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This feature is really useful for downloading mixes and other MP3's - just input the URL in the box, press Submit and click Save As on the link that appeared.
This sign for the open-air South bank Book Market even has the web address of the group who made it included. Can't tell if the address is written in tiles though.
CAPTION: URL: ift.tt/1QrD6Iz SOURCE: ift.tt/1Qsg5vr FROM: HM Harris Auto-action created by ifttt.com
Léon Bonvin was born in Vaugirard, just outside Paris in 1834. Despite displaying great talent in the medium of watercolor he was largely unrecognized by his contemporaries. In 1866 he hanged himself at the age of 32, apparently due to financial difficulties. Working at his family's bar or "cabaret," he sketched and painted watercolors only in his spare moments, yet in the seven year period between 1859 and his death he created numerous exquisite still lifes of flowers and fruits, and subtle landscapes capturing fleeting atmospheric effects. There is evidence that, despite his rural home, Bonvin did have knowledge of the art world in Paris. His half-brother was the better known artist, François Bonvin. In addition Bonvin's still lifes show the influence of Jean-Siméon Chardin (1699-1779), whose work was undergoing a revival in the 1850s and 60s.
During the 19th century an appreciation of Bonvin's work was confined to a small circle of connoisseurs and collectors, most prominent among them William T. Walters, father of Henry Walters, founder of the Walters Art Museum. For much of the 19th century William displayed and stored his watercolors in a deluxe leather-bound album with a specially commissioned frontispiece and tailpiece by the renowned flower painter of the Lyon school, Jean-Marie Reignier (see WAM 37.1501 and 37. 1531). William's collection of Bonvin's work was acquired between 1862 and 1891, and eventually comprised 56 watercolors and one, rare oil; today, this is the largest collection of Bonvin's work in existence.
H: 6 × W: 7 7/8 in. (15.24 × 20 cm)
Framed H: 21 1/4 × W: 16 1/4 × D: 1 5/16 in. (53.98 × 41.28 × 3.33 cm)
medium: watercolor and gum heightening, iron gall ink and pen, over graphite underdrawing on slightly textured, moderately thick (?) cream wove paper
Walters Art Museum, 1931, by bequest.
This tunic fragment with a straight neck opening in the center and one surviving shoulder square may have symbolically protected the wearer from danger. This is suggested by interlacing knots. These delicate decorations in small deep purple discs alternate with human busts in roundels.
Egypt, Byzantine period
plain weave with slit-tapestry weave and supplementary weft wrapping; dyed wool, undyed linen
Overall: 14.3 x 35.6 cm (5 5/8 x 14 in.); Mounted: 22.9 x 43.2 cm (9 x 17 in.)
Gift of George D. Pratt
CHRISTY-FLORIST94503374網誌一覽Background背景stage婚嫁EVENT場所裝飾POSTER婚慶Idea 宴會婚禮場地禮堂BANNER結婚FoamBoard大型噴畫style場合PARTY擺酒宴會DECO香港HK婚宴構思統籌晚會GARPHIC網頁|TRACKBACK_URL_FOR THIS POSTS佈置網誌一覽蘼鮮花批發及專業婚禮場地佈置設計公司Since1989WHATSAPP//TEL94503374地址香港九龍尖沙咀漆咸道南45至51號其士大廈尖東堡商場地庫B65舖 masterwin@ymail.com
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Very little is known about Francesco Bertos, a highly original artist who created a considerable number of complicated pyramidal groups in a very distinctive, ingenious style that mirrors the lightness and airiness of contemporary rococo painting in France. Each of the pieces has a primary view or "front" while offering interconnected details that unfold as one moves around the piece.
These four groups (Walters 54.657, 54.658, 54.659, and 54.660) are symbolic representations (allegories) of the four parts of which the world was then thought to consist. The concept of "continents" would come later and the North and South America would be considered separately . All have their names engraved. In the allegory of America, the fierce and primitive nature of the New World is represented by the semi-nude female Native American warrior wearing feathers, who has shot an opponent with an arrow. She supports a man who stands on an alligator that looks strangely like a lizard. The gruesome detail of the little boy lifting a decapitated head on a spear refers to European assumptions about the practice of cannibalism in America.
H: 27 3/16 × W: 14 15/16 × D: 17 11/16 in. (69 × 38 × 44.9 cm)
medium: bronze
Walters Art Museum, 1931, by bequest.
[url=http://www.cruisecritic.com/reviews/review.cfm?ShipID=291]This ship[/url] looked rather out of place between the Oosterdam and the Diamond Princess.
Coney McConeface: The Life and Death of a Traffic Cone by Chris "Kiwi" Hankins and the ConeCophony Collective from Dargaville, New Zealand and Reno, NV
Coney McConeface is a larger than life traffic cone. At 60 feet tall he will tower over the playa. He is painted in bright safety orange and reflective silver bands. He has steam rising around and through him. This steam is coming from a crack in the playa caused from geothermal activity deep below the surface.
Coney has been built on top of this geothermal activity to project the citizens of Black Rock City from falling into the cavity and and being injured or burnt. Coney is a symbol of safety and protection, an image we all very familiar with in our day to day lives…traffic cones are everywhere…
URL: www.conecophony.com/