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Active Weekly Assignment (Mar. 1-8, 2021) - "There is a number in my photo"
For this assignment, I wanted to find some numbers outside rather then arranging something at home. My girlfriend had the idea that the single spaces in parking decks are often numbered, so I made a tour through the different parking decks in my town (turns out only half of them actually have numbers).
There are only two numbers but at least they consist of six digits, I hope that counts :).
Post-processing: Apart from cropping and the obvious conversion to b&w I adjusted the brightness, mostly by playing around with the "filmic rgb" and "tone equalizer" modules of Darktable which I learned about just recently and are trying to master now.
Active Assignment Weekly: Jan 18-25 "Details"
Rumpleteazer is one of the most beautiful cats I have ever seen. He has just as much spunk as when my mom saved him from the side of the road many years ago.
There is a color version of this in my photostream as well, but I thought the b&w highlighted the details a little more effectively for the AAW.
"And when you heard a dining room smash
Or up from the pantry there came a loud crash
Or down from the library came a loud ping
From a vase which was commonly said to be Ming
Then the family would say: "Now which was which cat?
It was Mungojerrie! And Rumpleteazer!"
And there's nothing at all to be done about that!”
― T.S. Eliot, Old Possum's Book of Practical Cats
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Unidentified
EVIDENCE
Provenance evidence: Inscription
Location in book: Inside Back Cover
Transcription: Ptolemaeus, Claudius/Incun. 1478 .P855 Rosenwald Coll
COPY
Repository: Library of Congress
Call number: Incun. 1478 .P855 Rosenwald Coll
Collection: Rosenwald Collection
Copy title: Geographia. Latin/Cosmographia/Claudii Ptholemei Alexandrini philosophi Cosmographia.
Author(s): Ptolemy, active 2nd century.
Published: Rome, 10 Oct. (VI Idus Octobris) 1478.
Printer/Publisher: Arnoldus Buckinck
FIND IN POP
Incun. 1478 .P855 Rosenwald Coll
Doors and windows.
The Royal Ontario Museum (ROM).
Restriction: Should not be in any reflection. To confirm, I have checked 4 times and I am not in any of those reflections!
WIT: Pretty much as is, I just made the blue sky even bluer to give it a bit more of a surreal feel. Apart from that, it is just as it was in-camera.
The Flickr Lounge: Blue theme
These are the Primal Deities that make up the Monsgnarl Pantheon, a group of evil deities that has maintained a firm domination of the Omega Octant planet Proolycoles, and its humanoids, the Huplegrars, for all of recorded history, back to before the Relative Calendar was invented. These deities are particularly malicious, ruthless and corruptive, as well as ancient, and there are five main ones, one representing each class of Primal Deity. These five were all present at the Pantheon's formation, and are the only deities who have consistently been part of it ever since. Other Primal Deities have joined the Monsgnarl Pantheon at various points in time, but all of them end up either leaving or being vanquished after some time. Currently, the Pantheon consists of only the main five, and has been this way for over a century. All attempts to retake planet Proolycoles from them, even those involving angels, have failed. The planet and its inhabitants, which are now severely and irreversibly corrupted, are now considered beyond help, and the "Monsgnarls" (as the deities are sometimes called) remain an active and significant threat to the rest of the Prime Galaxy, though they do not currently control any other planets in the same way they do Proolycoles.
• Dif'Elarah: The Elemental–Class deity among the group. Dif'Elarah is an electricity and lightning–based extra–corporeal being that identifies itself as female, though "she" exhibits few to no stereotypically feminine traits and is not associated with sexuality (which most "female" Primal Deities are), actually being the least perverted of the Monsgnarls. Her form stands nearly twenty feet tall, and is partially extra–corporeal and partially sub–corporeal. The sub–corporeal portions of her body are those that appear to be made of blue electric energy, and which are semi–amorphous; the ends of her "arms" can take the forms of either "hands" with multiple "fingers" or singular daggers of energy. Sparking bolts of lightning constantly spout and fume from the top and sides of her head, and her whole body rests upon a floating vortex of red–hot electricity. Physical contact with any part of her body is hazardous to one's health and is not advised. Dif'Elarah has the ability to dissipate into thin air and reappear within seconds at any point of her choosing within several miles. She can also transfer her essence into clouds, of which there are lots floating around the skies of Proolycoles at all times, which she then takes control over and induces the phenomenon of lightning in. She frequently commandeers clouds either to strike people down (something that only divine beings have the right to do), or to clear out patches of land for use as agricultural fields or sites for buildings, in a practice reminiscent of the ancient agricultural technique of "slash–and–burn". Dif'Elarah is considered the "guardian" of the planet Proolycoles from intruders who wish to overthrow the Monsgnarls, and whom she strikes down from the clouds (although she has also been known to do this to Huplegrars who are either "nonbelievers" or are otherwise considered liabilities, and possibly to random Huplegrars simply for fun), and also the goddess of agriculture, even though she is still a destructive force rather than a creative one even when she helps clear out fields. The durability value of Dif'Elarah's body is 15,000.
• Mias'Cento: The Mage–Class deity among the group. Mias'Cento is "male", and has a very humanoid form almost resembling that of the Aspimean, and a headpiece that represents the "head" of this facsimile of a mortal body. He has four independently–floating arms, although the lower pair could alternatively and easily be seen as representing legs. Instead of his entire headpiece being organic and vulnerable, the only truly living part of Mias'Cento's body is the exposed "brain" within his head. He speaks in a mischievous–sounding and moderately high–pitched voice, which emits through the grinning "teeth" on his upper–upper body, despite him having another, separate set of "teeth" immediately above these. Of course, neither are actually used for eating, which a Primal Deity is "above" the need to do. The purple glow surrounding the floating parts that make up his body is particularly bright and strong.
Mias'Cento's voice is indicative of his type of personality, but does not convey the extreme nature of this personality: he is a malicious trickster and prankster who often goes around casting harmful spells upon unsuspecting Huplegrars, most of which alter the bodies of their victims in some way, usually permanently. The effects of such spells range from non–beneficial mutations and severe scarring to (sometimes deadly) sickness and even transformation into inanimate objects (in which case the victim's consciousness remains alive within the object they have been turned into, only being released when the object is destroyed to a sufficient extent). Despite the horrific nature of some of these spells, to be changed by Mias'Cento is considered an "honor" by the Huplegrars. He even has a spell that can turn Huplegrars into other humanoid races, though the effects of this particular spell are temporary, and even then it is one of the hardest spells for the deity to cast, as it is so drastic and complex. Note that the greater the preexisting influence of Primal Deities on an individual, the more vulnerable they are to Mias'Cento's magic; since the Huplegrars are so utterly dominated by the Monsgnarls, he can do practically whatever he wants to them, but it is much harder for him to affect non–Huplegrars, and those who are closest to God are virtually immune.
To compensate for his openly antagonistic nature towards his own subjects, Mias'Cento is very open to granting "wishes" in exchange for favors and offerings that are less substantial than what most other wish–granting deities would demand for the same services.
Mias'Cento has been quoted several times as saying that he knows a dark secret relating to humanoids in general, and he laughs out loud whenever he mentions this. However, he has never revealed to anyone else, including his fellow deities, exactly what this alleged secret is.
Mias'Cento's (or rather, his brain's) durability value is 15,000 (making it one tough freaking brain!). This durability value is the same as Dif'Elarah's, and the two are fairly evenly–matched in other areas as well.
• Set'Ibutal: The Guardian–Class deity among the group. Set'Ibutal is extremely masculine and is one of the most distinctly humanoid Primal Deities ever, having a full, grounded body with both arms and legs. His form stands more than twenty feet tall, and is hunchbacked. Unlike most Guardian–Class deities, Set'Ibutal does more than just going around looking for challengers who seek to claim his artifact, the Gnarly Sword of Bursting, a large two–handed blade that, in addition to being supernaturally sharp and durable, sometimes creates small, controlled explosions upon impact with a foe's body. He is the leader of Proolycoles' warrior caste, which is equivalent to a military, and personally puts all Huplegrar warriors, who are assigned to that caste at birth based on being the most physically fit and promising among the population's infants by Junt'Vubis, through a rigorous, harsh and sometimes deadly training regime starting at the tender age of just four years. Set'Ibutal teaches them to be pitiless, vicious and brutally pragmatic in battle, and makes them push their bodies beyond their natural limits in order to build them up to great strength. Were he an angel and had more compassion, he would probably be the universe's greatest personal trainer. However, as it is he is evil and cruel like the other Monsgnarls, and frequently ends up getting his subjects killed, which he feels no remorse for, believing that they deserved to die for being weak and failing to live up to their destiny as warriors, and teaching his other subjects to think in the same way. At the age of fourteen, every young Huplegrar warrior who has survived all of Set'Ibutal's torturous training over ten whole years must face one more, final test from him to earn freedom and the respect and honor of being a full–fledged warrior: facing the deity in combat. During these fights, which are fought unarmed by both participants, Set'Ibutal deliberately uses only a fraction of his true power, and ends the fight when his opponent and subject has either fared well enough against him and landed enough blows to prove their worthiness, or is dead. Less than half of all Huplegrars who are assigned to the warrior caste survive all of Set'Ibutal's training; the majority of those who don't die during the final test of fighting him.
Set'Ibutal also personally leads all fully–qualified warriors who have survived his training during times of actual war, which are rare on Proolycoles, but which he actually, personally fights in when they do happen.
When he is not busy training warrior youth or fighting off planetary intruders, Set'Ibutal seeks those who believe themselves powerful and worthy enough to challenge him in full–out combat to the death, in which the deity does not hold back, over the Gnarly Sword of Bursting. He has "died" seven times, being defeated in one–on–one combat by freakishly powerful Huplegrar warriors who then claimed his artifact six of those times, and being slain by angels, who were later overpowered and killed by the other Monsgnarls and their forces, the other time. Like other Guardian–Class deities, Set'Ibutal is reborn when the individual who has defeated him and inherited his weapon dies and their soul becomes part of his consciousness. When he was killed by angels, said angels actually destroyed the Gnarly Sword of Bursting, hoping that doing so would vanquish the deity completely. However, he and his sword resurrected three years, two cycles and sixteen days later. This was subsequently discovered to be the "respawn time" for all Guardian–Class deities whose artifacts and bodies are both destroyed.
Set'Ibutal's durability value is 20,000.
