View allAll Photos Tagged Solidity
Switzerland to Mumbai, Apr 2012: Am I on cloud nine or is my head in the clouds? Depends on whether this view is from a plane going to your vacation or coming back from it. Either way, the view of infinite fluffy clouds as far as the eye can see from your window seat, always evokes a world of wonder. The invention of flying, the imagery of heaven and god being in the clouds, the vastness of matter, the solidity of gas, and the possibility of turbulence.
Alexander Calder American, 1898-1976
Sphérique I, 1931
Wire, brass, wood, and paint
Whitney Museum of American Art, New York, purchase, with funds from the Howard and Jean Lipman Foundation, Inc., 1970, 70.12
In Sphérique I, Alexander Calder investigates the nature of matter and volume. The solidity and density of the small solid sphere is contrasted with the volume of air that the circular and semicircular wires only partially encompass. Similarly, the painted black border on the base frames only two sides of the white square. Calder seems to encourage viewers to complete these forms in their imagination. Both Sphérique I and Croisière were included in Calder's first exhibition of abstract sculptures in 1931.
Juventus NEWS :
Max Allegri assures Juventus ‘will learn from these mistakes’ after a home defeat to Empoli, but cannot keep thinking about Cristiano Ronaldo. ‘We must play as a team, not try to resolve things as individuals.’
It was the worst possible way for the Bianconeri to begin the new post-Cristiano Ronaldo era, losing 1-0 at home to newly-promoted Empoli, and also Allegri’s first game back at the Stadium after a two-year absence.
Only Federico Chiesa really tested Guglielmo Vicario, who didn’t make a save in the second half, as Leonardo Mancuso got the only goal of the game and Juve were jeered off the pitch.
“The lads had started strong, they conceded at the first mistake playing out, then got too hasty. We must have the patience to take it calmly, play as a team and not try to resolve things as individuals,” Allegri told DAZN.
Juve have just one point from the first two Serie A rounds, having drawn 2-2 at Udinese after taking a 2-0 lead.
Serie A Juventus 0-1 Empoli: Mancuso shocks Allegri
“We need to work on our solidity, but these two slip-ups will inevitably do us good. This is a strong squad, it has values and gradually they will emerge.
“Empoli leave a lot of spaces on the wings, but the things we really did badly were technical errors, because we were frenetic. We can’t assume we will take the lead and control every game, we need the calm that a great team has, knowing we can overturn it.”
It
fistade.com/juv-news-allegri-juventus-will-learn-from-emp...
Seen as an extension to the London Road Minton factory from the 1950, the brick built frontage displays an air of modernist solidity. Symmetry and concrete surrounds to the windows are indicative of its mid century design. It was demolished to make way for a Sainsbury's superstore.
Harp strings, other ethereal maunderings,
Brooklyn Bridge has been poet's meat
ever since gargantuan beginnings
made Walt Whitman's ferry obsolete.
Here, I do not sense Hart Crane's stringed music,
only lofty solidity of span,
unpretentious brawn, not at all mystic,
linking workday Brooklyn to Manhattan.
Golden clock glows, important as cables,
crescent moon is a star in its own right,
four shadowy humans are quite able
to draw our eyes toward windows of the night.
In this space there is nothing ominous,
all stands serene and softly luminous.
The 2014 Serpentine Pavilion by Smiljan Radić
A semi-translucent, cylindrical structure that resembled a shell and rested on large quarry stones, the 2014 Pavilion occupied 350 square metres of the Serpentine’s lawn...Designed as a flexible, multi-purpose social space, the Pavilion had a café sited inside.
[Serpentine Galleries]
The shell is made from fibreglass sheets 10mm thick, settled on 60 tonnes of rocks.
"I wanted to make it look like it came from the hands of a giant,..In the tradition of the English garden folly, it should be something that surprises the public and draws their attention, providing a spatial experience that you don't get every day."
Smiljan Radić
During the day, this rough-cast blob, which was made in Yorkshire, has the solidity of a pebble. But once inside, or when seen by night, it glows with a yellowish tinge, its fibrous surface giving it the look of shed skin. It is jagged and smeary, a texture offset by fine steel wires that hang a zigzagging lighting rail through the space, and an angular window, sharply sliced out to capture views of the lake beyond. It is a careful assembly of things that are both ragged and refined, contrasting roughly hewn with smoothly polished.
Oliver Wainwright, The Guardian
Castelvecchio Bridge
The Castel Vecchio Bridge (Italian: Ponte di Castel Vecchio) or Scaliger Bridge (Italian: Ponte Scaligero) is a fortified bridge in Verona, northern Italy, over the Adige River. The segmental arch bridge featured the world's largest span at the time of its construction (48.70 m).
History
It was built (most likely in 1354-1356) by Cangrande II della Scala, to grant him a safe way of escape from the annexed eponymous castle in the event of a rebellion of the population against his tyrannic rule. The solidity of the construction allowed it to resist untouched until, in the late 18th century, the French troops destroyed the tower on the left bank (although it probably dated from the occupation of Verona by the Visconti or the Republic of Venice).
The bridge was however totally destroyed, along with the Ponte Pietra, by the retreating German troops on April 24, 1945. A faithful reconstruction begun in 1949 and was finished in 1951, with the exception of the left tower.
