View allAll Photos Tagged Published
Finally, i got the email, it's out and available on Amazon for all to see, my first book cover.
www.amazon.co.uk/Rope-Walk-Carrie-Brown/dp/0307278093/ref...
My Gannet Colony shot commended in Landscape category. I don't think I ever uploaded this B&W shot to Flickr...
Congrats to Kah Kit Yoong for winning this category!
Published in 'The Saturday Evening Post - October 1, 1960
This scan was originally posted by another Flickr user that has since deleted his account. I have posted it here solely so it can continue to be enjoyed and shared.
Note: this photo was published in an undated (May 2010) EveryBlock NYC Zipcodes blog, with the title 10025. It was also published in an undated (May 2010) EveryBlock NYC Neighborhoods blog titled "Upper West Side."
Moving into 2012, the photo was published in an undated (mid-Oct 2012) blog titled "Unusual things to do in New York City for under $100."
Moving into 2014, the photo was published in a Jul 23, 2014 blog titled "How brands make the man, and the woman – literally." It was also published in an Oct 20, 2014 blog titled "New York Is The Snobbiest City In America."
****************
This is a continuation of a Flickr set that I started in the summer of 2009. As I noted in that earlier collection of photos, I still have many parts of New York City left to explore -- but I've also realized that I don't always have to go looking elsewhere for interesting photographs. Some of it is available just outside my front door.
I live on a street corner on the Upper West Side of Manhattan where there's an express stop on the IRT subway line (with a new space-age subway station scheduled to be completed by fall 2010), as well as a crosstown bus stop, an entrance to the West Side Highway, and the usual range of banks, delis, grocery stores, fast-food shops, mobile-phone stores, drug-stores, Dunkin' Donuts, Starbucks, Subway, and other commercial enterprises. As a result, there are lots of interesting people moving past my apartment building, all day and all night long.
It's easy to find an unobtrusive spot on the edge of the median strip separating the east side of Broadway from the west side; nobody pays any attention to me as they cross the street from east to west, and nobody even looks in my direction as they cross from north to south (or vice versa). In rainy weather, sometimes I huddle under an awning of the T-Mobile phone store on the corner, so I can take pictures of people under their umbrellas, without getting my camera and myself soaking wet...
So, these are some of the people I thought were photo-worthy during the past few weeks and month; I'll add more to the collection as the year progresses ... unless, of course, other parts of New York City turn out to be more compelling from time to time.
PLEASE, NO invitations or self promotions, THEY WILL BE DELETED. My photos are FREE to use, just give me credit and it would be nice if you let me know, thanks.
The Postcard
A postally unused postkarte that was published by Ottmar Zieher of Munich. The card has a divided back.
Richard Wagner
Wilhelm Richard Wagner, who was born on the 22nd. May 1813, was a German composer, theatre director, polemicist, and conductor who is chiefly known for his operas (or, as some of his mature works were later known, "music dramas"). Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works.
Initially establishing his reputation as a composer of works in the romantic vein of Carl Maria von Weber and Giacomo Meyerbeer, Wagner revolutionised opera through his concept of the Gesamtkunstwerk ("total work of art"), by which he sought to synthesise the poetic, visual, musical and dramatic arts, with music subsidiary to the drama.
He described this vision in a series of essays published between 1849 and 1852. Wagner realised these ideas most fully in the first half of the four-opera cycle Der Ring des Nibelungen.
Richard's compositions, particularly those of his later period, are notable for their complex textures, rich harmonies and orchestration. He also used leitmotifs—musical phrases associated with individual characters, places, ideas, or plot elements.
His advances in musical language, such as extreme chromaticism and quickly shifting tonal centres, greatly influenced the development of classical music.
Richard's Tristan und Isolde is sometimes described as marking the start of modern music.
Wagner had his own opera house built, the Bayreuth Festspielhaus, which embodied many novel design features. Bayreuth is a town on the Red Main river in Bavaria. At its center is the Richard Wagner Museum in the composer's former home, Villa Wahnfried.
The Ring and Parsifal were premiered at the Festspielhaus, and Wagner's most important stage works continue to be performed at the annual Bayreuth Festival, run by his descendants.
Richard's thoughts on the relative contributions of music and drama in opera were to change again, and he reintroduced some traditional forms into his last few stage works, including Die Meistersinger von Nürnberg.
Until his final years, Wagner's life was characterised by political exile, turbulent love affairs, poverty and repeated flight from his creditors.
His controversial writings on music, drama and politics have attracted extensive comment – particularly since the late 20th. century, where they express antisemitic sentiments.
The effect of his ideas can be traced in many of the arts throughout the 20th. century; his influence spread beyond composition into conducting, philosophy, literature, the visual arts and theatre.
Richard Wagner - The Early Years
Richard Wagner was born to an ethnic German family in Leipzig, who lived at No 3, the Brühl (The House of the Red and White Lions) in the Jewish quarter on the 22nd. May 1813.
He was baptized at St. Thomas Church. He was the ninth child of Carl Friedrich Wagner, who was a clerk in the Leipzig police service, and his wife, Johanna Rosine (née Paetz), the daughter of a baker.
Wagner's father Carl died of typhoid fever six months after Richard's birth. Afterwards, his mother Johanna lived with Carl's friend, the actor and playwright Ludwig Geyer. In August 1814 Johanna and Geyer probably married—although no documentation of this has been found in the Leipzig church registers.
Johanna and her family moved to Geyer's residence in Dresden, and until he was fourteen, Wagner was known as Wilhelm Richard Geyer. He almost certainly thought that Geyer was his biological father.
Geyer's love of the theatre came to be shared by his stepson, and Wagner took part in his performances. In his autobiography Mein Leben, Wagner recalled once playing the part of an angel.
In late 1820, Wagner was enrolled at Pastor Wetzel's school at Possendorf, near Dresden, where he received piano instruction from his Latin teacher. However Richard struggled to play a proper scale at the keyboard, and preferred playing theatre overtures by ear.
Following Geyer's death in 1821, Richard was sent to the Kreuzschule, the boarding school of the Dresdner Kreuzchor, at the expense of Geyer's brother.
At the age of nine he was hugely impressed by the Gothic elements of Carl Maria von Weber's opera Der Freischütz, which he saw Weber conduct.
During this period, Wagner entertained ambitions as a playwright. His first creative effort was a tragedy called Leubald. Begun when he was at school in 1826, the play was strongly influenced by Shakespeare and Goethe.
Wagner was determined to set it to music, and persuaded his family to allow him music lessons.
By 1827, the family had returned to Leipzig. Wagner's first lessons in harmony were taken during 1828–1831 with Christian Gottlieb Müller.
In January 1828 he first heard Beethoven's 7th. Symphony and then, in March, the same composer's 9th. Symphony. Beethoven became a major inspiration, and Wagner wrote a piano transcription of the 9th. Symphony.
Richard was also greatly impressed by a performance of Mozart's Requiem.
Wagner's early piano sonatas and his first attempts at orchestral overtures date from this period.
In 1829 Richard saw a performance by dramatic soprano Wilhelmine Schröder-Devrient, and she became his ideal of the fusion of drama and music in opera. In Mein Leben, Wagner wrote:
"When I look back across my entire life
I find no event to place beside this in
the impression it produced on me.
The profoundly human and ecstatic
performance of this incomparable artist
kindled in me an almost demonic fire."
In 1831, Wagner enrolled at Leipzig University, where he became a member of the Saxon student fraternity. He took composition lessons with the Thomaskantor Theodor Weinlig.
Weinlig was so impressed with Wagner's musical ability that he refused any payment for his lessons. He arranged for his pupil's Piano Sonata in B-flat major (which was consequently dedicated to him) to be published as Wagner's Op. 1.
A year later, Wagner composed his Symphony in C major, a Beethovenesque work performed in Prague in 1832 and at the Leipzig Gewandhaus in 1833.
He then began to work on an opera, Die Hochzeit (The Wedding), which he never completed.
Richard Wagner's Early Career and Marriage (1833–1842)
In 1833, Wagner's brother Albert managed to obtain for him a position as choirmaster at the theatre in Würzburg. In the same year, at the age of 20, Wagner composed his first complete opera, Die Feen (The Fairies).
This work, which imitated the style of Weber, went unproduced until half a century later, when it premiered in Munich shortly after the composer's death in 1883.
Having returned to Leipzig in 1834, Wagner held a brief appointment as musical director at the opera house in Magdeburg during which he wrote Das Liebesverbot (The Ban on Love), based on Shakespeare's Measure for Measure.
The work was staged at Magdeburg in 1836, but closed before the second performance. This, together with the financial collapse of the theatre company employing him, left Richard bankrupt.
Wagner had fallen for one of the leading ladies at Magdeburg, the actress Christine Wilhelmine "Minna" Planer, and after the disaster of Das Liebesverbot he followed her to Königsberg, where she helped him to get an engagement at the theatre.
They married in Tragheim Church on the 24th. November 1836, although In May 1837, Minna left Wagner for another man. This was however only the first débâcle of a tempestuous marriage.
In June 1837, Wagner moved to Riga (then part of the Russian Empire), where he became music director of the local opera; having in this capacity engaged Minna's sister Amalie (also a singer) for the theatre, he resumed relations with Minna during 1838.
By 1839, the couple had amassed such large debts that they fled Riga on the run from creditors. In fact, debts plagued Wagner for most of his life.
Initially they took a stormy sea passage to London, from which Wagner drew the inspiration for his opera Der Fliegende Holländer (The Flying Dutchman), with a plot based on a sketch by Heinrich Heine.
The Wagners settled in Paris in September 1839 and stayed there until 1842. Wagner made a scant living by writing articles and short novelettes such as A pilgrimage to Beethoven, which sketched his growing concept of "music drama", and An end in Paris, where he depicts his own miseries as a German musician in the French metropolis.
Richard also provided arrangements of operas by other composers, largely on behalf of the Schlesinger publishing house. During this stay he completed his third and fourth operas Rienzi and Der Fliegende Holländer.
Richard Wagner in Dresden (1842–1849)
Wagner had completed Rienzi in 1840. With the strong support of Giacomo Meyerbeer, it was accepted for performance by the Dresden Court Theatre (Hofoper) in the Kingdom of Saxony.
In 1842, Wagner moved to Dresden. His relief at returning to Germany was recorded in his "Autobiographic Sketch" of 1842, where he wrote that, en route from Paris:
"For the first time I saw the Rhine—
with hot tears in my eyes, I, poor
artist, swore eternal fidelity to my
German fatherland."
Rienzi was staged to considerable acclaim on the 20th. October 1842.
Wagner lived in Dresden for the next six years, eventually being appointed the Royal Saxon Court Conductor. During this period, he staged there Der Fliegende Holländer (2nd. January 1843) and Tannhäuser (19th. October 1845), the first two of his three middle-period operas.
Wagner also mixed with artistic circles in Dresden, including the composer Ferdinand Hiller and the architect Gottfried Semper.
Wagner's involvement in left-wing politics abruptly ended his welcome in Dresden. Wagner was active among socialist German nationalists there, regularly receiving such guests as the conductor and radical editor August Röckel and the Russian anarchist Mikhail Bakunin.
Richard was also influenced by the ideas of Pierre-Joseph Proudhon and Ludwig Feuerbach. Widespread discontent came to a head in 1849, when the unsuccessful May Uprising in Dresden broke out, in which Wagner played a minor supporting role.
A warrant for the arrest of Richard Wagner was issued on the 16th. May 1849, along with warrants for other revolutionaries.
Wagner had to flee, first visiting Paris and then settling in Zürich where he at first took refuge with a friend, Alexander Müller.
Richard Wagner In Exile: Switzerland (1849–1858)
Wagner spent the next twelve years in exile from Germany. He had completed Lohengrin, the last of his middle-period operas, before the Dresden uprising, and now wrote desperately to his friend Franz Liszt to have it staged in his absence. Liszt conducted the premiere in Weimar in August 1850.
Wagner was in grim personal straits, isolated from the German musical world and without any regular income. In 1850, Julie, the wife of his friend Karl Ritter, began to pay him a small pension which she maintained until 1859.
