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The Beach at Selsey Bill - ca. 1865
James Abbott McNeill Whistler (American, 1834 - 1903)
Whistler, whose work does not fit into any one school, period, or country, and the painting “Beach at Selsey Bill”, which does not fit neatly into his known oeuvre, present problems for art historians and connoisseurs alike. There have been doubts regarding the authenticity and condition of “Beach at Selsey Bill”, since portions have been repainted, but not about its intrinsic quality. The composition is strikingly simple; the figures are summarized with masterly broken strokes; the brushwork expressive and the paint thin, laid on with confident flowing strokes blending to a lustrous surface.
Selsey Bill lies east of the Isle of Wight and south of Chichester, on the south coast of England. The prevailing westerly winds drive long Atlantic rollers onto the broad shingle bank. Whistler stayed there with a friend, the charming and unscrupulous Charles Augustus Howell. Born in Portugal, Howell settled in London about 1864, working as secretary to, among others, Dante Gabriel Rossetti, who had "complete confidence in his judgement on questions of art." (1) Howell pawned, promoted, sold, and even collected Whistler's work-not always with the artist's approval. He sold one sketch, Whistler claimed, as a Michelangelo. (2) Howell also commissioned a portrait of his mistress, Rosa Corder, the magnificent “Arrangement in Brown and Black” (1878; Frick Collection, New York), paying, according to Whistler, with money the artist had lent him. A year later, he was one of the chief creditors involved in Whistler's bankruptcy.
In 1879, when the insolvent artist returned from Venice, he visited Howell, who had converted a row of fishermen's cottages called "Old Denner" at Selsey into a house. Whistler painted the house in watercolor and etched “Lobster-Pots”, which was published in the “Second Venice Set” in 1886, helping to re-establish the artist’s reputation.
Whistler's fortunes improved as Howell’s declined. Howell died in 1890 in sordid circumstances, and several seascapes, including a “Selsey Shore," in his estate sale were attributed to Whistler, but their authenticity is uncertain. (3) Two oil paintings in the sale are associated with Whistler's Selsey visits: the New Britain “Beach at Selsey Bill” and “The Selsey Shore” (Hill-Stead Museum, Farmington, Conn.).
In August 1894 Whistler objected to the sale of what he called “Selsea Bill Sands” at Messrs. Dowdeswell, “an odd scrap that I left at Howell's when I once went down there, and that I never meant should exist at any price!” He continued:
I suppose that, being miserable without painting something, I strolled out on the beach, and found all "Nature" in a shocking state-bleak sky-hard as nails, in an east wind-cheap mean sea-and cold sands-in short everything abominable and only fit for the British landscapist!-Of course I could do nothing-and ought never to have dipped my brush in such company!-There is no excuse for it. (4)
He then wrote a label for the back:
This rag of canvas, bought of Messrs. Dowdeswell, "Beach at Selsey Bill" was never meant to be signed.
It is no more fit for signature than would be the odd scrap of paper that had fallen between waste basket and fire when thrown aside by the author too careless to see the destruction he intended completed before him.-Nothing in the house of Howell was ever lost-and so this sweeping of an afternoon's visit was gathered and stowed away for future transaction. (5)
This denunciation corresponds to the canvas now called “The Selsey Shore”, which is an unfinished, thinly painted, battered study of surf breaking on a beach. In contrast, “Beach at Selsey Bill” is richly painted and in reasonable condition, though it has been repaired.
Despite Whistler’s objections, “The Selsey Shore” was bought by Alfred Atmore Pope. Thus it appears that Pope bought both “Beach at Selsey Bill” and then “The Selsey Shore” from Dowdeswell’s in 1894. Years later, in 1948, Pope's daughter sold “The Selsey Shore” to Macbeth Gallery, New York, where it was joined in 1949 by “Beach at Selsey Bill”. At this point all record of the history of “Beach at Selsey Bill” and any justification for the title had been lost.
Unfortunately, Whistler either did not see or did not comment on “Beach at Selsey Bill” in 1894. The distinction is vital: if he saw the painting, or consigned it to Dowdeswell’s, then obviously it is authentic. Otherwise, it’s authorship is in doubt. “Beach at Selsey Bill” has affinities with Whistler's work, and it is possible that just as the watercolor “Selsey Bill” was innovative in Whistler’s oeuvre (he had worked almost exclusively in pastel and etching in Venice), the oil may also have been experimental.
