View allAll Photos Tagged committed
“Loveland Foundation is committed to showing up for communities of color in unique and powerful ways, with a particular focus on Black women and girls. Our resources and initiatives are collaborative and they prioritize opportunity, access, validation, and healing. We are becoming the ones we’ve been waiting for.” thelovelandfoundation.org/about/
🇬🇧
At some point, spring stops being subtle and decides to make a proper entrance.
In Parco Talenti, these trees didn’t just bloom—they took over the scene completely. The pink blossoms stretch across the frame as if they had no intention of leaving any space for doubt: winter is over.
I liked how the path quietly curves beneath them, almost secondary to the show above. It’s one of those moments where you realize that, composition aside, sometimes nature simply does all the heavy lifting for you.
🇮🇹
A un certo punto la primavera smette di essere discreta e decide di fare un ingresso in grande stile.
A Parco Talenti, questi alberi non si sono limitati a fiorire—hanno preso completamente possesso della scena. I fiori rosa riempiono l’inquadratura come a non lasciare alcun dubbio: l’inverno è finito.
Mi è piaciuto come il sentiero scorra sotto di loro quasi in secondo piano. È uno di quei momenti in cui capisci che, al di là della composizione, a volte è la natura a fare tutto il lavoro.
Created with GIMP
Dichotomy.
Committed to Ilford HP5+ using a Hasselblad X-pan and 45 mm lens and red filter. Developed with Ars-Imago FD as standard and scanned using an Epson V850 using Silverfast. Positive conversion and levels done with Negative Lab Pro.
The Art Nouveau is the style of natural harmony. Its committed goal is the establishment of the concord of the beauty and function without compromise. This is the last comprehensive European style enriching the European culture in the applied art, the fine art and construction design. The art of the Hungarian masters enriched the unique idiom of the Art Nouveau. Being a rich resource of the trasures of this style, the Hungarian Art Nouveau is a worthy competiror of the heritages of the French, German, Belgian and Aystrian Art Nouveau. The permanent exhibition consists of paintings, furniture, ornaments and interiors. It provides and authentic sight of the atmosphere of the civic life of the “peacetime” of Budapest for the visitors. A cafe of friendly atmosphere and shop of original silver jewelries and ceramic copies waith the visitors.
Opening hours 10-17, closed on Sunday.
1054 Budaoest, Honved u 3. Hungary
www.magyarszecessziohaza.hu or
guideme.hu/place/house-of-hungarian-art-nouveau/
The building, designed by Emil Vidor, reflects the influence of Belgian and French architecture. At the same time, the facade of the building also incorporates Hungarian patterns, like the Zsolnay ceramics patterns. Not long ago, the building was entirely renovated. Besides the private museum operating in the establishment and displaying furniture, porcelain, ironwork and paintings, visitors can sit into a lovely café, too.
In 1907 the periodical Hungarian Competition (Magyar Pályázat) presents a description of the building in the Architectonic Chronicle section (Építőművészeti Krónika) with the title: Mr. Bedő Béla's Honvéd Street Palace. The designer, Emil Vidor, took good care of the building’s interior space as well, in the spirit of Gesamtkunstwerk (all objects in the same style).
This powerful unity of the arts and crafts in 1903 was a groundbreaking event in Hungary. The Bedő House was built only six years after the Belgian Victor Horta made his first fully Art Nouveau house, and in the same time with the Scottish architect, Mackintosh's famous arts house.
Even a contemporary description mentions the planned use of specially designed murals, the richly applied stained and ground glass, and generally the special design furnishing of the whole building.
On PBS Masterpiece Theatre “Vienna Blood” prodution the location was used and the Dr’s apartment was within this fine building.
Using my photo as base image created in DDG Text 2 AI filters.
Fourth image in the series.
All art works on this website are fully protected by Canadian and international copyright laws, all rights reserved. The images may not be copied, reproduced, manipulated or used in any way, without written permission from the artist. Link to copyright registration:
www.canada.ca > Intellectual property and copyright
John Kennedy's....
I really don’t know why it is that all of us are so committed to the sea, except I think it’s because in addition to the fact that the sea changes, and the light changes, and ships change, it’s because we all came from the sea. And it is an interesting biological fact that all of us have, in our veins the exact same percentage of salt in our blood that exists in the ocean, and, therefore, we have salt in our blood, in our sweat, in our tears. We are tied to the ocean. And when we go back to the sea – whether it is to sail or to watch it – we are going back from whence we came.
