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Most of you probably know that there was a wildfire on Burbage Moor recently, suspected to be caused by a disposable BBQ. I also read a fascinating blog post about the work the Peak District wardens do, and was surprised that people were reporting that they had no idea open fires (and probably BBQs) are not permitted in the National Park:
thepathlesstravelled.co.uk/2023/05/29/three-days-in-may/
This section struck me on having open fires:
"They said that nothing on their social media feeds about wild camping had explained risk".
Which made me wonder where the hell were they getting their information from, and what it said. I Googled "wild camping Peak District", and found that whilst mentioning the risk of open fires (they obviously hadn't got their info from there), none of the top results mentioned BBQs and the fact they are not permitted in the National Park. I have now started a bit of a one woman crusade to get that rectified 😁 The top result, now clearly displays this information, and Bex moved the section about fires to the top of the page as requested:
www.theordinaryadventurer.com/advice/wild-camping-peak-di...
Another success here:
abrokenbackpack.com/camping-peak-district/
The page previously actively encouraged BBQs by saying, and now states. I'll try a few more over the next few days, but my other bugbear is the "Peak District Wild Camping" Facebook group. The information when joining the group states:
"Fires can be a fundamental element to a camp out but we’ve decided to ban fire posts to avoid possibly promoting any unnecessary damage to the National Park."
Is it me, or does this send entirely the wrong message? To me it reads as if fires are central to a wild camp? I mean, when was a fire ever part of leave no trace camping? I wrote to the Admin of the group, asking for this to be reconsidered, and also to add some info about BBQs being banned, but was ignored.
Not quite related, but latest I was read was him recommending Burbage Valley as a wild camping location to a first timer. Burbage Valley? You're never more than 10 minutes from the road! Not to mention the aforementioned wildfire.
Happy for you to tell me I'm being a complete killjoy, but I might be difficult to convince 😂 The same bloke runs the Snowdonia and Lake District wild camping FB groups too, all with the same group information.
And breathe 😂 Right, off to write to the supermarkets and ask them to stop selling disposable BBQs!
The rain was rapidly blowing in at the weekend while walking beside the River Lyn near Watersmeet, Exmoor.
Most of the shots were spoiled by rain blotches! But it was the wind that was main bugbear; in order to freeze the movement of the branches I had to use a faster shutter speed than normal hence the textured water effect :)
I’m WFH this afternoon. I went to the kitchen to get another cuppa cawfee and came back to this. Apparently I’d been petting the mouse when I should have petted Someone Else. (In the background you can see my work-related trophies from the FDFFL and the Bugbear, whose job it is to eat software bugs.) Added to Happy Caturday for 10 July 2021 theme “Cats and Electronics.”
one of my (admittedly many) bugbears is people's inability to deal with their rubbish. obviously the owner of this prada number has had to change in the street and had no need of the box.
hopefully whatever it was fell apart or was ruined on the night out,
Photo opportunities were limited on the beach at Titchwell last weekend. Most of this was due to lower numbers of birds on the beach. I spent the better part of two hours lying behind a rock hoping some of the birds would make their way towards me and although a small group of knot started to they were never quite close enough.
However, another reason was due to one of my biggest bugbears, disturbance. I understand that people want to take photos but no photo is more important than the welfare of the subject and scaring birds from a feeding area is not good. When people walk straight towards birds on the beach at Titchwell without trying to conceal themselves, wearing purple jackets or bright red socks do they really expect the birds to stay still and wait to have their photo taken? Of course they won't they will fly off just like this oystercatcher did, straight past the rock I was hiding behind...
Newark Council Offices - for Window Wednesday!
This building is quite new, only a few years old and I’d much more accessible for local people to go to. The previous building was very inconveniently out of town! The only bugbear is that they charge for parking! One of the penalties of modern life, I expect.
68026 Enterprise hauls train 1U23, the 05:35 Manchester Piccadilly to Scarborough towards Strensall from York past Oakbutts Farm soon after sunrise on the morning of September the 13th 2023.
One of the delights or bugbears of these locomotives, according to your perception, is their sound. The line rises gently from York, about five miles to here. And for five minutes early in the morning soon after the sun has risen you could hear it, the rise and fall, the mechanical drone, high, cemented with deep bass undertones. Sophistication for the connoisseur.
Another 605, there can't be many people who have owned two of these in the same year.
I regretted selling my silver one, but the leather and auto box were two bugbears. This one has velour and a manual gearbox, so its a vast improvement. Very mollycoddled from new, and it shows in how good it looks. Some room for improvement elsewhere, the exhaust is rattling in the mid section and the starter motor is very, very lazy sounding so I best sort that before it conks out completely.
Otherwise pretty decent to drive. I never quite understood the complaint many motoring journalists had of these at the time claiming the steering was vague. In my opinion, it's incredibly grippy for a big car and doesn't wallow like many others do. Obviously this one being shod in Michelins all round helps...
SHIPtember has me building again, so thank you to all you crazy-fast builders out there for some inspiration! I AM building a SHIP, but it's me, so it's gonna be a while before that's ready for posting. This little guy will be going along with it.
This is the first hardsuit I've ever built! It was a whole bunch of fun and I totally get why some builders start and don't stop!
DS-3b "Bugbear"
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Built for Mobile Frame Zero - a tabletop wargame.
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Mobile Frame Hangar (MF0 Community Forums)
3 different bards, each one comprising a different bardic subclass from the game Dungeons and Dragons. From L to R: College of spirits bard (who communes with his dead loved ones via flute), College of Eloquence bard, and last but not least, a bugbear College of Valor bard.
As always, comments appreciated.
The bugbear of street art photographers, the parked car. You can’t park on double yellow lines so just park on the pavement instead ...
Not the most attractive "Pub" to photograph, but what I find surprising, it was pitch dark except of course for the interior lighting, not good for hand held photography and no flash, (that dark I couldn't see to frame it properly, although I try to avoid flash at all costs if possible,) the surprise element for me was expecting to make an image under these conditions, hand held, no image stabilizer, no tripod, cheapo manual focus lens, aps-c camera, well judge for yourself, not necessary the subject matter, but the sharpness/tonality and absolutely no noise....apparently one of the bugbears of APS-C Sensors....😲
TTArtisan 50mm 1/60th f1.0 iso100
bete noire \bet-NWAHR\, noun:
Something or someone particularly detested or avoided; a bugbear.
From the French: bête, beast + noire, black.
That ^^^ means no flashy logos or daft graphics please!!
Few things...
