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Alex de Minaur of Australia consoles France’s Corentin Moutet after their semifinal clash at the 2025 Mubadala Citi DC Open in Washington, D.C. Moutet, who entered the tournament as a lucky loser and battled through the draw with gritty, inspired play, saw his dream run end with a 6–4, 6–3 loss to de Minaur. Despite committing 33 unforced errors in a scrappy performance, de Minaur’s sportsmanship shone in victory as he acknowledged the depth of Moutet’s effort and resilience.
This is the addendum. Just in case the creators and users of socially networked services have forgotten; it's about people and about sharing and connecting in natural, unforced ways.
© 2011 Thousand Word Images by Dustin Abbott
An autumn portrait of my son. I love this one because of the unique look and the very "unforced" quality.
Technical info: Canon 60D, Canon EF 50mm f/1.4, Canon 580exII shot through a translucent umbrella camera left, triggered through the 60D's excellent built in wireless flash control. Natural, setting sunlight coming from the front right.. Processed through Adobe Lightroom 3 and Alien Skin Exposure.
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Villa Tugendhat is a historical building in the wealthy neighbourhood of Černá Pole in Brno, Czech Republic. It is one of the pioneering prototypes of modern architecture in Europe, and was designed by the German architect Ludwig Mies van der Rohe. Built of reinforced concrete between 1928–1930 for Fritz Tugendhat and his wife Greta, the villa soon became an icon of modernism.
THE HOUSING PHILOSOPHY
CAN THE TUGENDHAT VILLA BE LIVED IN?
This provocative question was voiced by the art historian Justus Bier. This was a reaction to an article on the new structure of the Brno Villa in the magazine 'Die Form' which was published in the year 1931 by the publisher himself Walter Riezler. The commissioners themselves entered into the polemic on the theme as to whether “the Tugendhat Villa can be lived in” with their reactions supplemented with a text by the architect Ludwig Hilberseimer. The Tugendhats rejected the view that the monumental, impassioned living space would only allow for a kind of ceremonial or showpiece housing, and in contrast expressed their complete satisfaction with its variable character. The unforced domestic calm also radiates from the family photographs by Fritz Tugendhat who was a photo enthusiast and amateur filmmaker.
From the philosophical perspective the Tugendhat Villa particularly reflects the influence of the German Catholic Modern movement. The American art historian Barry Bergdoll as well as the Czech art historian Rostislav Švácha have pointed out in this connection the ideas of the philosopher Romano Guardini, one of the most significant figures of German Christian Personalism. Mies had met with Guardini and his ideas had additionally influenced Grete Tugendhat. “Large spaces provide freedom. Space has a completely special calm in its rhythm which cannot be provided by a closed room.” The snaps by Fritz Tugendhat are genuine personal interpretation of space in contrast with the 'official' photographs of the architecture. “When I allow these spaces and everything which is inside them to influence me as whole, I clearly feel: what beauty is, what is truth.” The Tugendhats apparently knew Guardini’s views or at least discussed them with Mies. Guardini’s works, which came about at the same time as the design of the Villa, state that a well-built internal space has levels which lead into depths. This is precisely the manner in which one enters downward into the space of Tugendhat Villa the intimate character of which is protected by the stern street section of the house.
Art historical theories and interpretations of not only Tugendhat Villa but Mies’ work in general will continue to stimulate generations of art historians and architecture theoreticians. Up until now almost all of them have agreed that the essence of the Brno realization was the arrangement of the main living space and its connection up with the external outdoors. One of the starting points was undoubtedly the ideas of F. L. Wright and his “open plan” which at the turn of the 19th and 20th centuries removed the four walls demarcating the rooms allowing for the emergence of a continual space with a connection to the exterior of the structure. Mies van der Rohe himself did not write anything about the Brno Villa, but he did discuss the conception in detail with his educated clients.
This country’s leading, and by coincidence also from Brno, art historians view “the loose” and “the open” space of the house as analogical to the architecture of the Middle Ages and the Baroque. Václav Richter compared Mies’ space conception with Santini’s radical Baroque space in the pilgrimage church on Zelená hora near Žďár nad Sázavou. Richter’s student Zdeněk Kudělka has made reference to the Neo-Gothic aspects of this space which is enhanced by a cross-like connected profile of steel supporting columns and the mirror-like gloss of its chrome cladding. These interpretations coincide with Richter’s remarkable periodization of the history of “the open” architectural space which was in his view only fulfilled in the Gothic, in the radical Baroque and in the skeleton architecture of the 20th century.
