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The Monet property was bequeathed by Claude Monet's son Michel (1878-1966).
to the Académie des Beaux-Arts. After important restoration works lead by
Mr. Gérald Van der Kemp, the property opened its doors to the public in June 1980.
« It’s maybe because of flowers that I’ve become a painter. »
Claude Monet
When Monet settles in Giverny, the long, pink stucco house has a one hectare garden comprising an apple orchard and a kitchen garden. A wide path lined with cypress and spruce leads from the gate to the main door, the flowerbeds bordered by trimmed box trees. Enthralled by this garden, the painter-gardener immediately sets to work, never ceasing , thereafter, to improve the « Clos Normand » and to make it the garden of his colourful dreams.
He has the box trees uprooted and, after lengthy arguments with his wife Alice, has her beloved spruces cut down and replaced by the metallic arches still visible today. The central path is lined with nasturtiums and fragrant roses , which continue to enchant visitors. The apple trees are replaced by cherry and Japanese apricot trees, the ground becoming a carpet of thousands of flowers : daffodils, tulips, narcissus, iris, oriental poppies, peonies…….
Passionate about gardening , the painter applies his pictorial knowledge to creating perspectives, highlighting the house and intensifying areas of shade. On the left side of the garden, he creates rectangular beds of single colours, ressembling so many colours set out on an artist’s palette…. As inventive in his garden as in his painting , this ‘man so crazy about flowers’, created a solar garden which, thanks to the talent of the current gardeners, displays its magic every year.
___________________
Wishing you a lovely weekend, my friends.
Je vous souhaite un bon week-end, mes ami(e)s.
Ich wünsche Euch ein schönes Wochenende.
because the dark-side is meant to be cute!!
please check this brand, it's just so disturbingly cute!
Hangry & Angry
To machinery they were invisible,
Impossible to define, And
Established before the start;
Performing a bitter Blackstone blessing
Stones were anointed and dressed in haste of the coming fire.
Fire was impetuous at the beginning
Flaring up, devouring and quickly moving on,
giving way to Water and Darkness and Ash.
The striking of the anvil finally surrendered the forest,
Every living being was invited to swarm in evening clouds
to place their vessel into the embers
Cups docked the cooling ring stones
Run through the velvet night a chorus chanting
followed by constellations, Mars, Venus and Chiron
If you've visited the Illinois Railway Museum, the running joke is they have a full-sized operational steam engine..the Alco! And it's not far from the truth. Railfans learn that Alco engines were, um...shall we say...not very fuel efficient. They did get the job done, though! And even though they don't make these anymore, and the A&M Railroad has been cannibalizing other Alco engines for parts...they remain workhorses for them. A lot of times, as we tried to guess where the local was working, we just listened for the radio traffic to get strong, and then we looked for the smoke and found them! Here's the Springdale/Rogers local working at their north yard.
Scrivere oggi di femminismo significa coniugare storia e memoria; due dimensioni per altro strettamente intrecciate fra loro. La storia delle donne è infatti, prioritariamente, memoria di sé, riparata dalla marginalità in cui la colloca la storiografia ufficiale; è quindi indispensabile che essa si collochi in spazi di visibilità e accessibilità per tutti.
Stiamo parlando delle protagoniste del movimento femminista in Italia che si è manifestato alla fine degli anni Sessanta e diffuso, con diverse modalità, nel decennio successivo.
Il movimento delle donne si è definito neo femminista nel ribadire il legame ideale con il primo femminismo di fine Ottocento, ma ovviamente, forte è stata la frattura fra il suffragismo, il riformismo dei movimenti femminili del secondo dopoguerra ed il femminismo degli anni Settanta.
