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Marco Alesi spielt Frédéric Chopin und andere Komponisten der Romantik auf der Vernissage "Der wunderbare und unendliche Pfad deines Körpers" des Künstlers Walkala.
Marco Alesi plays Frédéric Chopin and other composers of the Romantic Era at the exhibition "The wonderful and endless path of your body" of the artist Walkala.
© 2010 by Albert Bogner, Salzburg.
Info bei www.alesiensemble.eu/.
Für eine hochauflösende Präsentation dieser Serie mit klassischer Musik klicke zuerst auf Hintergrundmusik und danach auf Diaschau.
For a presentation in high resolution with classical music, first click on background music and afterwards on slideshow.
Click for a slideshow with random photos from my gallery in HDTV or XGA-resolution.
PENTAX K20D (Tamron 10-24mm), 1/50", f4.5 (EV 6.0), ISO 1600, f=23mm (35mm equiv., 1.44x dig. zoom)
Second Life holiday parties was an incredible mix of trance, dnb, electronica, dark psy, goa, minimal, proggy, acid, experimental, industrial, noize, tribal, jazz, live music, country, blues, reggae, salsa, classical, opera, and Christmas music. I heard it all and then some.
I love music of all kinds. If it's good, it's worth listening to, so don't start with the nose-up-in-the-air over your favorite genre. Believe me... good music will always find an audience. An audience of sophisticated listeners will stop to listen to any good sound... even if it isn't part of your normal repertoire.
What is amazing is that dj's and musicians around the world know this, and they borrow from all genres to create their own personal sounds.
Here in Second Life, we get the results from around the world. World music mixes with the trendy sounds of the day, and we get the sounds that we love so much.
I want to thank all the dj's, musicians, club owners and event makers in SL. You guys made a holiday scene like no other. APPLAUSE & BRAVO ::::
Special thanks to you <3:
... and kisses to ::
Xavier
Aosh
Ronnie
Stig
Mackenzie
Lou
Leo
Professor
Grease
Hallow
Nos
Thomm
Finny
Donna
IPR365
Arora
8Wall
Space
Shad
Healer
Queen
Stefan
Jen
Max
Xavier
Zod
Tina
Melt
WET
Sully
Sylvain
Alb
Web
Without you guys, the party scene would be dull indeed!
<3 <3 <3
2009... here we goooooo!
Budapest, Jewish Quarter
Neo-classical building, built in 1812 for Prandtner József silversmith
Architect: Pollack Mihály.
Reliefs: Dunajszky Lőrinc
---------------------------------------
Klasszicista épület, épült 1812-ben.
Tervező: Pollack Mihály
Építtető: Prandter József ezüstműves
Reliefek: Dunajszky Lőrinc
"tt működött valaha a híres Sauwirth (azaz a Disznógazda) mulató-kávéház. ... A házat 1812-ben Prandtner József ezüstműves terveztette és építtette Pollack Mihállyal, .... aki hozta kedvenc épületszobrászát, Dunajszky Lőrincet.
A mester tíz biedermeier domborművel díszítette a ház elejét, melyek Prandtner úr mesterségét dicsérik. Pufók pucér puttók tevékenykednek a képeken: rajzolnak, vésnek, cizellálnak, méricskélnek, nemesfémeket olvasztanak. Láthatók a végtermékek is, ötvös- munkák csoportozatai."
Idézzük meg a pesti alvilágba kirándult lírai költőt, Kiss Józsefet: "A Sauwirth (azaz a Disznógazda) híres établissementja hívogatja az élvezni vágyó publikumot. No, itt sajátos élvezet vár rá. Ennek a kocsmának legnagyobb nevezetessége és fő vonz- ereje a kocsmáros maga. Megjegyzendő, hogy ide csak akkor zarándokolnak a hívők, mikor már minden jóbul kivették részüket, és megtompult érzékeikre csak a legdrasztikusabb fűszerek képesek hatni. A Sauwirth, mint neve mutatja, összefoglalatja minden disznóságnak, de egyúttal az élelmesség netovábbja. Rosszabb sört drágábban nem mérnek sehol [a Bergernél sem?], és ha valaki arra a luxusra vetemednék, és itt vacsorálni akarna, jobb lett volna soha meg nem éheznie!