• Junt'Vubis: The Serpentine–Class deity among the group, the leader of the Monsgnarl Pantheon, and also, appropriately, the most powerful Monsgnarl. Junt'Vubis is very large and heavy, and has a corporeal, organic form rather than one made of enchanted, possessed stone. He was always a Serpentine–Class deity, and never an Idol. He resides at all times in his throne room at the top of a 200–foot–tall golden–plated ziggurat that was built for him over a millennium ago at the center of the Huplegrars' capital city of Yeppus, which was also constructed under the Serpentine's supervision. Physically, Junt'Vubis is noted for the peculiar position in which he sits upon his belly, and for his very long, blue–haired neck. He has four arms, the lower pair of which has hands on both ends, and six symbolic dead insect wings on his back. His main power is telekinesis; in this very picture he is shown levitating several stones with the power of one arm, but that does not even begin to adequately illustrate the extent of his powers. If he wanted, Junt'Vubis could lift the entire golden structure atop which he sits into the air, tearing it out of the ground in which it is deeply and securely rooted. He can also telekinetically move living things and their body parts, both external and internal, and can indeed cause the internal organs of any normal humanoid within several miles of him to explode on a whim. Junt'Vubis can speak both externally and telepathically, and he has complete knowledge of every single word in both the English and Proolignarlish languages.
He is effectively the emperor of planet Proolycoles. All newborn Huplegrars are brought to him to be judged and placed into one of six castes: slave, peasant, citizen, aristocrat, prince or warrior. The first five of these castes are linear ranks, in order from lowest to highest, while the "warrior" caste is special. Any child that Junt'Vubis deems unfit for even the "slave" caste is devoured by him on the spot, being swallowed whole and dissolved instantaneously by his stomach acids, which are exponentially stronger than those of any mortal being. It has been suggested by multiple sources that he sometimes eats babies not because he actually considers them unfit to live, but because he likes to do so and/or because they are particularly satiating to his supernatural hunger. Aside from infants, Junt'Vubis also eats many other "foods", including both actual foods and inedible objects. Five meals are delivered to him daily by his personal slaves.
Junt'Vubis possesses a durability value of about 40,000. It would be accurate to call him the single most infamous Primal Deity in the Nava–Verse.
• Ness'Qilob: The Idol–Class deity among the group. Ness'Qilob is considered the weakest of the main five, and is certainly the dumbest. It is also the only completely genderless Monsgnarl, and the only one with Tikis: Frustration, Hunger and Violation. Its body is decorated mainly in greenish and purplish colors, and it has four tentacles coming out of its sides which serve as "arms", can extend and stretch to several times their natural length, and have millions of microscopic feelers on them. Its offensive abilities include laser beams of strength on par with the most advanced current humanoid–made energy weapons.
Ness'Qilob's "house" is a silver–plated altar in the center of a forest just to the West of Yeppus. A pathway has been cleared out through this forest leading up to said altar, where the Idol loiters around most of the day, often wandering off into other parts of the forest to eat the animals and chew on the trees. Huplegrars occasionally give or leave it offerings, which are absorbed into the deity's essence via route of consumption through its large, gapingly open mouth. Sometimes, random objects, usually food, come back up out of the mouth for people to take after multiple offerings are placed into the mouth at once. However, these objects are always of lesser value than the things that Ness'Qilob was just given.
Ness'Qilob is, as mentioned above, not very smart. It lacks the devious cunning and comprehensive, obscure knowledge that most Primal Deities possess, instead being a simple creature with simple, carnal desires that is content to act as a mere servant to Junt'Vubis, who uses it as a pet and enforcer. Its altar was deliberately built so that it would be just within the range of Junt'Vubis' telepathy, allowing him to summon Ness'Qilob at his leisure. The leader of the Monsgnarls frequently calls to it and orders it to bring him seemingly random things that he wants but which are located far away and would be difficult for his Huplegrar servants to fetch (not that they wouldn't be willing to try). Ness'Qilob is particularly ideal for fetching unusual things because of its photographic knowledge and memory of Proolycoles' entire layout, including where various things can generally be found, despite otherwise being lacking in the mental area. In exchange for doing him these periodic favors, Junt'Vubis gives Ness'Qilob free access to all female Huplegrars among the slave caste, and allows it to molest them with its tentacles, which they usually enjoy due to their own innate perversion which is a result of the Monsgnarls' general corruption. Surprisingly, Ness'Qilob only takes advantage of this privilege occasionally, rather than all the time.
Ness'Qilob has a durability value of 18,000.
Active Assignment Weekly: Capture Your Country
I know Joe already went with this theme for America, but it's one of the first photos I took for this assignment but wasn't sure about it. Then I noticed some details I liked and decided to go for it. SOOC, except for a little clarity enhancement.
Final processing ala Alan Friedman ... the image pixels are "inverted" (imagine a photographic negative).
This shows the prominence areas off the limb in better detail, and you can also see how the rest of the filament/prominence snakes across the photosphere (Sun's visible surface).
The two white spots are sunspots. The very dark squiggles are flaring regions among the sunspots' magnetic fields.
More detailed info is in the comments, below.
Downy Woodpeckers are found in open woodlands, particularly among deciduous trees and brushy or weedy edges. This Downy is the first woodpecker sighting for us since autumn of last year. I love it when Spring is here, and the birds return.
Airbus A330 - MSN 966
Status : Active and tranferred to Air Caraibes
Registration : C-GTSR
Airline Air Transat
Country : Canada
Date : 2003 -
Codes TX FWI
Callsign :
Web site : airtransat.com
Serial number966
Type330-243
First flight date29/10/2008
Test registrationF-WWYP
Plane age8.2 years
Seat configuration
Engines2 x RR Trent 772B-60
27/11/2008MexicanaXA-MXPCeased operations 28 aug 2010
30/09/2010Air TransatC-GTSRLsd From Cit
08/12/2015Air CaraibesC-GTSRlsd from Air Transat
16/04/2016Air TransatC-GTSRLsd From Cit
13/12/2016Air CaraibesC-GTSRlsd from Air Transat
Active Pass, Gulf Islands, BC., Canada
The MV Queen of Nanaimo is a Burnaby class passenger vessel operated by BC Ferries.
The ship was built in 1964 by Victoria Machinery Depot. In 1974 the ship was rebuilt and extended 25 meters in length. It currently operates on the Tsawwassen-Gulf Islands route web. In 2006 there was a major overhaul of passenger areas. Its propulsion is by two Mirrlees National KVSSM twin turbocharged (intercooled) single acting 4 stroke, V16 diesel engines which produce 3,000 bhp (2,200 kW) at 320 rpm. 15 inch bore by 18-inch (460 mm) stroke. Propellers are variable pitch (controllable-pitch propeller) made by KaMeWa (a Rolls Royce company).
Maker: Edouard Baldus (1813-1889)
Born: Germany
Active: France
Medium: heliogravure
Size: 9 3/4" x 13 1/3"
Location: Paris
Object No. 2014.310
Shelf: B-37
Publication: E. Baldus, Reconstruction de 'Hotel de Ville de Paris, Des Fossez et Cie, Editeurs, Paris, 1884, pl 55
Other Collections: Candian Centre for Architecture, Avery Library - Columbia University
Provenance: Bloomsbury Auctions, London, Photo Opportunities, February 28, 2014, lot 128
Notes: This plate is part of a series of 100 published by Baldus in 1884 showing the reconstruction of the Hotel de Ville in Paris following its destruction during the Paris Commune of 1871. It was Baldus last project; he declared bankruptcy in 1897 and died two years later. The photographer Édouard Baldus (1813–1889), a central figure in the early development of French photography and acknowledged in his day as a pioneer in the still-experimental field, was widely acclaimed both for his aesthetic sensitivity and for his technical prowess. Establishing a new mode of representing architecture and describing the emerging modern landscape with magnificent authority, he enjoyed high patronage in the 1850s and 1860s. Yet, despite the artist's renown during his lifetime, his name is all but unknown today, his work savored only by connoisseurs. Baldus made his reputation with views of the monuments of Paris and the south of France, with dramatic landscapes of the Auvergne, with photographs of the New Louvre, and with a poignant record of the devastating floods of 1856. But it is his two railroad albums—the first commissioned in 1855 by Baron James de Rothschild for presentation to Queen Victoria, the second in 1861 by the Paris-Lyon-Mediterranee railroad company—that are his greatest achievement. Here he brought together his earlier architectural and scenic images with bold geometric views of the modern landscape—railroad tracks, stations, bridges, viaducts, and tunnels—to address the influence of technology (of which both the railroad and the camera are prime examples). In so doing, Baldus anticipated the concerns of Impressionist painters a decade later and those of many artists of our own day, meeting his task with a clarity and directness not since surpassed. Beginning in the mid 1860s with this publication, and lasting until the early 1880s, Baldus primary commercial activity centered on the production of photogravures, a process he first explored in 1854. This work had nothing to do with promoting artistic photography or his own photographic work; instead it was an industrial application of photography that brought credit and financial gain to Baldus as an inventor and entrepreneur rather than an artist. (source: MET). Beginning in the mid 1860s, and lasting until the early 1880s, Baldus primary commercial activity centered on the production of photogravures, a process he first explored in 1854. This work had nothing to do with promoting artistic photography or his own photographic work; instead it was an industrial application of photography that brought credit and financial gain to Baldus as an inventor and entrepreneur rather than an artist.
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Douglas Wornom photo
Ready to take another run along the short demonstration line, former D&RGW C-18 346 does some work for visiting enthusiasts at CRRM. Note the small little photo line forming on the right side of the photo.
Golden, CO
August 30, 1963
Train of the Day
11/26/24
Maxim Gorky
Alexei Maximovich Peshkov (Russian: Алексе́й Макси́мович Пешко́в or Пе́шков;[1] 28 March [O.S. 16 March] 1868 – 18 June 1936), primarily known as Maxim Gorky (Russian: Макси́м Го́рький), was a Russian and Soviet writer, a founder of the socialist realism literary method, and a political activist.[2] He was also a five-time nominee for the Nobel Prize in Literature.[3] Around fifteen years before success as a writer, he frequently changed jobs and roamed across the Russian Empire; these experiences would later influence his writing. Gorky's most famous works were The Lower Depths (1902), Twenty-six Men and a Girl (1899), The Song of the Stormy Petrel (1901), My Childhood (1913–1914), Mother (1906), Summerfolk (1904) and Children of the Sun (1905). He had an association with fellow Russian writers Leo Tolstoy and Anton Chekhov; Gorky would later mention them in his memoirs.
Gorky was active with the emerging Marxist social-democratic movement. He publicly opposed the Tsarist regime, and for a time closely associated himself with Vladimir Lenin and Alexander Bogdanov's Bolshevik wing of the party. For a significant part of his life, he was exiled from Russia and later the Soviet Union. In 1932, he returned to the USSR on Joseph Stalin's personal invitation and lived there until his death in June 1936.
