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Not a cloud in the sky this morning... Not exactly what I wanted for this morning but I wasn't going to turn around because of it. Looks like Spring has finally sprung.
Vaulted ceilings and a staircase to nowhere arent the only perks of this quaint living space. It's located only yards from Arizona's scenic Salt river.
Checkered Tan House is a spacious summer residence with light colours. It's built on top of a creek and is surrounded by green, bright green and lime green foliage. A small patio is carved out in the rocks. Fully furnished of course.
This house has similarities both with one of my earliest builds Autumn Stream House and my box-shaped Coral House.
My aim was to keep the house simple, creating dynamics only with the combination of house bodies and windows. This makes a contrast to the green surroundings of the house.
Awoke to one of those beautiful autumn sunrise that only comes when the winds blow away one of those dreary, overcast and drizzling days. The Light dancing in the texture of the cool-swirled clouds is joyous to behold. This is my favorite season. Thanks be to God for the wonder of it all.
First full day of our Smoky Mountains photo adventure.
Tuckaleechee Caverns Townsend, Tennessee
Monday, August 19th, 2019
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“Spacious Mind: cultivating peace, presence and insight through drawing” (early mock-up with mostly FPO photos)
Weekend tent camping at Frozen Head State Park & Natural Area.
Frozen Head State Park
Wartburg, Tennessee
Friday, June 22nd, 2018
Checkered Tan House is a spacious summer residence with light colours. It's built on top of a creek and is surrounded by green, bright green and lime green foliage. A small patio is carved out in the rocks. Fully furnished of course.
This house has similarities both with one of my earliest builds Autumn Stream House and my box-shaped Coral House.
My aim was to keep the house simple, creating dynamics only with the combination of house bodies and windows. This makes a contrast to the green surroundings of the house.
Books have been written about Old Square in Birmingham. It was the best place to live in the late 17th early 18th Century, It was a square to rival some of the London Squares, spacious and elegant houses flanked a central garden. During the 19th century Birmingham had spread, the elite were moving out to Handsworth and a tide of slum dwellings grew up on the east side of the square. Then the Grand New Corporation Street was driven through wiping out the slums on the eastern side, new commercial buildings were built and during the early part of the 20th century the square was mainly retail. Lewis's backed onto it and the original road into the square "Minories" was reduced to a narrow thoroughfare between the two Lewis's blocks.
Now we come to the 1962 picture, the elegant gardens have been replaced by an underground lavatory, a group of red phone boxes provide communitcation and one of those much missed city maps is useful to consult. The north side is being re-developed and the Victorian buildings have been swept away, worse was to follow. Town planners hate people, they are untidy so let us rid the streets of them, the whole centre of the square was excavated and where these people sat was dropped about 25 feet to a sunken "urban space" with mal-nourished raised beds in the middle and shops around the edge, all connected by a web of subways. The road swept unbroken round this island, traffic fumes made the few garden seats an unpleasant place to sit and the small shops didn't pay, the new lavatories shut early therefore the subways soon began to be even more unpleasant. A complete and utter disaster. It looked good on the plan though...
Now we have the new version, pedestrians have returned to street level and very little traffic uses the roads apart from a constant stream of buses and they are getting cleaner, seats are at ground level again and a new relief sculpture by Keith Budd has been built on the end wall, not as good as the highly coloured mosaic in the old sunken garden but well, you can't have everything.
Sadly this end of Birmingham is no longer the principal retail area, since Lewis's closed and later the Bull Ring developed this once thriving part of town has declined. Unfortunately Birmingham's Law Courts are situated further down Corporation Street and their clients do add a slight air of menace to the area.
Jean Wilson Circa 1962
Copyright Geoff Dowling: All rights reserved
Subtle Shades Spacious Side Seating Off Hyatt Regency Hotel Lobby Atlanta Georgia - IMRAN®
I enjoyed staying at the Hyatt Regency in Atlanta, Georgia during a visit before Christmas 2024. The hotel has a super spacious strangely sparse lobby. You’ve probably seen my video post about it. I’ll try to share a link in the comments.
