a personification of my psychological state, when I had no words to express my feelings to myself. The painting began In 35 years of my creation (starting in 1998), you can read more about how my art and style evolved over time. Perez’s flower paintings are a unique and extraordinary artistic creation that reveals his personal journey and his sexual identity. His work is honest, expressive, and emotional, as well as beautiful and vibrant.

   

The characteristics of the naive painting of the painter Raphael Perez

 

A full interview with the Israeli painter Raphael Perez (Hebrew name: Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and curriculum vitae Question: Raphael Perez Tell us about your work process as a naive painter? Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers. Question: How do you give depth in your naive paintings? Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites. A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard. Question: Raphael Perez, what characterizes your naive painting? Answer: Most naive paintings have the same characteristics (Definition as it appears in Wikipedia) • Tells a simple story to absorb from everyday life, usually with humans. • The representation of the painter's idealization to reality - the mapping of reality. • Failure to maintain perspective - especially details even in distant details. • Extensive use of repeating patterns - many details. • Warm and bright colors. • Sometimes the emphasis is on outlines. • Most of the characters are flat, lack volume • No interest in texture, expression, correct proportions • No interest in anatomy. • There is not much use of light and shade, the colors create a three-dimensional effect. I find these definitions to be valid for all my naive paintings Question: Raphael Perez, why do you choose the city of Tel Aviv? Answer: I was born in Jerusalem, the capital city which I love very much and also paint, I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel. Question: Raphael Perez, are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem? Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism today In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs Question: Raphael Perez, tell me about which buildings and their architects you usually choose in your drawings of cities Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples: In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality, In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more I also created three paintings of the city of Haifa and one painting of Safed In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city Question: Raphael Perez, have you created series of other cities from around the world? Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city Question: Raphael Perez What is the general idea that accompanies your paintings Answer: To create a good, beautiful, naive, innocent world in which we will see the innovation of the modern city through the skyscrapers in front of small and low buildings that bring the history and past of each country, all with an abundance of vegetation, boulevards, trees Resume, biography, CV of the painter Rafi Peretz and his family Question: When was Raphael Perez born in hebrew his name rafi peretz? Answer: Raphael Perez in Hebrew his name Rafi Peretz was born on March 4, 1965 Question: Where was Raphael Perez born? Answer: Raphael Perez was born in Jerusalem, Israel Question: What is the full name of Raphael Perez? Answer: His full name is Raphael Perez Question: Which art institution did Raphael Perez graduate from? Answer: Raphael Perez graduated from the Visual Arts Center in Be'er Sheva Question: When did Raphael Perez start painting? Answer: Raphael Perez started painting in 1989 Question: When did you start making a living selling art? Answer: Raphael Perez started making a living selling art in 1999 Question: Where does Raphael Perez live and work? Answer: Since 1995, Raphael Perez has been living and working from his studio in Tel Aviv Question: In which military framework did Raphael Perez serve in the IDF? Answer: Raphael Perez served in the artillery corps Question: Raphael Perez, what jobs did he work after his military service? Answer: Raphael Perez worked for 15 years in education in therapeutic settings for children and taught arts and movement Question: How many brothers and sisters does Raphael Perez, the Israeli painter, have? Answer: There are seven children in total, with the painter 5 sons and two daughters, that means the painter Raphael Perez has 4 more brothers and two sisters Question: What do the brothers and sisters of the painter Raphael Perez do? Answer: The elder brother David Peretz Perez was involved in the field of religious studies, the sister Hana Peretz Perez is involved in the field of education, a kindergarten teacher and child care, the brother Avi Peretz Perez who is in the United States today is a conservative rabbi but in the past was involved in education and therapy, the brother Asher Peretz Perez is involved in the fields of creativity and jewelry The twin brother Mickey Peretz Perez is a well-known industrial designer and seller. The younger sister Shlomit Peretz Perez works in a managerial position at Bezeq. Question: Tell me about the parents of the painter Raphael PerezAnswer: The painter Raphael Perez's parents are Shimon Perez Peretz and Eliza Alice Ben Yair, they were married in 1950 in Jerusalem, both were born in Morocco and immigrated to Israel in 1949, Shimon Peretz worked in a building in his youth and later as a receptionist at the Hadassah Ein Kerem Hospital, Eliza Alice Peretz dealt in child care Kindergarten, working in kindergartens and of course taking care of and raising her seven children

 

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רפי פרץ צייר אמן ישראלי עכשווי מודרני אמנים ישראלים אומנים

 

ישראליים עכשוויים מודרניים האמנים הישראלים העכשוויים המודרניים האומנים הישראליים העכשוויים המודרניים יוצר הומו הומוסקסואל קווירי הומוסקסואליות באמנות הישראלית מגדר אומנות ומגדר אמנות ישראלית עכשווית מודרנית האמנות הישראלית העכשווית המודרנית

 

erotic gay art painting artist raphael perez pintura homossexual da arte de gomoseksual badiiy rasm гомосексуальний художній живопис pittura di arte omosessuale lukisan seni homoseksual listmálun samkynhneigðra péintéireacht ealaíne homaighnéasach pikturë arti homoseksual homoseksuaalne kunstimaal хомосексуална художествена живопис homoseksualno likovno slikarstvo жывапіс гомасэксуальнага мастацтва সমকামী আর্ট পেইন্টিং homoseksuel kunstmaleri homoszexuális művészeti festmény рассоми санъати гомосексуалӣ gomoseksual sungat suratkeşligi homoseksuālas mākslas glezniecība homoseksualaus meno tapyba homoseksuell kunstmaleri homoseksualno likovno slikarstvo

 

queer artworks paintings homoerotic painter lgbt artwork glbt artworks homo erotica man nude male naked men image images picture pictures homosexual homosexualiy artists painters artist body realism realistic famous

 

مثلي الجنس الفن الغريبة الأعمال الفنية معرض معرض رجل عارية لوحة رجال عراة صورة الجسم الإسرائيلي فنان رسام مثلى الفنانين الرسامين لوحات واقعية مثلي الجنس الشهير صورة كبيرة

 

arte homosexual queer obras de arte galería exposición hombre desnudo pintura hombres desnudos retrato cuerpo artista israelí pintor artistas gay pintores pinturas realistas homoerótico famoso imagen grande

 

гомосексуальное искусство квир произведения искусства галерея выставка мужчина ню живопись голые мужчины портрет тело израильский художник художник геи художники художники реалистичные картины гомоэротика знаменитый большое изображение

 

ομοφυλοφιλική τέχνη queer artworks γκαλερί έκθεση άντρας γυμνή ζωγραφική γυμνοί άντρες πορτραίτο ισραήλ καλλιτέχνης ζωγράφος γκέι καλλιτέχνες ζωγράφοι ρεαλιστικοί πίνακες ομοιορωτική διάσημη μεγάλη εικόνα