A Sauwirth per te s tu beszél mindenkivel. – Nincs hely? Állhatsz, eleget ültél Vácon. A képedről látom, hogy onnan kerültél ki.”
A párizsi Montmartre-on ugyanezekben az években a sanzonénekes Aristide Bruant mulatója volt híres arról, hogy a tulaj meg a pincérek hajmeresztő gorombaságokat vágtak a vendégek fejéhez. Az úri közönség mazochista kéjjel élvezte, hogy pimaszkodnak vele. Már-már csak az hiányzott, hogy a pincérek esténként mindenkit elverjenek…
This is part of a set of ancient glass drinking vessels in the collection of the Archaeology Museum in Axum, Ethiopia.
I love the contrast between the restrained, classical shape of the basic vessel, including the fillet below the rim and the base that tapers almost like an amphora, and the lively decorative loops that dance their way around its circumference.
I'm also impressed by the consistency in shape and size between and among the individual pieces in this set.
The Axumite Kingdom maintained extensive trade ties with other parts of the ancient world, so this item could have come from any of several far-off markets. One of my viewers kindly informed me these pieces are believed to have been imported from Alexandria.
As different as the Axumite world was from ours, I'd like to think the excitement of unpacking these exotic goods and using them for the first time with company would have been the same in both societies.
I'm also impressed by the consistency in shape and size between and among the individual pieces in this set.
While these pieces are probably well over a thousand years old, they look as fresh as anything you'd find in one of the hip art glass galleries in the Seattle area.
I'll take a dozen, thank you!
The Axumite Kingdom evolved from a city-state to a regional power between the second century before the current era and the second century of the current era.
At its peak between the third and sixth centuries of the current era, Axum controlled inter-regional and Red Sea trade. Axum is believed to have traded widely, with contacts in Byzantium, Alexandria and southern Europe.
Axum began to decline in the seventh century with the spread of Islam, which severed the trade routes that had been Axum's economic lifeblood.
A remnant of the Axum Kingdom persisted in the Blue Nile region until a rebellion finished it off in the tenth century.
I've complied with restrictions on the use of flash, and taken photos only when permitted by the museum.
Louis Armstrong, Count Basie, Sidney Bechet, Bix Beiderbecke, Big Bill Broonsy, Brownie & Sonny, Ray Charles, Champion Jack Dupree, Ella Fitzgerald, Earl 'Fatha' Hines, Billie Holiday, Groove Holmes, John Lee Hooker, Lightnin' Hopkins, Cisco Houston, Blind Lemon Jefferson, James P.Johnson, Leadbelly Ledbetter, Meade 'Lux' Lewis, Jelly Roll morton, King Oliver, Charlie Parker, Jimmy Reed, Jimmy Rushing, Memphis Slim, Bessie Smith, Otis Spann, Maxine Sullivan, Jack Teagarden, Sarah Vaughan, Fats Waller, Josh White, Big Joe Williams, Jimmy Witherspoon, Lester Young, Murray Hill Records 959054
11th Asia Pacific Dance Competition
July 17-19, 2009
Bangkok, Thailand
Please Do Not Use Without Permission.
Bespoke pattern of crystals and rhinestuds on ivory net. Designed to echo the patterned fabric of the bodice. Nine hours work on this part of the tutu alone!
The Library of Celsus is Ephesus's best known landmark, owing to the remarkable preservation of it's facade which, having collapsed at some point in the Middle Ages was meticulously pieced back together and re-erected in the late1970s (with a concealed stell frame to protect against further earthquake damage).
Ephesus is justly famed as one of the finest ancient Roman sites anywhere. The ruins of the city are extensive with many impressive monuments to amaze the visitor (that have often been partially reassembled to give an indication of their former glory and context).
Unfortunately the fame and popularity of the site means that, unlike most of the classical sites we visited elsewhere, it is constantly crowded with tourists. However the city has always attracted visitors, and among those who spent time here centuries ago were St Paul and St John (and possibly Mary herself if one believes in the authenticity of her nearby residence).
