View allAll Photos Tagged Stringy,
Winner of the Most Awful Thing At The Whole Event prize.
Bad: I find myself unwilling to eat a full ounce of this stuff, and I chuck it in the trash after tasting just one spoonful.
Worse: I spit what's in my mouth back into the cup first.
Couldn't Be Any Worse: And then I slosh some water around in my mouth to get rid of the taste and anything else that's left inside.
This stuff contained things that were clearly not meant to be swallowed. I think corn husks and the stringy parts of celery stalks were the chief ingredients. Vile, vile, vile.
Broccoli and Three Cheese Soup - made with Sharp Cheddar, Edam and Munster. Pricey. And stringy. But still yummy.
Viili is kind of stringy, not as creamy as yogurt, so some people don't like the texture. But I don't mind it.
One of things I appreciate about Finland is the large assortment of cultured milk products - and I love them all.
While in the U.S. we have primarily:
yogurt
kefir
sour cream
buttermilk
While in Finland there's all that plus:
viili
piimä
And possibly several other products that I either don't remember or haven't seen.
My first experience with kangaroo was eating the meat! It's delicious... a little gamy and stringy, but very tasty.
my hunter husband caught three partridges in september. soft breast bone, stringy wings, tastes and looks like chicken, smells of woody forest
we cooked them in the traditional style of kapama which means red sauce and green olives.
Of all of my experiments this was my favourite (and took the longest). This consisted of my using the polystyrene cutter and slowly pulling the cut pieces off the wire which made a small amount of stringy web. I stood their for ages doing this and am extremely happy with how this turned out (even if it did enjoy sticking to my fingers more then the frame). This is a really good example in my eyes of how a material can turn into something completely dissimilar to its original form.
Particular care was given to matching details from the game's model. The chest had an extra seam running across it.
And yes, I know about that little stringy.
After my visit to the vietnamese, hole in the wall, urgent care clinic...
This wound would prove to be a horrendous on the 17 hour flight home... And let me tell you, gauze in vietnam and korea is thin and stringy and gets stuck in your skin... Hurt like a M-F-B.
Outdoor rhubarb is in season from March to late summer. A darker pink, it is just as tart and delicious as the forced varieties available earlier in the year. In fact, the flavour is even sharper so make sure to add sugar to your cooking. It has a slightly more fibrous texture, so remove any stringy outer layers and cook for longer than you would the more delicate forced rhubarb.
Weeping Nootka Cypress (Chamaecyparis nootkatensis ‘Pendula’), also sometimes called Weeping Alaska Cedar.
Identification features:
Form: Strong central leader with long, pendulous side branches that hang in graceful curtains.
Foliage: Flattened sprays of dark green, scale-like leaves, giving a soft texture compared to the stiffer needles of cedars.
Branch tips: Characteristically droop downward, even at the very top, giving a slightly "melancholic" or draped appearance.
Height: Can reach 20–35 feet (sometimes taller) with a narrow, pyramidal silhouette.
Bark: Reddish-brown and stringy when mature, though mostly hidden here.
Origin: Native to the Pacific Northwest coast from Alaska to northern California.
Description:
The Weeping Nootka Cypress is a dramatic evergreen conifer prized for its elegant weeping habit. It thrives in full sun to partial shade and prefers moist, well-drained soil. This species is cold-hardy and wind-resistant, making it a good landscape specimen for northern climates. Its foliage remains green year-round, adding vertical interest to gardens.
Tacoma Narrows Project 2005 from 1938 to 2005
If anyone is interested i have pieces of the real Galluping Gerty RE-BAR for sale. it is from the Tacoma side the picture on the right shows it real stringy that is what i have we found under 32 ft of dirt. inside the block house of the bridge. contact me if your looking for History thanks Jesse
This is Blue Mahoe. I have resawn it up for the ship. I purchase this board from CookWoods.com. I really love this wood. It is truly beautiful. It gives of a pleasant almost peppery smell. It has a silky but feel when finished but is stringy when cut or rough sanded. I would really like to get some to turn or carve, but one project at a time eh:).