With help from her friend Jessie Laussot, this was to have been augmented to an annual sum of 3,000 thalers per year, but the plan was abandoned when Wagner began an affair with Mme. Laussot.
Wagner even plotted an elopement with her in 1850, which her husband prevented. Meanwhile, Wagner's wife Minna, who had disliked the operas he had written after Rienzi, was falling into a deepening depression. Wagner fell victim to ill-health, according to Ernest Newman "Largely a matter of overwrought nerves", which made it difficult for him to continue writing.
Wagner's primary published output during his first years in Zürich was a set of essays. In "The Artwork of the Future" (1849), he described a vision of opera as Gesamtkunstwerk (total work of art), in which music, song, dance, poetry, visual arts and stagecraft were unified.
"Judaism in Music" (1850) was the first of Wagner's writings to feature antisemitic views. In this polemic Wagner argued, frequently using traditional antisemitic abuse, that Jews had no connection to the German spirit, and were thus capable of producing only shallow and artificial music.
According to him, they composed music to achieve popularity and, thereby, financial success, as opposed to creating genuine works of art.
In "Opera and Drama" (1851), Wagner described the aesthetics of music drama that he was using to create the Ring cycle. Before leaving Dresden, Wagner had drafted a scenario that eventually became Der Ring des Nibelungen.
He initially wrote the libretto for a single opera, Siegfrieds Tod (Siegfried's Death), in 1848. After arriving in Zürich, he expanded the story with Der junge Siegfried (Young Siegfried), which explored the hero's background.
He completed the text of the cycle by writing the libretti for Die Walküre (The Valkyrie) and Das Rheingold (The Rhine Gold) and revising the other libretti to conform to his new concept, completing them in 1852.
The concept of opera expressed in "Opera and Drama" and in other essays effectively renounced all the operas he had previously written through Lohengrin. Partly in an attempt to explain his change of views, Wagner published in 1851 the autobiographical "A Communication to My Friends".
This included his first public announcement of what was to become the Ring cycle:
"I shall never write an Opera more. As I have
no wish to invent an arbitrary title for my works,
I will call them Dramas ... I propose to produce
my myth in three complete dramas, preceded
by a lengthy Prelude (Vorspiel).
At a specially-appointed Festival, I propose,
at some future time, to produce those three
Dramas with their Prelude, in the course of
three days and a fore-evening."
Wagner began composing the music for Das Rheingold between November 1853 and September 1854, following it immediately with Die Walküre (written between June 1854 and March 1856).
He began work on the third Ring drama, which he now called simply Siegfried, probably in September 1856, but by June 1857 he had completed only the first two acts.
He decided to put the work aside in order to concentrate on a new idea: Tristan und Isolde, based on the Arthurian love story Tristan and Iseult.
One source of inspiration for Tristan und Isolde was the philosophy of Arthur Schopenhauer, notably his The World as Will and Representation, to which Wagner had been introduced in 1854 by his poet friend Georg Herwegh.
Wagner later called this the most important event of his life. His personal circumstances certainly made him an easy convert to what he understood to be Schopenhauer's philosophy, a deeply pessimistic view of the human condition. He remained an adherent of Schopenhauer for the rest of his life.
One of Schopenhauer's doctrines was that music held a supreme role in the arts as a direct expression of the world's essence, namely, blind, impulsive will.
This doctrine contradicted Wagner's view, expressed in "Opera and Drama", that the music in opera had to be subservient to the drama. Wagner scholars have argued that Schopenhauer's influence caused Wagner to assign a more commanding role to music in his later operas, including the latter half of the Ring cycle, which he had yet to compose.
Aspects of Schopenhauerian doctrine found their way into Wagner's subsequent libretti.
A second source of inspiration was Wagner's infatuation with the poet-writer Mathilde Wesendonck, the wife of the silk merchant Otto Wesendonck. Wagner met the Wesendoncks, who were both great admirers of his music, in Zürich in 1852.
From May 1853 onwards Wesendonck made several loans to Wagner to finance his household expenses in Zürich, and in 1857 placed a cottage on his estate at Wagner's disposal, which became known as the Asyl ("asylum" or "place of rest").
During this period, Wagner's growing passion for his patron's wife inspired him to put aside work on the Ring cycle (which was not resumed for the next twelve years) and begin work on Tristan.
While planning the opera, Wagner composed the Wesendonck Lieder, five songs for voice and piano, setting poems by Mathilde. Two of these settings are explicitly subtitled by Wagner as "Studies for Tristan und Isolde".
Among the conducting engagements that Wagner undertook for revenue during this period, he gave several concerts in 1855 with the Philharmonic Society of London, including one before Queen Victoria. The Queen enjoyed his Tannhäuser overture and spoke with Wagner after the concert, writing in her diary that:
"Wagner was short, very quiet, wears
spectacles & has a very finely-developed
forehead, a hooked nose & projecting
chin."
Richard Wagner in Exile: Venice and Paris (1858–1862)
Wagner's uneasy affair with Mathilde collapsed in 1858, when Minna intercepted a letter to Mathilde from him. After the resulting confrontation with Minna, Wagner left Zürich alone, bound for Venice, where he rented an apartment in the Palazzo Giustinian, while Minna returned to Germany.
Wagner's attitude to Minna had changed; the editor of his correspondence with her, John Burk, has said that:
"She was to him an invalid, to be treated
with kindness and consideration, but,
except at a distance, was a menace to
his peace of mind."
Wagner continued his correspondence with Mathilde and his friendship with her husband Otto, who maintained his financial support. In an 1859 letter to Mathilde, Wagner wrote, half-satirically, of Tristan:
"Child! This Tristan is turning into something
terrible. This final act!!!—I fear the opera will
be banned ... only mediocre performances
can save me!
Perfectly good ones will be bound to drive
people mad."
In November 1859, Wagner once again moved to Paris to oversee production of a new revision of Tannhäuser, staged thanks to the efforts of Princess Pauline von Metternich, whose husband was the Austrian ambassador in Paris.
The performances of the Paris Tannhäuser in 1861 were a notable fiasco. This was partly a consequence of the conservative tastes of the Jockey Club, which organised demonstrations in the theatre to protest at the presentation of the ballet feature in act 1 (instead of its traditional location in the second act).
The opportunity was also exploited by those who wanted to use the occasion as a veiled political protest against the pro-Austrian policies of Napoleon III. It was during this visit that Wagner met the French poet Charles Baudelaire, who wrote an appreciative brochure, "Richard Wagner et Tannhäuser à Paris".
The opera was withdrawn after the third performance, and Wagner left Paris soon after. He had sought a reconciliation with Minna during this Paris visit, and although she joined him there, the reunion was not successful, and they again parted from each other when Wagner left.
Richard Wagner's Return and Resurgence (1862–1871)
The political ban that had been placed on Wagner in Germany after he had fled Dresden was fully lifted in 1862. The composer settled in Biebrich, on the Rhine near Wiesbaden.
Here Minna visited him for the last time: they parted irrevocably, though Wagner continued to give financial support to her while she lived in Dresden until her death in 1866.
In Biebrich, Wagner at last began work on Die Meistersinger von Nürnberg, his only mature comedy. Wagner wrote a first draft of the libretto in 1845, and he had resolved to develop it during a visit he had made to Venice with the Wesendoncks in 1860, where he was inspired by Titian's painting The Assumption of the Virgin.
Throughout this period (1862–1864) Wagner sought to have Tristan und Isolde produced in Vienna. Despite many rehearsals, the opera remained unperformed, and gained a reputation as being "impossible" to sing, which added to Wagner's financial problems.
Wagner's fortunes took a dramatic upturn in 1864, when King Ludwig II succeeded to the throne of Bavaria at the age of 18. The young king, an ardent admirer of Wagner's operas, had the composer brought to Munich.
The King, who was homosexual, expressed in his correspondence a passionate personal adoration for the composer, and Wagner in his responses had no scruples about feigning reciprocal feelings.
Ludwig settled Wagner's considerable debts, and proposed to stage Tristan, Die Meistersinger, the Ring, and the other operas Wagner planned.
Wagner also began to dictate his autobiography, Mein Leben, at the King's request. Wagner noted that his rescue by Ludwig coincided with news of the death of his earlier mentor (but later supposed enemy) Giacomo Meyerbeer. Wagner wrote:
"I regretted that this operatic master,
who had done me so much harm,
should not have lived to see this day."
After grave difficulties in rehearsal, Tristan und Isolde premiered at the National Theatre Munich on the 10th. June 1865, the first Wagner opera premiere in almost 15 years. (The premiere had been scheduled for the 15th. May, but was delayed by bailiffs acting for Wagner's creditors, and also because the Isolde, Malvina Schnorr von Carolsfeld, was hoarse and needed time to recover.)
The conductor of this premiere was Hans von Bülow, whose wife, Cosima, had given birth in April that year to a daughter, named Isolde, a child not of Bülow but of Wagner.
Cosima was 24 years younger than Wagner and was herself illegitimate, the daughter of the Countess Marie d'Agoult, who had left her husband for Franz Liszt.
Liszt initially disapproved of his daughter's involvement with Wagner, though nevertheless, the two men were friends. The indiscreet affair scandalised Munich, and Wagner also fell into disfavour with many leading members of the court, who were suspicious of his influence on the King.
In December 1865, Ludwig was finally forced to ask the composer to leave Munich. He apparently also toyed with the idea of abdicating to follow his hero into exile, but Wagner quickly dissuaded him.
Ludwig installed Wagner at the Villa Tribschen, beside Switzerland's Lake Lucerne. Die Meistersinger was completed at Tribschen in 1867, and premiered in Munich on the 21st. June the following year.
At Ludwig's insistence, "special previews" of the first two works of the Ring, Das Rheingold and Die Walküre, were performed at Munich in 1869 and 1870. However Wagner retained his dream, first expressed in "A Communication to My Friends", of presenting the first complete cycle at a special festival in a new, dedicated, opera house.
Not everyone was impressed by Wagner's work at the time; on the cover of the 18th. April 1869 edition of L'Éclipse, André Gill suggested that Wagner's music was ear-splitting. He produced a cartoon showing a misshapen figure of a man with a tiny body below a head with prominent nose and chin standing on the lobe of a human ear. The figure is hammering the sharp end of a crochet symbol into the inner part of the ear as blood pours out.
Minna died of a heart attack on the 25th. January 1866 in Dresden. Wagner did not attend the funeral. Following Minna's death Cosima wrote to Hans von Bülow several times asking him to grant her a divorce, but Bülow refused to concede this.
He consented only after she had two more children with Wagner; another daughter, named Eva, after the heroine of Meistersinger, and a son Siegfried, named for the hero of the Ring.
The divorce was finally sanctioned, after delays in the legal process, by a Berlin court on the 18th. July 1870. Richard and Cosima's wedding took place on the 25th. August 1870.
On Christmas Day of that year, Wagner arranged a surprise performance (its premiere) of the Siegfried Idyll for Cosima's birthday. The marriage to Cosima lasted to the end of Wagner's life.
Wagner, settled into his new-found domesticity, turned his energies towards completing the Ring cycle. However he had not abandoned polemics: he republished his 1850 pamphlet "Judaism in Music", originally issued under a pseudonym, under his own name in 1869.
He extended the introduction, and wrote a lengthy additional final section. The publication led to several public protests at early performances of Die Meistersinger in Vienna and Mannheim.
Richard Wagner in Bayreuth (1871–1876)
In 1871, Wagner decided to move to Bayreuth, which was to be the location of his new opera house. The town council donated a large plot of land—the "Green Hill"—as a site for the theatre.
The Wagners moved to the town the following year, and the foundation stone for the Bayreuth Festspielhaus ("Festival Theatre") was laid.
Wagner initially announced the first Bayreuth Festival, at which for the first time the Ring cycle would be presented complete, for 1873, but since Ludwig had declined to finance the project, the start of building was delayed, and the proposed date for the festival was deferred.
To raise funds for the construction, "Wagner societies" were formed in several cities, and Wagner began touring Germany conducting concerts. By the spring of 1873, only a third of the required funds had been raised; further pleas to Ludwig were initially ignored, but early in 1874, with the project on the verge of collapse, the King relented and provided a loan.
