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Decorative ceramic relief on the facade of Nørregade 1 in Copenhagen, by Olaf Stæhr-Nielsen (1896-1969). Set up in 1942, it was placed above the entrance of what was then the Alexandra cinema and it showed Pegasus riding a piece of celluloid fim above a stylized Copenhagen skyline.
Antonin Gerbal, as part of the sextet, performs "COMPOSITION N°6" (P. A. Badaoux) at Médiatèque Hermeland for festival CABLE #8
1. Varan, Komodo (Indonésie), 1994
2. Teinturiers, Dhamanka, Gujarat (Inde), 1998
3. Statues de Bouddha dans une grotte, environs de Mukdahan, (Thailande), 1998
4. Séchage des gâteaux de riz, Luang Prabang (Laos), 1995
5 On suppose que ça se mange, quartier chinois, Bangkok (Thailande), 2004
6. Huppe, Haa (Bhoutan), 2004
7. Séchage du poisson, Kannur, Kerala (Inde), 2003
8. Paysage, Namika La, Ladakh (Inde), 2004
9. Gamins, Kashgar, Xinkiang, (Chine), 1994
10. Nénuphars, environs de Konarak, Orissa (Inde), 1993
11. Bas-relief, temple de Borobudur, Java (Indonésie), 2003
12. Bénédiction par l'éléphant du temple, Srirangam, Tamil Nadu (Inde), 2003
13. Friture de sauterelles, marché de Chatuchak, Bangkok (Thailande), 1995
14. Nasses à poissons, marché de Shapin, Yunnan (Chine), 1994
15. Images de la déesse Durga, quartier des potiers de Kumartuli, Calcutta, West Bengal (Inde), 2003
16. Cages à criquets, Kunming, Yunnan (Chine), 1999
17. Hong Kong by night, 1994
18. "Oeufs de cent ans", conservés dans la chaux et la paille, Xi'an, Shaanxi (Chine), 1999
19. Main du Bouddha du Wat Si Chum, Sukhotai (Thailande), 1998
20. Ganesh, décoration au-dessus d'une porte, Bénarès, Uttar Pradesh (Inde), 1999
21. Chapeaux, marché de Hsipaw, pays shan, Birmanie, 2003
22. Légumes non identifiés, marché de Kalaw, pays shan (Birmanie), 2003
23. Séchage du poisson, Senkang, Sulawesi (Indonésie), 1994
24. Bas-relief, temple de Borobudur, Java (Indonésie), 2003
25. Crocodile dans les Sundarbans, détail, Bagerhat (Bangladesh), 2004
Composition “On ne voit bien qu’avec le cœur, l’essentiel est invisible pour les yeux. Saint Exupéry”
composition
I wore bright pink nail polish to a week-long Zen advanced training to keep a part of myself throughout the training. As the days went on, I was embarrassed to have it when I was supposed to blend in with everyone else. I also noticed as the days went on, the polish was slowly coming off. It symbolized what the training is all about - cutting away our ego. Not only did my semi-long nails break, but this was all that was left of the polish when I returned home.
I believe these hold "chat" or "khat," the local chewable plant that is some form of amphetamine. The leaves are from the "false banana" or enset tree, a key Ethiopian crop
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Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
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.
Week 41 taught us that Texture photography is all about patterns and colors, depth and detail.
This collage features photos from participating members. Find out more at Compositionally Challenged, where we aim to inspire creativity and improve our technical skills.
The White Horse (Il cavallo bianco), 1919
Oil on canvas, 79 x 59 cm
Gianni Mattioli Collection
Long-term loan to the Peggy Guggenheim Collection, Venice
© Mario Sironi, by SIAE 2008
The White Horse combines two moments in Mario Sironi’s development as a painter. The upper part resembles the earlier Composition with Propeller in its disorder of mechanical or architectonic fragments painted in a rugged Cubist manner. The lower part, with the naked figure and the white horse, has an enigmatic narrative quality that points to Sironi’s sympathy for the Metaphysical painting of Giorgio de Chirico and Carlo Carrà. The seemingly wooden figures are closer to Carrà’s mannequins than to Fortunato Depero’s dolls. The vague sense of an urban setting populated by mythological figures is close to the haunted mood of Metaphysical painting, but at the same time looks forward to Sironi’s characteristic townscapes which he began to paint at about this time. Similarly the deeply etched chiaroscuro and dark palette are marks of Sironi’s mature style