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New Transdev Harrogate '36' Gemini 3 BL65 YYR 3618
Oi Dave, There's a bus on Briggate! Ooh it's fancy in't it.
New Transdev Harrogate '36' Gemini 3 BL65 YYR 3618 'Riding Redefined'
Fleet: 3618
Reg: BL65 YYR
Operator: Transdev Harrogate
Route: 36 - 'Riding Redefined'
Depot: Starbeck
Type: Wright Gemini 3/ Volvo B5TL
Location: Leeds Briggate
Notes: New to H&D 2016, first day in Service 24/01/16. Free Wi-FI, 2+1 seating upstairs and USB Charging Points.
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West Yorkshire Bus Spotter, WYBS
there's a lot of controversy regarding dimensions of GOD... among religions...
Some says Allah is invisible, cannot be defined into dimensions...
Some portray god Through iconic sculptures...
The religions are different, the tales and rituals varies...
But they all do believe... believe in GOD...
All describes evil as the misguiding power...
This evil influence human beings to commit sin...
sins are always sinful... whatever the religion is...
Some poetry deities killing the evil, the evil in human face...
And what's the color of his blood?
It's red and obviously red... because evil power always lies inside human...
Though Hinduism define them through sculptures.... Besides other religions like Islam, Christians depict the same canon in different diction...
(An artist is coloring the sculpture of "Hindu Goddess Durga killing Evil Ashur" for upcoming rituals)
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Photo Taken with Canon EOS 1D MkIIN & EF 50mm F1.8II
Taken From Alkoron Road, Chittagong, Bangladesh.
Copyright: Abdul Aziz Apu
Contact: apu029@gmail.com
neel, this time no fakibazi, no pulling out from the archive.
This one is fresh from the greens=)
isn't she cute?
Lamborghini is redefining the super sports car with the cutting-edge technology in the new Sesto Elemento. Thanks to its advanced carbon-fiber design, the Sesto Elemento has
an overall curb weight of just 2,202 lbs (999 kilograms). Couple this with a V10 serving up an amazing 570 hp, and the Sesto Elemento is able to reach 62 mph in a blistering 2.5 seconds.
The name Sesto Elemento refers to the periodic table, and pays homage to the sixth element, carbon. Carbon-fiber reinforced plastics (CFRPs) are an exciting part of Lamborghinis technological expertise, and are integral to the Sesto Elementos rapid-fire acceleration. The super sports car brand from SantAgata Bolognese has mastered the complete CFRP process across a range of technologies, from 3-D design through simulation, validation, production and testing.
The Sesto Elemento is finished in a new, matte-shimmer clear coating, so the CFRP structure can be seen throughout. Yet the
Sesto Elemento is not just black; during the final stage of production the carbon fiber parts receive a newly developed and patented coating. Nanotechnology makes it possible to add fine crystals with a red shimmer. Surfaces with this finish glow red to an outstanding effect.
With razor-sharp handling, massive braking power and voracious speed, the extremely lightweight Sesto Elemento creates a brand new dimension in super sports car driving.
from the concours' program
Traditionally, the equinox describes the point at which the sun crosses the plane of the earth’s equator, resulting a day and night of equal length. But when the last rays of the setting sun fall across the meadow, they set the pasture ablaze, constraining its equine inhabitants to cast dark shadows, like the black holes at the centers of galaxys, redefining the equinox. #Wildhorses
Witold Waszczykowski, Minister of Foreign Affairs of Poland, speaking during the session: Redefining Europe's Security Agenda, at the Annual Meeting 2017 of the World Economic Forum in Davos, January 19, 2017
Copyright by World Economic Forum / Ciaran McCrickard
Witold Waszczykowski, Minister of Foreign Affairs of Poland, speaking during the session: Redefining Europe's Security Agenda, at the Annual Meeting 2017 of the World Economic Forum in Davos, January 19, 2017
Copyright by World Economic Forum / Ciaran McCrickard
Antonis Mor (Utrecht, 1512 – Antwerp, before 1576)
Sir Thomas Gresham (1519–1579) was the leading English merchant in Antwerp and also the English king’s financial agent in the Low Countries. He and his wife, Anne Fernely, are expensively, yet soberly dressed. Their status is also evident in their choice of painter: Anthonis Mor was one of the pre-eminent portraitists of his day and court painter to the Spanish king.