Architecture
The bridge is in red brick in the upper part, as are all landmarks in Verona from the Scaliger era, and in white marble in the lower one. It includes three spans of decreasing length starting from pentagonal towers. The largest span, measuring 48.70 m, meant that the bridge featured at the time of its construction the world's largest bridge arch (the others measure 29.15 and 24.11 meters). The two pylons are 12.10 x 19.40 and 6.30 x 17.30 meters respectively.
The bridge has a total length of 120 m.
Legends
According to a legend, Cangrande awarded the designer of the bridge, Guglielmo Bevilacqua, with a sword which had belonged to Saint Martin.
Another legend tells that the designer presented himself at the inauguration riding a horse, ready to flee away in case the bridge had crumbled down.
300 North LaSalle, 2009.
"Because the new 60-story office building called 300 North LaSalle is very glassy and doesn’t flaunt a wild, attention-getting shape, many passersby are likely to dismiss it as just another glass box. That would be dead wrong. While this riverfront skyscraper has significant shortcomings, it does enough things well to come off as a positive addition to the cityscape.
The architects believe in modernism, with its penchant for abstract shapes, industrial materials and form following function. Yet they also are influenced by the idea of contextualism, which argues that every building should be tailored to its site. These sometimes-clashing ideas have shaped 300 North LaSalle.
But 300 North LaSalle is not one of those earnest, visual bores that have spawned a backlash against the green movement. Instead, with the help of a concrete-and-steel “core-and-outrigger” structure that is comparable to a skier balancing on poles, Pickard and Markese have crafted a thin, handsomely proportioned slab that rises with self-assured dignity. The architects richly articulate the slab with projecting stainless steel fins and anodized aluminum cables that resemble a tartan weave. Evoking the Art Deco towers of the 1920s, setbacks on the building’s flanks provide a sense of upward drive while a crown of stainless steel fins seeks (left) to etch a profile against the sky.
Unfortunately, when seen from a distance, 300 North LaSalle comes off as more big than bold.
The fins on its top are far less robust than early renderings showed, and the building’s setbacks are not vigorous enough to create a sculptural presence comparable to such Art Deco masterworks as the Palmolive Building at 159 E. Walton St. Nor does the skyscraper possess the structurally expressive panache of the gleaming Inland Steel Building, a postwar modernist gem at 30 W. Monroe St.
It’s neither fish nor fowl, lacking the building-as-mountain massing of Art Deco and the bare-boned muscle of Chicago School modernism."
Modernism.
325 North Wells, or Helene Curtis Building, also Helene Curtis Industries Headquarters, also Chase and Sanborn Coffee Warehouse1914.
"One of the most prominent Chicago School examples left on the river, this building exhibits a classic if modest form. Columns and spandrels are without ornamentation. The structure's charm lies in its honest expression of the simple steel frame that supports it. Its simple arrangement of base, shaft, and capital is unprepossessing but gives the building added presence. The use of modern glass in the 1984 renovation, highlights the solidity of this enduring reminder of Chicago's past.".
Chicago School.
Chicago, 2017
Built in 1847 at no. 161 Earl Street.
"This intentional or uninentional grouping of representative city residences (Kerr House, Fraser House and Machar House) is successful for several reasons. The land on which they are situated slopes slightly, adding variation in height. All, except for the additions, are of the same dimensions and bulk. The fenestration on the front elevations was originally the same and each had a string course across the front. The wide bracketed eaves and paired chimneys give each a combination of lightness and solidity. Sashes have been replaced in the lower storey at 161 Earl Street. The removal of vines and the restoration of the porch on 161 Earl have contributed to its embellishment. This residence was built for John Fraser and Catharine Mowat Fraser. It is the middle one in the group of three square bracketed houses on Earl Street. This is a two-storey, square, hammer-dressed limestone residence of three bays. The entranceway has a semi-circular archway finished with two row of voussoirs, one slightly recessed, and a fan-light. It was flanked by French doors with a transom. These have been replaced by fixed glazing, the transom being stained glass. A fretwork balcony (c. 1910) runs the length of the front elevation and is topped by a balustrade. This with the string course divides the upper and lower storeys. At the upper storey three pairs of French doors with vertical off-centre glazing bars open out onto the balcony. The hipped roof with wide bracketed eaves and a pair of brick chimneys capped with decorative stone, crown the building. There is a later addition to the west which is well set back from the front of the house. The stone has been painted grey." - info from the City of Kingston.
"Kingston is a city in Ontario, Canada, on the northeastern end of Lake Ontario. It is at the beginning of the St. Lawrence River and at the mouth of the Cataraqui River, the south end of the Rideau Canal. Kingston is midway between Toronto, Ontario, and Montreal, Quebec, and is also near the Thousand Islands, a tourist region to the east, and the Prince Edward County tourist region to the west. Kingston is nicknamed the "Limestone City" because it has many heritage buildings constructed using local limestone.
Growing European exploration in the 17th century and the desire for the Europeans to establish a presence close to local Native occupants to control trade led to the founding of a French trading post and military fort at a site known as "Cataraqui" (generally pronounced /kætəˈrɒkweɪ/ ka-tə-ROK-way) in 1673. The outpost, called Fort Cataraqui, and later Fort Frontenac, became a focus for settlement. After the Conquest of New France (1759–1763), the site of Kingston was relinquished to the British. Cataraqui was renamed Kingston after the British took possession of the fort, and Loyalists began settling the region in the 1780s.
Kingston was named the first capital of the United Province of Canada on February 10, 1841. While its time as a capital city was short and ended in 1844, the community has remained an important military installation. The city is a regional centre of education and health care, being home to two major universities, a large vocational college, and three major hospitals.