Mies’ student Philip Johnson and after him the Swiss architecture historian Sigfried Giedion have interpreted the interior of the Brno Villa as “a flowing” space whose “flow” is only gently channelled by the lines of the onyx and the Macassar inner wall in harmony with the regular rhythm of the supporting columns and the carefully placed furniture.
The period Czechoslovak specialised journals ostentatiously ignored Mies' realization in Brno. The only positive evaluation of the building in the domestic press came from the exclusive society magazine Měsíc (Month) which presented the Villa as one of the crowning expressions of contemporary aesthetic and technical maturity. The negative attitude by Czech specialised circles would thus seem to foreshadow the painful future of both the Villa and its inhabitants.
Do you girls pick a dress to showcase your very luscious feeling sheer tights or do you pick your tights to showcase your cute LBD?!? Such deep thoughts……either way…..we soooo relish in the joy!!! Have a happy one awesome flickerettes!!!💋💕💋❤️
Zhou Enlai (1898-1976) was one of China's most beloved leaders during his lifetime, and he remains deeply remembered by the Chinese people.
Participant in all the great adventures of the communist revolution that culminated in their seizure of power in 1949 under the imperial tutelage of Mao Zedong, he remained until his death a skilled diplomat and a very pragmatic prime minister.
In Tianjin, a museum is dedicated to his memory.
While visiting it, I was able to observe the genuine, unforced respect shown to him by the many visitors. There were deep and frequent bows before his statue and his other representations.
Remarkably, his wife, Deng Yingchao, who survived him by several years, enjoys almost identical treatment in the museum setting to that of her husband.
* * *
Zhou Enlai (1898-1976) fut l'un des dirigeants de la Chine les plus appréciés de son vivant et il reste très présent dans le cœur des Chinois.
Participant à toutes les grandes aventures de la révolution communiste qui aboutirent à leur prise de pouvoir en 1949 sous l'impériale tutelle de Mao Dse Dong, il fut jusqu'à sa mort un habile diplomate et un premier ministre très pragmatique.
A Tianjin, un musée est dédié à sa mémoire.
En le visitant j'ai pu contstater le respect non feint, non contraint que lui portent les nombreux visiteurs. Profondes et multiples inclinaisons devant sa statue à ses autres réprésentations.
Fait remarquable, son épouse Deng Yingchao qui lui survivra quelques années, jouis dans le dispositif muséal d'un traitment presque identique à celui de son mari.
ДЖОН КОХ - Летняя вечеринка (Вечеринка)
☆📝
Private collection.
Gray's Auctioneers Cleveland, September 27, 2011.
Sources: www.liveauctioneers.com/item/9869181_126-john-koch-1909-1...
content.time.com/time/magazine/article/0,9171,190912,00.h...
A World Of Grownups
By Robert Hughes
In the 1960s, the New York art world was a little like Lake Wobegon, where all the children are above average. Everyone was a radical, except an enlightened few. Koch was not, not at all. Born in 1909, he was self-taught, spent all his life in New York (except for a period of study in Paris) and died in 1978. There were quite a few reasons for well-thinking folk of a conventionally radical disposition not to take him seriously. One: he was a figurative painter. Two: he and his wife Dora Zaslavsky, a noted piano coach, were reasonably well off from his bread-and-butter work of portraiture (which, wisely, is not allowed to dominate this show), and they lived in a big flat overlooking Central Park, surrounded by antique furniture, bibelots and old paintings, some genuine and some not, which he liked to include in his own canvases. (Sometimes he would make up the paintings he liked. There is a Tiepolo on the wall in one of his pictures; it never existed. Koch invented it, convincingly, for his room.)
Three: he loved to paint nudes, of a low sexual intensity, and to record the interaction among guests at the parties the Koches liked to give, at which all the male guests, incredibly, wore ties, and the female ones favored pearl necklaces--natural, one suspects, not cultured. But the pearl necklaces were about the only noncultured things in Koch's painted world (as, come to think of it, they were in the world of one of his chief idols, Vermeer). His pictures celebrate refinement--of material, of craftsmanship, of manners and, so far as a silent art can do so, of social speech.