Apologies for not being around so much currently, lot of stuff going on with me which is really ****ing with my head, and photography (or rather the related online aspect) is suffering because of it. It's not that I've stopped looking in on you, I just, you know...
Secondly, you'll be pleased to note (I hope) that Easter weekend brings three scheduled shoots, and I got an email about 5 mins ago enquiring about another. Massive potential for all things wonderful, but also a bit of pressure on me as I'll be trying a few things which are unknown to me, so I hope I don't cock up. Unfortunately this also brings about the liklihood of a shit load of editing afterwards, which is going to drive me to distraction, but you know, this book won't make itself!
Lastly, just a wee opportunity to mouth off about a particular bugbear of mine. Black and white photos. Common misconception that when a photo's gone average or turned to shit, making it B&W and adding a load of grain makes it good again. Load of crap. The age old addage of 'you can't polish a turd' applies here, and I've become (through practice I might add) a firm believer that in order to take good black and whites, you need to see the image works in colour first, as you've less visual props to hold the photo together.
That little rant has nothing to do with anything really, just popped in my head after uploading this. So here, have a lovely little B&W of Ella and marvel at how drop dead pretty she is! :-)
Wish me luck with the shoots, if you've not heard anything by Tues next week, it all went wrong and I jumped off a bridge! Enjoy your Easter weekend everyone! :-)
Also known as "the thing", this drove into the car park here in Burntisland whilst I was parked on Sunday letting my Applause front wheel cool down for the 4th time that day (I think) - yes, it needs to go into the garage yet again for this bugbear. This was the worst it has ever been, and I'm hoping the caliper overhaul kit I bought on eBay a few months ago will solve the problem if I can get my usual local mechanic to find some time to do the work. The owner of the VW was friendly enough when I asked to snap his car, and although I saw him glance at my car, I don't think it registered as anything interesting to him, which is fair enough!
It was the lovely old shop front and original facia that caught my eye.
W. H. Smith’s beautiful lettering was designed in 1903 by Eric Gill. This font was used for the first time on the fascia of Smith’s shop on the rue de Rivoli in Paris, where it was hand-painted by Gill himself. It continued to be used by the firm into the late 1950s.
Oh that present day W. H. Smiths were so stylish!
Their present shop fronts are often the ugliest on the high street, with huge blue facia vinyls and white charmless lettering. (The out of scale bright blue facias on their Chipping Norton store in the centre of a row of elegant 18th century buildings are a particular bugbear of mine.)
The building itself is a 15th century hall, The Moot Hall or Charnel House depending on your source.
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Valais, Mountains
Linhof Master Technika, Schneider Apo Symmar 150 f5.6 MC
Fomapan 100, Rodinal 1:50 9min
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This is an extract of an Antony Gormley statue, one of two which are featured in his work Parallel Field which is current on display at St Mary Axe in London; as part of the ‘Sculpture in the City’ project it’s on location until May 2014.
I have walked past the status many times but never stopped to take a photo until a few nights ago when I was out playing with my new Sony QX100 camera. Though I would certainly deem this as a fun camera, and perhaps not the ‘professional’ label Sony put on it, I am enjoying using it and my biggest bugbear is the fact it doesn’t shoot RAW.
This image was taken with it, by the way, and it was real easy and effortless to get the angle I wanted simply by moving my wrist a little bit – no bending over and trying to position myself or a tripod in just the right spot – I didn’t even have a tripod, it was held in my hand only.
The building popping out at the rear right hand side of the shot is the Gherkin.
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A quiet moment of reflection (forgive the pun) from yesterdays shoot at Mill End - the only bugbear I have is the sheer number of vapour trails in the sky - then again I guess I am under the Heathrow flightpath and occassionally the vapour trails can add something to the composition.
“As the forest clears up ahead a structure with at least seven crumbling towers emerges; A keep long forgotten.”
Another small D&D scene from my hand. This time depicting the idyllic goblin-overtaken Gragmaw Castle named after the Gragmaw tribe itself.
People who are keeping track might know this build was completed a small year ago already. However, the party I DM for had so far managed to avoid the location. Two days ago they at last bartered a deal with goblin-king Grol to try and slay the Dragon of Thundertree a second time. The castle itself was tricky to build as it consists of 7 overlapping towers but I think they came out quite nicely. What do you think?
The official map from the 'Lost Mine of Phandelver' 5th Edition Starter Set for reference can be found here: prints.mikeschley.com/p856083253/h2B984CFE#h3e0596fb
See also my other microscale D&D builds here:
Chassis n° 829 ARO 001 611
Les Grandes Marques du Monde au Grand Palais 2020
Bonhams
Parijs - Paris
Frankrijk - France
February 2020
Estimated : € 400.000 - 500.000
Unsold
A limited production 'homologation special', the Lancia Stratos is historically significant as the first car from a major manufacturer conceived specifically for rallying. The spearhead of Lancia's international rally campaign in the 1970s, the Stratos had its origins in a Fulvia-powered, mid-engined design exercise by Marcello Gandini first exhibited on Carrozzeria Bertone's stand at the 1970 Turin Motor Show. Also the work of Gandini and Bertone, the production Stratos of 1972 retained the striking 'wedge' styling of its forbear but employed the powerful Ferrari Dino 2.4-litre V6 engine. The latter was housed in a robust steel monocoque body tub clad in glassfibre coachwork.
That such a daring design actually made it into production is mainly due to Cesare Fiorio, co-founder of the HF Corse team that had become Lancia's official competitions department in 1965. Lancia was already enjoying considerable success in international rallying with modified versions of the Fulvia, but in the Stratos Fiorio saw an opportunity to create a purpose-built rally car from the ground upwards. He was an admirer of Ferrari's quad-cam V6 motor, having evaluated a Dino for rallying purposes, and Enzo Ferrari was duly persuaded to come on board as the engine supplier. The stubby, mid-engined Stratos looked nothing like a traditional rally car, but then Fiorio knew exactly what he was doing.
As befitted a car purpose built to cope with all types of rallying, the Stratos came with fully adjustable, all-independent suspension by double wishbones and coil springs, plus four-wheel disc brakes all round. With 190bhp on tap, the production road-going (Stradale) version was good for 225km/h (140mph). The works Group 4 rally cars were, of course, considerably more powerful, but reliability problems meant that success was slow to come. After its initial major victory in the 1974 Targa Florio, the Stratos went on to dominate international rallying, Lancia winning the World Rally Championship of Makes in 1975 and 1976. Works pilote Bernard Darniche triumphed twice in the world's premier drivers' competition - the European Rally Championship - in 1976 and 1977, and the Stratos helped Markku Alén to the inaugural World Drivers' Championship in 1978. Alén's season had been split between the Stratos and the FIAT 131, and it was the parent company's political decision to favour that latter, rather than any lack of competitiveness, which saw the incomparable Stratos phased out, though private entrants continued to enjoy success at international level into the early 1980s.
