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It's nice to have another Time Out cover under my belt. This one's out tomorrow. I'll post some more shots from the shoot soon.
'Tis an honor to be published in Toyota Trails Magazine. This story and photos appeared in the Nov/Dec 2013 issue.
“Published in tribute to the men and women in our armed forces, 24,551 of whom entered the service from Swift & Company.”
Haddon Hubbard "Sunny" Sundblom (1899 - 1976) was an American artist of Swedish and Finnish descent and best known for the images of Santa Claus he created for The Coca-Cola Company.
Some behind the scenes / fun shots form the work shop we did - to see what we shot & got in to print see link:
www.flickr.com/photos/babak1/5119390898/in/photostream/
This Photos - Felix for Photography BABAK inc.
The Postcard
A postcard published by L.L. that was posted in Alger on Friday the 1st. March 1912 to:
Mr. I. J. Robertson,
Park Lane,
Broomhall,
Sheffield,
England.
The message on the divided back of the card was as follows:
"Lots of timber of a kind
here, but fear not much
use to the timber merchant.
Sun very hot with a pleasant
breeze.
Uncle Ronald is improving
and enjoying himself.
With kind regards,
J. M."
Botanical Garden Hamma
The Test Garden of Hamma (Arabic: حديقة التجارب الحامة) (French: Jardin d'Essai du Hamma) is a botanical garden with 38 hectares (94 acres) of gardens and 20 hectares (49 acres) of arboretum).
It is located in the Mohamed Belouizdad (formerly Hamma-Anassers) district of Algiers.
History of the Garden
In 1832, Pierre Genty De Bussy, the Civil Intendant, and General Antoine Avisard, interim governor, decided to drain the marshes at the foot of the Arcades hill in Alger.
The Botanical Garden of Hamma was then created on a 5 hectare (12 acre) area, to make not only a model farm but also a test garden.
In 1837, the organization bought a 18-hectare (44-acre) site under the Fountain of Plane Trees. The garden grew westwards and became the Central Nursery of the Government. The initial site was renamed Little Test Garden until its exchange in 1848 for another piece of land inside the Nursery.
The garden's principal activity is to provide trees to public organisations and to European settlers. From 1833, production of carmine was added.
Auguste Hardy was named director of the Botanical Garden in 1842. Many animal species were introduced to the garden at that time, and it expanded several times. As well as the animal and vegetable produce, industry relating to new technology occupied a lot of space, and employed a lot of people.
Between 1848 and 1867 the garden expanded several times, until it arrived at its current configuration. In 1860, a lake was created and an exterior boulevard constructed. The garden was renamed the Acclimatization Garden (French: Jardin d'Acclimatation) in 1861. In 1867, an estimated 8,214 species could be found in the garden.
The Garden in the 21st. Century
Between 2001 and 2009 the garden was closed for restoration work. Reopened in 2009, it is now home to the Algerian National Institute of Agronomical Research.
Emmeline Pankhurst
So what else happened on the day that the card was posted?
Well, on the 1st. March 1912, Emmeline Pankhurst was among 148 suffragettes who were arrested in London, after they began breaking windows in order to attract attention.
At 6:00 in the evening, the women, marching in favor of their right to vote, brought out rocks that they had been carrying, and attacked storefronts in Westminster. The New York Times wrote the next day:
"Never since plate glass was invented has
there been such a smashing and shattering
of it as was witnessed this evening when the
suffragettes went out on a window-breaking
raid in the West End of London."
Attacks took place on famous streets such as the Strand, Haymarket, Piccadilly, Bond Street, Oxford Street and Regent Street, and even at Prime Minister H. H. Asquith's residence at 10 Downing Street.
Mrs. Pankhurst was sentenced to two months in jail, along with Mabel Tuke and Christabel Marshall.
Albert Berry
Also on that day, Albert Berry became the first person to make a parachute jump from an airplane in flight, leaping from above the Jefferson Barracks near St. Louis, after being taken aloft by pilot Tony Jannus.
A few months earlier, Berry had been tried in connection with a lynching in Pennsylvania.