Contents
1 Life
1.1 Early years
1.2 Political and literary development
1.3 Capri years
1.4 Return from exile
1.5 Povolzhye famine
1.6 Second exile
1.7 Death of Lenin
1.8 Return to Russia: last years
1.9 Apologist for the gulag
1.10 Hostility to gays
1.11 Conflicts[citation needed] with Stalinists
1.12 Death
2 Depictions and adaptations
3 Selected works
3.1 Novels
3.2 Novellas
3.3 Short stories
3.4 Drama
3.5 Non-fiction
3.6 Collections
4 See also
5 Notes
6 Sources
7 Further reading
8 External links
Life
Early years
Born as Alexei Maximovich Peshkov on 28 March [O.S. 16 March] 1868, in Nizhny Novgorod, Gorky became an orphan at the age of eleven. He was brought up by his grandmother[2] and ran away from home at the age of twelve in 1880. After an attempt at suicide in December 1887, he travelled on foot across the Russian Empire for five years, changing jobs and accumulating impressions used later in his writing.[2]
As a journalist working for provincial newspapers, he wrote under the pseudonym Иегудиил Хламида (Jehudiel Khlamida).[4] He started using the pseudonym "Gorky" (from горький; literally "bitter") in 1892, when his first short story, "Makar Chudra", was published by the newspaper Kavkaz (The Caucasus) in Tiflis, where he spent several weeks doing menial jobs, mostly for the Caucasian Railway workshops.[5][6][7] The name reflected his simmering anger about life in Russia and a determination to speak the bitter truth. Gorky's first book Очерки и рассказы (Essays and Stories) in 1898 enjoyed a sensational success, and his career as a writer began. Gorky wrote incessantly, viewing literature less as an aesthetic practice (though he worked hard on style and form) than as a moral and political act that could change the world. He described the lives of people in the lowest strata and on the margins of society, revealing their hardships, humiliations, and brutalisation, but also their inward spark of humanity.[2]
Political and literary development
Anton Chekhov and Gorky. 1900, Yalta
Gorky's reputation grew as a unique literary voice from the bottom strata of society and as a fervent advocate of Russia's social, political, and cultural transformation. By 1899, he was openly associating with the emerging Marxist social-democratic movement, which helped make him a celebrity among both the intelligentsia and the growing numbers of "conscious" workers. At the heart of all his work was a belief in the inherent worth and potential of the human person. In his writing, he counterposed individuals, aware of their natural dignity, and inspired by energy and will, with people who succumb to the degrading conditions of life around them. Both his writings and his letters reveal a "restless man" (a frequent self-description) struggling to resolve contradictory feelings of faith and scepticism, love of life and disgust at the vulgarity and pettiness of the human world.[citation needed]
In 1916, Gorky said that the teachings of the ancient Jewish sage Hillel the Elder deeply influenced his life: "In my early youth I read...the words of...Hillel, if I remember rightly: 'If thou art not for thyself, who will be for thee? But if thou art for thyself alone, wherefore art thou'? The inner meaning of these words impressed me with its profound wisdom...The thought ate its way deep into my soul, and I say now with conviction: Hillel's wisdom served as a strong staff on my road, which was neither even nor easy. I believe that Jewish wisdom is more all-human and universal than any other; and this not only because of its immemorial age...but because of the powerful humaneness that saturates it, because of its high estimate of man."[8]
He publicly opposed the Tsarist regime and was arrested many times. Gorky befriended many revolutionaries and became a personal friend of Vladimir Lenin after they met in 1902. He exposed governmental control of the press (see Matvei Golovinski affair). In 1902, Gorky was elected an honorary Academician of Literature, but Tsar Nicholas II ordered this annulled. In protest, Anton Chekhov and Vladimir Korolenko left the Academy.[9]
Leo Tolstoy with Gorky in Yasnaya Polyana, 1900
From 1900 to 1905, Gorky's writings became more optimistic. He became more involved in the opposition movement, for which he was again briefly imprisoned in 1901. In 1904, having severed his relationship with the Moscow Art Theatre in the wake of conflict with Vladimir Nemirovich-Danchenko, Gorky returned to Nizhny Novgorod to establish a theatre of his own.[10] Both Konstantin Stanislavski and Savva Morozov provided financial support for the venture.[11] Stanislavski believed that Gorky's theatre was an opportunity to develop the network of provincial theatres which he hoped would reform the art of the stage in Russia, a dream of his since the 1890s.[11] He sent some pupils from the Art Theatre School—as well as Ioasaf Tikhomirov, who ran the school—to work there.[11] By the autumn, however, after the censor had banned every play that the theatre proposed to stage, Gorky abandoned the project.[11]
As a financially successful author, editor, and playwright, Gorky gave financial support to the Russian Social Democratic Labour Party (RSDLP), as well as supporting liberal appeals to the government for civil rights and social reform. The brutal shooting of workers marching to the Tsar with a petition for reform on 9 January 1905 (known as the "Bloody Sunday"), which set in motion the Revolution of 1905, seems to have pushed Gorky more decisively toward radical solutions. He became closely associated with Vladimir Lenin and Alexander Bogdanov's Bolshevik wing of the party, with Bogdanov taking responsibility for the transfer of funds from Gorky to Vpered.[12] It is not clear whether he ever formally joined, and his relations with Lenin and the Bolsheviks would always be rocky. His most influential writings in these years were a series of political plays, most famously The Lower Depths (1902). While briefly imprisoned in Peter and Paul Fortress during the abortive 1905 Russian Revolution, Gorky wrote the play Children of the Sun, nominally set during an 1862 cholera epidemic, but universally understood to relate to present-day events. He was released from the prison after a European-wide campaign, which was supported by Marie Curie, Auguste Rodin and Anatole France, amongst others.[13]
In 1906, the Bolsheviks sent him on a fund-raising trip to the United States with Ivan Narodny. When visiting the Adirondack Mountains, Gorky wrote Мать (Mat', Mother), his notable novel of revolutionary conversion and struggle. His experiences in the United States—which included a scandal over his travelling with his lover (the actress Maria Andreyeva) rather than his wife—deepened his contempt for the "bourgeois soul" but also his admiration for the boldness of the American spirit.[citation needed]
Capri years
In 1909–1911 Gorky lived on the island of Capri in the burgundy-coloured "Villa Behring".
From 1906 to 1913, Gorky lived on the island of Capri in southern Italy, partly for health reasons and partly to escape the increasingly repressive atmosphere in Russia.[2] He continued to support the work of Russian social-democracy, especially the Bolsheviks and invited Anatoly Lunacharsky to stay with him on Capri. The two men had worked together on Literaturny Raspad which appeared in 1908. It was during this period that Gorky, along with Lunacharsky, Bogdanov and Vladimir Bazarov developed the idea of an Encyclopedia of Russian History as a socialist version of Diderot's Encyclopedia. During a visit to Switzerland, Gorky met Lenin, who he charged spent an inordinate amount of his time feuding with other revolutionaries, writing: "He looked awful. Even his tongue seemed to have turned grey".[14] Despite his atheism,[15] Gorky was not a materialist.[16] Most controversially, he articulated, along with a few other maverick Bolsheviks, a philosophy he called "God-Building" (богостроительство, bogostroitel'stvo),[2] which sought to recapture the power of myth for the revolution and to create a religious atheism that placed collective humanity where God had been and was imbued with passion, wonderment, moral certainty, and the promise of deliverance from evil, suffering, and even death. Though 'God-Building' was ridiculed by Lenin, Gorky retained his belief that "culture"—the moral and spiritual awareness of the value and potential of the human self—would be more critical to the revolution's success than political or economic arrangements.
Return from exile
An amnesty granted for the 300th anniversary of the Romanov dynasty allowed Gorky to return to Russia in 1913, where he continued his social criticism, mentored other writers from the common people, and wrote a series of important cultural memoirs, including the first part of his autobiography.[2] On returning to Russia, he wrote that his main impression was that "everyone is so crushed and devoid of God's image." The only solution, he repeatedly declared, was "culture".
After the February Revolution, Gorky visited the headquarters of the Okhrana (secret police) on Kronversky Prospekt together with Nikolai Sukhanov and Vladimir Zenisinov.[17] Gorky described the former Okhrana headquarters, where he sought literary inspiration, as derelict, with windows broken, and papers lying all over the floor.[18] Having dinner with Sukhanov later the same day, Gorky grimly predicated that revolution would end in "Asiatic savagery".[19] Initially a supporter of the Socialist-Revolutionary Alexander Kerensky, Gorky switched over to the Bolsheviks after the Kornilov affair.[20] In July 1917, Gorky wrote his own experiences of the Russian working class had been sufficient to dispel any "notions that Russian workers are the incarnation of spiritual beauty and kindness".[21] Gorky admitted to feeling attracted to Bolshevism, but admitted to concerns about a creed that made the entire working class "sweet and reasonable-I had never known people who were really like this".[22] Gorky wrote that he knew the poor, the "carpenters, stevedores, bricklayers", in a way that the intellectual Lenin never did, and he frankly distrusted them.[22]
During World War I, his apartment in Petrograd was turned into a Bolshevik staff room, and his politics remained close to the Bolsheviks throughout the revolutionary period of 1917. On the day after the Bolshevik coup of 7 November 1917, Gorky observed a gardener working the Alexander Park who had cleared snow during the February Revolution while ignoring the shots in the background, asked people during the July Days not to trample the grass and was now chopping off branches, leading Gorky to write that he was "stubborn as a mole, and apparently as blind as one too".[23] Gorky's relations with the Bolsheviks became strained, however, after the October Revolution. One contemporary remembered at how Gorky would turn "dark and black and grim" at the mere mention of Lenin.[24] Gorky wrote that Lenin together with Trotsky "have become poisoned with the filthy venom of power", crushing the rights of the individual to achieve their revolutionary dreams.[24] Gorky wrote that Lenin was a "cold-blooded trickster who spares neither the honor nor the life of the proletariat. ... He does not know the popular masses, he has not lived with them".[24] Gorky went on to compare Lenin to a chemist experimenting in a laboratory with the only difference being the chemist experimented with inanimate matter to improve life while Lenin was experimenting on the "living flesh of Russia".[24] A further strain on Gorky's relations with the Bolsheviks occurred when his newspaper Novaya Zhizn (Новая Жизнь, "New Life") fell prey to Bolshevik censorship during the ensuing civil war, around which time Gorky published a collection of essays critical of the Bolsheviks called Untimely Thoughts in 1918. (It would not be re-published in Russia until after the collapse of the Soviet Union.) The essays call Lenin a tyrant for his senseless arrests and repression of free discourse, and an anarchist for his conspiratorial tactics; Gorky compares Lenin to both the Tsar and Nechayev.[citation needed]
"Lenin and his associates," Gorky wrote, "consider it possible to commit all kinds of crimes ... the abolition of free speech and senseless arrests."[25]
In 1921, he hired a secretary, Moura Budberg, who later became his unofficial wife. In August 1921, the poet Nikolay Gumilev was arrested by the Petrograd Cheka for his monarchist views. There is a story that Gorky hurried to Moscow, obtained an order to release Gumilev from Lenin personally, but upon his return to Petrograd he found out that Gumilev had already been shot – but Nadezhda Mandelstam, a close friend of Gumilev's widow, Anna Akhmatova wrote that: "It is true that people asked him to intervene. ... Gorky had a strong dislike of Gumilev, but he nevertheless promised to do something. He could not keep his promise because the sentence of death was announced and carried out with unexpected haste, before Gorky had got round to doing anything."[26] In October, Gorky returned to Italy on health grounds: he had tuberculosis.
