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Une brasserie près de l'Opéra, anciennement siège des éditions Calmann-Lévy, dans un immeuble du second empire.
les casiers à livres, les échelles coulissantes ont été conservées.
Une cour couverte d’une verrière. Un escalier théâtral.
Urgull, San Sebastián, Guipúzcoa, España.
Urgull es una montaña situada entre la Parte Vieja de San Sebastián y el paseo Nuevo, junto al mar Cantábrico.
En este promontorio se conservan fortificaciones que en su día abrazaban por completo la antigua ciudad. Empleadas militarmente en el pasado, donde fue el último bastión de la resistencia francesa en la ciudad durante el asedio de San Sebastián en 1813, hoy albergan exposiciones, además de componer un atractivo parque urbano con espectaculares vistas de las playas que adornan la fisionomía de la localidad. Urgull también cuenta con vegetación natural y exótica.
En la parte alta está el Castillo de la Mota, con tres capillas, una de ellas dedicada al Cristo de la Mota. Una de estas capillas (de 16 metros de altura) sirve de peana a la emblemática imagen del Sagrado Corazón de Jesús, de 12,5 metros de estatura. En el siglo XIX se situó en este castillo una torre del telégrafo óptico, en concreto la número 50 de la línea de Castilla, que comunicaba Madrid con Irún.
En la falda del monte tienen asiento una serie de fortificaciones que se han modernizado con el paso de los siglos: las baterías de las Damas, de Bardocas, del Mirador, del Príncipe, de la Reina, Alta de Santa Clara, Baja de Santa Clara, etc., así como un cuartel a prueba de bomba (s. XIX), el polvorín de Santiago, la galería de tiro, la gruta-almacén, etc. El monte fue vendido por el Estado al Ayuntamiento de San Sebastián en el año 1915, comenzando la destrucción de las fortificaciones, que se han conservado en gran parte gracias a un accidente ocurrido en la voladura de un cuartel. En el año 1963, centenario del derribo de las murallas, gran parte de las fortificaciones fueron rehabilitadas.
Urgull is a mountain located between the Old Town of San Sebastián and the New Promenade, next to the Cantabrian Sea.
In this promontory fortifications are conserved that in their day embraced completely the old city. Used militarily in the past, where it was the last bastion of the French resistance in the city during the siege of San Sebastián in 1813, today they host exhibitions, as well as composing an attractive urban park with spectacular views of the beaches that adorn the physiognomy of the location. Urgull also has natural and exotic vegetation.
In the high part is the Castillo de la Mota, with three chapels, one of them dedicated to the Cristo de la Mota. One of these chapels (16 meters high) serves as a base for the emblematic image of the Sacred Heart of Jesus, 12.5 meters tall. In the 19th century an optical telegraph tower was placed in this castle, specifically number 50 of the Castilla line, which connected Madrid with Irún.
At the foot of the mountain are a series of fortifications that have been modernized over the centuries: the batteries of the Ladies, of Bardocas, of the Mirador, of the Prince, of the Queen, Alta of Santa Clara, Baja of Santa Clara , etc., as well as a pump-proof barracks (19th century), the Santiago powder magazine, the shooting gallery, the grotto-warehouse, etc. The mount was sold by the State to the City council of San Sebastián in the year 1915, beginning the destruction of the fortifications, that have been conserved to a large extent thanks to an accident happened in the blasting of a quarter. In the year 1963, centenary of the demolition of the walls, a large part of the fortifications were rehabilitated.
L'original de ce tableau est conservé au musée du Prado à Madrid.
You should know that it is not the original works that are exhibited at the Jheronimus Bosch Art Center but high quality photos in the original size of the work framed optimally. You can manipulate the triptychs.
In 2016, there was a big exhibition that had a lot of success with the original works at the Noordbrabants museum which adjoins the Stedelijk museum, but you could hardly get close and the cameras were forbidden.
The original of this painting is kept in the museum of Prado in Madrid.
Il faut savoir que ce ne sont pas les oeuvres originales qui sont exposées au Jheronimus Bosch Art Center mais bien des photos de grande qualité au format original de l'oeuvre encadrées de façon optimale. Vous pouvez manipuler les triptyques.
En 2016, il y a eu une grande exposition qui a eu énormément de succès avec les oeuvres originales au Noordbrabants museum qui jouxte le Stedelijk museum, mais vous pouviez à peine approcher et les appareils photos étaient interdits.
