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Dopo il successo dell’ultimo tour europeo della scorsa estate, Joe Satriani torna in Italia con il nuovo The Shockwave Tour per quattro date, per la prima volta solo nei teatri: lunedì 5 ottobre 2015 al Teatro della Luna di Assago (MI).
A maggio 2013, Joe Satriani ha pubblicato il suo ultimo album solista, “Unstoppable Momentum”. Registrato allo studio Skywalker Sound, vicino a San Francisco, il disco è stato prodotto da Satriani e Mike Fraser (AC/DC) e contiene undici brani che vedono la partecipazione di musicisti di prim’ordine come Vinnie Colauita (Sting, Jeff Beck, Frank Zappa, Megadeth) alla batteria, Chris Chaney (Janes Addiction) al basso e Mike Keneally (Dethklok) alle tastiere.
Dopo aver iniziato la sua carriera come insegnante di alcuni tra i principali chitarristi degli anni ’80 e ’90, come Kirk Hammet dei Metallica e Steve Vai, Joe Satriani è stato riconosciuto a livello mondiale come uno dei chitarristi rock più influenti fin dall’uscita nel 1987 del suo album di debutto “Surfing With The Alien”. Da allora Satriani, che cita Jimi Hendrix come sua principale influenza, ha consolidato la sua reputazione come fenomeno della sei corde: Mick Jagger lo ha scelto nel 1988 per accompagnarlo in tutto il mondo nel suo primo tour da solista, e i Deep Purple lo hanno chiamato a suonare con loro in Europa e Giappone nel ‘95. Dopo aver pubblicato numerosi e acclamati album solisti, nel 1996 Satriani dà vita al progetto G3, e intraprende una serie di tour sold out ai quattro angoli del globo al fianco di Steve Vai ed Eric Johnson. Nel 2009 si unisce a Sammy Hagar e Michael Anthony dei Van Halen e a Chad Smith dei Red Hot Chili Peppers per formare i Chickenfoot, con i quali pubblica l’omonimo album di debutto, a cui fa seguito “III” del 2011. Con il supergruppo Satriani ha intrapreso un tour europeo nel 2012; nello stesso anno ha pubblicato il DVD/Blu-Ray del film in 3D “Satchurated: Live In Montreal”.
Durante lo Shockwave Tour, Joe Satriani sarà accompagnato da una band d’eccezione composta da Mike Keneally (tastiere, chitarra), Marco Minnemann (batteria) e Bryan Beller (basso).
This photograph was published in the Illustrated Chronicle on the 11th of December 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order
Issue #147 June 2011
Its was pretty cool to see the photo I took of Dustin's Mazdaspeed3 under the Longshots section of the June 2011 issue of Import Tuner. Congrats to the others as well that were featured.
Original Photo: www.flickr.com/photos/ronaldo86/5278271971/
Maitland Opportunity Unlimited
Published for Maitland City Council
Set up and printed by Tipper & Cliff 393 High Street, Maitland
Includes maps and inserts
Published c.1961
14cm x 21cm
This image may be used for study and personal research purposes
Please observe copyright where applicable and acknowledge source of all images. If you wish to reproduce this image for any other purpose you can contact us at Maitland City Library
If you have any further information about the image, you are welcome to contact us or leave a comment in the box below
This photo of rice growing in Southern Brazil has been published online in a Rice Today article, by the International Rice Research Institute (IRRI), called Country Snapshots: Brazil, in Rice Today
Just keeping this here for as a backup and proof that at least one of >my pictures has been published.
And again
Boomerang aka A Secret Kept, a 2010 novel by Tatiana De Rosnay.
This is the Swedish cover. :)
Hey look! I got another article published over at DPS! It's not my image (I forgot to submit one lol). It's over here:
www.digital-photography-school.com/5-key-skills-for-the-m...
oh and of course the blog, as usual, where you can get more of the same...or better...is over at www.shotslot.net
Woohoo!!
The home front -
1941 - Westminster Hospital, Dean Ryle Street, Horseferry Road, Westminster. Behind the lines were many workers. With the blitz still at its height, casualties are attended to in Westminster Hospital. The patient is a woman driver".
[MHS & MI]
Shadow of the Tomb Raider is an action-adventure video game developed by Eidos Montréal in conjunction with Crystal Dynamics and published by Square Enix. It continues the narrative from the 2013 game Tomb Raider and its sequel Rise of the Tomb Raider, and is the twelfth mainline entry in the Tomb Raider series. The game is set to release worldwide on 14 September 2018 for Microsoft Windows, PlayStation 4 and Xbox One.
Set two months after the events of Rise of the Tomb Raider, its story follows Lara Croft as she ventures through Mesoamerica and South America to the legendary city Paititi, battling the paramilitary organization Trinity and racing to stop a Mayan apocalypse she has unleashed. Lara must traverse the environment and combat enemies with firearms and stealth as she explores semi-open hubs. In these hubs she can raid challenge tombs to unlock new rewards, complete side missions, and scavenge for resources which can be used to craft useful materials.
Shot at three times life size with a Canon MPE-65mm macro lens back in March of 2009. I wanted to see how much my post processing skills had changed. Blog post here.
Published in the Jan/Feb 2011 edition of Nation Geographic Young Explore magazine, pages 10 and 11.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
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I Planethard sostituiscono i Gamma Ray all’ultimo minuto come special guest nella data milanese di Scorpions l’11 novembre al Mediolanum Forum di Assago.
Born in 2004, after several line-up changes, Planethard began touring the best clubs of northern Italy, in the early days basically as an hard rock cover band (Bon Jovi, GNʼR, Skid Row, Motley Crue, Steelheart, etc.). In august 2004, the first band’s song, For Everything, was conceived and recorded at Twilight Studio in Senago (Milan). The same year, in December, Planethard finished recording a mini-CD entitled So Good.
In may 2005 Planethard played at Inkubo Cafè in Milan during Gotthard’s release party of the new album Lipservice, and that included a fantastic jam session on stage with Marc Lynn & Leo Leoni, bassist and guitarist of Gotthard, such an unforgettable experience for the Italian boys! After this event, Planethard gained some more attention from the critics and the Italian media: the band was booked in several Hard Rock mini-festivals in some of the main important Milan Live Clubs such as Alcatraz, Transilvania Live and Indian’s Saloon. In the summer of 2005 Planethard played “Venice Rock Festival” in Venice, along with Motorhead, Gotthard & Labyrinth, plus the Tim Tour in Plebiscito Square, Naples, with popular Italian singers Francesco Renga & Elisa, which gave em great visibility. In March 2006 Planethard began recording the first real album with Alessandro Del Vecchio (Enden’s Course / Edge of Forever) as the Artistic Producer. October 21th 2006: the first CD Crashed on Planet Hard, ten songs of pure hard rock, was presented to the Italian press at Solid Groove Studio in Ghiaie di Bonate Sopra. This studio report turned out to be a big success: in December “Rock Sound” magazine, directed by Daniel C. Marcoccia, dedicated a full article to the band pointing our the artistic abilities of these four guys. In the same month, the band played in Milan as Soul Doctor’s supporting act. In January 2007 thanks to Live s.r.l., Planethard had the great opportunity to open the show for the Swedish legend EUROPE. The concert took place on the January 23rd at Alcatraz in Milan. June 2nd 2007, Planethard had the honour to open the Gods of Metal, the most important hard&heavy event of the year in Italy, 2007 edition, where they shared the stage with giants of rock like Motley Crue, Scorpions, Thin Lizzy and Velvet Revolver.