Povolzhye famine
In July 1921, Gorky published an appeal to the outside world, saying that millions of lives were menaced by crop failure. The Russian famine of 1921–22, also known as Povolzhye famine, killed an estimated 5 million, primarily affecting the Volga and Ural River regions.[27]
Second exile
Gorky left Russia in September 1921, for Berlin. There he heard about the impending Moscow Trial of 12 Socialist Revolutionaries, which hardened his opposition to the Bolshevik regime. He wrote to Anatole France denouncing the trial as a "cynical and public preparation for the murder" of people who had fought for the freedom of the Russian people. He also wrote to the Soviet vice-premier, Alexei Rykov asking him to tell Leon Trotsky that any death sentences carried out on the defendants would be "premeditated and foul murder."[28] This provoked a contemptuous reaction from Lenin, who described Gorky as "always supremely spineless in politics", and Trotsky, who dismissed Gorky as an "artist whom no-one takes seriously."[29] He was denied permission by Italy's fascist government to return to Capri, but was permitted to settle in Sorrento, where he lived from 1922 to 1932, with an extended household that included Moura Budberg, his ex-wife Andreyeva, her lover, Pyotr Kryuchkov, who acted as Gorky's secretary for the remainder of his life, Gorky's son Max Peshkov, Max's wife, Timosha, and their two young daughters.
He wrote several successful books while there,[30] but by 1928 he was having difficulty earning enough to keep his large household, and began to seek an accommodation with the communist regime. The Soviet dictator Joseph Stalin was equally keen to entice Gorky back to the USSR. He paid his first visit in May 1928 – at the very time when the regime was staging its first show trial since 1922, the so-called Shakhty Trial of 53 engineers employed in the coal industry, one of whom, Pyotr Osadchy, had visited Gorky in Sorrento. In contrast to his attitude to the trial of the Socialist Revolutionaries, Gorky accepted without question that the engineers were guilty, and expressed regret that in the past he had intervened on behalf of professionals who were being persecuted by the regime. During the visit, he struck up friendships with Genrikh Yagoda, the corrupt and murderous head of the Ogpu and two other Ogpu officers, Semyon Firin and Matvei Pogrebinsky, who held high office in the Gulag. Pogrebinsky was Gorky's guest in Sorrento for four weeks in 1930. The following year, Yagoda sent his brother-in-law, Leopold Averbakh to Sorrento, with instructions to induce Gorky to return to Russia permanently.[31]
Death of Lenin
After the death of Lenin in 1924, Gorky wrote the following:
Vladimir Lenin, a big, real man of this world, has passed away. His death is a painful blow to all who knew him, a very painful blow! But the black line of death shall only underscore his importance in the eyes of all the world - the importance of the leader of the world’s working people. If the clouds of hatred for him, the clouds of lies and slander woven round him were even denser, it would not matter, for there is no such force as could dim the torch he has raised in the stifling darkness of the world gone mad. Never has there been a man who deserves more to be remembered forever by the whole world. Vladimir Lenin is dead. But those to whom he bequeathed his wisdom and his will are living. They are alive and working more successfully than anyone on Earth has ever worked before.[32]
Return to Russia: last years
Avel Enukidze, Joseph Stalin and Maxim Gorky celebrate 10th anniversary of Sportintern. Red Square, Moscow USSR. Aug 1931
Gorky's return from Fascist Italy was a major propaganda victory for the Soviets. He was decorated with the Order of Lenin and given a mansion (formerly belonging to the millionaire Pavel Ryabushinsky, which was for many years the Gorky Museum) in Moscow and a dacha in the suburbs. The city of Nizhni Novgorod, and the surrounding province were renamed Gorky. Moscow's main park, and one of the central Moscow streets, Tverskaya, were renamed in his honour, as was the Moscow Art Theatre. The largest fixed-wing aircraft in the world in the mid-1930s, the Tupolev ANT-20 was named Maxim Gorky in his honour.
He was also appointed President of the Union of Soviet Writers, founded in 1932, to coincide with his return to the USSR. On 11 October 1931 Gorky read his fairy tale "A Girl and Death" to his visitors Joseph Stalin, Kliment Voroshilov and Vyacheslav Molotov, an event that was later depicted by Viktor Govorov in his painting. On that same day Stalin left his autograph on the last page of this work by Gorky: "Эта штука сильнее чем "Фауст" Гёте (любовь побеждает смерть)"[33] ["This piece is stronger than Goethe's Faust (love defeats death)]".
Apologist for the gulag
In 1933, Gorky co-edited, with Averbakh and Firin, an infamous book about the White Sea-Baltic Canal, presented as an example of "successful rehabilitation of the former enemies of proletariat". For other writers, he urged that one obtained realism by extracting the basic idea from reality, but by adding the potential and desirable to it, one added romanticism with deep revolutionary potential.[34] For himself, Gorky avoided realism. His denials that even a single prisoner died during the construction of the aforementioned canal were refuted by multiple accounts of thousands of prisoners who froze to death not only in the evenings from the lack of adequate shelter and food, but even in the middle of the day.[35]
On his definitive return to the Soviet Union in 1932, Maxim Gorky received the Ryabushinsky Mansion, designed in 1900 by Fyodor Schechtel for the Ryabushinsky family. The mansion today houses a museum about Gorky.
Hostility to gays
Gorky strongly supported efforts in getting a law passed in 1934, making homosexuality a criminal offense. His attitude was coloured by the fact that several leading members of the Nazi Sturmabteilung, or Brownshirts, were overtly homosexual. Writing in Pravda on 23 May 1934, Gorky claimed "exterminate all homosexuals and fascism will vanish."[36]
Conflicts[citation needed] with Stalinists
By the summer of 1934, Gorky was increasingly in conflict with the Soviet authorities. He was angry that Leopold Averbakh, whom he regarded as a protege, was denied a role in the newly created Writers Union, and objected to interference by the Central Committee staff in the affairs of the union. This conflict, which may have been exacerbated by Gorky's despair over the early death of his son, Max, came to a head just before the first Soviet Writers Congress, in August 1934. On 11 August, he submitted an article for publication in Pravda which attacked the deputy head of the press department, Pavel Yudin with such intemperate language that Stalin's deputy, Lazar Kaganovich ordered its suppression, but was forced to relent after hundreds of copies of the article circulated by hand. Gorky's draft of the keynote speech he was due to give at the congress caused such consternation when he submitted it to the Politburo that four of its leading members – Kaganovich, Vyacheslav Molotov, Kliment Voroshilov, and Andrei Zhdanov – were sent to persuade him to make changes.[37] Even in its toned-down version – very unusually for the Stalin era – he did not praise Stalin, did not mention any of the approved writers turning out 'socialist realist' novels, but singled out Fyodor Dostoevsky for "having painted with the most vivid perfection of word portraiture a type of egocentrist, a type of social degenerate in the person of the hero of his Memoirs from Underground. ... Dostoyevsky in the figure of his hero has shown the depths of whining despair that are reached by the individualist from among the young men of the nineteenth and twentieth centuries who are cut off from real life."[38]
Death
With the increase of Stalinist repression and especially after the assassination of Sergei Kirov in December 1934, Gorky was placed under unannounced house arrest in his house near Moscow. His long-serving secretary Pyotr Kryuchkov had been recruited by Yagoda as a paid informer.[39] Before his death from a lingering illness in June 1936, he was visited at home by Stalin, Yagoda, and other leading communists, and by Moura Budberg, who had chosen not to return to the USSR with him but was permitted to stay for his funeral.
The sudden death of Gorky's son Maxim Peshkov in May 1934 was followed by the death of Maxim Gorky himself in June 1936 from pneumonia. Speculation has long surrounded the circumstances of his death. Stalin and Molotov were among those who carried Gorky's coffin during the funeral. During the Bukharin trial in 1938 (one of the three Moscow Trials), one of the charges was that Gorky was killed by Yagoda's NKVD agents.[40]
In Soviet times, before and after his death, the complexities in Gorky's life and outlook were reduced to an iconic image (echoed in heroic pictures and statues dotting the countryside): Gorky as a great Soviet writer who emerged from the common people, a loyal friend of the Bolsheviks, and the founder of the increasingly canonical "socialist realism".
Depictions and adaptations
The Gorky Trilogy is a series of three films based on the three autobiographical books: The Childhood of Maxim Gorky, My Apprenticeship, and My Universities, directed by Mark Donskoy, filmed in the Soviet Union, released 1938–1940. The trilogy was adapted from Gorky's autobiography.[41]
The German modernist Bertolt Brecht based his epic play The Mother (1932) on Gorky's novel of the same name.
Gorky's novel was also adapted for an opera by Valery Zhelobinsky in 1938. In 1912, the Italian composer Giacomo Orefice based his opera Radda on the character of Radda from Makar Chudra. Our Father is the title given to Gorky's The Last Ones in its English translation by William Stancil.
The play[clarification needed] made its New York debut in 1975 at the Manhattan Theater Club, directed by Keith Fowler.
In 1985 Enemies was performed in London with a multi-national cast directed by Ann Pennington in association with Internationalist Theatre. The cast included South African Greek actress Angelique Rockas and Bulgarian Madlena Nedeva playing the parts of Tatiana, and Kleopatra respectively.[42] Tom Vaughan of The Morning Star affirmed "this is a great revolutionary play, by a great revolutionary writer, performed with elegance and style, great passion and commitment".[43] BBC Russian Service was no less complimentary.[44]
Selected works
Main article: Maxim Gorky bibliography
Source: Turner, Lily; Strever, Mark (1946). Orphan Paul; A Bibliography and Chronology of Maxim Gorky. New York: Boni and Gaer. pp. 261–270.
