View allAll Photos Tagged artistic_unity
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Photoseries: Museum of Fine Arts @ Boston, Massachusetts
Exhibit: "The Fish" (1890) leaded stained and opalescent glass
Artist: John LaFarge (1835-1910) American
MFA info: This stunning stained glass window, "The Fish" (or: "The Fish and Flowering Branch") was created by John La Farge about 1890. He made it for his son, Grant La Farge, to give as a gift to Gordon Abbott of Manchester, Massachusetts. John La Farge's most important contribution to the art of stained glass was his use of opalescent glass in multiple layers to create variegated hues and dramatic effects of depth. Unlike traditional stained glass, in which the artist painted the flat surface to render details and shading, La Farge's windows achieve the effects of shading and three-dimensionality through the layering and shaping of the glass itself. For greater textural effect, he often used an outer layer that had a corrugated appearance produced by compressing or stamping sheets of hot glass.
The mid-nineteenth-century Gothic Revival, which sparked an interest in medieval arts, and the Aesthetic Movement of the 1870s and 1880s, which emphasized artistic unity in interior decoration, both popularized and secularized stained glass and elevated its importance as an art form. Although the majority of stained glass used in the United States was imported from England and made in a traditional manner, American artists John La Farge and Louis Comfort Tiffany separately, yet simultaneously, experimented with new techniques and designs that offered remarkable, unconventional qualities of texture and color.
TITLE : Berries...
Bright, juicy, beautiful, pure temptation....
MEDIUM : Acrylic on Canvas
SIZE : 12" x 12"
AVAILABLE FOR #SALE
#beyondrealistic #arts_funds #artistic_today #iartpost #charmingart #acrylic #artistic_unity_ #artistic_dome #artistuniversity #artstagram #photooftheday #artist_4_shoutout #paintings #acrylicpaintings #arte #artsanity #berries #blvart #art_spotlight #aristicdreamerss #bright #instalike #stilllife #juicy #arts_gallery #talented #arts_mag #fruits #masterpiece #beautiful
#charmingart #oilpainting #artistic_unity_ #stilllife #artistic_dome #oilpaintingart #artistuniversity #stilllifeart #artstagram #oilpaintingoncanvas #photooftheday #stilllifeartwork #artist_4_shoutout #canvas #arte #artsanity #blvart #art_spotlight #artisticdreamerss #instalike #arts_gallery #talented #arts_mag #masterpiece #beautiful #arts_help #vase #flowers #strawberries #oranges
Still Life of Vase with Flowers; Strawberries and Oranges.......
SOLD OUT.....
#pencilart #pencilartist #sketching #realisticart #woman #arty #arthubs #artoftheday #artopia_world #swimming #artpublicity #beyondrealistic #arts_funds #artistic_today #iartpost #charmingart #water #artistic_unity_ #artistic_dome #artistuniversity #photooftheday #artist_4_shoutout #sketches #arte #artsanity #blvart #art_spotlight #artisticdreamerss #worldofpencils #portrait
The key to #happiness is your inner #freedom , #peace and willngness to enjoy every moment of your #life.........
( #canvas , 16" x 20" )
#paintbrushes #realisticart #oilpainting #arty #arthubs #artoftheday #artopia_world #oilpaintingart #artpublicity #colorful #beyondrealistic #arts_funds #artistic_today #iartpost #charmingart #oilpaintingoncanvas #artistic_unity_ #artistic_dome #artistuniversity #artstagram #photooftheday #artist_4_shoutout #girl #arte #artsanity #girlpainting #blvart #art_spotlight #artisticdreamerss #birds
Painting of SUNFLOWERS....
Sunflowers are cheery and happy flowers that make you feel better instantly whenever you look at them...(Pastel Sheet, 30.5 X 43 cm)
#realisticart #arty #arthubs #artoftheday #artopia_world #artpublicity #colorful #beyondrealistic #arts_funds #artistic_today #iartpost #charmingart #softpastel #sunflowers #flowers #artistic_unity_ #artistic_dome #artistuniversity #artstagram #photooftheday #artist_4_shoutout #pastel #arte #artsanity #softpastelart #blvart #art_spotlight #artisticdreamerss #instalike #arts_gallery
✰ This photo was featured on The Epic Global Showcase here: ift.tt/1TyRBii
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by @myonaart on Instagram.
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A Young Girl waiting for someone on the Street.....(canvas, 30 cm x 42.5 cm)
SOLD OUT.....