No other large-scale landscape or seascape by Whistler resembles “Beach at Selsey Bill” in style and technique, but comparable subjects and format are seen in several small works, such as the watercolor “Note in Opal-The Sands, Dieppe” and the oil “Harmony in Blue and Pearl: The Sands, Dieppe” (both 1885; private collection). Both works have a narrow upright format, a high horizon with a few sailing boats, a low shoreline scattered with figures, and a sea painted with fluid strokes that cross the picture cleanly from edge to edge. The asymmetrical composition and expressive brushwork suggest the influence of Asian art.
While the smooth brushstrokes across the beach in “Beach at Selsey Bill” are perfectly controlled and consistent with Whistler's work, the figures are loosely constructed with broad brush strokes that lack Whistler's usual painterly precision. The sky and clouds, effective as they are in color and brushwork, find no equivalent elsewhere in his oils.
These discrepancies raise questions of authenticity-as to whether the painting, fine as it is, is by Whistler or was perhaps started by him and completed by another, albeit competent, hand. Messrs. Dowdeswell saw many alleged Whistlers pass through their gallery, including works the artist is known to have destroyed at the time of his bankruptcy and those reworked by other artists. Walter Greaves, Whistler's erstwhile pupil, was suspected of retouching works.
In the case of “Beach at Selsey Bill”, a more obvious candidate is Howell's mistress, Rosa Frances Corder. She studied painting with Felix Moscheles, drawing with Frederick Sandys, etching with Whistler, and forgery with Howell. Corder faked drawings by Henry Fuseli, Dante Gabriel Rossetti, and possibly Whistler, judging from works in Howell's collection. (6) As few of her paintings survive, it is not clear if she was capable of original work of the caliber of “Beach at Selsey Bill”.
These unresolved questions do not affect the underlying quality of the painting. A powerful work, “Beach at Selsey Bill” is beautiful in color, expressive in brushwork, and indeed worthy of being called a Whistler.
Son of Major G. W. Whistler, a railway engineer, and his second wife, Anna McNeill, James McNeill Whistler was born in Lowell, Massachusetts. He attended art classes at Saint Petersburg Academy of Arts and Sciences during a five-year sojourn in Russia and then at the United States Military Academy at West Point, N.Y..
An admirer of Rembrandt’s etchings, Whistler learned to etch at the U.S. Coast and Geodetic Survey in Washington, D.C., in 1855. With the help of printer Auguste Delâtre, he published his first set of etchings, the “French Set”, in 1858. It was followed by the “Thames Set” (London, 1871) and by two Venetian sets (1880, 1886), which secured Whistler’s reputation. In 1855 he went to study art in Paris, where he joined the academy of Charles Gleyre and was influenced by Gustave Courbet, leader of the Realist movement.
Whistler's early Realist painting, “At the Piano” (1858-59; Taft Museum, Cincinnati), was well received at the Royal Academy in London in 1860, but “The White Girl” (1862; National Gallery of Art, Washington, D.C.) was rejected by the academy in 1862 and by the Paris Salon in 1863 and hung at the Salon des Refusés instead. His Japanese subjects were admired for their color and exoticism but criticized for their lack of "finish." Whistler moved in the circle of the Pre-Raphaelite Dante Gabriel Rossetti. An advocate, like his friend Albert Moore, of "art for art’s sake," Whistler painted figural compositions, such as “Symphony in White No. 3” (Barber Institute of Fine Art, University of Birmingham, Eng.), whose titles emphasize the importance of color over subject.
Concurrently with his figurative subjects, Whistler painted vigorous seascapes. His work in Valparaiso, Chile, in 1867 inaugurated the famous Nocturnes of the 1870s. He also turned to deeply psychological portraits, such as “Arrangement in Gray and Black, No. 1: The Artist's Mother” (1871; Musée du Louvre, Paris), which hung in his one-man exhibition at the Flemish Gallery, London, in 1874. In 1876 he started the major decorative scheme known as the Peacock Room (Freer Gallery of Art, Washington, D.C.), which became a gorgeous harmony in blue and gold for his patron, the Liverpool shipowner F. R. Leyland. Disputes over the scale of Whistler's work for this commission later led to a break between the two men.
In 1877 Whistler exhibited eight paintings at the newly opened Grosvenor Gallery, London. In a review of the show, John Ruskin attacked “Nocturne in Black and Gold: The Falling Rocket” (1875; Detroit Institute of Arts). The artist sued Ruskin for libel and won, but his legal expenses forced him into bankruptcy in 1879. That year, the insolvent Whistler traveled to Venice to fulfill a commission for twelve etchings, the “First Venice Set”.