Kingston was the county seat of Frontenac County until 1998. Kingston is now a separate municipality from the County of Frontenac. Kingston is the largest municipality in southeastern Ontario and Ontario's 10th largest metropolitan area. John A. Macdonald, the first Prime Minister of Canada lived in Kingston." - info from Wikipedia.
Late June to early July, 2024 I did my 4th major cycling tour. I cycled from Ottawa to London, Ontario on a convoluted route that passed by Niagara Falls. during this journey I cycled 1,876.26 km and took 21,413 photos. As with my other tours a major focus was old architecture.
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The architects combined Gothic and modern styles in the design of the building. Black brick on the frontage of the building (symbolizing coal) was selected to give an idea of solidity and to give the building a solid mass. Other parts of the facade were covered in gold bricks (symbolizing fire), and the entry was decorated with marble and black mirrors. Once again, the talents of Rene Paul Chambellan were employed by Hood and Howells for the ornamentation and sculptures.
Rochester Castle was originally built in 11th Century on the site of a long-destroyed fortified structure that had existed since the 1st Century. The tower in this picture is one of four at each corner of the four-storey castle keep which was begun later, in the 12th Century.
This is a good website if you want to know more
The photo was taken hand-held at night and spruced up a bit in Paint Shop Pro. Although the full size version shows that it was hand-held, I still like it because it gives a great impression of the bulk and solidity of the castle
ZEN MAGNETS - Neodymium Magnetic Balls (@~1631) - Stegosaurus;
Contest Entry for: 58: Unlimited Zen Dinosaurs;
www.zenmagnets.com/blog/58-zen-dinosaurs/
Video:https://youtu.be/Nt-WRZBeu9s
I approached this by creating a core center blueprint to define the overall shape/proportions of the Head, rounded Body, and Tail shape silhouette using coupled layering. Next I build layers outward (on both sides) to provide the 3D body volume. From those layers, grew the front and rear legs, which continued the outward layering. The top plate radiators (normally split apart and staggered, but not feasible for this scale since they would have been too thick) were created using triangle to diamond shapes of varying sizes (tiny, small, medium, large). The quadruple spiked tail finished off this iconic herbivore dino. The completed build is completely solid and heavy.
The challenging aspects with this build include: how to generate a 3D look building outward, how to create the legs strong enough to support the body, how to get the rounded body profile layer by layer, how to balance & prevent the head and tail from tipping, and how to create and arrange the plates. Coupled magnetic fields across multi-stacked layers proved difficult to maintain alignments at times. Solidity density amplified the field attraction, especially when adding new single-layer components, causing strong attraction and/or deflection to target area affecting magnet positioning.
en.wikipedia.org/wiki/Stegosaurus
Build Component Breakdown:
===========================================================
(@952)= Core Center head,body,tail(top-bottom = 2x(10+20+26+32+40+48+8+58+10+74+52+20+9+28+8+20+10 -> (1+2x4+1)+(1+2x9+1)+(1+2x12+1)+(1+2x15+1)+(1+2x19+1)+((1+2x23+1)+(1+2x3+1))+((1+2x31+1)+(1+2x4+1))+(1+2x36+1)+(1+2x25+1)+(1+2x9+1))+((2x4+1)+(1+2x16+1)+(1+2x3+1))+(1+2x6+1)+(1+2x4+1));
(@456)= 1st outer layer = 2x(3+8+11+14+17+(22+3)+(27+4)+35+35+(4+14)+13+18);
(@252)= 2nd outer layer = 2x(5+8+11+13+15+16+16+15+13+14);
(@080)= 2nd rear leg layer = 2x(3+4+5+4+6+5+4+3+3+3);
(@070)= 2nd front leg layer = 2x(2+3+(6x4)+3+3);
(@082)= 3rd rear leg layer = 2x(3+4+5+5+5+4+3+(3x2));
(@020)= 3rd front leg layer = 2x(2+3+3+3+(4x2)+1);
(@068)= Large plate - 4x(4x(9-ball triangle)-(1x2 mount point));
(@048)= Medium plate - 2x(4x(6 triangle));
(@032)= Small plate - 2x(2x(6 triangle)+4);
(@006)= Tiny plate - 2x3 triangle;
(@027)= Tail - 4x(4+1 spikes)+(6+1 tip);
================================================================
~1631 Total (approximate due to fine tuning and changing on fly)
Original fact:
Portion of the French who are pessimistic about the future: 7/10 (Harper's Index, Harper's Magazine Vol 325 Issue 1950 (2012) p15)
Fonts:
Snell Roundhand
Orator Std
Lithos Pro
The primary colours in this work are black, light blue and red. The background is a plain tan colour, selected due to it's soft contrast to the other colours. I believed this to be appropriate given the passive nature of pessimism. Red is used to identify the people as French (as an appropriate colour for doing so) and highlight important sections of the fact itself (as a high-impact colour). The blue is primarily used to compliment the optimism of the minority in the "half-full" glass.
The tiny French figures are used to illustrate the 7/10 portion of the pessimistic. From the start I intended to demonstrate their French-ness through some common stereotypes (i.e. berets, striped shirts, wine). To portray pessimism, I decided to use a common metaphor, the "half-full or half-empty" glass of water. Indications towards sections of the glass are intended to direct the viewer to the fact that certain numbers of the French are either optimistic or pessimistic. Within the sections I attempted to show some general figures that can symbolise good or bad things that could occur in the future. The optimism section's figures are quite generic, while the pessimism section is intended to show the potential for large-scale wars, etc. It can be somewhat open to interpretation as to what exactly it represents, but it should not be able to be seen as un-pessimistic.