A Coal Miners' Strike in the UK
Also on that day, the British coal miners' strike, which had started earlier in the week at a company in Derbyshire, continued to spread across the United Kingdom, with one million workers walking off the job until a fair minimum wage could be guaranteed them.
Béla Bartók
Also on the 1st. March 1912, the Hungarian composer Béla Bartók first heard Bulgarian folk music. At the time he was visiting the Austro-Hungarian principality of Transylvania, now part of Romania, where he had been collecting Romanian folk music.
Boris Chertok
The day also marked the birth in Łódź, Russian Empire (now Poland) of Boris Chertok.
Boris was a Russian electrical engineer, and chief designer of control engineering for the Soviet space program. He died in 2011.
George Grossmith
The 1st. March 1912 also marked the death at the age of 65 of
George Grossmith. George, who was born in 1847, was an English actor and comic writer, best known for his collaborations with Gilbert and Sullivan.
Pyotr Lebedev
Pyotr Lebedev also died on that day, at the young age of 46.
Pyotr, who was born in 1866, was a Russian physicist, and the first to measure the pressure of light on a metallic foil in 1899.
The discovery was announced at the World Physics Congress in Paris in 1900, and became the first quantitative confirmation of Maxwell's theory of electromagnetism.
The Lebedev Physical Institute in Moscow and the lunar crater Lebedev are named after him.
Published by William Heinemann in 1952.
The book was written in 1950, the same year that Nevil Shute emigrated to Australia. It contrasts the bleakness of post-war London and Britain with the bright, expansive lifestyle of Australia, where food is plentiful and the landscape is awe-inspiring.
From the story Grompeltje en Knorrepot. The book is compiled by Tom Hulsebosch and illustrations Pim van Boxsel, Wim Bijmoer, Laura Gerding, Nans van Leeuwen, Carol Voges, Gerard Wiegel and F. Wijnand. Published in 1960 by De Geillustreerde Pers, Amsterdam.
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Musica, cabaret e impegno sociale. A un anno dalla scomparsa Il Comune di Milano ricorda Enzo Jannacci con “Ciao Enzo”, una serie di eventi e iniziative a lui dedicati.
Tra queste la cerimonia ufficiale di intitolazione della Casa dell’Accoglienza di Viale Ortles 69 a Enzo Jannacci, accompagnata da “Se me lo dicevi prima”, un pomeriggio di festa all’interno della struttura aperto a tutti e gratuito, organizzato con la direzione artistica di Smemoranda dall’Assessorato alle Politiche sociali.
Il giardino della Casa dell'Accoglienza ospiterà un palco sul quale si alterneranno, tra le 14 e le 18, quaranta tra cantanti, attori, comici, disegnatori e registi per portare il proprio personale omaggio a Jannacci. Durante il pomeriggio, aperto anche ai più piccoli, ci saranno animazione, gelati, pop corn e zucchero filato, e si svolgerà un raccolta benefica di giocattoli da regalare ai bimbi ospiti delle case famiglia e delle comunità per i minori. Sarà in esposizione anche la mostra a fumetti "La mia gente" dedicata ai personaggi delle canzoni jannacciane interpretati dai più noti fumettisti italiani, nata in collaborazione con Scarp de’ tenis, il giornale di strada non profit che offre opportunità di lavoro e reinserimento ai senza dimora.
Gli organizzatori invitano i partecipanti a venire con i scarp de' tenis.
Presentazione evento di Nico, Gino e Michele con ringraziamento al Comune di Milano, agli artisti che non hanno potuto essere presenti e varie (invitano sul palco le emittenti: Radio Deejay con Andrea e Radio Popolare con Claudio Agostoni).
Conduzione affidata ai Boiler (Federico Basso, Gianni Cinelli e Davide Paniate) che nel corso del pomeriggio, in momenti diversi, inviteranno sul palco artisti e ospiti.
Prima parte
- Cochi Ponzoni con Paolo Belli e microband
- Vinicio Capossela
- Paolo Rossi
- Flavio Oreglio con Stefano Covri
- Enrico Bertolino
- Bebo Storti e Renato Sarti
- TekaP
- Ale&Franz
- Paolo Belli e microband
- Gianluca De Angelis con Silvio
- Davide Zilli
- Fabio Treves e Mauro Pagani con Alex Kid Gariazzo alla chitarra
Gli assessori Pierfrancesco Majorino e Filippo Del Corno con il Vicesindaco Ada Lucia De Cesaris e Paolo Jannacci per la cerimonia ufficiale.