Committed to Ilford HP5+ using a Hasselblad X-Pan and 45 mm lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro. Dust cleaning in Photoshop.
Committed to Ilford Delta 400 using a Hasselblad 503 CX and 60 mm lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
Excerpt from nfchc.ca:
The Niagara Falls Community Health Centre (NFCHC) is non-profit, community governed, multi-service health centre that provides primary health care, health promotion, and community development services all under one roof at no cost.
NFCHC responds to the health needs of individual patients and their families, as well as to the health concerns of the community. We are committed to providing accessible services, the empowerment of individuals and communities, service integration, illness prevention and comprehensive client care.
Committed to Ferrania P30 using a Leica M6 and 50 mm Noctilux f1 lens. Developed using Ars-Imago FD as standard and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
She's so committed to my cause ! bahaha
It's another Orange-A-Lish Weekend at Pinkalicious.. So come on and get off your butts and feed the group some vitamin C !! ;)
Care to Construct a Charming Comment ???
Certainly no Coercion ..,
but be Content to be Compassionate and Caring.
Conceivably, you Could Compose something Charitable, Considerate, and Charming.
Forster's tern is fully committed and is on her way to her next fish dive in the very late afternoon light ... @ Bolsa Chica Ecological Reserve
Early morning on the Williamsburg Bridge between Manhattan's Lower East Side and Brooklyn's Williamsburg district.
New York City, September 2017.
All of my photographs are under copyright ©. None of these photographs may be reproduced and/or used in any way without my permission.
© NGimages / Nico Geerlings Photography
About half way up the first section of the hill that had at least a 45 degree incline, we figured we were committed to our lunacy. After reaching a point where the climb got a lot better, we made our way to the top and waited. Looking out over the re-purposed Humboldt Mill to handle Nickel from the Eagle Mine in Big Bay to the north, the Mineral Range works the massive mill as they spot empties and prepare to take loads back to Ishpeming where they will interchange with the CN. In the distance is the tailings pile for the Tilden Mine in Negaunee.
Never doubt that a small group of thoughtful,
committed people can change the world.
Indeed, it is the only thing that ever has.
Margaret Mead
Each time a person stands up for an ideal, or acts to improve the lot of others,
or strikes out against injustice, he sends forth a tiny ripple of hope,
and crossing each other from a million different centers of energy and daring,
these ripples build a current that can sweep down the mightiest walls
of oppression and resistance.
Robert Kennedy
We don't have to engage in grand, heroic actions to
participate in the process of change.
Small acts, when multiplied by millions of people,
can transform the world.
Howard Zinn (Historian)
Thank you for your kind visit. Have a wonderful and beautiful day! ❤️ ❤️ ❤️
After all these years, these monks are still here, keeping the same duties they've kept while they were alive, side by side with their god.
Really though, leave it to Japan to come up with an idea to turn shelves of cremated ashes into a small electronic display that people would come here just to see. That's on another level of creative thinking. And perfect bait for people like me who jump at these kinds of opportunities. It's been a while since I posted from here in any case. This one was a bit selfish though, I took this in the entrance while it was raining and I almost held up a line. I could tell the guard didn't want me to stay there long, so this was the only angle I got here (he didn't tell me to move, I could just feel the silent pressure).
I didn't change my ISO, and I couldn't whip my tripod out in this one spot, I resorted to turning down my f-stop to let more light in and resulted in the edges being blurry. In editing I had to redirect a bit of that light, away from the projections on the floor and up to the middle installation, especially since I couldn't change the blur on the side (and I kinda didn't want to). I don't really need to revisit this spot to shoot it again, but I know someone else who might, only time will tell.
Committed to Ferrania P30 using a Leica M6 and 50 mm Summicron V3 lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
i do not condone or wish to promote the actions of these evil bastards
A serial killer is typically defined as an individual who has murdered three or more people over a period of more than a month, with down time (a "cooling off period") between the murders, and whose motivation for killing is largely based on psychological gratification. Other sources define the term as "a series of two or more murders, committed as separate events, usually, but not always, by one offender acting alone" or, including the vital characteristics, a minimum of at least two murders. Often, a sexual element is involved with the killings, but the FBI states that motives for serial murder include "anger, thrill, financial gain, and attention seeking." The murders may have been attempted or completed in a similar fashion and the victims may have had something in common; for example, occupation, race, appearance, sex, or age group.