The full building programme included the family home, "Wahnfried", into which Wagner, with Cosima and the children, moved from their temporary accommodation on the 18th. April 1874. Wagner was ultimately laid to rest in the Wahnfried garden; in 1977 Cosima's ashes were placed alongside Wagner's body. The grave is shown in the photograph.
The theatre was completed in 1875, and the festival scheduled for the following year. Commenting on the struggle to finish the building, Wagner remarked to Cosima:
"Each stone is red with
my blood and yours".
For the design of the Festspielhaus, Wagner appropriated some of the ideas of his former colleague, Gottfried Semper, which he had previously solicited for a proposed new opera house at Munich.
Wagner was responsible for several theatrical innovations at Bayreuth; these included darkening the auditorium during performances, and placing the orchestra in a pit out of view of the audience.
The Festspielhaus finally opened on the 13th. August 1876 with Das Rheingold, at last taking its place as the first evening of the complete Ring cycle. The 1876 Bayreuth Festival therefore saw the premiere of the complete cycle, performed as a sequence as the composer had intended.
The 1876 Festival consisted of three full Ring cycles (under the baton of Hans Richter). At the end, critical reactions ranged between that of the Norwegian composer Edvard Grieg, who thought the work "divinely composed", and that of the French newspaper Le Figaro, which called the music "The dream of a lunatic".
The disillusioned included Wagner's friend and disciple Friedrich Nietzsche, who, having published his eulogistic essay "Richard Wagner in Bayreuth" before the festival as part of his Untimely Meditations, was bitterly disappointed by what he saw as Wagner's pandering to increasingly exclusivist German nationalism; his breach with Wagner began at this time.
The festival firmly established Wagner as an artist of European, and indeed world, importance: attendees included Kaiser Wilhelm I, the Emperor Pedro II of Brazil, Anton Bruckner, Camille Saint-Saëns and Pyotr Ilyich Tchaikovsky.
Wagner was far from satisfied with the Festival; Cosima recorded that months later, his attitude towards the productions was:
"Never again, never again!"
Moreover, the festival finished with a deficit of about 150,000 marks. The expenses of Bayreuth and of Wahnfried meant that Wagner still sought further sources of income by conducting or taking on commissions such as the Centennial March for America, for which he received $5000.
Richard Wagner - The Final Years (1876–1883)
Following the first Bayreuth Festival, Wagner began work on Parsifal, his final opera. The composition took four years, much of which Wagner spent in Italy for health reasons.
From 1876 to 1878 Wagner also embarked on the last of his documented emotional liaisons, this time with Judith Gautier, whom he had met at the 1876 Festival.
Wagner was also much troubled by problems of financing Parsifal, and by the prospect of the work being performed by other theatres than Bayreuth. He was once again assisted by the liberality of King Ludwig, but was still forced by his personal financial situation in 1877 to sell the rights of several of his unpublished works (including the Siegfried Idyll) to the publisher Schott.
Wagner wrote several articles in his later years, often on political topics, and often reactionary in tone, repudiating some of his earlier, more liberal, views.
These include "Religion and Art" (1880) and "Heroism and Christianity" (1881), which were printed in the journal Bayreuther Blätter, published by his supporter Hans von Wolzogen.
Wagner's sudden interest in Christianity at this period, which infuses Parsifal, was contemporary with his increasing alignment with German nationalism, and required on his part, and the part of his associates, "the rewriting of some recent Wagnerian history", so as to represent, for example, the Ring as a work reflecting Christian ideals.
Many of these later articles, including "What is German?" (1878, but based on a draft written in the 1860's), repeated Wagner's antisemitic preoccupations.
Wagner completed Parsifal in January 1882, and a second Bayreuth Festival was held for the new opera, which premiered on the 26th. May.
Wagner was by this time extremely ill, having suffered a series of increasingly severe angina attacks.
During the sixteenth and final performance of Parsifal on the 29th. August, he entered the pit unseen during act 3, took the baton from conductor Hermann Levi, and led the performance to its conclusion.
After the festival, the Wagner family journeyed to Venice for the winter. Wagner died of a heart attack at the age of 69 on the 13th. February 1883 at Ca' Vendramin Calergi, a 16th.-century palazzo on the Grand Canal.
The legend that the attack was prompted by argument with Cosima over Wagner's supposedly amorous interest in the singer Carrie Pringle, who had been a Flower-maiden in Parsifal at Bayreuth, is without credible evidence.
After a funerary gondola bore Wagner's remains across the Grand Canal, his body was taken to Germany where it was buried in the garden of the Villa Wahnfried.
Richard Wagner's Works
Wagner's musical output is listed by the Wagner-Werk-Verzeichnis (WWV) as comprising 113 works, including fragments and projects.
The first complete scholarly edition of his musical works in print was commenced in 1970 under the aegis of the Bavarian Academy of Fine Arts and the Akademie der Wissenschaften und der Literatur of Mainz, and is presently (2023) under the editorship of Egon Voss.
It will consist of 21 volumes (57 books) of music and 10 volumes (13 books) of relevant documents and texts.
Richard Wagner's Early Works (to 1842)
Wagner's earliest attempts at opera were often uncompleted. Abandoned works include a pastoral opera based on Goethe's Die Laune des Verliebten (The Infatuated Lover's Caprice), written at the age of 17, Die Hochzeit (The Wedding), on which Wagner worked in 1832, and the singspiel Männerlist Größer als Frauenlist (Men are More Cunning than Women, 1837–1838).
Die Feen (The Fairies, 1833) was not performed in the composer's lifetime and Das Liebesverbot (The Ban on Love, 1836) was withdrawn after its first performance.
Rienzi (1842) was Wagner's first opera to be successfully staged.
The compositional style of these early works was conventional— the relatively more sophisticated Rienzi showing the clear influence of Grand Opera à la Spontini and Meyerbeer — and did not exhibit the innovations that would mark Wagner's place in musical history.
Later in life, Wagner said that he did not consider these works to be part of his oeuvre; and they have been performed only rarely in the last hundred years, although the overture to Rienzi is an occasional concert-hall piece.
Die Feen, Das Liebesverbot, and Rienzi were performed at both Leipzig and Bayreuth in 2013 to mark the composer's bicentenary.
Richard Wagner's Romantic Operas (1843–1851)
Wagner's middle stage output began with Der Fliegende Holländer (1843), followed by Tannhäuser (1845) and Lohengrin (1850).
These three operas are referred to as Wagner's "romantic operas". They reinforced the reputation, among the public in Germany and beyond, that Wagner had begun to establish with Rienzi.
Although distancing himself from the style of these operas from 1849 onwards, he nevertheless reworked both Der Fliegende Holländer and Tannhäuser on several occasions.
The three operas are considered to represent a significant developmental stage in Wagner's musical and operatic maturity as regards thematic handling, portrayal of emotions and orchestration.
They are the earliest works included in the Bayreuth canon, the mature operas that Cosima staged at the Bayreuth Festival after Wagner's death in accordance with his wishes.
All three (including the differing versions of Der Fliegende Holländer and Tannhäuser) continue to be regularly performed throughout the world, and have been frequently recorded.
They were also the operas by which his fame spread during his lifetime.
Richard Wagner's Music Dramas (1851–1882)
Wagner's late dramas are considered his masterpieces. Der Ring des Nibelungen, commonly referred to as the Ring or "Ring Cycle", is a set of four operas based loosely on figures and elements of Germanic mythology—particularly from the later Norse mythology—notably the Old Norse Poetic Edda and Volsunga Saga, and the Middle High German Nibelungenlied.
Wagner specifically developed the libretti for these operas according to his interpretation of Stabreim, highly alliterative rhyming verse-pairs used in old Germanic poetry.
They were also influenced by Wagner's concepts of ancient Greek drama, in which tetralogies were a component of Athenian festivals, and which he had amply discussed in his essay "Oper und Drama".
The first two components of the Ring cycle were Das Rheingold, which was completed in 1854, and Die Walküre, which was finished in 1856.
In Das Rheingold, with its "relentlessly talky 'realism' and the absence of lyrical 'numbers'", Wagner came very close to the musical ideals of his 1849–1851 essays.
Die Walküre, which contains what is virtually a traditional aria (Siegmund's Winterstürme in the first act), and the quasi-choral appearance of the Valkyries themselves, shows more "operatic" traits, but has been assessed by Barry Millington as:
"The music drama that most satisfactorily
embodies the theoretical principles of
'Oper und Drama'... A thoroughgoing
synthesis of poetry and music is achieved
without any notable sacrifice in musical
expression."
While composing the opera Siegfried, the third part of the Ring cycle, Wagner interrupted work on it, and between 1857 and 1864 wrote the tragic love story Tristan und Isolde and his only mature comedy Die Meistersinger von Nürnberg, two works that are also part of the regular operatic canon.
Tristan is often granted a special place in musical history; many see it as the beginning of the move away from conventional harmony and tonality, and consider that it lays the groundwork for the direction of classical music in the 20th. century.
Wagner felt that his musico-dramatical theories were most perfectly realised in this work with its use of "the art of transition" between dramatic elements and the balance achieved between vocal and orchestral lines. Completed in 1859, the work was given its first performance in Munich, conducted by Bülow, in June 1865.
Die Meistersinger was originally conceived by Wagner in 1845 as a sort of comic pendant to Tannhäuser. Like Tristan, it was premiered in Munich under the baton of Bülow, on the 21st. June 1868, and became an immediate success.
Millington describes Meistersinger as:
"A rich, perceptive music drama
widely admired for its warm
humanity."
However its strong German nationalist overtones have led some to cite it as an example of Wagner's reactionary politics and antisemitism.
Completing the Ring
When Wagner returned to writing the music for the last act of Siegfried and for Götterdämmerung (Twilight of the Gods), as the final part of the Ring, his style had changed once more to something more recognisable as "operatic" than the aural world of Rheingold and Walküre, though it was still thoroughly stamped with his own originality as a composer and suffused with leitmotifs.
This was in part because the libretti of the four Ring operas had been written in reverse order, so that the book for Götterdämmerung was conceived more "traditionally" than that of Rheingold; still, the self-imposed strictures of the Gesamtkunstwerk had become relaxed.
The differences also result from Wagner's development as a composer during the period in which he wrote Tristan, Meistersinger and the Paris version of Tannhäuser. From act 3 of Siegfried onwards, the Ring becomes more chromatic melodically, more complex harmonically, and more developmental in its treatment of leitmotifs.
Wagner took 26 years from writing the first draft of a libretto in 1848 until he completed Götterdämmerung in 1874.
The Ring takes about 15 hours to perform, and is the only undertaking of such size to be regularly presented on the world's stages.
Parsifal
Wagner's final opera, Parsifal (1882), which was his only work written especially for his Bayreuth Festspielhaus and which is described in the score as a "Bühnenweihfestspiel" ("Festival Play for the Consecration of the Stage"), has a storyline suggested by elements of the legend of the Holy Grail.
It also carries elements of Buddhist renunciation suggested by Wagner's readings of Schopenhauer. Wagner described it to Cosima as his "last card".
Parsifal remains controversial because of its treatment of Christianity, its eroticism, and its expression, as perceived by some commentators, of German nationalism and antisemitism.
Despite the composer's own description of the opera to King Ludwig as "this most Christian of works", Ulrike Kienzle has commented that:
"Wagner's turn to Christian mythology,
upon which the imagery and spiritual
contents of Parsifal rest, is idiosyncratic,
and contradicts Christian dogma in
many ways."
Musically, the opera has been held to represent a continuing development of the composer's style, and Millington describes it as:
"A diaphanous score of unearthly
beauty and refinement".
Richard Wagner's Non-Operatic Music
Apart from his operas, Wagner composed relatively few pieces of music. These include a symphony in C major (written at the age of 19), the Faust Overture (the only completed part of an intended symphony on the subject), some concert overtures, and choral and piano pieces.
Richard's most commonly performed work that is not an extract from an opera is the Siegfried Idyll for chamber orchestra, which has several motifs in common with the Ring cycle.