Davide Merletto – Vocals
Marco D’Andrea – Guitars
Alessandro Furia – Bass
Stefano Arrigoni – Drums
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
The Kaiser Permanente Center for Total Health is sending its Google Glass V1 back as part of the Explorer exchange program.
Published in: Google Glass rolls out a try-before-you-buy program
Published in 1948 by the Joint Executive Committee for the Inauguration of the Republic of the Philippines.
(Photo taken from the Presidential Museum and Library's collection)
The classic front view!
Published at www.worldreviewer.com/experiences/mountains/table-mountai... and at www.capetown.travel/blog/entry/table_mountain_a_cape_town....
Also published at en.wikipedia.org/wiki/Mountain, en.wikipedia.org/wiki/Table_Mountain, matadortrips.com/top-15-adventure-towns-worldwide/ and at en.wikipedia.org/wiki/Flag_of_Cape_Town.
The Postcard
A postally unused carte postale published by L. B. of Dijon and distributed by Ch. Macé of Versailles. The card has a divided back.
The Gardens of Versailles
The Gardens of Versailles are situated to the west of the palace. They cover some 800 hectares (1,977 acres) of land, much of which is landscaped in the classic French formal garden style perfected here by André Le Nôtre.
Beyond the surrounding belt of woodland, the gardens are bordered by the urban areas of Versailles to the east and Le Chesnay to the north-east, by the National Arboretum de Chèvreloup to the north, the Versailles plain (a protected wildlife preserve) to the west, and by the Satory Forest to the south.
In 1979, the gardens along with the château were inscribed on the UNESCO World Heritage List due to its cultural importance during the 17th. and 18th. centuries.
The gardens are now one of the most visited public sites in France, receiving more than six million visitors a year.
The gardens contain 200,000 trees, 210,000 flowers planted annually, and feature meticulously manicured lawns and parterres, as well as many sculptures.
50 fountains containing 620 water jets, fed by 35 km. of piping, are located throughout the gardens. Dating from the time of Louis XIV and still using much of the same network of hydraulics as was used during the Ancien Régime, the fountains contribute to making the gardens of Versailles unique.
On weekends from late spring to early autumn, there are the Grandes Eaux - spectacles during which all the fountains in the gardens are in full play. Designed by André Le Nôtre, the Grand Canal is the masterpiece of the Gardens of Versailles.
In the Gardens too, the Grand Trianon was built to provide the Sun King with the retreat that he wanted. The Petit Trianon is associated with Marie-Antoinette, who spent time there with her closest relatives and friends.
The Du Bus Plan for the Gardens of Versailles
With Louis XIII's purchase of lands from Jean-François de Gondi in 1632 and his assumption of the seigneurial role of Versailles in the 1630's, formal gardens were laid out west of the château.
Claude Mollet and Hilaire Masson designed the gardens, which remained relatively unchanged until the expansion ordered under Louis XIV in the 1660's. This early layout, which has survived in the so-called Du Bus plan of c.1662, shows an established topography along which lines of the gardens evolved. This is evidenced in the clear definition of the main east–west and north–south axis that anchors the gardens' layout.
Louis XIV
In 1661, after the disgrace of the finance minister Nicolas Fouquet, who was accused by rivals of embezzling crown funds in order to build his luxurious château at Vaux-le-Vicomte, Louis XIV turned his attention to Versailles.
With the aid of Fouquet's architect Louis Le Vau, painter Charles Le Brun, and landscape architect André Le Nôtre, Louis began an embellishment and expansion program at Versailles that would occupy his time and worries for the remainder of his reign.
From this point forward, the expansion of the gardens of Versailles followed the expansions of the château.
(a) The First Building Campaign
In 1662, minor modifications to the château were undertaken; however, greater attention was given to developing the gardens. Existing bosquets (clumps of trees) and parterres were expanded, and new ones created.
Most significant among the creations at this time were the Versailles Orangerie and the "Grotte de Thétys". The Orangery, which was designed by Louis Le Vau, was located south of the château, a situation that took advantage of the natural slope of the hill. It provided a protected area in which orange trees were kept during the winter months.
The "Grotte de Thétys", which was located to the north of the château, formed part of the iconography of the château and of the gardens that aligned Louis XIV with solar imagery. The grotto was completed during the second building campaign.
By 1664, the gardens had evolved to the point that Louis XIV inaugurated the gardens with the fête galante called Les Plaisirs de L'Île Enchantée. The event, was ostensibly to celebrate his mother, Anne d'Autriche, and his consort Marie-Thérèse but in reality celebrated Louise de La Vallière, Louis' mistress.
Guests were regaled with entertainments in the gardens over a period of one week. As a result of this fête - particularly the lack of housing for guests (most of them had to sleep in their carriages), Louis realised the shortcomings of Versailles, and began to expand the château and the gardens once again.
(b) The Second Building Campaign
Between 1664 and 1668, there was a flurry of activity in the gardens - especially with regard to fountains and new bosquets; it was during this time that the imagery of the gardens exploited Apollo and solar imagery as metaphors for Louis XIV.
Le Va's enveloppe of the Louis XIII's château provided a means by which, though the decoration of the garden façade, imagery in the decors of the grands appartements of the king and queen formed a symbiosis with the imagery of the gardens.
With this new phase of construction, the gardens assumed the design vocabulary that remained in force until the 18th. century. Solar and Apollonian themes predominated with projects constructed at this time.
Three additions formed the topological and symbolic nexus of the gardens during this phase of construction: the completion of the "Grotte de Thétys", the "Bassin de Latone", and the "Bassin d'Apollon".
The Grotte de Thétys
Started in 1664 and finished in 1670 with the installation of the statuary, the grotto formed an important symbolic and technical component to the gardens. Symbolically, the "Grotte de Thétys" related to the myth of Apollo - and by association to Louis XIV.
It represented the cave of the sea nymph Thetis, where Apollo rested after driving his chariot to light the sky. The grotto was a freestanding structure located just north of the château.
The interior, which was decorated with shell-work to represent a sea cave, contained the statue group by the Marsy brothers depicting the sun god attended by nereids.
Technically, the "'Grotte de Thétys" played a critical role in the hydraulic system that supplied water to the garden. The roof of the grotto supported a reservoir that stored water pumped from the Clagny pond and which fed the fountains lower in the garden via gravity.
The Bassin de Latone
Located on the east–west axis is the Bassin de Latone. Designed by André Le Nôtre, sculpted by Gaspard and Balthazar Marsy, and constructed between 1668 and 1670, the fountain depicts an episode from Ovid's Metamorphoses.
Altona and her children, Apollo and Diana, being tormented with mud slung by Lycian peasants, who refused to let her and her children drink from their pond, appealed to Jupiter who responded by turning the Lycians into frogs.
This episode from mythology has been seen as a reference to the revolts of the Fronde, which occurred during the minority of Louis XIV. The link between Ovid's story and this episode from French history is emphasised by the reference to "mud slinging" in a political context.
The revolts of the Fronde - the word fronde also means slingshot - have been regarded as the origin of the use of the term "mud slinging" in a political context.