Serial killers are not the same as mass murderers, who commit multiple murders at one time; nor are they spree killers, who commit murders in two or more locations with virtually no break in between.
1969
Sutcliffe committed his first assault on an older prostitute whom he had met whilst searching for the woman who had previously tricked him out of money. He had left his friend's mini-van and walked up Pauls Road, Bradford, until he was out of sight. When he came back, he was out of breath, as if he had been running. He told long-term friend of his, Trevor Birdsall, who was the driver of the vehicle that he was in, to drive off quickly. Sutcliffe said that he had followed a prostitute into a garage and hit her over the head with a stone in a sock. According to his statement, Sutcliffe stated, "I got out of the car, went across the road and hit her. The force of the impact tore the toe off the sock and whatever was in it came out. I went back to the car and got in it".
When the police visited his home the next day, they informed him that the woman, who bore no resemblance to the prostitute who had tricked him out of £10, had noted down Birdsall's mini-van vehicle registration plate. Sutcliffe admitted that he had hit her over the head, but claimed that it was only with his hand. The police told him he was "very lucky" as the prostitute didn't want anything more to do with the incident - she was a known prostitute and her common-law husband was serving a sentence for an assault.
1975
Sutcliffe committed his second assault on the night of 5 July 1975 in Keighley. He attacked Anna Rogulskyj, who was walking alone, striking her unconscious with a ball-peen hammer and slashing her stomach with a knife. Disturbed by a neighbour, he left without killing her. Rogulskyj survived after extensive medical intervention but was emotionally traumatised by this attack.
Sutcliffe attacked Olive Smelt in Halifax in August. Employing the same modus operandi he struck her from behind and used a knife to slash her, though this time above her buttocks. Again he was interrupted, and left his victim badly injured but still alive. Like Rogulskyj, Smelt suffered emotional scars from the attack, including clinical depression. On 27 August, Sutcliffe attacked 14 year old Tracy Browne in Silsden. He struck her from behind and hit her on the head five times while she was walking in a country lane. Sutcliffe was not convicted of this attack, but confessed to it in 1992.
The first victim to lose her life was Wilma McCann, on 30 October. McCann was a mother of four from the Chapeltown district of Leeds. Sutcliffe struck her twice with a hammer before stabbing her 15 times in the neck, chest and abdomen. Traces of semen were found on the back of her underwear. An extensive inquiry, involving 150 police officers and 11,000 interviews, failed to uncover the culprit. One of McCann's daughters committed suicide in December 2007, reportedly after suffering years of torment over her mother's death.
1976
Sutcliffe committed his next murder in January 1976, when he stabbed Emily Jackson 51 times in Leeds. In dire financial straits, Jackson had been using the family van to exchange sexual favours for money, a fact which shocked family and neighbours when it was revealed after the murder. Sutcliffe hit her on the head with a hammer and then used a sharpened screwdriver to stab her in the neck, chest, and abdomen. Sutcliffe also stamped on her thigh, leaving behind an impression of his boot.
Sutcliffe attacked Marcella Claxton in Roundhay Park, Leeds, on 9 May. Walking home from a party, she was given a lift by Sutcliffe. When she later got out of the car to urinate, Sutcliffe hit her from behind with a hammer. She was left alive and was able to testify against Sutcliffe at his trial.
1977
On 5 February 1977 he attacked Irene Richardson, a Chapeltown prostitute, in Roundhay Park. Richardson was bludgeoned to death with a hammer. Once she was dead, he mutilated her corpse with a knife. Tyre tracks left near the murder scene resulted in a long list of possible suspect vehicles.
Two months later, on 23 April 1977, Sutcliffe killed Bradford prostitute Patricia "Tina" Atkinson in her flat, where police found a bootprint on the bedclothes. Two months later Sutcliffe committed another murder in Chapeltown, claiming his youngest victim, 16-year-old Jayne MacDonald, on 26 June. She was not a prostitute. In the public perception, her death showed that every woman was a potential victim. Sutcliffe seriously assaulted Maureen Long in Bradford in July. He was interrupted and left her for dead. A witness misidentified the make of his car. More than 300 police officers working the case amassed 12,500 statements and checked thousands of cars, without success. On 1 October 1977 Sutcliffe murdered Manchester prostitute Jean Jordan. Her body was found ten days later and had obviously been moved several days after death. In a later confession, Sutcliffe stated he had realised that the new £5 note he had given her was traceable. After hosting a family party at his new home, he returned to the wasteland behind Manchester's Southern Cemetery, where he left the body, to retrieve the note. Unable to do so he mutilated Jordan's corpse and moved the location of the body.
