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Cathedral Organ Specifications:
stjamescathedral.ca/wp-content/uploads/2016/11/St_James_C...
History S.R. Warren organs of 1863/89, rebuilt by Casavant Frères (Op.1530: 1936, 1966/7), additions in 1976 by
L.I. Phelps and Associates, 1999/2000 by Andrew Mead. Moveable console by J.W. Walker & Sons, 1979
Console Platform and hydraulic locking system by Henk Berentschot, 2001
Current Specification 87 ranks, 67 speaking stops over four manuals and six divisions, 5101 pipes
Wonderfully wet winter and spring produced prodigious amounts of color in the Tomichi valley.
Worthy of note in this picture is the absence of the color brown.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode four of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part four is our time on Crete, Greece with our teen nieces Madeline and Emily, including a trip to the ruins in Ancient Aptera, and a visit to the freshwater flowing through Glyka Nera Beach.
Also, you can follow my personal ZiffedTraveler Instagram or the TakeFlight with Scott Instagram pages for more content and news. We are on Facebook, too.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode four of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part four is our time on Crete, Greece with our teen nieces Madeline and Emily, including a trip to the ruins in Ancient Aptera, and a visit to the freshwater flowing through Glyka Nera Beach.
www.buymeacoffee.com/scottalanmiller
^^^^ You Can Support My Work ^^^^
“The Associate”
Cinematic Photography
A collaboration between Blake and I portraying two men, one Italian and another caucasian political official with different ties to the city having a secret meeting overlooking an industrial part of town, also often referred to as “Steeltown”.
model: Blake @focalblake
All rights reserved
© 2024 Roger Ouellette
North Shore, Pittsburgh, completed 1998
You can see reflections of the golden Andy Warhol Bridge and the downtown-area buildings (on the opposite side of the Allegheny River) reflected in the glass. I was standing on the Rachel Carson Bridge. The ivy on the right covers a bridge abutment. This was early in the morning when the sun made the yellow bridges look so bright I had to reduce the saturation to make them look more natural on other photos.
The old Alcoa Building (1953) in Pittsburgh was a rectangular 31-story skyscraper with windows that were reminiscent of rounded-cornered, rectangular portholes. It was designed as a showpiece for the use of aluminum as a building material. Aluminum was used for the skin of the building and for utilities. Because of its light weight, substantial savings were made on the steel frame. That building is now known as the Regional Enterprise Tower.
In 1998, Alcoa moved its corporate center from Downtown Pittsburgh to the North Shore of the Allegheny River. This aluminum and glass facade reflects the city across the Allegheny River in its wave-like structure. Instead of hundreds of private offices, the interior has an open structure to encourage discussions and collaboration.
Looking at this building from the other side of the river, it isn't as impressive-looking as it is from this view. Note that on the far left is PNC Park (baseball stadium.)
Architects:
Exterior - Rusli Associates
Interior - The Design Alliance, which was also contracted to renovate the interior of the 1953 building.
_____
Posted to the 1/25/15 Challenge at Desafio Caulquier Cosa (www.flickr.com/groups/desafiocualquiercosa/pool/) for the theme: Stripes
Also posted for the Feb 2015 Contest at Planet Earth Architecture (www.flickr.com/groups/966432@N21/pool/) Theme: Windows.
Amway Grand Plaza Hotel is located in Grand Rapids, Michigan and is named after Amway Corporation, which is based in nearby Ada Township.
Originally known as The Pantlind Hotel (founded in 1913), the Amway Grand Plaza Hotel reopened in 1981 after extensive renovations done by Marvin DeWinter & Associates, including the addition of a 29-story glass tower. The Pantlind's designers Warren & Wetmore were inspired by the work of the Scottish neoclassical architect Robert Adam. During its prime years, the hotel was consistently rated as one of the top ten hotels in the US.
The hotel is owned by AHC+Hospitality, a subsidiary of Amway's holding company Alticor. Amway Grand Plaza Hotel is a member of the Curio Collection by Hilton, an affiliation which began in 2016
I am reading the new book "Digital Capture After Dark" by Amanda Quintenz-Fiedler and Philipp Scholz Rittermann. The book intrigues me again on the night photography.
But I am born to be a lazy photographer. I do not want to go to the remote or exotic places for night photography. I do not shoot RAW and I do not use a lot of post-production techniques as suggested by the writers. I don't even use DSLR for night shooting as everyone said compact camera has too much noise in the small sensor.
Anyways I just walk in the back alley in my neighbourhood and shoot in JPEG. I am just too lazy to fiddle around the white balance and therefore shoot in the B&W mode in-camera.
My photo club friends always tease me as crazy guy that associates photography with philosophy. Yes there is the philosophy that inspires you to see the beauty in mundane subjects and I believe there is a special charisma of night too. When the night falls, you can see some sort of special beauty even in a back alley.
Do you think so?
Happy weekend!
Fuji X10
ISO 400 F5.6 1.8 second
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode four of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part four is our time on Crete, Greece with our teen nieces Madeline and Emily, including a trip to the ruins in Ancient Aptera, and a visit to the freshwater flowing through Glyka Nera Beach.
Also, you can follow my personal ZiffedTraveler Instagram or the TakeFlight with Scott Instagram pages for more content and news. We are on Facebook, too.
Avebury is a Neolithic henge monument containing three stone circles, around the village of Avebury in Wiltshire, in southwest England. One of the best known prehistoric sites in Britain, it contains the largest megalithic stone circle in the world. It is both a tourist attraction and a place of religious importance to contemporary pagans.