Whistler's works in all mediums were usually small (5 by 8 inches), though he did execute lifesize portraits. Extremely thin paint, fluid brushwork, and subtle color harmonies distinguish his paintings. Expressive line, intricate detail, and a feeling for light, movement, and character mark his drawings and prints.
The artist was at the forefront of the etching and lithography revivals. His late etchings of Holland and his lithographs of Lyme Regis, on the southern coast of England, as well as his moving lithographic portraits of his dying wife, Beatrice, are among his finest works.
In the 1880s and 1890s Whistler gained international acclaim, exhibiting throughout Europe and America. As president of the International Society of Painters, Sculptors and Gravers, his radical influence on art and exhibition design bore fruit, evidenced in their exhibitions of 1898, 1899, and 1901. He died in Chelsea, London.
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"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."
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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.
Students accepted into MCSI's annual summer URP delivered presentations summarizing their research findings in July 2018.
Façade to the Römerberg (Roman Mountain)
On the Recent Restoration of the Romans Façade
With the acquisition of the two houses “Römer (Romans)” and “Goldener Schwan (Golden Swan)”, 600 years ago, the foundation was laid for one of the internationally most famous German town halls. Gradually, in the following centuries, other adjacent buildings (including the houses “Löwenstein (Lion Stone)” and “Wanebach”, “Frauenstein (Woman Stone)” and “Salzhaus (Salt House)”, “Laderam (Lateran)” or “Alt-Limpurg (Old Limpurg)” and “Silberberg (Silver Mountain)” added, which are now all summarized under the generic term Romans, In the course of time, the interiors of the individual town houses were rebuilt several times for the purpose of urban administration inside. But even the external appearance, that of the once rather simple stepped-gabled façades to the Romans Mountain, at the end of the 19th century no longer satisfied the representational needs of the powerful, prospering commercial and industrial city of Frankfurt am Main. With the redesign of the facades of these three houses (“Old Limpurg”, “Romans” and “Lion Stone”) to a design by Max Meckel, 1896-1900, the Romans—according to the former opinion—have received adequate appearance of its national historical significance.
While Meckel formed the facades of the three buildings individually, he put the emphasis of the decorative design on the exterior of the eponymous house “Romans”. For example, the Imperial Hall received a market-facing balcony on escutcheon-decorated consoles, with a magnificent balustrade in late Gothic forms. Between the ballroom windows, four almost life-sized imperial figures and an elaborately designed tracery canopy were arranged above the dial of the clock. Immediately below the keystone of the gable relay towers the mighty Frankfurt coat of arms.
The air raids in the Second World War also had devastating damage in the area of the Romans ensemble. The houses burned out completely. In addition to the two late-Gothic vaults of the houses “Romans” and “Golden Swan”, however, a large part of the massive facades of the houses “Old Limpurg”, “Romans” (here, however, the upper gable was completely lost) and “Lion Stone” remained largely intact, During the reconstruction of the Frankfurt city center the Romans was rebuilt in the years 1951-53, one of the outstanding tasks in the field of conservation. While the interior design of the buildings was largely in the 1950s style, the façades of the three stepped gable houses were prepared using parts of the overlying substance.
Remarkable is also the handling of the post-war period with the two destroyed, once important historical half-timbered houses “Woman Stone” and “Salt House”. The new building built in the early 1950s as a gabled double house arouses associations with the half-timbered construction of the lost predecessor buildings and at the same time self-confidently displays the modern construction method thanks to its slender grid of reinforced concrete construction. Although the mosaic decor of the wall panels certainly cannot and should not be an adequate substitute for the magnificent facades of the historic buildings, the twin dwelling represents an independent achievement within the reconstruction planning after the war. It holds commemorative values and yet creates something new. From the historically disguised ground floor zone rises the visible reinforced concrete structure on the upper floor. Their system merges with the monumental mural by Wilhelm Geissler “Phoenix from the ashes” facing Paulsplatz to the central Frankfurt memorial to commemorate the destruction of war and reconstruction.
The decision in the context of the recent refurbishment of a color scheme, which is based on the appearance of the Romans at the time of its restoration in 1951-53, had design consequences especially for the field of building sculpture. In addition to extensive restoration work on the tracery parapet of the balcony, the coats of arms and imperial statutes, which had been heavily colored in 1975, had to be gently cleaned and, as in 1952/53, painted in natural stone. Subsequently, the figures were given back their former gilding in the field of insignia and “precious metal” accessories. The ornamental gilding of natural stone reflects an aesthetic conception of the post-war period, as it still shows, for example, in numerous commercial buildings on Roman Mountain and in Braubach Street.