✰ This photo was featured on The Epic Global Showcase here: bit.ly/1oyDFJO
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“Never stop trying!” Amazing improvement 😱 by @elia_pelle -
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Via @artistuniversity
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Also check out @artistic.empire
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#drawing #draw #sketch #art #artist #arte #artoftheday #artistic #artsy #illustration #photooftheday #vsco #derwent #instaartist #worldofpencils #instalike #artsanity #talnts #talented #art_spotlight #arts_gallery #worldofartists #nawden #artfido #artcollective #vscocam #sketching #dibujo by @artistic_unity_ bit.ly/1qnH3Jy
✰ This photo was featured on The Epic Global Showcase here: bit.ly/21AloKS
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…✰Featuring The Amazing: @myonaart ✰ ┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄
Progress faux Wood ladies and gents #art #artwork #sketching #flavoredtape #myonaart #brooklyn #acrylicpaint #creative #artsy #justartspiration #flavoredtape #drawings #nyc #arts_help #arts_spotlight #sketch_daily #artistic_unity_ #art_4share #doodling #myart #artist_alley #artist_features #artzspiration #blvart #watercolourpencils #copics#sketch_daily
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✰ This photo was featured on The Epic Global Showcase here: bit.ly/1Sx35j7
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“Tiger eye” by @majla_art -
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Shared by @art_by_fabian
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#drawing #draw #sketch #art #artist #arte #artesanal #artoftheday #artistic #artsy #illustration #photooftheday #derwent #prismacolor #instaartwork #instaart #instaartist #worldofpencils #instalike #pencildrawing #talnts #blvart #art_spotlight #arts_gallery #worldofartists #nawden #artfido #artcollective #talented by @artistic_bros_ bit.ly/1MOQhIh
Realistic Pencil Portrait of Ben Heine and Marta Heine by Olamide Ogunade (OliscoArt): www.instagram.com/oliscoart
Beautiful work by @jsempt_art
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#drawing #draw #sketch #artist #art #worldofpencils #phanasu #art_spolight #arts_gallery #worldofartists #artshare #artcollective #artshelp #artfido #instalike #creative_exposure_ by @iartpost bit.ly/1VmWVad
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Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
✰ This photo was featured on The Epic Global Showcase here: bit.ly/1Ndxod7
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“Girl with headdress” by @chronicinkart - - Follow @chronicinkart - Tag a friend & follow for more ❤ - Use #artistic_unity_ on your best work for a possible feature #drawing #draw #sketch #art #artist #arte #artoftheday #artistic #artsy #illustration #photooftheday #prismacolor #derwent #instaart #instaartist #worldofpencils #instalike #talnts #talented #art_spotlight #arts_gallery #worldofartists #nawden #artfido #artcollective #vscocam #sketching #dibujo
by @artistic_exposure_ on Instagram.
#pencilart #pencilartist #realisticart #danceart #arty #arthubs #artoftheday #artopia_world #artpublicity #colorful #beyondrealistic #arts_funds #artistic_today #iartpost #charmingart #artistic_unity_ #artistic_dome #artistuniversity #artstagram #photooftheday #artist_4_shoutout #staedtler #staedtlerpencils #arte #illustration #artsanity #blvart #art_spotlight #artisticdreamerss #worldofpencils
DREAM DANCER.....
Dance is an art, paint your dream and follow it........
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle...
✰ This photo was featured on The Epic Global Showcase here: bit.ly/25H5TE6
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Creative face paint by @dubai_faceandbodyartist 🎨Make sure you follow the artist🎨
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Also check out @artistic.empire
———-
Shared by @art_by_fabian
———-
Tag a friend & follow for more ❤
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Use #artistic_unity_ on your best work for a possible feature
#drawing #draw #sketch #art #artist #arte #artoftheday #artistic #artsy #illustration #photooftheday #vsco #painting #instaart #instaartist #worldofpencils #instalike #talnts #talented #art_spotlight #arts_gallery #worldofartists #nawden #artfido #artcollective #vscocam #sketching #dibujo by @artistic_exposure_ bit.ly/1XcL6m0
✰ This photo was featured on The Epic Global Showcase here: bit.ly/1W1qTmc
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Now Featuring: @jades_art22
Finally I’ve finished :) It took me a lot of time to complete this one, it was very challenging. I hope @imsebastianstan can see it, if you wanted to help me, tagged him please 🙏 I choose to stay with #teamcap Which side are you? ☺ Medium: colored pencil on paper #artfido #art_spotlight #arts_help #artistic_unity_ #arts_gallery #cre8hype #tacart #blvart #worldofartists #instaartexplorer #creativempire #assemble_art #arts_secret #drawsofinsta #art_4share #sketch_daily #artnerd2016 #arts_mag #artistic_nation #thewintersoldier #sebastianstan #marvelfanart #civilwar #marvel #buckybarnes #art #drawing #illustration #prismacolor
Follow @jades_art22 on Instagram for more like this!
The Postcard
A postally unused carte postale published by B.F. and printed by Catala Frères of Paris.
Amiens
Amiens is the chief city of Picardy, in the valley of the River Somme, and is just over 100 km north of Paris.
Amiens Cathedral
The Gothic Cathedral of our Lady of Amiens is the tallest complete cathedral in France, with the greatest interior volume (estimated at 200,000 cubic metres).