As Michael Thomas observes in his catalog essay, Koch's world is one of grownups. They congregate in those elegant friendly rooms like the inhabitants of an ideal but real fete champetre within four walls: New York's high bohemia, in mutual recognition. In it, children are rarely seen and subliterates are never heard. The fear, disgust and boredom that are the axial coordinates of American urban life in the 2000s do not appear. People are not afraid of growing older. Ripeness is all. They have not become depressed helots to the culture of ignorant mall rats with Dolby stereos. Nobody has heard of Madonna, let alone Donald Trump or Osama bin Laden. No one has started bleating about elitism. Not yet.
Koch had a wonderful eye for nuance. It lifts images that might otherwise seem beautifully rendered but fringed with banality into real, unforced poetry. Take, for instance, Central Park Looking North, 1967. A chilly, wet day in New York, seen through a metal casement window. An antique statue of a faun on the sill, far in space and temperature from his native Mediterranean. And high on the brick wall of the apartment building to the left, a pink patch: a ray of sun breaking through winter's grisaille. Surely Koch had been thinking of the "little patch of yellow wall" in Vermeer's View of Delft, the last thing Proust's connoisseur Bergotte notices before he is felled by a heart attack. Memory and desire: Koch's great understated themes.
Koch understood material substance, and he matched it with an unfailing sense of the beauty of paint as an autonomous surface, something to be enjoyed in its own right. His still lifes are exquisite. He was not attracted to raw landscape--liking neither vast American space nor the feeling of bugs in his trousers--but rather to the panoply of stuffs and textures with which he and Dora lived surrounded, the Great Indoors, and the light that bathed them. Everything gets equal attention from this light, and the structure of shadows and highlights Koch could raise from it can be extraordinarily dramatic and resolved. Witness his Music, 1956-57, and what this lovely fugue of pewter-gray and dark would lose if the L-shaped opening in its lower cupboard door were closed. Has any American artist ever painted the sheen of polished mahogany better than Koch? Well, maybe one: John Singleton Copley, whose work, not coincidentally, Koch adored.
Maybe these are small virtues. Or maybe not. Certainly they are a lot more intriguing than the Failed Sublime that made up so much American art in Koch's time. And they suggest how much is still to be said about that time, so much more alluring than our own. How can you not love such a show?
Click here to learn more about Camp Humphreys
U.S. Army photos by Steven Hoover
Ducks top Hoyas in Armed Forces Classic at Camp Humphreys
By Tim Hipps
U.S. Army Installation Management Command
CAMP HUMPHREYS, South Korea – In a season opener between teams led by newcomers, Joseph Young scored 24 points to lead No. 19 Oregon to an 82-75 victory over Georgetown in the 2013 Armed Forces Classic here.
The Ducks and Hoyas tipped off Nov. 9 at 10:16 a.m., on a Saturday morning in the Humphreys Community Fitness Center. For college basketball fans across America, the game was one of many season openers on Friday night. Only one, however, was played before 2,100 U.S. troops and their family members, along with a worldwide television audience on ESPN.
“We’re about to start the journey to determine who is the best team in college basketball, the best team in the country, and we’re doing it in front of the best team in the world,” ESPN announcer Jay Bilas said. “I’m in absolute awe of the commitment, the sacrifice, of our men and women in uniform.”
Young, a junior guard who transferred from Houston is a son of Michael Young, who played for the high-flying “Phi Slama Jama” teams of the early 1980’s. He grabbed five rebounds and was perfect on 12 free throws in his first game as a Duck.
Joshua Smith, a 6-foot-10, 350-pound junior center who transferred from UCLA, led Georgetown (0-1) with 25 points on 10-of-13 shooting and 5 of 9 free throws before fouling out of his first game as a Hoya with 9 seconds remaining.
Jason Calliste made all 11 of his free throws and scored 16 points for Oregon (1-0). Mike Moser added 15 points, seven rebounds and a career-high six steals, the most by an Oregon player in 15 seasons. Darius Wright was the last Duck to post six steals in a game against USC on Jan. 7, 1999.