Novels
Goremyka Pavel, 1894. Published in English as Orphan Paul[45]
Foma Gordeyev (Фома Гордеев), 1899. Also translated as The Man Who Was Afraid
Three of Them (Трое), 1900. Also translated as Three Men
The Mother (Мать), 1907. First published in English, in 1906
The Life of a Useless Man (Жизнь ненужного человека), 1908
A Confession (Исповедь), 1908
Okurov City (Городок Окуров), 1908
The Life of Matvei Kozhemyakin (Жизнь Матвея Кожемякина), 1910
The Artamonov Business (Дело Артамоновых), 1927
Life of Klim Samgin (Жизнь Клима Самгина), unfinished:[46]
The Bystander, 1927
The Magnet, 1928
Other Fires, 1930
The Specter, 1936
Novellas
The Orlovs (Супруги Орловы), 1897
Creatures That Once Were Men (Бывшие люди), 1897
Varenka Olesova (Варенька Олесова), 1898
Summer (Лето), 1909
Great Love (Большая любовь), 1911
Short stories
"Makar Chudra" (Макар Чудра), 1892
"Old Izergil" (Старуха Изергиль), 1895
"Chelkash" (Челкаш), 1895
"Konovalov" (Коновалов), 1897
"Malva" (Мальва), 1897
"Twenty-six Men and a Girl" (Двадцать шесть и одна), 1899
"Song of a Falcon" (Песня о Соколе), 1902. Also referred to as a poem in prose
Drama
The Philistines (Мещане), translated also as The Smug Citizens and The Petty Bourgeois (Мещане), 1901
The Lower Depths (На дне), 1902
Summerfolk (Дачники), 1904
Children of the Sun (Дети солнца), 1905
Barbarians (Варвары), 1905
Enemies, 1906.
The Last Ones (Последние), 1908. Translated also as Our Father[47]
Children (Дети), 1910. Translated also as The Reception (and called originally "Встреча")
Queer People (Чудаки), 1910. Translated also as Eccentrics
Vassa Zheleznova (Васса Железнова), 1910, 1935 (revised version)
The Zykovs (Зыковы), 1913
Counterfeit Money (Фальшивая монета), 1913
The Old Man (Старик), 1915, Revised 1922, 1924. Translated also as The Judge
Workaholic Slovotekov (Работяга Словотеков), 1920
Somov and Others (Cомов и другие), 1930
Yegor Bulychov and Others (Егор Булычов и другие), 1932
Dostigayev and Others (Достигаев и другие), 1933
Non-fiction
Chaliapin, articles in Letopis, 1917[48]
Untimely Thoughts, articles, 1918
My Recollections of Tolstoy, 1919
Reminiscences of Tolstoy, Chekhov, and Andreyev, 1920–1928
V.I. Lenin (В.И. Ленин), reminiscence, 1924–1931
The I.V. Stalin White Sea – Baltic Sea Canal, 1934 (editor-in-chief)
Literary Portraits [c.1935].[49]
Poems
"The Song of the Stormy Petrel" (Песня о Буревестнике), 1901
Autobiography
My Childhood (Детство), Part I, 1913–1914
In the World (В людях), Part II, 1916
My Universities (Мои университеты), Part III, 1923
Collections
Sketches and Stories, three volumes, 1898–1899
Creatures That Once Were Men, stories in English translation (1905). This contained an introduction by G. K. Chesterton[50] The Russian title, Бывшие люди (literally "Former people") gained popularity as an expression in reference to people who severely dropped in their social status
Tales of Italy (Сказки об Италии), 1911–1913
Through Russia (По Руси), 1923
This photo of my great grandma hangs on my living room wall...because antiques are me. I don't know her name. I don't know about her life. I'm not even certain that this IS my great grandma! In this Earthly reality, we are all FORGOTTEN, sooner or later... ***sigh*** (Active Assignment Weekly)
Maker: Robert Jefferson Bingham (1824-1870)
Born: UK
Active: France
Medium: albumen print
Size: 3 1/2 in x 4 7/16 in
Location:
Object No. 2022.284r
Shelf: N-15
Publication: L-Ouevre de Jean-Leon Gerome, Goupil & Co.,Paris,1878
Other Collections:
Notes: Jean-Léon Gérôme (11 May 1824 – 10 January 1904) was a French painter and sculptor in the style now known as academicism. The range of his oeuvre included historical painting, Greek mythology, Orientalism, portraits, and other subjects, bringing the academic painting tradition to an artistic climax. He is considered one of the most important painters from this academic period. He was also a teacher with a long list of students.
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Everything in this photo is moving. Everything. The green flash of a meteor in a fraction of a second. The rippling red airglow over the course of a few minutes. These mountains began rising 10 million years ago and are still thrusting upward. (Ten million years isn't that long. Remember the dinosaurs died out 65 million years ago. It took two million years just for the light of the galaxy seen here above the tallest peak to reach Earth.) Over the course of a few billion years, even the stars are born, jostle positions, and burn out. From the dust they leave behind, new ones ignite.
Grand Teton National Park, Wyoming
Credit: NASA/Bill Dunford
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Boom 2014
Photo-Reports by Wolfgang Sterneck
A Reality called Boom - Rhythms @ Boom 2014 *
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Boom-Festival
04.08.-11.08.2014
Boom-Festival
Idanha-a-Nova Lake - Portugal
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BOOM VISION
Boom is not only a festival, it is a state of mind. Inspired by the principles of Oneness, Peace, Creativity, Sustainability, Transcendence, Alternative Culture, Active Participation, Evolution and Love, it is a space where people from all over the world can converge to experience an alternative reality.
Boom is a festival dedicated to the Free Spirits from all over the world. It is the gathering of the global psychedelic tribe and of whoever feels the call to join in the celebrations!! Boom is a weeklong unpredictable and unforgettable adventure. It takes place, every two years, during August Full Moon, on the shores of a magnificent lake in the sunny Portuguese inland and every one is invited!
BOOM IS A MODEL OF ENVIRONMENTAL AWARENESS
An environmentally conscious event is a way to offer a concrete example that it is possible to live on this Planet in respect of Mother Earth and of one another. This is possible through a deep understanding of the cycles of life and humanity’s place within these cycles. Permaculture is a brilliant example of how such understanding can be turned into practice.
Boom’s pioneering Environmental Program applies the principles of Permaculture to every single aspect of the Festival production. Moreover Boom widely promotes knowledge and practices of sustainability through lectures, workshops and… practical example!
100% compost toilets (still to this day the only large event in the world to reach this result!); 100% on-site water treatment facilities, off-the-grid energy solutions, bio-construction, permaculture gardens, vegetable oil for the generators… these are just a few of the ground breaking projects that have granted Boom the most prestigious international prizes in environmental efficiency.
For further details please visit the environmental program page.
BOOM BELIEVES IN A BORDERLESS WORLD
Since its beginning in 1997, Boom is the home of the global nomadic tribe. Since then, it has grown organically by word of mouth into an incredibly culturally diverse festival, attracting people from 116 nationalities (2012). Boom is the celebration of the Earth’s multicolored Oneness. EVERY ONE is invited and EVERY ONE is called to consciously co-create a positive reality of Love and Peace, for us and for the next generations. We Are One!
BOOM BELIEVES IN TRANSCENDENCE THROUGH MUSIC
At Boom music is sacred. The dancefloors are temples where to transcend ordinary states of perception and the limitations of our egos. Through dance and music, we can reconnect to our own individual divine essence, while in synch with the beating heart of the whole tribe. All in One!
Scattered across four stages, music at Boom is as diverse as it gets: electronic, acoustic, classic, any style is welcome and represented in a different area, live concerts, djs sets, solo artists, bands… Boom started as a psytrance festival and has developed into an inclusive gathering, unveiling the surprising diversity of quality underground soundscapes.
Psytrance culture remains one of the inspiring sources of Boom's vision and intention. And Boom remains as a testimony of the evolutionary potentials of such a culture.
Check the pages of the single areas for details on the different visions.
BOOM ACTIVATES TRANSFORMATION
Boom’s ultimate aim is to facilitate individual and collective transformation. The Boom experience has been conceived to activate the vital force directing every being towards the fulfillment of its highest potential. To reach this ambitious goal, Boom relies on the continuous exchange of radically innovative knowledge and practices by countless Boomers, musicians, artists, teachers, visionaries, healers, farmers, ecologists, wisdom keepers, researchers, scientists, activists
Besides the music stages and the countless art installations scattered all over the site, the other areas where Boom channels transformation are the Liminal Village, the Healing Area and the Visionary Art Museum. Here our hearts, bodies and minds can receive a full download of information through workshops, presentations, rituals and meditations Check the single areas’ pages for more details.
NO TO CORPORATE SPONSORS, CORPORATE LOGOS AND VIPs, YES TO INDEPENDENCE, SOLIDARITY AND CREATIVITY!!!
Boom is an autonomous zone of cognitive liberty and therefore is and will always be free from corporate sponsorship and logos. Boom is funded by the financial support of the thousands of people that buy the tickets and come to the festival.
Boom does not believe in VIP areas and special treatments, since every Boomer is a VIP! Boom adheres to the principle of ’thinking outside the box’, for the co-creation of novel ways of viewing reality and acting for its evolutionary unfolding.
www.boomfestival.org/boom2014/news/boom-vision
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BOOM-VISION
Die Boom ist nicht nur ein Festival – Sie ist ein Lebensstil
Es sind kleine Momente, in denen das Lernen stattfindet. Jene Momente in denen du versteht wie wichtig es ist, Fünfe einfach mal gerade sein zu lassen. Und jene Momente in denen dir klar wird, dass du es an anderen Stellen genauer nehmen musst. Diese kleinen Momente prägen dich, deine Einstellung und dein Handeln – und mit dir die Grundlage für große Veränderungen. Genau hier setzt die Idee der Boom an: Als schillernder Kristallisationspunkt einer Neo-Stammeskultur möchte sie inspirieren. Und zwar durch jene magische Erfahrung, die zwischen zeitgenössischer Musik, visionärer Kunst und intellektuell-spirituellem Input entsteht.
Veränderung fängt bei dir an, bei deiner Weltanschauung. Du bist der Flügelschlag des Schmetterlings, der am anderen Ende der Welt einen Wetterumschwung bewirkt. Lerne, deine Flügel zu gebrauchen!
Zu diesem Zweck kippen wir das Schubladensystem, das unseren Alltag bestimmt, einfach mal komplett aus. Und zwar mitten hinein in die sonnige, unverdorbene, nuklearfreie Natur Portugals. Dann nehmen wir uns 7 Tage lang Zeit, um spielerisch neue Denkwege und Handlungsweisen, um eine neue Ordnung zu erkunden. Das ist unsere Vision von psychedelischer Kultur und sie wollen wir aktiv vortreiben.
Auf unserer Webseite findet ihr ausführliche Informationen zu den freien Künsten, den multidimensionalen Installationen und den kreativen Liebensbomben, die auf unsere temporäre autonome Zone regnen werden.
Boom ist eine Lebenseinstellung – und sie lebt in euch, liebe Boomer!