Pretty Ballerina Dancing Ballet Griffth Observatory Los Angeles City Skyline! Nikon D810 70-200mm VR2 F2.8! Fine Art Classical Ballet in Pointe Shoes Slippers Leotard Tutu Photography! High Res LA Model Portraits of Professional Ballerina! Jette Jump!
First pullip. Expect lots of Alice pictures! She quickly became one if my favorite dolls, and one of my favorite dolls to photograph. I got her from PullipStyle.com with a dent box, as I didn't care for the box, only Alice and her accessories, and I was planning to take her out of packaging from the start so I saved a couple of dollars there(even though it took me 5 minutes to find such dent that I hardly think of it as one. Such a non-problem being taken into consideration by the retailer really shows the high quality of service from PullipStyle).
Over-all review of Alice: She's mine hands off! Kidding aside lovely, and looks a lot like the drawings of Alice in Through The Looking-Glass, with a bit of pimped up attributes here and there making her a one of a kind variation. The wig has a good scent to it, so it won't get a foul odor on the clothing and accessories. It has no bald spots and you can't see the seams of the wig unless you push the hair over. It is a nice thin(dimensions matter!), polyester I believe, hair, with quite minute frizzing. Almost none, but making the hair look more natural. Her curls are not stiff, and incredibly soft. The company(Groove) used a very very high quality spray, that can't be noticed practically at all when touching the hair, to help keep the curls in their designated design. The curls are easily fixed with only moist fingers. Great doll, but very delicate. I've never been more careful with a doll than Alice.
A few more images from a recent visit to the Museum of Classical Arcaheology here in Cambridge. Beautiful light....
My first record with classical music. It was free if you sent a coupon from a magazine or newspaper. Early 1960s.
MMS (Musical Masterpiece Society) M931
33rpm 7" vinyl record
First published in 1957
The sleeve was made for Holland (Dutch text)
A fine example of a Roman Ionic capital from the large Baths of Hadrian's villa, Tivoli. The capital has been set back into place in the frigidarium of the Baths. Probably second century.
Another view of the same capital:
Reid's Coffee Palace (another name for a temperance hotel) was built by German immigrant John Reid on the site of his New York Bakery next to Ballarat's central railway terminus. Reid's Coffee Palace, which along with the bakery, and the Provincial Hotel across the street, were part of the franchise operated by John Reid.
Reid's Coffee Palace was built in two stages. The first was in 1886, with Melbourne architects Tappin and Gilbert and contractors Taylor and Ellis. The extensions were undertaken by Tappin Gilbert and Dennehy in 1888. The verandah would appear to have been built about ten years after that around 1898 - 1900. Externally the two stages are clearly evident with two bracketed pediments surmounted by elaborate name plates and flanked by a balustraded parapet. The Edwardian balcony verandah with central gablet, densely patterned frieze iron and matching unusual triangular brackets is of interest. Internally the stairwell with its wonderful hand painted ceiling and wall panels, clerestory, glazing and entrance arch are perhaps of greatest importance. The building is intact, other than recent repainting and signs and two shopfronts of the 1920s. Internally, only major items of interest have survived. The combination of the stairwell with the balcony verandah make this an important building of the coffee palace era and unique on a state wide basis.
The Coffee Palace remained extraordinarily intact, both internally and externally until the property was finally sold by the Reid family in 1977. The original fixtures and furniture was sold off and the whole building redecorated internally and externally.
John Reid emigrated from Germany to America, where in New York (the desination of so many European immigrants) he entered the baking trade. In 1855 brought the techniques and specialities he had learnt in New York to the burgeoning Victorian goldfields to feed the hordes of hungry miners, most of whom had never known anything like what John served. He established a New York bakery in the adventageous spot next to Ballarat's busy railway station, where the bakery remained until he decided to open his own coffee palace.
The term coffee palace was primarily used in Australia to describe the temperance hotels which were built during the period of the 1880s although there are references to the term also being used, to a lesser extent, in the United Kingdom. They were hotels that did not serve alcohol, built in response to the temperance movement and, in particular, the influence of the Independent Order of Rechabites in Australia.