“We came a long way, so we really didn’t want to lose this one,” Moser said. “It definitely feels good to go home – a 12-hour ride – with a win.”
Damyean Dotson grabbed eight rebounds and Johnathan Loyd had seven assists for Oregon. Loyd recorded his 304th career assist for a spot on the Ducks’ top 10 list.
The Hoyas shot 1 of 15 from 3-point range, failed to find much offensive continuity, and were outrebounded, 40-32.
“Things we can control, we have to control,” Georgetown coach John Thompson III said. “We had too many untimely unforced turnovers. We got our rhythm offensively, but we gave up a lot of threes in a row – it felt like four or five. The timing of that is what we have to learn. When we had to get a stop or a rebound, we didn’t.”
Oregon took an 18-7 lead via a 12-2 run, capped by two free throws by Calliste with 12:27 remaining in the first half. Calliste also converted a three-point play that gave the Ducks a 30-23 lead with 5:25 remaining in the period. Oregon led, 37-34, at halftime.
Georgetown took its first lead since 2-0 on a steal by Markel Starks and Smith’s feed to Jabril Trawick for a layup and a 40-39 lead with 18:06 left. D’Vauntes Smith-Rivera’s jumper put Georgetown ahead, 42-39. Loyd responded with a 3-pointer, Young followed with a layup, and the Ducks led the rest of the way.
Starks finished with 16 points and four assists for Georgetown. Trawick added 11 points and three rebounds. Before departing, Moser saluted the troops who welcomed the Ducks to Camp Humphreys, their most distant regular-season game site in school history.
“We had a lot of fun,” Moser said. “Getting a chance to hang out with the troops for a couple days inspired us to try and come out here and win this game.”
Played on Veterans Day weekend, the game featured a military theme throughout. Rather than players’ last names, Army values, such as “Courage,” “Integrity” and “Respect,” adorned the back of Georgetown’s camouflage-patterned jerseys. The backs of the Ducks’ camouflage-patterned jerseys displayed: “USA.” Members of both coaching staffs wore military-style cargo pants and combat boots.
“This was an unbelievable experience,” Thompson said. “It was a privilege to play in this environment, and it was a privilege to play in front of the Soldiers. One of the most rewarding times was serving lunch yesterday and getting the chance to interact with the young men and women stationed here at Camp Humphreys.”
Georgetown players Nate Lubick and Starks also were appreciative.
“This was a great opportunity to get a close-up look at what life is like for the men and women who protect our country,” Lubick said. “We’re very fortunate to have the opportunity to come here and play a game to thank them for all they do.”
“We’re blessed to have the chance to come here and see and tour the base and the helicopters,” Starks added. “It’s amazing all that they do and we’re really thankful to get the chance to meet everyone here.”
Folks at Camp Humphreys thought likewise.
“It’s such a blessing,” said Cassie Gaudette, wife of Army Capt. Brian Gaudette. “I don’t think that they can truly understand how exciting and wonderful it is to have a little piece of home and have the teams come here to South Korea. We’re originally from Eugene [home of the Oregon Ducks], so this was really exciting to see.”
Oregon played without sophomores Dominic Artis and Ben Carter, who were suspended nine games for violating NCAA rules by selling school-issued athletic apparel. If only they knew what they missed.
Villa Tugendhat is a historical building in the wealthy neighbourhood of Černá Pole in Brno, Czech Republic. It is one of the pioneering prototypes of modern architecture in Europe, and was designed by the German architect Ludwig Mies van der Rohe. Built of reinforced concrete between 1928–1930 for Fritz Tugendhat and his wife Greta, the villa soon became an icon of modernism.
THE HOUSING PHILOSOPHY
CAN THE TUGENDHAT VILLA BE LIVED IN?
This provocative question was voiced by the art historian Justus Bier. This was a reaction to an article on the new structure of the Brno Villa in the magazine 'Die Form' which was published in the year 1931 by the publisher himself Walter Riezler. The commissioners themselves entered into the polemic on the theme as to whether “the Tugendhat Villa can be lived in” with their reactions supplemented with a text by the architect Ludwig Hilberseimer. The Tugendhats rejected the view that the monumental, impassioned living space would only allow for a kind of ceremonial or showpiece housing, and in contrast expressed their complete satisfaction with its variable character. The unforced domestic calm also radiates from the family photographs by Fritz Tugendhat who was a photo enthusiast and amateur filmmaker.