 

homosexuelle kunst queer kunstwerke galerie ausstellung mann nackt malerei nackte männer porträtkörper israelischer künstler maler schwule künstler maler realistische gemälde homoerotisch berühmtes großes bild

 

homoseksuele kunst queer kunstwerken galerie tentoonstelling man naakt schilderij naakte mannen portret lichaam Israëlische kunstenaar schilder homo kunstenaars schilders realistische schilderijen homo-erotisch beroemd groot beeld

 

art homosexuel queer oeuvres d'art galerie exposition homme peinture nue hommes nus portrait corps artiste israélien peintre artistes gais peintres peintures réalistes homoérotique célèbre grande image

 

homoseksualna sztuka queer dzieła galeria wystawa mężczyzna nago malarstwo nagi mężczyzna portret ciało izraelski artysta malarz homoseksualiści malarze realistyczni obrazy homoerotyk sławny duży obraz

 

Eşcinsel sanat queer sanat eseri galeri sergi adam çıplak boyama çıplak erkekler portre vücut İsrail sanatçı ressam eşcinsel sanatçılar ressamlar gerçekçi resim sergisi homoerotik ünlü büyük resim

 

समलैंगिक कला क्वीर कलाकृतियों गैलरी प्रदर्शनी आदमी नग्न पेंटिंग नग्न पुरुषों चित्र शरीर इजरायल कलाकार चित्रकार समलैंगिक कलाकारों चित्रकारों यथार्थवादी चित्रों समलैंगिक प्रसिद्ध बड़ी छवि

 

homoseksuell konst queer konstverk galleri utställning man nakenmålning nakna män porträtt kropp israelisk konstnär målare gay konstnärer målare realistiska målningar homoerotisk berömd stor bild

. . . of the giant puppy lurking in our yard.

 

You can see the shaved spot on Bogart's back leg where he had an IV. Bummer not to have a second front leg. . . that right back leg is the leg that has been most problematic. And Bogart's been limping since he returned home from the vet office. Bummer. I had to take him off of glucosamine and chondroitin as well because glucosamine is renally excreted. Don't want anything to stress those kidneys at all!

 

[SOOC, f/1.4, ISO 100, shutter speed 1/400]

Although nationalism can be overdone and problematic, positive and negative within-nation events this week plus the discovery of a lovely autumnal maple leaf on the pavement, produced a reminder that it is good to be in Canada.

www.matrobinsonphoto.co.uk

 

www.facebook.com/matrobinsonphoto

 

www.twitter.com/matrobinson88

 

A bit of a weird one for me today... a monochrome 5x4 crop!

 

Having spent the day clearing out my desk and having a meal with my supervisor, I ended up having time to pop over to Higger Tor for sunset. The forecast looked hit and miss, but worth a go. As I left Sheffield though, the sun turned to rain, which turned to hail, which turned to snow... and the roads became quite a bugger to drive on! Still, I made it (slowly) and hung around for a couple of hours as a series of hail storms/blizzards blew through (shelter rock being very handy, yet again!).

 

Eventually I got bored of waiting for any direct light or sunset so popped down to Carl Wark to have a go at this famous view. Shooting with a 10 stop filter on in such wind is always problematic, and the composition was somewhat limited by the spots of rain blowing in. Ideally I prefer this view from a yard to the right, shooting something like 20 degrees to the left... it balances the rocks with Higger Tor better... but with the wind/rain as it was I settled for this composition and a crop of the wasted space out to the right.

The sky and ground are two separate images (as otherwise it'd all be blurred from the wind!) and I couldn't help but convert to b/w as the snowy sections of foreground and contrast in the sky just seem to

All too soon the summer porch furniture will be put away and the snow and icy blasts make such pics problematical

Back in 1994 a trio of EMD built SD50’s (plus a GE built C40-8) lead a southbound Union Pacific train by Patton, OK. EMD’s 50 series locomotives proved to be problematic and were soon replaced in EMD’s locomotive catalog by the more reliable 60 series. It was a pleasant surprise to see three SD50’s running elephant style on this train. The tracks are ex-MKT (Katy).

a few days ago.

 

my new orchard is in a bit of a frost pocket compared to the area for the 12 old apple trees around the house. But I have mostly chosen late flowering apples as a bit of mitigation for this. Frosts this time of year are no problem whatsoever but frosts in May are more problematic.

  

Pride and Prejudice: on Raphael Perez's Artwork

   

Raphael Perez, born in 1965, studied art at the College of Visual Arts in Beer Sheva, and from 1995 has been living and working in his studio in Tel Aviv. Today Perez plays an important role in actively promoting the LGBT (lesbian, gay, bisexual and transsexual) art and culture in Tel Aviv, and the internet portal he set up helps artists from the community reach large audiences in Israel and abroad. Hundreds of his artworks are part of private collections in Israel and abroad, and his artworks were shown in several group exhibitions: in Tel Aviv Museum of Art, "Zman Le'Omanut" art gallery, Camera Obscura, The Open House in Jerusalem, Ophir Gallery, The Haifa Forum and other private businesses and galleries.

 

In 2003-4 his paintings and studio appeared in a full-length movie, three student films and two graduation films.

   

Raphael Perez is the first Israeli artist to express his lifestyle as a Gay. His life and the life of the LGBT community are connected and unfold over hundreds of artwork pieces. His art creation is rare and extraordinary by every Israeli and international artistic standard. His sources of inspiration are first and foremost life events intertwined in Jewish and Israeli locality as well as influences and quotes from art history (David Hockney, Matisse). This uniqueness has crossed international borders and has succeeded in moving the LGBT and art communities around the world.

   

This is the first time we meet an Israeli artist who expresses all of his emotions in a previously unknown strength. The subjects of the paintings are the everyday life of couples in everyday places and situations, along with the aspiration to a homosexual relationship and family, equality and public recognition. Perez's works bring forward to the cultural space and to the public discourse the truth about living as LGBT and about relationships, with all of their aspects – casual relationships and sex, the yearning for love, the everyday life and the mundane activities that exist in every romantic relationship – whether by describing two men in an intimate scene in the bathroom, the bedroom or the toilet, a male couple raising a baby or the homosexual version of the Garden of Eden, family dinners, relationship ups and downs, the complexity in sharing a life as well as mundane, everyday life competing with the aspiration to self realization – through Perez's life.

     

Perez's first artworks are personal diaries, which he creates at 14 years of age. He makes sure to hide these diaries, as in them he keeps a personal journal describing his life events in the most genuine way. In these journals he draws thousands of drawings and sketches, next to which he alternately writes and erases his so-called "problematic texts", texts describing his struggle with his sexual orientation. His diaries are filled with obsessive cataloging of details, daily actions, friends and work, as well as repeating themes, such as thoughts, exhibits he has seen, movies, television, books and review of his work.