Its competition-focused rationale notwithstanding, the Stratos in Stradale form is surprisingly usable on the road. As one would expect of a car designed for rallying, forward visibility is excellent, enabling the driver to place the Stratos with confidence. There is ample elbowroom inside and a surprisingly generous amount of luggage space at the rear, while that bugbear of so many mid-engined designs – excessive interior heat – is kept under control.
Incredible as it may seem today, after the 500-or-so cars required for homologation had been completed in 1975, the vast majority remained unsold due to lack of demand. (As it happens, that crucial '500' figure was never reached, one widely circulated estimate stating that only 492 were built). Almost as soon as it ceased active competition though, the car's historic significance was recognised and prices soared.
Finished in blue with yellow seats and correct gold-painted wheels, this Stratos Stradale was delivered new in 1976 to Dr Rudolf Wiespointner of Wels, Austria, who kept the car for 23 years. In 1999 the Stratos was sold to Rudolf Bromberger of Vienna, Austria, passing to the current (third) owner in 2012. Restored circa eight years ago and rarely used since, it remains in very good condition. The paintwork is of very good quality and the panel fit, if anything, is better than new, while the engine compartment appears in very good, almost unmarked, factory-correct condition. This car retains its original engine and gearbox, which have never been rebuilt but remain in excellent condition.
Offered with French Carte Grise and an original workshop manual and sales brochure, this beautiful Stratos Stradale is a highly original and unmolested example of a mythical and supremely successful competition model from one of the most distinguished marques in motoring history.
This trio doesn't just look nasty, they are nasty! Nothing but trouble and ill intent!
These goblins have seen many adventures in our collection since they were new in 1982. Like the dwarves from the same toy line, these goblins were an excellent size to fight the 54mm knights.
They each came as a companion to a larger monster in LJN's AD&D series. From left to right they came with the bugbear, the troll and the troglodyte.
If you see them... run!!
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A year of the shows and performers of the Bijou Planks Theater.
This is my party for the Greymane's Haven Adventuring Guild ongoing challenge hosted over on @greymane_guild on Instagram! As these characters have come together, you may have noticed the theme: they're all monstrous! Or monstrous-adjacent. You get the gist. For their story, read on!
Though a great many people live in the main cities of the realm, and a great and diverse cast of characters bustle about their busy streets, there are a few individuals the common people would... rather not do business with, to say the least. An indisputably large portion of these folk come from the village of Montown, nestled in the heart of the Oarbrook Forest. Montown is a place that can be described a number of different ways, depending on who you ask. To some, it is a place of ill repute, where only the desperate go to work. To others, it's a trifle that doesn't deal enough in actual currency of the civilized world to justify trade with. To more yet still, Montown is a home, when much of the world bristles in the presence of their kind. Inhabited by all manners of mortals, the village holds a rather prodigious population of people hailing fron heritages commonly classified as "monstrous" or "exotic," including orcs, minotaurs, kobolds, tabaxi, bugbears, and much, much more. What much of the realm sees as a cesspool full of brigands, charlatans, and ne'er-do-wells, many of these folks see as a haven where they don't need to sanitize their looks, behavior, or even cuisine to fit in.
Coming from this boisterous settlement, we find the heroes of the moment: the Montown Mob. A group of four adventurers well-known in their birthplace for being effective, if a little chaotic, this party is one whose got its sights set on the Greymane's Haven Adventuring Guild. When the call went out for a force of heroes to rise up and oppose the coming threat of the returning Lich King, four brave and lightly demented individuals rose to the occasion to put Montown on the map, and bring respect to their kin. There's Sythil, the Lizardfolk Ranger with a knack for carving bones, Marybeth, the Kenku Barbarian with an unsettling intense demeanor, Borgoop, the Plasmoid Monk who can't ever seem to disappear without leaving a trace, and Pushnik, the Goblin Cleric whose patience when it comes to steering his allies down the right path seems without end. When a situation gets grave, Marybeth is always ready to plunge headfirst into danger. When the way forward is obscured, none know strategy and a path to victory quite like Sythil. When the party is pushed to its breaking point, no one is quite as flexible or full of new ideas as Borgoop. And when the antics of those three nearly land them plummeting off the edge of a cliff, well, it's Pushnik's sage wisdom and sound heart that keep them alive to continue the good work. Though the party has a long ways to go before taking on any truly great evils, it's safe to say: the Lich King will never know what exploits to expect from the Montown Mob. And frankly, neither will Pushnik.
Galería Estatal Tretiakov - State Tretyakov Gallery - Государственная Третьяковская галерея
Borís Mijáilovich Kustódiev (ruso, Борис Михайлович Кустодиев; 7 de marzo de 1878–28 de mayo de 1927) fue un pintor y escenógrafo ruso.
Borís Kustódiev nació en Astrakán en la familia de un profesor de filosofía, historia de la literatura, y lógica en el seminario teológico local. Entre 1893 y 1896, Borís estudió en el seminario teológico y recibió clases privadas de arte en Astrakán de Pável Vlásov, un alumno de Vasili Perov.3 Posteriormente, desde 1896 hasta 1903, acudió al taller de Iliá Repin en la Academia Imperial de las Artes en San Petersburgo, colaborando posteriormente con él como ayudante. Expuso por vez primera en 1896.
Realizó visitas a Francia y España gracias a una beca de la Academia Imperial en 1904; luego, en 1907, estuvo en Italia, y en 1909 visitó Austria y Alemania, y de nuevo Francia e Italia. En esta época pintó sobre todo retratos y trabajos de género.
En 1905, Kustódiev se dedicó por vez primera a la ilustración de libros, un género que cultivaría el resto de su vida. Ilustró muchas obras de la literatura clásica rusa. Debido a una enfermedad, tuvo que marchar a Suiza, donde pasó un año en tratamiento en una clínica privada. Quedó parapléjico en 1916, estando a partir de entonces confinado en su habitación.
El artista también estuvo interesado en diseño de escenarios. Primero empezó a trabajar en el teatro en 1911, cuando diseñó decorados para la obra de Aleksandr Ostrovski Un corazón ardiente. Fue tal su éxito que le llegaron nuevos encargos. En 1913, diseñó escenario y vestuario para La muerte de Pázujin en el Teatro del Arte de Moscú. Demostró su talento en otras obras de Ostrovski.