According to this estimate, the cathedral could comfortably accommodate well over sixty billion marbles. (Yes, billion, not million!) This number of marbles, laid end to end, would produce a line 900,000 km long - it would encircle the earth 22 times, or stretch to the moon and back nearly two and a half times. It's a big building!
The vaults of the nave are 42.3 metres high, and the curved central entrance arch is over 50 feet (15.24 m) high.
Work on the cathedral started in 1220 and was mostly finished by 1266. The floors include a number of designs, including a swastika. The labyrinth was installed in 1288.
The cathedral contains what is alleged to be the head of St. John the Baptist, a relic brought back from Constantinople.
You can find out what happened to one of his fingers by searching for the tag 65SJD88. There are bits of him all over the place! In fact the Great Mosque in Damascus also claims to hold the head of John the Baptist.
The West Front of the Cathedral
The west front of the cathedral was built between 1220 and 1236. It shows an unusual degree of artistic unity. Its lower tier with 3 vast deep porches is capped with a gallery of larger than life-size kings which stretches across the entire façade beneath the rose window.
The immense rose window has a diameter of 43 feet (13 m).
Above the rose window is an open arcade - the Galerie des Sonneurs. A sonneur is a player of traditional music, primarily in Brittany, typically playing a clarinet or the Breton bagpipe.
John Buchan
In the 1919 book Mr. Standfast by John Buchan (1875-1940), the character Richard Hannay describes the cathedral as being:
"The noblest church that the
hand of man ever built for God".
✰ This photo was featured on The Epic Global Showcase here: bit.ly/1q5EoDc
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…✰Featuring The Amazing: @sine_art ✰ ┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄
One of the first Mandala Leaves I drew.. From summer 2015😇☀🌺️ Right now I am working on another colourful Mandala leaf, I’ll post it as soon as possible😁 . . . . . #artscloud#artsogram#creativempire#sharingart#instaartexplorer#arrtposts#artistic_unity_#artistic_dome#art_assistance#artdesires#artistuniversity#mizu_art#art_4share#iartpost#artshub#daily_artistiq#artopia_gallery
✰Follow @sine_art on Instagram for more awesomeness like this!
#softpastel #stilllife #artoftheday #artopia_world #artpublicity #colorful #beyondrealstic #arts_funds #artistic_today #iartpost #charmingart #artistic_unity_ #artistic_dome #artistuniversity #artstagram #photooftheday #artist_4_shoutout #arte #artsanity #blvart #art_spotlight #artisticdreamerss #instalike #artworks #grapes #apples #fineartgallery #artsy #finearts #artstudio
STILL LIFE of grapes, apples, jug and wine glasses capturing shadow of surroundings........
✰ This photo was featured on The Epic Global Showcase here: ift.tt/1OAZwN9
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》Featuring The Amazing: @sazaami_art ┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄┄
#blue #arts_help #artsanity #arts_gallery #art_gallery #art_worldly #art_spotlight #art_empire #art_help #art_we_inspire #arts_help #arts_gallery #young_artists_help #illustration #photoshop #digitalart #hair #artdesires #instaart #arrtposts #artistic_unity_ #worldsartgallery #supportart
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✰ This photo was featured on The Epic Global Showcase here: bit.ly/1XMUpcK ------------- “Of the wild and the free” Quick sketch from tonight. Two more are done that I’ll post tomorrow! #art #artist #artwork #tacart #young_artists_help #artsharing #artsharingpage #freehand #wolf #doubleexposure #artwork #coloredpencil #artgiants #dailyartistiq #artfeature #artfeatures #instaartexplorer #instaart #instaartshare #instaartist #howl #free #wildandfree #beauty #nighttime illustratenow #wolf #worldofarti #galleryarts_ #arts_help #art_worldshare #artistic_unity_ #young_artists_help by @midnight.wanderer on Instagram.
The Postcard
A pre-WW1 high-definition image of the portals of Amiens Cathedral on a card published by Neurdein et Cie of Paris.
The card was sent via the British Army Postal Service on Friday the 20th. November 1914 by a soldier named Bert to his mother and brother Kenneth. He has tried to censor the location of the card using a purple pencil with which British soldiers on the Western Front were issued.
The British Army Postal Service
During the Great War, the British Army Postal Service despatched over two billion letters and cards. Assuming an average length of 6 inches, if they were laid end to end they would stretch for 189,394 miles (304,800km) - that's over seven and a half times round the Earth's equator.
The Great War lasted for 1,567 days, therefore the Postal Service were kept busy handling an average of over 1¼ million pieces of mail every day of the war's duration.
Amiens Cathedral
You get some idea of the huge size of the pointed arches when you realise that entry into the cathedral is gained not by the tall doors, but by the much smaller doors inset into them. The curved central arch is over 50 feet (15.24m) high.