The Bassin d'Apollon
Further along the east–west axis is the Bassin d'Apollon. The Apollo Fountain, which was constructed between 1668 and 1671, depicts the sun god driving his chariot to light the sky. The fountain forms a focal point in the garden, and serves as a transitional element between the gardens of the Petit Parc and the Grand Canal.
The Grand Canal
With a length of 1,500 metres and a width of 62 metres, the Grand Canal, which was built between 1668 and 1671, prolongs the east–west axis to the walls of the Grand Parc. During the Ancien Régime, the Grand Canal served as a venue for boating parties.
In 1674 the king ordered the construction of Petite Venise (Little Venice). Located at the junction of the Grand Canal and the northern transversal branch, Little Venice housed the caravels and yachts that were received from The Netherlands and the gondolas and gondoliers received as gifts from the Doge of Venice.
The Grand Canal also served a practical role. Situated at a low point in the gardens, it collected water that drained from the fountains in the garden above. Water from the Grand Canal was pumped back to the reservoir on the roof of the Grotte de Thétys via a network of windmill- and horse-powered pumps.
The Parterre d'Eau
Situated above the Latona Fountain is the terrace of the château, known as the Parterre d'Eau. Forming a transitional element from the château to the gardens below, the Parterre d'Eau provided a setting in which the symbolism of the grands appartements synthesized with the iconography of the gardens.
In 1664, Louis XIV commissioned a series of statues intended to decorate the water feature of the Parterre d'Eau. The Grande Command, as the commission is known, comprised twenty-four statues of the classic quaternities and four additional statues depicting abductions from the classic past.
Evolution of the Bosquets
One of the distinguishing features of the gardens during the second building campaign was the proliferation of bosquets. Expanding the layout established during the first building campaign, Le Nôtre added or expanded on no fewer that ten bosquets between 1670 and 1678:
-- The Bosquet du Marais
-- The Bosquet du Théâtre d'Eau, Île du Roi
-- The Miroir d'Eau
-- The Salle des Festins (Salle du Conseil)
-- The Bosquet des Trois Fontaines
-- The Labyrinthe
-- The Bosquet de l'Arc de Triomphe
-- The Bosquet de la Renommée (Bosquet des Dômes)
-- The Bosquet de l'Encélade
-- The Bosquet des Sources
In addition to the expansion of existing bosquets and the construction of new ones, there were two additional projects that defined this era, the Bassin des Sapins and the Pièce d'Eau des Suisses.
-- The Bassin des Sapins
In 1676, the Bassin des Sapins, which was located north of the château below the Allée des Marmoset's was designed to form a topological pendant along the north–south axis with the Pièce d'Eau des Suisses located at the base of the Satory hill south of the château.
Later modifications in the gardens transformed this fountain into the Bassin de Neptune.
-- Pièce d'Eau des Suisses
Excavated in 1678, the Pièce d'Eau des Suisses - named after the Swiss Guards who constructed the lake - occupied an area of marshes and ponds, some of which had been used to supply water for the fountains in the garden.
This water feature, with a surface area of more than 15 hectares (37 acres), is the second largest - after the Grand Canal - at Versailles.
(c) The Third Building Campaign
Modifications to the gardens during the third building campaign were distinguished by a stylistic change from the natural aesthetic of André Le Nôtre to the architectonic style of Jules Hardouin Mansart.
The first major modification to the gardens during this phase occurred in 1680 when the Tapis Vert - the expanse of lawn that stretches between the Latona Fountain and the Apollo Fountain - achieved its final size and definition under the direction of André Le Nôtre.
Beginning in 1684, the Parterre d'Eau was remodelled under the direction of Jules Hardouin-Mansart. Statues from the Grande Commande of 1674 were relocated to other parts of the garden; two twin octagonal basins were constructed and decorated with bronze statues representing the four main rivers of France.
In the same year, Le Vau's Orangerie, located to south of the Parterrre d'Eau was demolished to accommodate a larger structure designed by Jules Hardouin-Mansart.
In addition to the Orangerie, the Escaliers des Cent Marches, which facilitated access to the gardens from the south, to the Pièce d'Eau des Suisses, and to the Parterre du Midi were constructed at this time, giving the gardens just south of the château their present configuration and decoration.
Additionally, to accommodate the anticipated construction of the Aile des Nobles - the north wing of the château - the Grotte de Thétys was demolished.
With the construction of the Aile des Nobles (1685–1686), the Parterre du Nord was remodelled to respond to the new architecture of this part of the château.
To compensate for the loss of the reservoir on top of the Grotte de Thétys and to meet the increased demand for water, Jules Hardouin-Mansart designed new and larger reservoirs situated north of the Aile des Nobles.
Construction of the ruinously expensive Canal de l'Eure was inaugurated in 1685; designed by Vauban it was intended to bring waters of the Eure over 80 kilometres, including aqueducts of heroic scale, but the works were abandoned in 1690.
Between 1686 and 1687, the Bassin de Latone, under the direction of Jules Hardouin-Mansart, was rebuilt. It is this final version of the fountain that one sees today at Versailles.
During this phase of construction, three of the garden's major bosquets were modified or created. Beginning with the Galerie des Antiques, this bosquet was constructed in 1680 on the site of the earlier and short-lived Galerie d'Eau. This bosquet was conceived as an open-air gallery in which antique statues and copies acquired by the Académie de France in Rome were displayed.
The following year, construction began on the Salle de Bal. Located in a secluded section of the garden west of the Orangerie, this bosquet was designed as an amphitheater that featured a cascade – the only one surviving in the gardens of Versailles. The Salle de Bal was inaugurated in 1685 with a ball hosted by the Grand Dauphin.
Between 1684 and 1685, Jules Hardouin-Mansart built the Colonnade. Located on the site of Le Nôtre's Bosquet des Sources, this bosquet featured a circular peristyle formed from thirty-two arches with twenty-eight fountains, and was Hardouin-Mansart's most architectural of the bosquets built in the gardens of Versailles.
(d) The Fourth Building Campaign
Due to financial constraints arising from the War of the League of Augsburg and the War of the Spanish Succession, no significant work on the gardens was undertaken until 1704.
Between 1704 and 1709, bosquets were modified, some quite radically, with new names suggesting the new austerity that characterised the latter years of Louis XIV's reign.
Louis XV
With the departure of the king and court from Versailles in 1715 following the death of Louis XIV, the palace and gardens entered an era of uncertainty.
In 1722, Louis XV and the court returned to Versailles. Seeming to heed his great-grandfather's admonition not to engage in costly building campaigns, Louis XV did not undertake the costly rebuilding that Louis XIV had.
During the reign of Louis XV, the only significant addition to the gardens was the completion of the Bassin de Neptune (1738–1741).
Rather than expend resources on modifying the gardens at Versailles, Louis XV - an avid botanist - directed his efforts at Trianon. In the area now occupied by the Hameau de la Reine, Louis XV constructed and maintained les Jardins Botaniques.
In 1761, Louis XV commissioned Ange-Jacques Gabriel to build the Petit Trianon as a residence that would allow him to spend more time near the Jardins Botaniques. It was at the Petit Trianon that Louis XV fell fatally ill with smallpox; he died at Versailles on the 10th. May 1774.
