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I received my 'proof of publication' copies in the mail this evening ... I had totally forgotten their request earlier in 2009 ... a very nice surprise!
my original photo here (taken from the window of my soon to be departing plane):
This photograph was published in the Illustrated Chronicle on the 8th of May 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 or have any stories or 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.
[Taken in Paris (France) - 06Apr08]
As the Olympic Flame crossed the Channel, going from London to Paris, the parisian tibetan community organised an arrival by train of a tibetan flame, to protest against China's politics towards Tibet.
Published on www.rue89.com - "Dimanche soir, la flamme tibétaine de la liberté arrive à Paris".
See all my sold, published, and exhibited photos in this collection : [Sold - Published - Exhibited Works]
See all the photos of this demonstration in this set : 06Apr08 - Tibetan Olympic Flame [Event]
Always nice to be published. And very cool that they wanted a drone shot! This one is for the Svenska kyrkan (swedish church) Husie församling.
Published by F W Holloway, Neath.
Posted to Peterborough.
From the hillside above the Lion pub. Villiers Street can be seen crossing the view diagonally
Being published in the Birmingham Evening Mail August 2012
You can take him a walk and then he still wants to play. It a great ball that takes shape once Ben gets his head off it. Wish I had removed the weeds now
well, not in a book, but it's a start:
Nordiska muséet
www.schmap.com/stockholm/sights_djurgrden/p=235652/i=2356...
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Michael Holbrook Penniman, ovvero Mika, in concerto il 27 settembre al Mediolanum Forum di Assago col suo Heaven Tour.
Alla fine del 2013 i POOH avevano anticipato che si sarebbero presi due anni di pausa per preparare al meglio i festeggiamenti programmati nel 2016 per i 50 anni dalla fondazione della band più straordinaria e longeva d’Italia… ora è arrivato finalmente il momento di annunciare un’eccezionale reunion che vedrà tutti insieme per la prima volta Roby Facchinetti, Dodi Battaglia, Red Canzian, Stefano D’Orazio e Riccardo Fogli per due imperdibili concerti-evento negli stadi nell’estate 2016!
Il primo passo di questa reunion è un’inedita versione di “Pensiero”, il grande successo del 1971, che vede per la prima volta insieme le voci di Roby, Dodi, Red, Stefano e Riccardo, e che da domani, martedì 29 settembre, sarà in rotazione radiofonica e in vendita sui digital store (Believe Digital). Il videoclip del brano è diretto da Gaetano Morbioli.
E la prossima estate i POOH sbarcheranno negli stadi! Per la prima volta la band calcherà i palchi dello Stadio San Siro di Milano (10 giugno 2016) e dello Stadio Olimpico di Roma (15 giugno 2016) per i due concerti-evento “REUNION – L’ULTIMA NOTTE INSIEME” che si preannunciano imperdibili e che celebreranno questi 50 anni di carriera attraverso le note di un repertorio che ha fatto la storia della musica italiana e che sarà riadattato a cinque voci per uno storico live della durata di almeno 3 ore.
This specimen was published in Petzendorfer's Schriftenatlas of c1903.*
*c1903 Petzendorfer, L. (Editor): Schriftenatlas Neue Folge|Eine Sammlung von Alphabeten Initialen und Monogrammen Zusam-men-ges-tellt, plate 24. Julius Hoffmann, Stuttgart. Reprinted as Treasury of Art Nouveau Alphabets, Decorative Initials, Monograms, Frames and Ornaments: Dover Publications, Inc. (Minneola, NY 1984).
____
This irresistible “fun face” was introduced by Central TF in the December 1885 edition of The Inland Printer. A “patent pending” notice was displayed in at least one commercial specimen;¹ no such patent exists and none was claimed in the post-ATF catalog issued by the Central/Boston TFs in 1892.
According to policies of the US Patent and Trademark Office in effect at the time, Santa Claus was positively “new and novel” and absolutely worthy of a design patent. Even so, no approved applications for design patents were filed by Central executives nor assigned by others after 1886. Apparently this notice was of the "beware of the (non-existent) dog" variety.