   

When he is done writing, Perez draws on his diaries. Each layer is done from beginning to end all along the journal. In fact, the work on the diaries never ends.

 

This struggle never ends, and when the emotion is passed on to paper, and it ends its role and becomes meaningless in a way, the visual-graphic side becomes dominant, due to the need to hide the written text, according to Perez. In books and diaries this stands out even more – when he chooses to draw in a style influenced by children's drawings, the characters are cheerful, happy, naïve and do not portray any sexuality, and when he tries drawing as an adult the sketches became more depressed and somber. During these years Perez works with preschool children, teaching them drawing and movement games. Perez says that during this period he completely abandoned the search for a relationship, either with a woman or a man, and working with children has given him existential meaning. This creation continues over 10 years, and Perez creates about 60 books-personal journals in various sizes (notepads, old notebooks, atlases and even old art books).

   

In his early paintings (1998-1999) the transition from relationships with women to relationships with men can be seen, from restraint to emotional outburst in color, lines and composition. Some characters display strong emotional expression. The women are usually drawn in restraint and passiveness, while a happy and loving emotional outburst is expressed in the colors and style of the male paintings.

   

"I fantasized that in a relationship with a woman I could fly in the sky, love, fly. However, I felt I was hiding something; I was choked up, hidden behind a mask, as if there was an internal scream wanting to come out. I was frustrated, I felt threatened…"

   

His first romance with a man in 1999 has drawn out a series of naïve paintings dealing with love and the excitement of performing everyday actions together in the intimate domestic environment.

   

"The excitement from each everyday experience of doing things together and the togetherness was great, so I painted every possible thing I liked doing with him."

   

From the moment the self-oppression and repression stopped, Perez started the process of healing, which was expressed in a burst of artworks, enormous in their size, amount, content and vivid colors – red, pink and white.

   

In 2000 Perez starts painting the huge artworks describing the hangouts of the LGBT community (The Lake, The Pool) and the Tel Avivian balcony paintings describing the masculine world, which, according to him, becomes existent thanks to the painting. Perez has dedicated this year to many series of drawings and paintings of the experience of love, in which he describes his first love for his new partner, and during these months he paints from morning to night. These paintings are the fruit of a long dialogue with David Hockney, and the similarity can be seen both in subjects and in different gestures.

   

In 2001 Perez creates a series of artworks, "Portraits from The Community". Perez describes in large, photorealistic paintings over 20 portraits of active and well-known members of the LGBT community. The emphasis is on the achievements that reflect the community's strong standing in Tel Aviv.

 

As a Tel-Avivian painter, in the past two years Perez has been painting urban landscapes of central locations in his city. Perez wanders around the city and chooses familiar architectural and geographical landmarks, commerce and recreation, and historical sites, and paints them from a homosexual point of view, decorated with the rainbow flag, which provide a sense of belonging to the place. His artworks are characterized by a cheerful joie de vivre and colors, and they also describe encounters and meetings. The touristic nature of his paintings makes them a declaration of Tel Aviv's image as a place where cultural freedom prevails.

 

Perez's Tel Aviv is a city where young families and couples live and fill the streets, the parks, the beach, the houses and the balconies – all the city's spaces. The characters in his paintings are similar, which helps reinforcing the belonging to the LGBT community in Tel Aviv. The collective theme in Perez's artwork interacts with the work of the Israeli artist Yohanan Simon, who dealt with the social aspects of the Kibbutz. Simon, who lived and worked in a Kibbutz, expressed the human model of the Kibbutznik (member of a Kibbutz) and the uniqueness of the Kibbutz members as part of a group where all are equal. Simon's works, and now Perez's, have contributed to the Israeli society what is has been looking for endlessly, which is a sense of identity and belonging.

 

Perez maps his territory and marks his boundaries, and does not forget the historical sites. Unlike other Tel Avivian artists, Perez wishes to present the lives of the residents of the city and the great love in their hearts. By choosing the historical sites in Tel Aviv, he also pays tribute to the artist Nachum Gutman, who loved the city and lived in it his whole life. In his childhood Gutman experienced historical moments (lighting the first oil lamp, first concert, first pavement), and as an adult he recreated the uniqueness of those events while keeping the city's magic.

 

Like Gutman, Perez has also turned the city into an object of love, and it has started adorning itself in rich colors and supplying the energy of a city that wishes to be "the city that never sleeps", combining old and new. Perez meticulously describes the uniqueness and style of the Bauhaus houses and balconies along the modern glass and steel buildings, all from unusual angles in a rectangular format that wishes to imitate the panorama of a diverse city in its centennial celebrations.

   

Daniel Cahana-Levensohn, curator.

       

Interview with the painter Raphael Perez about his family artist book

 

An interview with the painter Raphael Perez about an artist's book he created about his family, the Peretz family from 6 Nissan St. Kiryat Yuval Jerusalem

     

Question: Raphael Perez, tell me about the family artist book you created

 

Answer: I created close to 40 artist books, notebooks, diaries, sketch books and huge books. I dedicated one of the books to my dear family, a book in which I took a childhood photograph of my family, my parents and brothers and sisters.. I pasted the photographs inside a book (the photograph is 10 percent of the total painting) and I drew with acrylic paints, markers and ink on the book and the photograph, so that the image of the photograph was an inspiration to me Build the story that includes page by page..

     

Question: Tell me when you were born, where, and a little about your family

 

Answer: I was born on March 4, 1965 in the Kiryat Yuval neighborhood in Jerusalem

 

I have a twin brother named Miki Peretz and we are seven brothers and sisters, five boys and two girls

   

Question: Tell us a little about your parents

 

Answer: My parents were new immigrants from Morocco, both immigrated young.

 

My mother's name before the wedding was Alice - Aliza ben Yair and my father's name was Shimon Peretz,

 

My mother was born in the Atlas Mountains and was orphaned at a young age and was later adopted by my father's family at the age of 10, so that my mother and father spent childhood and adolescence together....

 

They had a beautiful and happy relationship but sometimes when they argued my mother would say "even when she was a child she was like that..." This means that their acquaintance and relationship dates back to childhood..

     

Question: What did your parents Shimon and Aliza Peretz work for?

 

Answer: My father, Shimon Perez, born in 1928 - worked in a building in his youth and then for thirty years worked as a receptionist at Hadassah Ein Kerem Hospital in Jerusalem... My father's great love was actually art, he loved to draw as a hobby, write, read, solve crossword puzzles and research Regarding the issue of medicinal plants, as a breadwinner he could not fulfill his dream of becoming an artist, in order to support and feed seven children. But we are the next generation, his children are engaged in the world of creativity and education, a field in which both of my parents were engaged during their lives. My father died at the age of 69

   

My mother, Alice Aliza Perez, born in 1934, worked as an assistant to a kindergarten teacher, and later took care of a baby at home. She is a woman of wholehearted giving and caring for children and people, a warm, generous and humble woman.. and took care of us in our childhood for every emotional and physical deficiency.. My mother is right For the year 2023, the 89-year-old is partly happy and happy despite the difficulties of age.. May you have a long life..