Louis XVI
Upon Louis XVI's ascension to the throne, the gardens of Versailles underwent a transformation that recalled the fourth building campaign of Louis XIV. Engendered by a change in outlook as advocated by Jean-Jacques Rousseau and the Philosophes, the winter of 1774–1775 witnessed a complete replanting of the gardens.
Trees and shrubbery dating from the reign of Louis XIV were felled or uprooted with the intent of transforming the French formal garden of Le Nôtre and Hardouin-Mansart into a version of an English landscape garden.
The attempt to convert Le Nôtre's masterpiece into an English-style garden failed to achieve its desired goal. Owing largely to the topology of the land, the English aesthetic was abandoned and the gardens replanted in the French style.
However, with an eye on economy, Louis XVI ordered the Palisades - the labour-intensive clipped hedging that formed walls in the bosquets - to be replaced with rows of lime trees or chestnut trees. Additionally, a number of the bosquets dating from the time of the Sun King were extensively modified or destroyed.
The most significant contribution to the gardens during the reign of Louis XVI was the Grotte des Bains d'Apollon. The rockwork grotto set in an English style bosquet was the masterpiece of Hubert Robert in which the statues from the Grotte de Thétys were placed.
Revolution
In 1792, under order from the National Convention, some of the trees in the gardens were felled, while parts of the Grand Parc were parcelled and dispersed.
Sensing the potential threat to Versailles, Louis Claude Marie Richard (1754–1821) – director of the Jardins Botaniques and grandson of Claude Richard – lobbied the government to save Versailles. He succeeded in preventing further dispersing of the Grand Parc, and threats to destroy the Petit Parc were abolished by suggesting that the parterres could be used to plant vegetable gardens, and that orchards could occupy the open areas of the garden.
These plans were never put into action; however, the gardens were opened to the public - it was not uncommon to see people washing their laundry in the fountains and spreading it on the shrubbery to dry.
Napoléon I
The Napoleonic era largely ignored Versailles. In the château, a suite of rooms was arranged for the use of the empress Marie-Louise, but the gardens were left unchanged, save for the disastrous felling of trees in the Bosquet de l'Arc de Triomphe and the Bosquet des Trois Fontaines. Massive soil erosion necessitated planting of new trees.
Restoration
With the restoration of the Bourbons in 1814, the gardens of Versailles witnessed the first modifications since the Revolution. In 1817, Louis XVIII ordered the conversion of the Île du Roi and the Miroir d'Eau into an English-style garden - the Jardin du Roi.
The July Monarchy; The Second Empire
While much of the château's interior was irreparably altered to accommodate the Museum of the History of France (inaugurated by Louis-Philippe on the 10th. June 1837), the gardens, by contrast, remained untouched.
With the exception of the state visit of Queen Victoria and Prince Albert in 1855, at which time the gardens were a setting for a gala fête that recalled the fêtes of Louis XIV, Napoléon III ignored the château, preferring instead the château of Compiègne.
Pierre de Nolhac
With the arrival of Pierre de Nolhac as director of the museum in 1892, a new era of historical research began at Versailles. Nolhac, an ardent archivist and scholar, began to piece together the history of Versailles, and subsequently established the criteria for restoration of the château and preservation of the gardens, which are ongoing to this day.
Bosquets of the Gardens
Owing to the many modifications made to the gardens between the 17th. and the 19th. centuries, many of the bosquets have undergone multiple modifications, which were often accompanied by name changes.
Deux Bosquets - Bosquet de la Girondole - Bosquet du Dauphin - Quinconce du Nord - Quinconce du Midi
These two bosquets were first laid out in 1663. They were arranged as a series of paths around four salles de verdure and which converged on a central "room" that contained a fountain.
In 1682, the southern bosquet was remodeled as the Bosquet de la Girondole, thus named due to spoke-like arrangement of the central fountain. The northern bosquet was rebuilt in 1696 as the Bosquet du Dauphin with a fountain that featured a dolphin.
During the replantation of 1774–1775, both the bosquets were destroyed. The areas were replanted with lime trees and were rechristened the Quinconce du Nord and the Quinconce du Midi.
Labyrinthe - Bosquet de la Reine
In 1665, André Le Nôtre planned a hedge maze of unadorned paths in an area south of the Latona Fountain near the Orangerie. In 1669, Charles Perrault - author of the Mother Goose Tales - advised Louis XIV to remodel the Labyrinthe in such a way as to serve the Dauphin's education.
Between 1672 and 1677, Le Nôtre redesigned the Labyrinthe to feature thirty-nine fountains that depicted stories from Aesop's Fables. The sculptors Jean-Baptiste Tuby, Étienne Le Hongre, Pierre Le Gros, and the brothers Gaspard and Balthazard Marsy worked on these thirty-nine fountains, each of which was accompanied by a plaque on which the fable was printed, with verse written by Isaac de Benserade; from these plaques, Louis XIV's son learned to read.
Once completed in 1677, the Labyrinthe contained thirty-nine fountains with 333 painted metal animal sculptures. The water for the elaborate waterworks was conveyed from the Seine by the Machine de Marly.
The Labyrinthe contained fourteen water-wheels driving 253 pumps, some of which worked at a distance of three-quarters of a mile.
Citing repair and maintenance costs, Louis XVI ordered the Labyrinthe demolished in 1778. In its place, an arboretum of exotic trees was planted as an English-styled garden.
Rechristened Bosquet de la Reine, it would be in this part of the garden that an episode of the Affair of the Diamond Necklace, which compromised Marie-Antoinette, transpired in 1785.
Bosquet de la Montagne d'Eau - Bosquet de l'Étoile
Originally designed by André Le Nôtre in 1661 as a salle de verdure, this bosquet contained a path encircling a central pentagonal area. In 1671, the bosquet was enlarged with a more elaborate system of paths that served to enhance the new central water feature, a fountain that resembled a mountain, hence the bosquets new name: Bosquet de la Montagne d'Eau.
The bosquet was completely remodeled in 1704 at which time it was rechristened Bosquet de l'Étoile.
Bosquet du Marais - Bosquet du Chêne Vert - Bosquet des Bains d'Apollon - Grotte des Bains d'Apollon
Created in 1670, this bosquet originally contained a central rectangular pool surrounded by a turf border. Edging the pool were metal reeds that concealed numerous jets for water; a swan that had water jetting from its beak occupied each corner.
The centre of the pool featured an iron tree with painted tin leaves that sprouted water from its branches. Because of this tree, the bosquet was also known as the Bosquet du Chêne Vert.
In 1705, this bosquet was destroyed in order to allow for the creation of the Bosquet des Bains d'Apollon, which was created to house the statues had once stood in the Grotte de Thétys.
During the reign of Louis XVI, Hubert Robert remodeled the bosquet, creating a cave-like setting for the Marsy statues. The bosquet was renamed the Grotte des Bains d'Apollon.
Île du Roi - Miroir d'Eau - Jardin du Roi
Originally designed in 1671 as two separate water features, the larger - Île du Roi - contained an island that formed the focal point of a system of elaborate fountains.
The Île du Roi was separated from the Miroir d'Eau by a causeway that featured twenty-four water jets. In 1684, the island was removed and the total number of water jets in the bosquet was significantly reduced.
The year 1704 witnessed a major renovation of the bosquet, at which time the causeway was remodelled and most of the water jets were removed.