The Gothic Cathedral of our Lady of Amiens is the tallest complete cathedral in France, with the greatest interior volume (estimated at 200,000 cubic metres).
According to this estimate, the cathedral could comfortably accommodate well over sixty billion marbles. (Yes, billion, not million!) This number of marbles, laid end to end, would produce a line 900,000 km long - it would encircle the earth 22 times, or stretch to the moon and back nearly two and a half times. It's a big building!
The vaults of the nave are 42.3 metres high.
Amiens is the chief city of Picardy, in the valley of the River Somme, and is just over 100 km north of Paris.
Work on the cathedral started in 1220 and was mostly finished by 1266. The floors include a number of designs, including a swastika. The labyrinth was installed in 1288.
-- St. John the Baptist
The cathedral contains what is alleged to be the head of St. John the Baptist, a relic brought back from Constantinople. You can find out what happened to one of his fingers by searching for the tag 65SJD88. The Great Mosque in Damascus also claims to hold the head of John the Baptist. There are bits of him all over the place!
-- The West Front
The west front of the cathedral, which is shown in the photograph, was built between 1220 and 1236. It shows an unusual degree of artistic unity. Its lower tier with 3 vast deep porches is capped with a gallery of larger than lifesize kings which stretches across the entire façade beneath the rose window.
-- The Rose Window
The immense rose window has a diameter of 43 feet (13m).
Above the rose window is an open arcade - the Galerie des Sonneurs. A sonneur is a player of traditional music, primarily in Brittany, typically playing a clarinet or the Breton bagpipe.
-- John Buchan
In the 1919 book Mr. Standfast by John Buchan (1875-1940), the character Richard Hannay describes the cathedral as being:
"The noblest church that the
hand of man ever built for God".
Freddie Wiles
So what else happened on the day that Bert posted the card?
Well, the 20th. November 1914 marked the birth in London of Robert Frederick Wiles. Known as Freddie Wiles, he was a British actor best known for playing Goddard in 'Are You Being Served'? He also appeared in one episode as Mr Clampton, the porter.
Freddie also appeared in other shows such as 'Dad's Army', 'Doctor in Charge', 'Doomwatch', 'The Benny Hill Show' and 'Oh Brother!'
Death of Freddie Wiles
Freddie died in June 1983 at the age of 68 in Rotherham, South Yorkshire, England.
“The creation of Adam” incredible pencil carving 😱 by @toldart 🎨Make sure you follow the artist🎨
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by @artistic_exposure_ on Instagram.
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
bavarianspaces.de/veranstaltungen/oktoberfest/ruhmeshalle code ...
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
✰ This photo was featured on The Epic Global Showcase here: bit.ly/25H5T6U
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“Night cat” 🐈 by @shining_star_draws -
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#drawing #draw #sketch #art #artist #arte #artesanal #artoftheday #artistic #artsy #illustration #photooftheday #derwent #prismacolor #instaartwork #instaart #instaartist #worldofpencils #instalike #pencildrawing #talnts #blvart #art_spotlight #arts_gallery #worldofartists #nawden #artfido #artcollective #talented by @artistic_bros_ bit.ly/1XcL25U
#charmingart #artistic_unity_ #watercolor #paintbrushes #stilllife #doors #vines #artistic_dome #artistuniversity #artstagram #photooftheday #artist_4_shoutout #arte #artsanity #blvart #art_spotlight #artisticdreamerss #instalike #artworks #arts_gallery #fineartgallery #artsy #fineart #artstudio #spotlightartist #artopia_gallery #art #artist #artistic_share #artsupport
A sweet little watercolor painting of a door with flower pots and vines.....
SOLD
#rose #rosepainting #roseart #iartpost #charmingart #artistic_unity_ #artistic_dome #artistuniversity #artstagram #photooftheday #artist_4_shoutout #arte #artsanity #blvart #art_spotlight #artisticdreamerss #worldofpencils #instalike #blackandwhiteart #blackandwhiteartwork #charcoaldrawing #arts_gallery #talented #arts_mag #masterpiece #beautiful #arts_help #talent #creative #instafollow
ROSE Painting in charcoal.....
There is nothing more romantic than roses.....
Hall of Fame and Bavaria at the Theresienwiese
The Hall of Fame and Bavaria form the most famous landmarks on the edge of the Theresienwiese and are well worth a visit.
The Hall of Fame and Bavaria form on the Theresien height an ensemble in style of the ancient Acropolis in Athens, which was commissioned by King Ludwig I there. Together with his architect Leo von Klenze King Ludwig I shaped the cityscape of Munich like no other. He was a friend of the monasteries and the academic spirit, and he turned his attention to painting and poetry.