Constructed over several hundred years in the third millennium BC, during the Neolithic, or New Stone Age, the monument comprises a large henge (a bank and a ditch) with a large outer stone circle and two separate smaller stone circles situated inside the centre of the monument. Its original purpose is unknown, although archaeologists believe that it was most likely used for some form of ritual or ceremony. The Avebury monument is a part of a larger prehistoric landscape containing several older monuments nearby, including West Kennet Long Barrow, Windmill Hill and Silbury Hill.
By the Iron Age, the site had been effectively abandoned, with some evidence of human activity on the site during the Roman period. During the Early Middle Ages, a village first began to be built around the monument, eventually extending into it. In the Late Medieval and Early Modern periods, local people destroyed many of the standing stones around the henge, both for religious and practical reasons. The antiquarians John Aubrey and William Stukeley took an interest in Avebury during the 17th century, and recorded much of the site before its destruction. Archaeological investigation followed in the 20th century, led primarily by Alexander Keiller, who oversaw a project which reconstructed much of the monument.
Avebury is owned and managed by the National Trust. It has been designated a Scheduled Ancient Monument, as well as a World Heritage Site, in the latter capacity being seen as a part of the wider prehistoric landscape of Wiltshire known as Stonehenge, Avebury and Associated Sites.
- Wikipedia
Associated with a late Iron Age round house and possible courtyard settlement, only about 2 metres of the main passage and 1.5 metres of the creep passage remain of the above ground fogou at Lower Boscaswell. The entrance to the chamber is oriented to the North-West, the midsummer solstice sunset, the same as nearby Pendeen fogou.
Although similar to souterrains found in Northern Europe and Scotland, fogous are only found in Cornwall and are associated with Celtic Iron Age courtyard house settlements. These stone structures usually consist of a curved underground passageway sealed both ends with a narrow side passage called a creep which slopes upwards to ground level and was the original entrance. Until recently the mainstream accepted theory of their use was for a refuge or food storage, but it is now thought they were for ceremony or ritual.
escorter AOYAMA (エスコルテ青山).
Architect : Kengo Kuma & Associates (設計：隈研吾建築都市設計事務所).
Contractor : Daiichi-Hutecc Corporation (施工：第一ヒューテック、三興電設).
Completed : 2004 (竣工：2004).
Structured : Steel Frames (構造：S造).
Costs : $ million (総工費：約億円).
Use : Store (用途：店舗、広場).
Height : ft (高さ：m).
Floor : (階数：).
Floor area : sq.ft. (延床面積：㎡).
Building area : 11,999 sq.ft. (建築面積：1114.77㎡).
Site area : 38,900 sq.ft. (敷地面積：3614.86㎡).
Location : 2-7-15 Kita-Aoyama, Minato Ward, Tokyo, Japan (所在地：日本国東京都港区北青山2-7-15).
Referenced :
The Jack Welch College of Business and the Office of Alumni Engagement presented “Careers in Analytics” on April 10, 2019, at the Martire Forum. The alumni panel featured Justin Baigert ’05, vice president, Data & Analytics at GE, Joseph Lucibello ’11, senior manager, data scientist at WWE and Suzanne May ’13, research manager at Purchased. The moderator was Khawaja Mamun, associate professor of economics. Photo by Mark F. Conrad
Amedeo Modigliani
Italian, 1884 - 1920
Woman with a Necklace, 1917
Oil on canvas
(closeup)
Amedeo Clemente Modigliani (July 12, 1884 – January 24, 1920) was a Jewish-Italian painter and sculptor who pursued his career for the most part in France. Modigliani was born in Livorno, Italy and began his artistic studies in Italy before moving to Paris in 1906. Influenced by the artists in his circle of friends and associates, by a range of genres and movements, and by primitive art, Modigliani's oeuvre was nonetheless unique and idiosyncratic. He died in Paris of tubercular meningitis—exacerbated by a lifestyle of excess—at the age of 35.
Early life
Modigliani was born into a Jewish family in Livorno, Italy.
Livorno was still a relatively new city, by Italian standards, in the late nineteenth century. The city on the Tyrrhenian coast dates from around 1600, when it was transformed from a swampy village into a seaport. The Livorno that Modigliani knew was a bustling centre of commerce focused upon seafaring and shipwrighting, but its cultural history lay in being a refuge for those persecuted for their religion. His own maternal great-great-grandfather was one Solomon Garsin, a Jew who had immigrated to Livorno in the eighteenth century as a religious refugee.
Modigliani was the fourth child of Flaminio Modigliani and his wife, Eugenia Garsin. His father was in the money-changing business, but when the business went bankrupt, the family lived in dire poverty. In fact, Amedeo's birth saved the family from certain ruin, as, according to an ancient law, creditors could not seize the bed of a pregnant woman or a mother with a newborn child. When bailiffs entered the family home, just as Eugenia went into labour, the family protected their most valuable assets by piling them on top of the expectant mother.
Modigliani had a particularly close relationship with his mother, who taught her son at home until he was ten. Beset with health problems after a bout of typhoid at the age of fourteen, two years later he contracted the tuberculosis which would affect him for the rest of his life. To help him recover from his many childhood illnesses, she took him to Naples in Southern Italy, where the warmer weather was conducive to his convalescence.
His mother was, in many ways, instrumental in his ability to pursue art as a vocation. When he was eleven years of age, she had noted in her diary that:
“The child's character is still so unformed that I cannot say what I think of it. He behaves like a spoiled child, but he does not lack intelligence. We shall have to wait and see what is inside this chrysalis. Perhaps an artist?"