The Wesendonck Lieder are also often performed, either in the original piano version, or with orchestral accompaniment.
More rarely performed are the American Centennial March (1876), and Das Liebesmahl der Apostel (The Love Feast of the Apostles), a piece for male choruses and orchestra composed in 1843 for the city of Dresden.
After completing Parsifal, Wagner expressed his intention to turn to the writing of symphonies, and several sketches dating from the late 1870's and early 1880's have been identified as work towards this end.
The overtures and certain orchestral passages from Wagner's middle and late-stage operas are commonly played as concert pieces. For most of these, Wagner wrote or re-wrote short passages to ensure musical coherence.
The "Bridal Chorus" from Lohengrin is frequently played as the bride's processional wedding march in English-speaking countries.
Richard Wagner's Prose Writings
Wagner was an extremely prolific writer, authoring many books, poems, and articles, as well as voluminous correspondence. His writings covered a wide range of topics, including autobiography, politics, philosophy, and detailed analyses of his own operas.
Wagner planned for a collected edition of his publications as early as 1865; he believed that such a work would help the world to understand his intellectual development and artistic aims.
The first such edition was published between 1871 and 1883, but was doctored to suppress or alter articles that were an embarrassment to him (e.g. those praising Meyerbeer), or by altering dates on some articles to reinforce Wagner's own account of his progress.
Wagner's autobiography Mein Leben was originally published for close friends only in a very small edition (15–18 copies per volume) in four volumes between 1870 and 1880.
The first public edition (with many passages suppressed by Cosima) appeared in 1911; the first attempt at a full edition (in German) appeared in 1963.
There have been modern complete or partial editions of Wagner's writings, including a centennial edition in German edited by Dieter Borchmeyer (which, however, omitted the essay "Das Judenthum in der Musik" and Mein Leben).
The English translations of Wagner's prose in eight volumes by William Ashton Ellis (1892–1899) are still in print, and commonly used, despite their deficiencies.
The first complete historical and critical edition of Wagner's prose works was launched in 2013 at the Institute for Music Research at the University of Würzburg; this will result in at least eight volumes of text and several volumes of commentary, totalling over 5,000 pages.
It was originally anticipated that the Würzburg project will be completed by 2030, although this time frame may need to be extended.
A complete edition of Wagner's correspondence, estimated to amount to between 10,000 and 12,000 items, is under way under the supervision of the University of Würzburg. As of January 2021, 25 volumes have appeared, covering the period up to 1873.
Richard Wagner's Influence on Music
Wagner's later musical style introduced new ideas in harmony, melodic process (leitmotif) and operatic structure.
Notably from Tristan und Isolde onwards, he explored the limits of the traditional tonal system, which gave keys and chords their identity, pointing the way to atonality in the 20th. century.
Some music historians date the beginning of modern classical music to the first notes of Tristan, which include the so-called Tristan chord.
Wagner inspired great devotion. For a long period, many composers were inclined to align themselves with or against Wagner's music. Anton Bruckner and Hugo Wolf were greatly indebted to him, as were César Franck, Henri Duparc, Ernest Chausson, Jules Massenet, Richard Strauss, Alexander von Zemlinsky, Hans Pfitzner and many others.
Gustav Mahler was devoted to Wagner and his music; at the age of 15, he sought Wagner out on his 1875 visit to Vienna. Mahler became a renowned Wagner conductor, and Richard Taruskin has claimed that:
"Mahler's compositions extend
Wagner's maximalization of the
temporal and the sonorous in
music to the world of the
symphony."
The harmonic revolutions of Claude Debussy and Arnold Schoenberg (both of whose oeuvres contain examples of tonal and atonal modernism) have often been traced back to Tristan and Parsifal.
The Italian form of operatic realism known as verismo owed much to the Wagnerian concept of musical form.
Wagner also made a major contribution to the principles and practice of conducting. His essay "About Conducting" (1869) advanced Hector Berlioz's technique of conducting, and claimed that conducting was a means by which a musical work could be re-interpreted, rather than simply a mechanism for achieving orchestral unison.
He exemplified this approach in his own conducting, which was significantly more flexible than the disciplined approach of Felix Mendelssohn; in Wagner's view this also justified practices that would today be frowned upon, such as the rewriting of scores.
Wilhelm Furtwängler felt that Wagner and Bülow, through their interpretative approach, inspired a whole new generation of conductors (including Furtwängler himself).
Among those claiming inspiration from Wagner's music are the German band Rammstein, Jim Steinman, who wrote songs for Meat Loaf, Bonnie Tyler, Air Supply, Celine Dion and others.
Wagner also influenced the electronic composer Klaus Schulze, whose 1975 album Timewind consists of two 30-minute tracks, Bayreuth Return and Wahnfried 1883.
Joey DeMaio of the band Manowar has described Wagner as:
"The father of heavy metal".
The Slovenian group Laibach created the 2009 suite VolksWagner, using material from Wagner's operas.
Phil Spector's Wall of Sound recording technique was, it has been claimed, heavily influenced by Wagner.
Richard Wagner's Influence on Literature, Philosophy and the Visual Arts
Wagner's influence on literature and philosophy is significant. Millington has commented:
"Wagner's protean abundance meant that
he could inspire the use of literary motif in
many a novel employing interior monologue;
the Symbolists saw him as a mystic hierophant;
the Decadents found many a frisson in his work."
Friedrich Nietzsche was a member of Wagner's inner circle during the early 1870's, and his first published work, The Birth of Tragedy, proposed Wagner's music as the Dionysian "rebirth" of European culture in opposition to Apollonian rationalist "decadence".
Nietzsche however broke with Wagner following the first Bayreuth Festival, believing that Wagner's final phase represented a pandering to Christian pieties, and a surrender to the new German Reich.
Nietzsche expressed his displeasure with the later Wagner in "The Case of Wagner" and "Nietzsche Contra Wagner".
The poets Charles Baudelaire, Stéphane Mallarmé and Paul Verlaine worshipped Wagner.
Édouard Dujardin, whose influential novel Les Lauriers Sont Coupés is in the form of an interior monologue inspired by Wagnerian music, founded a journal dedicated to Wagner, La Revue Wagnérienne.
In a list of major cultural figures influenced by Wagner, Bryan Magee includes D. H. Lawrence, Aubrey Beardsley, Romain Rolland, Gérard de Nerval, Pierre-Auguste Renoir, Rainer Maria Rilke and several others.
In the 20th century, W. H. Auden once called Wagner:
"Perhaps the greatest
genius that ever lived."
Thomas Mann and Marcel Proust were heavily influenced by him, and discussed Wagner in their novels. He is also discussed in some of the works of James Joyce, as well as W. E. B. Du Bois, who featured Lohengrin in The Souls of Black Folk.
Wagnerian themes inhabit T. S. Eliot's The Waste Land, which contains lines from Tristan und Isolde and Götterdämmerung, and Verlaine's poem on Parsifal.
Many of Wagner's concepts, including his speculation about dreams, predated their investigation by Sigmund Freud. Wagner had publicly analysed the Oedipus myth before Freud was born in terms of its psychological significance, insisting that incestuous desires are natural and normal, and perceptively exhibiting the relationship between sexuality and anxiety. Georg Groddeck considered the Ring as the first manual of psychoanalysis.
Richard Wagner's Influence on the Cinema
Wagner's concept of the use of leitmotifs and the integrated musical expression which they can enable has influenced many 20th. and 21st. century film scores.
The critic Theodor Adorno has noted that:
"The Wagnerian leitmotif leads directly to
cinema music where the sole function of
the leitmotif is to announce heroes or
situations so as to allow the audience to
orient itself more easily".
Film scores citing Wagnerian themes include Francis Ford Coppola's Apocalypse Now, which features a version of the Ride of the Valkyries, Trevor Jones's soundtrack to John Boorman's film Excalibur, and the 2011 films A Dangerous Method (dir. David Cronenberg) and Melancholia (dir. Lars von Trier).
Hans-Jürgen Syberberg's 1977 film Hitler has a visual style and set design that are strongly inspired by Der Ring des Nibelungen, musical excerpts from which are frequently used in the film's soundtrack.
Richard Wagner's Opponents and Supporters
Not all reaction to Wagner was positive. For a time, German musical life divided into two factions, supporters of Wagner and supporters of Johannes Brahms; the latter, with the support of the powerful critic Eduard Hanslick (of whom Beckmesser in Meistersinger is in part a caricature) championed traditional forms, and led the conservative front against Wagnerian innovations.
They were supported by the conservative leanings of some German music schools, including the conservatories at Leipzig under Ignaz Moscheles and at Cologne under the direction of Ferdinand Hiller.
Another Wagner detractor was the French composer Charles-Valentin Alkan, who wrote to Hiller after attending Wagner's Paris concert on the 25th. January 1860. At this concert Wagner conducted the overtures to Der Fliegende Holländer and Tannhäuser, the preludes to Lohengrin and Tristan und Isolde, and six other extracts from Tannhäuser and Lohengrin.
Alkan noted:
"I had imagined that I was going
to meet music of an innovative
kind, but was astonished to find
a pale imitation of Berlioz.
I do not like all the music of Berlioz
while appreciating his marvellous
understanding of certain instrumental
effects ... but here he was imitated
and caricatured ... Wagner is not a
musician, he is a disease."
Even those who, like Debussy, opposed Wagner ("this old poisoner") could not deny his influence. Indeed, Debussy was one of many composers, including Tchaikovsky, who felt the need to break with Wagner precisely because his influence was so unmistakable and overwhelming.
"Golliwogg's Cakewalk" from Debussy's Children's Corner piano suite contains a deliberately tongue-in-cheek quotation from the opening bars of Tristan.
Others who proved resistant to Wagner's operas included Gioachino Rossini, who said:
"Wagner has wonderful moments,
and dreadful quarters of an hour."
In the 20th. century Wagner's music was parodied by Paul Hindemith and Hanns Eisler, among others.
Wagner's followers (known as Wagnerians or Wagnerites) have formed many societies dedicated to Wagner's life and work.
Film and Stage Portrayals of Richard Wagner
Wagner has been the subject of many biographical films. The earliest was a silent film made by Carl Froelich in 1913. It featured in the title role the composer Giuseppe Becce, who also wrote the score for the film (as Wagner's music, still in copyright, was not available).
Other film portrayals of Wagner include:
-- Richard Burton in Wagner (1983).
-- Paul Nicholas in Lisztomania (1975)
-- Trevor Howard in Ludwig (1972)
-- Lyndon Brook in Song Without End (1960)
-- Alan Badel in Magic Fire (1955)
Jonathan Harvey's opera Wagner Dream (2007) intertwines the events surrounding Wagner's death with the story of Wagner's uncompleted opera outline Die Sieger (The Victors).
The Bayreuth Festival
Since Wagner's death, the Bayreuth Festival, which has become an annual event, has been successively directed by his widow, his son Siegfried, the latter's widow Winifred Wagner, their two sons Wieland and Wolfgang Wagner, and, presently, two of the composer's great-granddaughters, Eva Wagner-Pasquier and Katharina Wagner.
Since 1973, the festival has been overseen by the Richard-Wagner-Stiftung (Richard Wagner Foundation), the members of which include some of Wagner's descendants.
Controversies Associated With Richard Wagner
Wagner's operas, writings, politics, beliefs and unorthodox lifestyle made him a controversial figure during his lifetime.
Following his death, debate about his ideas and their interpretation, particularly in Germany during the 20th. century, has continued.
Racism and Antisemitism
A caricature of Wagner by Karl Clic was published in 1873 in the Viennese satirical magazine, Humoristische Blätter. It shows a cartoon figure holding a baton, standing next to a music stand in front of some musicians.
The figure has a large nose and prominent forehead. His sideburns turn into a wispy beard under his chin. The exaggerated features refer to rumours of Wagner's Jewish ancestry.
Wagner's hostile writings on Jews, including Jewishness in Music, correspond to some existing trends of thought in Germany during the 19th century.