The following morning, Jordan was discovered by actor Bruce Jones, who at that time was a local dairy worker. He had an allotment on the land adjoining the site where the body was found and was searching for disused house bricks when he made the discovery. The £5 note, hidden inside a secret compartment in Jordan's handbag, offered a valuable piece of evidence. The note was new, allowing it to be traced to branches of the Midland Bank in Shipley and Bingley. Police analysis of bank operations allowed them to narrow their field of inquiry to 8,000 local employees who could have received it in their wagepacket. Over three months the police interviewed 5,000 men, including Sutcliffe, whom they did not connect to the crime.
On 14 December Sutcliffe attacked another Leeds prostitute, Marilyn Moore. Moore survived and provided police with a description of her attacker. Tyre tracks found at the scene matched those from an earlier attack.
1978
The police discontinued the search for the person who received the £5 note in January 1978. Although Sutcliffe was interviewed about the £5 note, he was not investigated further (he would ultimately be contacted, and disregarded, by the Ripper Squad on several further occasions). That month, Sutcliffe killed again. His victim was 21-year-old Bradford prostitute, Yvonne Pearson. Sutcliffe hid her body under a discarded sofa and it was not found until March. He killed 18-year-old Huddersfield prostitute Helen Rytka, on the night of 31 January. Her body was found three days later. On 16 May Sutcliffe killed again after a three-month hiatus. The victim was Vera Millward whom he killed during an attack in the car park of Manchester Royal Infirmary.
1979
Almost a year passed before Sutcliffe attacked again. During this period, in November 1978, his mother Kathleen died, aged 59.
On 4 April 1979 Sutcliffe killed a 19-year-old bank clerk, Josephine Whitaker. He attacked her on Saville Park Moor, Halifax, as she was walking home. Despite new forensic evidence, police efforts were diverted for several months following receipt of a taped message purporting to be from the murderer. The message taunted Assistant Chief Constable George Oldfield who was leading the investigation. The tape contained a man's voice saying "I'm Jack. I see you're having no luck catching me. I have the greatest respect for you, George, but Lord, you're no nearer catching me now than four years ago when I started."
Based on the recorded message police began searching for a man with a Wearside accent, which was narrowed down to the Castletown area of Sunderland. The message was much later revealed to be a hoax. The hoaxer, dubbed "Wearside Jack", sent two letters to police in 1978, that boasted of his crimes. The letters, signed "Jack The Ripper", claimed responsibility for the murder of 26-year-old Joan Harrison in Preston in November 1975. On 20 October 2005, John Samuel Humble, an unemployed alcoholic and long-time resident of the Ford Estate area of Sunderland (a mile from Castletown), was charged with attempting to pervert the course of justice for sending the hoax letters and tape. He was remanded in custody. On 21 March 2006 Humble was convicted and sentenced to eight years in prison.
On 1 September Sutcliffe murdered 20-year-old Barbara Leach. Leach was a Bradford University student killed in Ash Grove, close to the university and her lodgings. It was his sixteenth attack. The murder of a woman who was not a prostitute again alarmed the public and prompted an expensive publicity campaign, which emphasised the Wearside connection. Despite the false Wearside lead, Sutcliffe was interviewed on at least two further occasions in 1979. Despite matching several forensic clues and being on the list of 300 names in connection with the £5 note, he was not strongly suspected. In total, Sutcliffe was interviewed by the police on nine occasions.
1980
In April 1980 Sutcliffe was arrested for drunk driving. While awaiting trial on this charge, he killed two more women. He murdered 47-year-old Marguerite Walls on the night of 20 August, and 20-year-old Jacqueline Hill, a student at the University of Leeds, on the night of 17 November. He also attacked two other women who survived. They were Dr. Uphadya Bandara, attacked in Leeds on 24 September, and 16-year-old Theresa Sykes, attacked in Huddersfield on the night of 5 November. On 25 November, Trevor Birdsall, an associate of Sutcliffe reported him to the police as a suspect. This information vanished into the enormous amount of paperwork already created.
Edgar Bloom announced his decision on a Tuesday morning, shortly after breakfast, while the kettle was still warm.
“I am going to do nothing,” he said to no one in particular.
At first, it sounded like the sort of declaration people made before eventually doing something else. Edgar, however, meant it with the solemnity of a vow. He sat down in the armchair by the window, folded his hands, and waited for nothing to happen.