Art student years
Modigliani is known to have drawn and painted from a very early age, and thought himself "already a painter", his mother wrote, even before beginning formal studies. Despite her misgivings that launching him on a course of studying art would impinge upon his other studies, his mother indulged the young Modigliani's passion for the subject.
At the age of fourteen, while sick with the typhoid fever, he raved in his delirium that he wanted, above all else, to see the paintings in the Palazzo Pitti and the Uffizi in Florence. As Livorno's local museum only housed a sparse few paintings by the Italian Renaissance masters, the tales he had heard about the great works held in Florence intrigued him, and it was a source of considerable despair to him, in his sickened state, that he might never get the chance to view them in person. His mother promised that she would take him to Florence herself, the moment he was recovered. Not only did she fulfil this promise, but she also undertook to enroll him with the best painting master in Livorno, Guglielmo Micheli.
Micheli and the Macchiaioli
Modigliani worked in the studio of Micheli from 1898 to 1900. Here his earliest formal artistic instruction took place in an atmosphere deeply steeped in a study of the styles and themes of nineteenth-century Italian art. In his earliest Parisian work, traces of this influence, and that of his studies of Renaissance art, can still be seen: artists such as Giovanni Boldini figure just as much in this nascent work as do those of Toulouse-Lautrec.
Modigliani showed great promise while with Micheli, and only ceased his studies when he was forced to, by the onset of tuberculosis.
In 1901, whilst in Rome, Modigliani admired the work of Domenico Morelli, a painter of melodramatic Biblical studies and scenes from great literature. It is ironic that he should be so struck by Morelli, as this painter had served as an inspiration for a group of iconoclasts who went by the title, the Macchiaioli (from macchia—"dash of colour", or, more derogatively, "stain"), and Modigliani had already been exposed to the influences of the Macchiaioli. This minor, localised art movement was possessed of a need to react against the bourgeois stylings of the academic genre painters. While sympathetically connected to (and actually pre-dating) the French Impressionists, the Macchiaioli did not make the same impact upon international art culture as did the followers of Monet, and are today largely forgotten outside of Italy.
Modigliani's connection with the movement was through Micheli, his first art teacher. Micheli was not only a Macchiaioli himself, but had been a pupil of the famous Giovanni Fattori, a founder of the movement. Micheli's work, however, was so fashionable and the genre so commonplace that the young Modigliani reacted against it, preferring to ignore the obsession with landscape that, as with French Impressionism, characterised the movement. Micheli also tried to encourage his pupils to paint en plein air, but Modigliani never really got a taste for this style of working, sketching in cafes, but preferring to paint indoors, and especially in his own studio. Even when compelled to paint landscapes (three are known to exist), Modigliani chose a proto-Cubist palette more akin to Cézanne than to the Macchiaioli.
While with Micheli, Modigliani not only studied landscape, but also portraiture, still-life, and the nude. His fellow students recall that the latter was where he displayed his greatest talent, and apparently this was not an entirely academic pursuit for the teenager: when not painting nudes, he was occupied with seducing the household maid.
Despite his rejection of the Macchiaioli approach, Modigliani nonetheless found favour with his teacher, who referred to him as "Superman", a pet name reflecting the fact that Modigliani was not only quite adept at his art, but also that he regularly quoted from Nietzsche's Thus Spake Zarathustra. Fattori himself would often visit the studio, and approved of the young artist's innovations.
In 1902, Modigliani continued what was to be a life-long infatuation with life drawing, enrolling in the Accademia di Belle Arti (Scuola Libera di Nudo, or "Free School of Nude Studies") in Florence. A year later while still suffering from tuberculosis, he moved to Venice, where he registered to study at the Istituto di Belle Arti.
It is in Venice that he first smoked hashish and, rather than studying, began to spend time frequenting disreputable parts of the city. The impact of these lifestyle choices upon his developing artistic style is open to conjecture, although these choices do seem to be more than simple teenage rebellion, or the cliched hedonism and bohemianism that was almost expected of artists of the time; his pursuit of the seedier side of life appears to have roots in his appreciation of radical philosophies, such as those of Nietzsche.
Early literary influences
Having been exposed to erudite philosophical literature as a young boy under the tutelage of Isaco Garsin, his maternal grandfather, he continued to read and be influenced through his art studies by the writings of Nietzsche, Baudelaire, Carduzzi, Comte de Lautréamont, and others, and developed the belief that the only route to true creativity was through defiance and disorder.
Letters that he wrote from his 'sabbatical' in Capri in 1901 clearly indicate that he is being more and more influenced by the thinking of Nietzsche. In these letters, he advised friend Oscar Ghiglia,
“(hold sacred all) which can exalt and excite your intelligence... (and) ... seek to provoke ... and to perpetuate ... these fertile stimuli, because they can push the intelligence to its maximum creative power.”
The work of Lautréamont was equally influential at this time. This doomed poet's Les Chants de Maldoror became the seminal work for the Parisian Surrealists of Modigliani's generation, and the book became Modigliani's favourite to the extent that he learnt it by heart. The poetry of Lautréamont is characterised by the juxtaposition of fantastical elements, and by sadistic imagery; the fact that Modigliani was so taken by this text in his early teens gives a good indication of his developing tastes. Baudelaire and D'Annunzio similarly appealed to the young artist, with their interest in corrupted beauty, and the expression of that insight through Symbolist imagery.
