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“Minimalism is the intentional promotion of the things we most value and the removal of anything that distracts us from it.” Joshua Becker, Simplify
"Live simply that others might simply live." ~Elizabeth Ann Seton
Have a great Friday....and thanks for all your visits!!!! Will catch up soon :-)
© Darlene Bushue - All of my images are protected by copyright and may not be used on any site, blog, or forum without my permission.
An image from the Achieves, reprocessed with Photoshop CC 2024
I would be most grateful if you would refrain from inserting images, and/or group invites; thank you!
To view more of my images, taken Chartwell, please click "here" !
Chartwell was the principal adult home of Sir Winston Churchill.
Churchill and his wife Clementine bought the property, located two miles south of Westerham, Kent, England, in 1922. Extensive renovations simplifying and modernising the home were undertaken directly, completely transforming it when complete. When it became clear to the Churchills in 1946 that they could not afford to run the property, a consortium of wealthy businessmen organised by Lord Camrose purchased the estate. The arrangement was that for payment of nominal rent both Sir Winston and Lady Churchill would have the right to live there until they both died, at which point the property would be presented to the National Trust. When Sir Winston died in 1965, Clementine decided to present Chartwell to the National Trust immediately. The site had been built upon at least as early as the 16th century, when the estate had been called 'Well Street'. Henry VIII is reputed to have stayed in the house during his courtship of Anne Boleyn at nearby Hever Castle. The original farmhouse was significantly enlarged and modified during the 19th century. It became, according to the National Trust, an example of 'Victorian architecture at its least attractive, a ponderous red-brick country mansion of tile-hung gables and poky oriel windows'. The estate derives its name from the well to the north of the house called 'Chart Well'. 'Chart' is an Old English word for rough ground. The highest point of the estate is approximately 650 feet above sea level, and the house commands a spectacular view across the Weald of Kent. This view 'possessed Churchill' and was certainly an important factor in persuading him to buy a house of 'no great architectural merit'. Churchill employed architect Philip Tilden to modernise and extend the house. Tilden worked between 1922 and 1924, simplifying and modernising, as well as allowing more light into the house through large casement windows. He worked in the gently vernacular architecture tradition that is familiar in the early houses of Edwin Lutyens, a style stripped of literal Tudor Revival historicising details but retaining multiple gables with stepped gable ends, and windows in strips set in expanses of warm pink brick hung with climbers. Tilden's work completely transformed the house. Similarly to many early 20th century refurbishments of old estates, the immediate grounds, which fall away behind the house, were shaped into overlapping rectilinear terraces and garden plats, in lawn and mixed herbaceous gardens in the Lutyens-Jekyll manner, linked by steps descending to lakes that Churchill created by a series of small dams, the water garden where he fed his fish, Lady Churchill's Rose garden and the Golden Rose Walk, a Golden Wedding anniversary gift from their children. The garden areas provided inspiration for Churchill's paintings, many of which are on display in the house's garden studio. In 1938, Churchill was pressed to offer Chartwell for sale for financial reasons, at which time the house was advertised as containing 5 reception rooms, 19 bed and dressing rooms, 8 bathrooms, set in 80 acres with three cottages on the estate and a heated and floodlit swimming pool. He withdrew after industrialist Sir Henry Strakosch agreed to take over his share portfolio (which had suffered heavily from losses on Wall Street) for three years and pay off heavy debts. During the Second World War, the house was mostly unused. Its relatively exposed position, in a county so near across the English Channel to German occupied France, meant it was potentially vulnerable to a German airstrike or commando raid. The Churchills instead spent their weekends at Ditchley, Oxfordshire until security improvements were completed at the prime minister's official country residence, Chequers, in Buckinghamshire. The house has been preserved as it would have looked when Churchill owned it. Rooms are carefully decorated with memorabilia and gifts, the original furniture and books, as well as honours and medals that Churchill received. The house is Grade I listed for historical reasons. The gardens are listed Grade II.