The Romans has always been adapted to the exterior taste of the time, as the multiple transformations since 1900 impressively demonstrate. The design of the façade, which has now been completed, certainly reflects today’s aesthetic conceptions; At the same time, as an approach to the design of the early 1950s, it honors the achievements of post-World War II reconstruction.
Dr. Stefan Timpe
Monument Office of the City of Frankfurt am Main
The Haus Römer shows the four kaisers of the Holy Roman Empire, two city coats of arms, a clock face, and a placard describing the most important facts about the building. The four kaisers are Frederick Barbarossa (the first king to be elected in Frankfurt), Louis the Bavarian (who gave convention rights to the city and allowed an expansion of the city), Charles IV (who made Frankfurt the location of the Kaiser selection vote), and Maximilian II (the first kaiser to be crowned in Frankfurt cathedral).
Long story. Summarized... we keep passing the annoyingly incessantly singing toy back and forth. This time it appeared in the middle of Ariella's birthday cake, made by Heather.
Still from 1925 Kino-Pravda newsreel summarizing status of Lenin’s vital signs during his health crisis.
Installation view of “A Revolutionary Impulse: The Rise of he Russian Avant-Garde”
The Museum of Modern Art
New York, New York
December 3, 2016 – March 12, 2017
Rear View Mirror - Summarizes things you left behind; put that into perspective of life, don't ponder over past a lot, just move ahead taking the learning with you...
Results from the Integrative Taxonomic (ITAX) and Wiens and Penkrot (WP) approaches to species delimitation.Taxonomies are summarized above each figure by a horizontal multicolored bar, each segment representing a different species. A: Application of the ITAX protocol on the mtDNA gene tree. Four distinct criteria have been applied for speciation delimitation within the genus Madascincus. White lines connecting terminal taxa represent occurrences of sympatry (localities a-i) between major clades. B: Application of the WP protocol on the mtDNA gene tree. All the seven focal species tested represent exclusive haplotype lineages, with the exception of M. polleni. Two haplotypes have being considered as the minimal acceptable sampling to support the distinctiveness of a given species. Therefore, species revealed by the WP protocol that were represented by a single haplotype (white circle) were merged with their sister species. The unique sample of M. stumpffi from Antanambao (red circle) constitutes the only exception to this rule: this sample represents the sister lineage of two clades (Files S1 and S2) which are both well sampled and recovered as distinct species. Therefore, in accordance with the concept of phylogenetic species on which this protocol is based, the distinctiveness of the Antanambao sample as a third species has been validated. Red lines represent a selection of the most relevant instances of “gene flow” within each inferred species.
Rod Phillips, Minister of Environment, Conservation and Parks, announced that the government has filed a statement with the Court of Appeal summarizing the arguments it will make challenging the constitutionality of the federal government's Greenhouse Gas Pollution Pricing Act.
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Le ministre de l’Environnement, de la Protection de la nature et des Parcs, Rod Phillips, annonce que le gouvernement a déposé une déclaration devant la Cour d’appel afin de résumer les arguments qu’il produira pour contester la constitutionnalité de la Loi sur la tarification de la pollution causée par les gaz à effet de serre du gouvernement fédéral.
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This official Ontario Government photograph is being made available only for publication by news organizations and/or for personal use by the subject(s) of the photograph. The photograph may not be manipulated in any way.
© Queen's Printer for Ontario, 2018
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Cette photographie officielle du Gouvernement de l’Ontario n'est disponible que pour la publication par les organismes de nouvelles ou l'impression, pour un usage personnel, par le ou les sujets de la photographie. Interdiction formelle de manipuler la photographie
© Imprimeur de la Reine pour l'Ontario, 2018
Façade to the Römerberg (Roman Mountain)
On the Recent Restoration of the Romans Façade
With the acquisition of the two houses “Römer (Romans)” and “Goldener Schwan (Golden Swan)”, 600 years ago, the foundation was laid for one of the internationally most famous German town halls. Gradually, in the following centuries, other adjacent buildings (including the houses “Löwenstein (Lion Stone)” and “Wanebach”, “Frauenstein (Woman Stone)” and “Salzhaus (Salt House)”, “Laderam (Lateran)” or “Alt-Limpurg (Old Limpurg)” and “Silberberg (Silver Mountain)” added, which are now all summarized under the generic term Romans, In the course of time, the interiors of the individual town houses were rebuilt several times for the purpose of urban administration inside. But even the external appearance, that of the once rather simple stepped-gabled façades to the Romans Mountain, at the end of the 19th century no longer satisfied the representational needs of the powerful, prospering commercial and industrial city of Frankfurt am Main. With the redesign of the facades of these three houses (“Old Limpurg”, “Romans” and “Lion Stone”) to a design by Max Meckel, 1896-1900, the Romans—according to the former opinion—have received adequate appearance of its national historical significance.