Seconda parte
- Eugenio Finardi
- Folco Orselli
- Mario Lavezzi con Lorenzo Vizzini
- Marina Viola
- Ricky Gianco
- Diego Abatantuono
- Roberta Carrieri
- Bove e Limardi
- Oliviero Malaspina con Fabio Gallesi
Gran finale
tutti gli artisti accompagnati dai TekaP canteranno la versione tradizionale di El purtava i scarp del tenis
Durante tutto lo spettacolo saranno presenti suI palco i disegnatori Fabiano Ambu e Sergio Gerasi, due delle firme della mostra a fumetti “La mia gente”, che accompagneranno lo show disegnando dal vivo.
The Postcard
A postally unused postcard published by the Cairo Postcard Trust. The card has a divided back.
Heliopolis, Cairo
Heliopolis was an early 20th. Century suburb built outside Cairo, Egypt, which has since merged with Cairo and is administratively divided into the districts of Masr El Gedida and El Nozha in the Eastern Area.
The suburb was named after the ancient Egyptian city of Heliopolis, whose ruins have been found nearby in present day Ain Shams.
Modern Heliopolis was established in 1905 by the Heliopolis Oasis Company headed by the Belgian industrialist Édouard Empain and by Boghos Nubar, son of the Egyptian Prime Minister Nubar Pasha.
The population in January 2022 of Masr El Gedida was estimated to be 142,000 and in El-Nozha was 245,000 people.
History of Heliopolis
Édouard Louis Joseph, 1st. Baron Empain visited Egypt in January 1904 in order to rescue one of the projects of his company S.A. des Chemins de Fer de la Basse-Egypte.
The project was the construction of a railway line linking Mansourah (on the Nile river) to Matariya (on the far side of Lake Manzala from Port Said).
In 1906, Empain established the Cairo Electric Railways and Heliopolis Oases Company, which bought 2,500 ha (6,177 acres) of desert around 10km to the northeast of Cairo in order to build the semi-autonomous garden city of Heliopolis.
The new town represented the first large-scale attempt to promote its own architecture, known now as the Heliopolis style.
It was designed as a "city of luxury and leisure", with broad avenues, and it was equipped with all conveniences and infrastructure: water, drains, and electricity.
There were also hotel facilities, such as the Heliopolis Palace Hotel and Heliopolis House, and recreational amenities including a golf course, racetrack and park.
In addition, there was housing for rent, offered in a range of innovative designs targeting specific social classes with detached and terraced villas, apartment buildings, tenement blocks with balcony access, and workers' bungalows.
While Heliopolis had features that were fundamentally different from the colonial planning in other African and Asian countries, it was an undertaking that could not have been more colonial.
The project was the expression of a dream of one man, the Belgian Edouard Empain, and the buildings were designed by Belgian, French and British architects and, in the beginning, built with materials brought from these countries.
Although there is no ‘cordon sanitaire’, there are some more implicit structures that made a more subtle segregation in the city possible.
Baron Empain's palace was designed by Alexander Marcel, a French architect and a member of the French Institute, according to a Neo Hindu style modelled on Angkor Wat in Cambodia and the Hindu temples of Orissa.
The neighborhood had some of the wealthiest Egyptian residences; on the left facing Avenue Baron was the Arabesque palace of Boghos and Marie Nubar Pasha, now a military headquarters.
Diagonally opposite stands the former residence of Sultan Hussein Kamel, who reigned over Egypt between 1914 and 1917. Today, it is a presidential guest house.
The Heliopolis War Cemetery on Nabil el Wakkad street contains the Port Tewfik Memorial, a memorial to over 4,000 soldiers of the British Indian Army who fell in the Great War.
The memorial was originally in Port Tewfik in Suez, but was relocated to Heliopolis after its destruction in the 1970's.
Heliopolis was originally filled primarily with aristocratic Egyptians, as well as some European nationals. Unlike other modern Cairene suburbs around the start of the 20th. century, Heliopolis had a significantly larger percentage of Egyptian citizen residents.