INTERKULTURELL
Andere Länder, andere Lebensstile. Auf der Boom kannst du erleben wie inspirativ diese einfache Tatsache ist. Und zwar in konzentrierter Form: Im Jahr 2012 reisten Stammesangehörige aus 116 verschiedenen Ländern an, um in ihrer multikulturellen Mischung eine durchweg positive Vision für die Zukunft zu manifestieren: We Are One – Wir sind eins!
NATUR
Die Kulisse für unser Stammestreffen gestaltet die wohl besten Dekorateurin überhaupt: Mutter Natur. Jene jahrhundertealte iberische Baumlandschaft der umliegenden Hügel, versonnene Gärten und der weitläufige See, in dem sich die Magie des August-Vollmonds spiegelt, schaffen ein einzigartiges Panorama.
STRAND
Nachdem du dich in schwitzende Trance getanzt hast oder wenn dir die Wärme des portugiesischen Sommers zuviel werden sollte: Die nötige Erfrischung ist maximal ein paar hundert Meter entfernt - egal wo du gerade bist. Der große See bestimmt nicht nur das Bild der Boom, sondern auch ihre Stimmung. Wie beim Strandurlaub kannst du jene fließende Ruhe des Wassers aufsaugen, die dich sanft umspült.
DESIGN FÜR DEN GEIST
Das Liminal Village bietet Gelegenheit, dir dein Oberstübchen neu einzurichten: Mit Lebensphilosophie und praktischem Wissen. Im intellektuellen Brennpunkt der Boom finden Vorträge und Diskussionen zu Themen wie Aktivismus, Psychedelik, Freie Kultur, Rituale der Ahnen, Mythologie, Ökologie, Traumlandschaften, Permakultur, Trance, Heilige Pflanzen oder Alternative Medizin und Wissenschaft statt. Dazu waren in den letzten Jahren Referenten wie Vandana Shiva, Alex Grey, Daniel Pinchbeck, Graham Hancock, Robert Venosa, Erik Davis und Shipibo Don Guillermo Arevalo zu Gast. Ein Filmprogramm zur neuen, planetarischen Kultur bietet noch mehr Stimulation auf intellektueller Ebene.
PSYCHEDELISCHES KUNSTMUSEUM
Was ist psychedelische Kunst, was visionäre? Will sie die Eindrücke einer psychedelischen Erfahrung wiedergeben? Will sie ähnliche Emotions- und Assoziationsstrukturen auslösen wie eine Vision? Mach dir selbst ein Bild! In atemberaubender Vielfalt präsentieren einige der talentiertesten Maler von allen Kontinenten des Planeten ihre bewusstseinserweiternden Werke.
INSTALLATIONEN
Bildende Kunst stößt die Pforten unserer Wahrnehmung weit auf und eröffnet uns so die Sicht auf Aspekte unserer Realität, welche normalerweise hinter dem Grauschleier des Alltags verborgen liegen. Um dich mitten hinein in dieses ästhetisch-surreale Paralleluniversum zu katapultieren, kommen überall auf dem Gelände Medien wie Malerei, Bildhauerei, Land Art oder Video zum Einsatz. Sie lassen deine Reise über die Boom zu einer Reise in eine außerirdische Welt von fremdartiger Schönheit werden.
MUSIK
Über verschiedene Tanzplätze verteilt verwirklicht die Boom ihre psychedelische Vision im Spektrum der hörbaren Frequenzen. Dabei entstehen viele verschiedene Rhythmus- und Harmonie-Texturen die alle darauf abzielen, deine Synapsen zu kitzeln, deine Fantasie zu stimulieren und dich zu beflügeln. Die Klanglandschaften der Boom erstrecken sich auf Genres wie Psytrance, Progressive, Dub, Bass Music, Dubstep, World Music, Glitch, Nu Funk, IDM, Cosmic oder Psy Brakes. In ihrer Gesamtheit schwingen sie sich zum kosmischen Groove der universellen Liebe auf!
TANZTEMPEL
Mit jedem Herzschlag der Boom bebt das portugiesische Hinterland. Im monumentalen Tanztempel verschmelzen utopische Zukunftsvisionen und das archaische Ritual des Stammenstanz zu einer einzigartigen Trance-Erfahrung. Um euer Bewusstsein dorthin zu schicken, wo Worte zu Hülsen und Bedeutungen zu Variablen werden, haben wir einige der besten DJs, Liveacts und Tribal Bands eingeladen, uns mit extralangen Sets zu verzaubern. Denn Qualität ist wichtiger ist als Masse. Mit viel Liebe zum Detail planen wir eine Reise durch jene multidimensionale Welt namens Psy, wobei wir in Regionen wie Dark, Twilight, Forest, Tribal, Prog, Full-On, Groovy Full-On, Goa und Nu-Goa vorstoßen.
Die Grundidee der Boom unterscheidet sich ganz erheblich von der einer kommerziellen Massenproduktion. Wir möchten raus aus dem Schattenreich des Egoismus, hinein in eine kollektive Erfahrung. Mithilfe von DJs, VJs, Dekorateuren, Designern und -am allerwichtigsten- mithilfe von euch, den Boomern. Auf dass wir unsere multikulturelle kreative Energie zu einer wahrhaft großen Erfahrung vereinen: Wir sind eins!
UMWELT
Auf der Boom werden die Erkenntnisse und Prinzipien der Permakultur in ein Festival umgesetzt. So wird ganz konkret erfahrbar: Auch große, internationale Menschenansammlungen lassen sich mit maximalem Respekt vor unserer heiligen Mutter Natur vereinbaren. Dieser Ansatz wurde in den Jahren 2008 und 2010 mit dem Greener Festival Award ausgezeichnet, 2010 und 2012 außerdem mit dem European Festival Award.
Auf der Boom kommen ausschließlich Komposttoiletten zum Einsatz. Das Nutzwasser wird mithilfe von Pflanzen zu 100% wiederaufbereitet. Es gibt kostenlose Taschenaschenbecher. Für die Generatoren wird gebrauchtes Pflanzenöl verwendet. Außerdem nutzen wir Technologien wie Solarenergie, Windräder, Biobau und ökologische Abwasserentsorgung, die jedes Jahr weiterentwickelt werden. Auch hier gilt: Die Boom seid ihr, die Boomer. Tragt bitte dazu bei, dass sie ein nachhaltiges Festival ist. Respektiert Mutter Natur und hinterlasst keinen Müll!
SPIRITUALITÄT
Anreize für spirituell-sozialen Aktivismus, die sich in Form von Yoga, Ayurveda, Tai Chi, Kung Fu, Watsu, Therapien, alternativen Heilmethoden und ganzheitlichen Lehren manifestieren. Auch das ist ein zentraler Aspekt unserer Vision. Denn die Harmonie zwischen Geist und Körper ist ein erster Schritt in Richtung globale Harmonie.
INFRASTRUKTUR
Freies Wasser. Freies Camping. Freier Wohnmobil-Park. Babyboom für die jüngsten Boomer (bring deine Familie mit zur Boom!) Freie medizinische Versorgung. Freies WIFI. Schließfächer. Boom-Busshuttle von den Flughäfen Lissabon und Madrid. 100% Komposttoiletten. 100% Aufbereitung des Duschabwassers mithilfe von Pflanzen. Ayurvedische Apotheke. Spezielle Einrichtungen für Behinderte. Lebensmittelgeschäft. Gemeinschaftsküchen. Und vieles, vieles mehr!
LOGO-FREIE ZONE
Die Boom finanziert sich einzig und allein über den Ticketverkauf, sie ist frei von jeglichem Firmen-Sponsoring und wird es immer sein. Auch in dieser Hinsicht möchten wir einen Freiraum schaffen, in dem sich der menschliche Geist unbefangen ausbreiten und entfalten kann.
Obwohl das Boom Team den Rahmen schafft – das eigentliche Erlebnis, die eigentliche Inspiration und der eigentliche Geist lebt in euch. Denn ihr seid die Energie, ausgehend von euch kann sich diese Welt ändern.
BESONDERE BEDÜRFNISSE
Wir möchten die Einrichtungen und Angebote für Behinderte weiterentwickeln. Wenn du oder jemand deiner Freunde behindert ist, sendet uns bitte bis Juni 2014 eine Email um optimale Bedingungen zu garantieren: specialneeds@boomfestival.org
FLEXIBLE EINTRITTSPREISE
Unser globaler Stamm ist in vielen verschiedenen Ländern zuhause, in denen ganz unterschiedliche Einkommensverhältnisse herrschen. Außerdem leben wir in Zeiten des finanziellen Abschwungs. Wir waren sehr betroffen als wir nach der Boom 2012 hörten, dass einige Menschen schlichtweg nicht genug Geld aufbringen konnten um Teil der kollektiven Erfahrung zu sein. Deshalb haben wir uns entschieden, auf diese Tatsache mit einem flexiblen Eintrittsmodell zu reagieren. Es gibt spezielle Ticketpreise für Länder außerhalb der Europäischen Union, der USA, Kanada, Australien, Neuseeland und Japan. Außerdem für jene Länder, die aktuell die ökonomischen Spekulationen der Rating-Agenturen und der IMF durchlaufen: Portugal, Irland, Griechenland und Spanien. Diese Tickets sind nur bei den Boom Botschaftern des jeweiligen Landes erhältlich, nicht über die Webseite der Boom.
www.boomfestival.org/boom2014/multilingual/deutsch
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Maker: James Craig Annan (1864-1946)
Born: Scotland
Active: Scotland
Medium: photogravure
Size: 7 7/8 in x 6 3/4 in
Location: UK
Object No. 2018.444e
Shelf: I-13
Publication: Souvenir Album of the Scottish Exhibition of National History, Art and Industry, Glasgow, 1911
Other Collections:
Notes: One of a special edition issued by the Executive of the Scottish National Exhibition of History, Art and Industry, 1911 for private complimentary circulation. Red leather with gilt titles on spine and gilt coat of arms on front. James Craig Annan was a pioneering Scottish-born photographer and was among the most admired of the first generation European Pictorialist photographers. This image was made using one of the earliest handheld Kodak cameras and to possibly be the first photograph ever made that intentionally shows movement as seen by the blurring of the friar’s shoe in motion. The second son of photographer Thomas Annan, James Craig Annan was born at Hamilton, South Lanarkshire, Scotland, on 8 March 1864. He was educated at Hamilton Academy before studying chemistry and natural philosophy at Anderson's College. James Annan subsequently joined his family’s photographic business, T. & R. Annan and Sons of Glasgow, Hamilton and Edinburgh, and in 1883 went to Vienna to learn the process of photogravure from the inventor, Karel Klíč. James Annan introduced the photogravure process into Britain, and T. & R. Annan, having acquired the British Patent holder rights, were to become the leading firm in Britain in gravure photographic printing. In 1891 James Craig Annan was elected to membership of Glasgow Art Club as a "photographic artist.” In 1893 he exhibited his own photogravure work at the Photographic Salon in 1893, as a result of which he was, in 1894, elected a member of The Linked Ring, a select international group of art photographers. He also gave lectures to the Edinburgh Photographic Society, on The Arts of Engraving in December 1901 and Photography as a Means of Artistic Expression in May 1910. In 1900 the Royal Photographic Society invited Annan to mount a one man show, the first in a series of such shows at the Society’s new exhibition rooms on Russell Square, London, and he was subsequently awarded Honorary Fellowship of the Society.