Despite his very public views on this topic, throughout his life Wagner had Jewish friends, colleagues and supporters. There have been frequent suggestions that antisemitic stereotypes are represented in Wagner's operas. The characters of Alberich and Mime in the Ring, Sixtus Beckmesser in Die Meistersinger, and Klingsor in Parsifal are sometimes claimed as Jewish representations, though they are not identified as such in the librettos of these operas.
The topic is further complicated by claims, which may have been credited by Wagner, that he himself was of Jewish ancestry, via his supposed father Geyer. However, there is no evidence that Geyer had Jewish ancestors.
Some biographers have noted that Wagner in his final years developed interest in the racialist philosophy of Arthur de Gobineau, notably Gobineau's belief that Western society was doomed because of miscegenation between "superior" and "inferior" races.
According to Robert Gutman, this theme is reflected in the opera Parsifal.
Other biographers however (including Lucy Beckett) believe that this is not true, as the original drafts of the story date back to 1857 and Wagner had completed the libretto for Parsifal by 1877, but he displayed no significant interest in Gobineau until 1880.
Other Interpretations
Wagner's ideas are amenable to socialist interpretations; many of his ideas on art were being formulated at the time of his revolutionary inclinations in the 1840's. Thus, for example, George Bernard Shaw wrote in The Perfect Wagnerite (1883):
"Wagner's picture of Niblunghome under the
reign of Alberic is a poetic vision of unregulated
industrial capitalism as it was made known in
Germany in the middle of the 19th. century by
Engels's book 'The Condition of the Working
Class in England."
Left-wing interpretations of Wagner also inform the writings of Theodor Adorno among other Wagner critics.
Walter Benjamin gave Wagner as an example of "bourgeois false consciousness", alienating art from its social context.
György Lukács contended that the ideas of the early Wagner represented the ideology of the "true socialists" (wahre Sozialisten), a movement referenced in Karl Marx's "Communist Manifesto" as belonging to the left-wing of German bourgeois radicalism.
Anatoly Lunacharsky said about the later Wagner:
"The circle is complete. The revolutionary
has become a reactionary. The rebellious
petty bourgeois now kisses the slipper of
the Pope, the keeper of order."
The writer Robert Donington has produced a detailed, if controversial, Jungian interpretation of the Ring cycle, described as "an approach to Wagner by way of his symbols", which, for example, sees the character of the goddess Fricka as part of her husband Wotan's "inner femininity".
Millington notes that Jean-Jacques Nattiez has also applied psychoanalytical techniques in an evaluation of Wagner's life and works.
Nazi Appropriation of Richard Wagner's Work
Adolf Hitler was an admirer of Wagner's music, and saw in his operas an embodiment of his own vision of the German nation; in a 1922 speech he claimed that:
"Wagner's works glorify the heroic
Teutonic nature ... Greatness lies in
the heroic."
Hitler visited Bayreuth frequently from 1923 onwards, and attended productions at the theatre.
There continues to be debate about the extent to which Wagner's views might have influenced Nazi thinking. Houston Stewart Chamberlain (1855–1927), who married Wagner's daughter Eva in 1908 but never met Wagner, was the author of the racist book The Foundations of the Nineteenth Century, approved by the Nazi movement.
Chamberlain met Hitler several times between 1923 and 1927 in Bayreuth, but cannot credibly be regarded as a conduit of Wagner's own views.
The Nazis used those parts of Wagner's thought that were useful for propaganda, and ignored or suppressed the rest.
While Bayreuth presented a useful front for Nazi culture, and Wagner's music was used at many Nazi events, the Nazi hierarchy as a whole did not share Hitler's enthusiasm for Wagner's operas, and resented attending these lengthy epics at Hitler's insistence.
Guido Fackler has researched evidence that indicates that it is possible that Wagner's music was used at the Dachau concentration camp in 1933–1934 to "re-educate" political prisoners by exposure to "national music".
There has been no evidence to support claims, sometimes made, that his music was played at Nazi death camps during the Second World War, and Pamela Potter has noted that Wagner's music was explicitly off-limits in the camps.
Because of the associations of Wagner with antisemitism and Nazism, the performance of his music in the State of Israel has been a source of controversy.
Proud! I heard the (physical) mailbox, checked it and it was there. The new zoom.nl magazine. The biggest magazine in The Netherlands in amateur-photography. I took it out of the wrap and it smelled good, better than ever! This is the interview in Amsterdam with me: 6 pages with photo's of which 1 photo was taken during the interview/streetphotography-session.
In stores in Belgium and The Netherlands in a few days.
Published in 1983, this book by Von Arx, teaching alongside Wolfgang Weingart and Armin Hofmann at the Basel School of design, instructs on the use of design in film.
12:121
This book was published in 1919. It is an autobiography of Pearl White and may be the first autobiography published by a celebrity.
Pearl White was an actress in the early silent films. She was the actress who played Pauline in the serials "Perils of Pauline".
wfpp.columbia.edu/pioneer/ccp-pearl-white/
121 in 2021
Published on Nov 17, 2019
video youtu.be/zdAwkT7MPG8
18 Sept, 19:44 actividad inusual de anomalías se observan sobre el lado Este" de la ciudad capital , Flares , Orb (extraños orbitales luminosos ) y Flashes anómalos ( con patrones Random en su destellos ) tubieron un pico de actividad , mirando hacia y sobre Aquario , la mas llamativa la de destellos Random , se desplazaba tanto erraticamente , hacia el Norte " se pudo constatar dicha actividad inusual y registrar en infrarrojo .
20 Sept 2019, 19:42 otra Anomalía es registrada, esta vez flota casi fija en al vertical de la ciudad de Bs.as, al principio produce grandes destellos de -1 Mag y parece Estacionaria " en el Cielo, luego Sinuosides
y comienza un lento desplazamiento hacia el Este" .
22-10-2019 21:07 Una Intromision anómala de gran magnitud , sobrevolo el Cielo de buenos aires , por debajo de la zona celeste de Capricornio a unos 40° Alt - NNO" , aparecio cerca de la estrella Altair 0.8 Mag ( en el mismo momento habia vuelos activos hacia ese sector ) en la capital de Argentina , la misteriosa anomalía ( Flash Light ) genero varias descargas luminicas de " - 1 Mag " ( muy visibles a simple vista) y se desplazo de NNO" hacia el ESTE" , pero a los pocos minutos desaparecio , se logro un registro en infrarrojo, en la foto estatica del video, se lo ve pasando próxima a las estrellas, Eps Del de Mag 4.0, Iot Del de Mag5.4 y Kap Del de Mag 5.2 . Saludos amigos y amigas www.glaucoart.com.ar
El 11-10-2019 mientras se fotografia la Luna con Telescopio 114/900 a 13 Megapixel, una de las fotos muestra una anormal Lenticula oscura y bien definida, sobre el centro del disco Lunar y no pudo identificarse , mas que como un O.v.n.i ( muy parecido o casi identico , a la extraordinaria sequencia registrada en Rusia este año 2019 con un equipo de alta prestación astronomica Nikon P 900 www.youtube.com/watch?v=1zQX_Huidzk
para analizar la Fotografia a 13Mp con su EXIF original pueden entrar a los bancos del taller glaucoart en
www.flickr.com/photos/glaucoa...
Caso actualizado ( Febrero 2019) del registro de un ROD en su video original tomado con Telescopio114/900 y S4 y detenido cuadro por cuadro . No esta Identificado " es completamente inusual a este nivel de definición y aumento optico .
Caso del ROD mas emblematico registrado por el taller glaucoart el 16-10-1999 en el evento de la Flotilla Ovni , evento analizado oficialmente" en fundaciones y luego difundido/informado en varias web especializadas en la tematica . Son " 6" cuadros recuperados de diferentes soportes y generaciones ( Mpg - Vhs - Dvd )
Registro Edición y Música: Ricardo Enrique D'angelo Gentilini .
UK charity for the blind and partially sighted, Guide Dogs, recently published The Road to Nowhere Survey which is campaigning to make all buses ‘talking buses’. Audio announcements on buses make a "massive difference" to passengers with sight loss, say the charity. Go North East is working with Guide Dogs and RNIB to make using its services easier for blind and partially sighted users. This includes the audio visual announcements, joint developments in driver training and awareness and customer events to educated all bus users of the importance of these initiatives. Everybody, not just people who are partially-sighted or blind, would benefit and be reassured by ‘next stop’ announcements on our local bus networks.
Over 25% of Go North East's fleet of 660 vehicles are now fitted with 'Next Stop' audio-visual announcements, and this is expected to increase to approximately 33% of the fleet by summer 2016.
The company's existing Next Stop Announcements are now being reviewed - the main visual changes are summarised below:
- The company is expected to roll out a new 'line-plan' format on all services with Next Stop Announcements, allowing passengers to see the previous, next and future stops, as well as the ultimate terminal point, with scope in future of showing expected journey times.
- Go North East will depict connections to other Go North East buses at key interchange points by showing images of the brightly coloured buses. Passengers should recognise the striking livery design and know that they need to alight to connect to that service.
- BuzzFare ticketing zones will be advertised, so that passengers are aware of where a boundary starts and ends on the route.
- Go North East will make use of the TFT monitors on express routes in between long-distance bus stops by promoting the company's smartphone application which allows customers to see live times, buy tickets and download timetables while on the go; as well as other things such as the company's 'Key' smartcard that makes travelling by bus easier, cheaper and more secure.
Published in Freque Magazine Vol 6 Part 3
Makeup + Styling: Tamra Cavell♥
Model: Ducky Rickman
Assistant: Devon Suboreau
www.magcloud.com/browse/issue/691573
♡ www.instagram.com/annytophotography
♡ www.facebook.com/annytophotography
♡ www.youtube.com/annytophotos
Email: annytophotography@gmail.com
- Making Gur Photo 7
This is a black and white version, the color one was published quite some time ago and at that time I had no plans to put up the whole thing as a photo essay.
This photograph is Photo 7 of 10 on the art of making unrefined sugar called gur in India from sugar cane juice.
The cane juice is boiled in large pans and the water evaporated slowly. The froth and the foam is also removed constantly. The juice becomes thick and like a pliable paste. This is what is being tossed around by the worker here with a long ladle to cool it down for making sugar balls.
Lots if not all sugar cane mills in India are now making a part of their income from earning carbon credits for utlising bagasse as their resource for fuel. Well this small unit would not even know that there is a revenue stream they could possibly tap.
You can view the 10 photos in a chronological order at the wordpress blog to see the entire series. A few photos have already been published on flickr, the balance will now go up one by one in a short time frame.
-------------------------
If you have tasted sugar as sweet as this, with its crumbly flaky texture that melts in your mouth. Then, you have attained Sweet Nirvana. Chocolate does not even come close to this.
Another take from the small town of Chhutmalpur where this not so small unit was working to make some really red red gur ( jaggery).
Just to recap --
As you come out of the Shivalik ranges that form the southern bastion of Dehradun and head for the dust fields of Delhi, you pass through quaint rugged settlements populated by a rustic breed of farmers, tillers, cattle keepers, cut throats and other remanants of the Huns that invaded the country many centuries ago.
Chhutmalpur is one such sleepy place where in the season they crush sugarcane and make "gur". From my early childhood days I remember seeing open fire pits blazing away in the night and workers silhouetted in the flames. The sweet heady aroma of raw sugar cane juice being boiled in large cast iron pans and the leftover acrid tingle of molasses was a smell that one grew up in the valley of Dehradun. It still has the same overpowering presence that it had back then.
I was passing Chhutmalpur enroute to Dehradun after photographing the Pushkar Cattle Fair. It was a good time to stop. There were no other passengers with me and this was like Childhood Revisited.
I am reminded of a book " Rerun at Rialto " written with great finesse by Tom Alter where he writes of this very place in one of his stories. A book worth reading for its simple easy narrative and some unexpected twists that make the stories so much more endearing. That was ages ago. I once read voraciously but rarely read fiction now. This book is a treat and along with books of Ruskin Bond, a beautiful easy read.