After the 1952 revolution led by Nasser, it became home to much of Cairo's educated middle class. As Cairo expanded, the once large distance between Heliopolis and Cairo has vanished, and it is now well inside the city.
Because of the large growth in population, the original gardens that filled the city have mostly been built over.
Heliopolis contains recreational amenities, as it was initially established to offer its residents and visitors rest and relaxation. Heliopolis club is one of the most luxurious sporting clubs in Egypt. It was established along with Heliopolis in 1905.
From 1911 until 1915, Heliopolis had Luna Park, Africa's first amusement park (the grounds were converted into an Australian field hospital just after the onset of the Great War).
The Merryland is also a famous recreational park; it contains a lake, and was at the height of its elegance in the 1960's and 70's. It now contains a small amusement park.
The City Stars Mall is one of the biggest and best-known shopping malls in Egypt and the Middle East.
A Thought From Nietzche
This is nothing really to do with the above image, but it's very thought-provoking. It's a comment by the philosopher Friedrich Wilhelm Nietzche (1844 to 1900). Here it is:
"One can promise actions, but not feelings,
for the latter are involuntary.
He who promises to love forever or hate
forever or be forever faithful to someone
is promising something that is not in his
power".
This shot has been selected as a finalist in the Photographer's Forum 29th Annual Spring Photography contest; it will be published in the Best of Photography 2009 book! I will find out whether I'm an Honorable Mention or above in mid-August.
So excited!!
Photos taken from the top of the American Psychological Association building, Washington, DC USA
Published in Events roundup: Planning for growth, GGWash happy hour, and more - Greater Greater Washington
Links oben/Top left: Horst von Harbou - Die Nibelungen, 2. Teil: Kriemhilds Rache/Die Nibelungen: Kriemhild's Revenge (1922-1924), Regie/Director: Fritz Lang (GER, 1924), Fotosammlung Österreichisches Filmmuseum, Wien
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Sparsely spread out at their own tables, students study at night in Duffield Hall.
[Published on page 6 of The Cornell Daily Sun on 11/28/06]
[Photo copyright Matt Hintsa / The Cornell Daily Sun and may not be used without proper permission / payment. Please contact me if you are interested in using this photo, and I will process your request.]
Published with the kind permission of Tierpark Hagenbeck Gemeinnützige Gesellschaft mbH, Hamburg (www.hagenbeck.de)
For legal reasons, a further publication of the image is not permitted.
Refer to the Terms of Tierpark Hagenbeck (www.hagenbeck.de/footer/agb.html)
Veröffentlicht mit der freundlichen Genehmigung des Tierpark Hagenbeck Gemeinnützige Gesellschaft mbH, Hamburg (www.hagenbeck.de)
Aus rechtlichen Gründen ist in diesem Fall eine weitere Veröffentlichung des Bildes nicht gestattet. Siehe hierzu die AGB der Tierpark Hagenbeck Gemeinnützige Gesellschaft mbH (www.hagenbeck.de/footer/agb.html)
Sign at the Central Park/Conservatory Green Line. I never really paid attention to these signs till I saw TheeErin's set of them. Used on Chicagoist: chicagoist.com/2008/05/15/cta_gives_self.php
The Postcard
A postally unused carte postale that was published by Lévy Fils et Cie of Paris and Versailles. The card has a divided back.
La Dame au Gant
The Lady With The Glove was painted by Carolus-Duran (1837, Lille - 1917, Paris). It is a portrait of Mme Carolus-Duran, née Pauline Croizette.
The painting was in the Musée du Luxembourg until 1929, after which it was moved to the Louvre where it stayed until 1982, since when it has been in the Musée d'Orsay in Paris.
The large oil on canvas painting is 228 cm (89.7 in) high and 164 cm (64.5 in) wide, and weighs in at a hefty 76 kg. At bottom left it bears Carolus-Duran's signature and the date 1869.
La Dame au Gant was first exhibited at the Salon of the Palais des Champs Elysées in Paris in 1869. It was a great success, and won a medal. Since then it has been featured in a further 25 exhibitions held throughout the world, with the most recent being High Society at the Van Gogh Museum in Amsterdam in 2018.