Nothing obliged.
From that day forward, Edgar committed himself to inaction with an almost athletic discipline. He did not work. He did not marry. He did not travel, protest, invent, create, improve, or regret. He allowed food to be placed near him and consumed it without preference. He slept when sleep arrived and woke when it left.
At first, people took note. Newspapers ran short items: “Local Man Chooses Nothing”. Philosophers wrote letters asking if he might clarify his position. Edgar did not reply. Children visited him on school trips. They stared, waiting for something interesting to occur. One child asked, “Is he finished yet?” A teacher said, “No, he’s still doing it.”
Old age came without ceremony. His body continued its private negotiations: bones thinned, breath shortened, skin folded itself patiently. Edgar made no comment.
On his final day, the light through the window lingered longer than usual. He lay still, listening to the smallest sounds: a clock ticking, the soft cut of wings passing overhead.
It was then he decided to speak. When a visitor asked him, gently, “Why?” Edgar considered this for a long moment, as though testing the weight of the word.
“I was afraid I’d choose the wrong path through life,” he said at last. “So I chose none.”
He paused. “And somehow,” he added, “it still took me exactly where I was meant to go.”
Committed to Ferrania P30 using a Leica M6 and 50 mm Noctilux f1 lens. Developed using Ars-Imago FD as standard and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
One thing I committed myself to this summer was to arrive earlier at a locations, take more time to dial in comps, and then wait for the good light to unfold. All too often I’d grow impatient waiting for the light to come, so I’d start jumping around exploring for better (or for what often turned out to be the case – worse) comps. So I test drove this new goal this summer and soon found a couple things out: 1) I’ll always run late and will forever be sprinting down the trail to get in position (that’s just how I roll!), and 2) sometimes sitting on a comp is a fools errand, as the good light has a nasty habit of not showing up where you want it to. This shot illustrates this point clearly. For over thirty minutes I sat on a flower and mountain filled meadow comp as I begged the cloud and light gods to clear out gloriously over Reynold’s mountain. It never happened. What did happen were the skies kept clearing gloriously over my shoulder behind me. But I held steady, determined that my original comp would work if only I sat there a few more minutes. Finally, I couldn’t stand it any more and scrambled to cobble together a comp in the limited time I had before the show shut down. The light was good, the comp was at best passable. Now the only thing I can do is wonder what could have happened if I followed the light instead of entrenching myself in a battle of wills with mother nature…
Being committed to monochrome, I only started taking colour images in 1981. At first this was only 35mm, but later added a second Pentax 6X7 body to take colour. 55015 'Tulyar' at Newcastle Central on the SuO 1120 Edinburgh-Plymouth. circa 1981.
Peering over at the mountainside opposite, I couldn't help but think that I had made the right choice. Despite the temperatures, my hiking path had been almost entirely dry and solid. The opposite was true of my surroundings, which made them all the more fascinating to photograph.
Committed to expired Ilford HP5+ using a Hasselblad XPan and 45 mm lens. Developed using Ars-Imago FD 1:39, dev. time as per the massive dev chart, and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro. Dust cleaning and final contrast in Photoshop.
Committed to Ilford FP4+ using a Leica M6 and 50 mm Summicron V3 lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
Nova Scotians are very committed to fresh air drying and energy conservation in general. The rural landscape is dotted with clotheslines and woodpiles. While American tourists lament the poverty which they assume precludes dryers and electric heat, locals smile wisely and go about their business. They would probably be shocked to learn that many American communities have ordinances against. the blight of chotheslines. Ah..... the myriad dilemmas of life in the 21st century!
The unknown girl committed suicide on Christmas Eve in 1933 by walking into a train in Willoughby, Ohio. She was wearing a blue coat and blue dress. Her identity was unknown for years.
Committed to Ferrania P30 using a Leica M6 and 50 mm Noctilux f1 lens. Developed using Ars-Imago FD as standard and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
Committed to Ilford Delta 400 using a Hasselblad 503 CX and 60 mm lens. Developed using Ars-Imago FD as per the Massive Dev chart and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro.
*Repost - something strange happened with the original post*
With one final image I say goodbye to Lake Thun for now. We had a great time along its shores and I was lucky enough to produce quite a number of images that I am happy with.
But now it's time to move on and finish an old series and start a new one. I wonder if you'll like them...
