View allAll Photos Tagged classical
Classical marks lll "shluh" of Shayigyiah tribe on her face.They are living in Marawi,Nuri,Al Kurru,Jebel Barkal..in northern Sudan.
Tim and I continued to see her busking in several locations during our trip. I always throw in some coins for street musicians, regardless of the genre they're performing.
Used by Surendranath Bandapadhay.
Nastaranga is used by placing two metal shehnai -like instruments on the both side of the neck and basically humming a raag. The sound is produced by neck vibrations.
Anyone have recordings of this?
aftabdatta@gmail.com
I think Bashir Khan of Dewas is the last documented, professional performer of this alien instrument
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!
Early views of this space show a green lawn dotted with sculpture. It later became the Fountain Restaurant one of the grandest spaces in New York for people on a budget to enjoy. The entire area inside the columns was a pool and fountain showcasing “Aganippe: The Fountain of Muses” by Carl Milles 1951-55. The fountain did not pass the cool test and in 1982 was sold to Brookgreen Gardens, South Caroline where it is exhibited outdoors.
The new configuration is very attractive but I miss the fountain.
This woman was one of a group of four middle-aged Korean dancers. She was the only one to be smiling, but not in the usual way performers smile; she had her own quiet way to express the supreme delight that it is to dance...
Her group was performing on the stage sponsored by Lotus Music and Dance, which presented an international selection of music and dance, as usual.
Drums Along the Hudson Festival; Inwood Hill Park, New York City
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The classical portrait of Lord Toppenbottom, modeled by Chris B.
I'll be doing a blog entry about the genesis of this character and how we finally got him into the studio after a year of planning.
To check that out, check out www.greginda.com/blog
Singers from Bampton Classical Opera plus Kelvin Lim (pianist), Jeremy Gray (director) and Robin Newton (conductor), giving a taste of the Marriage of Figaro, by Portuguese composer Marcos Portugal. See details of this programme
Chrome line guides & silk thread wraps with a deep, rich varnish are all features of the Classical Series rods.
The visitor to the ancient city of Aphrodisias is first greeted by numerous sculpted architectural fragments within and around it's museum, a taste of how impressive this city, a major centre for ancient sculpture, must once have been.
Much of the museum was closed for refurbishment when we visited, which initially caused some disappointment, though the room still accessible was the largest and contains an impressive series of relief sculptures from the reign of Emperor Claudius (41-54 AD).
The surrounding gardens contain many richly decorated sarcophagi and beautifully carved architectural embellishments of the highest quality.
Into the Malibu Woods! Pretty Ballerina Dancing Ballet Amongst the Trees Beside a Stream feeding Malibu Creek! Magical Forest Light!
Beautiful Fine Art Ballerina Dancing Classical Ballet in Pointe Shoes Venus! High Res Golden Ratio Ballet Dancer Photography! Graceful Athletic Action Portraits of Professional Ballerina! Bikini Swimsuit Blue Leotard & Tutu! dx4/dt=ic
Sony A7 R RAW Photos of Pretty, Tall Brunette Ballerina Model Goddess Dancing Ballet! Carl Zeiss Sony FE 55mm F1.8 ZA Sonnar T* Lens & Lightroom 5.3
My physics equation dx4/dt=ic graces the swimsuits and bikinis, while the golden gun is designed in proportion with the golden ratio, and the photos are oft cropped in divine proportions!
Beautiful Golden Ratio Composition Photography Surf Goddesses! dx4/dt=ic Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite! Athletic Fitness Models!
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Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
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Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
Jean-Baptiste van Loo, né le 11 janvier 1684 à Aix-en-Provence et mort le 19 décembre 1745 dans la même ville, est un peintre français né et élevé dans une dynastie de peintres d'origine néerlandaise. Auteur de nombreux portraits, tableaux d'histoire et de cinq plafonds, il voyage en Italie et en Angleterre.
Louis, XV, roi de France et de Navarre (1723)
Huile sur Toile
Dimensions 2,05 x 1,71 m
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Contexte historique et fonction du portrait
En 1723 Louis-XV a atteint la majorité (né en 1710) : la France sort progressivement de la période de régence (Philippe d’Orléans). Les portraits officiels réalisés à cette date ont une fonction politique évidente : affirmer l’autorité du jeune roi, sa légitimité dynastique et sa capacité à commander, dès l’enfance. Ce portrait s’inscrit donc dans une stratégie visuelle d’ »éducation du regard public » : on montre un souverain jeune mais déjà roi-chef des armées.