As crown prince Ludwig after the death of his father in 1825 took over the throne of Bavaria he was already dreaming of his "Athens on the Isar" with monumental squares and buildings. Whereas his childhood and youth was influenced by the French Revolution and the subsequent Napoleonic wars, as crown prince he longed for a "Bavarian of all tribes" and a "bigger German nation." In this phase, Ludwig was planning a patriotic monument in the capital city of Munich and for this purpose he already in 1809 by historian Lorenz Westenrieder he had made a list of famous Bavarian representatives of all classes and professions. Approximately 20 years later this list was on his behalf by his Interior Minister Eduard von Schenk - in the meantime Ludwig was King of Bavaria - renewed and expanded.
For the tender for a Hall of Fame above the Theresienwiese with space for 200 busts King Ludwig I invited the best and most prestigious builders of those times:
Friedrich von Gärtner,
Leo von Klenze,
Joseph Daniel Ohlmüller and
Georg Friedrich Ziebland.
Hall of Fame after the scetch of Leo von Klenze
Design by Leo von Klenze
As the court master builder of that time of the king, Leo von Klenze had significant advantages because he on the one hand with the wishes of his client was very familiar and on the other hand also could examine the designs of its competitors in detail. Therefore, it is not surprising that the design of Klenze won the tender of the Hall of Fame in March 1834. He planned the Hall of Fame with a Doric portico in the background and a colossal statue in the foreground.
The construction of the Hall of Fame in the years 1843-1853 actually took place according to the planning of Klenze. After completion of the Hall of Fame, in 1853 the busts of 74 especially venerable Bavarians were set up, in 1868 another 10 were added. The bust of King Ludwig I was only in 1888 in the Hall of Fame erected to commemorate his 100th birthday and supplemented with the following inscription:
"To King Ludwig I to celebrate his 100th birthday, the grateful Munich."
The Hall of Fame itself is 68 meters long, 32 meters wide and stands on a 4.3 meter high pedestal. The roof is supported by the back wall and 48 Doric columns that have a height of about 7 meters and a diameter of 1.25 meters.
Since the Hall of Fame and the in it set up busts in 1944 during an air raid in WW2 were severely damaged, it was not until 1966 when the Bavarian Council of Ministers decided the reconstruction of the Hall of Fame and the continuation of honouring of Bavarian personalities by setting up of their busts. The renovation was completed in 1972 and the Hall of Fame on 26 October 1972 with the preserved and renovated busts could be reopened.
For the selection of the personalities the Bavarian Council of Ministers is responsible, which is advised by a committee of experts from the Bavarian Ministry of Culture, the Bavarian Academy of Fine Arts, the Bavarian Academy of Sciences, the Bavarian Palace Department, the House of Bavarian History, the Bavarian Ministry of Finance and the LMU (Ludwig Maximilian University).
Bavaria © 2009 Bavaria
The colossal statue of Bavaria forms an artistic unity with the Hall of Fame in the background. The first sketches of Bavaria von Klenze already in his design of the whole ensemble on the model of ancient colossal statues of antiquity had produced. It was modeled after the Colossus of Rhodes, the statue of Zeus of Phidias and especially the Athena Parthenos. Theoretically, it is even possible that a part of the bronze for the Bavaria was once part of the Colossus of Rhodes. After Klenze was awarded the contract for the construction of the ensemble consisting of Hall of Fame and Bavaria, he made more sketches on the Greek model.
Since the statue should be cast according to both of Klenze`s ideas and Ludwig`s wishes in bronze, he included the sculptor Ludwig Schwanthaler, the ore caster Johann Baptist Stiglmaier as well as whose nephew Ferdinand von Miller in the further design and manufacture of the Bavaria statue. While Schwanthaler with his first sketches still held to the classical model in the sense of Klenze, he gave the statue in the further course of his designs increasingly a "Germanic" appearance with typical "German" character. The head and the raised hand he adorned with a wreath of oak and at her side appeared the drawn sword as a sign of her ability to defend herself. At her feet placed Schwanthaler a lion, that always have served as heraldic animal of the Wittelsbach.
The manufacturing of the final designs for the Bavaria statue followed in the years 1839 to 1843. Schwanthaler however the beginning of the foundry did not live because he shortly before that died in April 1844. As first thing, the head of Bavaria was cast in September 1844, in January and March 1845 followed the arms, on 11 October 1845, the breast piece. The last major casting for the bottom part took place on 1 December 1849. The erection and unveiling of Bavaria occurred during Oktoberfest (Munich Beer Festival) 1850. The cost for the production of the statue Ludwig after his abdication as king of Bavaria on 20 March 1848 largely paid from private sources. A special feature of Bavaria is the spiral staircase in its interior, where you can climb up into her head to enjoy from there an incomparable view of the Oktoberfest.