The designer is unknown. William E. Loy does not account for Santa Claus in his biographies of Gustave F. Schroeder nor Nicholas J. Werner, Central's staff type designers/punch-cutters until 1889, when they partnered an independent business. In 1891, Schroeder moved to California; he and Werner continued to contract design commissions from Central and other clients.²
This letterpress typeface has not been digitally archived for posterity. Good-to-excellent working specimens of the previews shown are available to revival developers: forums.typeheritage.com/topic/santaclaus/
More about Santa Claus: forums.typeheritage.com/topic/santaclaus/
More Cool Undigitized Fonts: forums.typeheritage.com/undigitized/
More digital revivals facilitated by The Type Heritage Project: forums.typeheritage.com/status/
____
¹Mullen, R.A. (2005): Recasting A Craft|St. Louis Typefounders Respond To Industrialization, page 139. Southern Illinois University Press, Carbondale.
²Loy, W.E. (1898–1900): Designers and Engravers of Type. In The Inland Printer, December 1898 (Schroeder) and August 1899 (Werner).
Published in Pelican Books 1955
Published in Peregrine Books 1962
Cover design by Herbert Spencer
B format
via John Currin (JC - Ex RNZN) - Google+ Public Posts ift.tt/1Qcugjy
New post (Boat Patrol) has been published on Naval, Military, and Marine Life
Originally shared by +Military Law Center
Sailors assigned to Commander, Task Group 56.7, conduct a patrol on a riverine command boat during a training exercise. Riverine command boats provide a multi-mission platform for the U.S. 5th Fleet area of responsibility by focusing on maritime security operations, maritime infrastructure protection and theater security cooperation efforts, as well as conduct offensive combat operations. (U.S. Navy photo by Mass Communication Specialist 2nd Class Taylor M. Smith) #Military POTD
Check this out on Google+
Posted by - John Currin
View full size (1024x805)
Published in "Living the Photo Artistic Life," Issue No. 108, Feb 2024, p. 48, www.issuu.com. A conjurer works her magic in a cemetery. Image Stock: stock___rotten_flowers_gothic_straight_portrait_by_s_t_a_r_gazer_dc9mepu photographed by Volker Bergmann Fotografie; pere_lachaise_stock_091_by_malleni_stock_da6x6gq on Deviant Art
The Postcard
An image of the wharf or landing stage at Port Said on a postally unused postcard published by the Cairo Postcard Trust of Cairo.
Port Said
Port Said is a city that lies in north east Egypt extending about 30 kilometres (19 mi) along the coast of the Mediterranean Sea, north of the Suez Canal, with an approximate population of 604,000 (2010).
The city was established in 1859 during the building of the Suez Canal. There are numerous old houses with grand balconies on all floors, giving the city a distinctive look.
Port Said's twin city is Port Fuad, which lies on the eastern bank of the canal. The two cities are connected by free ferries running all through the day, and together they form a metropolitan area with over a million residents that extends both on the African and the Asian sides of the Suez Canal. The only other metropolitan area in the world that also spans two continents is Istanbul.
Rudyard Kipling once said:
"If you truly wish to find someone you
have known and who travels, there are
two points on the globe you have but
to sit and wait, sooner or later your man
will come there: the docks of London
and Port Said".
The Suez Canal
The Suez Canal offers a significantly shorter passage for ships than passing round the Cape of Good Hope.
The construction of the Suez Canal was favoured by the natural conditions of the region: the comparatively short distance between the Mediterranean and the Red Sea, the occurrence of a line of lakes or depressions which became lakes (Lake Manzala in the north, and depressions, Timsah and the Bitter Lakes, part way along the route), and the generally flat terrain.
Ferdinand de Lesseps
The construction of the canal was proposed by the engineer and French diplomat Ferdinand de Lesseps, who acquired from Said Pasha the rights of constructing and operating the canal for a period of 99 years.
The Opening of the Suez Canal
The Compagnie Universelle du Canal Maritime de Suez was formed. Construction took 11 years, and the canal opened on 17 November 1869. The canal had an immediate and dramatic effect on world trade.
Nationalisation of the Canal
In July 1956 the Egyptian government nationalised the Suez Canal Company, which had been run by the French and owned privately, with the British as the largest shareholders.
The Suez Crisis
The Israeli–British–French invasion of Egypt which followed is known in Egypt as the Tripartite Aggression, but elsewhere as the Suez Crisis of 1956.
Closure of the Canal
Following Israel's invasion and occupation of Egypt's Sinai Peninsula in the Six-Day War of 1967, the Canal was closed, and did not reopen until 1975.