This seating area is to the side, towards the elevators to get to the rooms on the tower side, if I recall correctly. Spacious, subtle, simple.
© 2024-2025 IMRAN®
These spacious townhomes just hit Cheesecake Valley North! They are 1000 prim and 1500L/week! These will not last long - they are our ONLY available rents left in town!
Come check them out here: maps.secondlife.com/secondlife/BellaBrook/132/181/22
In the middle of the nature, you will find the perfect villa to relax yourself and enjoy spending time in Bali near Seminyak. This spacious villa is only about twenty minutes from Bali’s Ngurah Rai International Airport.
This two levels villa will be perfect up to 6 persons thanks to its three b...
Lanhydrock, near Bodmin, is a magnificent late Victorian country house with extensive servants quarters, gardens and a wooded estate.
It is the perfect country house and estate, with the feel of a wealthy but unpretentious family home. The kitchens, nurseries and servants' quarters offer a thrilling glimpse into life 'below stairs', while the spacious dining room and bedrooms are truly and deeply elegant.
The house is set in wooded parkland of 1,000 acres and encircled by a garden of rare shrubs and trees.
Follow in the footsteps of generations of the Robartes family, walking in the 17th-century Long Gallery among the rare book collection under the remarkable plasterwork ceiling. After a devastating fire in 1881 the house was refurbished in the high-Victorian style, with the latest mod cons.
Don't miss
* There are 50 rooms to explore – allow plenty of time!
* Play the Steinway piano in the Long Gallery
* Look out for the museum and second-hand bookshop
The gardens
The historical garden with its 30-acres of woodland was laid out back in 1857, but its present format was actually established later on in the Victorian period, and many of the plants are no more than 70 years old. However, a grand atmosphere permeates the entire setting and compliments the brilliant planting of more modern times.
Explore formal parterres of dazzling bedding plants and wander along paths that wind through a woodland landscape planted in a semi-formal Cornish fashion - rhododendrons and Himalayan magnolias lurching to their full-size in the fresh Cornish air. Because the grounds lie inland and rise up to 130-metres above sea level, the plants have to cope with harsher climates than the lush valley gardens of the south coast. In spite of this, Lanhydrock still puts on one of the county's most colourful spring shows, with over 120 species of cream and white magnolias featuring amongst a flurry of wild blooms that carpet the woodland.
Learn more about the history and the work involved to keep the magnificent gardens maintained via the new interpretation on permanent display in the garden's thatched cottage.
Take-in the sweeping views over the gardens and the valley landscape, and it's pretty obvious that this is prime garden for walkers. Not only is there 30-acres of formal and informal woodland to explore, but the garden opens onto an extensive network of footpaths zig-zagging through 900-acres of beautiful countryside.
And with so much space to roam, Lanhydrock makes a very family friendly day out. Whilst the fresh air and colourful surroundings will captivate the kids' imaginations and wear them out, the restaurant has a fantastic children's menu and there are excellent baby-changing facilities on-site.
(visitcornwall.com)
Lanhydrock House (kornisch Lannhydrek) ist ein Herrenhaus nahe der englischen Stadt Bodmin in Cornwall. Es liegt fast 13 Kilometer von der Südküste Cornwalls entfernt im waldreichen Tal des Flusses River Fowey, inmitten eines 367 Hektar großen Anwesens, das bis zu 130 Metern Höhe ansteigt.
Lanhydrock House ist von einem attraktiven formalen Garten und einem Landschaftspark umgeben. Der angrenzende Hügel ist mit ausgewählten Bäumen und Sträuchern bepflanzt. Viele Teile des heutigen Hauses sind viktorianischen Ursprungs, einige sind jedoch mehr als 200 Jahre älter, sie datieren etwa um das Jahr 1620.