   

My mother really loved gardening and nature and both of them together created a magnificent garden, my parents have a relatively large garden so they could grow many types of special and rare medicinal plants and my father even wrote a catalog (unpublished) of medicinal plants and we even had botany students come to us who were interested in the field... today they They also grow ornamental plants, and fruit trees...

   

Question: A book about the brothers and sisters

 

Answer: My elder brother David Perez repented in his mid-twenties.. He was a very sharp, opinionated, curious and very charismatic guy who brought many people back to repentance, and also helped people with problems through the yeshiva and the synagogue to return to the normal path of life, he died young at the age of 56

   

Hana Peretz: My lovely sister, raised eight children, worked in the field of education, a kindergarten teacher, and child care.

 

She has a very large extended family of grandchildren, great-grandchildren and great-great-grandchildren...

   

My brother Avi (Abraham) Peretz studied in Israel at the University of Philosophy and Judaism, he married a wonderful woman named Mira Drumi, a nurse by profession, and together they had three wonderful children, when they moved to the United States in their mid-twenties, where my brother Avi Peretz completed his master's degree in education, worked in the field Education and for the last twenty years is A conservative rabbi

   

The fourth brother is Asher Peretz - a great man of the world, very fond of traveling and has been to magical places all over the world, engaged in the creation of jewelry with two children.

   

I am Rafi Peretz english raphael perez the fifth and after fifteen minutes my twin brother was born

 

My mother still gets confused and can't remember who was born first :-)

   

My twin brother Miki micky - Michael Peretz, a beloved brother (everyone is beloved), a talented industrial designer, he has three children, his wife Revital Peretz Ben, who is a well-known art curator, active and responsible for the art field in Tel Aviv, they are a dynamic and talented couple, full of talents and action

   

The lovely little sister Shlomit Peretz - has been involved in the Bezeq telephone company for almost three decades, and is there in management positions, raising her lovely and beloved child.

     

The art book I dedicated to my family is colorful, rich in details, shows a very intense childhood, happy, cheerful, colorful, ... We were taught to be diligent and to be happy in our part and to see the glass half full in life, to have emotional intelligence and to put the relationship and love at the center with self-fulfillment in work that will interest you us and you will give us satisfaction.

   

Each of us is different in our life decisions and my family is actually a mosaic of the State of Israel that includes both religious and secular people from the entire political spectrum who understand that the secret to unity is mutual respect for each other... when my mother these days is also the family glue in everyone's gatherings on Shabbat and holidays..

   

The personification of the flower couple paintings by the Israeli painter Raphael Perez

 

Raphael Perez, also known as Rafi Peretz, is an Israeli painter who

 

explores his personal and sexual identity through his flower paintings. He created a series of flower paintings from 1995 to 1998, when he was in his early thirties and still in relationships with women, despite feeling gay. His flower paintings reflect his emotional turmoil and his struggle with his sexual orientation. He painted two flowers, one blooming and one wilting, to represent the contrast and conflict between his heterosexual relationships and his true self. He also painted single flowers or two flowers in their prime, to express his longing for a harmonious relationship that matches his nature. He chose sunflowers, white lilies, and red lilies as symbols of expression, purity, and joy, respectively. He painted from real flowers, using different styles and light to create drama and mood. Perez’s paintings of the flower couples are minimalist and focused on the theme of the complex relationship. He omitted any background or context, leaving only the canvas and the drawing of the flower couples. In some of the paintings, he added a very airy abstract surface with thin oil paints that give an atmosphere of watercolors. He also made drawings of flowers in ink, markers and gouache on paper. Later on, he created large acrylic paintings of flowers and still life. Perez’s flower paintings are not mere illustrations or decorations. They are autobiographical and psychological expressions of his inner state and his struggle with his sexuality. He wanted to reveal his loneliness, distress and concealment through these paintings, and to connect with people who are in a similar situation. He deliberately chose only two flowers and no more to intensify the engagement in the charged and complex relationship. Perez also painted and drew couples of men and women with charged psychological states, as well as states of desire for connection and realization of a heterosexual relationship that did not succeed. He used hyperrealism and expressive styles to convey his frozen and calculated state, as well as his mental stress. He used harsh lighting to create contrast and drama, with one side very bright and the other side darker. Perez was influenced by some of the famous artists who painted flowers, such as Van Gogh, who also used sunflowers as a symbol of expression. He also used white lilies and red lilies to convey freshness, cleanliness, purity, color, joy, movement, eruption, and splendor. Perez also painted some single flowers or two flowers in their prime, to show his aspiration for a future where he will have a harmonious relationship. Today, he is 58 years old and in a happy relationship for 10 years with his partner Assaf Henigsberg. He is surrounded by female friends and soulmates and not conflicted with heterosexual relationships as he used to be. He occasionally paints flowers in pots to symbolize home, stability, and peace. Sometimes I paint flowers in pots, which represent home, stability, and solid ground for me. I don’t paint just a couple of flowers, but pots full of flowers that overflow with life. This means that we also have a supportive network of family, friends, and peers around us. We live in a rich, supportive, and protective world. These paintings are a personification of my psychological state, when I had no words to express my feelings to myself. The painting began In 35 years of my creation (starting in 1998), you can read more about how my art and style evolved over time. Perez’s flower paintings are a unique and extraordinary artistic creation that reveals his personal journey and his sexual identity. His work is honest, expressive, and emotional, as well as beautiful and vibrant.

   

The characteristics of the naive painting of the painter Raphael Perez

 