Modigliani wrote to Ghiglia extensively from Capri, where his mother had taken him to assist in his recovery from the tuberculosis. These letters are a sounding board for the developing ideas brewing in Modigliani's mind. Ghiglia was seven years Modigliani's senior, and it is likely that it was he who showed the young man the limits of his horizons in Livorno. Like all precocious teenagers, Modigliani preferred the company of older companions, and Ghiglia's role in his adolescence was to be a sympathetic ear as he worked himself out, principally in the convoluted letters that he regularly sent, and which survive today.
“Dear friend
I write to pour myself out to you and to affirm myself to myself. I am the prey of great powers that surge forth and then disintegrate... A bourgeois told me today - insulted me - that I or at least my brain was lazy. It did me good. I should like such a warning every morning upon awakening: but they cannot understand us nor can they understand life...”
Paris
Arrival
In 1906 Modigliani moved to Paris, then the focal point of the avant-garde. In fact, his arrival at the epicentre of artistic experimentation coincided with the arrival of two other foreigners who were also to leave their marks upon the art world: Gino Severini and Juan Gris.
He settled in Le Bateau-Lavoir, a commune for penniless artists in Montmartre, renting himself a studio in Rue Caulaincourt. Even though this artists' quarter of Montmartre was characterised by generalised poverty, Modigliani himself presented - initially, at least - as one would expect the son of a family trying to maintain the appearances of its lost financial standing to present: his wardrobe was dapper without ostentation, and the studio he rented was appointed in a style appropriate to someone with a finely attuned taste in plush drapery and Renaissance reproductions. He soon made efforts to assume the guise of the bohemian artist, but, even in his brown corduroys, scarlet scarf and large black hat, he continued to appear as if he were slumming it, having fallen upon harder times.
When he first arrived in Paris, he wrote home regularly to his mother, he sketched his nudes at the Colarossi school, and he drank wine in moderation. He was at that time considered by those who knew him as a bit reserved, verging on the asocial. He is noted to have commented, upon meeting Picasso who, at the time, was wearing his trademark workmen's clothes, that even though the man was a genius, that did not excuse his uncouth appearance.
Transformation
Within a year of arriving in Paris, however, his demeanour and reputation had changed dramatically. He transformed himself from a dapper academician artist into a sort of prince of vagabonds.
The poet and journalist Louis Latourette, upon visiting the artist's previously well-appointed studio after his transformation, discovered the place in upheaval, the Renaissance reproductions discarded from the walls, the plush drapes in disarray. Modigliani was already an alcoholic and a drug addict by this time, and his studio reflected this. Modigliani's behaviour at this time sheds some light upon his developing style as an artist, in that the studio had become almost a sacrificial effigy for all that he resented about the academic art that had marked his life and his training up to that point.
Not only did he remove all the trappings of his bourgeois heritage from his studio, but he also set about destroying practically all of his own early work. He explained this extraordinary course of actions to his astonished neighbours thus:
“Childish baubles, done when I was a dirty bourgeois."
The motivation for this violent rejection of his earlier self is the subject of considerable speculation. The self-destructive tendencies may have stemmed from his tuberculosis and the knowledge (or presumption) that the disease had essentially marked him for an early death; within the artists' quarter, many faced the same sentence, and the typical response was to set about enjoying life while it lasted, principally by indulging in self-destructive actions. For Modigliani such behavior may have been a response to a lack of recognition; it is known that he sought the company of other alcoholic artists such as Utrillo and Soutine, seeking acceptance and validation for his work from his colleagues.
Modigliani's behavior stood out even in these Bohemian surroundings: he carried on frequent affairs, drank heavily, and used absinthe and hashish. While drunk he would sometimes strip himself naked at social gatherings. He became the epitome of the tragic artist, creating a posthumous legend almost as well-known as that of Vincent van Gogh.
During the 1920s, in the wake of Modigliani's career and spurred on by comments by Andre Salmon crediting hashish and absinthe with the genesis of Modigliani's style, many hopefuls tried to emulate his 'success' by embarking on a path of substance abuse and bohemian excess. Salmon claimed—erroneously—that whereas Modigliani was a totally pedestrian artist when sober,
“...from the day that he abandoned himself to certain forms of debauchery, an unexpected light came upon him, transforming his art. From that day on, he became one who must be counted among the masters of living art.”
While this propaganda served as a rallying cry to those with a romantic longing to be a tragic, doomed artist, these strategies did not produce unique artistic insights or techniques in those who did not already have them.
In fact, art historians suggest that it is entirely possible for Modigliani to have achieved even greater artistic heights had he not been immured in, and destroyed by, his own self-indulgences. We can only speculate what he might have accomplished had he emerged intact from his self-destructive explorations.
Output
During his early years in Paris, Modigliani worked at a furious pace. He was constantly sketching, making as many as a hundred drawings a day. However, many of his works were lost - destroyed by him as inferior, left behind in his frequent changes of address, or given to girlfriends who did not keep them.
He was first influenced by Henri de Toulouse-Lautrec, but around 1907 he became fascinated with the work of Paul Cézanne. Eventually he developed his own unique style, one that cannot be adequately categorized with other artists.
He met the first serious love of his life, Russian poet Anna Akhmatova, in 1910, when he was 26. They had studios in the same building, and although 21-year-old Anna was recently married, they began an affair. Tall (Modigliani was only 5 foot 5 inches) with dark hair (like Modigliani's), pale skin and grey-green eyes, she embodied Modigliani's aesthetic ideal and the pair became engrossed in each other. After a year, however, Anna returned to her husband.