Lanhydrock war bis 1539 ein klösterlicher Bauernhof im Besitz des Priorats von St Petroc in Bodmin. Nach der Auflösung der Klöster unter Heinrich VIII. erwarb im Jahr 1543 die benachbarte Familie Glynn das Landgut. Durch Heirat ging es später an die Familie Lyttelton, ebenfalls durch Heirat 1577 an die Familie Trenance über.
Im Jahr 1621 erwarb der Kaufmann und Geldverleiher Richard Robartes aus Truro das Landgut und begann Lanhydrock House zu erbauen. Unter ihm entstand der heutige Nordflügel des Herrenhauses aus grauem Granit. Schon 1626 lebte der 1621 zum Baronet, of Truro, und 1625 zum Baron Robartes aufgestiegene Richard Robartes auf Lanhydrock. Sein Sohn, John Robartes, 2. Baron Robartes, trat 1634 das Erbe des Vaters an. John Robartes, 2. Baron Robartes, der spätere 1. Earl of Radnor, war zu diesem Zeitpunkt Vorsitzender der Cornish Parliamentary Party („Kornische Parlamentspartei“) im britischen Oberhaus. Zu Repräsentationszwecken ließ er bis 1651 Lanhydrock House um drei weitere Flügel zu einem Karree um einen Innenhof erweitern und das Torhaus errichten. Der Baustil des Hauses entsprach anderen Landsitzen in der Umgebung wie Penheale House in Egloskerry oder Trewan nahe St Columb Major.
m Einzelnen ließ John Robartes ab 1634 zunächst einen Eingang im Haus seines Vaters einfügen, der heute zum Ladenbereich führt und über dem die Inschrift „1636: ILR: L“ (für „1636: John Lord Robartes: Lanhydrock“) angebracht ist. Von 1636 bis 1640 dauerten die Bauarbeiten am Westflügel, der Südflügel stammt aus dem Jahr 1642. Die Erweiterungsmaßnahmen endeten 1651 mit der Errichtung des Torhauses, das ursprünglich als Jagdhaus gedacht war. John Robartes hatte sich in den 1650er Jahren, der Regierungszeit des Lordprotektors Oliver Cromwell, nach Cornwall zurückgezogen, wo er 1664 die Genehmigung zur Einzäunung eines 340 Hektar großen Wildparks erhielt. Seit 1657 gab es Rotwild im Park von Lanhydrock. Nach Wiedererrichtung der Königsherrschaft 1660 wurde John Robartes unter Karl II. in den Privy Council (Kronrat) erhoben, im Jahr 1661 Lordsiegelbewahrer, ein Amt, das er bis 1673 innehatte, sowie 1679 Earl of Radnor und Lord President of the Council. 1684 schied er aus allen Ämtern aus.
Die Erben John Robartes’, Charles Robartes, 2. Earl of Radnor (1660–1723), und Henry Robartes, 3. Earl of Radnor (1695–1741), zogen andere Wohnorte Lanhydrock vor, so dass der Reisende John Loveday der Ältere (1711–1789), Philologe und Antiquar, im Jahr 1736 ein „äußerst baufälliges und absolut unmöbliertes“ Haus vorfand. Beide Robartes wurden jedoch wie schon John Robartes in der Familiengruft auf Lanhydrock beigesetzt. Der Antiquitätensammler und Naturforscher William Borlase schrieb 1758 über Lanhydrock, dass „alles im Haus verwahrlost und verfallen ist“. Die Urenkelin von John Robartes und Erbin von Lanhydrock, Mary Vere Robartes († 1758), hatte zuvor erwogen, das Haus abreißen zu lassen. Doch ihr ältester Sohn George Hunt (um 1720–1798) ließ bis 1788 nur Teile des Gebäudes wie die Hauskapelle und den Ostflügel abtragen, wodurch das heutige U-förmige Bauschema von Lanhydrock House entstand. Er ließ die Fassade rot streichen, um das Haus dem modischen Ziegelmauerwerk anzupassen, und das Innere unter anderem mit Chippendale-Tischen und Axminster-Teppichen neu einrichten.