So, here I am in San Francisco airport chowing down on a cheeseburger meal from one of the restaurants nearby. It was huge and I couldn't finish it. That's very unlike me. The cheese was so stringy that I could have picked it up and stretched it across my face, while the beef tasted fairly different to Aussie beef as well. Overall, the meal wasn't bad, but it was different. The burger itself tasted richer than those found here. Sweeter as well, maybe. Hmm...
Each day - for 365 days in total - I will shoot and upload an image. The only rule I have set for myself is that each shot must include myself - in some way, shape or form - and anything edible.
With this, I will be pushing myself to be creative on a daily basis and hopefully develop a better eye for the image that speaks a thousand words along the way.
I hope you enjoy a year in the life of Dre... and hopefully my diet will get better throughout the journey.
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this is the tree we are going to use.
We went to have a look at it, had a look at the bark, the sorroundings and assessed the task
I walked up to Hoodlum's Records in Tempe, AZ yesterday and these two guys were out front smoking. They were thing, gangly, and had stringy hair. I knew them as two of the members of the band What Laura Says but if other people were ignorant then maybe they'd think a lot less of these two gentleman. As they later picked up their instruments, the beauty of Bloom Cheek poured out into Hoodlum's anniversary party and to an audience of several dozen who love the music.
#ds291 Make a beautiful photograph of something commonly thought of as ugly. (@divadeb88)
Wild Carrot, aka Queen Anne's Lace, a common umbral found on the chalk downlands near us.
Single red floret in the centre is said to be where Queen Anne pricked her finger with a needle.
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Also known as Queen Anne's lace this is a dainty, frothy wildflower. Unlike cultivated carrots, the wild carrot's root is tough and stringy and not particularly palatable.
The flower itself is long stalked and shaped like an up-turned umbrella. It is similar in appearance to other members of the Apiacae or 'umbellifer' family - such as the highly poisonous hemlock and the commonly seen cow parsley - with white flowers and feathery leaves.
However, the foliage of wild carrot is a mix of 'bipinnate' (leaves where the feathers are feathered themselves) and tripinnate (leaves where the feathers on the feathers are feathered!), a root that smells of carrots, a hairy stem and occasionally a single red flower in the centre.
www.plantlife.org.uk/uk/discover-wild-plants-nature/plant...
Canon EOS Rebel T3i
Focal length: 55mm, ISO: 250
Shutter speed: 80 Aperture setting 5.6
Taken: 9/9/2018
Morning
I wanted to test out the sharpness I could get with different aperture settings and the stringy texture of these chewed-up tennis balls seemed perfect.
from james' camera
tom starting on his improvised cherry stem knot, going all out chinese style with hot kebab favorite some stringy green veg
Henri de Toulouse-Lautrec - French, 1864 - 1901
Rue des Moulins, 1894, 1894
West Building, Main Floor — Gallery 80
Shown from the knees up, two pale-skinned women stand in profile facing our left, holding their skirts around their waists so their buttocks and thighs are exposed in this vertical painting. The scene is streaked with opalescent, loose strokes and stringy lines that resemble drawing. Both women wear dark green, thigh-high stockings and step forward onto one foot. They faintly smile as they look ahead of them with heavy-lidded eyes. The woman on our left has blond hair gathered at the back of her neck and a fleshy, jowly face. Her lilac-purple, sleeveless garment hangs loosely from her shoulders. The woman on our right has flame-red hair, a flushed face, and round cheeks. Her mint-green garment is hooked over her shoulders like a short cape. Strokes of light brown, petal pink, teal blue, and dusty rose are layered over their pale buttocks and thighs. A third woman behind them and to our right faces away from us. Her dress is blocked in with spruce green, and she has brown hair. The walls of the room are painted with crimson-red lines against the brown of the cardboard on which this is painted. A shimmering blue rectangle could be a window or reflective surface on the far wall. The artist signed the lower right corner with interlocking capital H, T, and L.