Ragionare sulle appartenenze che hanno segnato l'inizio e la formazione dell'identità del femminismo italiano vuol dire riconoscere alcune radici nel radicalismo americano degli anni Sessanta e nel femminismo anglosassone e vederne le tracce e le contaminazioni. Il riferimento è alle note iniziative promosse dal Movimento per la pace e dal Movimento per i diritti civili che hanno avuto come luogo principale le Università, a partire da Berkeley in California dal 1964. Dal movement americano viene una pratica che consiste in un nuovo modo di fare politica, fondato sulla partecipazione al gruppo, scaturita da un'esigenza comune che si condivide e con obiettivi immediati. Una modalità che non prevede gerarchie poiché la reale partecipazione presuppone la responsabilità individuale nelle decisioni collettive.
Write today about feminism means to combine history and memory, two dimensions to more closely intertwined. The history of women is in fact, primarily, memory itself, sheltered from the margins into the places where the official historiography, so it is essential that it falls into spaces of visibility and accessibility for all.
We are talking of the protagonists of the feminist movement in Italy that has manifested itself in the late sixties and widespread, in different ways, in the following decade.
The women's movement has been called neo-feminist in reiterating the ideal link with the first feminist of the late nineteenth century, but of course, strong was the gap between the suffragismo, reformism women's movements after World War II and the feminism of the seventies.
Reason about memberships that have marked the beginning and the formation of identity of Italian feminism means recognizing some roots in American radicalism of the sixties and in the Anglo-Saxon feminism and see the tracks and contamination. The reference is to note the initiatives promoted by the Movement for Peace and the Movement for civil rights that have taken place as the main universities, from Berkeley in California since 1964. From the American movement is a practice that involves a new way of doing politics, based on participation in the group, which originated from a common requirement that you share and with immediate objectives. A mode that does not include hierarchies because the real participation presupposes the individual responsibility in collective decisions.
Friday was a proud day for Garvagh Parish stalwart, Helen Livingston, as she watched a blue plaque being unveiled on her local church to commemorate the woman who introduced the Women’s Institute to Northern Ireland.
Dorothea Florence Macausland, who worshipped in St Paul’s for many years prior to her death in 1970, formed Northern Ireland’s first Women’s Institute branch in the village in 1932. Her achievement was marked by the Ulster History Circle with the erection of one of its celebrated blue plaques on the east wall of the local church.
Mrs Livingston, who arrived in Garvagh two years after Mrs Macausland’s death, has written her predecessor’s life story for posterity and had campaigned for many years to have Mrs Macausland’s memory honoured publicly.
There was a glittering turn–out for Friday morning’s unveiling ceremony, which was performed by Mrs Macausland’s great–niece, Joanna Clark. Among those in attendance were the Lord Lieutenant for County Londonderry, Mrs Alison Millar; the Mayor of Causeway Coast and Glens Borough Council, Sean Bateson; the Bishop of Derry and Raphoe, the Rt Revd Andrew Forster; the chairperson of Causeway Coast and Glens Borough Council, Cllr Sean Bateson; the President of the Federation of Women’s Institutes in Northern Ireland, Lady Anthony Hamilton; the Chairman of the Federation of Women’s Institutes of Northern Ireland, Mrs Colette Craig; and another of Mrs Macausland’s relatives, Jack O’Sullivan.
Bishop Forster, whose late mother had been a member of the Women’s Institute, described the work of the Ulster History Circle as remarkable for the way in which it acknowledged people who made a significant contribution to building up community. “Dorothea Macausland clearly lived a remarkable life,” the Bishop said. “Born in India, she was a nurse during the war, she was on a ship that was torpedoed during the war. She was a woman of real substance and, as the Lord Lieutenant said, an indomitable daughter of Garvagh. For us, in the Church of Ireland, we’re delighted to be associated with such a special day and delighted that the plaque is part of the fabric of our parish, now, as well.”