Attribution et ateliers Van Loo, Parrocel, variantes
Jean-Baptiste Van Loo est un portraitiste formé en Italie, actif à Paris et en Europe ; il produit de nombreux portraits officiels. Pour les grands formats équestres ou officiels, il était courant que l’atelier ou un peintre spécialisé (par ex. Charles Parrocel, spécialiste des chevaux/scènes militaires) collabore d’où l’existence de variantes et d’attributions multiples pour les portraits de Louis-XV réalisés autour de 1723. Selon les notices et reproductions, la version versaillaise et d’autres variantes d’atelier circulent sous le nom de Van Loo (parfois associées à Parrocel pour la partie équestre).
Description formelle (composition, pose, éléments iconographiques)
Format et composition : grand format (2,05 × 1,71 m) permettant une présence monumentale. Le roi est représenté en stature souveraine soit à cheval (dans la version équestre officielle de 1723) soit, dans des variantes en pied/mi-corps, debout en armure posture trois-quarts dynamique, main droite dirigée vers un bâton de commandement ou posée sur la hanche.
Attributs militaires et royaux : armure brillante, bâton de commandement fleurdelisé, écharpe/cordon bleu (ordre du Saint-Esprit), manteau d’hermine ou drapé aux armes de France ; colonne et tenture rouge en arrière-plan ; parfois, dans la version équestre, un paysage de campagne ouvert sur l’horizon. Ces éléments codifiés renvoient simultanément à la puissance militaire, à l’ordre dynastique et au faste monarchique.
Couleur & lumière : palette dominée par ors/métalliques (armure), bleu (sceptre/écharpe) et rouge (tenture) contrastes classiques pour isoler la figure royale par rapport à l’arrière-plan atmosphérique. La lumière souligne l’armure et le visage, accentuant la tridimensionnalité et l’autorité.
Lecture stylistique et technique
Trait et facture : Van Loo (et son atelier) privilégient un rendu soigné du visage une douceur dans la carnation, regard posé tandis que l’armure et les étoffes montrent un travail précis des reflets et des drapés. La juxtaposition du traitement délicat du visage et du rendu plus sculptural de l’armure renforce l’idée du roi « homme » + « puissance » incarnée.
Modèles et références : le portrait emprunte au vocabulaire baroque/classique des grands portraits royaux (Rigaud pour Louis XIV, les modèles équestres d’empereurs romains) mais l’exécution montre déjà un goût plus discret, plus « rocaille » dans l’élégance du costume et des couleurs propre aux premières décennies du XVIIIᵉ siècle.
Iconographie et message politique
Jeunesse et autorité : représenter Louis-XV en armure et avec le bâton de commandement vise à effacer l’idée d’une minorité ou d’un pouvoir affaibli. L’armure symbolise le commandement sur les armées et la continuité du pouvoir monarchique.
Légitimation dynastique : les symboles héraldique (ermine, fleurs de lys, bleu du grand ordre) rappellent l’origine divine et l’immutabilité de la monarchie. La colonne/tapisserie et le paysage donnent une dimension temporelle et universelle au règne pas seulement un portrait privé, mais un manifeste d’État.
Variantes, copies et destination muséale
Il existe plusieurs versions et copies d’atelier : portraits en pied, versions équestres, tirages d’après l’original pratique courante pour diffuser l’image royale à la Cour et dans les résidences royales. La présence de ce tableau au château de Versailles s’inscrit dans la politique muséographique de conservation des portraits royaux exposés pour rappeler la continuité historique.
Appréciation critique forces et limites
Forces : puissance du dispositif symbolique, efficacité communicative (le message politique est clair), belle maîtrise technique pour la carnation et les textures (armure, velours, fourrures). L’œuvre remplit sa fonction de représentation officielle.
Limites : le portrait reste fortement codifié ; la liberté d’expression artistique est au service de la propagande dynastique on n’attend pas ici une grande expérimentation psychologique ; le visage juvénile peut sembler idéaliser le roi pour renforcer sa stature.
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UNIQUEMENT POUR LE PLAISIR DES YEUX.
Alumnus of Sreejaya's School of Classical Dance have attained distinction as star performers, many of our students are reputed Bharatanatyam dance teachers and recognized choreographers successfully fulfilling the school’s aim of preserving and spreading the art form of Bharatanatyam in its purest form with devotion and dedication.
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.