En 1923, Kustódiev se unió a la Asociación de Artistas de la Rusia Revolucionaria. Siguió pintando, haciendo grabados, ilustrando libros y diseñando para el teatro hasta su muerte el 28 de mayo de 1927, en Leningrado.
es.wikipedia.org/wiki/Borís_Kustódiev
Boris Mikhaylovich Kustodiev (Russian: Бори́с Миха́йлович Кусто́диев; 7 March [O.S. 23 February] 1878 – 28 May 1927) was a Russian painter and stage designer.
Boris Kustodiev was born in Astrakhan into the family of a professor of philosophy, history of literature, and logic at the local theological seminary.[1] His father died young, and all financial and material burdens fell on his mother's shoulders. The Kustodiev family rented a small wing in a rich merchant's house. It was there that the boy's first impressions were formed of the way of life of the provincial merchant class. The artist later wrote, "The whole tenor of the rich and plentiful merchant way of life was there right under my nose... It was like something out of an Ostrovsky play." The artist retained these childhood observations for years, recreating them later in oils and water-colours.
Between 1893 and 1896, Kustodiev studied in theological seminary and took private art lessons in Astrakhan from Pavel Vlasov, a pupil of Vasily Perov. Subsequently, from 1896 to 1903, he attended Ilya Repin’s studio at the Imperial Academy of Arts in St. Petersburg. Concurrently, he took classes in sculpture under Dmitry Stelletsky and in etching under Vasiliy Mate. He first exhibited in 1896.
"I have great hopes for Kustodiev," wrote Repin. "He is a talented artist and a thoughtful and serious man with a deep love of art; he is making a careful study of nature..." When Repin was commissioned to paint a large-scale canvas to commemorate the 100th anniversary of the State Council, he invited Kustodiev to be his assistant. The painting was extremely complex and involved a great deal of hard work. Together with his teacher, the young artist made portrait studies for the painting, and then executed the right-hand side of the final work. Also at this time, Kustodiev made a series of portraits of contemporaries whom he felt to be his spiritual comrades. These included the artist Ivan Bilibin (1901, Russian Museum), Moldovtsev (1901, Krasnodar Regional Art Museum), and the engraver Mate (1902, Russian Museum). Working on these portraits considerably helped the artist, forcing him to make a close study of his model and to penetrate the complex world of the human soul.
In 1903, he married Julia Proshinskaya (1880–1942).
He visited France and Spain on a grant from the Imperial Academy of Arts in 1904. Also in 1904, he attended the private studio of René Ménard in Paris. After that he traveled to Spain, then, in 1907, to Italy, and in 1909 he visited Austria and Germany, and again France and Italy. During these years he painted many portraits and genre pieces. However, no matter where Kustodiev happened to be – in sunny Seville or in the park at Versailles – he felt the irresistible pull of his motherland. After five months in France he returned to Russia, writing with evident joy to his friend Mate that he was back once more "in our blessed Russian land".
The Russian Revolution of 1905, which shook the foundations of society, evoked a vivid response in the artist's soul. He contributed to the satirical journals Zhupel (Bugbear) and Adskaya Pochta (Hell’s Mail). At that time, he first met the artists of Mir Iskusstva (World of Art), the group of innovative Russian artists. He joined their association in 1910 and subsequently took part in all their exhibitions.
In 1905, Kustodiev first turned to book illustrating, a genre in which he worked throughout his entire life. He illustrated many works of classical Russian literature, including Nikolai Gogol's Dead Souls, The Carriage, and The Overcoat; Mikhail Lermontov's The Lay of Tsar Ivan Vasilyevich, His Young Oprichnik and the Stouthearted Merchant Kalashnikov; and Leo Tolstoy's How the Devil Stole the Peasants Hunk of Bread and The Candle.[2]
n 1909, he was elected into Imperial Academy of Arts. He continued to work intensively, but a grave illness—tuberculosis of the spine—required urgent attention. On the advice of his doctors he went to Switzerland, where he spent a year undergoing treatment in a private clinic. He pined for his distant homeland, and Russian themes continued to provide the basic material for the works he painted during that year. In 1918, he painted The Merchant's Wife, which became the most famous of his paintings.
In 1916, he became paraplegic. "Now my whole world is my room", he wrote. His ability to remain joyful and lively despite his paralysis amazed others. His colourful paintings and joyful genre pieces do not reveal his physical suffering, and on the contrary give the impression of a carefree and cheerful life.
His Pancake Tuesday/Maslenitsa (1916) and Fontanka (1916) are all painted from his memories. He meticulously restores his own childhood in the busy city on the Volga banks.
In the first years after the Russian Revolution of 1917 the artist worked with great inspiration in various fields. Contemporary themes became the basis for his work, being embodied in drawings for calendars and book covers, and in illustrations and sketches of street decorations, as well as some portraits (Portrait of Countess Grabowska)
His covers for the journals The Red Cornfield and Red Panorama attracted attention because of their vividness and the sharpness of their subject matter. Kustodiev also worked in lithography, illustrating works by Nekrasov. His illustrations for Leskov's stories The Darner and Lady Macbeth of the Mtsensk District were landmarks in the history of Russian book designing, so well did they correspond to the literary images.
The artist was also interested in designing stage scenery. He first started work in the theatre in 1911, when he designed the sets for Alexander Ostrovsky's An Ardent Heart. Such was his success that further orders came pouring in. In 1913, he designed the sets and costumes for The Death of Pazukhin at the Moscow Art Theatre.
His talent in this sphere was especially apparent in his work for Ostrovsky's plays; It's a Family Affair, A Stroke of Luck, Wolves and Sheep, and The Storm. The milieu of Ostrovsky's plays—provincial life and the world of the merchant class—was close to Kustodiev's own genre paintings, and he worked easily and quickly on the stage sets.
In 1923, Kustodiev joined the Association of Artists of Revolutionary Russia. He continued to paint, make engravings, illustrate books, and design for the theater up until his death of tuberculosis on 28 May 1927, in Leningrad.
en.wikipedia.org/wiki/Boris_Kustodiev
La Galería Estatal Tretiakov (en ruso: Государственная Третьяковская галерея [Gosudárstvennaya Tret'yakóvskaya galereya]) es una galería de arte ubicada en Moscú, Rusia, considerada el principal depositario de bellas artes rusas en el mundo.
Fue fundada en (1856) por el comerciante moscovita Pável Tretiakov (1832-1898), quien adquirió varias obras de artistas rusos contemporáneos, con el objetivo de crear una colección artística, que devino finalmente en este museo de arte nacional. En 1892, Tretiakov presentó su ya famoso repertorio a la nación rusa.