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Realism or Artifice?
To a modern viewer accustomed to the precision of photography, this portrait of Sir Thomas Gresham, painted by Anthonis Mor around 1560–65, seems startlingly lifelike. The sharpness of the gaze, the finely textured beard, the subtle gradations of flesh, and the liquid sheen of black satin all contribute to an effect that reads almost as a 16th-century photograph. But this resemblance to photographic realism is, in fact, the result of extraordinary painterly artifice.
Mor was one of the leading portraitists in Habsburg Europe and court painter to Philip II of Spain. His work exemplifies the height of Renaissance court portraiture, not just in its finish but in the way it encodes social rank, intellect, and restraint. Gresham is shown in sumptuously sober attire—black satin with a fine ruff and velvet cap—conveying immense wealth and self-discipline, virtues prized in a merchant-banker who served the English crown abroad.
What may look today like realism is actually a careful construction of authority and presence. The lifelike rendering of Gresham’s skin, particularly around the eyes and cheeks, is balanced by the nearly abstract perfection of his garments—broad, glossy planes of black with minimal visible brushwork. The gleam of fabric and crisp edge of the ruff are not merely decorative but emblematic: they speak of control, hierarchy, and Protestant sobriety.
In Mor’s hands, portraiture becomes a theater of social identity. While modern photorealism might capture a fleeting moment, this painting offers something else entirely: a carefully composed illusion of timeless gravitas, engineered not by a lens but by a painter trained to capture the aspirations of Europe's ruling and mercantile elite.
Anthonis Mor (also known as Antonio Moro) was precisely admired in his own time for what we might now call a hyper-realistic style, though in the 16th century it was seen through the lens of lifelikeness, presence, and majesty, not “photorealism” per se.
Compared with lesser or more provincial artists of the time—whose portraits might flatten features, muddle anatomy, or lack psychological engagement—Mor’s work stood out as startlingly vivid, even uncanny. His patrons valued this not just as a feat of craftsmanship but as a tool of status, diplomacy, and display.
What distinguished Mor was not just technical virtuosity, but the illusion of animation in his sitters:
The wetness of the eye,
The subtle movement in the mouth or beard,
The luminosity of flesh beneath skin,
And the finely observed materiality of textiles—especially black silk, a notoriously difficult surface to paint convincingly.
These weren’t simply signs of manual dexterity. They suggested that the subject was alive, powerful, and psychologically present—crucial qualities for royal and diplomatic portraits in an age when a painting might stand in for the sitter in international negotiations.
Philip II of Spain retained him as a court painter—testimony to how essential his brand of realism was to imperial image-making.
He was sent across Europe to paint proxy portraits of marriage candidates and diplomats, where capturing a faithful likeness was not just aesthetic—it was political.
Merchants like Thomas Gresham commissioned him to display not only their wealth but their worldliness—sitting for Mor signaled participation in the elite visual culture of Habsburg Europe.
Compared to Lesser Artists:
Where lesser artists might produce stiffer, more symbolic, or less technically integrated portraits, Mor’s approach fused:
Italianate anatomical modeling,
Netherlandish detail and texture, and
A cool psychological detachment that gave his sitters dignity and inscrutability.
This combination is what made his portraits seem so real—and so admired. His realism wasn’t photographic in the modern sense, but it was the highest form of visual truth available to his age, and elite patrons sought it out precisely because it distinguished them from the merely wealthy or provincial.
So yes: Mor was very much a celebrity artist of realism in his day, and rightly seen as a master of visual credibility, centuries before photography redefined what realism meant.
The text is a collaboration with Chat GPT.
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About Panel-to-Canvas Transfers
While no precise global count exists, thousands of Renaissance and earlier panel paintings were irreversibly altered or lost due to 18th- and especially 19th-century panel-to-canvas transfers—a practice once considered state-of-the-art but now viewed as damaging and often tragic.
️ Known Numbers and Patterns
In Russia, Alexander Sidorov alone reportedly transferred at least 51 panel paintings between 1860 and 1865, and many more afterward. His brothers Nicolai and Mikhail also performed numerous such transfers.