Experiments with sculpture
In 1909, Modigliani returned home to Livorno, sickly and tired from his wild lifestyle. Soon he was back in Paris, this time renting a studio in Montparnasse. He originally saw himself as a sculptor rather than a painter, and was encouraged to continue after Paul Guillaume, an ambitious young art dealer, took an interest in his work and introduced him to sculptor Constantin Brancusi.
Although a series of Modigliani's sculptures were exhibited in the Salon d'Automne of 1912, he abruptly abandoned sculpting and focused solely on his painting.
Question of influences
In Modigliani's art, there is evidence of the influence of primitive art from Africa and Cambodia which he may have seen in the Musée de l'Homme, but his stylisations are just as likely to have been the result of his being surrounded by Mediaeval sculpture during his studies in Northern Italy (there is no recorded information from Modigliani himself, as there is with Picasso and others, to confirm the contention that he was influenced by either ethnic or any other kind of sculpture). A possible interest in African tribal masks seems to be evident in his portraits. In both his painting and sculpture, the sitters' faces resemble ancient Egyptian painting in their flat and masklike appearance, with distinctive almond eyes, pursed mouths, twisted noses, and elongated necks. However these same chacteristics are shared by Medieval European sculpture and painting.
Modigliani painted a series of portraits of contemporary artists and friends in Montparnasse: Chaim Soutine, Moise Kisling, Pablo Picasso, Diego Rivera, Marie "Marevna" Vorobyev-Stebeslka, Juan Gris, Max Jacob, Blaise Cendrars, and Jean Cocteau, all sat for stylized renditions.
At the outset of World War I, Modigliani tried to enlist in the army but was refused because of his poor health.
The war years
Known as Modì, which roughly translates as 'morbid' or 'moribund', by many Parisians, but as Dedo to his family and friends, Modigliani was a handsome man, and attracted much female attention.
Women came and went until Beatrice Hastings entered his life. She stayed with him for almost two years, was the subject for several of his portraits, including Madame Pompadour, and the object of much of his drunken wrath.
When the British painter Nina Hamnett arrived in Montparnasse in 1914, on her first evening there the smiling man at the next table in the café introduced himself as Modigliani; painter and Jew. They became great friends.
In 1916, Modigliani befriended the Polish poet and art dealer Leopold Zborovski and his wife Anna.
Jeanne Hébuterne
The following summer, the Russian sculptor Chana Orloff introduced him to a beautiful 19-year-old art student named Jeanne Hébuterne who had posed for Foujita. From a conservative bourgeois background, Hébuterne was renounced by her devout Roman Catholic family for her liaison with the painter, whom they saw as little more than a debauched derelict, and, worse yet, a Jew. Despite her family's objections, soon they were living together, and although Hébuterne was the love of his life, their public scenes became more renowned than Modigliani's individual drunken exhibitions.
On December 3, 1917, Modigliani's first one-man exhibition opened at the Berthe Weill Gallery. The chief of the Paris police was scandalized by Modigliani's nudes and forced him to close the exhibition within a few hours after its opening.
After he and Hébuterne moved to Nice, she became pregnant and on November 29, 1918 gave birth to a daughter whom they named Jeanne (1918-1984).
Nice
During a trip to Nice, conceived and organized by Leopold Zborovski, Modigliani, Tsuguharu Foujita and other artists tried to sell their works to rich tourists. Modigliani managed to sell a few pictures but only for a few francs each. Despite this, during this time he produced most of the paintings that later became his most popular and valued works.
During his lifetime he sold a number of his works, but never for any great amount of money. What funds he did receive soon vanished for his habits.
In May of 1919 he returned to Paris, where, with Hébuterne and their daughter, he rented an apartment in the rue de la Grande Chaumière. While there, both Jeanne Hébuterne and Amedeo Modigliani painted portraits of each other, and of themselves.
Last days
Although he continued to paint, Modigliani's health was deteriorating rapidly, and his alcohol-induced blackouts became more frequent.
In 1920, after not hearing from him for several days, his downstairs neighbor checked on the family and found Modigliani in bed delirious and holding onto Hébuterne who was nearly nine months pregnant. They summoned a doctor, but little could be done because Modigliani was dying of the then-incurable disease tubercular meningitis.
Modigliani died on January 24, 1920. There was an enormous funeral, attended by many from the artistic communities in Montmartre and Montparnasse.
Hébuterne was taken to her parents' home, where, inconsolable, she threw herself out of a fifth-floor window two days after Modigliani's death, killing herself and her unborn child. Modigliani was interred in Père Lachaise Cemetery. Hébuterne was buried at the Cimetière de Bagneux near Paris, and it was not until 1930 that her embittered family allowed her body to be moved to rest beside Modigliani.
Modigliani died penniless and destitute—managing only one solo exhibition in his life and giving his work away in exchange for meals in restaurants. Had he lived through the 1920s when American buyers flooded Paris, his fortunes might well have changed. Since his death his reputation has soared. Nine novels, a play, a documentary and three feature films have been devoted to his life.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode three of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part one is our time on Crete, Greece with our teen nieces Madeline and Emily.
Also, you can follow my personal ZiffedTraveler Instagram or the TakeFlight with Scott Instagram pages for more content and news. We are on Facebook, too.
Waiting For Alexander Series - Nereus by Daniel Arrhakis (2024 / 2025)
A New Series " Waiting For Alexander - Sculptures Series" - A Creative classic sculptures with a intriguing surrealistic sea elements.