First pullip. Expect lots of Alice pictures! She quickly became one if my favorite dolls, and one of my favorite dolls to photograph. I got her from PullipStyle.com with a dent box, as I didn't care for the box, only Alice and her accessories, and I was planning to take her out of packaging from the start so I saved a couple of dollars there(even though it took me 5 minutes to find such dent that I hardly think of it as one. Such a non-problem being taken into consideration by the retailer really shows the high quality of service from PullipStyle).
Over-all review of Alice: She's mine hands off! Kidding aside lovely, and looks a lot like the drawings of Alice in Through The Looking-Glass, with a bit of pimped up attributes here and there making her a one of a kind variation. The wig has a good scent to it, so it won't get a foul odor on the clothing and accessories. It has no bald spots and you can't see the seams of the wig unless you push the hair over. It is a nice thin(dimensions matter!), polyester I believe, hair, with quite minute frizzing. Almost none, but making the hair look more natural. Her curls are not stiff, and incredibly soft. The company(Groove) used a very very high quality spray, that can't be noticed practically at all when touching the hair, to help keep the curls in their designated design. The curls are easily fixed with only moist fingers. Great doll, but very delicate. I've never been more careful with a doll than Alice.
A classical guitar that spends much of its time hanging on my wall, shot with a Holga flash with a blue gel over it.
Kamenice nad Lipou lies in the northwestern region of the Bohemian-Moravian Highlands, some twenty kilometres north of Jindřichův Hradec, in Pelhřimov District.
The chateau acquired its present Neo-classical appearance in the early 19th century.
In 1580–1583, the original 13th-century castle was converted into a Renaissance mansion graced by a courtyard with arcades and a garden. The Baroque entrance tower was built in 1744. The chateau is surrounded by an English landscape garden featuring a linden tree estimated to be 700–800 years old. Kamenice nad Lipou derives its name from the tree. In 1998, the chateau came under the management of the Museum of Decorative Arts in Prague (UPM). Following extensive restoration work carried out between 1998 and 2004, permanent collections were installed on the ground floor of the Renaissance north wing, where the Museum also holds short-term exhibitions. The south wing of the chateau houses exhibition installations administered by the Municipal Museum, and the Ceremonial Hall. The cellars with their Gothic Hall are also open to visitors.
This piece of Art is a unique museum quality and special type of mosaic art that uses remarkably little tiny items (tesserae) of stones, each single tile was hand selected and cut Two or Three-time to suit in its place.
Thirty one Acanthus plant motifs constitute the days of the month.
Four foliage mosaics head represents the four Seasons.
Birds within Acanthus plant foliage represent birds immigration in Jordan mainly Madaba which consider the capital town of art's.
Grabs vine and three fruit trees represent harvest season.
Willed animals and hunting scenes.
Domestic animals and shepherd represent rural life-style.
SIZE : 48cm * 98cm including the wood frame.
Weight : 10 kilogram.
This outstanding mosaic artwork,
currently for sale only one piece available,
please in case you are interested, contact me for the price, everybody worldwide are welcome and I am prepared for any query.
If Eversfield Organic on The Plains in Totnes were aiming for a Victorian Christmas feel I'd say they've go it about right.
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Georg Minne 'Kniender Jüngling' (Kneeling Youth), 1898, Kunsthalle (Museum of Art), Hamburg, Germany
The tabla is a classical Indian instrument. It is a mythological story behind this as Ganesha the elephant god played this instrument. More in Hinduism here www.amazon.com/HINDUISM-Hinduism-Beginners-Understanding-...
Heading down Via Diacceto in Siena, towards Siena Cathedral. Having left Piazza Indipendenza. On the guided walking tour of Siena.
In the middle of this road is a viewpoint on a bridge.
Via Fontebranda goes under the bridge.
The Viewpoint from the bridge.
bell tower of Siena Cathedral.
Siena Cathedral (Italian: Duomo di Siena) is a medieval church in Siena, Italy, dedicated from its earliest days as a Roman Catholic Marian church, and now dedicated to the Assumption of Mary.
Previously the episcopal seat of the Diocese of Siena, from the 15th century the Archdiocese of Siena, it is now that of the Archdiocese of Siena-Colle di Val d'Elsa-Montalcino.