The property is currently under the administration of the National Trust. Chartwell was bought by a group of Churchill's friends in 1946, with the Churchills paying a nominal rent, but was not open to the public until it was presented to the nation in 1966, one year after Churchill's death.e of Winston Churchill
Just like the setting so I reduced the noise and used a smart blur to simplify and added a watercolor filter to make it into a digital painting.
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Ink and colour on paper, hanging scroll; 137 by 66 cm.
Chang Dai-chien (simplified Chinese: 张大千; traditional Chinese: 張大千; pinyin: Zhāng Dàqiān; Wade–Giles: Chang Ta-chien) was one of the best-known and most prodigious Chinese artists of the twentieth century. Originally known as a guohua (traditionalist) painter, by the 1960s he was also renowned as a modern impressionist and expressionist painter. Chang is regarded as one of the most gifted master forgers of the twentieth century.
Born in a family of artists in Neijiang, Sichuan, China, he studied textile dyeing techniques in Kyoto, Japan and returned to establish a successful career selling his paintings in Shanghai.
Then Governor of Qinghai, Ma Bufang sent Chang to Sku'bum to seek helpers for analyzing and copying Dunhuang's Buddhist art.[1]
Due to the political climate of China in 1949, he left the country and resided in various places such as Mendoza, Argentina, São Paulo and Mogi das Cruzes, Brazil, and then to Carmel, California, before finally in 1978 settling in Taipei, Taiwan.[2][3]
A meeting between Chang and Picasso in Nice, France in 1956 was viewed as a summit between the preeminent masters of Eastern and Western art. The two men exchanged paintings at this meeting.[2]
Chang's early professional painting was primarily in Shanghai. In the late 1920s he moved to Beijing where he collaborated with Pu Xinyu.[4] In the 1930s he worked out of a studio on the grounds of Wangshi Yuan in Suzhou.[5] In 1940 he led a group of artists in copying the Buddhist wall paintings in the caves of Mogao and Yulin. In the late 1950s, his deteriorating eyesight led him to develop his splashed color, or pocai, style.[4]
Forgeries
Chang's forgeries are difficult to detect for many reasons. First, his ability to mimic the great Chinese masters:
So prodigious was his virtuosity within the medium of Chinese ink and colour that it seemed he could paint anything. His output spanned a huge range, from archaising works based on the early masters of Chinese painting to the innovations of his late works which connect with the language of Western abstract art.[6]
Second, he paid scrupulous attention to the materials he used. "He studied paper, ink, brushes, pigments, seals, seal paste, and scroll mountings in exacting detail. When he wrote an inscription on a painting, he sometimes included a postscript describing the type of paper, the age and the origin of the ink, or the provenance of the pigments he had used." Third, he often forged paintings based on descriptions in catalogues of lost paintings; his forgeries came with ready-made provenance.[7]
Chang's forgeries have been purchased as original paintings by several major art museums in the United States, including the Museum of Fine Arts, Boston:
Of particular interest is a master forgery acquired by the Museum in 1957 as an authentic work of the tenth century. The painting, which was allegedly a landscape by the Five Dynasties period master Guan Tong, is one of Zhang’s most ambitious forgeries and serves to illustrate both his skill and his audacity.[8]
James Cahill, professor emeritus of Chinese art at the University of California, Berkeley, has claimed that the painting "The Riverbank," a masterpiece from the Southern Tang Dynasty, held by the New York Metropolitan Museum of Art, is likely another Chang Dai-chien forgery.[9]
Museum curators are cautioned to examine Chinese paintings of questionable origins, especially those from the bird and flower genre with the query, "Could this be by Chang Dai-chien?"[8] Joseph Chang, curator of Chinese art at the Sackler Museum, suggests that many notable collections of Chinese art contains a forgery by the master painter.[9]
I made a product box and tested it out using this old bold and washer. The picture was good but boring so I decided to have some fun using some Topaz plugins I recently purchased. This is using Simplify.