The Lady with the Glove is a life-sized full-length portrait of the artist's young wife. It is an archetypal formal portrait, presenting a sober composition, masterful drawing and delicate use of colour.
Madame Carolus-Duran stands out from a near-empty background which is painted in shades of grey and black. The dark, changing colours of the gown catch the eye, as do three interrelated elements:
-- The young woman's face and fashionable hairstyle.
-- Her hands, one drawing off a pearly grey glove.
-- The glove on the ground underlined by the painter's signature, in red. This anecdotal detail gives the work a modern instantaneous look which is why Emile Zola saw in Carolus-Duran a disciple of Manet.
I'm so excited to share with you that my Gratitude Pages have been published in the April issue of Art Journaling Magazine! More at my blog.
Taken on 17 February 2014 in Angola near Mumbondo Kwanza-Sul (DSC_9529)
freewheely.com: Cycling Africa beyond mountains and deserts until Cape Town
My photo of Minne the Lake Creature was published in the April '12 issue of Mpls.St.Paul Magazine after it was found on flickr.
"SHE'S BAAACK!
→ Like those neighbors you haven't seen all winter, Minne the Lake Creature reappears each spring to jazz up our lives. There's no telling where she'll pop up. She likes all the Minneapolis lakes. If you do see her, don't ask if she wintered in Florida (not that there's anything wrong with that!). Minne takes pride in being a hardy Minnesota gal who likes to stay close to home."
Full disclosure: The photo was meant to highlight the return of the floating sculpture to the Chain of Lakes, but the photo was actually taken last fall.
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In arrivo per la prima volta su un palco italiano le tre sorelle HAIM, al Fabrique di Milano il 3 giugno.
Band pop-rock californiana formata da tre sorelle Este, Danielle e Alana. Trascorrono la propria infanzia circondate dalla musica e iniziano a suonare sin da piccole in una cover band capitanata dai genitori.
Nel 2007 creano ufficialmente le HAIM, la cui denominazione è semplicemente il cognome delle ragazze.
Le HAIM danno il via alla propria carriera musicale come gruppo spalla per Edward Sharpe & the Magnetic Zero e Ke$ha. Nel 2012 pubblicano il loro primo EP, “Forever”. Il mix raffinato tra le tendenze rock ispirate ai Fleetwood Mac, il synth pop anni ’80 e il sound R&B tipico degli anni ’90, cattura l’attenzione dei critici musicali e conquista il mondo del web.
Ottengono un grande successo con “Don’t Save Me” – singolo che anticipa l’album di debutto – che porta nel 2013 la band ad essere il primo gruppo femminile a vincere il premio Influential BBC Sound. Lo stesso anno calcano per la prima volta il prestigioso palco del Glastonbury Festival.
Dopo la pubblicazione del primo disco, “Days Are Gone”– che vende 90mila copie in una sola settimana e ottiene il Disco di Platino in UK – le HAIM conseguono una la nomination ai BRIT Award per “Best International Group” nel 2014 e la candidatura per il Grammy “Best New Artist” nel 2015.
Trascorrono gli ultimi anni in tour, sia supportando artisti del calibro di Taylor Swift, Rihanna, Florence + the Machine che come protagoniste. Collaborano con Stevie Nicks ad una nuova versione del brano “Rhiannon” dei Fleetwood Mac, oltre che al quarto album di Calvin Harris, “Motion”, e alla colonna sonora dei film “The Hunger Games: Mockingjay, Part 1” e “The Divergent Series: Insurgent”.
Le HAIM tornano sulle scene nel luglio 2017 con il disco “Something To Tell You”, che arricchisce il sound dell’album precedente con nuove sfumature: una moltitudine di sonorità con influenze provenienti dal passato rimescolate in modo sapiente. I temi trattati sono storie di amori tormentati e le esperienze collezionate nel tempo. Il disco debutta alla #7 posizione nella classifica 200 Billboard US e alla #2 nella UK Album Chart.