The Canal Today
Today, the Canal is a vital link in world trade, and contributes significantly to the Egyptian economy; in 2009 the income generated from the canal accounted for 3.7% of Egypt's GDP.
Alexis Mag Vol.004
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Photography: Shavonne Wong (zhiffyphotography)
Styling: Raudhah Hanafi
Assistants: Ravinder Kaur
Hair and Makeup: Julyen Z L.
Model: Ksenyia Vasylchenko (Avenue)
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I Powerman 5000 nascono a Boston nel 1991, basati sull'Alternative metal, l'Industrial metal e il Punk rock. Il leader Spider One (Michael Cummings) è il fratello minore di Rob Zombie, per cui apodo il concerto all’Alcatraz.
I Powerman 5000 nascono a Boston in Massachusetts, dove il gruppo proponeva molti spettacoli e ha prodotto due CD, nel 1994 True Force e nel 1995 The Blood Slpat Rating System. Con un lavoro senza rivali e un grande supporto dei fan la band iniziò a dominare nelle scene rock di Boston, così facendo, arrivarono anche molte proposte di etichetta importanti. Il 1997 fu un grande anno per Spider e i compagni; si registrarono alla DreamWorks Records con la quale fecero debuttare il loro primo album, Mega!! Kung Fu Radio. Un anno di tour con Marilyn Manson, seguiti dai Korn e Ozzfest, dando loro una fama nazionale e aumentando di gran numero i loro fan. Il loro album pubblicato nel 1999 Tonight The Stars Revolt! contiene hits come When Worlds Collide e Nobody's Real che fecero vendere più di un milione di copie. Anyone For Doomsday? è l'album registrato nel 2001 e la sua pubblicazione è stata rimandata di settimane. Quando le acque si furono calmate, i Powerman emersero con una nuova formazione e un nuovo album. Nel 2003 la band cambiò molto: mise da parte gli elementi elettronici e sperimentarono un nuovo suono Punk Rock che è ispirato a quello dei Clash. L'album entrò nelle classifiche americane debuttando al posto numero 25 e arrivando nelle migliori 10 canzoni rock con Free. Dopo poco tempo, si staccarono dalla DreamWorks, proprio a causa di questa trasformazione. Ecco che nel 2006 esce il nuovo album Destroy What You Enjoy è una fusione di Punk Rock e Rock che si rifà ai Sex Pistols e ai T. Rex, Così i Powerman 5000 hanno distrutto ogni aspettativa sorprendendo chiunque. In questo album da notare le hits come Now That's Rock 'n Roll, Wild World e Murder. La canzone Relax dei Powerman 5000 è stata introdotta nel film Zoolander.
Spider One (Michael Cummings) – Lead Vocals
X51 (Gustavo Aued) – Bass
sci55ors (Nick Quijano) – Rhythm Guitars
Dj Rattan (Rattan) – Drums, Percussion
Zer0 (Richard Jazmin) – Lead Guitars
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this page without written permission and consent.
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La talentuosa compositrice americana Shara Worden, alias My Brightest Diamond, arriva in Italia per un’unica data a febbraio per presentare il nuovo album This is My Hand, uscito a settembre sempre per la label Asthmatic Kitty Records.
Non molte artiste possono vantare di avere un gruppo rock, essere in grado di cantare la Terza Sinfonia di Górecki, condurre una marching band per le strade del prestigioso festival Sundance, eseguire un'opera barocca di propria composizione, e tutto in un mese. Shara Worden può.
La sua carriera poliedrica con la sua creatura My Brightest Diamond, che ha avuto inizio con l’acclamato debutto Bring Me the Workhorse nel 2006, rispecchia il suo viaggio nel mondo dell’arte. This is my hand, il suo quarto album, segna un deciso ritorno alla musica rock, con incredibile padronanza della composizione e una nuova esplorazione nell’universo elettronico.
Nata in Arkansas e poi allevata in giro per gli States, la talentuosa polistrumentista Shara Worden proviene da una famiglia di viaggiatori musicisti evangelici.
In seguito si è trasferita a NY dove ha continuato a studiare canto lirico e composizione classica.
Dopo un periodo nella band AwRY e dopo aver suonato con Sufjan Stevens, Shara ha esordito col nome di My Brightest Diamond nel 2006 con Bring Me The Workhorse, a cui è seguito A Thousand Sharks’ Teeth nel 2008, e nel 2011 All Things Will Unwind.