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Built between 1941 and 1944 in the Brooklyn Navy Yard, the USS Missouri (BB-63) was launched on January 29, 1944 and commissioned on June 11, 1944 to serve with the United States Navy in World War II. Active in the Pacific Theater of the war, the USS Missouri fought in the battle of Iwo Jima and Okinawa, and took part in the shelling of the Japanese home islands. On April 11, 1945, the ship was attacked by a kamikaze pilot and was struck on the side below the main deck, with the ship suffering relatively minor damage, which is still visible today. On September 2, 1945, while docked in Tokyo Bay, a delegation representing the Empire of Japan surrendered to allied forces on the deck of the USS Missouri, bringing World War II to an official end, with documents being signed by Japanese and Allied leaders. The ship subsequently returned to New York after stops in Guam and Hawaii, and underwent an overhaul in the New York Naval Shipyard. The ship then headed on a training cruise to Cuba before heading back to New York and then east across the Atlantic Ocean, making a stop at Gibraltar before arriving at Istanbul on April 5, 1946. The ship then headed to Greece in order to assist in quelling pro-Communist groups in an attempt to contain Soviet influence in postwar Europe, demonstrating the commitment of the United States to European countries following the war. The ship transported President Harry Truman and his family between Rio de Janeiro, Brazil and the United States in September 1947 following the signing of the Rio treaty, broadening the Monroe doctrine and establishing solidarity between nations in the Americas. Following the war, most battleships in the US Navy were decommissioned, but the USS Missouri was kept active due to sentimental connections between it and President Truman, as well as the ship’s status as a relatively new vessel. However, the ship hit a shoal near Old Point Comfort, Virginia on January 17, 1950, leading to it becoming stranded and needing to be refloated and repaired. Upon the breakout of the Korean War, the USS Missouri was dispatched to the Korean Peninsula on August 19, 1950, in order to support UN forces on the peninsula. The ship provided artillery support to South Korean and United States forces attempting to push back the invasion of North Korean and Chinese forces, and was active until the end of hostilities in 1953. The ship returned to the Norfolk Naval Shipyard after the war, being overhauled before going on a patrol mission in June 1954, returning in August 1954. After this mission, the ship was sent to the Puget Sound Naval Shipyard in September 1954, where it was decommissioned on February 26, 1955, ending its first period of active service. The ship became a popular tourist attraction during its period of deactivation, remaining in use as a museum ship until 1984, with the surrender deck having bronze plaques and an exhibit set up to commemorate the ceremony that ended World War II, which occurred on the deck. In 1971, the ship was listed on the National Register of Historic Places in recognition of its remarkable state of preservation, and the very historically notable events that took place on and around the ship. In the summer of 1984, as part of an initiative to expand the number of active ships in the United States Navy under President Ronald Reagan, the ship was reactivated and sent to the Long Beach Naval Shipyard for refurbishment and modernization, with many original features and weapons removed and replaced with far more advanced modern weaponry and systems. On May 10, 1986, the ship was formally recommissioned in San Francisco. The ship participated in patrols and naval exercises throughout the period between 1986 and 1991. During the Gulf War in January and February of 1991, the ship was utilized to assist forces pushing the Iraqi army out of Kuwait, with the ship’s missile and artillery systems being utilized against targets on land. After the end of the Gulf War and due to the collapse of the Soviet Union in 1991, the ship was decommissioned once again on March 31, 1992, at Long Beach, California. The ship was returned to the Puget Sound Naval Shipyard, as part of the reserve fleet, where it remained until January 12, 1995, when it was removed from the Naval Vessel Register. The ship was not operated as a museum ship at this time, and was towed from the Puget Sound Naval Shipyard on May 23, 1998, before arriving at Ford Island in Pearl Harbor on June 22, 1998, opening to the public as a museum ship on January 29, 1999. The location of the ship in Pearl Harbor was chosen due to the significance of the harbor and the ship to the beginning and end of the direct involvement of the United States in World War II. The ship underwent an overhaul in 2009-10, which has ensured its continued preservation. The ship today serves as a museum to the operating history of the former military vessel, as well as the very historically significant ceremony on September 2, 1945, which ended World War II.
Surface Active Group: These four whales were sighted traveling and socializing together approximately 22 nautical miles off Crescent Beach, FL - December 29, 2018.
The group includes three males and one female ranging in age from 11-17 years old. One of the four whales (bottom right) has a prominent white chin-white and black patterned skin.
Florida Fish and Wildlife Conservation Commission, taken under NOAA permit 20556-01
Anselm Feuerbach (1829 - 1880; active in Karlsruhe, Venice, Castel Toblino, Rome, Vienna, Nuremberg
Flower Girl, 1854)
Taken over 1907 from grand-ducal private ownership, inventory in 1031
Anselm Feuerbach (1829 - 1880; tätig in Karlsruhe, Venedig, Castel Toblino, Rom, Wien, Nürnberg
Blumenmädchen, 1854)
Übernommen 1907 aus großherzoglichem Besitz, Inventar 1031
Collection
The foundation of the collection consists of 205 mostly French and Dutch paintings from the 17th and 18th centuries which Margravine Karoline Luise acquired 1759-1776. From this collection originate significant works, such as The portrait of a young man by Frans van Mieris the Elder, The winter landscape with lime kiln of Nicolaes Pieterszoon Berchem, The Lacemaker by Gerard Dou, the Still Life with hunting equipment and dead partridge of Willem van Aelst, The Peace in the Chicken yard by Melchior de Hondecoeter as well as a self-portrait by Rembrandt van Rijn. In addition, four still lifes of Jean Siméon Chardin and two pastoral scenes by François Boucher, having been commissioned directly by the Marchioness from artists.
A first significant expansion the museum received in 1858 by the collection of canon Johann Baptist von Hirscher (1788-1865) with works of religious art of the 15th and 16th centuries. This group includes works such as two tablets of the Sterzinger altar and the wing fragment The sacramental blessing of Bartholomew Zeitblom. From 1899 to 1920, the native of Baden painter Hans Thoma held the position of Director of the Kunsthalle. He acquired old masterly paintings as the tauberbischofsheim altarpiece by Matthias Grünewald and drove the expansion of the collection with art of the 19th century forward. Only his successors expanded the holdings of the Art Gallery with works of Impressionism and the following generations of artists.
The permanent exhibition in the main building includes approximately 800 paintings and sculptures. Among the outstanding works of art of the Department German painters of the late Gothic and Renaissance are the Christ as Man of Sorrows by Albrecht Dürer, the Carrying of the Cross and the Crucifixion by Matthias Grünewald, Maria with the Child by Lucas Cranach the Elder, the portrait of Sebastian Brant by Hans Burgkmair the elder and The Nativity of Hans Baldung. Whose Margrave panel due to property disputes in 2006 made it in the headlines and also led to political conflicts. One of the biggest buying successes which a German museum in the postwar period was able to land concerns the successive acquisition of six of the seven known pieces of a Passion altar in 1450 - the notname of the artist after this work "Master of the Karlsruhe Passion" - a seventh piece is located in German public ownership (Wallraf-Richartz Museum, Cologne).
In the department of Dutch and Flemish paintings of the 16th century can be found, in addition to the aforementioned works, the portrait of the Marchesa Veronica Spinola Doria by Peter Paul Rubens, Moses strikes the rock and water flows for the thirsty people of Israel of Jacob Jordaens, the still life with kitchen tools and foods of Frans Snyders, the village festival of David Teniers the younger, the still life with lemon, oranges and filled clay pot by Willem Kalf, a Young couple having breakfast by Gabriel Metsu, in the bedroom of Pieter de Hooch, the great group of trees at the waterfront of Jacob Izaaksoon van Ruisdael, a river landscape with a milkmaid of Aelbert Jacobsz. Cuyp as well as a trompe-l'œil still life of Samuel van Hoogstraten.
Further examples of French paintings of the 17th and 18th centuries are, the adoration of the golden calf of Claude Lorrain, preparations for dance class of the Le Nain brothers, the portrait of Marshal Charles-Auguste de Matignon by Hyacinthe Rigaud, the portrait of a young nobleman in hunting costume of Nicolas de Largillière, The storm of Claude Joseph Vernet and The minuet of Nicolas Lancret. From the 19th century can be found with Rocky wooded valley at Civita Castellana by Gustave Courbet, The Lamentation of Eugène Delacroix, the children portrait Le petit Lange of Édouard Manet, the portrait of Madame Jeantaud by Edgar Degas, the landscape June morning near Pontoise by Camille Pissarro, homes in Le Pouldu Paul Gauguin and views to the sea at L'Estaque by Paul Cézanne further works of French artists at Kunsthalle.
One focus of the collection is the German painting and sculpture of the 19th century. From Joseph Anton Koch, the Kunsthalle possesses a Heroic landscape with rainbow, from Georg Friedrich Kersting the painting The painter Gerhard Kügelgen in his studio, from Caspar David Friedrich the landscape rocky reef on the sea beach and from Karl Blechen view to the Monastery of Santa Scolastica. Other important works of this department are the disruption of Adolph Menzel as well as the young self-portrait, the portrait Nanna Risi and The Banquet of Plato of Anselm Feuerbach.
For the presentation of the complex of oeuvres by Hans Thoma, a whole wing in 1909 at the Kunsthalle was installed. Main oeuvres of the arts are, for example, the genre picture The siblings as well as, created on behalf of the grand-ducal family, Thoma Chapel with its religious themes.
Of the German contemporaries of Hans Thoma, Max Liebermann on the beach of Noordwijk and Lovis Corinth with a portrait of his wife in the museum are represented. Furthermore the Kunsthalle owns works by Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner and Max Klinger.
In the building of the adjacent Orangerie works of the collection and new acquisitions from the years after 1952 can be seen. In two integrated graphics cabinets the Kupferstichkabinett (gallery of prints) gives insight into its inventory of contemporary art on paper. From the period after 1945, the works Arabs with footprints by Jean Dubuffet, Sponge Relief RE 48; Sol. 1960 by Yves Klein, Honoring the square: Yellow center of Josef Albers, the cityscape F by Gerhard Richter and the Fixe idea by Georg Baselitz in the Kunsthalle. The collection of classical modernism wandered into the main building. Examples of paintings from the period to 1945 are The Eiffel Tower by Robert Delaunay, the Improvisation 13 by Wassily Kandinsky, Deers in the Forest II by Franz Marc, People at the Blue lake of August Macke, the self-portrait The painter of Ernst Ludwig Kirchner, the Merzpicture 21b by Kurt Schwitters, the forest of Max Ernst, Tower gate II by Lyonel Feininger, the Seven Deadly Sins of Otto Dix and the removal of the Sphinxes by Max Beckmann. In addition, the museum regularly shows special exhibitions.