Leaf of Hymenaea, enclosed in Amber 25 000 000 years ago somewhere in a land, we now call the Dominican Republic.
a cold lapwing conserving heat by standing on one leg ,don't know who was more startled him or me ,as i had just got out of the car when i spotted him
davebowles.smugmug.com/Animals/Birds/Hooded-Vulture/
Meet Fagin, a Male Hooded Vulture photographed at the Andover Hawk Conservency. Click on the picture for more pictures of this intereresting bird.
Un autre endrot incroyablement conservé que j'ai visité il y a presque 10 ans, durant mes trekkings dans la Grande Savane, est "El Abismo" (L'abîme) C'est un tepuy bas dont le flanc sud tombe dans le début de l'Amazonie (oú je suis aussi descendu) juste á la frontiêre avec le Brésil dans l'état de Bolivar au Venezuela.
Otro lugar increíblemente conservado que visité hace casi 10 años, durante mis trekkings en la Gran Sabana, se llama "El Abismo". Esto es un tepuy bajo de cual el flanco sur cae al principio de la Amazonia (allí bajé también) justo a la frontera con Brasil en el estado de Bolivar, Venezuela.
On reflection I wasn't 100% happy with the Conserved shoot so I decided to do a reshoot. This feels much more me and more in line with the concept.
I am very fond of dahlias. Thus I always pull out of the soil the tubers and store them in a dry place for autumn and winter, in order to replant them for next season. Occasionally (!), being a bit lazy I forget one or two and absent-minded water them... Thus in mid-autumn this one reflourished the weather being very mild!
- Botanique par... paresse!
J'aime beaucoup les dahlias. Ainsi je retire toujours du terreau les bulbes et les conserve dans un endroit sec pour l'automne et l'hiver, afin de les replanter pour la prochaine saison. Parfois (!), étant un peu paresseux, j'oublie un ou deux et distrait je les arrose... Ainsi, à mi-automne celle-ci a refleurie le temps étant très doux!
Le chanoine et professeur d'université Ferdinand Franz Wallraf (1748 – 1824) était un collectionneur fanatique. En effet, collectionner et conserver étaient les objectifs principaux de sa vie – et cela à une époque où la Révolution française bouleversait les valeurs transmises dans toute l’Europe.
Et la Révolution faisait également rage à Cologne. Près de 40 églises ont été démolies au nom de la sécularisation, tandis que les œuvres d'art du reste ont été jetées dans les rues. De précieux sanctuaires reliquaires ont été fondus et les panneaux peints ont été brûlés comme combustible. Grâce à ses efforts et à ses sacrifices, le savant amateur d'art Wallraf a sauvé ce qu'il pouvait des églises et des cloîtres de ce qui était autrefois la « Sainte Cologne ». Rien de ce qui était lié à l'art et à l'histoire de Cologne ne devait être perdu.
À sa mort en 1824, Wallraf légua à la ville l'intégralité de son domaine – un trésor incroyable, car il contenait près de 10 000 peintures, dessins et gravures sur bois, environ 13 000 livres, plus de 3 000 sceaux, environ 1 000 manuscrits et actes, de nombreuses antiquités, d'innombrables pièces de monnaie, pierres taillées, minéraux, fossiles et bien plus encore.
Pendant de nombreuses années, la ville a dû se contenter de locaux de fortune pour la collection Wallraf, jusqu'à ce qu'en 1854, le marchand et marchand de cothurnes de Cologne Johann Heinrich Richartz (1795 – 1861) fasse don de 100 000 thalers pour un bâtiment de musée. Mais c’est comme aujourd’hui : l’argent n’était pas suffisant. Richartz a donc fait don de 10 000 thalers supplémentaires pour les blocs de tuf nécessaires, puis de 12 000 autres pour les parquets, suivis de 24 000 thalers pour les fresques de l'escalier, et ainsi de suite.
Mais il n'assistera pas à l'inauguration : peu avant la cérémonie d'ouverture du musée en 1861, le généreux mécène décède. Bien que « son » bâtiment ait été détruit pendant la Seconde Guerre mondiale, le souvenir de Johann Heinrich Richartz et de son généreux mécénat perdure au nom du « Musée Wallraf Richartz ».
Canon and university professor Ferdinand Franz Wallraf (1748 – 1824) was a fanatical collector. Indeed, collecting and preserving were the main objectives of his life – and this at a time when the French Revolution was upending the values transmitted throughout Europe.
And the Revolution was also raging in Cologne. Nearly 40 churches were demolished in the name of secularization, while the rest's artwork was thrown into the streets. Valuable reliquary shrines were melted down and the painted panels were burned as fuel. Through his efforts and sacrifices, the art-loving scholar Wallraf saved what he could of the churches and cloisters of what was once “Holy Cologne.” Nothing connected with the art and history of Cologne was to be lost.