Alana Mychal Haim – voce, chitarra, tastiere
Danielle Sari Haim – voce, chitarra, percussioni
Este Arielle Haim – voce, basso, percussioni
Suspended Animation Classic 50
Originally published Dec. 10th, 1989
Batman: Arkham Asylum
By R. A. Jones
This week, let’s take a look at two eagerly awaited new Batman comics which have just landed in the specialty shops.
The first of these is “Arkham Asylum”, a hand-painted, hardback book that retails for a whopping $24.95. For those not in the know, Arkham Asylum is the place where such lunatic villains as the Joker are sent to serve time. In this meandering opus, we’re told two stories: the history of the doctor who founded the asylum, and an adventure in which Batman battles the various villains who have taken over the facility.
Neither story is of any interest, and both abound with amateur pop psychology that would embarrass psychologist Joyce Brothers. It’s supposed to be profound, of course, but is really only muddled and confused. Examples? The stalwart Batman is reduced to a quivering mass of gelatin by a simple word association test, then proceeds to drive a jagged shard of glass completely through his hand for no apparent reason. Makes you wonder who should be the patient here.
The painted artwork is lovely, but just as difficult to decipher as the story. Also, whereas a normal Batman comic is suitable for nearly all ages, “Arkham Asylum”, by virtue of violence, language, and grim situations, is purely adult fare. And no adult in his right mind would care to squander $25 this way.
Only slightly more satisfying is “Gotham by Gaslight”. This $3.95 book is a “What If” adventure wherein Batman lives in the year 1889 and tangles with the notorious Jack the Ripper. Besides being the most poorly colored book of this type I’ve ever seen, it also is saddled with an incredibly trite script. Anyone who is surprised when the true identity of the Ripper is revealed should go back to reading “Dick and Jane” primers.
The Batman phenomenon has helped attract many new customers into comic book shops – but, let’s hope they pass up these two volumes in favor of one of the many good books available.
Taken on 07 June 2014 in Namibia near Swakopmund-City (DSC_3948)
freewheely.com: Cycling Africa beyond mountains and deserts until Cape Town
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Jane's Addiction fanno tappa in Italia il 15 giugno al Fabrique di Milano.
Jane's Addiction, ovvero la alternative rock band per eccellenza degli anni Novanta, dopo molti anni di assenza dall’Europa, tornano in grande stile. La formazione guidata dal “guru” Perry Farrell sarà on the road nel periodo estivo per riproporre sul palco per intero “Ritual De Lo Habitual” più i grandi classici.
Nata nei ghetti della capitale losangelina, fra la fine degli anni ottanta e l'inizio degli anni novanta, la band venne riconosciuta come una delle più innovative e variegate formazioni del periodo.
Perry Farrell - voce
Dave Navarro - chitarra
Stephen Perkins - batteria
Chris Chaney - basso
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I 1975 arrivano finalmente in Italia per due date evento! Il 12 aprile 2016 si esibiranno davanti al pubblico milanese del Fabrique di Milano.
A distanza di tre anni dal loro ultimo concerto italiano e con migliaia di follower in più, i quattro di Manchester promettono uno show pieno di emozioni e carica rock.
I The 1975 (stilizzato come THE1975) sono un gruppo musicale indie rock britannico formatosi nel 2002 a Manchester. È composto da Matthew "Matty" Healy, Adam Hann, George Daniel e Ross MacDonald.
Nonostante la loro giovane età, (classe 1989), da subito si distinguono per i testi cupi e i temi profondi, il tutto viene poi visivamente consolidato da un rigoroso uso del black&white per video, foto e copertine di EP ed album.
Il loro stile musicale può essere definito come un crossover originale di electro, R&B e pop ’80. Non a caso il loro produttore è Mike Crossey (Foals, Arctic Monkeys).
Il 1° giugno 2015 segna un momento di svolta per il quartetto: viene infatti postata sui profili social un’immagine a colori (bianco e rosa) del tipico logo della band. La data non è stata scelta a caso, il 1° giugno è infatti il giorno della nascita della band. Il restyling significa quindi una rinascita simbolica per una band che può e vuole suonare per quante più persone possibili e continuare a fare musica.
Matthew Healy – vocals, guitar
Adam Hann – guitar, keyboards, backing vocals
George Daniel – drums, backing vocals
Ross MacDonald – bass guitar, keyboards, backing vocals