Sammlung
Den Grundstock der Sammlung bilden 205 meist französische und niederländische Gemälde des 17. und 18. Jahrhunderts, welche Markgräfin Karoline Luise zwischen 1759 und 1776 erwarb. Aus dieser Sammlung stammen bedeutende Arbeiten, wie das Bildnis eines jungen Mannes von Frans van Mieris der Ältere, die Winterlandschaft mit Kalkofen von Nicolaes Pieterszoon Berchem, Die Spitzenklöpplerin von Gerard Dou, das Stillleben mit Jagdgeräten und totem Rebhuhn von Willem van Aelst, Der Friede im Hühnerhof von Melchior de Hondecoeter sowie ein Selbstbildnis von Rembrandt van Rijn. Hinzu kommen vier Stillleben von Jean Siméon Chardin und zwei Schäferszenen von François Boucher, die die Markgräfin bei Künstlern direkt in Auftrag gegeben hatte.
Eine erste wesentliche Erweiterung erhielt das Museum 1858 durch die Sammlung des Domkapitulars Johann Baptist von Hirscher (1788–1865) mit Werken religiöser Kunst des 15. und 16. Jahrhunderts. Zu dieser Gruppe gehören Werke wie zwei Tafeln des Sterzinger Altars und das Flügelfragment Der sakramentale Segen von Bartholomäus Zeitblom. Von 1899 bis 1920 bekleidete der aus Baden stammende Maler Hans Thoma die Position des Direktors der Kunsthalle. Er erwarb altmeisterliche Gemälde wie den Tauberbischofsheimer Altar von Matthias Grünewald und trieb den Ausbau der Sammlung mit Kunst des 19. Jahrhunderts voran. Erst seine Nachfolger erweiterten die Bestände der Kunsthalle um Werke des Impressionismus und der folgenden Künstlergenerationen.
Die Dauerausstellung im Hauptgebäude umfasst rund 800 Gemälde und Skulpturen. Zu den herausragenden Kunstwerken der Abteilung deutsche Maler der Spätgotik und Renaissance gehören der Christus als Schmerzensmann von Albrecht Dürer, die Kreuztragung und Kreuzigung von Matthias Grünewald, Maria mit dem Kinde von Lucas Cranach der Ältere, das Bildnis Sebastian Brants von Hans Burgkmair der Ältere und die Die Geburt Christi von Hans Baldung. Dessen Markgrafentafel geriet durch Eigentumsstreitigkeiten 2006 in die Schlagzeilen und führte auch zu politischen Auseinandersetzungen. Einer der größten Ankaufserfolge, welche ein deutsches Museum in der Nachkriegszeit verbuchen konnte, betrifft den sukzessiven Erwerb von sechs der sieben bekannten Tafeln eines Passionsaltars um 1450 – der Notname des Malers nach diesem Werk „Meister der Karlsruher Passion“ – eine siebte Tafel befindet sich in deutschem öffentlichen Besitz (Wallraf-Richartz Museum, Köln).
In der Abteilung niederländischer und flämischer Malerei des 16. Jahrhunderts finden sich, neben den erwähnten Werken, das Bildnis der Marchesa Veronica Spinola Doria von Peter Paul Rubens, Moses schlägt Wasser aus dem Felsen von Jacob Jordaens, das Stillleben mit Küchengeräten und Lebensmitteln von Frans Snyders, das Dorffest von David Teniers dem Jüngeren, das Stillleben mit Zitrone, Orangen und gefülltem Römer von Willem Kalf, ein Junges Paar beim Frühstück von Gabriel Metsu, Im Schlafzimmer von Pieter de Hooch, die Große Baumgruppe am Wasser von Jacob Izaaksoon van Ruisdael, eine Flusslandschaft mit Melkerin von Aelbert Jacobsz. Cuyp sowie ein Augenbetrüger-Stillleben von Samuel van Hoogstraten.
Weitere Beispiele französischer Malerei des 17. bzw. 18. Jahrhunderts sind Die Anbetung des Goldeen Kalbes von Claude Lorrain, die Vorbereitung zur Tanzstunde der Brüder Le Nain, das Bildnis des Marschalls Charles-Auguste de Matignon von Hyacinthe Rigaud, das Bildnis eines jungen Edelmannes im Jagdkostüm von Nicolas de Largillière, Der Sturm von Claude Joseph Vernet und Das Menuett von Nicolas Lancret. Aus dem 19. Jahrhundert finden sich mit Felsiges Waldtal bei Cività Castellana von Gustave Courbet, Die Beweinung Christi von Eugène Delacroix, dem Kinderbildnis Le petit Lange von Édouard Manet, dem Bildnis der Madame Jeantaud von Edgar Degas, dem Landschaftsbild Junimorgen bei Pontoise von Camille Pissarro, Häuser in Le Pouldu von Paul Gauguin und Blick auf das Meer bei L’Estaque von Paul Cézanne weitere Arbeiten französischer Künstler in der Kunsthalle.
Einen Schwerpunkt der Sammlung bildet die deutsche Malerei und Skulptur des 19. Jahrhunderts. Von Joseph Anton Koch besitzt die Kunsthalle eine Heroische Landschaft mit Regenbogen, von Georg Friedrich Kersting das Gemälde Der Maler Gerhard Kügelgen in seinem Atelier, von Caspar David Friedrich das Landschaftsbild Felsenriff am Meeresstrand und von Karl Blechen den Blick auf das Kloster Santa Scolastica. Weitere bedeutende Werke dieser Abteilung sind Die Störung von Adolph Menzel sowie das Jugendliche Selbstbildnis, das Bildnis Nanna Risi und Das Gastmahl des Plato von Anselm Feuerbach.
Für die Präsentation des Werkkomplexes von Hans Thoma wurde 1909 in der Kunsthalle ein ganzer Gebäudetrakt errichtet. Hauptwerke des Künstlers sind etwa das Genrebild Die Geschwister sowie die, im Auftrag der großherzöglichen Familie geschaffene, Thoma-Kapelle mit ihren religiösen Themen.
Von den deutschen Zeitgenossen Hans Thomas sind Max Liebermann mit Am Strand von Noordwijk und Lovis Corinth mit einem Bildnis seiner Frau im Museum vertreten. Darüber hinaus besitzt die Kunsthalle Werke von Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner und Max Klinger.
Im Gebäude der benachbarten Orangerie sind Werke der Sammlung und Neuankäufe aus den Jahren nach 1952 zu sehen. In zwei integrierten Grafikkabinetten gibt das Kupferstichkabinett Einblick in seinen Bestand zeitgenössischer Kunst auf Papier. Aus der Zeit nach 1945 finden sich die Arbeiten Araber mit Fußspuren von Jean Dubuffet, Schwammrelief >RE 48:Sol.1960< von Yves Klein, Ehrung des Quadrates: Gelbes Zentrum von Josef Albers, das Stadtbild F von Gerhard Richter und die Fixe Idee von Georg Baselitz in der Kunsthalle. Die Sammlung der Klassischen Moderne wanderte in das Hauptgebäude. Beispiele für Gemälde aus der Zeit bis 1945 sind Der Eiffelturm von Robert Delaunay, die Improvisation 13 von Wassily Kandinsky, Rehe im Wald II von Franz Marc, Leute am blauen See von August Macke, das Selbstbildnis Der Maler von Ernst Ludwig Kirchner, das Merzbild 21b von Kurt Schwitters, Der Wald von Max Ernst, Torturm II von Lyonel Feininger, Die Sieben Todsünden von Otto Dix und der Abtransport der Sphinxe von Max Beckmann. Darüber hinaus zeigt das Museum regelmäßig Sonderausstellungen.
de.wikipedia.org/wiki/Staatliche_Kunsthalle_Karlsruhe
Michelangelo Merisi, called Caravaggio (1571-1610), active, among others, in Rome, Naples, Malta, Sicily
Rosary Madonna, around 1603
The Madonna requests Saint Dominic to spread rosaries to the people. The Saint Peter Martyr points to the origin of all graces, the Christ Child. The founder asks the viewer to go under the protection of the Dominic as well. Caravaggio probably painted the altarpiece in Rome, in 1620, it came as a donation of an artists' group (among them Rubens and Jan Brueghel) to the Dominican church in Antwerp and was bought by the Imperial Painting Gallery in 1781.
Michelangelo Merisi, genannt Caravaggio (1571-1610), tätig, unter anderen, in Rom, Neapel, Malta, Sizilien
Rosenkranzmadonna, um 1603
Die Madonna fordert den Heiligen Dominikus auf, Rosenkränze an das Volk zu verteilen. Der Heilige Petrus Martyr verweist zeigend auf den Ursprung aller Gnaden, den Christusknaben. Der Stifter fordert den Betrachter auf, sich ebenfalls unter den Schutz des Dominikus zu begeben. Caravaggio malte das Altarbild wahrscheinlich in Rom - 1620 kam es als Stiftung einer Künstlergemeinschaft (unter ihnen Rubens und Jan Brueghel) in die Dominikanerkirche nach Antwerpen und wurde 1781 von der kaiserlichen Gemäldegalerie angekauft.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Maker: Charles Negre (1820-1880)
Born: France
Active: France
Medium: heliogravure
Size: 11.875 in x 7.8125 in
Location: France
Object No. 2018.248
Shelf: B-25
Publication: Borcoman, James. Charles Negre 1820-1880, The National Gallery of Canada, Ottawa, pl 169
Charles Negre, Paviotfoto, Paris, 2013, fig. 31a
Other Collections: Musee d'Orsay, Paris, National Gallery of Canada
Provenance: Raymond Mary, Gallery de Chartres auction
Notes: TBAL
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Taken for the Active Assignment Weekly! group. This week's assignment: Anachronistic.
I admit this is a blatant remix of this one. The idea was to show the old and feeble ancient camcorder technology (1994 A.C.) facing its descendant (2010 A.C.) that has manifold the resolution at a significant lower size (and price). If the development goes on like this, technology has completely vanished into subatomic space in 30 years (I hope I am not right...)
What it took: Our IKEA cupboard was the location once again. I fired the 580 EX II with 1/32 into the ceiling above the scene (standing 50 cm in front of the subjects). Actually this is a composite of two shots as the focus area was so narrow that I did not get the both camcorders in the excactly same focus plane otherwise. Other than that just a conversion into bw with subsequent recovering of selected colors.