George Hunt vermachte Lanhydrock 1798 seiner Nichte Anna Maria Hunt (1771–1861). Schon 1788 hatte sie das Herrenhaus und die zerstreuten Ländereien übernommen. Unterstützt wurde sie durch ihre Verwalter William und Alfred Jenkins. Anna Maria Hunt heiratete den Londoner Anwalt Charles Bagenal-Agar (1769–1811), aus deren Ehe drei Söhne hervorgingen, von denen nur Thomas James (1808–1882) nicht schon im Kindesalter verstarb. In der Zeit der Anna Maria Hunt, die sich oft auf Lanhydrock aufhielt, wurden zum Schutz der Bilder in der Galerie Rollos und Öfen eingebaut.
Auf Anraten seiner Mutter übernahm Thomas James Agar 1822 die Bestallung und das Wappen der Robartes und wurde 1869 als 1. Baron Robartes geadelt. Nach seiner Volljährigkeit 1829 übernahm er einen Teil der Verantwortung für Lanhydrock. Im Jahr 1858 erhielt der Architekt George Gilbert Scott (1811–1878) den Auftrag, Lanhydrock House instand zu setzen. Scott übertrug diese Aufgabe seinem ersten Assistenten Richard Coad (1825–1900). Die Reparaturarbeiten am Haus, die von 1857 bis 1864 andauerten, sollten 1407 Pfund, 4 Schilling und 6 Pence kosten. Neben der Instandsetzung wurden das Brauhaus in ein Billardzimmer umgebaut, Glasscheiben in die Fenster eingesetzt, eine neue Remise erbaut und neue Gartenanlagen nach Plänen von George Truefitt (1824–1902) angelegt.
Am 4. April 1881 zerstörte ein Großbrand den Südflügel und einen Teil des Westflügels von Lanhydrock House. Gegen 13 Uhr hatte ein frei liegender Holzbalken im Küchenschornstein Feuer gefangen. Der Einbruch des Westflügeldaches führte zum Verlust der historischen Stuckdecke. Nur der Nordflügel mit seiner 29 Meter langen Long Gallery aus dem 17. Jahrhundert und das Frontportal blieben intakt. Lord und Lady Robartes, die seit 1839 mit Thomas James verheiratete Juliana Pole-Carew (1812–1881), blieben unverletzt. Ihr Sohn Thomas Charles Agar-Robartes (1844–1930), am 5. April aus London angereist, telegrafierte noch am selben Tag seiner Frau Mary, geborene Dickinson (1853–1921): „Galerie gerettet. Nicht ganz so schlimm wie befürchtet.“
Nach dem Ableben seiner Mutter nur wenige Tage nach dem Großbrand ließ Thomas Charles das Herrenhaus von Lanhydrock wieder aufbauen. Die äußeren und inneren Mauern der zerstörten Gebäudeteile hatten dem Brand standgehalten. Für die Sanierung des Hauses wurde der inzwischen selbstständige Architekt Richard Coad beauftragt, der für den Wiederaufbau der Innenräume den schottischen Architekten James MacLaren (1853–1890) aus Glasgow als seinen Assistenten heranzog. Die Ausschreibung der Bauarbeiten gewann die Firma Thomas Lang & Sons aus Liskeard, der Kostenvoranschlag belief sich auf 19.406 Pfund. Während sich Coad der Außenarbeiten und technischen Angelegenheiten annahm, entwarf MacLaren unter anderem den Esssaal im Stil des Ästhetizismus, die elisabethanische Teak-Treppe und den Rokoko-Kamin im Gebetsraum.