Negli anni di attività come MBD, Shara ha collaborato con moltissimi artisti e preso parte a diversi progetti. Nel 2008 ha lavorato con Laurie Anderson, nel 2009 è stata ospite nell’album dei Decemberists Hazards of Love e successivamente in tour con la band, per poi partecipare al progetto multimediale The Long Count di Bryce e Aaron Dessner dei The National. E’ stata poi al fianco di David Byrne nel concept Here Lies Love ed ha collaborato con Fat Boy Slim, Bon Iver, e The Blind Boys of Alabama.
Un’altra recente collaborazione l’ha vista al fianco di Matthew Barney e Jonathan Bepler nella cine-opera di 6 ore River of Fundament, girata nelle fabbriche di automobili di di Detroit, e fonte di ispirazione fondamentale per il nuovo album This is my hand. Prodotto dalla stessa Shara e dal tastierista Zac Rae, l'album è un capitolo fondamentale nella storia artistica di MBD. Quello che Shara porterà in tour è un vortice di fiati, vibrafono e synth, che rispecchia un’idea di musica capace di unire le persone, una musica per grandi spazi, non solo sale musicali e piste da ballo, ma caminetti e chiese, e prima di tutto una musica da marching band capace di coinvolgere e sollevare.
“Diamonds,” Shara sings, “so wild I cannot tame them / so shiny I cannot name them.”
Stephen Shore (1947)
Meeting Street, Charleston, South Carolina
1975, Abzug, printed 1980
Silberfarbstoffbleichverfahren, Silver dye bleach print
Albertina
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.
This photograph was published in the Illustrated Chronicle on the 14th of September 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.
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.
This photograph was published in the Illustrated Chronicle on the 21st of September 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.
This photograph was published in the Illustrated Chronicle on the 26th of August 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 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.
This photograph was published in the Illustrated Chronicle on the 13th of October 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 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.
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Uno straordinario concerto gratuito sotto le stelle de la Filarmonica della Scala, sotto la direzione di Riccardo Chailly, che vede come protagonista David Garrett.
Due milioni e mezzo di dischi venduti, una vera superstar del violino. La portata del successo di David Garrett è dovuta alla sua abilità di interpretare musiche che spaziano dai generi più diversi, da Vivaldi agli Aerosmith, da Beethoven ai Metallica.
Il concerto speciale in Duomo è all'insegna della musica classica: in scaletta l'ouverture del Guglielmo Tell di Rossini e I Vespri Siciliani di Verdi, e sinfonie di Paganini e Brahms.
David Garrett, nome d'arte di David Bongartz, è un violinista e compositore tedesco-statunitense. Particolarmente apprezzato come musicista da Zubin Mehta e Daniel Barenboim, suona un violino Stradivari e un Guadagnini.
Si è fatto conoscere dalla critica per il suo repertorio di musica rock adattato all'orchestra e, in particolare, al violino, che tende nelle sue cover a sostituire le chitarre di artisti quali Brian May, Angus Young, Slash, Kirk Hammett, Jimmy Page o Kurt Cobain, ma anche le voci, come quelle di Axl Rose o Michael Jackson. In modo analogo, accompagnato da chitarre e batterie, ha portato celeberrimi brani classici a tonalità più rock.
Riccardo Chailly, milanese, ha studiato presso i Conservatori di Perugia, Roma e Milano, perfezionandosi in seguito nei corsi estivi di Siena con Franco Ferrara. Dal 1982 al 1989 è stato Direttore Musicale della Rundfunk - Sinfonieorchester di Berlino e dal 1983 al 1989 Direttore Principale Ospite della London Philharmonic Orchestra.
Claudio Abbado fonda la Filarmonica della Scala insieme ai musicisti scaligeri nel 1982 con l’obiettivo di sviluppare il repertorio sinfonico nel contesto della tradizione operistica del Teatro. L’anno seguente la Filarmonica si costituisce in associazione indipendente. Dal 2006 si intensifica la collaborazione con il Direttore Musicale del Teatro alla Scala Daniel Barenboim e con Riccardo Chailly, Daniel Harding, Daniele Gatti e Valery Gergiev.
Foundation 15, published in January 1979 just after the Science Fiction Foundation moved their 10,000 items to a larger premises.
'Item Eighty-Three' was a one-off, an update of item forty-three which covered Brian's output up to 1962.