A century later, in 1817, Louis XVIII ordered the Île du Roi and the Miroir d'Eau to be completely remodeled as an English-style garden. At this time, the bosquet was rechristened Jardin du Roi.
Salle des Festins - Salle du Conseil - Bosquet de l'Obélisque
In 1671, André Le Nôtre conceived a bosquet - originally christened Salle des Festins and later called Salle du Conseil - that featured a quatrefoil island surrounded by a channel containing fifty water jets. Access to the island was obtained by two swing bridges.
Beyond the channel and placed at the cardinal points within the bosquet were four additional fountains. Under the direction of Jules Hardouin-Mansart, the bosquet was completely remodeled in 1706. The central island was replaced by a large basin raised on five steps, which was surrounded by a canal. The central fountain contained 230 jets that, when in play, formed an obelisk – hence the new name Bosquet de l'Obélisque.
Bosquet du Théâtre d'Eau - Bosquet du Rond-Vert
The central feature of this bosquet, which was designed by Le Nôtre between 1671 and 1674, was an auditorium/theatre sided by three tiers of turf seating that faced a stage decorated with four fountains alternating with three radiating cascades.
Between 1680 and Louis XIV's death in 1715, there was near-constant rearranging of the statues that decorated the bosquet.
In 1709, the bosquet was rearranged with the addition of the Fontaine de l'Île aux Enfants. As part of the replantation of the gardens ordered by Louis XVI during the winter of 1774–1775, the Bosquet du Théâtre d'Eau was destroyed and replaced with the unadorned Bosquet du Rond-Vert. The Bosquet du Théâtre d'Eau was recreated in 2014, with South Korean businessman and photographer Yoo Byung-eun being the sole patron, donating €1.4 million.
Bosquet des Trois Fontaines - Berceau d'Eau
Situated to the west of the Allée des Marmousets and replacing the short-lived Berceau d'Eau (a long and narrow bosquet created in 1671 that featured a water bower made by numerous jets of water), the enlarged bosquet was transformed by Le Nôtre in 1677 into a series of three linked rooms.
Each room contained a number of fountains that played with special effects. The fountains survived the modifications that Louis XIV ordered for other fountains in the gardens in the early 18th. century and were subsequently spared during the 1774–1775 replantation of the gardens.
In 1830, the bosquet was replanted, at which time the fountains were suppressed. Due to storm damage in the park in 1990 and then again in 1999, the Bosquet des Trois Fontaines was restored and re-inaugurated on the 12th. June 2004.
Bosquet de l'Arc de Triomphe
This bosquet was originally planned in 1672 as a simple pavillon d'eau - a round open expanse with a square fountain in the centre. In 1676, this bosquet was enlarged and redecorated along political lines that alluded to French military victories over Spain and Austria, at which time the triumphal arch was added - hence the name.
As with the Bosquet des Trois Fontaines, this bosquet survived the modifications of the 18th. century, but was replanted in 1830, at which time the fountains were removed.
Bosquet de la Renommée - Bosquet des Dômes
Built in 1675, the Bosquet de la Renommée featured a fountain statue of Fame. With the relocation of the statues from the Grotte de Thétys in 1684, the bosquet was remodelled to accommodate the statues, and the Fame fountain was removed.
At this time the bosquet was rechristened Bosquet des Bains d'Apollon. As part of the reorganisation of the garden that was ordered by Louis XIV in the early part of the 18th. century, the Apollo grouping was moved once again to the site of the Bosquet du Marais - located near the Latona Fountain - which was destroyed and was replaced by the new Bosquet des Bains d'Apollon.
The statues were installed on marble plinths from which water issued; and each statue grouping was protected by an intricately carved and gilded baldachin.
The old Bosquet des Bains d'Apollon was renamed Bosquet des Dômes due to two domed pavilions built in the bosquet.
Bosquet de l'Encélade
Created in 1675 at the same time as the Bosquet de la Renommée, the fountain of this bosquet depicts Enceladus, a fallen Giant who was condemned to live below Mount Etna, being consumed by volcanic lava.
From its conception, this fountain was conceived as an allegory of Louis XIV's victory over the Fronde. In 1678, an octagonal ring of turf and eight rocaille fountains surrounding the central fountain were added. These additions were removed in 1708.
When in play, this fountain has the tallest jet of all the fountains in the gardens of Versailles - 25 metres.
Bosquet des Sources - La Colonnade
Designed as a simple unadorned salle de verdure by Le Nôtre in 1678, the landscape architect enhanced and incorporated an existing stream to create a bosquet that featured rivulets that twisted among nine islets.
In 1684, Jules Hardouin-Mansart completely redesigned the bosquet by constructing a circular arched double peristyle. The Colonnade, as it was renamed, originally featured thirty-two arches and thirty-one fountains – a single jet of water splashed into a basin center under the arch.
In 1704, three additional entrances to the Colonnade were added, which reduced the number of fountains from thirty-one to twenty-eight. The statue that currently occupies the centre of the Colonnade - the Abduction of Persephone - (from the Grande Commande of 1664) was set in place in 1696.
Galerie d'Eau - Galerie des Antiques - Salle des Marronniers
Occupying the site of the Galerie d'Eau (1678), the Galerie des Antiques was designed in 1680 to house the collection of antique statues and copies of antique statues acquired by the Académie de France in Rome.
Surrounding a central area paved with colored stone, a channel was decorated with twenty statues on plinths, each separated by three jets of water.
The Galerie was completely remodeled in 1704 when the statues were transferred to Marly and the bosquet was replanted with horse chestnut trees - hence the current name Salle des Marronniers.
Salle de Bal
This bosquet, which was designed by Le Nôtre and built between 1681 and 1683, features a semi-circular cascade that forms the backdrop for a salle de verdure.
Interspersed with gilt lead torchères, which supported candelabra for illumination, the Salle de Bal was inaugurated in 1683 by Louis XIV's son, the Grand Dauphin, with a dance party.
The Salle de Bal was remodeled in 1707 when the central island was removed and an additional entrance was added.
Replantations of the Gardens
Common to any long-lived garden is replantation, and Versailles is no exception. In their history, the gardens of Versailles have undergone no less than five major replantations, which have been executed for practical and aesthetic reasons.
During the winter of 1774–1775, Louis XVI ordered the replanting of the gardens on the grounds that many of the trees were diseased or overgrown, and needed to be replaced.
Also, as the formality of the 17th.-century garden had fallen out of fashion, this replantation sought to establish a new informality in the gardens - that would also be less expensive to maintain.
This, however, was not achieved, as the topology of the gardens favored the Jardin à la Française over an English-style garden.
Then, in 1860, much of the old growth from Louis XVI's replanting was removed and replaced. In 1870, a violent storm struck the area, damaging and uprooting scores of trees, which necessitated a massive replantation program.
However, owing to the Franco-Prussian War, which toppled Napoléon III, and the Commune de Paris, replantation of the garden did not get underway until 1883.
The most recent replantations of the gardens were precipitated by two storms that battered Versailles in 1990 and then again in 1999. The storm damage at Versailles and Trianon amounted to the loss of thousands of trees - the worst such damage in the history of Versailles.
The replantations have allowed museum and governmental authorities to restore and rebuild some of the bosquets that were abandoned during the reign of Louis XVI, such as the Bosquet des Trois Fontaines, which was restored in 2004.
