View allAll Photos Tagged URL
via Tumblr bit.ly/2W3HSak URL Cloaking Part 2 – Why Cloak Your URL?
See Full Exclusive Training Here:
URL Cloaking Part 2 – Why Cloak Your URL?
This is the 2nd video in the series about a great program that can help you set up and handle all your affiliate links in one destination, whether they be simple redirects, stealth redirects, promo splashers.
Want to learn how to use SEO redirects and promo splashes to gain unfair advantage over your competition?
Find out why you should never use free link cloaker or link redirect tools. Avoid losing up to 50% of your affiliate commissions.
Discover the insider’s secret about stealth redirects and how to use it for your advantage?
Visit My Playlist Here For More URL Cloaking Videos:
via WordPress bit.ly/12vBz1C
via Blogger bit.ly/13nuhI5
The scene depicts two sets of battling beasts. The first is a strangely posed bull-man, wrestling with a fantastic lion-like creature; the second is another strangely posed bull-man, wrestling with a composite horned caprid/bull creature. There is one register of cuneiform.
Cylinder seals are cylindrical objects carved in reverse (intaglio) in order to leave raised impressions when rolled into clay. Seals were generally used to mark ownership, and they could act as official identifiers, like a signature, for individuals and institutions. A seal’s owner rolled impressions in wet clay to secure property such as baskets, letters, jars, and even rooms and buildings. This clay sealing prevented tampering because it had to be broken in order to access a safeguarded item. Cylinder seals were often made of durable material, usually stone, and most were drilled lengthwise so they could be strung and worn. A seal’s material and the images inscribed on the seal itself could be protective. The artistry and design might be appreciated and considered decorative as well. Cylinder seals were produced in the Near East beginning in the fourth millennium BCE and date to every period through the end of the first millennium BCE.
Akkadian
H: 1 1/8 x Diam: 5/8 in. (2.9 x 1.5 cm)
medium: brown and white stone
culture: Akkadian
Walters Art Museum, 1941, by purchase.
Thomas Seir Cummings
American (born England), Bath 1804–1894 Hackensack, New Jersey
6 13/16 x 5 3/8 in. (17.3 x 13.7 cm)
medium: Watercolor on ivory
Metropolitan Museum of Art, New York, NY 27.134 1927
Gift of Mrs. Richard B. Hartshorne, 1927
The small scale of this painting and its protective covers facilitated its use as a portable icon. The hollow wooden cylinder attached to the body allowed the painting to be suspended from the owner's neck. The practice of wearing icons of the Virgin as pendants is documented in written sources as early as the fifteenth century. The main scene on this doubled-sided pendant commemorates the feast of Däbrä Metmaq. According to the "Miracles of Mary," this feast was instituted to celebrate an event that occurred annually in the church of Dayr al-Magtas, Egypt. For five days each spring, Mary miraculously appeared inside the cupola of the church, bathed in light and surrounded by angels. The main panel of this icon captures the visionary character of this event by enclosing the Virgin in a band of yellow light. Seraphim surround the outer border of red. The archangels Michael and Gabriel, depicted on the inside cover, evoke the heavenly hosts that accompanied the Virgin. By representing the major figures, the painter recreated the miraculous apparition in miniature for the pendant's owner. As the Festival of Däbrä Metmaq was especially important to women, and as the reverse of the pendant also bears the likenesses of two female martyr-saints, the patron of this work might have been female. The legend of the 15th-century saint Krestos Sämra describes how Christ bequeathed to her a painting, which he hung pendant-like around her neck. The delicately carved, painted covers transformed the closed pendant into a cherished object of personal devotion.
Christian Highland Ethiopian
H open: 4 3/8 x W: 10 1/8 in. (11.11 x 25.7 cm)
H closed: 4 3/8 x W: 3 5/8 in. (11.11 x 9.2 cm)
Panel H: 3 3/16 x W: 3 1/4 in. (8.09 x 8.25 cm)
medium: tempera on panel
culture: Christian Highland Ethiopian
Walters Art Museum, 1996, by purchase.
These eight woodcuts come from a series of forty which illustrate the story of Christian redemption from original sin to the Last Judgement. Probably to maximize printing efficiency and quality, eight woodblocks were printed on each of five sheets of paper, but the subjects are not in the correct chronological order. Prior to sale, the sheets were cut into eight pieces. The sheets in the museum's set were only cut in half, preserving four prints per page. The numbers after the titles of the individual images indicate each scene's place within the narrative. By 1513, Altdorfer had already executed a number of small, finely detailed engravings. Because it is difficult to achieve the same degree of precision using woodcut, The Fall and Redemption of Man is a technical tour de force. Probably inspired by Albrecht Dürer's Small Passion (1511)-but almost double the size-the only contemporaneous comparable set of fine miniature woodcuts, Dance of Death, was designed by Hans Holbein in about 1526 (on view nearby).
Germany, 16th century
woodcut
John L. Severance Fund
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: 9 5/8 x W: 7 5/16 in. (24.5 x 18.6 cm)
medium: watercolor with gum heightening an white heightening, iron gall ink and pen, on slightly textured, moderately-thick, cream laid paper
Walters Art Museum, 1931, by bequest.
[1] In a diary entry Lucas records that Bonvin made 12 watercolors for William T. Walters in 1863. The commission was likely given on 12 February (see Randall, Diary of George A. Lucas, vol. 2, p. 150), on 14 October of the same year Lucas records "Bonvin delivered the 12th flower for W's - paid him the remaining 100 fs making 300 fs for the 12" (Randall, Diary of George A. Lucas, vol. 2, p. 163).