A full interview with the Israeli painter Raphael Perez (Hebrew name: Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and curriculum vitae Question: Raphael Perez Tell us about your work process as a naive painter? Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers. Question: How do you give depth in your naive paintings? Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites. A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard. Question: Raphael Perez, what characterizes your naive painting? Answer: Most naive paintings have the same characteristics (Definition as it appears in Wikipedia) • Tells a simple story to absorb from everyday life, usually with humans. • The representation of the painter's idealization to reality - the mapping of reality. • Failure to maintain perspective - especially details even in distant details. • Extensive use of repeating patterns - many details. • Warm and bright colors. • Sometimes the emphasis is on outlines. • Most of the characters are flat, lack volume • No interest in texture, expression, correct proportions • No interest in anatomy. • There is not much use of light and shade, the colors create a three-dimensional effect. I find these definitions to be valid for all my naive paintings Question: Raphael Perez, why do you choose the city of Tel Aviv? Answer: I was born in Jerusalem, the capital city which I love very much and also paint, I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel. Question: Raphael Perez, are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem? Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism today In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs Question: Raphael Perez, tell me about which buildings and their architects you usually choose in your drawings of cities Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples: In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality, In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more I also created three paintings of the city of Haifa and one painting of Safed In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city Question: Raphael Perez, have you created series of other cities from around the world? Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city Question: Raphael Perez What is the general idea that accompanies your paintings Answer: To create a good, beautiful, naive, innocent world in which we will see the innovation of the modern city through the skyscrapers in front of small and low buildings that bring the history and past of each country, all with an abundance of vegetation, boulevards, trees Resume, biography, CV of the painter Rafi Peretz and his family Question: When was Raphael Perez born in hebrew his name rafi peretz? Answer: Raphael Perez in Hebrew his name Rafi Peretz was born on March 4, 1965 Question: Where was Raphael Perez born? Answer: Raphael Perez was born in Jerusalem, Israel Question: What is the full name of Raphael Perez? Answer: His full name is Raphael Perez Question: Which art institution did Raphael Perez graduate from? Answer: Raphael Perez graduated from the Visual Arts Center in Be'er Sheva Question: When did Raphael Perez start painting? Answer: Raphael Perez started painting in 1989 Question: When did you start making a living selling art? Answer: Raphael Perez started making a living selling art in 1999 Question: Where does Raphael Perez live and work? Answer: Since 1995, Raphael Perez has been living and working from his studio in Tel Aviv Question: In which military framework did Raphael Perez serve in the IDF? Answer: Raphael Perez served in the artillery corps Question: Raphael Perez, what jobs did he work after his military service? Answer: Raphael Perez worked for 15 years in education in therapeutic settings for children and taught arts and movement Question: How many brothers and sisters does Raphael Perez, the Israeli painter, have? Answer: There are seven children in total, with the painter 5 sons and two daughters, that means the painter Raphael Perez has 4 more brothers and two sisters Question: What do the brothers and sisters of the painter Raphael Perez do? Answer: The elder brother David Peretz Perez was involved in the field of religious studies, the sister Hana Peretz Perez is involved in the field of education, a kindergarten teacher and child care, the brother Avi Peretz Perez who is in the United States today is a conservative rabbi but in the past was involved in education and therapy, the brother Asher Peretz Perez is involved in the fields of creativity and jewelry The twin brother Mickey Peretz Perez is a well-known industrial designer and seller. The younger sister Shlomit Peretz Perez works in a managerial position at Bezeq. Question: Tell me about the parents of the painter Raphael PerezAnswer: The painter Raphael Perez's parents are Shimon Perez Peretz and Eliza Alice Ben Yair, they were married in 1950 in Jerusalem, both were born in Morocco and immigrated to Israel in 1949, Shimon Peretz worked in a building in his youth and later as a receptionist at the Hadassah Ein Kerem Hospital, Eliza Alice Peretz dealt in child care Kindergarten, working in kindergartens and of course taking care of and raising her seven children

 

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רפי פרץ צייר אמן ישראלי עכשווי מודרני אמנים ישראלים אומנים

ישראליים עכשוויים מודרניים האמנים הישראלים העכשוויים המודרניים האומנים הישראליים העכשוויים המודרניים יוצר הומו הומוסקסואל קווירי הומוסקסואליות באמנות הישראלית מגדר אומנות ומגדר אמנות ישראלית עכשווית מודרנית האמנות הישראלית העכשווית המודרנית

 

erotic gay art painting artist raphael perez pintura homossexual da arte de gomoseksual badiiy rasm гомосексуальний художній живопис pittura di arte omosessuale lukisan seni homoseksual listmálun samkynhneigðra péintéireacht ealaíne homaighnéasach pikturë arti homoseksual homoseksuaalne kunstimaal хомосексуална художествена живопис homoseksualno likovno slikarstvo жывапіс гомасэксуальнага мастацтва সমকামী আর্ট পেইন্টিং homoseksuel kunstmaleri homoszexuális művészeti festmény рассоми санъати гомосексуалӣ gomoseksual sungat suratkeşligi homoseksuālas mākslas glezniecība homoseksualaus meno tapyba homoseksuell kunstmaleri homoseksualno likovno slikarstvo

 

queer artworks paintings homoerotic painter lgbt artwork glbt artworks homo erotica man nude male naked men image images picture pictures homosexual homosexualiy artists painters artist body realism realistic famous

 

مثلي الجنس الفن الغريبة الأعمال الفنية معرض معرض رجل عارية لوحة رجال عراة صورة الجسم الإسرائيلي فنان رسام مثلى الفنانين الرسامين لوحات واقعية مثلي الجنس الشهير صورة كبيرة

 

arte homosexual queer obras de arte galería exposición hombre desnudo pintura hombres desnudos retrato cuerpo artista israelí pintor artistas gay pintores pinturas realistas homoerótico famoso imagen grande

 

гомосексуальное искусство квир произведения искусства галерея выставка мужчина ню живопись голые мужчины портрет тело израильский художник художник геи художники художники реалистичные картины гомоэротика знаменитый большое изображение

 

ομοφυλοφιλική τέχνη queer artworks γκαλερί έκθεση άντρας γυμνή ζωγραφική γυμνοί άντρες πορτραίτο ισραήλ καλλιτέχνης ζωγράφος γκέι καλλιτέχνες ζωγράφοι ρεαλιστικοί πίνακες ομοιορωτική διάσημη μεγάλη εικόνα

 

homosexuelle kunst queer kunstwerke galerie ausstellung mann nackt malerei nackte männer porträtkörper israelischer künstler maler schwule künstler maler realistische gemälde homoerotisch berühmtes großes bild

 

homoseksuele kunst queer kunstwerken galerie tentoonstelling man naakt schilderij naakte mannen portret lichaam Israëlische kunstenaar schilder homo kunstenaars schilders realistische schilderijen homo-erotisch beroemd groot beeld

 

art homosexuel queer oeuvres d'art galerie exposition homme peinture nue hommes nus portrait corps artiste israélien peintre artistes gais peintres peintures réalistes homoérotique célèbre grande image

 

homoseksualna sztuka queer dzieła galeria wystawa mężczyzna nago malarstwo nagi mężczyzna portret ciało izraelski artysta malarz homoseksualiści malarze realistyczni obrazy homoerotyk sławny duży obraz

 

Eşcinsel sanat queer sanat eseri galeri sergi adam çıplak boyama çıplak erkekler portre vücut İsrail sanatçı ressam eşcinsel sanatçılar ressamlar gerçekçi resim sergisi homoerotik ünlü büyük resim

 

समलैंगिक कला क्वीर कलाकृतियों गैलरी प्रदर्शनी आदमी नग्न पेंटिंग नग्न पुरुषों चित्र शरीर इजरायल कलाकार चित्रकार समलैंगिक कलाकारों चित्रकारों यथार्थवादी चित्रों समलैंगिक प्रसिद्ध बड़ी छवि

 

homoseksuell konst queer konstverk galleri utställning man nakenmålning nakna män porträtt kropp israelisk konstnär målare gay konstnärer målare realistiska målningar homoerotisk berömd stor bild

like some (many) of you, i am finding navigating flickr problematic. i have been a member since 2006, but am now considering switching to ipernity. mostly, i hate to lose my contacts and the friends that i have made. are any of you considering such a switch?