Addressing the many WI members who had travelled to Garvagh for today’s ceremony, Bishop Andrew said, “Many of you, today, love Women’s Institute. Why? Because it brings you together. It’s about community. It’s about being a positive and good force in the community, and all of us know that our community needs positive and good people making an impact. And today we acknowledge one of our own and delight in sharing in this special day. For us, as a Church of Ireland community – if I may use the word in the right sense – we’re proud to be associated with Dorothea Macausland and delighted that the Ulster History Circle has graced us today by allowing this plaque to be placed on one of our buildings.”
After the ceremony, refreshments were served in the Parish Hall where grace was said by the Rector of Errigal and Desertoghill, the Rev Carmen Hayes.
Bruno and Tempest have been particularly annoying today, so I did what any woman pushed to the brink of sanity would do: I photographed them with my bra on their heads. Passive torture. Cruel? Maybe, but no boxer dogs were harmed in the making of this picture.
Bruno's turned out better than Tempy's, but now when he brings girls over I can pull out the photo album and show them how cute he was back then. ;)
Because I can't drive for a while because I am one handed.. I have been waiting for John to take me out for a drive.It took a while it get around to it and by the time we got to New Brighton the rain started. Lucky it wasn't too heavy so managed to get a few shots!
en.wikipedia.org/wiki/New_Brighton,_New_Zealand
Christchurch December 21, 2013 New Zealand.
The “Fat Bird” logo was adopted because it captures the spirit of Nemacolin Woodlands Resort. A rare bird indeed, “Fat Bird” is a delightful image and was personally selected by Maggie Hardy Magerko, owner and president. In Maggie’s words, “Fat Bird is fun and whimsical, just as are the expectations of our guests. They come to Nemacolin Woodlands Resort to relax in an atmosphere removed from the rigors of everyday life.”
The charming logo for Nemacolin Woodlands Resort grew from a series of inspirations, but it was a Fernando Botero sculpture, located at the resort entrance and part of the impressive Hardy Art Collection, that gave the logo its new wings.
Phalasarna is an ancient Greek harbor town on the northwest coast of Crete. Because ancient writers rarely mentioned the site, its history is known virtually entirely from archaeology. A learned observer (Captain T. A. B. Spratt, of the Royal Navy), noted in 1859 that the former harbor of the deserted site was now 200 yards from the sea and that the ancient sea coast must have risen at least twenty four feet. Modern excavation has confirmed this judgment. Radiocarbon dating of fossil algae along the ancient sea level mark on the cliffs around Phalasarna estimates the sudden sea level change at some time more than sixteen centuries ago. A very probable event was the great earthquake and tsunami of 21 July A.D. 365, which wreaked catastrophic damage on all the coasts of the eastern Mediterranean and was recorded by dozens of ancient Greek and Roman writers. But four centuries previously Phalasarna had already been destroyed by the hand of man. The city was a notorious pirate refuge and when in 68-67 BCE the Romans sent forces to eliminate piracy from the eastern Mediterranean they stormed Phalasarna, blocked its harbor with massive masonry, and relocated the inhabitants. No ancient sources testify to these events, but evidence of burning and the harbor blockaage itself suggest the tentative conclusions of the excavators, Elpida Hadjidaki and Frank Frost, of the University of California, Santa Barbara
Because they were out of roast beef.
From the Corner Cafe at Tunxis Community College in Farmington, CT.
because it either makes me a complete mess, like the guy on the right, or want to experiment with homosexuality, like the guy on the left.
...because the throw was going to bankrupt me!
NO colour adjustment here at all - the colours really are that fabulous. The sofa was picked solely to go with the knitting. I got some funny looks going around draping knitted aquares over all the sofas!
Yarn: Noro Kureyon (many). Pattern: Lizard Ridge, by Laura Aylor, from Knitty Fall 2006 knitty.com/ISSUEfall06/PATTlizardridge.html
Because you cannot always wear heals! We were supposed to fly kites but did not end up having the time, but it was still a relief to put these on for a few minutes and rest my feet - and I will wear these to splash in puddles for years to come!