Sir Andrzej Panufnik (24 September 1914 – 27 October 1991) was a Polish composer and conductor. He became established as one of the leading Polish composers, and as a conductor he was instrumental in the re-establishment of the Warsaw Philharmonic orchestra after World War II. After his increasing frustration with the extra-musical demands made on him by the country's regime, he defected to the United Kingdom in 1954, and took up British citizenship. He briefly became chief conductor of the City of Birmingham Symphony Orchestra, a post he relinquished after two years to devote all his time to composition.
Panufnik was born in Warsaw, the second son of a violinist mother and an amateur (but renowned) violin-maker father. From an early age he was torn between an interest in music and a fascination with the mechanics of aeroplanes. His grandmother gave him piano lessons, but although he showed talent his studies were erratic. As a schoolboy he composed some successful popular tunes, but his father did not approve of his son's pursuing a musical career. Eventually his father relented, permitting the boy to study music provided he matriculated. By this time, Panufnik was too old to take the piano entrance examination for the Warsaw Conservatory, but succeeded in gaining admission as a percussion student. He soon left the percussion class to concentrate on studying composition and conducting; he worked hard and completed the course in much less time than normal.
After graduating with distinction in 1936, his plans to travel to Vienna to study conducting for a year under Felix Weingartner were delayed by his being called up for National Service. Panufnik recalled how, on the night before his medical, he heard the national Polish medieval chant Bogurodzica on the wireless. This entirely captivated him, and he sat up late into the night drinking copious quantities of black coffee. The result of this was that he failed his medical examination and was excused from military duties. Instead he used the year's hiatus earning money and reputation composing film music.
Panufnik travelled to Vienna in 1937 for his studies with Weingartner. He also fulfilled his intention of studying music by the composers of the Second Viennese School, but while he applauded Arnold Schoenberg's imposition of constraints in order to give artistic unity to a composition, dodecaphonic music did not appeal to him. Panufnik returned to Poland before the end of his planned year-long stay, leaving shortly after the Anschluss when the political situation caused Weingartner to be removed from the Academy.
Panufnik also lived for some months in Paris and London, where he studied privately and composed his first symphony. He met Weingartner again in London, and the older conductor urged him to stay in England to avoid the consequences of the worsening international situation. Panufnik was determined, however, to return to Poland.
During the German occupation of Warsaw during World War II Panufnik formed a piano duo with his friend and fellow composer Witold Lutosławski, and they performed in cafés in Warsaw. This was the only way in which Poles could legitimately hear live music, as arranging concerts was impossible because the occupying forces had banned organised gatherings. Panufnik also composed some illegal Songs of Underground Resistance, especially "Warsaw Children" which became popular among the defiant Polish community. During this period he composed a Tragic Overture and a second symphony. Later, Panufnik was able to conduct a couple of charity concerts, at one of which his Tragic Overture was first performed. He fled from Warsaw with his ailing mother, leaving all his music behind in his apartment, just before the Warsaw Uprising in 1944. When Panufnik returned to the ruins of the city in the spring of 1945, to bury his brother's body and recover his own manuscripts, he discovered that despite having survived the widespread destruction, all of his scores had been discarded onto a bonfire by a stranger who had taken over his rooms.
After World War II, Panufnik moved to Kraków where he found work composing film music for the Army Film Unit. Some of this inevitably was for propaganda films; Panufnik later recounted how for one film, The Electrification of the Villages, the director was unable to find a house without a supply of electricity, and had to demolish pylons and remove infrastructure in order to film it being built. Panufnik accepted the post of Principal Conductor with the Kraków Philharmonic Orchestra. He reconstructed some of his music that had been lost, starting with the Tragic Overture which was still fresh in his mind. Encouraged by this he also reconstructed his Piano Trio and Polish Peasant Songs. However, his first symphony did not prove so easy and, disappointed with the result, Panufnik decided that he would thereafter concentrate on composing new works.
Appointed Music Director of the defunct Warsaw Philharmonic Orchestra, traditionally Poland's leading orchestra, Panufnik set about engaging musicians and finding premises. When bureaucratic obstacles made the reconstitution of the orchestra difficult (for example, the lack of available living accommodation for the musicians) he resigned in protest. At this time he also fulfilled conducting engagements abroad, including guest conductor with the Berlin Philharmonic Orchestra. He was instructed to include his Tragic Overture as a reminder to Germany of their recent actions in Warsaw.
Around this time he started composing again, writing his Circle of Fifths for piano (later published as Twelve Miniature Studies). His Lullaby for string orchestra and two harps was inspired by the combination of the River Thames and the night sky, when he saw "dark clouds drifting across a brilliant full moon", as viewed from Waterloo Bridge, while he was visiting London. In its use of quarter tones and dense textures this broke new ground, both for Panufnik and for Polish music. Panufnik also composed a Sinfonia Rustica, deciding to give it a name rather than the designation "Symphony No. 1" out of feeling for his two lost works in the genre.