Committed to Fujifilm Superia 100 using a Hasselblad X-Pan and 45 mm lens. Developed using a C41 development kit from Ars-Imago and scanned with an Epson V850 using Silverfast. Positive conversion in Negative Lab Pro. Dust cleaning in Photoshop.
I'M BACK, BABY!
Committed this time too. I'm going to be posting all my stuff on insta too, so go there for more reliable uploads and my insta-story which I update with WIPs.
www.instagram.com/thelegozealot
Anyways, I want to finally do a ZV Justice League. There's a reason why I'm doing the Wally version of the Flash too.
Looking for a committed cleaner to start as soon as possible ;)
Featured Items
Aphrodite Shop - Bodega Barrel Bar (available @ Man Cave running Jan 17 to Feb 11)
Fundati - Black Leather Set (available @ The Men’s Dept running Feb 5 to Feb 29)
Decoration
Kopfkino - Laundry Sign (Cosmo Anniversary Gift)
No59 - Beer Barrel Lager
Soy. - Safety Pinned Torn Tapestry
BackBone - Vinyl Record Storage - Black (Group Gift)
Keke - Zen frames - dark
Seven Emporium - Live Nude Girls Neon
Thor - PizzaLounge - Boxed Pizza Slices / Stack Of Pizza Boxes
DRD - Powergaming Shed - Trashcan
Half-Deer - Socks Clutter
More Info:
The Art Nouveau is the style of natural harmony. Its committed goal is the establishment of the concord of the beauty and function without compromise. This is the last comprehensive European style enriching the European culture in the applied art, the fine art and construction design. The art of the Hungarian masters enriched the unique idiom of the Art Nouveau. Being a rich resource of the trasures of this style, the Hungarian Art Nouveau is a worthy competiror of the heritages of the French, German, Belgian and Aystrian Art Nouveau. The permanent exhibition consists of paintings, furniture, ornaments and interiors. It provides and authentic sight of the atmosphere of the civic life of the “peacetime” of Budapest for the visitors. A cafe of friendly atmosphere and shop of original silver jewelries and ceramic copies waith the visitors.
Opening hours 10-17, closed on Sunday.
1054 Budaoest, Honved u 3. Hungary
guideme.hu/place/house-of-hungarian-art-nouveau/
The building, designed by Emil Vidor, reflects the influence of Belgian and French architecture. At the same time, the facade of the building also incorporates Hungarian patterns, like the Zsolnay ceramics patterns. Not long ago, the building was entirely renovated. Besides the private museum operating in the establishment and displaying furniture, porcelain, ironwork and paintings, visitors can sit into a lovely café, too.
In 1907 the periodical Hungarian Competition (Magyar Pályázat) presents a description of the building in the Architectonic Chronicle section (Építőművészeti Krónika) with the title: Mr. Bedő Béla's Honvéd Street Palace. The designer, Emil Vidor, took good care of the building’s interior space as well, in the spirit of Gesamtkunstwerk (all objects in the same style).
This powerful unity of the arts and crafts in 1903 was a groundbreaking event in Hungary. The Bedő House was built only six years after the Belgian Victor Horta made his first fully Art Nouveau house, and in the same time with the Scottish architect, Mackintosh's famous arts house.
Even a contemporary description mentions the planned use of specially designed murals, the richly applied stained and ground glass, and generally the special design furnishing of the whole building.
On PBS Masterpiece Theatre “Vienna Blood” prodution the location was used and the Dr’s apartment was within this fine building.
The house was built by Emil Vidor in 1903, for the Bedő‘ family. The contemporary furniture, decorative objects, paintings and instruments displayed on more than 600 square meters faithfully evoke the beginning of the twentieth century. In this way, the museum gives insight to the visitor into the “peace-times”, the atmosphere of bourgeois life of Budapest.
First image in the series of Bedo Haz/House
PP work in Luminar Neo HDR filters.
All art works on this website are fully protected by Canadian and international copyright laws, all rights reserved. The images may not be copied, reproduced, manipulated or used in any way, without written permission from the artist. Link to copyright registration:
www.canada.ca > Intellectual property and copyright
Committed to Fomapan 200 using a Hasselblad 500C and 100 mm lens with a 56 mm extension ring. Developed using Ars-Imago R9 (rodinal) 1:25 as per the Massive Dev chart (though I think the listed times are too short and will be adding at least a minute to them in the future) and scanned with an Epson V850 using Silverfast. Positive conversion and contrast done with Negative Lab Pro. Dust cleaning, sharpening and final contrast in Photoshop.