Catherine Pégard, the head of the public establishment which administers Versailles, has stated that the intention is to return the gardens to their appearance under Louis XIV, specifically as he described them in his 1704 description, Manière de Montrer les Jardins de Versailles.
This involves restoring some of the parterres like the Parterre du Midi to their original formal layout, as they appeared under Le Nôtre. This was achieved in the Parterre de Latone in 2013, when the 19th. century lawns and flower beds were torn up and replaced with boxwood-enclosed turf and gravel paths to create a formal arabesque design.
Pruning is also done to keep trees at between 17 and 23 metres (56 to 75 feet), so as not to spoil the carefully designed perspectives of the gardens.
Owing to the natural cycle of replantations that has occurred at Versailles, it is safe to state that no trees dating from the time of Louis XIV are to be found in the gardens.
Problems With Water
The marvel of the gardens of Versailles - then as now - is the fountains. Yet, the very element that animates the gardens, water, has proven to be the affliction of the gardens since the time of Louis XIV.
The gardens of Louis XIII required water, and local ponds provided an adequate supply. However, once Louis XIV began expanding the gardens with more and more fountains, supplying the gardens with water became a critical challenge.
To meet the needs of the early expansions of the gardens under Louis XIV, water was pumped to the gardens from ponds near the château, with the Clagny pond serving as the principal source.
Water from the pond was pumped to the reservoir on top of the Grotte de Thétys, which fed the fountains in the garden by means of gravitational hydraulics. Other sources included a series of reservoirs located on the Satory Plateau south of the château.
The Grand Canal
By 1664, increased demand for water necessitated additional sources. In that year, Louis Le Vau designed the Pompe, a water tower built north of the château. The Pompe drew water from the Clagny pond using a system of windmills and horsepower to a cistern housed in the Pompe's building. The capacity of the Pompe 600 cubic metres per day - alleviated some of the water shortages in the garden.
With the completion of the Grand Canal in 1671, which served as drainage for the fountains of the garden, water, via a system of windmills, was pumped back to the reservoir on top of the Grotte de Thétys.
While this system solved some of the water supply problems, there was never enough water to keep all of the fountains running in the garden in full-play all of the time.
While it was possible to keep the fountains in view from the château running, those concealed in the bosquets and in the farther reaches of the garden were run on an as-needed basis.
In 1672, Jean-Baptiste Colbert devised a system by which the fountaineers in the gardens would signal each other with whistles upon the approach of the king, indicating that their fountain needed to be turned on. Once the king had passed a fountain in play, it would be turned off and the fountaineer would signal that the next fountain could be turned on.
In 1674, the Pompe was enlarged, and subsequently referred to as the Grande Pompe. Pumping capacity was increased via increased power and the number of pistons used for lifting the water. These improvements increased the water capacity to nearly 3,000 cubic metres of water per day; however, the increased capacity of the Grande Pompe often left the Clagny pond dry.
The increasing demand for water and the stress placed on existing systems of water supply necessitated newer measures to increase the water supplied to Versailles. Between 1668 and 1674, a project was undertaken to divert the water of the Bièvre river to Versailles. By damming the river and with a pumping system of five windmills, water was brought to the reservoirs located on the Satory Plateau. This system brought an additional 72,000 cubic metres water to the gardens on a daily basis.
Despite the water from the Bièvre, the gardens needed still more water, which necessitated more projects. In 1681, one of the most ambitious water projects conceived during the reign of Louis XIV was undertaken.
Owing to the proximity of the Seine to Versailles, a project was proposed to raise the water from the river to be delivered to Versailles. Seizing upon the success of a system devised in 1680 that raised water from the Seine to the gardens of Saint-Germain-en-Laye, construction of the Machine de Marly began the following year.
The Machine de Marly was designed to lift water from the Seine in three stages to the Aqueduc de Louveciennes some 100 metres above the level of the river. A series of huge waterwheels was constructed in the river, which raised the water via a system of 64 pumps to a reservoir 48 metres above the river. From this first reservoir, water was raised an additional 56 metres to a second reservoir by a system of 79 pumps. Finally, 78 additional pumps raised the water to the aqueduct, which carried the water to Versailles and Marly.
In 1685, the Machine de Marly came into full operation. However, owing to leakage in the conduits and breakdowns of the mechanism, the machine was only able to deliver 3,200 cubic metres of water per day - approximately one-half the expected output. The machine was nevertheless a must-see for visitors. Despite the fact that the gardens consumed more water per day than the entire city of Paris, the Machine de Marly remained in operation until 1817.
During Louis XIV's reign, water supply systems represented one-third of the building costs of Versailles. Even with the additional output from the Machine de Marly, fountains in the garden could only be run à l'ordinaire - which is to say at half-pressure.
With this measure of economy, the fountains still consumed 12,800 cubic metres of water per day, far above the capacity of the existing supplies. In the case of the Grandes Eaux - when all the fountains played to their maximum - more than 10,000 cubic metres of water was needed for one afternoon's display.
Accordingly, the Grandes Eaux were reserved for special occasions such as the Siamese Embassy visit of 1685–1686.
The Canal de l'Eure
One final attempt to solve water shortage problems was undertaken in 1685. In this year it was proposed to divert the water of the Eure river, located 160 km. south of Versailles and at a level 26 m above the garden reservoirs.
The project called not only for digging a canal and for the construction of an aqueduct, it also necessitated the construction of shipping channels and locks to supply the workers on the main canal.
Between 9,000 to 10,000 troops were pressed into service in 1685; the next year, more than 20,000 soldiers were engaged in construction. Between 1686 and 1689, when the Nine Years' War began, one-tenth of France's military was at work on the Canal de l'Eure project.
However with the outbreak of the war, the project was abandoned, never to be completed. Had the aqueduct been completed, some 50,000 cubic metres of water would have been sent to Versailles - more than enough to solve the water problem of the gardens.
Today, the museum of Versailles is still faced with water problems. During the Grandes Eaux, water is circulated by means of modern pumps from the Grand Canal to the reservoirs. Replenishment of the water lost due to evaporation comes from rainwater, which is collected in cisterns that are located throughout the gardens and diverted to the reservoirs and the Grand Canal.
Assiduous husbanding of this resource by museum officials prevents the need to tap into the supply of potable water of the city of Versailles.
The Versailles Gardens In Popular Culture
The creation of the gardens of Versailles is the context for the film 'A Little Chaos', directed by Alan Rickman and released in 2015, in which Kate Winslet plays a fictional landscape gardener and Rickman plays King Louis XIV.
Published in January 1894 by The Historical Publishing Company, author J. W. Buel, this book contains 300 photographs of every aspect of the fair.
The World's Fair: Columbian Exposition (also known as the Chicago World's Fair) was a world's fair held in Chicago in 1893 to celebrate the 400th anniversary of Christopher Columbus' arrival in the New World in 1492. At the core of the fair was an area that quickly became known as the White City for its buildings with white stucco siding and its streets illuminated by electric lights.
I'm thrilled that my story "Better Late Than Never" will be published
in Best
Gay Erotica 2010, edited by Richard Labonte, published by Cleis Press.
I've been published several times in the Best Lesbian Erotica
and Best Women's Erotica series, but this is a first. Any time
I manage to sell gay erotica, it's an added thrill.