A series of classical sculptures based on the figure of Alexander the Great integrated into an equally classic-baroque environment associated with nautiloid sculptural patterns in both three-dimensional forms and the textures that surround them.
The use of shells, red, blue and tones of copper or gold are one of the differentiating elements in this series created with the help of Artificial Intelligence and digital collage techniques, digital painting and manual digital reconstruction.
Acorns and their bearers, oak trees, bring good fortune according to Norse folklore. The Vikings associated oak trees with Thor, the god who created thunder and lightning with his great anvil and hammer. Vikings placed a lone acorn on their windowsills to protect their houses from lightning.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode three of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part one is our time on Crete, Greece with our teen nieces Madeline and Emily.
Also, you can follow my personal ZiffedTraveler Instagram or the TakeFlight with Scott Instagram pages for more content and news. We are on Facebook, too.
Many of you might associate Cleanaway with Australia or the UK but they also had quite a strong presence in Germany. I found this one on the Wayback machine, Cleanaway Germany was sadly sold to the Sulo Group back in 2005 who later sold to Veolia in 2007. Cleanaway of course still exists but only in Australia after they sold off everything except the Australian operations to Veolia. Apart from Australia, Cleanaway was mainly operating in the UK and Germany before 2005 but also in a few other countries. Another thing that is interesting to note is that Cleanaway was the company that bought WMI Germany in 2000, while other parts of WMX’s overseas subsidiaries where sold to Sita like WMI Sweden or WMI Australia (PWM), WMI Germany was bought by Cleanaway, that’s how they strengthened their operations in Germany.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode three of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part one is our time on Crete, Greece with our teen nieces Madeline and Emily.
Also, you can follow my personal ZiffedTraveler Instagram or the TakeFlight with Scott Instagram pages for more content and news. We are on Facebook, too.
The active nucleus and some glowing outflows associated with it in the galaxy Markarian 78. I worked together with Dr. Mitchell Revalski on this one. Together I feel like we were able to pick the right datasets to really eke out as much detail as possible for the ionized (glowing) outflows, which are shown in blue. There were some old FOC data in the archive that I myself was too skeptical to try using, but after some encouragement from Mitch it turned out it was actually the best. Other noticeable features include dark dust, shown here in dark brown and orange colors.
Anyway, this may seem like a meager offering compared to other imagery from Hubble, but it's safe to say it's currently the best image (as of this writing) of Mrk 78's nucleus.
An arXiv link to the paper on this object is here!
Data from the following proposals were used to create this image. Two proposals from the late 90's and one from 2019. Glad the archive is so well maintained that it is possible to easily combine chronologically disparate datasets.
archive.stsci.edu/proposal_search.php?mission=hst&id=...
archive.stsci.edu/proposal_search.php?mission=hst&id=...
archive.stsci.edu/proposal_search.php?mission=hst&id=...
This ended up being a two color orange/cyan image, and the cyan channel is a bit unusual, comprised of data combined from the STIS/CCD 50CCD filter and FOC/96 F502M filter. Neither dataset provided full coverage, so each image makes up for what is missing in the other, and what features showed up in both were similar enough to create a smooth and coherent image despite being from totally different instruments and not quite similar filters.
Orange: ACS/WFC F814W
Cyan: STIS/CCD 50CCD + FOC/96 F502M
North is up.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode four of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part four is our time on Crete, Greece with our teen nieces Madeline and Emily, including a trip to the ruins in Ancient Aptera, and a visit to the freshwater flowing through Glyka Nera Beach.
www.buymeacoffee.com/scottalanmiller
^^^^ You Can Support My Work ^^^^
Not the greatest photograph ever taken but I like the colour combination.
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History
The cathedral was founded by Henry the Lion, Duke of Bavaria and Saxony, who conquered Mecklenburg around 1160. In medieval times he was a famous ruler associated with emperor Barbarossa. Schwerin cathedral has originally been a pilgrims church, dedicated to St.Mary and St.Joseph. In 1222 a local ruler brought a drop of Christ's Blood with him from Jerusalem, which people worshipped as a relic. The old romanic church became to small for the pilgrims soon and a new cathedral was built in that place. In the year 1270, the Cathedral was extended to double its size. It turned the church into one of the most important places of pilgrimage in northern Germany. Since there was neither a stone quarry or any other sufficient natural source of building stones near Schwerin, the cathedral was nearly entirely built of brick stones. It was to become one of the first and still one of the most impressive examples of the northern european architectural style called "Brick Gothic" (Backsteingotik). The nave of the church is 105 metres long and the arches reach up 26,5 metres.
The tower - as in the case of Cologne Cathedral - has been completed at the end of the 19th century. It is the highest church tower in Mecklenburg-Vorpommern and measures 117,5 metres. Visitors can climb up the tower during the opening times of the cathedral. The view of the city, the lakes, the castle and the surrounding countryside is magnificent and well worth climbing 220 steps.
www.schwerin.com/en/attractions-and-sights/the-historic-c...
Associated to fertility and ploughing practices, with references made to her as a virgin. A story of asking for land to a Swedish king (Gylfi) who said she could get whatever she could plough in a day. She was helped by her sons (the bulls) and ploughed what today is the island of Zealand (where Copenhagen is)… amazing... it is good to be a... queen, obviously. The impressive sculpture is in Copenhagen and a fountain runs from its top during the Summer.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode three of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part one is our time on Crete, Greece with our teen nieces Madeline and Emily.
