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The electrical signal produced by the sinus node makes your heart’s top chambers or atria contract and push blood through to the lower chambers or ventricles.
The composition of this icon is known as Anastasis, or the Harrowing of Hell, and it is the traditional iconographic representation of the Resurrection. Christ, standing on Hell's broken gates, pulls Adam and Eve out from their tombs, with crowds of Old Testament kings and other biblical figures behind them. The crowned figure on Christ's left is Zachariah, holding a scroll that reads, "Blessed is..." Christ appears again at the bottom of the frame, leading a group of souls out of Hell as angels beat down hapless demons. The icon is painted in the style of the 16th or 17th century, and a spurious "Andrei Rublev" signature (likely added later) tries to pass it off as even older.
The gilt metal frame is studded with painted enamels whose European style clashes somewhat with the dimensionless, traditional style of the icon. At the corners are the four evangelists, each with the apocalyptical beast with which he is associated. The other enamels show the Carrying of the Cross, the Annunciation, the severed head of John the Baptist, and the Holy Family with a toddler John the Baptist. Strings of river pearls and large mother-of-pearl "stones" also decorate the frame or "oklad." Such a real pearl border was recalled in later enamel "oklads" by means of white enamel dots.
Orthodox
H: 15 5/8 x W: 12 7/8 in. (39.7 x 32.7 cm)
medium: tempera on wood, metal gilt, painted enamel on copper, river pearls, mother-of-pearl
culture: Orthodox
dynasty: House of Romanov
Walters Art Museum, 1931, by bequest.
On a beach where a strong breeze moves off the water from left to right, figures of French women, men, and children in chic Parisian dress stroll, sit, chat, or take donkey rides. The activities depicted (promenades, socializing, riding, sandbox playing) are the same as those enjoyed by residents of London or Paris. At the right, the dog suggests that these are vacationers rather than tourists seeking to recreate their urban pastimes at the seashore. Painted outdoors, this composition is typical of Boudin's beach scenes in the 1860s in its low-lying horizon, cloud-filled sky, and figures ranged across the middle ground. By scattering the figures over the surface and not closing off the scene with framing elements, the artist created the impression of a partial view of a much larger scene.
France, 19th century
oil on wood panel
Framed: 54 x 75 x 6.4 cm (21 1/4 x 29 1/2 x 2 1/2 in.); Unframed: 34.7 x 57.7 cm (13 11/16 x 22 11/16 in.)
Gift of Mrs. D. Z. Norton
Thomas Eakins
American, Philadelphia, Pennsylvania 1844–1916 Philadelphia, Pennsylvania
9 9/16 x 6 1/8 in. (24.3 x 15.6 cm)
medium: Watercolor and gouache on off-white wove paper
Metropolitan Museum of Art, New York, NY 25.97.2 1925
Fletcher Fund, 1925
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3 November 2019
Regionalliga West
Rot-Weiß Oberhausen v Fortuna Düsseldorf U23
Stadion Niederrhein
FT 2-1
The copyright for all photos remains with the author; me, Ashley Greb (@ashleygrebphoto).
Any duplication or use of such graphics, sound documents, video sequences and texts in other electronic or printed publications is not permitted without the express permission of the author. However if you ask politely I am sure we could reach a very amicable agreement.
Communication with the author in advance is expected but if published - prior to permission being given - the images must be very clearly accredited "Photograph by Ashley Greb Photography at www.facebook.com/AshleyGrebPhotography/"... You are also free to add links to either twitter account also - "@putajumperon" or "@ashleygrebphoto". At worst you may be asked to make a donation to Teenage Cancer Trust in return for using the image.
Any other reproduction will be treated with utter disdain accompanied by an invoice.
Venice was a center for numerous bronze founders who made elaborate doorknockers for palace doors throughout the city. Although utilitarian, these objects were meant to impress as works of art in their own right. The presence of snakes that coil from this fearsome head suggest that this is Medusa, one of the three demon sisters in Greek mythology known as the Gorgons. According to some legends, Medusa was an attractive woman who, after having an affair with the god Poseidon in Athena's temple, was transformed by the goddess into a serpent-haired beast. Her visage was so terrifying that anyone who looked at it was turned to stone. The hero Perseus was ordered to decapitate Medusa, and Athena subsequently placed the monstrous head in the center of her shield. The use of the Gorgon's head as an ancient motif and protective symbol to avert evil developed from this fabled act. Such literary and iconographic traditions were known to Renaissance artists, and the presence of a Gorgon head on a doorknocker almost certainly evokes its guarding function for a Venetian home.
Italy, Venice, mid-16th century
bronze
Overall: 25.4 x 19.7 x 6.9 cm (10 x 7 3/4 x 2 11/16 in.)
Purchase from the J. H. Wade Fund
This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.
Flanders, Ghent and Bruges, late 15th century
ink, tempera, and gold on vellum
Codex: 22.5 x 15.2 cm (8 7/8 x 6 in.)
Leonard C. Hanna, Jr. Fund