Here's the table of contents:
Foreword Richard Labonté
Introduction: Really, It’s All You, and All Natural Blair Mastbaum
Holiday from Love Hank Fenwick
The Hippie Down-Low Natty Soltesz
The Stray David May
I Wish Richard Hennebert
The Suburban Boy Simon Sheppard
“fifteen minutes naked” Jimmy Hamada
A Beautiful Face Robert Patrick
We Messed Around at the El Camino Motel Shane Allison
Cell 13 Tommy Lee “Doc” Boggs
Better Late Than Never Rachel Kramer Bussel
The Boy in the Middle Thom Wolf
Frazzled Trebor Healey
Under the Rushes David Holly
8 Beautiful Boys 8: The Follies Revisited Jamie Freeman
Smoke and Semen Jeff Mann
Colin and Gregory: 1956 Jonathan Kemp
The Bed from Craigslist Rob Wolfsham
The Stuffed Turkey Jan Vander Laenen
Postcard published circa 1960's.
When launched in 1907 at Mare Island, in the burgeoning era of stream and the predecessors to the warships we know today, the construction of a steel barque for the US Navy must have seemed odd. The role, however, for the USS Intrepid was not as a vessel of war, but instead for training, which she did until 1912 when she became a receiving ship. She would fill that role, along with time as a barracks vessel, until being sold in 1921.
AT that point she was converted to the role of a barge, a capacity in which she would again enter the Navy as YSR-42, a sludge removal barge. Once that job was done, she would be sold again, and continued her barge service until 1954 when she went ashore on the Long Beach Peninsula, a grave she would never depart.
The reverse reads:
"Hull of former navy ship INTREPID wrecked on the Long Beach Peninsula in February 1954. It has since nearly disappeared in the sand.
Photo by Dick Powers.
Published by PHOTO'NEIL. Long Beach, Wash. 98631"
The Postcard
A postcard published by F. Frith & Co. Ltd. of Reigate. The card was printed in England.
The card was posted in Runcorn on Thursday the 17th. July 1958 to:
Mrs. Nightingale,
The Cottage,
Ashampstead Common,
Reading,
Berks.
The message on the divided back of the card was as follows:
"How are you? I do hope
you are feeling better.
I'm so glad S. is better,
I hope he will take care.
I'll be back some time
next week.
Fondest love,
M."
Runcorn
Runcorn is an industrial town and cargo port in the Borough of Halton in Cheshire. Its population in 2011 was 61,789. The town is on the southern bank of the River Mersey where the estuary narrows to form the Runcorn Gap. To the north across the River Mersey is Widnes, with Warrington 7 miles (11 km) to the northeast and Liverpool 11 miles (18 km) to the northwest.
Runcorn remained a small, isolated settlement until the Industrial Revolution when the extension of the Bridgewater Canal to Runcorn in 1776 established it as a port which linked Liverpool with inland Manchester and Staffordshire.
The docks enabled the growth of industry, initially shipwrights and sandstone quarries. In the late 18th. and early 19th. centuries it was a spa and health resort, but this ended with the growth of polluting industries, especially soap and chemical works.
In 1964, Runcorn was designated a new town and expanded eastward, swallowing neighbouring settlements and more than doubling its population.
Three bridges span the River Mersey and the Manchester Ship Canal at Runcorn: the Silver Jubilee Bridge, Mersey Gateway, and Runcorn Railway Bridge. Runcorn's location between Liverpool and Manchester and its links to the rail, motorway and canal networks have made it a centre for manufacturing, logistics, and wholesale and retail.
The town's motto is Navem Mercibus Implere (Latin for 'Fill the Ship With Goods'), a classical quotation from Juvenal.
Henri Farman
So what else happened on the day that the card was posted?
Well, the 17th. July 1958 was not a good day for Henri Farman, because he died aged 84 on that day. Farman, who was born in Paris on the 26th. May 1874, was an Anglo-French aviator who designed and manufactured aircraft along with his brother Maurice Farman.
Before dedicating himself to aviation, he gained fame as a sportsman. Henri took French nationality in 1937.
Henri Farman - The Sporting Years
Henri's father was a well-to-do English-born Paris correspondent of the London Standard. Henri trained as a painter at the École des Beaux Arts, but he soon became interested in the new mechanical inventions that were rapidly appearing at the end of the 19th century.
Since his family had money, he was able to pursue this interest as an amateur sportsman. He became a championship cyclist in the 1890's. At the turn of the century he discovered motor racing, and competed for Renault in the Gordon Bennett Cup.
Henri Farman The Aviator
When the Voisin brothers started their aircraft construction business in 1907, Farman was one of their first customers, ordering a copy of the aircraft that had been built for Leon Delagrange. He used this aircraft, the Voisin 1907 biplane to set numerous official records for both distance and duration.
On the 26th. October 1907, at Issy-les-Moulineaux, France, he made flights, among others, of 363, 403, and 771 metres in the plane. He also started to turn the plane in the air on this date. The distance of 771 metres was completed in 52 seconds. It was the longest flight in the world that year, and won Farman the Ernest Archdeacon Cup.
The Voisin-Farman I was also the first biplane in Europe to fly a circular circuit of 1 kilometre over a predetermined course, on the 13th. January 1908. This again occurred at Issy, and won Henri the 50,000 franc Grand Prix d'Aviation offered by Henri Deutsch de la Meurthe. And on the 21st. March 1908 at the same place, Henri made a flight of 2,004 metres.
Later in 1908, on the 30th. October, Farman went on to make the first cross-country flight in Europe. He flew from his hangars at Camp de Châlons, Bouy, to Reims, landing at the Cavalry ground. It was a distance of 27 Kilometres.
By early 1909, Farman had fallen out with Gabriel Voisin because Voisin had sold an aircraft that had been built to Farman's specifications to J.T.C. Moore-Brabazon. This aircraft was named the Bird of Passage by Brabazon.
Because of this, Henri started manufacturing aircraft to his own design. The first of these, the Farman III, first flew in April 1909. It was an immediate success, and widely imitated.
In 1909, he opened a flying school at Châlons-sur-Marne at which George Bertram Cockburn was the first pupil. In this same year Henri made further record breaking flights. One was 180 kilometres in just over 3 hours, at Reims on the 27th. August. He then completed a longer flight of 232 kilometres in 4 hours 18 minutes at Mourmelon-le-Grand on the 3rd. November.
In October 1909 he appeared at the Blackpool Aviation Week, Britain's first air show, at which he won over £2000 in prizes.
In partnership with his two brothers Maurice and Richard (Dick), he built a highly successful and innovative aircraft manufacturing plant. Their 1914 model was used extensively for artillery observation and reconnaissance during the Great War.
The Farman Aircraft company's Goliath was the first long-distance passenger airliner, beginning regular Paris-London (Croydon Airport) flights on the 8th. February 1919.
Henri was made a Chevalier of the French Légion d'Honneur in 1919. Along with Maurice, he retired in 1937 when the French Popular Front government nationalised the aircraft industry.
Death and Legacy of Henri Farman
Henri died in Paris, and is buried in the Cimetière de Passy in Paris.
In 1988, Farman was inducted into the International Air & Space Hall of Fame at the San Diego Air & Space Museum.