Henri de Toulouse-Lautrec was the only surviving son of closely related families from the provincial aristocracy of southwestern France. His father and his uncles were talented amateur artists, and Lautrec showed a keen interest and natural ability in drawing from childhood. At age thirteen he fell while getting up from a chair and broke his left femur. The following year he broke his right leg. Although it was not properly diagnosed during his lifetime, it is likely that Lautrec suffered from a bone disease (perhaps owing to the numerous consanguineous marriages in the family), and his legs stopped growing after the accidents. During his long convalescence Lautrec filled notebooks with his drawings and watercolors. His first art teacher, René Princeteau, encouraged his efforts, and Lautrec persuaded his parents to allow him to pursue further training in Paris. In 1882 he entered the atelier of Léon Bonnat, then transferred to Fernand Cormon's studio that autumn. He studied with Cormon until 1886, where he met his lifelong friends Louis Anquetin, Emile Bernard, and Vincent van Gogh.
Lautrec's work was intimately connected to the life of Montmartre from the start of his professional career. His first illustrations were published in the Montmartrois journals Le Courrier français and Le Mirliton in 1886, the same year that the Mirliton cabaret began displaying Lautrec's paintings. His work focused on the life of the butte, featuring the dance halls, circuses, cafés-concerts, and brothels that dotted the slopes of the hillside. An outgoing and social person, Lautrec befriended a heterogeneous group of Montmartre denizens, including aristocrats, streetwalkers, artists, writers, models, and cancan dancers. His portraits of his companions - often set in his studio, in neighborhood cafés, at dance halls, or at cafés-concerts - present a cross section of the population of Montmartre.
In the later 1880s Lautrec began to exhibit widely, at venues ranging from the avant-garde Les XX in Brussels to the Exposition Universelle des Arts Incohérents, the Salon des Indépendants in Paris, and the Exposition du Petit Boulevard organized by Vincent van Gogh in 1887. Vincent's brother, Theo van Gogh, began to support Lautrec's art at the gallery Boussod and Valadon in 1888, a policy continued more actively when Lautrec's childhood friend Maurice Joyant became manager following Theo's death in 1891. Lautrec created his first lithograph - the poster La Goulue: Moulin Rouge - in December 1891 and went on to design another twenty-nine posters and hundreds of prints, drawings, and paintings in the remaining ten years of his life.
In 1899, his health failing from the effects of alcoholism and syphilis, Lautrec was institutionalized for several months at an asylum near Paris, where he produced a remarkable group of drawings of the circus, drawn from memory. Soon after his release he returned to drinking, and his artistic production dropped significantly. In 1901 he suffered a stroke and died two months before his thirty-seventh birthday at his mother's estate, the Château de Malromé.
(This biography, written by Mary Weaver Chapin, was published in Toulouse-Lautrec and Montmartre; exh. cat. by Richard Thomson, Phillip Dennis Cate, and Mary Weaver Chapin, with assistance by Florence E. Coman; National Gallery of Art, Washington, D.C., The Art Institute of Chicago; Washington, D.C., 2005: 255.)
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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It is a large tree, reaching 130 feet (25–40 m) (rarely to 44 m) tall and a trunk diameter of 10 feet (2–3 m, rarely to 5 m). The bark is gray-brown to red-brown, shallowly vertically fissured, with a stringy texture. The leaves are borne on deciduous branchlets that are spirally arranged on the stem but twisted at the base to lie in two horizontal ranks, 1-2 cm long and 1-2 mm broad; unlike most other species in the family Cupressaceae, it is deciduous, losing the leaves in the winter months, hence the name 'bald'. It is monoecious. Male and female strobili mature in about 12 months; they are produced from buds formed in the late fall, with pollination in early winter. The seed cones are green maturing gray-brown, globular, 2-3.5 cm in diameter. They have from 20–30 spirally arranged four-sided scales, each bearing one or two (rarely three) trianglular seeds. The number of seeds per cone ranges from 20–40. The cones disintegrate when mature to release the large seeds. The seeds are 5-10 mm long, the largest of any species in the cypress family, and are produced every year but with heavy crops every three to five years. The seedlings have 3–9 (most often 6) cotyledons.