Got up at 5am to see a Capercaillie, saw two. Then I saw this guy, I liked him more cause he lives upside down.
"You may think, well, how are we going to get one billion
people to think peace?
Imagine peace.
Because if one billion people in the world think peace, we
will get peace.
Remember each one of us has the power to change the
world.
Power works in mysterious ways.
You don’t have to do much.
Visualize the domino effect and just start thinking peace.
The message will circulate faster than you think.
It’s time for action.
And the action is peace.
Spread the word.
Spread peace.
I love you!
-Yoko Ono, Excerpt from Statement for Imagine Peace
Exhibition at JEMA, Spring 2008.
Directions for Wish Peace:
WISH PIECE
Make a wish.
Write it down on a piece of paper.
Fold it and tie it around a branch of a wish tree.
Ask your friends to do the same.
Keep wishing
Until the branches are covered with wishes.
- Yoko Ono"
"John Erickson Museum of Art (JEMA)
presents Yoko Ono
Sean Miller
American, b. 1967
and
Yoko Ono
American, born Japan, 1933
Yoko Ono at JEMA
IMAGINE PEACE
2008-9
Multimedia
Collection of Sean Miller"
imaginepeace.com/archives/7817
Yoko Ono: IMAGINE PEACE at JEMA/Samuel P. Harn Museum of Art [Florida, USA]
JEMA travels IMAGINE PIECE to the Samuel P. Harn Museum of Art, in Gainesville, Florida
JEMA proudly announces Yoko Ono’s IMAGINE PEACE is reopened at JEMA and is currently on view at the Samuel P. Harn Museum of Art, in Gainesville, Florida [map]. Yoko Ono’s exhibition runs from From October 6 – January 3rd, 2009-10, and includes her text-based work IMAGINE PEACE (2007) as well as WISH PIECE (1996). Viewers are invited to attend JEMA’s new outdoor sculpture garden and contribute to one of Yoko Ono’s Wish Trees by writing wishes on provided pieces of paper and adding them to the branches of the tree. Viewers and participants will note the tree provided for the exhibition is somewhat diminutive in keeping with the scale of JEMA’s gallery spaces. JEMA consultants from the JEMA Annex were present to distribute pencils and paper for Wish Peace during the October 6th opening at the Harn Museum of Art. JEMA Annex Consultants included Charisse Calaquian, Leah Floyd, Ladis Pietros, Kelly Rogers, and Matthew Whitehead. In time, all wishes will be gathered by the Annex Consultants and sent to The IMAGINE PEACE TOWER on Videy Island, Reykjavik, Iceland.
Previously IMAGINE PIECE opened at JEMA in Belfast, Northern Ireland in April, 2008. The exhibition traveled from Golden Thread Gallery, Catalyst Arts, NVTV Studios, and briefly left Belfast to open in Glasgow at the Glasgow School of the Arts.
Yoko Ono writes:
Power works in mysterious ways.
You don’t have to do much.
Visualize the domino effect and just start thinking peace.
The message will circulate faster than you think.
It’s time for action.
And the action is peace.
Spread the word.
Spread peace.
I love you!
-Yoko Ono, Excerpt from Statement for Imagine Peace Exhibition at JEMA, Spring
2008.
See a little art at JEMA… More or less,
John Erickson Museum of Art
A Location Variable Museum
www.jema.us/ ("JOHN ERIKSON MUSEUM OF ART" homepage)
www.jema.us/pages/jemaintro.html
An image comes to mind of a white, ideal space that, more than any single picture,
may be the archetypal image of 20th-century art. And it clarifies itself through a process of historical inevitability usually attached to the art it contains.”