'All I Have to do is Dream'
Also on the 17th. July 1958, the Number One chart hit in the UK was 'All I Have to do is Dream' by the Everly Brothers.
The Everly Brothers
The Everly Brothers were an American country rock duo, known for steel-string acoustic guitar playing and close harmony singing.
Consisting of Isaac Donald "Don" Everly (born 1st. February 1937) and Phillip "Phil" Everly ( born 19th. January 1939), the duo combined elements of rock and roll with country and pop, becoming pioneers of country rock.
The duo was raised in a musical family, first appearing on radio singing along with their father Ike Everly and mother Margaret Everly as "The Everly Family" in the 1940's.
When the brothers were still in high school, they gained the attention of prominent Nashville musicians like Chet Atkins, who began to promote them for national attention.
They began writing and recording their own music in 1956, and their first hit song came in 1957, with "Bye Bye Love", written by Felice and Boudleaux Bryant. The song hit No. 1 in the spring of 1957, and additional hits followed through 1958, many of them written by the Bryants, including "Wake Up Little Susie", "All I Have to Do Is Dream", and "Problems".
In 1960, they signed with the major label Warner Bros. Records and recorded "Cathy's Clown", written by the brothers themselves, which was their biggest-selling single.
The brothers enlisted in the United States Marine Corps Reserve in 1961, and their output dropped off, though additional hit singles continued through 1962, with "That's Old Fashioned (That's the Way Love Should Be)" being their last top-10 hit.
Long-simmering disputes with Wesley Rose, the CEO of Acuff-Rose Music which managed the group, a growing drug usage in the 1960's, as well as changing tastes in popular music, led to the brothers' decline in popularity in its native U.S.
However Don and Phil continued to release hit singles in the U.K. and Canada, and had many highly successful tours throughout the 1960's.
In the early 1970's, the brothers began releasing solo recordings, and in 1973 they officially broke up. Starting in 1983, the brothers got back together, and continued to perform periodically until Phil's death in 2014.
The brothers were highly influential on the music of the generation that followed it. Many of the top acts of the 1960's were heavily influenced by the close-harmony singing and acoustic guitar playing of the Everly Brothers, including the Beatles, the Beach Boys, the Bee Gees, and Simon & Garfunkel.
In 2015, Rolling Stone ranked the Everly Brothers No. 1 on its list of the 20 Greatest Duos of All Time.
They were inducted into the Rock and Roll Hall of Fame as part of the inaugural class of 1986, and into the Country Music Hall of Fame in 2001.
Don was inducted into the Musicians Hall of Fame and Museum in 2019, earning the organization's first Iconic Riff Award for his distinctive rhythm guitar intro to the brothers' massive 1957 hit "Wake Up Little Susie".
The Deaths of the Everly Brothers
Phil Everly died at Providence Saint Joseph Medical Center in Burbank, California, on the 3rd. January 2014, 16 days before his 75th. birthday, of lung disease.
Phil's widow Patti blamed her husband's death on his smoking habit, which caused him to develop chronic obstructive pulmonary disease, and recounted Phil's spending his final years having to carry oxygen tanks with him wherever he went and taking 20 different types of medications per day.
Don Everly claimed in a 2014 interview with the Los Angeles Times that he had given up smoking in the late 1960's and that Phil had stopped too, but started again during their breakup and had continued until 2001.
Don said that weak lungs ran in the family, as their father, Ike, had died of black lung disease.
He admitted that he had lived "a very difficult life" with his brother, and that he and Phil had become estranged once again in later years, something that was mainly attributed to their vastly different views on politics and life.
Music was the one thing they shared closely, with Don saying:
"It's almost like we could read each
other's minds when we sang."
Don also stated that despite their differences, he had not gotten over Phil's death:
"I always thought about him every day,
even when we were not speaking to
each other. It still just shocks me that
he's gone."
Don added that he had always firmly believed he would die before his brother, because he was older. In a 2016 interview, Don said he was still coping with the loss of Phil, and that he had kept some of his brother's ashes in his home. He added that he would pick up the ashes every morning and say "Good Morning", while admitting that it was a peculiar ritual.
On August 21, 2021, Don Everly died at his home in Nashville, Tennessee at the age of 84.
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Challenge to use the meta-parts (or mega-bricks) of lego planes to make it a spacecraft : Set 60104, 60102, 60022, 3181, 7893.
Brick number 30201 (Quarter Saucer Base) : in old theme : Aquazone, Space Insectoids and Alpha team Mission Deep Sea
Brick number 30317 (Quarter Saucer Top) : in old theme : space UFO, Alpha team Mission Deep Sea
The central command post is round, as Startrek's spaceships. The central circle is in 2 floors : the officers on the 1st floor on the bridge, and the Commandos Squad/robots on the ground floor. There are 1445 Bricks.
Crew :
3 Officers on the Bridge.
2 Pilots in the cockpit.
3 Battle droids.
6 Space Commandos.
Arms :
1 Double Laser Gatling.
2 Big Missiles (or 2 big Sondes, if we want to explore).
8 small missiles
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Dopo il sold out di pubblico registrato nella data di anteprima all’Auditorium de L’Aquila, sua città d’adozione, Simona Molinari venerdì 11 e sabato 12 marzo sarà in concerto sul palco dello storico jazz club Blue Note di Milano per presentare dal vivo “Casa Mia”, il nuovo disco in cui la raffinata cantautrice si confronta con i grandi classici jazz, riproponendo alcuni standard secondo il suo intramontabile stile musicale.
Sul palco, Simona Molinari sarà accompagnata da un quartetto d’archi tutto al femminile composto da Luisiana Lorusso (primo violino), Prisca Amori (secondo violino), Gaia Orsoni (viola) e Claudia Della Gatta (violoncello) e dalla sua band storica, La Mosca Jazz Band, formata da Fabio Colella (batteria), Fabrizio Pierleoni (basso), Claudio Filippini (piano) e Frank Armocida (percussioni e vocalist).
Prodotto da Carlo Avarello su etichetta Warner Music, l’album “Casa Mia” è un piccolo gioiello musicale in cui Simona Molinari torna alle sue origini, reinterpretando dieci brani jazz evergreen, suonati da La Mosca Jazz Band, e arricchiti dalla preziosa partecipazione della Roma Sinfonietta, l’orchestra sinfonica di Ennio Morricone.
Nel corso della sua carriera, Simona Molinari ha collaborato con artisti di fama mondiale come Al Jarreau, Gilberto Gil, Peter Cincotti, Andrea Bocelli, Ornella Vanoni, Massimo Ranieri e molti altri, esibendosi nei teatri, nei jazz club e all’interno delle manifestazioni più importanti del mondo, dal Blue Note di New York al Teatro Estrada di Mosca, dal Premio Tenco al palco di Umbria Jazz.
Wood engraving by Gwen Raverat for the children's story 'The Runaway', published by Macmillan, 1936.
Photo courtesy Valier Illustrated Books
taken at the fest-cup. fest-cup is part of das fest in
karlsruhe, germany. das fest is a three days for free
festival in the guenther-klotz-anlage in karlsruhe.
other shots taken at das fest here.
some of photos i took at the fest cup 2006 have been published in the official photogallery of one of the main sponsors, equal athletics.
click here to see where this photo was taken.
(google earth recommended)