Dates
Taken on November 23, 2007 at 1.22pm IST (edit)
Posted to Flickr August 28, 2012 at 11.08AM IST (edit)
Exif data
Camera Nikon D70
Exposure 0.008 sec (1/125)
Aperture f/6.7
Focal Length 18 mm
ISO Speed 200
Exposure Bias 0 EV
Flash No Flash
DSC_0768 nef over cu gr nd fill silef dark dyn br up strutup 100 dpi fb
©All photographs on this site are copyright: DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2020 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of DESPITE STRAIGHT LINES (Paul Williams) ©
.
.
I would like to say a huge and heartfelt 'THANK YOU' to GETTY IMAGES, and the 37.564+ Million visitors to my FLICKR site.
***** Selected for sale in the GETTY IMAGES COLLECTION on November 11th 2020
CREATIVE RF gty.im/1284890768 MOMENT ROYALTY FREE COLLECTION**
This photograph became my 4,652nd frame to be selected for sale in the Getty Images collection and I am very grateful to them for this wonderful opportunity.
.
.
Photograph taken at an altitude of Forty six metres at 13:23pm on Sunday 8th November 2020 off Heron Hill and New Road in the grounds of Lesnes Abbey Woods, close to Abbey wood open space in the London Borough of Bexley, England.
Abbey wood joins to Lesnes abbey wood and Abbey wood open space as well as Bostall Heath and woods.
.
.
Nikon D850 Hand held with Nikkor VR Vibration Reduction enabled on normal setting. Focal length 16mm Shutter speed: 1/250s Aperture f/7.1 iso160 Image area FX (36 x 24) NEF RAW L (8256 x 5504). NEF RAW L (14 bit uncompressed) Image size L (8256 x 5504 FX). Focus mode AF-C focus. AF-S Priority Selection: Release. Nikon Back button focusing enabled. AF-S Priority selection: Focus. 3D Tracking watch area: Normal 55 Tracking points.AF-Area mode single point & 73 point switchable. Exposure mode: Manual exposure. Matrix metering. Auto ISO sensitivity control on (Max iso 800/ Minimum shutter speed 125). White balance on: Auto1. Colour space: RGB. Active D-lighting: Normal. Vignette control: Normal. Nikon Distortion control: Enabled. Picture control: Auto (Sharpening A +1/Clarity A+1)
Nikkor AF-S 16-35mm f/4.0G IF ED VR. Lee filters SW150 holder. Lee filters SW150 77mm screw in adapter ring. Lee filters Circular Polariser Glass filter. Lee filters SW150 filters field pouch. Mcoplus professional MB-D850 multi function battery grip 6960.Two Nikon EN-EL15a batteries (Priority to battery in Battery grip). Matin quick release neckstrap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag. Nikon GP-1 GPS module. Hoodman HEYENRG round eyepiece oversized eyecup.
.
.
LATITUDE: N 51d 29m 16.01s
LONGITUDE: E 0d 8m 18.69s
ALTITUDE: 43.0m
RAW (TIFF) FILE: 130.00MB NEF: 94.2MB
PROCESSED (JPeg) FILE: 60.40MB
.
.
PROCESSING POWER:
Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.018 (18/02/20) LF 1.00
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.
I am again excited to share with you all that my image "Golden Arc" was published in the Composition magazine.
As per the note of their editor to me before publication "Composition magazine is a web based magazine (PDF format) based in Israel.
In every issue we publish our top ten photos of the month, these photos are meticulously selected by our editorial board" You can have a look at this site if interested at : composition.co.il/index.php/he/download
You can also find me on Instagram: tekapa_pictures
...
#Frankfurt#Germany#City#urban#cityphotography#urbanphotography#cityexplorer#exploringthecity#urbanexplorer#street#streetphotography#streetshot#blackandwhitephotography#blackandwhite#bw#bnw#blacknwhite#blackandwhitephoto#bwlover#bwlovers#tekapapics
Published in the current edition of the Catholic Times newspaper - a 'detail' from a new painting, "The Good Mother - Marian Devotion 2018" by expressionist artist Stephen B. Whatley.
An extended story about this recently commissioned work of art appears in this weeks The Universe newspaper too.
The Catholic Times & The Universe are available in Catholic churches, cathedrals and Christian bookshops.
Both newspapers are can be obtained from the publishers :
I created a series of flower characters for a book titled Blossom Buddies, published by teNeues in 2009. The book includes 100 blossom buddies.
*Published Canadian Geographic’s Ontario 2017 calendar
The white-tailed deer is the most common of all of North America’s large mammals. It is also the most widely distributed. A deer's home range is usually less the a square mile. Deer collect in family groups of a mother and her fawns. When a doe has no fawns, she is usually solitary. Male bucks may live in groups consisting of three or four individuals, except in mating season, when they are solitary. White-tailed deer mate in November and the female has one to three fawns after about six months after mating.
To read more about white-tailed deer please read my stories here
One Foggy Morning and here The Ottawa Rut
To purchase prints, cards, mugs, photos, shirts and more you can visit my Redbubble site
Last year I published a photo of a good mate of mine, Jim Lawlis, a former teaching colleague and magnificent horn player. The photo was from a shoot that I did with him for a book and record project that he was involved in. The project completed and was published late last year. That was the last time I saw him.
During our time as teachers, I directed the school choir and Jim ran the band, identifying, nurturing, encouraging, and promoting endless numbers of students who have since gone on to study music and perform all over the world. On the school's 30th anniversary, he recorded a CD of some of the students that he had under instruction at the time. I was delighted when he invited the choir to participate. It never entered my head that I would eventually be posting the track we recorded, traditionally a funeral hymn, in his memory.
Rest easy mate. You were fair dinkum and you will be missed.
Some news for you - The Cornwall Tourist Board have chosen two of my photos to use in the 2008 Cornwall Destination Guide.
Got my copy hot of the press yesterday!
This is my picture of Portreath on the front cover.
To be found in TICs all around the country :)
Rijks Museum - National Museum of Netherlands
Vision
The Rijksmuseum links individuals with art and history.
Mission
At the Rijksmuseum, art and history take on new meaning for a broad-based, contemporary national and international audience.
As a national institute, the Rijksmuseum offers a representative overview of Dutch art and history from the Middle Ages onwards, and of major aspects of European and Asian art.
The Rijksmuseum keeps, manages, conserves, restores, researches, prepares, collects, publishes, and presents artistic and historical objects, both on its own premises and elsewhere.
From 1800 to 2013
The Rijksmuseum first opened its doors in 1800 under the name ‘Nationale Kunstgalerij’. At the time, it was housed in Huis ten Bosch in The Hague. The collection mainly comprised paintings and historical objects. In 1808, the museum moved to the new capital city of Amsterdam, where it was based in the Royal Palace on Dam Square.
After King Willem I’s accession to the throne, the paintings and national print collection were moved to the Trippenhuis on Kloveniersburgwal, while the other objects were returned to The Hague. The current building was put into use in 1885. The Netherlands Museum for History and Art based in The Hague moved into the same premises, forming what would later become the departments of Dutch History and Sculpture & Applied Art.
The beginning
On 19 November 1798, more than three years after the birth of the Batavian Republic, the government decided to honour a suggestion put forward by Isaac Gogel by following the French example of setting up a national museum. The museum initially housed the remains of the viceregal collections and a variety of objects originating from state institutions. When the Nationale Kunstgalerij first opened its doors on 31 May 1800, it had more than 200 paintings and historical objects on display. In the years that followed, Gogel and the first director, C.S. Roos, made countless acquisitions. Their first purchase, The Swan by Jan Asselijn, cost 100 Dutch guilders and is still one of the Rijksmuseum’s top pieces.
Move to Amsterdam
In 1808, the new King Louis Napoleon ordered the collections to be moved to Amsterdam, which was to be made the capital of the Kingdom of Holland. The works of art and objects were taken to the Royal Palace on Dam Square, the former city hall of Amsterdam, where they were united with the city’s foremost paintings, including the Night Watch by Rembrandt. In 1809, the Koninklijk Museum opened its doors on the top floor of the palace.
A few years after Willem I returned to the Netherlands as the new king in 1813, the ‘Rijks Museum’ and the national print collection from The Hague relocated to the Trippenhuis, a 17th-century town-palace on Kloveniersburgwal, home to what would later become the Royal Netherlands Academy of Arts and Sciences. Much to the regret of the director, Cornelis Apostool, in 1820 many objects including pieces of great historical interest were assigned to the Kabinet van Zeldzaamheden [Royal Gallery of Rare Objects], which had been founded in The Hague. In 1838, a separate museum for modern 19th-century art was established in Paviljoen Welgelegen in Haarlem. Contrary to the days of Louis Napoleon, very few large acquisitions were made during this period.
Cuypers Cathedral
The Trippenhuis proved unsuitable as a museum. Furthermore, many people thought it time to establish a dedicated national museum building in the Netherlands. Work on a new building did not commence until 1876, after many years of debate. The architect, Pierre Cuypers, had drawn up a historic design for the Rijksmuseum, which combined the Gothic and the Renaissance styles. The design was not generally well-received; people considered it too mediaeval and not Dutch enough. The official opening took place in 1885.
Nearly all the older paintings belonging to the City of Amsterdam were hung in the Rijksmuseum alongside paintings and prints from the Trippenhuis, including paintings such as Rembrandt’s Jewish Bride, which had been bequeathed to the city by the banker A. van der Hoop. The collection of 19th-century art from Haarlem was also added to the museum’s collection. Finally, a significant part of the Kabinet van Zeldzaamheden, which had by then been incorporated into the new Netherlands Museum for History and Art, was returned to Amsterdam.
Renovations
Over the years, collections continued to grow and museum insight continued to expand, and so the Rijksmuseum building underwent many changes. Rooms were added to the south-west side of the building between 1904 and 1916 (now the Philips wing) to house the collection of 19th-century paintings donated to the museum by Mr and Mrs Drucker-Fraser. In the 1950s and 1960s, the two original courtyards were covered and renovated to create more rooms.
In 1927, while Schmidt-Degener was Managing Director, the Netherlands Museum was split to form the departments of Dutch History and Sculpture & Applied Art. These departments were moved to separate parts of the building after 1945. The arrival of a collection donated by the Association of Friends of Asian Art in the 1950s resulted in the creation of the Asian Art department.
The 1970s saw record numbers of visitors of almost one-and-a-half million per year, and the building gradually started to fall short of modern requirements.
‘Verder met Cuypers'
The current renovation reinstates the original Cuypers structure. The building work in the courtyards are removed. Paintings, applied art and history are no longer displayed in separate parts of the building, but form a single chronological circuit that tells the story of Dutch art and history.
The building is thoroughly modernized, while at the same time restoring more of Cuypers original interior designs: the Rijksmuseum has dubbed the venture ‘Verder met Cuypers‘ [Continuing with Cuypers]. The Rijksmuseum will be a dazzling new museum able to satisfy the needs of its 21st-century visitors!
Every year, the Rijksmuseum compiles an annual report for the previous year. Annual reports dating back to 1998 can be found here (in Dutch only). Reports relating to the years before 1998 are available in the reading room of the library.
O Museu Rikjs é um dos maiores e mais importantes museus da Europa.
É o maior dos Países Baixos, com acervo voltado quase todo aos artistas holandeses. As obras vão desde exemplares da arte sacra até a era dourada holandesa, além de uma substancial coleção de arte asiática.
Esse é o Rijksmuseum, o Museu Nacional dos Países Baixos. E aproveite, caro leitor, porque o Rijks esteve parcialmente fechado para reforma durante 10 anos – voltou a funcionar só em 2013. Ou seja, quem esteve em Amsterdam na última década não conheceu o Rijks, pelo menos não completamente.
Mas o quê tem lá? Muita coisa. Destaque para as coleções de arte e História holandesas. Os trabalhos dos pintores Frans Hals e Johannes Vermeer são alguns dos mais concorridos, mas imbatível mesmo é Rembrandt van Rijn, considerado um dos maiores pintores de todos os tempos. Se você não é um fã de museus de arte, mas faz questão de conhecer o trabalho desses grandes artistas, uma dica: assim que chegar ao Rijks, vá direto para a ala onde estão as obras-primas. Assim você vê o mais importante no início da visita, quando ainda está descansado e poderá dedicar o tempo necessário para essas obras.