The font of the text detailing the French section was selected as seeming to possess class, something often attributed to the French. In a similar manner, "the future" text was selected for it's simplicity and solidity, representing the future. The other font was simply selected for clarity of reading.
Canon gives the photo enthusiast a powerful tool fostering creativity, with better image quality, more advanced features and automatic and in-camera technologies for ease-of-use. It features an improved APS-C sized 18.0 Megapixel CMOS sensor for tremendous images, a new DIGIC 4 Image Processor for finer detail and excellent color reproduction, and improved ISO capabilities from 100 - 6400 (expandable to 12800) for uncompromised shooting even in the dimmest situations. The new Multi-control Dial enables users to conveniently operate menus and enter settings with a simple touch. The EOS 60D also features an EOS first: A Vari-angle 3.0-inch Clear View LCD (1,040,000 dots) monitor for easy low- or high-angle viewing. An improved viewfinder, a number of new in-camera creative options and filters, plus HDMI output for viewing images on an HDTV all make the EOS 60D invaluable for the evolving photographer. With continuously curved surfaces, user-friendliness and exuding solidity and refinement, the EOS 60D is true digital inspiration!
The first Avalanche Creates took place on Oct. 24-28, 2022 in Berkeley, CA, bringing together an intimate group of passional developers for a rare opportunity to receive mentorship and a chance to pitch for investments.
Check out the winning pitches: twitter.com/avalancheavax/status/1587429538270777344?s=20...
‘Scene’ in Hebden Bridge, West Yorks 1.
on Dennis Basford’s railsroadsrunways.blogspot.co.uk’
Friend Peter Rose had one of his occasional breaks in Hebden recently and has forwarded these images. They are reproduced here with his permission and my thanks.
I have visited Hebden Bridge several times and I always like the stone buildings that are the backdrop to the images. To me, they signify solidity and strength.
Blythe size stand made of painted acrylic resin.
Inspired by Michael Ende's novel, 'The Neverending Story', and the imaginery of the 1984 movie by Wolfgang Petersen's, it shows the Auryn, a medallion with two serpents carved in relief, a light one and a dark one that bite each other's tails.
Because of the nature of the material used, it has a nice strong and compact presence and a stone-like solidity.
The pole is removable and it's crossed by a tin wire that can be bent to grab the doll.
PAGEANT 23 (WESTERLY)
Sailboat Specifications
Hull Type: Twin Keel
Rigging Type: Masthead Sloop
LOA: 23.00 ft / 7.01 m
LWL: 19.00 ft / 5.79 m
Beam: 8.00 ft / 2.44 m
S.A. (reported): 236.00 ft2 / 21.93 m2
Draft (max): 2.83 ft / 0.86 m
Displacement: 4,300 lb / 1,950 kg
Ballast: 2,094 lb / 950 kg
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Construction: GRP
First Built: 1970
Last Built: 1979
# Built: 551
Designer: Laurent Giles
Builder: Westerly Yacht Construction Ltd (UK)
Builder: Westerly Marine, Hampshire
The Pageant is one of the smaller of the Westerly range designed by Laurent Giles and produced in volume in the 1970s. She offers an excellent small cruiser, with remarkable room below for her length, and has the typical Westerly virtues of strength and solidity.
The Pageant was designed for Westerly by Laurent Giles in 1969, as a replacement for the earlier Nomad. Production ran from 1970 to 1979, the yacht shown in the photographs here being one of the last of the 550 or so built. A very few (reportedly just six) fin-keel versions were also produced in 1976, these being called Westerly Kendals. As with all other Westerly Marine yachts the Pageant was very strongly built to Lloyds specifications, which meant that the building processes were rigorously monitored and all materials had to be approved by Lloyds in order that a hull certificate could be issued.
Auxiliary Power/Tanks (orig. equip.)
Make: Volvo Penta
Model: MD1B
Type: Diesel
HP: 10
Fuel: 10 gals / 38 L
Sailboat Calculations
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Comfort Ratio: 20.61
Capsize Screening Formula: 1.97
Accommodations
Water: 15 gals / 57 L
Headroom1.75m
Cabins 2
Berths 5/6
Shankar Balan
BANGALORE
The Bolero combines great value for money, with toughness, solidity, tough looks and aggressive
The truth of today is that I stayed grounded in spite of being on the move ALL day. This portrait of my feet on the Skytrain escalator at the end of the day feels like a good image of solidity on the move. Thanks, feet!
``Pride,'' observed Mary, who piqued herself upon the solidity of her reflections, ``is a very common failing I believe. By all that I have ever read, I am convinced that it is very common indeed, that human nature is particularly prone to it, and that there are very few of us who do not cherish a feeling of self-complacency on the score of some quality or other, real or imaginary. Vanity and pride are different things, though the words are often used synonimously. A person may be proud without being vain. Pride relates more to our opinion of ourselves, vanity to what we would have others think of us.''
One of my favorite novels of all time,, and I love the movie as well,, and I just found out that it has an alternative end to it on youtube!
Blythe size stand made of painted acrylic resin.
Inspired by the mexican Día de Muertos' skulls, this stand shows a big eyed and toothy one which has conveniently lost its jaw in order to fit on the shelf ;)
Because of the nature of the material used, it has a nice strong and compact presence and a stone-like solidity.