Also, you can follow my personal ZiffedTraveler Instagram or the TakeFlight with Scott Instagram pages for more content and news. We are on Facebook, too.
A tiny little garden visitor. The wood frog may be reddish, tan or dark brown but always has a dark mask under and behind the eyes. Some individuals have a light line down the middle of the back. This species has a dark blotch on the chest near each front leg. The belly is white and may have some dark mottling. Adult wood frogs can grow to up to eight centimetres in length. The call of this species is a series of sharp quacks, almost like those of a duck. No other frog in Ontario has a dark mask like the wood frog’s. Although found on the tundra in the north and occasionally in grasslands in the west, the wood frog is most commonly associated with moist woodlands and vernal woodland pools. When inactive, this frog hides in logs, humus and leaf litter or under logs and rocks. It hibernates under logs or leaf litter on the forest floor.Wood frogs have an astonishing ability to tolerate freezing. They can survive the freezing of 60 to 70 percent of the water in their body and sustained temperatures of -6°C. Consequently, wood frogs are the earliest breeders in most of their range, often beginning to call in early spring when ice is still on the ponds they frequent. This species is known to travel several hundred metres between breeding ponds and non-breeding terrestrial habitat. The female lays up to 2,000 eggs in a mass that is attached to submerged vegetation in small, fishless ponds. Females will change breeding ponds, if necessary, to avoid those that contain predatory fish. Wood frogs are explosive breeders: in a population, the females lay most of the egg masses within a few days. The males are so anxious to breed they will grab on to almost anything, including a human finger, as if trying to mate a female. When a female arrives in the wetland, it is common for many males to try to mate with her simultaneously, forming what naturalists call a “mating ball,” which can contain more than 15 frogs! The egg masses are clustered together so that their combined dark coloration warms them and speeds hatching. The tadpoles transform after 44 to 85 days. Adult wood frogs become sexually mature in two to three years.
These frogs can also change colour rapidly from very dark to very light. This is not so much an adaptive attempt at camouflage as it is a means of controlling body temperature: wood frogs darken when cold in order to absorb more heat. Adults of this species eat various small, mostly terrestrial invertebrates. www.ontarionature.org/
Strangely beautiful and agile, the SPRIGGANS are adept at magic and deadly in combat. Their affinity for nature means they are also often surrounded by other woodland creatures, making them all the more dangerous - elder scrolls
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Found around cairns, cromlechs, and ancient barrows, they guard buried treasure, but are also responsible for bringing storms and the destruction of buildings and crops. Like piskies, they may also abduct children.
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A spriggan is a legendary creature from Cornish folklore. Spriggans are particularly associated with West Penwith in Cornwall.
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ailayers edited vis gimp&pixlr
20200609_7531_7D2-840 Gull on a cold frosty roof
We have today entered Level 1 of our Covid-19 restrictions (not many restrictions at all). We have no active cases of Covid-19 in the country and the last "new" case (now cleared) was 22nd May. We only had 22 deaths, most elderly and most associated with a couple of rest home clusters.
#11796
Still sporting the silver smokebox from a Great Western photo shoot that happened earlier in the year, the Strasburg Rail Road's big decapod #90 pulls up beside the old Pennsy J-Tower at the conclusion of the 7PM trip to Paradise. This image was captured during the Fourth of July Weekend in 2013, which featured some of the longest days of the year, hence the beautiful sunlight at nearly 8PM.
Although most of Great Western #90s regular Strasburg RR livery had been restored by the time this photo was taken, the above-mentioned silver smoke box remained. In February of 2013, Lerro Photography operated a Great Western photo charter, which featured #90, lettered and painted as she was when she was working the rails of the Great Western Railway of Colorado. Many of the markings associated with that event were either vinyl letters or magnetic signs making them relatively easy to remove and easy to restore at a later date, for a future photo shoot. The silver smoke box was actually painted, and that didn't disappear until the following winter, when the locomotive went through its annual inspection.
Avebury is a Neolithic henge monument containing three stone circles, around the village of Avebury in Wiltshire, in southwest England. One of the best known prehistoric sites in Britain, it contains the largest megalithic stone circle in the world. It is both a tourist attraction and a place of religious importance to contemporary pagans.
Constructed over several hundred years in the third millennium BC, during the Neolithic, or New Stone Age, the monument comprises a large henge (a bank and a ditch) with a large outer stone circle and two separate smaller stone circles situated inside the centre of the monument. Its original purpose is unknown, although archaeologists believe that it was most likely used for some form of ritual or ceremony. The Avebury monument is a part of a larger prehistoric landscape containing several older monuments nearby, including West Kennet Long Barrow, Windmill Hill and Silbury Hill.
By the Iron Age, the site had been effectively abandoned, with some evidence of human activity on the site during the Roman period. During the Early Middle Ages, a village first began to be built around the monument, eventually extending into it. In the Late Medieval and Early Modern periods, local people destroyed many of the standing stones around the henge, both for religious and practical reasons. The antiquarians John Aubrey and William Stukeley took an interest in Avebury during the 17th century, and recorded much of the site before its destruction. Archaeological investigation followed in the 20th century, led primarily by Alexander Keiller, who oversaw a project which reconstructed much of the monument.
Avebury is owned and managed by the National Trust. It has been designated a Scheduled Ancient Monument, as well as a World Heritage Site, in the latter capacity being seen as a part of the wider prehistoric landscape of Wiltshire known as Stonehenge, Avebury and Associated Sites.