La fachada del edificio que alberga la galería, fue diseñada por el pintor Víktor Vasnetsov, al estilo típico de un cuento de hadas ruso. Fue construido entre 1902 y 1904 al sur del Kremlin de Moscú. Durante el siglo XX, la galería se extendió hacia varios inmuebles adyacentes, incluyendo la Iglesia de San Nicolás en Jamóvniki. Una edificación nueva, localizada en el Krymski Val, es usada para la promoción de arte ruso moderno.
La colección está conformada por más de 130 000 obras de arte, del rango de la Virgen de Vladímir y la Trinidad de Andréi Rubliov, hasta la monumental Composición VII de Vasili Kandinski y el Cuadrado Negro de Kazimir Malévich. En 1977, la galería contenía una significativa parte de la colección de George Costakis. Además, figuran otras obras igualmente importantes de los artistas Iván Aivazovski, Iván Argunov, Vasili Súrikov, Abram Arkhipov, Andréi Kolkutin, Orest Kiprenski, Valentín Serov, Vasili Polénov, Dmitri Levitski, Iliá Repin, Mijaíl Nésterov, Iván Shishkin y Marc Chagall.
es.wikipedia.org/wiki/Galería_Tretiakov
The State Tretyakov Gallery (Russian: Государственная Третьяковская Галерея, Gosudarstvennaya Tretyâkovskaya Galereya; abbreviated ГТГ, GTG) is an art gallery in Moscow, Russia, the foremost depository of Russian fine art in the world.
The gallery's history starts in 1856 when the Moscow merchant Pavel Mikhailovich Tretyakov acquired works by Russian artists of his day with the aim of creating a collection, which might later grow into a museum of national art. In 1892, Tretyakov presented his already famous collection of approximately 2,000 works (1,362 paintings, 526 drawings, and 9 sculptures) to the Russian nation.
The façade of the gallery building was designed by the painter Viktor Vasnetsov in a peculiar Russian fairy-tale style. It was built in 1902–04 to the south from the Moscow Kremlin. During the 20th century, the gallery expanded to several neighboring buildings, including the 17th-century church of St. Nicholas in Tolmachi.
The collection contains more than 130,000 exhibits, ranging from Theotokos of Vladimir and Andrei Rublev's Trinity to the monumental Composition VII by Wassily Kandinsky and the Black Square by Kazimir Malevich.
In 1977 the Gallery kept a significant part of the George Costakis collection.
In May 2012, the Tretyakov Art Gallery played host to the prestigious FIDE World Chess Championship between Viswanathan Anand and Boris Gelfand as the organizers felt the event would promote both chess and art at the same time.
Pavel Tretyakov started collecting art in the middle of 1850. The founding year of the Tretyakov Gallery is considered to be 1856, when Tretyakov purchased two paintings of Russian artists: Temptation by N. G. Schilder and Skirmish with Finnish Smugglers by V. G. Kudyakov, although earlier, in 1854–1855, he had bought 11 drawings and nine pictures by Dutch Old Masters. In 1867 the Moscow City Gallery of Pavel and Sergei Tretyakov was opened. The Gallery’s collection consisted of 1,276 paintings, 471 sculptures and 10 drawings by Russian artists, as well as 84 paintings by foreign masters.
In August 1892 Tretyakov presented his art gallery to the city of Moscow as a gift. In the collection at this time, there were 1,287 paintings and 518 graphic works of the Russian school, 75 paintings and eight drawings of European schools, 15 sculptures and a collection of icons. The official opening of the museum called the Moscow City Gallery of Pavel and Sergei Tretyakov took place on August 15, 1893.
The gallery was located in a mansion that the Tretykov family had purchased in 1851. As the Tretyakov collection of art grew, the residential part of the mansion filled with art and it became necessary to make additions to the mansion in order to store and display the works of art. Additions were made in 1873, 1882, 1885, 1892 and 1902–1904, when there was the famous façade, designed in 1900–1903 by architect V. Bashkirov from the drawings of the artist Viktor Vasnetsov. Construction of the façade was managed by the architect A. M. Kalmykov.
In early 1913, the Moscow City Duma elected Igor Grabar as a trustee of the Tretyakov Gallery
On June 3, 1918, the Tretyakov Gallery was declared owned by Russian Federated Soviet Republic and was named the State Tretyakov Gallery. Igor Grabar was again appointed director of the museum. With Grabar’s active participation in the same year, the State Museum Fund was created, which up until 1927 remained one of the most important sources of replenishment of the gallery's collection.
In 1926 architect and academician A. V. Shchusev became the director of the gallery. In the following year the gallery acquired the neighboring house on Maly Tolmachevsky Lane (the house was the former home of the merchant Sokolikov). After restructuring in 1928, it housed the gallery's administration, academic departments, library, manuscripts department, and funds and graphics staffs. In 1985–1994, an administrative building was built from the design of architect A. L. Bernstein with two floors and height equal to that of the exposition halls.
In 1928 serious renovations were made to the gallery to provide heating and ventilation. In 1929 electricity was installed.
In 1929 the church of St. Nicholas in Tolmachi was closed, and in 1932 the building was given to the gallery and became a storage facility for paintings and sculptures. Later, the church was connected to the exposition halls and a top floor was built which was specially designed for exhibiting a painting by A. A. Ivanov,The Appearance of Christ to the People (1837–1857). A transition space was built between rooms located on either side of the main staircase. This ensured the continuity of the view of exposure. The gallery began to develop a new concept of accommodating exhibits.
In 1936, a new two floor building was constructed which is located on the north side of the main building – it is known as the Schusevsky building. These halls were first used for exhibitions, and since 1940 have been included in the main route of exposure.
From the first days of the Great War, the gallery's personnel began dismantling the exhibition, as well as those of other museums in Moscow, in preparation for evacuating during wartime. Paintings were rolled on wooden shafts, covered with tissue paper, placed in boxes, and sheathed with waterproof material. In the middle of the summer of 1941 a train of 17 wagons traveled from Moscow and brought the collection to Novosibirsk. The gallery was not reopened in Moscow until May 17, 1945, upon the conclusion of the Great War.
In 1956, in honor of the 100th anniversary of the Tretyakov Gallery, the Alexander Ivanov Hall was completed.