Brian O’Doherty, Inside the White Cube
Welcome to JEMA
Advancements in technology and new ideas in contemporary art are preparing the current visual art audience to witness radically new and diverse exhibition strategies. Ideas associated with Marcel Duchamp’s Boite-en-valise (1941), and Brian O’Doherty’s Inside the White Cube (1976), have (for decades) provided groundbreaking precedents from which to conceive and approach the display of art. Advancements in internet technology, digital imaging and critical insights related to site-specificity have further expanded possible innovations in art display tactics. As a result, today’s exhibition spaces may be planned, constructed, maintained, and enjoyed with unprecedented levels of affordability, efficiency, and creativity.
The John Erickson Museum of Art (JEMA) is an example of one possible method of developing an exciting new venue for artists and viewers. It also functions as a model for discussing innovative possibilities toward the development of vital yet affordable art centers. JEMA’s portable quality offers artists an exhibition space that encourages radical experimentation with a low financial overhead. This new museum space is founded on an unwavering belief concerning the quick, decisive and efficient delivering art to the viewing public. This type of activity is an important sign of a vital cultural institution. Many art museums require years to schedule exhibitions. Moving slowly – these institutions function with power and strength but remain bogged down by red tape and expensive exhibitions.
By moving with stealth and agility, JEMA carries out its functions in a portable and thrifty manner. JEMA’s design allows for a greater focus on exhibition planning and a stronger intercommunication between the institution, exhibiting artists, and you (the viewing public). JEMA brings the art to you!
Think JEMA…more or less.
Samuel P. Harn Museum of Art
SW 34th Street and Hull Road
Gainesville, Florida 32611-2700
PHONE 352.392.9826
Because of power plant accident, Japan is short of electricity.
We started scheduled blackouts at east coast.
Shibuya is not the area of blackout, but people want to save energy.
Because all "serious artists" have to do one. ;-p
[Triangular trans-clear LEGO kaleidoscope. The reflections aren't that interesting, but there's a nice bit of neckline floating above my head like a party hat.]
Because Chris is so loved, and fans really wanted to help, in any way, maybe by just showing their love and support, one day among the fan mail Kiseki recieved few boxes full of paper cranes - thousand of them, each with little writing on it, 'get well soon, chris'.
when Udon heard about it, he decided to help out too - their wish will TOTALLY come true if they'll have more cranes
so yeah
Porque soy muy estúpida, no conozco a nadie mas que a ti, tu que estas mirando a otra, probablemente no sepas como me siento. Probablemente no estoy en tus sueños, yo que solo te veo a ti, aun cuando no conoces mis sentimientos, al final tu cruzas delante de mi como el viento. Los días en los que te extrañe tanto, los días en los que no pude sostenerte, las palabras ''te amo'' permanecen en mi boca, sola de nuevo, llorando por ti, extrañándote, Te amo, te estoy esperando. Yo que solo te veo a ti estoy formando recuerdos yo sola, para mi el amor es como una hermosa cicatriz, aun cuando veo tu hermosa sonrisa, no puedo reírme contigo. Los días en los que pensé tanto en ti, los días en los que mi corazón estuvo frió y triste, las palabras ''te extraño'' permanecen en mi boca.
Nunca digas adiós, te necesito, te quiero.
... on an Epson R-D1x using a Novoflex LEM/LEI adapter for LTM lenses to Leica M-Mount bayonet.
Caveat emptor: That adapter does not allow this lens to be focused to infinity because of the spring-loaded infinity-locking bolt. You have to focus the lens to around 10 meters before mounting the adapter. In actual terms this is not a problem because you can focus to 12 meters. and even at largest aperture the depth of field will be large enough to cover all larger distances. So, no sweat.
Even wide open (okay, I mean at f/3.5), sharpness is acceptable around the center - if you don't enlarge the image too much, which of course people did not do when that lens was new - but the image goes very soft in the corners. Nice contrast and overall a very "vintage" look.
Test conditions were admittedly rather harsh - 8:30 in the morning in early January with a complete, dense overcast means very little light. The next test should be in sunny weather, stopped down. Sharpness should then improve significantly.
The graininess comes courtesy of Epson/Seiko.