Doll by Horseonthemoor.
Insubstantial, untouchable, lacking any kind of solidity, London fog still inspired many writers and artists from the 1840s to the 1950s. Dr Christine L Corton tells the story as seen through the eyes of Charles Dickens, Robert Louis Stevenson, Henry James, Joseph Conrad, James McNeill Whistler, Claude Monet, and many lesser-known writers and artists.
Join to TheBlueLeaf.net Learn how contact your Angels to create love, wealth & the life of your dreams.
Únete a TheBlueLeaf.net Aprende cómo conectarte con tus Ángeles para crear amor, prosperidad y la vida de tus sueños.
The 2014 Serpentine Pavilion by Smiljan Radić
A semi-translucent, cylindrical structure that resembled a shell and rested on large quarry stones, the 2014 Pavilion occupied 350 square metres of the Serpentine’s lawn...Designed as a flexible, multi-purpose social space, the Pavilion had a café sited inside.
[Serpentine Galleries]
The shell is made from fibreglass sheets 10mm thick, settled on 60 tonnes of rocks.
"I wanted to make it look like it came from the hands of a giant,..In the tradition of the English garden folly, it should be something that surprises the public and draws their attention, providing a spatial experience that you don't get every day."
Smiljan Radić
During the day, this rough-cast blob, which was made in Yorkshire, has the solidity of a pebble. But once inside, or when seen by night, it glows with a yellowish tinge, its fibrous surface giving it the look of shed skin. It is jagged and smeary, a texture offset by fine steel wires that hang a zigzagging lighting rail through the space, and an angular window, sharply sliced out to capture views of the lake beyond. It is a careful assembly of things that are both ragged and refined, contrasting roughly hewn with smoothly polished.
Oliver Wainwright, The Guardian
This is the last reminder of the former gas works that was on this East Greenwich site. Had to walk alongside the southern approach to Blackwall Tunnel, due to a diversion of the Thames Path. I saw this sign and the traffic speeding past and thought that it was an interesting subject, along with the solidity of the gasholder. I used the smudge tool in Photoshop, to give the feeling of movement in the passing white van.
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
Woman and Child
Mary Cassatt (United States, Pennsylvania, Allegheny City, active France, 1844-1926)
United States, late 19th or early 20th century
Through the generosity of Deborah and John Landis, the museum acquired its second Mary Cassatt painting, Woman and Child (Mathilde Holding a Child). Cassatt was one of the foremost American artists of the 19th century. Almost her entire career was spent in France as an expatriate, and it was there she became a confidant of Degas and a member of the radical circle of French impressionists. The only American invited to exhibit with them in Paris, Cassatt first presented her famous “mother and child” images at their annual shows. Mother About to Wash Her Sleepy Child (1880), the museum’s other Cassatt oil, is believed to be the artist’s earliest dated modern Madonna. Woman and Child is slightly smaller but equally rich in palette. Manifold are the discussions about Cassatt’s maternal themes and their relationship both to her own life (she remained single, but lived in close rapport with her extended family) and to a contemporary religious revival in France. Recently, scholars have begun questioning the identity of these so-called mothers, and clues can sometimes be found in their attire. Is the woman in our 1880 painting the mother or a servant? She appears to be wearing intimate at-home attire, but an upper-middle-class woman probably would have relegated the domestic chore of her children’s toilet to a nursemaid. One of Cassatt’s servants, Mathilde Vallet, often posed for the artist; but in the context of Woman and Child is she to be read as the mother? There is not enough detail to know what she is wearing. Moreover, although the young child hugs Mathilde, her eyes express a slight skepticism rather than the confidence one would expect. Woman and Child actually has two subjects, for the paint surface is as significant as the imagery. The canvas was intentionally left unfinished (it is signed), suggesting that the artist wanted the viewer to luxuriate in the paint’s physicality. Its surface consists of neutral-colored passages of underpaint as well as areas finished to varying degrees. Cassatt varied her approach, using sweeping strokes, wiggles, parallel lines, and even rubbing out the pigment. The canvas also offers insight into the artist’s working methodology. Typical of an academically trained artist, the faces are the most fully realized. Yet Cassatt built up her three-dimensional forms, first drawing in cobalt blue a quick, sure outline, than applying strokes one over another so that her figures simultaneously suggest solidity and movement. Cassatt had been criticized for her defective drawing by her teachers, who considered her approach slovenly. Today we realize how brilliant a draftsman she was. Mother About to Wash Her Sleepy Child and Woman and Child document Cassatt’s importance to both American and French painting.
Blue Grass, Green Skies: American Impressionism and Realism from the Los Angeles County Museum of Art
JANUARY 24, 2025 - MAY 18, 2025
"It must not be assumed that American Impressionism and French Impressionism are identical. The American painter accepted the spirit, not the letter of the new doctrine." - Christian Brinton, 1916
In 1874, a group of avant-garde French artists, including Edgar Degas, Claude Monet, Camille Pissarro, and Pierre-Auguste Renoir, organized the first exhibition of the “Anonymous Society of Painters, Sculptors, Printmakers, etc.” in Paris. Although working independently, rather than as a unified movement or school, they came to be known as the Impressionists—a term first used to disparage their works as unfinished “impressions.” Defined by their loose brushwork, vibrant color palettes, and attention to capturing the ephemeral effects of light and atmosphere, these artists rejected established academic traditions and developed innovative approaches to depicting modern life.