From 1980 to 1992, the director of the Tretyakov Gallery was Y. K. Korolev. Because of the increased number of visitors, Korolev was actively engaged in expanding the area of exposition. In 1983, construction work began to expand the gallery. In 1985 the Depository, a repository of works of art and restoration workshops, was commissioned. In 1986 renovations began on the main building of the Tretyakov Gallery. The architects I. M. Vinogradsky, G. V. Astafev, B. A. Klimov and others were retained to perform this project. In 1989, on the south side of the main building, a new building was designed and constructed to house a conference hall, a computer and information center, children's studio and exhibition halls. The building was named the "Corps of Engineers", because it housed engineering systems and services.
From 1986 to 1995, the Tretyakov Gallery in Lavrushinsky Lane was closed to visitors to accommodate a major renovation project to the building. At the time, the only museum in the exhibition area of this decade was the building on the Crimean Val, 10, which in 1985 was merged with the Tretyakov Gallery.
In 1985, the Tretyakov Gallery was administratively merged with a gallery of contemporary art, housed in a large modern building along the Garden Ring, immediately south of the Krymsky Bridge. The grounds of this branch of the museum contain a collection of Socialist Realism sculpture, including such highlights as Yevgeny Vuchetich's iconic statue Iron Felix (which was removed from Lubyanka Square in 1991), the Swords Into Plowshares sculpture representing a nude worker forging a plough out of a sword, and the Young Russia monument. Nearby is Zurab Tsereteli's 86-metre-tall statue of Peter the Great, one of the tallest outdoor statues in the world.
Near the gallery of modern art there is a sculpture garden called "the graveyard of fallen monuments" that displays statues of former Soviet Union that were relocated.
There are plans to demolish the gallery constructed in the late Soviet modernism style, though public opinion is strongly against this.
Galería Estatal Tretiakov - State Tretyakov Gallery - Государственная Третьяковская галерея
Borís Mijáilovich Kustódiev (ruso, Борис Михайлович Кустодиев; 7 de marzo de 1878–28 de mayo de 1927) fue un pintor y escenógrafo ruso.
Borís Kustódiev nació en Astrakán en la familia de un profesor de filosofía, historia de la literatura, y lógica en el seminario teológico local. Entre 1893 y 1896, Borís estudió en el seminario teológico y recibió clases privadas de arte en Astrakán de Pável Vlásov, un alumno de Vasili Perov.3 Posteriormente, desde 1896 hasta 1903, acudió al taller de Iliá Repin en la Academia Imperial de las Artes en San Petersburgo, colaborando posteriormente con él como ayudante. Expuso por vez primera en 1896.
Realizó visitas a Francia y España gracias a una beca de la Academia Imperial en 1904; luego, en 1907, estuvo en Italia, y en 1909 visitó Austria y Alemania, y de nuevo Francia e Italia. En esta época pintó sobre todo retratos y trabajos de género.
En 1905, Kustódiev se dedicó por vez primera a la ilustración de libros, un género que cultivaría el resto de su vida. Ilustró muchas obras de la literatura clásica rusa. Debido a una enfermedad, tuvo que marchar a Suiza, donde pasó un año en tratamiento en una clínica privada. Quedó parapléjico en 1916, estando a partir de entonces confinado en su habitación.
El artista también estuvo interesado en diseño de escenarios. Primero empezó a trabajar en el teatro en 1911, cuando diseñó decorados para la obra de Aleksandr Ostrovski Un corazón ardiente. Fue tal su éxito que le llegaron nuevos encargos. En 1913, diseñó escenario y vestuario para La muerte de Pázujin en el Teatro del Arte de Moscú. Demostró su talento en otras obras de Ostrovski.
En 1923, Kustódiev se unió a la Asociación de Artistas de la Rusia Revolucionaria. Siguió pintando, haciendo grabados, ilustrando libros y diseñando para el teatro hasta su muerte el 28 de mayo de 1927, en Leningrado.
es.wikipedia.org/wiki/Borís_Kustódiev
Boris Mikhaylovich Kustodiev (Russian: Бори́с Миха́йлович Кусто́диев; 7 March [O.S. 23 February] 1878 – 28 May 1927) was a Russian painter and stage designer.
Boris Kustodiev was born in Astrakhan into the family of a professor of philosophy, history of literature, and logic at the local theological seminary.[1] His father died young, and all financial and material burdens fell on his mother's shoulders. The Kustodiev family rented a small wing in a rich merchant's house. It was there that the boy's first impressions were formed of the way of life of the provincial merchant class. The artist later wrote, "The whole tenor of the rich and plentiful merchant way of life was there right under my nose... It was like something out of an Ostrovsky play." The artist retained these childhood observations for years, recreating them later in oils and water-colours.
Between 1893 and 1896, Kustodiev studied in theological seminary and took private art lessons in Astrakhan from Pavel Vlasov, a pupil of Vasily Perov. Subsequently, from 1896 to 1903, he attended Ilya Repin’s studio at the Imperial Academy of Arts in St. Petersburg. Concurrently, he took classes in sculpture under Dmitry Stelletsky and in etching under Vasiliy Mate. He first exhibited in 1896.
"I have great hopes for Kustodiev," wrote Repin. "He is a talented artist and a thoughtful and serious man with a deep love of art; he is making a careful study of nature..." When Repin was commissioned to paint a large-scale canvas to commemorate the 100th anniversary of the State Council, he invited Kustodiev to be his assistant. The painting was extremely complex and involved a great deal of hard work. Together with his teacher, the young artist made portrait studies for the painting, and then executed the right-hand side of the final work. Also at this time, Kustodiev made a series of portraits of contemporaries whom he felt to be his spiritual comrades. These included the artist Ivan Bilibin (1901, Russian Museum), Moldovtsev (1901, Krasnodar Regional Art Museum), and the engraver Mate (1902, Russian Museum). Working on these portraits considerably helped the artist, forcing him to make a close study of his model and to penetrate the complex world of the human soul.
In 1903, he married Julia Proshinskaya (1880–1942).
He visited France and Spain on a grant from the Imperial Academy of Arts in 1904. Also in 1904, he attended the private studio of René Ménard in Paris. After that he traveled to Spain, then, in 1907, to Italy, and in 1909 he visited Austria and Germany, and again France and Italy. During these years he painted many portraits and genre pieces. However, no matter where Kustodiev happened to be – in sunny Seville or in the park at Versailles – he felt the irresistible pull of his motherland. After five months in France he returned to Russia, writing with evident joy to his friend Mate that he was back once more "in our blessed Russian land".