A mais famosa delas é a “A Ronda Noturna”, de Rembrandt, uma obra que inspirou músicas, pinturas, filmes e até um flash mob. Quando o Rijks foi reaberto, artistas recriam a cena mostrada no quadro dentro de um shopping de Amsterdam. A ação está no vídeo abaixo e eu te garanto que vale a pena dar play.
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Rijksmuseum, Museu Nacional
42 Stadhouderskade
Amsterdam
O museu Rijksmuseum de Amsterdã é o Museu Nacional da Holanda, onde você encontrará uma impressionante coleção permanente, formada por 5.000 pinturas e 30.000 obras de arte, além de 17.000 objetos históricos.
Esse museu nacional foi fundado em 1885 e está instalado em um edifício de estilo neogótico. A sua principal atração é a extensa coleção de quadros pintados por artistas holandeses, abrangendo um período que vai do séc. XV aos dias de hoje. A obra de arte mais famosa em exibição é o quadro A Ronda Noturna, de Rembrandt.
O museu Rijksmuseum está dividido em cinco departamentos: pintura, escultura, arte aplicada, arte oriental, história dos Países Baixos e gravuras. O núcleo da coleção é a pintura e suas obras mais representativas são as que pertencem ao Século de Ouro holandês, com quadros de artistas como Rembrandt, Vermeer ou Frans Hals.
Ver fonte: dreamguides.edreams.pt/holanda/amsterda/rijksmuseum
Museu Rijks, Amesterdão
O Museu Rijks (Museu Nacional) é um edifício histórico, sendo o maior museu nos Países Baixos. O Museu é o maior no numero relativamente às suas colecções, na área do edifício em si, no financiamento e no numero de funcionários empregados.
Cada ano, mais de um milhão de pessoas visitam o Museu Rijks. O Museu emprega cerca de 400 pessoas, incluindo 45 conservadores de museu que são especializados em todas as áreas.
O Museu Rijks é internacionalmente reconhecido pelas suas exibições e publicações, mas não só apenas por estes produtos de grande qualidade, mas também pelas áreas no museu em si que são fonte de inspiração e encorajam a criação de novas ideias.
O museu também tem recursos consideráveis para a educação, para a decoração e apresentação de exibições. Importantes designers são regularmente chamados a trabalharem em projectos no Museu Rijks.
O edifício principal do Museu Rijks está a ser renovado. A boa noticia é que a melhor parte da exposição está apresentada na redesenhada ala Philips. O nome desta exposição denomina-se "The Masterpieces'.
O museu abre diariamente das 10 da manhã até ás 5 da tarde.
A entrada é pela Stadhouderskade 42.
Rijksmuseum
Origem: Wikipédia, a enciclopédia livre.
O Rijksmuseum é um museu nacional dos Países Baixos, localizada em Amsterdão na Praça do museu. O Rijksmuseum é dedicado à artes e história. Ele tem uma larga coleção de pinturas da idade de ouro neerlandesa e uma substancial coleção de arte asiática.
O museu foi fundado em 1800 na cidade da Haia para exibir a coleção do primeiro-ministro. Foi inspirado no exemplo francês. Pelos neerlandeses ficou conhecida como Galeria de Arte. Em 1808 o museu mudou-se para Amsterdã pelas ordens do rei Louis Napoleón, irmão de Napoleão Bonaparte. As pinturas daquela cidade, como A Ronda Nocturna de Rembrandt, tornaram-se parte da coleção.
Em 1885 o museu mudou-se para sua localização atual, construído pelo arquiteto neerlandês Pierre Cuypers. Ele combinou elementos góticos e renascentistas. O museu tem um posição proeminente na Praça do Museu, próximo ao Museu van Gogh e ao Museu Stedelijk. A construção é ricamente decorada com referências da história da arte neerlandesa. A Ronda Nocturna de Rembrandt tem seu próprio corredor no museu desde 1906. Desde 2003 o museu sofreu restaurações, mas as obras-primas são constatemente presentes para o público.
A coleção de pinturas inclui trabalhos de artistas como Jacob van Ruysdael, Frans Hals, Johannes Vermeer e Rembrandt e de alunos de Rembrandt.
Em 2005, 95% do museu está fechado para renovação, mas as pinturas da coleção permanente ainda estão em mostra em uma exibição especial chamada As Obras-primas.
Algumas das pinturas do museu:
Rembrandt van Rijn
A Ronda Nocturna
Os síndicos da guilda dos fabricantes de tecidos
A noiva judia
A lição de Anatomia do Dr. Deyman
Pedro negando Cristo
Saskia com um véu
Retrato de Titus em hábito de monge
Auto-retrato como Apóstolo Paulo
Tobias, Ana e o Bode
Johannes Vermeer:
A Leiteira
A Carta de Amor
Mulher de Azul a ler uma carta
A Rua pequena
Frans Hals:
Retrato de um jovem casal
A Companhia Reynier Real
O bebedor alegre
Retrato de Lucas De Clercq
Retrato de Nicolaes Hasselaer
Retrato de um homem
Página oficial do Rijksmuseum
Virtual Collection of Masterpieces (VCM)
O melhor museu de Amsterdam: Rijksmuseum
O Commons possui uma categoria contendo imagens e outros ficheiros sobre Rijksmuseum
Rijksmuseum Amsterdam
1/4
Se você visitar Amsterdam, precisará conhecer o Museu Nacional da Holanda: Rijksmuseum Amsterdam. O Museu Nacional fica na Praça do Museu, situada no centro de Amsterdam. O Museu Nacional, ou Rijksmuseum, possui uma maravilhosa coleção de arte e história holandesas. Após uma visita ao Rijksmuseum, você saberá mais sobre história e arte e terá visto alguns dos maiores marcos culturais da Holanda.
Obras-primas do Museu Nacional
Ao todo, a coleção do Rijksmuseum apresenta a história da Holanda em um contexto internacional, desde 1.100 até o presente. Há alguns ícones da história e cultura da Holanda que você não pode perder:
Ronda Noturna (de Nachtwacht) de Rembrandt é uma das mais famosas obras desse mestre holandês e é de tirar o fôlego.
O Rijksmuseum tem uma das melhores coleções de pinturas dos grandes mestres do século XVII, como Frans Hals, Jan Steen, Vermeer e Rembrandt.
Assim como o Museu Histórico de Haia, o Rijksmuseum apresenta lindas casas de bonecas, mobiliadas em detalhes, datando de 1676.
Se você não puder ir ao Delft Real, pode ainda apreciar algumas das melhores cerâmicas de Delft, de conjuntos de chá a vasos, no Museu Nacional.
Museu que é visita obrigatória em Amsterdam
Quer sua estadia em Amsterdam seja breve ou longa, você deve visitar o Rijksmuseum. Chegue cedo para evitar enfrentar filas. Combine a visita ao Rijksmuseum com várias outras atrações próximas, como o Museu Van Gogh, o Museu Stedelijk Amsterdam e a Coster Diamonds
Para obter mais informações sobre Amsterdam, retorne à página sobre Amsterdam ou à página sobre os museus de Amsterdam.
Self-published hand-made book Did we ever meet? Winner of Rock your dummy Award 2013. Full info and order at www.offonroad.com/books/did-we-ever-meet/
Published by Golden Books from 1961 to 1965, this is one of four books in a slip-cover set designed to excite families about the joys that awaited them in the World of Walt Disney.
The books included: Fantasyland, Nature, America, and Stories from Other Lands. I found this copy of the Fantasyland book for $4 at my Friends of the Library Bookstore. Boxed sets on eBay run about $30 on the lower end.
I like the old-school feel of the illustrations--this is the Disney I grew up with.
Published by Hamlyn in 1972, 2nd impression (1st publishd 1969). Story by Marie d'Aulnoy, adapted by Jan Vladislav... Illustrated by Mirko Hanak.
Picked up in a local charity shop last week, sadly no dust wrapper, but some very nice vintage illustrations.
©All photographs on this site are copyright: ©DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2021 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of ©DESPITE STRAIGHT LINES (Paul Williams). No image may be used as source material for paintings, drawings, sculptures, or any other art form without permission and/or compensation to ©DESPITE STRAIGHT LINES (Paul Williams)
.
.
I would like to say a huge and heartfelt 'THANK YOU' to GETTY IMAGES, and the 38.385+ Million visitors to my FLICKR site.
***** Selected for sale in the GETTY IMAGES COLLECTION on March 1st 2021
CREATIVE RF gty.im/1304465285 MOMENT ROYALTY FREE COLLECTION**
This photograph became my 4,814th frame to be selected for sale in the Getty Images collection and I am very grateful to them for this wonderful opportunity.
©DESPITE STRAIGHT LINES (Paul Williams)
.
.
Photograph taken at an altitude of Forty one metres at 07:45am on Saturday 27th February 2021 off Blackheath Avenue and Charlton Way in the grounds of Greenwich Park, one of the Royal Parks of London situated in Greenwich, South East London.
Here we see a group of Drakes, or mallards (Anas platyrhynchos), running around in the park. Mallards are dabbling ducks which breed all over temperate and sub tropical Americas, Eurasia and North Africa as well as New Zealand and a host of other territories. Belonging to the waterfowl family, the males or drakes are particularly beautiful with glossy green heads and bright yellow beaks.
.
.
Nikon D850 Hand held with Tamron VR vibration reduction enabled on setting One. Focal length 600mm Shutter speed: 1/160s Aperture f/6.3 ISO1000 Image area FX (36 x 24) NEF RAW L (8256 x 5504). NEF RAW L (14 bit uncompressed) Focus mode AF-C focus. AF-C Priority Selection: Release. Nikon Back button focusing enabled. Auto ISO 3D Tracking watch area: Normal 55 Tracking points.AF-Area mode single point & 73 point switchable. Exposure mode: Manual mode. Matrix metering. White balance on: Auto1 (6990K). Colour space: RGB. Vignette control: Normal. Picture control: Auto (Sharpening A +1/Clarity A+1)
Tamron SP 150-600mm F/5-6.3 Di VC USD G2. Lee SW150 MKII filter holder. Lee SW150 95mm screw in adapter ring. Lee SW150 circular polariser glass filter. Lee SW150 Filters field pouch. Nikon GP-1 GPS module. Hoodman HEYENRG round eyepiece oversized eyecup. Mcoplus professional MB-D850 multi function battery grip 6960.Two Nikon EN-EL15a batteries (Priority to battery in Battery grip). Black Rapid Curve Breathe strap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag.
.
.
LATITUDE: N 51d 28m 30.70s
LONGITUDE: E 0d 0m 19.36s
ALTITUDE: 41.0m
RAW (TIFF) FILE: 130.00MB NEF: 94.2MB
PROCESSED (JPeg) FILE: 26.70MB
.
.
PROCESSING POWER:
Nikon D850 Firmware versions C 1.20 (14/01/2021) LD Distortion Data 2.018 (18/02/20) LF 1.00
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit Version 1.4.1 (18/02/2020). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.13.5. Adobe photoshop Elements 8 Version 8.0 64bit.
File: 2020001-0018
Somewhere in Worcestershire, England, United Kingdom, on Thursday 7th May 2020, at 8pm.
Published with the parent’s permissions.
Notice: Geotags are removed, and the exact location will not be mentioned, for privacy and safety.
About this photograph.
During the Clap for Our Carers gesture on Thursday evening, those two girls and their family stepped outside, but instead of clapping, they showed their support for the NHS (National Health Service) with a live music performance.
As you can see in the photos, one of the girls is seen playing the violin while the other girl does the singing.
I have no idea what they were singing about, nor do I know what music they played. It looked like a slow singing, maybe classic music.
In the tighter framed photos, the man in the T-shirt with sunglasses, and leaning against a car is their father. In the wider shots, the woman on the other side of the road, seen taking photos, is their mother.
You may notice a few other people stepping out of their homes, to take part in the clapping as show of support, watching the live performance.
The viewpoint was from one of my bedroom windows, as I took the photos of what was going on. I later went to their house, to seek permissions from the parents if I wanted to publish the photos, and they agreed.
Why I took the photographs?