Impressionism’s influence was felt globally, but perhaps nowhere as profoundly or as long lasting as in the United States. American artists working abroad had opportunities to see and study Impressionist works, but it was not until 1886—when the movement had lost some of its radical edge—that the first large-scale exhibition of French Impressionism was held in the United States. The New York Tribune reported that although Impressionist pictures were often criticized for their “blue grass, violently green skies, and water with the coloring of a rainbow,” Americans would nevertheless benefit from studying the “vitality and beauty” in these works.
Over the next three decades, artists working across the United States adapted Impressionist aesthetics to depict modern American life. While their works embody the optimism and nationalism that then defined American culture, by the turn of the twentieth century, rapid urbanization and industrialization had transformed the nation, giving rise to new artistic tendencies. A group of younger artists, often described as Realists, rejected Impressionism’s colorful palette, instead portraying the grittier side of urban life. However, like their Impressionist contemporaries, they continued to paint the American scene, focusing on life in the city, the country, and the home. Drawn from the collection of the Los Angeles County Museum of Art, the works in this exhibition highlight the evolution of Impressionism’s blue grass and green skies into a distinctly American art.
________________________________
"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
PAGEANT 23 (WESTERLY)
Sailboat Specifications
Hull Type: Twin Keel
Rigging Type: Masthead Sloop
LOA: 23.00 ft / 7.01 m
LWL: 19.00 ft / 5.79 m
Beam: 8.00 ft / 2.44 m
S.A. (reported): 236.00 ft2 / 21.93 m2
Draft (max): 2.83 ft / 0.86 m
Displacement: 4,300 lb / 1,950 kg
Ballast: 2,094 lb / 950 kg
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Construction: GRP
First Built: 1970
Last Built: 1979
# Built: 551
Designer: Laurent Giles
Builder: Westerly Yacht Construction Ltd (UK)
Builder: Westerly Marine, Hampshire
The Pageant is one of the smaller of the Westerly range designed by Laurent Giles and produced in volume in the 1970s. She offers an excellent small cruiser, with remarkable room below for her length, and has the typical Westerly virtues of strength and solidity.
The Pageant was designed for Westerly by Laurent Giles in 1969, as a replacement for the earlier Nomad. Production ran from 1970 to 1979, the yacht shown in the photographs here being one of the last of the 550 or so built. A very few (reportedly just six) fin-keel versions were also produced in 1976, these being called Westerly Kendals. As with all other Westerly Marine yachts the Pageant was very strongly built to Lloyds specifications, which meant that the building processes were rigorously monitored and all materials had to be approved by Lloyds in order that a hull certificate could be issued.
Auxiliary Power/Tanks (orig. equip.)
Make: Volvo Penta
Model: MD1B
Type: Diesel
HP: 10
Fuel: 10 gals / 38 L
Sailboat Calculations
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Comfort Ratio: 20.61
Capsize Screening Formula: 1.97
Accommodations
Water: 15 gals / 57 L
Headroom1.75m
Cabins 2
Berths 5/6
Matrix III, 2019
Approximately 6 tonnes of 6 mm mild steel reinforcing mesh
This vast cloud is a mesmerising visual labyrinth, hewn from an ordinary industrial material. 98% recycled, the steel mesh – commonly used to reinforce concrete walls – is transformed into a complex phenomenon, by way of hundreds of thousands of spot welds done by hand. Designed especially for this gallery, 21 suspended room-size cages intersect, surrounding a small concentrated chamber. This void at the core is what Gormley calls “the space of dreaming”, and is equivalent to the average size of a European new-build bedroom. Looking up at this structure, our ability to perceive distance is challenged: our eyes struggle to decide what is close or far, in front or behind.
The certainty and solidity of the three-dimensional world is undermined. Gormley has described ‘Matrix III’ as “the ghost of the environment we’ve all chosen to accept as our primary habitat”.
[Royal Academy]
Taken at Antony Gormley
(21 September — 3 December 2019)
The exhibition will explore Gormley’s wide-ranging use of organic, industrial and elemental materials over the years, including iron, steel, hand-beaten lead, seawater and clay. We will also bring to light rarely-seen early works from the 1970s and 1980s, some of which led to Gormley using his own body as a tool to create work, as well as a selection of his pocket sketchbooks and drawings.
Throughout a series of experiential installations, some brand-new, some remade for the RA’s galleries, we will invite visitors to slow down and become aware of their own bodies. Highlights include Clearing VII, an immersive ‘drawing in space’ made from kilometres of coiled, flexible metal, and Lost Horizon I, 24 life-size cast iron figures set at different orientations on the walls, floor and ceiling – challenging our perception of which way is up.
Perhaps best-known for his 200-tonne Angel of the North installation near Gateshead, and his project involving 2,400 members of the public for Trafalgar Square’s the Fourth Plinth, Antony Gormley is one of the UK’s most celebrated sculptors.
[Royal Academy]
Mercedes Benz cabins are always nice places to be, everything fits snug, and feels, well, Germanic lol Having had Japanese cars for so long, it was nice to experience solidity, and real timber veneer, not simulated wood, plastic lol
Insubstantial, untouchable, lacking any kind of solidity, London fog still inspired many writers and artists from the 1840s to the 1950s. Dr Christine L Corton tells the story as seen through the eyes of Charles Dickens, Robert Louis Stevenson, Henry James, Joseph Conrad, James McNeill Whistler, Claude Monet, and many lesser-known writers and artists.