This photo was published on Austrianinline on 080904. I took it at the Austrianinline tour in Klagenfurt. Andreas Wagenblast is risking quite a lot with this True Spin Backside Savannah he did in a line!
Canon Speedlite 540 to the left against the wall
Canon Speedlite 430 from front next to the wall
Triggered with Ebay PT-04 and RF-04
Published in Crochet With Bits & Pieces (DRG)
A beginner-level pattern.
A few of these strands tied around the waist make a good summer belt.
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Si ritrovano dopo tanti anni dalle celebri esibizioni sullo stesso palco, ed iniseme a Miles Davis, due giganti della musica.
In una carriera che abbraccia tre decadi e una discografia che include più di una dozzina di registrazioni eclettiche e innovative, Mike Stern, con cinque nominations ai GRAMMY, si è affermato come uno dei principali chitarristi e compositori jazz e jazz-fusion della sua generazione.
Bostoniano di nascita, allievo di Pat Metheny, può vantare una carriera di tutto rispetto iniziata sul finire degli anni ’70 in cui spiccano le collaborazioni con i Blood Sweet & Tears, Billy Cobham e, il sassofonista Billy Evans e, fondamentale quella con Miles Davis nei cui complessi suona ininterrottamente dal 1982 al 1985, apparendo su tre album: “Man with the Horn”, “Star People” ed il live “We Want Miles”.
Aveva solo 22 anni quando Bill Evans incontrò Miles Davis, con cui incise “The man with the horn” e “Star people”. Nel suo curriculum vanta la militanza nella Mahavishnu Orchestra del «mostro sacro» John McLaughlin tra il 1984 e il 1986 e, negli anni successivi, le session con Herbie Hancock e Gil Evans, e stelle del rock come Mick Jagger e Andy Summers, e soprattutto un progetto solista che va avanti ininterrottamente da oltre un quarto di secolo e che, nel suo complesso, è diventato terreno di incontro e laboratorio di grandi talenti come Victor Bailey; Darryl Jones e Dennis Chambers.
Maestro della fusion, crea negli ultimi anni il progetto Soulgrass, una miscela di jazz elettrico e di bluegrass, il folk dell’America di inizio Novecento.
Mike Stern chitarra
Bill Evans sax
Tom Kennedy basso
Dave Weckl batteria
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Lee Ritenour è uno degli interpreti più significativi della chitarra jazz dei nostri tempi. Influenzato artisticamente dai grandi maestri (Wes Montgomery, Joe Pass e Barney Kessel), Ritenour ha cominciato da giovanissimo con i Mama’s & Papa’s per poi unirsi come session man ad artisti jazz di indiscusso spessore come Herbie Hancock e Sonny Rollins, fino a formazioni più vicine al rock come Steely Dan e Pink Floyd. Fortemente influenzato negli anni ’80 dalla musica brasiliana, i suoi lavori gli sono valsi numerosi riconoscimenti e nomination ai Grammy.
"Rit" ha recentemente pubblicato un progetto ambizoso e premiato da un grande successo: una vera festa della chitarra, con un cast mai visto, dal titolo "6 STRING THEORY". L'album è una sorta di enciclopedia della chitarra moderna, dal jazz al rock passando per il blues e la fusion: il tutto a opera dei massimi esponenti dei rispettivi generi. Ritenour suona in quasi tutti i brani, mostrando la consueta versatilità e competenza: fa impressione sentirlo a proprio agio nel passare dall'aggressivo brano di apertura con John Scofield al jazz con Pat Martino, al blues elettrico con Jonny Lang e il grande veterano B.B.King, al rock con Slash. Nell'album compare, insieme ad una rosa incredibile di solisti, anche il grande George Benson.
Dave Grusin è un famoso compositore di colonne sonore cinematografiche, pianista jazz e arrangiatore.
È autore di più di cento colonne sonore. Ha vinto l'Oscar per Milagro.
Assieme a Larry Rosen, fonda nel 1982 la GRP Record, etichetta di musica jazz. Nel 1994 l'etichetta viene ceduta alla MCA Records, che poi cambierà nome in Universal Music Group. Nel 1997 Grusin e Rosen fondarono una nuova etichetta, la N2K Encoded Music, specializzata in smooth jazz.
Lee Ritenour - chitarra
Dave Grusin - piano/tastiere
Tom Kennedy - Basso
Sonny Emory - Batteria