While Meckel formed the facades of the three buildings individually, he put the emphasis of the decorative design on the exterior of the eponymous house “Romans”. For example, the Imperial Hall received a market-facing balcony on escutcheon-decorated consoles, with a magnificent balustrade in late Gothic forms. Between the ballroom windows, four almost life-sized imperial figures and an elaborately designed tracery canopy were arranged above the dial of the clock. Immediately below the keystone of the gable relay towers the mighty Frankfurt coat of arms.
The air raids in the Second World War also had devastating damage in the area of the Romans ensemble. The houses burned out completely. In addition to the two late-Gothic vaults of the houses “Romans” and “Golden Swan”, however, a large part of the massive facades of the houses “Old Limpurg”, “Romans” (here, however, the upper gable was completely lost) and “Lion Stone” remained largely intact, During the reconstruction of the Frankfurt city center the Romans was rebuilt in the years 1951-53, one of the outstanding tasks in the field of conservation. While the interior design of the buildings was largely in the 1950s style, the façades of the three stepped gable houses were prepared using parts of the overlying substance.
Remarkable is also the handling of the post-war period with the two destroyed, once important historical half-timbered houses “Woman Stone” and “Salt House”. The new building built in the early 1950s as a gabled double house arouses associations with the half-timbered construction of the lost predecessor buildings and at the same time self-confidently displays the modern construction method thanks to its slender grid of reinforced concrete construction. Although the mosaic decor of the wall panels certainly cannot and should not be an adequate substitute for the magnificent facades of the historic buildings, the twin dwelling represents an independent achievement within the reconstruction planning after the war. It holds commemorative values and yet creates something new. From the historically disguised ground floor zone rises the visible reinforced concrete structure on the upper floor. Their system merges with the monumental mural by Wilhelm Geissler “Phoenix from the ashes” facing Paulsplatz to the central Frankfurt memorial to commemorate the destruction of war and reconstruction.
The decision in the context of the recent refurbishment of a color scheme, which is based on the appearance of the Romans at the time of its restoration in 1951-53, had design consequences especially for the field of building sculpture. In addition to extensive restoration work on the tracery parapet of the balcony, the coats of arms and imperial statutes, which had been heavily colored in 1975, had to be gently cleaned and, as in 1952/53, painted in natural stone. Subsequently, the figures were given back their former gilding in the field of insignia and “precious metal” accessories. The ornamental gilding of natural stone reflects an aesthetic conception of the post-war period, as it still shows, for example, in numerous commercial buildings on Roman Mountain and in Braubach Street.
The Romans has always been adapted to the exterior taste of the time, as the multiple transformations since 1900 impressively demonstrate. The design of the façade, which has now been completed, certainly reflects today’s aesthetic conceptions; At the same time, as an approach to the design of the early 1950s, it honors the achievements of post-World War II reconstruction.
Dr. Stefan Timpe
Monument Office of the City of Frankfurt am Main
Charles IV made Frankfurt the location of the Kaiser selection vote and Maximilian II was the first kaiser to be crowned in Frankfurt cathedral.
A PowerPoint slide summarizing the formula used to calculate the high school graduation rate.
NOTE: Photographs on this Flickr page are for the use of news organizations or educational institutions. If published in any format, please give attribution to the Iowa Department of Education.
Six days of summer vacation summarized in seven minutes.
Sure the music is not really original, but come on, this is a video of my summer vacation.
In a previous time I totally would have been one of those people who would force people to sit and watch a slideshow of my trips abroad.
Younger sister and I spent six days in San Francisco (hello seat sale!), exploring it almost entirely on foot. We averaged between 10-15km per day (one day we walked over 20km).
ESA PANGAEA2023 course instructor Harald Hiesinger summarizes the day's activities and trainees' deductions using a geological map.
Credits: ESA / V. Crobu
This texture-filled wagon wheel neatly summarizes my day. It was spent walking pretty much in circles, surrounded by old, gloriously damaged things, and it was hot enough to peel paint.