Da die Kosten der Instandsetzung den Voranschlag bei weitem überschritten, sie beliefen sich schließlich auf 73.000 Pfund, entstanden Spannungen zwischen dem Auftraggeber und dem leitenden Architekten. Thomas Charles, nach dem Tod seines Vaters Thomas James 1882 der 2. Baron Robartes, hinterfragte bei Richard Coad Zahlungen in Höhe von 10.000 Pfund für die Heißwasserzufuhr, die Bleiverglasung und die brandsicheren Zimmerdecken. Auch zwischen Coad und MacLaren gab es 1884 Differenzen. Das führte dazu, dass der Auftrag für die Renovierung der kleinen Kirche neben dem Haus durch Lady Robartes 1886 an George Vialls und nicht an Richard Coad vergeben wurde.
Im Jahr 1885 wurde das Haus durch die Familie Agar-Robartes wieder bezogen. Gemeinsam mit seiner Frau Mary hatte der 2. Baron Robartes zwischen 1879 und 1895 zehn Kinder, von denen nur eines 1884 im Säuglingsalter starb. Durch das Fehlen männlicher Nachkommenschaft in der Familie Agar erbte Thomas Charles 1899 den Titel Viscount Clifden von Leopold Agar-Ellis (1829–1899), dem 5. Viscount Clifden. Die neun verbliebenen Kinder der Agar-Robartes’ wuchsen auf Lanhydrock auf. Der älteste Sohn, Thomas Charles Reginald Agar-Robartes (1880–1915), genannt Tommy, war in der Politik tätig, wo er durch die Liberale Partei unterstützt wurde. Er starb 1915 im Ersten Weltkrieg an einer Schussverletzung in der Schlacht bei Loos und Hulluch (Teil der Herbstschlacht bei La Bassée und Arras), an der er als Captain des I. Battalion Coldstream Guards (Infanterie) teilnahm. Als zweitältester Sohn von Thomas Charles erbte deshalb Francis Gerald Agar-Robartes (1883–1966) im Jahr 1930 die Titel Lord Robartes und Viscount Clifden sowie das Anwesen von Lanhydrock.
Francis Gerald, der 7. Viscount Clifden, blieb ebenso wie sechs seiner Geschwister kinderlos. Einzige Enkelin von Thomas Charles Agar-Robartes, dem 6. Viscount Clifden, war Rachel, Tochter von Arthur Victor Agar-Robartes (1887–1974), die nach dem Zweiten Weltkrieg in Afrika lebte. Mit dem Tod Arthur Victors 1974, ab dem Jahr 1966 der 8. Viscount Clifden, erlosch dieser Titel. Schon in den 1920er Jahren führte die unsichere Zukunft der Landwirtschaft zum Verkauf großer Landflächen der Familie. 1953 entschloss sich Francis Gerald Agar-Robartes, Lanhydrock House mitsamt 160 Hektar Land an den National Trust zu übereignen. Oliver Sylvain Baliol Brett (1881–1963), 3. Viscount Esher und Vorsitzender des National Trust Historic Building Committee (Ausschuss des National Trust für historische Bauten), bezeichnete 1953 das Haus als „Nebensächlichkeit“ im Vergleich zu den übernommenen umliegenden Landschaften.
Francis Gerald Agar-Robartes lebte gemeinsam mit seinen beiden unverheirateten Schwestern Everilda (1880–1969) und Violet (1888–1965) bis zu ihrem jeweiligen Tode auf Lanhydrock. Schon 1954 wurden die ersten sechs Räume des Hauses der Öffentlichkeit zugänglich gemacht. Die Besucherzahl stieg mittlerweile von alljährlich 85.000 Mitte der 1980er Jahre auf mehr als 200.000 Besucher zwanzig Jahre später.
Lanhydrock war 1996 der Hauptdrehort für den Film Twelfth Night, or What You Will. Regie führte Trevor Nunn, Hauptdarstellerin war Helena Bonham Carter als Olivia. Weiterhin dienten Haus und Garten als Drehort für die Rosamunde-Pilcher-Verfilmungen Klippen der Liebe (1999) und Im Zweifel für die Liebe (2009).