From the philosophical perspective the Tugendhat Villa particularly reflects the influence of the German Catholic Modern movement. The American art historian Barry Bergdoll as well as the Czech art historian Rostislav Švácha have pointed out in this connection the ideas of the philosopher Romano Guardini, one of the most significant figures of German Christian Personalism. Mies had met with Guardini and his ideas had additionally influenced Grete Tugendhat. “Large spaces provide freedom. Space has a completely special calm in its rhythm which cannot be provided by a closed room.” The snaps by Fritz Tugendhat are genuine personal interpretation of space in contrast with the 'official' photographs of the architecture. “When I allow these spaces and everything which is inside them to influence me as whole, I clearly feel: what beauty is, what is truth.” The Tugendhats apparently knew Guardini’s views or at least discussed them with Mies. Guardini’s works, which came about at the same time as the design of the Villa, state that a well-built internal space has levels which lead into depths. This is precisely the manner in which one enters downward into the space of Tugendhat Villa the intimate character of which is protected by the stern street section of the house.
Art historical theories and interpretations of not only Tugendhat Villa but Mies’ work in general will continue to stimulate generations of art historians and architecture theoreticians. Up until now almost all of them have agreed that the essence of the Brno realization was the arrangement of the main living space and its connection up with the external outdoors. One of the starting points was undoubtedly the ideas of F. L. Wright and his “open plan” which at the turn of the 19th and 20th centuries removed the four walls demarcating the rooms allowing for the emergence of a continual space with a connection to the exterior of the structure. Mies van der Rohe himself did not write anything about the Brno Villa, but he did discuss the conception in detail with his educated clients.
This country’s leading, and by coincidence also from Brno, art historians view “the loose” and “the open” space of the house as analogical to the architecture of the Middle Ages and the Baroque. Václav Richter compared Mies’ space conception with Santini’s radical Baroque space in the pilgrimage church on Zelená hora near Žďár nad Sázavou. Richter’s student Zdeněk Kudělka has made reference to the Neo-Gothic aspects of this space which is enhanced by a cross-like connected profile of steel supporting columns and the mirror-like gloss of its chrome cladding. These interpretations coincide with Richter’s remarkable periodization of the history of “the open” architectural space which was in his view only fulfilled in the Gothic, in the radical Baroque and in the skeleton architecture of the 20th century.
Mies’ student Philip Johnson and after him the Swiss architecture historian Sigfried Giedion have interpreted the interior of the Brno Villa as “a flowing” space whose “flow” is only gently channelled by the lines of the onyx and the Macassar inner wall in harmony with the regular rhythm of the supporting columns and the carefully placed furniture.
The period Czechoslovak specialised journals ostentatiously ignored Mies' realization in Brno. The only positive evaluation of the building in the domestic press came from the exclusive society magazine Měsíc (Month) which presented the Villa as one of the crowning expressions of contemporary aesthetic and technical maturity. The negative attitude by Czech specialised circles would thus seem to foreshadow the painful future of both the Villa and its inhabitants.
{Matthew 11:28-30 MSG}
"Are you tired? Worn out? Burned out on religion? Come to me. Get away with me and you'll recover your life. I'll show you how to take a real rest. Walk with me and work with me—watch how I do it. Learn the unforced rhythms of grace. I won't lay anything heavy or ill-fitting on you. Keep company with me and you'll learn to live freely and lightly."
Villa Tugendhat is a historical building in the wealthy neighbourhood of Černá Pole in Brno, Czech Republic. It is one of the pioneering prototypes of modern architecture in Europe, and was designed by the German architect Ludwig Mies van der Rohe. Built of reinforced concrete between 1928–1930 for Fritz Tugendhat and his wife Greta, the villa soon became an icon of modernism.
THE HOUSING PHILOSOPHY
CAN THE TUGENDHAT VILLA BE LIVED IN?