I found many treasures which I will share with you in the coming weeks.
This weekend may be summarized in 3 words: Trees & old stones.
On Friday the stones were the ruins of Villers-la-Ville, a place I hadn't visited in way too long.
In 1146 this abbey was founded by the Ordo Cisterciensis of St. Bernard.
Façade to the Römerberg (Roman Mountain)
On the Recent Restoration of the Romans Façade
With the acquisition of the two houses “Römer (Romans)” and “Goldener Schwan (Golden Swan)”, 600 years ago, the foundation was laid for one of the internationally most famous German town halls. Gradually, in the following centuries, other adjacent buildings (including the houses “Löwenstein (Lion Stone)” and “Wanebach”, “Frauenstein (Woman Stone)” and “Salzhaus (Salt House)”, “Laderam (Lateran)” or “Alt-Limpurg (Old Limpurg)” and “Silberberg (Silver Mountain)” added, which are now all summarized under the generic term Romans, In the course of time, the interiors of the individual town houses were rebuilt several times for the purpose of urban administration inside. But even the external appearance, that of the once rather simple stepped-gabled façades to the Romans Mountain, at the end of the 19th century no longer satisfied the representational needs of the powerful, prospering commercial and industrial city of Frankfurt am Main. With the redesign of the facades of these three houses (“Old Limpurg”, “Romans” and “Lion Stone”) to a design by Max Meckel, 1896-1900, the Romans—according to the former opinion—have received adequate appearance of its national historical significance.
While Meckel formed the facades of the three buildings individually, he put the emphasis of the decorative design on the exterior of the eponymous house “Romans”. For example, the Imperial Hall received a market-facing balcony on escutcheon-decorated consoles, with a magnificent balustrade in late Gothic forms. Between the ballroom windows, four almost life-sized imperial figures and an elaborately designed tracery canopy were arranged above the dial of the clock. Immediately below the keystone of the gable relay towers the mighty Frankfurt coat of arms.
The air raids in the Second World War also had devastating damage in the area of the Romans ensemble. The houses burned out completely. In addition to the two late-Gothic vaults of the houses “Romans” and “Golden Swan”, however, a large part of the massive facades of the houses “Old Limpurg”, “Romans” (here, however, the upper gable was completely lost) and “Lion Stone” remained largely intact, During the reconstruction of the Frankfurt city center the Romans was rebuilt in the years 1951-53, one of the outstanding tasks in the field of conservation. While the interior design of the buildings was largely in the 1950s style, the façades of the three stepped gable houses were prepared using parts of the overlying substance.
Remarkable is also the handling of the post-war period with the two destroyed, once important historical half-timbered houses “Woman Stone” and “Salt House”. The new building built in the early 1950s as a gabled double house arouses associations with the half-timbered construction of the lost predecessor buildings and at the same time self-confidently displays the modern construction method thanks to its slender grid of reinforced concrete construction. Although the mosaic decor of the wall panels certainly cannot and should not be an adequate substitute for the magnificent facades of the historic buildings, the twin dwelling represents an independent achievement within the reconstruction planning after the war. It holds commemorative values and yet creates something new. From the historically disguised ground floor zone rises the visible reinforced concrete structure on the upper floor. Their system merges with the monumental mural by Wilhelm Geissler “Phoenix from the ashes” facing Paulsplatz to the central Frankfurt memorial to commemorate the destruction of war and reconstruction.
The decision in the context of the recent refurbishment of a color scheme, which is based on the appearance of the Romans at the time of its restoration in 1951-53, had design consequences especially for the field of building sculpture. In addition to extensive restoration work on the tracery parapet of the balcony, the coats of arms and imperial statutes, which had been heavily colored in 1975, had to be gently cleaned and, as in 1952/53, painted in natural stone. Subsequently, the figures were given back their former gilding in the field of insignia and “precious metal” accessories. The ornamental gilding of natural stone reflects an aesthetic conception of the post-war period, as it still shows, for example, in numerous commercial buildings on Roman Mountain and in Braubach Street.
The Romans has always been adapted to the exterior taste of the time, as the multiple transformations since 1900 impressively demonstrate. The design of the façade, which has now been completed, certainly reflects today’s aesthetic conceptions; At the same time, as an approach to the design of the early 1950s, it honors the achievements of post-World War II reconstruction.