- Wikipedia
I've always been a big fan of large earthworks art and Olrick Thorson's Standing stones in Acasia California is one of the most impressive I've ever seen. The sheer size of this project is almost hard to believe. ( over 120 feet tall) The remote location near the Oregonian border in Northern Califronia makes it hard to visit, ten mile dirt road and then a hard scramble down to the shore. But once you make the hike, it's so worth it.
The dream of philanthropist William Waits, who grew up on a small dairy farm not far from this spot, the Balance Rocks is the work of famed Norwegian Sculpture Olrick Thorson. This project took almost two years of his life and cost what must be huge sums of money. (because the Waits foundation is completely private entity and wont disclose the cost, no one knows how much. Unbelieveably these are free standing rocks and are not attached at all. Apparently the sheer mass of the rock is far greater than the wind sheer forces of even the strongest winds and once the proper balance is acheived they are very hard to move at all. (I would still think twice about kayacking by on a windy day however!)
Thorson is known for his wry sense of humor and it shows here in his clever use of pre-carving the massive rocks to give them the shape of smaller river rocks one usually associates with these carrins. An entire village of japansese masons lived in the town of Acasia for a whole year preparing the rocks the shape of which were designed with hi tech computers to ensure the proper mass and and size for optimal balancing.
Tragically, Thorson's younger Brother Yanni was crushed to death in a freak accident early on in the carving process. A plaque dedicating the work to his memory sits at the end of the trail not far from where I took this picture. If you're ever in Acasia California, you gotta go check this thing out!
(In a strange coincidence note Olrick's Father Tor was a confidant of my great uncle arthur and they used to hunt mushrooms togeather.)
Das Foto kommt Dir bekannt vor?
Das ist leider gut möglich.
Ein Fehler (oder eine Fehlbedienung) der Veröffentlichungsfunktion in Lightroom hat einige meiner Bilder neu hochgeladen. Die Fotos sind dabei unverändert geblieben. Ich hatte nur die Stichworte, Ort, Name und ähnliche Angaben verändert.
Dummerweise wurden die Zähler für Aufrufe und Favoriten sowie Kommentare ganz oder teilweise zurückgesetzt. Auch die Gruppen-Zugehörigkeiten gingen teilweise verloren.
Die Fotos wurden dann auch noch auf "privat" gesetzt... Ich versuche nun die Bilder mit den zugehörigen Angaben zu rekonstruieren und wieder bereitzustellen.
Sorry, wenn Euch nun altes Material als neu angezeigt wird. Hoffentlich gefällt es Euch trotzdem!
Viele Grüße
Does the photo look familiar to you?
Unfortunately, this is quite possible.
A bug (or misoperation) of the publishing function in Lightroom has re-uploaded some of my images. The photos have remained unchanged. I had only changed the keywords, location, name and similar information.
Unfortunately, the counters for views and favorites as well as comments were reset in whole or in part. The group affiliations were also partially lost.
The photos were then also set to "private"... I am now trying to reconstruct the images with the associated information and make them available again.
Sorry if old material is now displayed as new. Hopefully you like it anyway!
Regards
From pagan fertility rituals to hallucinogenic herbs, the story of witches and brooms is a wild ride. The evil green-skinned witch flying on her magic broomstick may be a Halloween icon—and a well-worn stereotype. But the actual history behind how witches came to be associated with such an everyday household object is anything but dull. It's not clear exactly when the broom itself was first invented, but the act of sweeping goes back to ancient times, when people likely used bunches of thin sticks, reeds and other natural fibers to sweep aside dust or ash from a fire or hearth.
As J. Bryan Lowder writes , this household task even shows up in the New Testament, which dates to the first and second centuries AD.
From the beginning, brooms and besoms were associated primarily with women, and this ubiquitous household object became a powerful symbol of female domesticity..
Despite this, the first witch to confess to riding a broom or besom was a man : Guillaume Edelin.
Edelin was a priest from Saint-Germain-en-Laye, near Paris.
He was arrested in 1453 and tried for witchcraft after publicly criticizing the church's warnings about witches.
His confession came under torture, and he eventually repented, but was still imprisoned for life.
Edelin was the Prior of Saint-Germain-en-Laye, an Augustinian and a Doctor of Divinity. He promulgated the idea that it was impossible for the Devil to make pacts or witches to fly on brooms. After being arrested, he confessed that he had signed a compact with the Devil to satisfy his carnal desires, part of this being that he pretend that witchcraft was impossible. The compact was afterwards found upon his person. He also confessed that he had "done homage to the Enemy, under the form of a sheep, by kissing his posteriors," and to having gone to the Sabbath "mounted on a balai", the first reference to the use of a broomstick in connection with witchcraft
After his capture, he repented and was imprisoned for the rest of his life in the city of Évreux.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode three of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part one is our time on Crete, Greece with our teen nieces Madeline and Emily.
Also, you can follow my personal ZiffedTraveler Instagram or the TakeFlight with Scott Instagram pages for more content and news. We are on Facebook, too.
The associated video with this picture series is Our Trip to Crete on YouTube.
This part of our adventures on our Grand Tour of Europe is in episode four of the Take Flight with Scott video series on YouTube. Please join us there for even more content from this trip. Part four is our time on Crete, Greece with our teen nieces Madeline and Emily, including a trip to the ruins in Ancient Aptera, and a visit to the freshwater flowing through Glyka Nera Beach.
Also, you can follow my personal ZiffedTraveler Instagram or the TakeFlight with Scott Instagram pages for more content and news. We are on Facebook, too.