This provocative question was voiced by the art historian Justus Bier. This was a reaction to an article on the new structure of the Brno Villa in the magazine 'Die Form' which was published in the year 1931 by the publisher himself Walter Riezler. The commissioners themselves entered into the polemic on the theme as to whether “the Tugendhat Villa can be lived in” with their reactions supplemented with a text by the architect Ludwig Hilberseimer. The Tugendhats rejected the view that the monumental, impassioned living space would only allow for a kind of ceremonial or showpiece housing, and in contrast expressed their complete satisfaction with its variable character. The unforced domestic calm also radiates from the family photographs by Fritz Tugendhat who was a photo enthusiast and amateur filmmaker.
From the philosophical perspective the Tugendhat Villa particularly reflects the influence of the German Catholic Modern movement. The American art historian Barry Bergdoll as well as the Czech art historian Rostislav Švácha have pointed out in this connection the ideas of the philosopher Romano Guardini, one of the most significant figures of German Christian Personalism. Mies had met with Guardini and his ideas had additionally influenced Grete Tugendhat. “Large spaces provide freedom. Space has a completely special calm in its rhythm which cannot be provided by a closed room.” The snaps by Fritz Tugendhat are genuine personal interpretation of space in contrast with the 'official' photographs of the architecture. “When I allow these spaces and everything which is inside them to influence me as whole, I clearly feel: what beauty is, what is truth.” The Tugendhats apparently knew Guardini’s views or at least discussed them with Mies. Guardini’s works, which came about at the same time as the design of the Villa, state that a well-built internal space has levels which lead into depths. This is precisely the manner in which one enters downward into the space of Tugendhat Villa the intimate character of which is protected by the stern street section of the house.
Art historical theories and interpretations of not only Tugendhat Villa but Mies’ work in general will continue to stimulate generations of art historians and architecture theoreticians. Up until now almost all of them have agreed that the essence of the Brno realization was the arrangement of the main living space and its connection up with the external outdoors. One of the starting points was undoubtedly the ideas of F. L. Wright and his “open plan” which at the turn of the 19th and 20th centuries removed the four walls demarcating the rooms allowing for the emergence of a continual space with a connection to the exterior of the structure. Mies van der Rohe himself did not write anything about the Brno Villa, but he did discuss the conception in detail with his educated clients.
This country’s leading, and by coincidence also from Brno, art historians view “the loose” and “the open” space of the house as analogical to the architecture of the Middle Ages and the Baroque. Václav Richter compared Mies’ space conception with Santini’s radical Baroque space in the pilgrimage church on Zelená hora near Žďár nad Sázavou. Richter’s student Zdeněk Kudělka has made reference to the Neo-Gothic aspects of this space which is enhanced by a cross-like connected profile of steel supporting columns and the mirror-like gloss of its chrome cladding. These interpretations coincide with Richter’s remarkable periodization of the history of “the open” architectural space which was in his view only fulfilled in the Gothic, in the radical Baroque and in the skeleton architecture of the 20th century.
Mies’ student Philip Johnson and after him the Swiss architecture historian Sigfried Giedion have interpreted the interior of the Brno Villa as “a flowing” space whose “flow” is only gently channelled by the lines of the onyx and the Macassar inner wall in harmony with the regular rhythm of the supporting columns and the carefully placed furniture.
The period Czechoslovak specialised journals ostentatiously ignored Mies' realization in Brno. The only positive evaluation of the building in the domestic press came from the exclusive society magazine Měsíc (Month) which presented the Villa as one of the crowning expressions of contemporary aesthetic and technical maturity. The negative attitude by Czech specialised circles would thus seem to foreshadow the painful future of both the Villa and its inhabitants.
© 2014 Thousand Word Images by Dustin Abbott
Who says that having your portrait done has to be painful? One key thing that I have learned in my portrait photography is that your average person is not a professional model. They don't know how to pose, and many poses seem unnatural and forced to them. One of my favorite things to do is to get them laughing (and if there is more than one person - interracting) and just keep shooting. Those unforced, natural moments often produce more memorable portraits than something posed. Jazzlyn's natural joy and sense of humor is on full display here...and it happened just as I described.
Technical information Canon EOS 6D, Tamron SP 70-200mm f/2.8 Di VC USD. Processed in Adobe Lightroom 5, Photoshop CC, and Alien Skin Exposure 6
Want to know more about me or make contact? Take a look at my website and find a lot of ways to connect and view my work.