Panufnik became Vice-President of the newly constituted Union of Polish Composers, accepting the post after being urged to do so by his colleagues. However, in this capacity he found himself manoeuvred into positions which he did not support, at conferences whose nature was political rather than musical. At one of these conferences he met Zoltán Kodály who privately expressed a similar feeling of artistic helplessness to Panufnik's. He also encountered composers such as the English Alan Bush, who were sympathetic to the aims of Stalinist Socialism, and other composers on the political far-left such as Benjamin Frankel.
Adding to Panufnik's discomfiture, in the post-war period the government became increasingly interventionist in the arts. As a consequence of events in the Soviet Union, particularly the Zhdanov decree in 1948, it was dictated that composers should follow Soviet Realism, and that musical compositions, like all works of art, should reflect "the realities of Socialist Life". Panufnik later mused on the nebulous nature of Soviet Realism, quoting a Polish joke of the time that it was "like a mosquito: everyone knew it had a prick, but no-one had seen it". In this climate Panufnik, who was not a member of the Communist Party, attempted to tread an acceptable path by composing works based on historical Polish music; to this end he wrote his Old Polish Suite.
His Nocturne was singled out for criticism, and later General Włodzimierz Sokorski, Secretary of Culture, announced that Panufnik's Sinfonia Rustica had "ceased to exist". Panufnik later described the symphony as "a patently innocent work", and he found it particularly galling that one of the panel that decided on the work's proscription had earlier been on the panel that had awarded it first prize in the Chopin Composition Competition. The work was nevertheless published by the State Publishing House and, as Adrian Thomas has shown, performances of the work continued sporadically in Poland. While his compositions were branded at home as formalist, Panufnik was promoted abroad as a cultural export, both as composer and conductor. The authorities awarded him their highest accolade, Standard of Labour First Class.
In 1950, Panufnik visited Soviet Union as part of a Polish delegation to study Soviet teaching methods. He met Dmitri Shostakovich, whom he had befriended at previous conferences, and Aram Khachaturian. During conversations with lesser composers, Panufnik was pressed to say what he was working on. Having to say something acceptable, he casually mentioned that he had an idea for a Symphony of Peace. This was seized upon, and on returning to Poland he was granted a stay in quiet surroundings so that he could finish the piece (Panufnik interpreted this as an order to complete it). He wrote a three movement work, ending with a setting of words by his friend, the poet Jarosław Iwaszkiewicz. Panufnik hoped to work his own conception of peace into the composition, rather than the official Soviet ideology. The piece was not a success with the authorities.
While he was writing the Symphony of Peace, he was struck by the beauty of an Irish woman he met, Marie Elizabeth O'Mahoney, who was known as "Scarlett" because of her likeness (both physical and temperamental) to Scarlett O'Hara from Margaret Mitchell's novel Gone with the Wind. Even though she was honeymooning with her third husband, she and Panufnik started an affair. Panufnik soon discovered she was epileptic, but in spite of his doubts the couple were married in 1951 and soon had a baby daughter, Oonagh. Panufnik now had a young family to support, and so threw himself into his lucrative work for the Film Unit. For one film he again turned to old Polish music, and he eventually adapted this score for the concert work Concerto in modo antico. In 1952 Panufnik composed a Heroic Overture, based on an idea he had conceived in 1939 inspired by the struggle of Poland against Nazi oppression. He submitted this work (without divulging its true meaning) for the 1952 pre-Olympic music competition in Helsinki, and it won. However, at home this overture was also branded "formalist".
In the spring of 1953, Panufnik was sent, with the Chamber Orchestra of the Warsaw Philharmonic Orchestra, on a tour of China, where he met prime-minister Zhou Enlai and, briefly, Chairman Mao. In his first days there, he heard devastating news that his adored Oonagh had been drowned while Scarlett had an epileptic attack while she was bathing her. After returning to Warsaw he was asked to write a letter that the government could send to western musicians, ostensibly from Panufnik, to sound them out as to their sympathies with the Polish "Peace Movement". Panufnik described this as effectively an order to spy for Moscow, and as the last in a "succession of final straws". Thus in 1954 Panufnik no longer felt able to reconcile his patriotic desire to remain a Polish composer in Poland with his contempt for the musical and political demands of the government. He decided to migrate to Britain in order to highlight the conditions in which Polish composers were being forced to work.
Bernard Jacobson described the events of Panufnik's escape from Poland as being straight out of a John le Carré novel. "Scarlett", whose father lived in Britain, easily obtained permission to travel to London, and while she was there she covertly asked Polish émigré friends to help. They contrived a conducting engagement in Switzerland as cover. Panufnik was anxious not to arouse suspicion by appearing too eager to accept the invitation when it arrived. While Panufnik was fulfilling the engagement, the Polish Legation in Switzerland became aware of his impending escape, and urgently recalled him to the Polish Embassy. Panufnik gave members of the Secret Police who were following him the slip during an alarming night-time taxi-ride through Zürich. He eventually boarded a flight for London, and was granted political asylum on arrival. His defection made international headlines. The Polish government branded him a traitor, immediately suppressing his music and any record of his conducting achievements, publicising numerous calumnies against him. Although a few subsequent Polish performances nevertheless did occur, with his defection Panufnik became a nonperson, and remained so until 1977.