The middle section of the City Chambers that most people probably don't notice. The architecture is sublime, with an imposing solidity in its structure.
Northumberland used to be a lot more violent than the Wild West ever was. There was a tradition of fortified buildings (Peles and Bastles) to defend people against violence from raiders. Pursuit of cattle and sheep rustlers ("reivers") across the border was legally allowed for six days and feuds were common. On one occasion the Robsons' sheep caught scab from sheep they had rustled from the Grahams. The Robsons took revenge and hanged seven Grahams, saying "The neist time gentlemen cam to tak their schepe They are no te' be scabbit!".
This is not a Bastle or Pele but the solidity of this house is a reminder of the past.
Matrix III, 2019
Approximately 6 tonnes of 6 mm mild steel reinforcing mesh
This vast cloud is a mesmerising visual labyrinth, hewn from an ordinary industrial material. 98% recycled, the steel mesh – commonly used to reinforce concrete walls – is transformed into a complex phenomenon, by way of hundreds of thousands of spot welds done by hand. Designed especially for this gallery, 21 suspended room-size cages intersect, surrounding a small concentrated chamber. This void at the core is what Gormley calls “the space of dreaming”, and is equivalent to the average size of a European new-build bedroom. Looking up at this structure, our ability to perceive distance is challenged: our eyes struggle to decide what is close or far, in front or behind.
The certainty and solidity of the three-dimensional world is undermined. Gormley has described ‘Matrix III’ as “the ghost of the environment we’ve all chosen to accept as our primary habitat”.
[Royal Academy]
Taken at Antony Gormley
(21 September — 3 December 2019)
The exhibition will explore Gormley’s wide-ranging use of organic, industrial and elemental materials over the years, including iron, steel, hand-beaten lead, seawater and clay. We will also bring to light rarely-seen early works from the 1970s and 1980s, some of which led to Gormley using his own body as a tool to create work, as well as a selection of his pocket sketchbooks and drawings.
Throughout a series of experiential installations, some brand-new, some remade for the RA’s galleries, we will invite visitors to slow down and become aware of their own bodies. Highlights include Clearing VII, an immersive ‘drawing in space’ made from kilometres of coiled, flexible metal, and Lost Horizon I, 24 life-size cast iron figures set at different orientations on the walls, floor and ceiling – challenging our perception of which way is up.
Perhaps best-known for his 200-tonne Angel of the North installation near Gateshead, and his project involving 2,400 members of the public for Trafalgar Square’s the Fourth Plinth, Antony Gormley is one of the UK’s most celebrated sculptors.
[Royal Academy]
ZEN MAGNETS - Neodymium Magnetic Balls (@~1631) - Stegosaurus;
Contest Entry for: 58: Unlimited Zen Dinosaurs;
www.zenmagnets.com/blog/58-zen-dinosaurs/
Video: youtu.be/Nt-WRZBeu9s
I approached this by creating a core center blueprint to define the overall shape/proportions of the Head, rounded Body, and Tail shape silhouette using coupled layering. Next I build layers outward (on both sides) to provide the 3D body volume. From those layers, grew the front and rear legs, which continued the outward layering. The top plate radiators (normally split apart and staggered, but not feasible for this scale since they would have been too thick) were created using triangle to diamond shapes of varying sizes (tiny, small, medium, large). The quadruple spiked tail finished off this iconic herbivore dino. The completed build is completely solid and heavy.
The challenging aspects with this build include: how to generate a 3D look building outward, how to create the legs strong enough to support the body, how to get the rounded body profile layer by layer, how to balance & prevent the head and tail from tipping, and how to create and arrange the plates. Coupled magnetic fields across multi-stacked layers proved difficult to maintain alignments at times. Solidity density amplified the field attraction, especially when adding new single-layer components, causing strong attraction and/or deflection to target area affecting magnet positioning.
en.wikipedia.org/wiki/Stegosaurus
Build Component Breakdown:
===========================================================
(@952)= Core Center head,body,tail(top-bottom = 2x(10+20+26+32+40+48+8+58+10+74+52+20+9+28+8+20+10 -> (1+2x4+1)+(1+2x9+1)+(1+2x12+1)+(1+2x15+1)+(1+2x19+1)+((1+2x23+1)+(1+2x3+1))+((1+2x31+1)+(1+2x4+1))+(1+2x36+1)+(1+2x25+1)+(1+2x9+1))+((2x4+1)+(1+2x16+1)+(1+2x3+1))+(1+2x6+1)+(1+2x4+1));
(@456)= 1st outer layer = 2x(3+8+11+14+17+(22+3)+(27+4)+35+35+(4+14)+13+18);
(@252)= 2nd outer layer = 2x(5+8+11+13+15+16+16+15+13+14);
(@080)= 2nd rear leg layer = 2x(3+4+5+4+6+5+4+3+3+3);
(@070)= 2nd front leg layer = 2x(2+3+(6x4)+3+3);
(@082)= 3rd rear leg layer = 2x(3+4+5+5+5+4+3+(3x2));
(@020)= 3rd front leg layer = 2x(2+3+3+3+(4x2)+1);
(@068)= Large plate - 4x(4x(9-ball triangle)-(1x2 mount point));
(@048)= Medium plate - 2x(4x(6 triangle));
(@032)= Small plate - 2x(2x(6 triangle)+4);
(@006)= Tiny plate - 2x3 triangle;
(@027)= Tail - 4x(4+1 spikes)+(6+1 tip);
================================================================
~1631 Total (approximate due to fine tuning and changing on fly)
Invasion at Yorkshire Sculpture Park consists of five massive cylindrical asphalt forms each 1.83m high and weighing almost 5 tonnes. The work is made by pouring liquid asphalt into large steel formers.