(Wikipedia)
[Hefei, Anhui, China] The spacious access hall of the Anhui cultural museum, a free-admission educational venue in the provincial capital Hefei, exhibiting modern architecture and pieces of the province's history and traditions.
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…we went upstairs into a spacious studio. The invigorating, nutty smell of
oil paint delighted my senses. It seemed as if I had stepped inside of the
painting. The enormous room dissolved the concentrated scent of oil paints and transformed into Asian perfume. Stepping inside an artist’s studio every time put me into the position of Alice in Wonderland. Surrounded by scattered paintings, brushes, pallets, paint tubes, roles of canvases, and sketch pads, I was searching for the special conversational piece. If I could only find the right piece, which would be the artist’s favorite, I knew it
would break the ice. The first painting that caught my attention put me suddenly under hypnosis and I don’t recall for how long I was staring at it, whether it was a minute or an hour. This is not, in any way, an exaggeration but a real-live experience.
Evidently, Jaisini noticed that I was trapped by one of his paintings and broke the silence.
-Do you like that piece, or are you looking for a starting point to criticize it?
However it is, I welcome your criticisms rather than flattery.
-Your painting develops in my mind like photosensitive paper in a developer. On second thought, I sense an aesthetic pleasure from just the color harmony, but I still need more time-I said.
-No problem, take your time while I finish a sketch.
I had to postpone the interview in order to get a better look at the painting
that captured me. The artist put on some classical music. I began taking notes about what I had seen while he was silently sketching. As time flew
by, it was getting dark outside and the music ended long ago. I glanced at
the watch and realized that 4 hours had already elapsed and I didn’t even start the interview.
Jaisini was still concentrating on his work and it was obvious that I should’ve called it a day. Setting the convenient time for tomorrow I left.
…we met at the café.
I could tell that Jaisini was in a good mood and the interview has a better chance today. Perhaps his work went well, I thought. Jaisini greeted me as someone he had already befriended….
…-Positively, the painting I was contemplating in your studio sticks to my mind
Jaisini answered;
-It happens to many. I like this cafe. It is always so picturesque. The people
here make it colorful. For example, do you see that waitress?
-The small blond in her late thirties?
-Yes, her name is Nancy. Three years ago she told me that she wanted to become famous and in her free time she writes a script for a movie, convincing me that it will be the first script of its kind, a love story based on
her memoir.
Jaisini smiled charmingly, adding: -Oh, no, I am not joking. I believe in her. Once I invited her to the studio, as
she seemed like such a peculiar person. I was just finishing my painting called “Organ Grinder”. She declared frankly and firmly: ”I want this picture. How much?”
I explained to her that I don’t sell paintings.
Then I experienced certain chemistry. When such a “simple” person, but still
the one who writes the script, says: “I want the “Organ Grinder”, it was the
strangest thing. I didn’t like the painting one bit and after that, all of a sudden, I started seeing it in a different light of something very pure and
divine. She wanted so badly to own the picture that she induced her desire on me. I think that to create this “divine” we have to get down with people, declass to become simple and understand art with awe. Even though Gleitzeit is not for regular people, it can be understood by a mailman who asked me for an autograph, by an immigrant who came to the US to earn
money, or by a priest from England who told me that this art is for intellectuals, not for ambitious people who say, “I understand this art while others don’t.”.
-Do you think that your pictures relate to people as if they are puzzles of human life?
-When a man is awake, a man is asleep; everything encloses. And when you enclose your line you create the reality in which the man truly exists not knowing that he is entrapped in a secluded world of his own doing which he cannot escape. The enclosed line may provoke the desire to breakout, to find an exit.
-The question arises, what is fine art now and who needs it? The elite?