Dr. Stefan Timpe
Monument Office of the City of Frankfurt am Main
This picture summarizes dodge city for me. It's a sonic drive in restaurant next to an Arby's restaurant next to a Burger King restaurant next to a McDonald's restaurant next to a Taco Bell restaurant, all in the shadow of an enormous bank of grain towers taller than anything else in the city.
Social Documentary: Note the Susan Sontag quote at the bottom of page 3, which the authors summarize as: “People simply snap pictures without thinking about their responsibility to a situation.” Compare this to the discussion of the Life magazine photographer discussed on page 360, in which the photographer took the “before” photo documenting a lynching (e.g. photographer was part of the crowd). For this exercise, think of photography as a way of engagement with the idea of responsibility to a situation (e.g. as a social act, an intervention, calling something to the public’s attention, challenging your “bystander” status etc.). Situate yourself in relation to a situation that puts you in a particular connection to this larger idea of responsibility that is suggested by these examples. Do your own photographic “take” on this idea.
Students accepted into MCSI's annual summer URP delivered presentations summarizing their research findings in July 2018.
This weekend may be summarized in 3 words: Trees & old stones.
On Friday the stones were the ruins of Villers-la-Ville, a place I hadn't visited in way too long.
In 1146 this abbey was founded by the Ordo Cisterciensis of St. Bernard.
I love this quote. It summarizes what I love about photography...now if I could just find something to get rid of the bags under my eyes, I'd be all set.
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Pastor Shawn briefly summarizes the 1st 3 steps of the Practicing the Presence of God series hcconline.ca is a Church in Edmonton Alberta Canada that lovingly supports people in developing an intimate relationship with God, and deeper friendships with others seeking the same, while maturing the God given potential within all of us!
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Students accepted into MCSI's annual summer URP delivered presentations summarizing their research findings in July 2018.
Façade to the Römerberg (Roman Mountain)
On the Recent Restoration of the Romans Façade
With the acquisition of the two houses “Römer (Romans)” and “Goldener Schwan (Golden Swan)”, 600 years ago, the foundation was laid for one of the internationally most famous German town halls. Gradually, in the following centuries, other adjacent buildings (including the houses “Löwenstein (Lion Stone)” and “Wanebach”, “Frauenstein (Woman Stone)” and “Salzhaus (Salt House)”, “Laderam (Lateran)” or “Alt-Limpurg (Old Limpurg)” and “Silberberg (Silver Mountain)” added, which are now all summarized under the generic term Romans, In the course of time, the interiors of the individual town houses were rebuilt several times for the purpose of urban administration inside. But even the external appearance, that of the once rather simple stepped-gabled façades to the Romans Mountain, at the end of the 19th century no longer satisfied the representational needs of the powerful, prospering commercial and industrial city of Frankfurt am Main. With the redesign of the facades of these three houses (“Old Limpurg”, “Romans” and “Lion Stone”) to a design by Max Meckel, 1896-1900, the Romans—according to the former opinion—have received adequate appearance of its national historical significance.
While Meckel formed the facades of the three buildings individually, he put the emphasis of the decorative design on the exterior of the eponymous house “Romans”. For example, the Imperial Hall received a market-facing balcony on escutcheon-decorated consoles, with a magnificent balustrade in late Gothic forms. Between the ballroom windows, four almost life-sized imperial figures and an elaborately designed tracery canopy were arranged above the dial of the clock. Immediately below the keystone of the gable relay towers the mighty Frankfurt coat of arms.
The air raids in the Second World War also had devastating damage in the area of the Romans ensemble. The houses burned out completely. In addition to the two late-Gothic vaults of the houses “Romans” and “Golden Swan”, however, a large part of the massive facades of the houses “Old Limpurg”, “Romans” (here, however, the upper gable was completely lost) and “Lion Stone” remained largely intact, During the reconstruction of the Frankfurt city center the Romans was rebuilt in the years 1951-53, one of the outstanding tasks in the field of conservation. While the interior design of the buildings was largely in the 1950s style, the façades of the three stepped gable houses were prepared using parts of the overlying substance.
Remarkable is also the handling of the post-war period with the two destroyed, once important historical half-timbered houses “Woman Stone” and “Salt House”. The new building built in the early 1950s as a gabled double house arouses associations with the half-timbered construction of the lost predecessor buildings and at the same time self-confidently displays the modern construction method thanks to its slender grid of reinforced concrete construction. Although the mosaic decor of the wall panels certainly cannot and should not be an adequate substitute for the magnificent facades of the historic buildings, the twin dwelling represents an independent achievement within the reconstruction planning after the war. It holds commemorative values and yet creates something new. From the historically disguised ground floor zone rises the visible reinforced concrete structure on the upper floor. Their system merges with the monumental mural by Wilhelm Geissler “Phoenix from the ashes” facing Paulsplatz to the central Frankfurt memorial to commemorate the destruction of war and reconstruction.