Liu Ye (simplified Chinese: 刘野; traditional Chinese: 劉野; pinyin: Liú Yě; born in 1964) is a Beijing-based contemporary Chinese painter known for his bright-hued paintings of childlike female figures, his favorite cartoon character Miffy the bunny and works inspired by Piet Mondrian.[1] Liu Ye is part of a generation of artists who grew up during the Cultural Revolution. However, unlike most acclaimed Chinese contemporary art, his works have little political implications. Instead, he prefers to use a universal language to depict his inner world. His work has been exhibited extensively in China, Europe and the United States.
Liu Ye’s interest in Western art and his experience studying in Berlin distinguishes him from many of his contemporary Chinese artists who have turned their art as a weapon against the Communist Regime after the Tiananmen Square protest in 1989. As the art historian Pi Li says,"The major difference between him and his contemporaries was that he did not go through the period of rage around 1989 [following the Tiananmen Square massacre], nor did his works contain elements of 'collective' images." [5] Around the same period of time, Liu Ye was witnessing the change in Europe as the Berlin Wall came down, touring Europe’s art museums and studying masters of Western modernism like Paul Klee and Johannes Vermeer.[6] Instead of focusing on his Chinese origin, Liu Ye embraces some more universal themes like beauty, feeling and hope in his works.[7] As he puts it, " Seeking beauty is the last chance for human beings. It is like shooting at the goal; it arouses an emotion that is wild with with joy." [8] By the time Liu Ye went back to China in 1994, his works were deeply influenced by German Expressionism, showing intense personal expression with an overall gloomy tone.[9] The works by Mondrian as a symbol and the Mondrian composition had already appeared in a lot of his work. Mirror, his self-portray, and the surrealism of René Magritte are other important indicators of his early work. During this period, Liu started to depict a little scenario in each of his work, which continues to be one of his recognizable styles. After 1994, as Liu Ye returned to Beijing, his style and subject matters changed with the environment. He started to portray himself more as a little boy than a young man as he did before. More female figures appeared. The settings of his painting moved from rooms to theatres where scenes he saw in China as a little boy, his childhood dream were depicted. Chorus, fleet and sailor boys were repetitive subjects portrayed during the period.[10] His preference for using primary colors can be traced to his childhood days in Beijing as well. “I grew up in a world of red,” he recalls, “the red sun, red flags, red scarves with green pines and sunflowers often supporting the red symbols.” [11] By 2000, Liu ye had gradually developed his own distinguishable style. From 2000, Liu ye moved his attention away from himself and started to portray figures he has interest in such as Zhang Ailing[disambiguation needed], Ruan Lingyu, Andersen, Little Mermaid, and so on. At the same time, he started to paint his favorite cartoon character Miffy the bunny as a reflection of himself.[12] Liu Ye fell in love with the cartoon character created by Dick Bruna immediately after he first saw her while he was living in Amsterdam because he saw himself in the bunny, who is seemingly simple but actually extremely intelligent.[13] The Mondrian symbol returned to his work, usually portrayed together with a little girl or boy, sometimes with Miffy as well. Around 2004 and 2005, Liu Ye’s fairytale-like fantasy was replaced by a more mild and realistic style.[14] An adolescent girl is featured repetitively. Some paintings depict her engaging in rather simple activities such reading or embarking on a journey while others contain subtle sexual implications.[15] Vermeer’s influence became increasingly obvious in those works with the evidence of his pursuit of the perfection of human beauty.[16]
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This capture was not of sufficient quality to post as a photo. But, a little adjustment with Topaz and now it looks like art! LOL I guess I just hated to waste what should have been a great shot. View larger to get the full effect if you have the time.
Visited my parents in my home town in the north of Sweden this weekend. This is where I typically take a walk when I am there visiting.
This one for sure looks better on B l a c k M a g i c
Todays challenge for the daily shoot was Experiment in the digital darkroom today. Make a photo and post-process it any way you like to unleash your creativity.