Three layers gum print. See previously posted versions of this image. This will bring an end to living with this problematic image for some months now.

Jeff Koons is a super problematic artist. This is from the team of artists in his workshop who he pays to make art under his name.

  

www.popville.com/2021/07/mask-policy-dc-government-buildi...

Agapanthus - such a beautiful “weed” - and the lovely but problematic bumbling bumble bee...

Samburu National Reserve

Kenya

East Africa

 

BEST VIEWED IN LARGER SIZE

 

Musth or must /ˈmʌst/ is a periodic condition in bull (male) elephants, characterized by highly aggressive behavior and accompanied by a large rise in reproductive hormones. Testosterone levels in an elephant in musth can be as much as 60 times greater than in the same elephant at other times. However, whether this hormonal surge is the sole cause of musth, or merely a contributing factor, is unknown; scientific investigation of musth is problematic because even the most placid elephants become highly violent toward humans and other elephants during musth, requiring segregation and isolation until they recover. Female elephants do not undergo musth.

 

Often, elephants in musth discharge a thick tar-like secretion called temporin from the temporal ducts on the sides of the head. Temporin contains proteins, lipids (notably cholesterol), phenol and 4-methyl phenol,[2][3] cresols and sesquiterpenes (notably farnesol and its derivatives).[4] Secretions and urine collected from zoo elephants have been shown to contain elevated levels of various highly odorous ketones and aldehydes. The elephant's aggression may be partially caused by a reaction to the temporin, which naturally trickles down into the elephant's mouth. Another contributing factor may be the accompanying swelling of the temporal glands; this presses on the elephant's eyes and causes acute pain comparable to severe root abscess toothache. Elephants sometimes try to counteract this pain by digging their tusks into the ground.

 

Musth is linked to sexual arousal or establishing dominance, but this relationship is far from clear. Cases of elephants goring and killing rhinoceroses without provocation in national parks in Africa have been documented and attributed to musth in young male elephants, especially those growing in the absence of older males. Studies show that reintroducing older males into the elephant population of the area seems to prevent younger males from entering musth, and therefore, stop this aggressive behavior.

The hike to Rummel Lake is a bit of a grind: steep and winding, without decent views. The lake is nice enough once you get there, if you have energy left to enjoy it. Light is problematical, as the trail winds through bear habitat and has many blind corners, so you don't want to be there when the bears are active (which is right when the light is best for photography).

 

This High Dynamic Range 360° panorama was stitched from 72 bracketed photographs with PTGUI Pro, tone-mapped with Photomatix, and touched up in Aperture.

 

Original size: 19628 × 9814 (192.6 MP; 209 MB).

 

Location: Rummel Lake, Peter Lougheed Provincial Park, Alberta, Canada

A bit of subtle beauty as the sun disappears behind the clouds down on the horizon. I liked the different layers of clouds in the sky and the lovely tones. Photo taken at El Franco Lee Park!

 

It was tough getting past the Problematic Pathetic Panda. Get a grip Yahoo!!

  

DSC07808uls

Ricoh 500G

Since its launch in March 2011 as a fast option between Market Weighton and York, service X4 seems to have proven fairly problematic for EYMS. From January 2012 it was extended to Brough via South Cave with operation passing from Pocklington to Elloughton depot at the same time. A further extension in July 2013 saw it reach Hull, thereby complimenting the existing hourly Hull to York X46 service. Though the X4 remained two-hourly, this latest change doubled the vehicle requirement with an Eclipse 2 from Hull depot gaining route-specific livery to operate alongside the original Elloughton Eclipse. Through traffic from Hull must have had a positive effect on viability as by November former Alexander-Dennis demonstrator SN61DFK (779 - re-registered A17EYC) had been purchased to replace 348 at Elloughton, joining the company’s then sole diesel Trident at the depot.

 

Still wearing its original garb, the vehicle is seen here in the village of South Newbald on the 11:46 York-Hull. Though the X4 was extended southwards along the A1034 in January 2012, the deviation via Newbald was not added until several months afterwards. Before this, the villages were only offered limited coverage in the form of Tuesday and Friday service S2 to Market Weighton and Monday, Wednesday and Saturday service 143 to Beverley, both of which are operated by EYMS.

 

Composition was problematic as I wanted to catch the autumn colours, the bench and the sunshine. This was a very beautiful spot at the top of the garden where I looked over the fields to the brook.

Martin Ferdinand Quadal (1736 Niemtschitz-Němčice/Moravia - 1808 Petersburg)

The Life Drawing room of the Viennese Academy in the St. Anna building

Signed, datable 1787

Oil on canvas

Donation by Count Lamberg (year of donation unknown), GG-100

 

Martin Ferdinand Quadal (1736 Niemtschitz/Mähren - 1808 Petersburg)

Der Aktsaal der Wiener Akademie im St. Anna-Gebäude

Signiert, 1787 datiert

Öl auf Leinwand

Schenkung Graf Lamberg (Schenkungsjahr unbekannt), GG-100

 

On the history of women's studies at the Academy of Fine Arts Vienna

1897

Conservative journalist A.F. Seligmann founded the art school for women and girls and taught there as a single teacher 16 students in the "Curs for head and act". 1898 expands the school: Tina Blau, a former teacher of the Munich artists association conducts 1.1.1898 a "Curs for landscape and still-life", which she held until 1915. Richard Kauffungen was nominated for sculpture, Ludwig Michalek led the "Curs for head and act" as well as an Radierkurs (etching course), Adolf Böhm the course for decorative and applied arts, Fabiani teaches ornamentation and style of teaching as well as "Modern home furnishings", Georg Klimt taught metalwork, Friedrich King wood cutting art and Hans Tichy from 1900 the drawing and painting from the living model. In all these teachers are moderate modern artists from the area of the Secession. The theoretical lectures are held in the company founded by Emil Zuckerkandl and Julius Tandler 1900 "Association of Austrian university lecturers Athenaeum", which had the task to be "an educational institution for members of the female sex". The first school year was completed with 64 students, the school is rapidly expanding, so that it forms 200-300 students annually within a few years. The steady growth is due to the restrictive attitude of the public schools of art (especially the academy) towards women, but also from the indiscriminate admission of which have been blamed all the private schools also on the part of women harshly, and just by women.