Starting in February of 2020, my oldest child moved out to live independent, while the other child lived with the mother, I was finally free to try to restart my photography career, and if needed by going freelance. But only about a month later, in March, the United Kingdom went into a national lockdown in order to combat against the rising cases of the coronavirus, which put my plans on hold.
It was at that time I decided to try to get serious with Flickr, having registered in 2015, but been inactive for almost 5 years until I restarted using it in 2020. I was trying to find photos to upload and all that.
On that day, a Thursday at 8pm, it was time for the usual every Thursday event, to step outside and clap in show of our support for our NHS. I find it much easier to go upstairs, open the window at the front of the house, lean out and clap. From this position I can see other people clapping.
This was when I saw the family stepping outside, and setting up their small performance. That was when I went to grab my Nikon, and started trying to take photojournalism style photos as my skills are rather somewhat rusty and I could do with some new practise.
After taking the photos, I had to go over to their home, and informed their parents that I do photography, and wanted to check with them if I could have permissions to post my photos on my various profiles (not just Flickr, but also other accounts like with Adobe, etc.) The father agreed to give me permissions. I also gave them as many copies of the photos too.
About the subject.
The Clap for Our Carers event was a social movement carried out every Thursdays between March to May in 2020, in the United Kingdom as a gesture of appreciation and show of support for Britain’s National Health Service (NHS).
The idea came from Europe, likely to be either Italy and/or Spain which had lockdowns before the UK did.
On Thursdays, people would either step outside their front doors, or lean outside their windows, and give a round of applause. But some people have been taken to banging pots and pans, or playing music.
The event was meant to show our support for doctors and nurses, along with other hospital staff, but later included our show for other key workers, health services, ambulance crews, delivery drivers, waste collectors, and any other key workers who have to work during the lockdown.
In the fight against the coronavirus known as Covid-19.
NOTICE: The Comment Box is NOT an advertising billboard for any Groups. You are free to comment for yourself, about the subject in the photo, about the photograph itself, or about any similar experience you had. If you want to promote the groups you are member of, do it in YOUR own photo pages.
©All photographs on this site are copyright: DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2020 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of DESPITE STRAIGHT LINES (Paul Williams) ©
.
.
I would like to say a huge and heartfelt 'THANK YOU' to GETTY IMAGES, and the 37.363+ Million visitors to my FLICKR site.
***** Selected for sale in the GETTY IMAGES COLLECTION on June 10th 2019
CREATIVE RF gty.im/1154923790 MOMENT OPEN COLLECTION**
This photograph became my 4,614th frame to be selected for sale in the Getty Images collection and I am very grateful to them for this wonderful opportunity.
My photographs have to date won several photographic competitions, been published in three dedicated books, been published in Vogue, Prima, the Telegraph and Jessops, and published in three DK books worldwide, as well as being published in over 28 countries worldwide including: Uk, Australia, Peru, Hungary, Japan, Germany, Italy, France, Canada, China, Sweden, Netherlands, Russian federation, Republic of Korea, Israel as well as 17 states in the USA.
.
.
Photograph taken at an altitude of Nine metres, at 10:23am on Tuesday June 4th 2019, on a an overcast and drizzle filled morning off Birdcage Walk and Horse Guards Road in the grounds of St James's Park. Situated in the City Of Westminster, the Park spans twenty three Hectares and is the oldest of the Royal Parks of London, with a variety of visiting and nesting birds that include Ducks, Canada Geese and Pelicans.
Here we see a A juvenile Grey Heron (Ardea cinerea jouyi) probably in it's 1st year winter/2nd year spring with grey crown, streaked sooty black, dull black nape with it's ornamental feathers shorter and less glossy than adults. Mum was not far away across the bridge, though here she had her baby tucked away under cover of a tree and behind a fence for safety.
.
.
Nikon D850 Focal length 135mm Shutter speed 1/40s Aperture f/5.0 iso320 RAW (14 bit uncompressed) Image size L 6880 x 4584 FX). Hand held with Nikkor VR Vibration (Normal) selected . Colour space Adobe RGB. Nikon Back button focusing enabled. Focus mode AF-C focus 51 point with 3-D tracking. AF Area mode single. Exposure mode - Manual exposure. Matrix metering. ISO Sensitivity: Auto. Auto 1 white balance. Nikon Distortion control on. Vignette control Normal. Active D-lighting on Automatic. High ISO Noise Reduction: On. Picture control: Auto with Sharpening A+1.00.
Nikkor AF-P 70-300mm f/4.5-5.6E. Lee SW150 MKII filter holder. Lee SW150Con adapter for Lee 100 rings.Lee 100 67mm screw in adapter ring. Lee SW150 Circular polariser glass filter. Lee SW150 Filters field pouch. Nikon EN-EL15a battery. Matin quick release neckstrap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag. Nikon GP-1 GPS module.
.
.
LATITUDE: N 51d 30m 9.50s
LONGITUDE: W 0d 8m 6.50s
ALTITUDE: 9.0m
RAW (TIFF) FILE: 90.50MB NEF: 64.7MB
PROCESSED (JPeg) FILE: 19.70MB
.
.
PROCESSING POWER:
Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.017 (20/3/18) LF 1.00
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit (Version 1.2.11 15/03/2018). Nikon Capture NX-D 64bit (Version 1.4.7 15/03/2018). Nikon Picture Control Utility 2 (Version 1.3.2 15/03/2018). Adobe photoshop Elements 8 Version 8.0 64bit.
Publish Janu,18/01/ 2017 BD LIVE HITS is a YouTube Chanel that presents all Hit Model, , Videos, News, , Live Performance, Juicy jokes etc ! ** Sonam's going to Hollywood!** Priyanka Chopra and Deepika Padukone, Sonam Kapoor, after traveling to Hollywood. Huma kuresirao international film debut. Britain, however, the film is not Hollywood. Sonam's father Anil Kapoor has already recovered Hollywood debut. Mission impossible: Ghost Protocol, and he acted in Slumdog Millionaire. Now Hollywood is Sonam. Ease of coffee with Sonam has acknowledged. Huma Qureshi international film debut. He is working with the director, Gurinder cadda his name. Bend It Like Beckham director Gurinder's film. Huma Qureshi is going to release the film in the UK on March 3 this year. Subscribe our channel : goo.gl/FD2h1b Share the video youtu.be/5D2hCeYZPOI Facebook fun page : ift.tt/2gF3THr Twitter : twitter.com/anis01713734673 *****KEYWORD****** ** Sonam's going to Hollywood**
The Postcard
A postally unused postcard published by E. A. Sweetman & Sons Ltd. of Tunbridge Wells. The image is a glossy real photograph, and the card has a divided back.
The area in the photograph is now a virtual racetrack, with very large numbers of vehicles jostling for position as they manoeuvre their way round the one-way system.
Purley
Purley is an area of the London Borough of Croydon. It was part of the county of Surrey until 1965. It is located south of the town of Croydon, and 11.7 miles (18.8 km) south of Charing Cross. It had a population of about 14,000 in 2011.
Aviation
Kenley Aerodrome, to the east of the town, was one of the key fighter stations - together with Croydon Airport and Biggin Hill - during the World War II support of Dunkirk, Battle of Britain and defence of London.
Suburban Growth
Purley grew rapidly in the 1920's and 1930's, providing spacious homes in a green environment. Northeast Purley stretches into the chalk hill spurs of the North Downs.
Promenade de Verdun
One road, Promenade de Verdun, created by William Webb, has a distinction all of its own. It is 600 yards (550 m) long, and has on one side Lombardy poplars planted in local soil mixed with French earth specially shipped over to the UK.
A plaque at one end of the road explains that the French Ministry of the Interior donated the soil from Armentières, as a memorial to the alliance of the Great War and the soldiers who died.
At the other end stands an obelisk carved from a single piece of stone with the inscription:
"Aux soldats de France morts
glorieusement pendant la Grande
Guerre".
Purley in WWII
The 32nd. Surrey Battalion of the Home Guard was known as the Factory Battalion, and had the specific task of guarding the Purley Way factories: its units were mainly based on staff from the individual firms.
The factories adjoining Croydon Airport took the worst of the air raid of the 15th. August 1940: the British NSF factory was almost entirely destroyed, and the Bourjois factory gutted, with a total of over sixty civilian deaths.
A comprehensive history of Purley and its growth around Caterham Junction (now Purley Station) with the coming of the railways some 150 years ago is found in the Bourne Society's 'Purley Village History' and in its Local History Records publications.
The Webb Estate
The Webb Estate made headlines in a 2002 survey, which found that it had over the years attracted the highest-earning residents in the UK. In the same year Purley topped Britain's rich list, becoming the most affluent suburb.
Purley consistently features among the most affluent suburbs in Britain owing to its exclusive gated estates, large houses and greenery, yet it is less than 30 minutes from central London by train, thus attracting wealthy city workers.
Fictional References to Purley
-- On television the town became known in the sitcom, Terry and June where Terry and June Medford (Terry Scott and June Whitfield), had moved after the characters' previous series, Happy Ever After.
The sitcom was set on the cusp of Purley and Wallington (on Church Road in a house within sight of St Mark's Church) and the opening credits featured them searching for each other around the (now unrecognisable) Whitgift Centre – a shopping precinct in Croydon.
-- One of the houses used in Footballer's Wives is 7 Rose Walk, Purley, owned by former Crystal Palace FC Chairman Ron Noades.
-- Purley is famous for a reference in both the "Marriage Guidance Counsellor", "Nudge Nudge", and "Kilimanjaro Expedition" (mentioned in the film And Now for Something Completely Different) sketches by the Monty Python team.
-- The CBBC children's sitcom Little Howard's Big Question is based in Purley, and also features continual references to Croydon.
-- Mr Angry, a character on Steve Wright's Radio 1 afternoon show in the 1980's, is from Purley.
Notable Residents of Purley
Notable residents include:
-- Michael Arthur, Vice-Chancellor of Leeds University, and Provost of University College London from September 2013, was born in Purley.
-- Jay Aston, singer with Bucks Fizz, was born in Purley.
-- Ronald Binge and his wife Vera lived at 18, Smitham Bottom Lane in the 1950's. He composed the Elizabethan Serenade there.
-- Derren Brown, magician and mentalist, was born and grew up in Purley.
-- Peter Cushing OBE, actor, grew up and went to school in Purley.
-- Brian Fahey, composer of "At the Sign of the Swingin' Cymbal" (the signature tune to BBC Radio's Pick of the Pops).
-- Andy Frampton, former professional footballer, grew up in Purley.
-- Shelagh Fraser, actress, was born in Purley.
-- Laura Hamilton, TV presenter and Dancing on Ice Contestant, lives in Purley.
-- Nigel Harman, actor, was born and grew up in Purley.
-- Sir Bernard Ingham, Margaret Thatcher's former press secretary, lives in Purley.
-- Sir David P. Lane, oncologist best known for identifying P53, went to school and grew up in Purley.
-- Martin Lee, singer with Brotherhood of Man, was born in Purley.
-- Archibald Low, pioneer of radio guidance systems, was born in Purley.
-- Ray Mears, TV survivalist, went to school in Purley.
-- Ron Noades, former chairman of Wimbledon FC, Crystal Palace FC and Brentford FC and owner of the Altonwood Golf Group, lived in Rose Walk, Purley, from 1993 until 2013.
-- Innes Hope Pearse, doctor and co-founder of the Peckham Experiment, grew up in Purley.
-- Francis Rossi, lead singer of Status Quo, lives in the Webb Estate in Purley.
-- John Horne Tooke, an English politician and philologist, lived in Purley at the end of the 18th. century where he began writing Epea Pteroenta, Or, The Diversions of Purley.
-- Wilfried Zaha, footballer, Crystal Palace FC, lives in the Webb Estate.
I just published my first ebook on Smashwords and Amazon. Each company sells it for different kinds of e-readers. If you're curious you can download a small sample on either site.
Anyway, it was a bit of a challenge to get it done but I'm super happy it's done now. I've had an earlier version of this book and another one with all animal photographs for sale as printed mini-books for years now (I sell them at craft fairs), but always wanted to get them online too.
Happy Earth Day!