The cathedral itself was originally designed and completed between 1215 and 1263 on the site of an earlier structure. It has the form of a Latin cross with a slightly projecting transept, a dome and a bell tower. The dome rises from a hexagonal base with supporting columns. The lantern atop the dome was added by Gian Lorenzo Bernini. The nave is separated from the two aisles by semicircular arches. The exterior and interior are constructed of white and greenish-black marble in alternating stripes, with addition of red marble on the façade. Black and white are the symbolic colors of Siena, etiologically linked to black and white horses of the legendary city's founders, Senius and Aschius.
The façade of Siena Cathedral is one of the most fascinating in all of Italy and certainly one of the most impressive features in Siena. Each of the cardinal points (west, east, north, and south) has their own distinct work; by far the most impressive of these is the west façade. Acting as the main entryway to the Duomo proper, it boasts three portals (see Portal (architecture)); the central one is capped by a bronze-work sun.
Built in two stages and combining elements of French Gothic, Tuscan Romanesque architecture, and Classical architecture, the west façade is a beautiful example of Sienanise workmanship. Work began on the lower part around 1284. Built using polychrome marble, the work was overseen by Giovanni Pisano whose work on the Duomo’s façade and pulpit was influenced by his father Nicola Pisano.
The lower portion of the façade is designed from Giovanni's original plans. Built in Tuscan Romanesque style it emphasizes a horizontal unity of the area around the portals at the expense of the vertical bay divisions. The three portals, surmounted by lunettes, are based on Giovanni Pisano’s original designs, as are much of the sculpture and orientation surrounding the entrances. The areas around and above the doors, as well as the columns between the portals, are richly decorated with acanthus scrolls, allegorical figures and biblical scenes.
Giovanni Pisano was able to oversee his work until about 1296 when he abruptly left Siena, reportedly over creative differences with the Opera del Duomo, the group that oversaw the construction and maintenance of the Siena cathedrals. Pisano's work on the lower façade was continued under the direction of Camaino di Crescentino, but a number of changes were made to the original plan. These included raising the façade due to the raising of the nave of the church and the instillation of a larger rose window based on designs by Duccio di Buoninsegna and commissioned by the city of Siena. Work on the west façade came to an abrupt end in 1317 when the Opera del Duomo redirected all efforts to the east façade.
Upper façade
There is debate as to when work on the upper façade was completed. Most scholars agree that it was finished sometime between 1360 and 1370, though when it began again is not known. The work continued to use Pisano's plans for the façade with some adaptations under the direction of Giovanni di Cecco. Di Cecco preferred more elaborate designs, most likely inspired by the Orvieto Cathedral. The façade needed to be much higher than foreseen as the nave had, once again, been raised.
The changes were probably needed to accommodate the raised nave and di Cecco's more elaborate design scheme, heavily influenced by French Gothic architecture, caused the apparent division of the upper portion of the cathedral. Most noticeably the pinnacles of the upper portion do not continue from the columns flanking the central portal as they normally would in such cathedrals. Instead they are substantially offset, resulting in a vertical discontinuity which is uncommon cathedrals of the time as it can lead to structural weakness. To adjust for this imbalance, the towers on each side of the cathedral were opened by adding windows, reducing the weight they needed to support. The upper portion also features heavy Gothic decoration, a marked contrast to the simple geometric designed common to Tuscan Romanesque architecture.
Façade sculpture
While most of the sculpture decorating the lower level of the lavish façade was sculpted by Giovanni Pisano and assistant depicting prophets, philosophers and apostles, the more Gothic statuary adorning the upper portion—including the half-length statues of the patriarchs in the niches around the rose window—are works of later, unattributed, sculptors. Almost all the statuary adorning the cathedral today are copies. The originals are kept in the Crypt of the Statues in the Museo dell'Opera del Duomo.
Three large mosaics on the gables of the façade were made in Venice in 1878. The large central mosaic, the Coronation of the Virgin, is the work of Luigi Mussini. The smaller mosaics on each side, Nativity of Jesus and Presentation of Mary in the Temple, were made by Alessandro Franchi.