1904

The Academy of Fine Arts Vienna is one of the many requests for opening the Academy for students once again putting the old arguments against that women are rarely equipped with creative spirit in the field of great art and the other a "proliferation of dilettantism and a pushing back of male members" is to be feared. Just the idea of a joint education had "abhorred" the College. The Academy therefore advocates for the financial support of the art school for women and girls, and rejects the application for opening the academy for women unanimously. The main argument for the impossibility of the joint Aktzeichnens (nude drawing) and the need for a second Aktsaales (nude hall) is increasingly mentioned, which cannot be realized because lack of space and lack of money. Henni Lehmann (Artistic studies of women, Darmstadt 1913) countered the same argument in Germany: "The common nude studies of women and men can not be described as impossible as it is done in many places, without having shown any grievances". The objection of the Quorum of the Berlin University professors that no teacher could be forced to teach women at all in such delicate subjects is countered that the problem was easily solved by entrusting a lady the Aktunterricht (nude drawing) in ladies. Suitable artists were plentiful present. That the life drawing for a long time (until 1937) remained problematic, shows the application of the renowned sculptor Teresa F. Ries of 1931, in which she was offering the Academy her services for the purpose of the management of a yet to be affiliated department, where young girls separated from the young men could work under the direction of a woman. The application was not even put to a vote.

1912

The rector of the Munich Academy also does not believe in the inclusion of students (female ones): "... it is impossible, even with regard to the space conditions, apart from that that the aspirations of the artists who devote themselves to the arts especially are usually others than that of women..."

1913

No significant change in attitude can be found between the opinions of the Academies from 1904 and those of 1913.

1919

In the report from the College's meeting of the Academy of Fine Arts Vienna to the State Office of Internal Affairs and Teaching is communicated that against the requested admission there were no fundamental objections, but that the Academy is so limited in spatial relationship, that after the experiences of the last entrance exams not even the majority of gifted young artists, capable of studying, could be included, and therefore, in case of the admission of women to the study initially had to be made ​​a considerable expansion. The State Office counters that a further delay in the admission of women to the academic study could not be justified and that approval is to allow at least temporarily in a narrow frame.

1920

The State Office for the Interior and Education officially approved the admission of women to study at the Academy of Fine Arts Vienna (since 1919 women were admitted to all faculties of the University of Vienna, with the exception of the Catholic and Protestant Theological Faculty).

A committee consisting of the professors Bacher, Delug, Schmutzer, and Jettmar Muellner claims that the Academy has never pronounced in principle against women's studies but have always only expressed reservations because of the cramped space and financial situation. As a complete novelty proves that no more concerns are raised with regard to coeducation. Men and women should compete in the entrance examination. In the winter semester 1920/21 will be included 14 women, of course, representing only a small minority in relation to the 250 male students.

1926/1927

In the new study regulations are for the first time mentioned Schüler (M) and Schülerinnen (F).

March 1927

Report of the Academy of Fine and Applied Arts about the experiences regarding the access of women to universities: ..."in past years it was thought for the education of women and girls by the Academy of Women for Liberal and Applied Art, which is also equipped with academic classes and by the State subsidized, sufficiently having taken precautions: during a period of almost seven years of study, it was probably possible to get a clear picture about the access applications of women, and about the degree course ... Of course, the number of female candidates in the painting is strongest, weaker in sculpture, and very low in the architecture. As much already now can be said, that in no way in terms of education in the new admissions the women are left behind the male candidates. During the study period, the female students are not in diligence and seriousness of studying behind their male colleagues. Particularly gratifying can be emphasized that because of the co-education of both sexes in common rooms in the individual schools a win-win situation for everybody was. In the master schools the College was repeatedly able also honouring women with academic prices. Subsuming, it should be emphasized that our experiences with the study of women in the Academy of Fine Arts were quite favorable."

The number of students (Studentinnen) increased from 5 % in the winter semester 1920/1921 till 1939/1940 to about 25 %. After the annexation of Austria to Nazi Germany, the number of students (Studentinnen) decreased. The proportion of female students rose after 1940 naturally, reached during the war years up to 70 % and amounted 1945/1946 to 65%. From 1946/1947 the number of students (Studentinnen) fell sharply again, so 1952/1953 only 20% of the students at the Academy were women. 1963/1964 there were, however, already 41% (278).

2002

Students (Studentinnen): 570 of 936 students

University professors (Universitätsprofessorinnen): 9 out of 29

Ao Univ. (extraordinary female professors) 2 of 12

Univ.Ass. (female university assistant) 18 of 41

Contract teachers (Vertragslehrerinnen): 3 of 7

Lecturer (Lehrbeautragte): 32 of 46

 

Almut Krapf

www.akbild.ac.at/Portal/organisation/uber-uns/Organisatio...

DS - the two letters which haunt Citroen. The DS of 1955 was arguably the most advanced and beautiful car in the world at launch.

 

It is true that many of the ingredients had already been tried out before. The car looked like a hovercar, and rode that way too. The DS lived on to 1975, when it still looked futuristic. Its replacement, the CX was also advanced and comfortable, the Wankel rotary engine it was set to debut with was problematic however, and the funding drain of a new car, with an engine that wasn't working properly caused Citroen into bankruptcy and the arms of Peugeot parent PSA.

 

PSA was keen to stop some of teh madness, and though the y allowed the CX and GS to continue, they closed down the exclusive Maserati-engined SM luxury coupe line early (having been unable to move the car successfully in the US - bizarrely due to the high-variable suspension making the car fall foul of US Headlight laws!). The rest of the Citroen range was rationlised over time to share platforms and mechanical systems with Peugeot, and gradually, the brand lost much of its inventive distinctiveness in the name of cost rationalisation.

 

Sadly, by the 1990s, Citroen became the 'cost-brand' arm of PSA, selling average cars on cost and a long-revered name rather than style and innovation.

 

Fortunately, it was seen that this was not going to be a road to success, as the European (and American) markets were now been competitively fought by competent and increasing innovative, quality Japanese and Korean brands, and that to survive, it was in the interest of European marques to provide content that customers valued and would pay for.

 

Enter the DS.

 

The brand has now gained greater planning freedom, and is known as DS Automobiles, but at it genesis with the Citroen DS3 (and Citroen C3/C4 derivative) in 2009, the sub-rand intent was to provide vehicles of stylistic distinction and material quality (somewhat like the relaunch of Mini).

 

The DS5, an EMP2 chassis derivative sat at the top of the range at launch in 2011. The car could be described in many disparate terms that do not do the whole justice. The car rides on a long wheelbase. The car is shaped somewhere between a hatchback, wagon and an MPV. Chrome highlights, including a spear running from the headlamps up to the 2nd A-pillar and a curious beltline liven up the exterior, but the real party trick is the interior.

 

The car seats are embossed in what is known as 'watchstrap' trim, kind of like a gentleman's 1970s era watchband. The car has three sunroofs. One small one over each front seat, and a large one over the rear row. The car has an aeroplane flight deck control deck with buttons on the roof between the sunroofs that mirror those on the centre console. Luxury is high, with massage seats, sat nav, heated seats and other luxuries.