In Italy and France, hundreds of paintings underwent this process, particularly during the Napoleonic era and later institutional reforms, as museums sought to stabilize or standardize formats.
The Hermitage, Louvre, and even private collectors in Britain and Germany commissioned this type of work throughout the 19th century.
In some major European collections (e.g., the Uffizi, the Prado, or German princely collections), curators today still deal with the consequences of 19th-century transfers—many of which were unrecorded at the time.
⚠️ Destruction Rates and Risks
Hundreds of works were lost entirely in failed transfers: if the ground layer didn't separate cleanly, or the paint cracked during wood removal, the image could be severely damaged or obliterated.
Even "successful" transfers often lost original surface texture, subtle brushwork, and structural integrity. The wood panel—part of the original artifact—was usually discarded.
Gilded backgrounds, incised halos, and tooling (common in early Italian panels) were often flattened or destroyed in the process.
In many cases, facings were poorly removed, pulling off original paint.
🔄 Changing Attitudes
By the early 20th century, institutions like the National Gallery in London and the Louvre had begun to abandon the practice, recognizing the long-term harm. Today, conservation ethics prioritize:
Preserving original supports
Minimally invasive stabilization
Full documentation
Reversibility of treatments
In Summary:
It is not hyperbole to say that the panel-to-canvas transfer craze of the 19th century permanently altered the history of Renaissance art, with thousands of paintings affected, hundreds lost or disfigured, and countless more stripped of their original material integrity. It was a historic act of preservation that, with modern hindsight, reads more like sanctioned destruction—driven by good intentions and bad methods.
The text is a collaboration with Chat GPT.
"Cristina Iglesias has been very interested in redefining sculpture as an expanded field that leads to a questioning of the object in its relationship with space and architecture. Her sculptures integrate with the architecture of the places they occupy, and thus play with the interweaving of reality and appearances.
The exhibition organised by the Museo Reina Sofía, which includes over fifty pieces, is the largest retrospective of this artist that has been held to date, and it covers her earliest work up through her most recent creations. Her artworks generate suggestive fictional worlds and set aside all utilitarian purposes, to become settings conducive to reflective observation. Intersections between the natural world and the cultural world are frequently seen in her work, with shadows, cascades, whirlpools and foliage, in which the idea of refuge is a recurring metaphor.
The artist has displayed unceasing interest in a wide range of materials, such as alabaster, tapestry, glass, resin, aluminium, bronze, iron, cement, wood, concrete… Even water makes an appearance as yet another sculptural element, playing a leading role in some of her public projects, which are discussed in the series of videos entitled Guided Tours. The exhibition is completed by a review of her serigraphs on copper and cloth."
Towards the Bottom by Cristina Iglesias in the Metonimia exhibition at Reina Sophia
www.museoreinasofia.es/en/multimedia/interview-cristina-i...
Apologies for the suboptimal framing on this one, I think my phone decided to randomly delay starting its recording by a second or two so this was the best I had. Transdev's Harrogate Bus Company operated Volvo B5TL Wright Eclipse Gemini 3 Stealth BL65 YYR - 3618 - is pictured leaving Leeds Bus Station with a service on their flagship route 36 towards Harrogate.
This vehicle wears the Route 36 Riding Redefined livery which looks brilliant on these buses! It's one of 16 of the type ordered new for this service, 13 of which are on 65 plates like this one while the other three came later and are on 67 plates. These have all since moved on to the Keighley Bus Company following the arrival of new electric deckers for the 36.
Date Taken: October 14th, 2024
Device Used: iPhone 12 Pro Max
Date Uploaded: November 13th, 2025
Upload Number: 1916
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U+S – Pune – June 2015
Copyright @ Anand Jadhav Photography
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Turkey redefining 'happy'.
I haven't posted any of the ring shots I've been taking this year (except in my slideshows), but I've been having a lot of fun with them. Both Christina and Sebastian are iPhone fanatics, so this seemed perfect to me. I took a few minutes during dinner to put the custom dock together.
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so, last week i posted this shot of a purple wall and some rusty metal. then scouts_swag saw it, and decided to use the colors to create a new colorway for yarn... and then she sent me some! i am so fucking impressed. go check out her stuff at www.scoutswag.com. how can you not love a gal who names a color "snakes on a skein"? seriously.