The subtitle to the sculpture “The noise of the road penetrates into the park” may be a reference to a 1911 Futurist painting by Boccini, “The noise of the street enters the house”.
The work is sited on a former football field and from a distance resembles black hay bales. However, closer inspection reveals the solidity and potential menace of the material demonstrating a collision between the man-made and nature.
(work loaned by the artist and Galerie Scheffel, Germany)
PAGEANT 23 (WESTERLY)
Sailboat Specifications
Hull Type: Twin Keel
Rigging Type: Masthead Sloop
LOA: 23.00 ft / 7.01 m
LWL: 19.00 ft / 5.79 m
Beam: 8.00 ft / 2.44 m
S.A. (reported): 236.00 ft2 / 21.93 m2
Draft (max): 2.83 ft / 0.86 m
Displacement: 4,300 lb / 1,950 kg
Ballast: 2,094 lb / 950 kg
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Construction: GRP
First Built: 1970
Last Built: 1979
# Built: 551
Designer: Laurent Giles
Builder: Westerly Yacht Construction Ltd (UK)
Builder: Westerly Marine, Hampshire
The Pageant is one of the smaller of the Westerly range designed by Laurent Giles and produced in volume in the 1970s. She offers an excellent small cruiser, with remarkable room below for her length, and has the typical Westerly virtues of strength and solidity.
The Pageant was designed for Westerly by Laurent Giles in 1969, as a replacement for the earlier Nomad. Production ran from 1970 to 1979, the yacht shown in the photographs here being one of the last of the 550 or so built. A very few (reportedly just six) fin-keel versions were also produced in 1976, these being called Westerly Kendals. As with all other Westerly Marine yachts the Pageant was very strongly built to Lloyds specifications, which meant that the building processes were rigorously monitored and all materials had to be approved by Lloyds in order that a hull certificate could be issued.
Auxiliary Power/Tanks (orig. equip.)
Make: Volvo Penta
Model: MD1B
Type: Diesel
HP: 10
Fuel: 10 gals / 38 L
Sailboat Calculations
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Comfort Ratio: 20.61
Capsize Screening Formula: 1.97
Accommodations
Water: 15 gals / 57 L
Headroom1.75m
Cabins 2
Berths 5/6
ZEN MAGNETS - Neodymium Magnetic Balls (@~1631) - Stegosaurus;
Contest Entry for: 58: Unlimited Zen Dinosaurs;
www.zenmagnets.com/blog/58-zen-dinosaurs/
Video:https://youtu.be/Nt-WRZBeu9s
I approached this by creating a core center blueprint to define the overall shape/proportions of the Head, rounded Body, and Tail shape silhouette using coupled layering. Next I build layers outward (on both sides) to provide the 3D body volume. From those layers, grew the front and rear legs, which continued the outward layering. The top plate radiators (normally split apart and staggered, but not feasible for this scale since they would have been too thick) were created using triangle to diamond shapes of varying sizes (tiny, small, medium, large). The quadruple spiked tail finished off this iconic herbivore dino. The completed build is completely solid and heavy.
The challenging aspects with this build include: how to generate a 3D look building outward, how to create the legs strong enough to support the body, how to get the rounded body profile layer by layer, how to balance & prevent the head and tail from tipping, and how to create and arrange the plates. Coupled magnetic fields across multi-stacked layers proved difficult to maintain alignments at times. Solidity density amplified the field attraction, especially when adding new single-layer components, causing strong attraction and/or deflection to target area affecting magnet positioning.
en.wikipedia.org/wiki/Stegosaurus
Build Component Breakdown:
===========================================================
(@952)= Core Center head,body,tail(top-bottom = 2x(10+20+26+32+40+48+8+58+10+74+52+20+9+28+8+20+10 -> (1+2x4+1)+(1+2x9+1)+(1+2x12+1)+(1+2x15+1)+(1+2x19+1)+((1+2x23+1)+(1+2x3+1))+((1+2x31+1)+(1+2x4+1))+(1+2x36+1)+(1+2x25+1)+(1+2x9+1))+((2x4+1)+(1+2x16+1)+(1+2x3+1))+(1+2x6+1)+(1+2x4+1));
(@456)= 1st outer layer = 2x(3+8+11+14+17+(22+3)+(27+4)+35+35+(4+14)+13+18);
(@252)= 2nd outer layer = 2x(5+8+11+13+15+16+16+15+13+14);
(@080)= 2nd rear leg layer = 2x(3+4+5+4+6+5+4+3+3+3);
(@070)= 2nd front leg layer = 2x(2+3+(6x4)+3+3);
(@082)= 3rd rear leg layer = 2x(3+4+5+5+5+4+3+(3x2));
(@020)= 3rd front leg layer = 2x(2+3+3+3+(4x2)+1);
(@068)= Large plate - 4x(4x(9-ball triangle)-(1x2 mount point));
(@048)= Medium plate - 2x(4x(6 triangle));
(@032)= Small plate - 2x(2x(6 triangle)+4);
(@006)= Tiny plate - 2x3 triangle;
(@027)= Tail - 4x(4+1 spikes)+(6+1 tip);
================================================================
~1631 Total (approximate due to fine tuning and changing on fly)