 

You will note the miniland fig standing with the car is wearing my trademark navy and white stripe pullover - I definitely have a soft spot for the DS5 - its looks, its luxury and its precipitous depreciation. I periodically temped to pick up a 3-year old car at half of its original price, to cruise around with my butt gently warmed and massaged by the seats.

 

More info at wikipedia:

 

en.wikipedia.org/wiki/DS_5

 

This Lego miniland-scale Citroen DS5 has been created for Flickr LUGNuts' 115th Build Challenge, - "The French Connection", - for vehicles with some connection with France.

Commercial for a monthly event at the Fort Erie Race track.

 

This type of animation is not real my 'go to' style, but I enjoyed making this (especially not having to schedule a shoot). I definitely plan to use it again, especially for quick turn arounds that make shooting live action problematic.

Photography at border crossings into the GDR was problematic I suggest before late 1989. This fine tiled mural was located at the smaller of the two crossings between Magdeburg and Hannover, Oebisfelde. Two weeks later in May 1990 it had disappeared beneath white paint. A member of the railway staff has just emerged to see what is going on. He is not posing!

Various Leitmotife of Magdeburg may be seen on the tiles. Oebisfelde is quite some distance from Magdeburg, but was in the Bezirk of the same name. At this time, a small DR branch line, operated by Ferkeltaxi railcars, wound its way around the Altmark from Oebisfelde, and since abandoned.

During my career in design at London Underground one of the more fraught subjects for discussion was the pull between architectural design and "purity" versus commercial revenue from advertising and we went to great lengths to ensure that valuable campaigns did not stray into problematic issues such as safety or being visually 'overwhelming' or distracting to passengers. Needless to say the latter was the one theat advertisers most notably wanted, unsurprisingly, to achieve! It was often recalled that this debate had been present in the Underground Group nealry a century before as this article from Advertising Display in August 1927 shows.

 

When Piccadilly Circus station's redevelopment was opened in 1928 the area above the escalators was decorated by a vast fresco by in oil paintings by artist Stephen Bone. The philosopical 'tussle' that Frank Pick and Charles Holden, amongst others, went through was often with regard to applied art rather than art being an inherent part of the architectural design - as in the scultpures carved in-situ on the façade of 55 Broadway in 1929. Quite what was the intention of the Bone frescos, or the outcome of the debate, is a subject for some discussion but by the early 1930s they were replaced by a vast advert for Ovaltine; perhaps a sign that even in London Underground revenue overcame artisitic scruples. I have heard that the Bone frescos failed rapidly due to damp and water ingress and that, if I am honest, would not surprise me.

 

The other 'well-known' advertiisng murals, of which pictures are seen, are of the ones at Bank Station (Central line) around the head of the esclators. These, for Remington typewriters and Ripolin Paint, are discussed int his article and the paintings by Mary Adshead are shown. Perhaps Ripolin provided better paint as these seem to have had great longevity. Quite when they 'went' I do not know; the contract may have expired and required 'removal' as would be the case now but besides that this area at Bank was completely lost in the WW2 bombing during the Blitz with consequent loss of life.

 

The others shown here, and less frequently seen, are the "Golden Glory" friezes over the escalators at the newly reconstructed Bond Street station where they replaced the original lifts. These adverts were for Pears Soap. Oddly the artist is not given here. Of equal interest are the views of no less than four contemporary poster artists and designers all of whom are regarded as 'masters' in their field and who produced posters for the Underground Group at the time; Edward McKnight Kauffer, Austin Cooper, Charles Paine and Gregory Brown. The views of the latter, Gregory Brown, are most vehement of the group and I wonder how the discussions went between him and Frank Pick the next time he was called in to talk about poster commissions!

 

That aside it is interetsing to see the debate that was had at the time in terms of the desirabilty and practicality of such schemes and the fact that a hundred years on, other than the introduction of vinyl and digital screens, the debate is still much the same.

 

The least problematic of the whole batch here, as I have several photos of this one on both the 17 and 34, unlike some of the others!

 

Canning Circus, Nottingham, 7.10.21

Coronilla varia - Crown Vetch

This has actually become an invasive wildflower, somewhat like kidzu. I found it growing wild with other wildflowers, in small quantities. I found it to be very beautiful, in spite of its problematic nature.

 

Taken 8/28/28, 2020 08 28 ar72 er PntPetals TIBkgdxTTe x TDnai NCFlowersTextures 60MM-8280314 (1 of 1), OLYMPUS DIGITAL CAMERA

I stalked this great white shark, er, egret as it stalked fish for breakfast - playa diamante, acapulco, mexico

 

I was going to make a diptych (a little problematic), because the next image was the fish half-way down its throat. it looked like it had a bulging adam's apple. it continued to take sips of water to wash it down. hah. don't *you* hate it when you get food stuck in your throat?

 

large view

Damaged by winds in 1839, the road surface needed extensive repair, and in 1893 the entire wooden surface was replaced with a steel deck. Over the years, the 4.5 ton weight limit proved problematic for the increasing freight industry and in 1938 the original wrought iron[4] chains were replaced with steel ones without the need to close the bridge. In 1999 the bridge was closed for around a month to resurface the road and strengthen the structure,

This theme was quite challenging for me. I was originally going to make Demi be outside in a chain gang digging with shovels and whacking people with them, but the outdoor shots didn't turn out so good so I decided not to use them..

 

I made her a jumsuit thingy too. (: The rips were added to show some wear. Maybe I also should have made her outfit dirty for better results.. hmm... :/

 

Anyway, please be sure to read the notes I added to tell the story as to what Demi's actually up to. Remember, she loves trouble! >:)

       

Well it took longer than it should've thanks to the usual array of problems from building a ship this big but the first bit of coverings are completed.

 

The quarter panels were most problematic. When installing the center wedges, I hit one of the quarter panels and broke off a small technic bush 1/2 internally and fell down to the adjacent lower quarter panel. While fishing it out and reinstalling it I managed to break the same technic bush on the lower quarter panel. That one fell into one of the lights down there. I couldn't fish that out without damaging the lights so I had to deconstruct the lower quarter panel just to fish it out and reinstall it. Thats when I noticed that I had done all the lights wrong on the upper quarter panels. So all of those had to be taken apart and reconstructed with the lights in the correct spots.

 

On to the big wedges forward and aft. The front wedges are going through a redesign that won't match the lower ones. This is to accommodate the lights for the upper windows, as it would be impossible to place them in the same place as the lower ones. This new design should be superior lighting the upper windows, and should help the lower ones too. The lower wedges will not be modified accordingly, as it would be too time consuming, and risky. If I can get those 4 wedges installed before the end of August, I will enter it into this year's GTW LUG Shrine display at Christmas. After that it's just the engines and the center crown to go. I pray that there are no more failures anywhere because WE ARE SO CLOSE TO FINISHING THIS!