The decision in the context of the recent refurbishment of a color scheme, which is based on the appearance of the Romans at the time of its restoration in 1951-53, had design consequences especially for the field of building sculpture. In addition to extensive restoration work on the tracery parapet of the balcony, the coats of arms and imperial statutes, which had been heavily colored in 1975, had to be gently cleaned and, as in 1952/53, painted in natural stone. Subsequently, the figures were given back their former gilding in the field of insignia and “precious metal” accessories. The ornamental gilding of natural stone reflects an aesthetic conception of the post-war period, as it still shows, for example, in numerous commercial buildings on Roman Mountain and in Braubach Street.
The Romans has always been adapted to the exterior taste of the time, as the multiple transformations since 1900 impressively demonstrate. The design of the façade, which has now been completed, certainly reflects today’s aesthetic conceptions; At the same time, as an approach to the design of the early 1950s, it honors the achievements of post-World War II reconstruction.
Dr. Stefan Timpe
Monument Office of the City of Frankfurt am Main
The Haus Römer shows the four kaisers of the Holy Roman Empire, two city coats of arms, a clock face, and a placard describing the most important facts about the building. The four kaisers are Frederick Barbarossa (the first king to be elected in Frankfurt), Louis the Bavarian (who gave convention rights to the city and allowed an expansion of the city), Charles IV (who made Frankfurt the location of the Kaiser selection vote), and Maximilian II (the first kaiser to be crowned in Frankfurt cathedral).
Students accepted into MCSI's annual summer URP delivered presentations summarizing their research findings in July 2018.
An inspiring conference held on "Commendable Curiosity & Positive Psychology"
A positive discussion was held on "Commendable Curiosity & Positive Psychology" by the Computer Department of the Dev Sanskriti Vishwavidyalaya along with the Communication, Education, Cultural and Tourism Departments of the university. In the event, the members presented their ideas on personal, social, domestic and on the progress of the institution. Addressing the meeting of the program, Dr. Sanjay Saxena from America, presented a lecture on positive psychology. According to Dr. Saxena, dreaming positively over a set quest and then underlining a design to simplify the way of making it to reach others is the major part of an "applausive curiosity".
Dr. Abhay Saxena, the Head of the Computer Department in the meeting remarked that it is only through the building of a personality that the expansion of proper functioning of big institutions has been possible. He said that the key to do a task is to get dissolved in it completely. Summarizing the meeting, Dr. Sukhnandan Singh from Communication Department presented his views on the cultural renaissance. Teachers of the Tourism and Cultural Department put forward the creative aspects of the research, employment, innovation etc. Where as the teachers of the Communication Department presented their views on documentation, presentation, communication, etc.
The conclusion that was drawn from the views of all the members in the discussion was that while accomplishing a task, it is necessary to pay special attention to the aspect of "Commendable Curiosity"......... www.b2s.pm/7Pl5Iy
This weekend may be summarized in 3 words: Trees & old stones.
On Friday the stones were the ruins of Villers-la-Ville, a place I hadn't visited in way too long.
In 1146 this abbey was founded by the Ordo Cisterciensis of St. Bernard.
Social Documentary: Note the Susan Sontag quote at the bottom of page 3, which the authors summarize as: “People simply snap pictures without thinking about their responsibility to a situation.” Compare this to the discussion of the Life magazine photographer discussed on page 360, in which the photographer took the “before” photo documenting a lynching (e.g. photographer was part of the crowd). For this exercise, think of photography as a way of engagement with the idea of responsibility to a situation (e.g. as a social act, an intervention, calling something to the public’s attention, challenging your “bystander” status etc.). Situate yourself in relation to a situation that puts you in a particular connection to this larger idea of responsibility that is suggested by these examples. Do your own photographic “take” on this idea.
5 photos summarized the hummingbirds observed behavior: 1. A female was flying in an unusual jerky fashion between two feeders, landing almost flat on the side of the unit and lying still. 2 - 4. A male approached, poking its beak on the female, grabbing with its claws onto her back; letting go and flying around her; setting briefly in mating position a few times; and flew away. The female remained inert throughout this time. 5. The female slid off the feeder into the flowers. She must have flown away, as I didn't see her after that.