-Yes, but people crave art too if a mailman asked me for my autograph on a postcard after I had to explain him about the picture he saw. Before I explained the painting the man felt scared of breaking his head over it. It is understandable when in schools art is taught as an entertainment, not as a psychological significance, a process of growth, a visualization of today’s reality, an analysis of social life and ancient history, or the world’s history that brought people to the technical progress.
- To build a family is more important for that man.
-Yes, he understands his purpose of trying to build a family of five with eighteen grandchildren. A man’s genetic structure is of a turtle’s and is directed to one, laying eggs by any means and returning in a year through six thousand miles across the ocean to lay eggs again at the same place. But pay attention that bravado of the civilized world brings a realization that everything is a sham. Real is what is encoded by nature; real is when you see a beautiful ocean, a beautiful sunrise, or the grace of a horse. This is real.
- Then what is fine art? Is fine beautiful or good?
-Beautiful. It began from nature, from the copying of beautiful bodies of people and horses…. My main direction in art is most progressive, to achieve in composition the grace of color combinations, an intellectual color climax, tone, contrast, and so on. The idea of the painting unites in itself everything we see in the real world, but in an intricate, puzzle-like concept.
-Art in America is a tendency for immediate recognition. The remembrance is strictly visual since there was no comprehension. First they want to see that it’s different. What about Gleitzeit, how do you see this visual effect expressed?
-A regular person, either a lady florist, my tennis partner, or a teenage cowboy comes to my studio and says: “I don’t understand this art and
I don’t want to see it, it’s not mine. When the lady florist starts seeing some figures in a painting, she shouts, “I see! Look! Look! I see it now!” like a child. A man denies what he doesn’t understand as an immediate reaction. An everyday man is brought up on the understanding of natural grace. He doesn’t assimilate it in an abstract
way. He sees an egg and a hen and points out which are the egg and the hen. In my picture he can’t say that this is an egg and this is a hen at first. Moreover, he can’t say what came first, the egg or the hen. He sees something very simple or very complicating. The man refuses to do an effort. Slowly, not even slowly, but pretty quickly the man can
transform if he learns.
-Do you want to change the process of art cognition? The judgment is not based on the appearance since ‘we’ve seen all there is to see’ with and without philosophy, like when they sell us Coca-Cola they tell us about the transcendental. We are understanding folks. Do you want this “flat” cognition to change?
- A man is looking for an escape. I try to attach him to a thread in the picture, which is twisted, to untangle it. What is next? Did he learn something? Yes, and he also begins to understand abstraction after the knot is undone. This is flexitime. Will the work turn blank? No, since it still has an idea. If it would be an automated drawing by a schoolchild that may look like something there is no concept. In my art you have an idea and mastership. The key is the artist’s mastership. A weak painting will not survive. What is left to the spectator is aesthetic pleasure and confidence.
-What if people ask you for a simpler art? Why do they have to untangle your art?
- I answer simply. It’s not my doing and decision. I didn’t decide it. The art critics said so, they who studied art all their life and read volumes of books. They say that they analyzed it and it has this and that meaning, non other. That an artist is a reflection of society.
- Do you consider yourself a reflection?
-No, I don’t. Philosophers try to understand what is art and life. I only
insist that grace will not diminish in value.
… and I caught myself on a thought that I wanted to know how the story with the scriptwriter waitress ended. If the painting is still in the artist’s holdings I would like to see it to know why she wanted it so badly. And I asked…From 48 hours of the Interview with Paul Jaisini in his New York studio
These Western Bluebird nestlings are enjoying their luxury lodging — each bird has its own window to take in the view.
These birds had fledged when I checked in on them the next day. More photos and info on this bluebird family can be found here.
The Westin Bellevue Hotel Dresden (since has become Bilderberg Bellevue Hotel Dresden) is the best and most elegant hotel that I've ever stayed. And it wasn't expensive when I booked it. My room cost only EUR 84 per night including all fees and taxes.
Very spacious room by European standard, large bed, large bathroom, a proper desk and plenty of space for luggage and souvenir storage :D