The Russian Revolution of 1905, which shook the foundations of society, evoked a vivid response in the artist's soul. He contributed to the satirical journals Zhupel (Bugbear) and Adskaya Pochta (Hell’s Mail). At that time, he first met the artists of Mir Iskusstva (World of Art), the group of innovative Russian artists. He joined their association in 1910 and subsequently took part in all their exhibitions.
In 1905, Kustodiev first turned to book illustrating, a genre in which he worked throughout his entire life. He illustrated many works of classical Russian literature, including Nikolai Gogol's Dead Souls, The Carriage, and The Overcoat; Mikhail Lermontov's The Lay of Tsar Ivan Vasilyevich, His Young Oprichnik and the Stouthearted Merchant Kalashnikov; and Leo Tolstoy's How the Devil Stole the Peasants Hunk of Bread and The Candle.[2]
n 1909, he was elected into Imperial Academy of Arts. He continued to work intensively, but a grave illness—tuberculosis of the spine—required urgent attention. On the advice of his doctors he went to Switzerland, where he spent a year undergoing treatment in a private clinic. He pined for his distant homeland, and Russian themes continued to provide the basic material for the works he painted during that year. In 1918, he painted The Merchant's Wife, which became the most famous of his paintings.
In 1916, he became paraplegic. "Now my whole world is my room", he wrote. His ability to remain joyful and lively despite his paralysis amazed others. His colourful paintings and joyful genre pieces do not reveal his physical suffering, and on the contrary give the impression of a carefree and cheerful life.
His Pancake Tuesday/Maslenitsa (1916) and Fontanka (1916) are all painted from his memories. He meticulously restores his own childhood in the busy city on the Volga banks.
In the first years after the Russian Revolution of 1917 the artist worked with great inspiration in various fields. Contemporary themes became the basis for his work, being embodied in drawings for calendars and book covers, and in illustrations and sketches of street decorations, as well as some portraits (Portrait of Countess Grabowska)
His covers for the journals The Red Cornfield and Red Panorama attracted attention because of their vividness and the sharpness of their subject matter. Kustodiev also worked in lithography, illustrating works by Nekrasov. His illustrations for Leskov's stories The Darner and Lady Macbeth of the Mtsensk District were landmarks in the history of Russian book designing, so well did they correspond to the literary images.
The artist was also interested in designing stage scenery. He first started work in the theatre in 1911, when he designed the sets for Alexander Ostrovsky's An Ardent Heart. Such was his success that further orders came pouring in. In 1913, he designed the sets and costumes for The Death of Pazukhin at the Moscow Art Theatre.
His talent in this sphere was especially apparent in his work for Ostrovsky's plays; It's a Family Affair, A Stroke of Luck, Wolves and Sheep, and The Storm. The milieu of Ostrovsky's plays—provincial life and the world of the merchant class—was close to Kustodiev's own genre paintings, and he worked easily and quickly on the stage sets.
In 1923, Kustodiev joined the Association of Artists of Revolutionary Russia. He continued to paint, make engravings, illustrate books, and design for the theater up until his death of tuberculosis on 28 May 1927, in Leningrad.
en.wikipedia.org/wiki/Boris_Kustodiev
La Galería Estatal Tretiakov (en ruso: Государственная Третьяковская галерея [Gosudárstvennaya Tret'yakóvskaya galereya]) es una galería de arte ubicada en Moscú, Rusia, considerada el principal depositario de bellas artes rusas en el mundo.
Fue fundada en (1856) por el comerciante moscovita Pável Tretiakov (1832-1898), quien adquirió varias obras de artistas rusos contemporáneos, con el objetivo de crear una colección artística, que devino finalmente en este museo de arte nacional. En 1892, Tretiakov presentó su ya famoso repertorio a la nación rusa.
La fachada del edificio que alberga la galería, fue diseñada por el pintor Víktor Vasnetsov, al estilo típico de un cuento de hadas ruso. Fue construido entre 1902 y 1904 al sur del Kremlin de Moscú. Durante el siglo XX, la galería se extendió hacia varios inmuebles adyacentes, incluyendo la Iglesia de San Nicolás en Jamóvniki. Una edificación nueva, localizada en el Krymski Val, es usada para la promoción de arte ruso moderno.
La colección está conformada por más de 130 000 obras de arte, del rango de la Virgen de Vladímir y la Trinidad de Andréi Rubliov, hasta la monumental Composición VII de Vasili Kandinski y el Cuadrado Negro de Kazimir Malévich. En 1977, la galería contenía una significativa parte de la colección de George Costakis. Además, figuran otras obras igualmente importantes de los artistas Iván Aivazovski, Iván Argunov, Vasili Súrikov, Abram Arkhipov, Andréi Kolkutin, Orest Kiprenski, Valentín Serov, Vasili Polénov, Dmitri Levitski, Iliá Repin, Mijaíl Nésterov, Iván Shishkin y Marc Chagall.
es.wikipedia.org/wiki/Galería_Tretiakov
The State Tretyakov Gallery (Russian: Государственная Третьяковская Галерея, Gosudarstvennaya Tretyâkovskaya Galereya; abbreviated ГТГ, GTG) is an art gallery in Moscow, Russia, the foremost depository of Russian fine art in the world.
The gallery's history starts in 1856 when the Moscow merchant Pavel Mikhailovich Tretyakov acquired works by Russian artists of his day with the aim of creating a collection, which might later grow into a museum of national art. In 1892, Tretyakov presented his already famous collection of approximately 2,000 works (1,362 paintings, 526 drawings, and 9 sculptures) to the Russian nation.
The façade of the gallery building was designed by the painter Viktor Vasnetsov in a peculiar Russian fairy-tale style. It was built in 1902–04 to the south from the Moscow Kremlin. During the 20th century, the gallery expanded to several neighboring buildings, including the 17th-century church of St. Nicholas in Tolmachi.
The collection contains more than 130,000 exhibits, ranging from Theotokos of Vladimir and Andrei Rublev's Trinity to the monumental Composition VII by Wassily Kandinsky and the Black Square by Kazimir Malevich.
In 1977 the Gallery kept a significant part of the George Costakis collection.
In May 2012, the Tretyakov Art Gallery played host to the prestigious FIDE World Chess Championship between Viswanathan Anand and Boris Gelfand as the organizers felt the event would promote both chess and art at the same time.
Pavel Tretyakov started collecting art in the middle of 1850. The founding year of the Tretyakov Gallery is considered to be 1856, when Tretyakov purchased two paintings of Russian artists: Temptation by N. G. Schilder and Skirmish with Finnish Smugglers by V. G. Kudyakov, although earlier, in 1854–1855, he had bought 11 drawings and nine pictures by Dutch Old Masters. In 1867 the Moscow City Gallery of Pavel and Sergei Tretyakov was opened. The Gallery’s collection consisted of 1,276 paintings, 471 sculptures and 10 drawings by Russian artists, as well as 84 paintings by foreign masters.