So it was a nice day here and we had some things we had to do, but by about 2:30 we were done so decided to jump in the car and go somewhere we hadnt been before and ended up in Snug Harbor Park on Staten Island a lovely quaint little park which we enjoyed a leisurely stroll around, and this is one of the shots I got today
This shot I played around with in Topaz Simplify, the shot in the first comment is how I would normally have done this shot
ODC- Wave for 9 November. I used Topaz Simplify 4 to change what was a black and white cushion pattern.
© Saira Bhatti
This is what these cherry blossoms induced in my thoughts while walking among them.....“As you simplify your life, the laws of the universe will be simpler; solitude will not be solitude, poverty will not be poverty, nor weakness weakness.” ~ Henry David Thoreau #Canon #Photography
ODC, March 9, 2022, B-SIDES. The B-side of the Leica M-10D, no LCD, no video. The LCD and assortment of buttons are replaced by exposure compensation "dial", just like the M7. The most "analog" experience I've ever had with a digital camera, opposite the F5's experience. Even includes a "film advance" lever.
Hasselblad 500 C/M
Zeiss Planar 80mm f/2.8 C
Fomapan 100
Developed with HC110 dilution B
I try to stop the world from moving so fast
Try and get a grip on where I'm at
To simplify this daisy life,
And get my feet in the grass
I'm going back to the Earth
Well, the higher we go, the taller we grow
We lose sight of our land below
I've been wanting to make a "plus quilt" forever! This pattern is from the Simplify book by Camille Roskelly. Fabrics are mostly Curio by Basic Grey, with other Moda fabrics mixed in.
Re-worked with Topaz Simplify
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A Distinct face @ the Sindur Khela Celebration of Durga Puja'08 At the Baghbajar Puja Pandal.
Durga puja is celebrated in the autumn months of September/October. According to the Hindu solar calendar, it falls on the first nine days of the month of Ashvin. It is the time of the year when the weather is at its moderate best giving the air a festive touch. Durga puja is the most favorite festival of the people of eastern India, especially the people of West Bengal. This festival is celebrated all over India, though with differing rituals, for nine days. It is also called Navratri in some parts of the country.
The last day coincides with Dussehra. Idols are taken away in large processions for immersion in water. "Sindur Khela" (Vermillion game) is a major event of Dashami. First, the married women greet the Mahadevi for one last time, accompanied by rituals. They do aarati, but ready-to-chew paan-leaves in the hands of the goddess, put sweets on the lips of the idol, wipe out eyes as one does to wipe off the tears when leaving a loving place. This event is called "Durga Baran". They apply vermilion to the Goddess's head and to each other and greet each other with sweets.
Before "Ma" leaves, married women of all age groups visit the nearby pandal to take part in an emotional ritual where vermilion (sindhoor khela), is applied to the parting of each other's hair. The loha (the metal and gold bracelet given to the bride by the mother-in-law) and pala/sannbha (the red and white bangles worn by many married Bengali women) are also touched up. Sindhoor is applied by the women and the priest on the forehead of the goddess. A mother-in-law gives an iron bangle interlaced with gold or silver to a new bride as the first gift, a token of suhag, which the daughter-in-law wears all her life. During Durga puja, when idols are being taken away for immersion, sindoor is taken from in front of the idols and applied to the parting in the hair by married women. What is left on the fingers is applied to this iron and gold (silver) bangle, and is known as touching the loha. The ritual of applying sindoor can also take place at home when Bijoya Dashami is celebrated with family members.
No plastic wrap effect, no PS comic book filter, and no b&w conversion like yesterdays post. This is what I saw through my camera and I like the tones, texture and shadows on this Pine tree.
The rain stopped for a little bit and the sun shone, I dashed outside as the warm light hit my back garden for a few minutes!
I have just started the Kim Klassen ecourse Beyond Layers Day 2 was entitled Just Enough and the task for the week was "say more... with less..."
[One coloured layer soft light @15% (I sampled a section from the left hand side), I added a layer mask and removed the colour from the plant.
Two layers of Kim's awaken texture, one multiply @ 15% and the other soft light @ 30%]
Come check out my BLOG and let me know what you think, I would would love to see you over there too.
Let me know what you think about the processing, I would love some constructive feedback!?