Having left Poland without any money or possessions, income from occasional conducting engagements made it hard for Panufnik to make ends meet. He received financial support from fellow composers including Ralph Vaughan Williams and Arthur Benjamin; Panufnik was as heartened by the gesture of professional solidarity as much as by the money. His old friend the pianist Witold Małcużyński also helped by finding for Panufnik a wealthy patron. "Scarlett" Panufnik published a book about Panufnik's life in Poland and his escape, but its surmises and inaccuracies distressed Panufnik; Panufnik and Scarlett drifted apart, as she craved excitement and society while he wanted only peace and quiet for composing.
In 1960, Panufnik visited the United States to visit Leopold Stokowski. Stokowski had given the American premiere of the Symphony of Peace in 1953, and in 1957 he conducted the world premiere of Panufnik's revised version of the symphony, entitled "Sinfonia Elegiaca", which is dedicated to all the victims of World War II. Stokowski gave American premieres also of Panufnik's "Katyń Epitaph", his "Universal Prayer" and "Sinfonia Sacra".
Panufnik continued to find it frustratingly difficult to get permission to travel to the States. In the wake of McCarthyism, the staff at the American Embassy in London were unhelpful, and treated him with suspicion: Panufnik was surprised to have to supply fingerprints, and he was pointedly asked more than once whether he had ever been a member of the Polish United Workers Party. The irony of this difficulty, after his recent public defection to the west, was not lost on Panufnik.
Shortly after settling in Britain Panufnik was given an exclusive publishing contract with the prestigious firm of Boosey and Hawkes. They could get no answer from the Polish State publishers as to their long-term intentions for Panufnik's existing works, all of which had appeared under their imprint. Panufnik was therefore advised to introduce small revisions into all his existing works in order to avoid copyright problems when Boosey and Hawkes took these works into their catalogue. Just after he completed this task, he heard that the Polish State Publishers had finally confirmed that they had no further interest in their catalogue of Panufnik's music. Panufnik bemoaned the time wasted, and indeed the surviving original scores (copies of which had already been sent to some libraries in the West, including Harvard University) show that Panufnik's revisions excised some of the more radical passages in these works. Nevertheless, all the music he wrote before 1955 continues to be performed in the revised editions. For two years from 1957 to 1959 Panufnik's financial situation eased slightly when he was appointed Principal Conductor of the City of Birmingham Symphony Orchestra. The orchestra was keen to keep him, but preparing for fifty concerts a year prevented Panufnik from devoting enough time to composing.
In 1959 Panufnik became romantically involved with Winsome Ward, who was diagnosed with cancer the following year. During this time, Panufnik, who had been composing his "Autumn Music" with poetic intentions, changed it into a work with tragic connotations. He still had to complete his Piano Concerto for Birmingham and to fulfil his commission for his Sinfonia Sacra. In 1960 he met author and photographer Camilla Jessel, then aged twenty-two, who had worked as a personal assistant in the United States, and whose brother, Toby Jessel, was in politics. The British MP Neil Marten (who had been the person at the British Foreign Office responsible for looking after Panufnik's defection) suggested that Jessel could help him with his correspondence. Panufnik accepted, and she rapidly discovered that he had not replied to letters offering conducting engagements and enquiring about commissions. Accepting these engagements and commissions gave Panufnik the resources to allow him to devote more time to composition. In 1963, Panufnik entered his newly completed Sinfonia Sacra for a prestigious international competition in Monaco for the best orchestral work: it won first prize.
He became a British citizen in 1961. After Winsome Ward died in 1962, Panufnik and Jessel were drawn increasingly together, and they were married in November 1963. They moved into a house near the Thames in Twickenham, Greater London, where at last Panufnik had the peace to concentrate entirely on composition. His works were in demand by such major figures as Leopold Stokowski, Seiji Ozawa, André Previn and Sir Georg Solti, as well as Yehudi Menuhin who commissioned a violin concerto, and Mstislav Rostropovich who commissioned a cello concerto. He also received 3 commissions from the London Symphony Orchestra and commissions for Centenary symphonies from both Boston and Chicago. The Royal Philharmonic Society commissioned his Ninth Symphony, "Sinfonia di Speranza". Panufnik refused to return to Poland until democracy was restored in 1990. He was knighted by Queen Elizabeth II in 1991. He died in Twickenham, aged 77, and was buried in Richmond Cemetery. His daughter Roxanna Panufnik by his second wife Camilla is also a composer.
Richmond Cemetery