In August 1892 Tretyakov presented his art gallery to the city of Moscow as a gift. In the collection at this time, there were 1,287 paintings and 518 graphic works of the Russian school, 75 paintings and eight drawings of European schools, 15 sculptures and a collection of icons. The official opening of the museum called the Moscow City Gallery of Pavel and Sergei Tretyakov took place on August 15, 1893.
The gallery was located in a mansion that the Tretykov family had purchased in 1851. As the Tretyakov collection of art grew, the residential part of the mansion filled with art and it became necessary to make additions to the mansion in order to store and display the works of art. Additions were made in 1873, 1882, 1885, 1892 and 1902–1904, when there was the famous façade, designed in 1900–1903 by architect V. Bashkirov from the drawings of the artist Viktor Vasnetsov. Construction of the façade was managed by the architect A. M. Kalmykov.
In early 1913, the Moscow City Duma elected Igor Grabar as a trustee of the Tretyakov Gallery
On June 3, 1918, the Tretyakov Gallery was declared owned by Russian Federated Soviet Republic and was named the State Tretyakov Gallery. Igor Grabar was again appointed director of the museum. With Grabar’s active participation in the same year, the State Museum Fund was created, which up until 1927 remained one of the most important sources of replenishment of the gallery's collection.
In 1926 architect and academician A. V. Shchusev became the director of the gallery. In the following year the gallery acquired the neighboring house on Maly Tolmachevsky Lane (the house was the former home of the merchant Sokolikov). After restructuring in 1928, it housed the gallery's administration, academic departments, library, manuscripts department, and funds and graphics staffs. In 1985–1994, an administrative building was built from the design of architect A. L. Bernstein with two floors and height equal to that of the exposition halls.
In 1928 serious renovations were made to the gallery to provide heating and ventilation. In 1929 electricity was installed.
In 1929 the church of St. Nicholas in Tolmachi was closed, and in 1932 the building was given to the gallery and became a storage facility for paintings and sculptures. Later, the church was connected to the exposition halls and a top floor was built which was specially designed for exhibiting a painting by A. A. Ivanov,The Appearance of Christ to the People (1837–1857). A transition space was built between rooms located on either side of the main staircase. This ensured the continuity of the view of exposure. The gallery began to develop a new concept of accommodating exhibits.
In 1936, a new two floor building was constructed which is located on the north side of the main building – it is known as the Schusevsky building. These halls were first used for exhibitions, and since 1940 have been included in the main route of exposure.
From the first days of the Great War, the gallery's personnel began dismantling the exhibition, as well as those of other museums in Moscow, in preparation for evacuating during wartime. Paintings were rolled on wooden shafts, covered with tissue paper, placed in boxes, and sheathed with waterproof material. In the middle of the summer of 1941 a train of 17 wagons traveled from Moscow and brought the collection to Novosibirsk. The gallery was not reopened in Moscow until May 17, 1945, upon the conclusion of the Great War.
In 1956, in honor of the 100th anniversary of the Tretyakov Gallery, the Alexander Ivanov Hall was completed.
From 1980 to 1992, the director of the Tretyakov Gallery was Y. K. Korolev. Because of the increased number of visitors, Korolev was actively engaged in expanding the area of exposition. In 1983, construction work began to expand the gallery. In 1985 the Depository, a repository of works of art and restoration workshops, was commissioned. In 1986 renovations began on the main building of the Tretyakov Gallery. The architects I. M. Vinogradsky, G. V. Astafev, B. A. Klimov and others were retained to perform this project. In 1989, on the south side of the main building, a new building was designed and constructed to house a conference hall, a computer and information center, children's studio and exhibition halls. The building was named the "Corps of Engineers", because it housed engineering systems and services.
From 1986 to 1995, the Tretyakov Gallery in Lavrushinsky Lane was closed to visitors to accommodate a major renovation project to the building. At the time, the only museum in the exhibition area of this decade was the building on the Crimean Val, 10, which in 1985 was merged with the Tretyakov Gallery.
In 1985, the Tretyakov Gallery was administratively merged with a gallery of contemporary art, housed in a large modern building along the Garden Ring, immediately south of the Krymsky Bridge. The grounds of this branch of the museum contain a collection of Socialist Realism sculpture, including such highlights as Yevgeny Vuchetich's iconic statue Iron Felix (which was removed from Lubyanka Square in 1991), the Swords Into Plowshares sculpture representing a nude worker forging a plough out of a sword, and the Young Russia monument. Nearby is Zurab Tsereteli's 86-metre-tall statue of Peter the Great, one of the tallest outdoor statues in the world.
Near the gallery of modern art there is a sculpture garden called "the graveyard of fallen monuments" that displays statues of former Soviet Union that were relocated.
There are plans to demolish the gallery constructed in the late Soviet modernism style, though public opinion is strongly against this.
Streetdeck SL15 ZGN in Botley Rd...here we see one of the two main bugbears to bus photography in Oxford...Sep 2 2018.
SHIPtember has me building again, so thank you to all you crazy-fast builders out there for some inspiration! I AM building a SHIP, but it's me, so it's gonna be a while before that's ready for posting. This little guy will be going along with it.
This is the first hardsuit I've ever built! It was a whole bunch of fun and I totally get why some builders start and don't stop!
One of the bugbears of being a Crosville driver in rural Wales was the influx of caravans in the summer time, particularly on the R6/R7 in the Aberglaslyn Pass and the D94 between Dolgellau and Barmouth, since the routes had pinch points where passing wide vehicles was difficult if not impossible.
Here the driver of ENG976, a Wrexham man a long way from home, waits for a caravan driver to inch past. Worse was to come, since the photograph was taken from the platform of SNG409, another Crosville Leyland National bound for Barmouth on a summer only service from Machynlleth which then had to pass the ENG! Both these Nationals were converted by Crosville to Gardner power. The bus pictured here has a badge on the front, and is one of the rare dual purpose models to be so converted.
More context for this photo can be found on this page.
The photo is my third stab at presenting this image, which is also on my previous flickr account. The contrast is better here, thanks to my use of a 16 bit DNG file from raw scan data to capture the extreme tones in tricky lighting before reducing to JPG.
Taken on the 25th of July 1985. Looking at the Google street view of the main road these days I can't see anywhere with walls so close to the carriageway so I expect the road has been widened now.