The bronze central door is a recent addition to the cathedral, replacing the original wooden one. The large door, known as the Porta della Riconoscenza, was commissioned in 1946 near the end of the German occupation of Siena. Sculpted by Vico Consorti and cast by Enrico Manfrini, the scenes on the door represent the Glorification of the Virgin, Siena’s patron saint.
On the left corner pier of the façade is a 14th-century inscription marking the grave of Giovanni Pisano. Next to the façade stands a column with a statue of the Contrade Lupa, a wolf breast-feeding Romulus and Remus. According to local legend Senius and Aschius, sons of Remus and founders of Siena, left Rome with the statue, stolen from the Temple of Apollo in Rome.
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Lucius Annaeus Seneca: On entering a temple we assume all signs of reverence. How much more reverent then should we be before the heavenly bodies, the stars, the very nature of God!
John Muir: All the wild world is beautiful, and it matters but little where we go, to highlands or lowlands, woods or plains, on the sea or land or down among the crystals of waves or high in a balloon in the sky; through all the climates, hot or cold, storms and calms, everywhere and always we are in God's eternal beauty and love. So universally true is this, the spot where we chance to be always seems the best.
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The Hunter Museum of American Art is an art museum in Chattanooga, Tennessee. The museum's collections include works representing the Hudson River School, 19th century genre painting, American Impressionism, the Ashcan School, early modernism, regionalism, and post-World War II modern and contemporary art.
The building itself represents three distinct architectural stages: the original 1904 classical revival mansion designed by Abram Garfield, the son of president James A. Garfield, which has housed the museum since its opening in 1952, a brutalist addition built in 1975, and a 2005 addition designed by Randall Stout which now serves as the entrance to the museum.
The museum is situated on an 80-foot (24 m) bluff overlooking the Tennessee River and downtown Chattanooga. The Faxon House, built in 1904, was built where a Confederate battery had been emplaced. Once a prestigious address for Victorian houses, the area is now home to the Bluff View Art District. The museum sits on a bluff that overlooks the Walnut Street Bridge. The Ruth S. and A. William Holmberg Pedestrian Bridge provides a pedestrian-friendly connection to the nearby Walnut Street Bridge and riverfront attractions.
The Hunter Museum is named after George Hunter, who inherited the Coca-Cola Bottling empire from his uncle Benjamin Thomas. Thomas was one of the entrepreneurs who created Chattanooga's Coca-Cola bottling empire. Their nephew, George Hunter, later joined Anne Thomas to create a philanthropic organization in Hunter's memory named the Benwood Foundation. The foundation's mission was to "promote religious, charitable, scientific, literary and educational activities for the advancement or well being of mankind". The centerpiece of the Benwood Foundation's gifts to the community of Chattanooga is the Hunter Museum of American Art, originally known as the Ross Faxon House.
In 2002 the Hunter Museum of American Art partnered with the City of Chattanooga, the Tennessee Aquarium and the Creative Discovery Museum to finish the 21st Century Waterfront Plan. The Hunter Museum portion of the project included a $22 million expansion and renovation, designed by Randall Stout that was completed in 2005. The project included 28,000 square feet of new construction, 34,000 square feet of renovation, a new entrance, a temporary exhibition space, restoration of the mansion, the creation of an outdoor sculpture and a complete reinstallation of the Museum's permanent collection.
The Hunter Museum of American Art includes 100 years of architectures and the most complete collection of American art in the Southeast. The museum also travels nationally for exhibits and curated shows. The collection spans from the colonial period to present day and covers a wide variety of media including painting, sculpture, contemporary studio glass, and crafts.
In 2006 the museum received national recognition from the Innovative Design in Engineering and Architecture with Structural Steels awards program. The award recognizes outstanding achievements in engineering and architecture on structural steel projects around the country. The Hunter Museum project earned Merit Award recognition in the category of Projects $15–$75 million.
In June 2015, the Hunter Museum of Art announced on their official website that they had chosen a new executive director, Virginia Ann Sharber.
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Pink Classical Tutu embellished with silver embroidery and pink crystals - modelled by Yana Cherepanova photo Darian Volkova