When he died in 1824, Wallraf bequeathed his entire estate to the city – an incredible treasure, as it contained almost 10,000 paintings, drawings and woodcuts, approximately 13,000 books, more than 3,000 seals, approximately 1 000 manuscripts and records, numerous antiquities, countless coins, carved stones, minerals, fossils and much more.
For many years, the city had to make do with makeshift premises for the Wallraf collection, until in 1854 the Cologne merchant and buskin dealer Johann Heinrich Richartz (1795 – 1861) donated 100,000 thalers for a museum building. But it’s like today: the money was not enough. Richartz therefore donated an additional 10,000 thalers for the necessary tuff blocks, then another 12,000 for the parquet floors, followed by 24,000 thalers for the staircase frescoes, and so on.
But he did not attend the inauguration: shortly before the museum's opening ceremony in 1861, the generous patron died. Although “his” building was destroyed during the Second World War, the memory of Johann Heinrich Richartz and his generous patronage lives on in the name of the “Wallraf Richartz Museum”.
Erigé en 1905 pour l’exposition universelle de Liège, le musée d’art moderne a conservé toute sa majesté. Construit dans un écrin de verdure, il trône depuis un siècle au milieu du parc de la Boverie et a abrité les collections des beaux-arts de la ville. Mais il avait besoin d’une sérieuse rénovation pour pouvoir rivaliser avec les plus grands.
C’est au célèbre architecte français Rudy Ricciotti (à qui on doit le musée des Civilisations de Marseille) et au bureau pHD de Liège que le chantier a été confié.
Soucieux de préserver la beauté du bâtiment historique et du parc qui l’entoure, le seul changement qu’ils se soient permis est cette annexe construite sur la façade arrière du bâtiment, face à la Dérivation.
Grande de 1.000 m² et haute de huit mètres, toute vitrée, elle semble flotter dans l’air. Elle propose un espace d’exposition unique où la lumière arrive de partout.
la Ville de Liège et le musée du Louvre ont décidé d’unir leurs efforts en matière de programmation artistique et de présentation des collections.
Le Louvre, afin de se rapprocher de ses publics et dans le cadre d’une politique d’action internationale contribuant ainsi au rayonnement culturel de la France, s’engage dans cette collaboration pour une durée de 4 ans.
www.liege.be/culture/musees/boverie-beaux-arts-expos-liege
Erected in 1905 for the Universal Exhibition of Liege, the museum of modern art has retained all its majesty. Built in a green setting, he sits in a century in the middle of the Boverie park and housed the collections of fine arts in the city. But it needed a serious renovation to be able to compete with larger ones.
This is the famous French architect Rudy Ricciotti (who must be the Museum of Civilization from Marseille) and pHD office Liège that the site has been entrusted.
Anxious to preserve the beauty of the historic building and the surrounding park, the only change is that they are allowed this annex built onto the rear facade of the building, facing the Bypass.
Large 1,000 m² and eight meters high, all glass, she seems to float in the air. It offers a unique exhibition space where light comes from everywhere.
Cork City and the Louvre Museum have joined their efforts in artistic programming and collections presentation.
The Louvre, to be closer to its public and as part of an international action policy contributing to the cultural influence of France, engages in this collaboration for a period of 4 years.
NEW JERSEY 2017 BALD EAGLE PROJECT REPORT
ANOTHER PRODUCTIVE YEAR FOR NJ’S EAGLES
by Larissa Smith, CWF Wildlife Biologist
The Conserve Wildlife Foundation of NJ in partnership with the NJ Endangered and Nongame Species Program has released the 2017 NJ Bald Eagle Project Report. In 2017, 178 eagle nests were monitored during the nesting season. Of these nests 153 were active (with eggs) and 25 were territorial or housekeeping pairs. One hundred and ninety young were fledged.
In 2017 the number of active nests was three more than in 2016, but the number young fledged decreased by 27 from a record high of 216 fledged in 2016. The productivity rate this season of 1.25 young/active nest is still above the required range of 0.0 to 1.1 for population maintenance. Productivity could be lower this season for many reasons including weather, predation and disturbance to the nesting area. In 2017 nest monitors reported several instances of “intruder” eagles at nests which did disrupt the nesting attempts of several pairs. One of these “eagle dramas” unfolded at the Duke Farms eagle cam watched by millions of people. An intruder female attempted to replace the current female. This harassment interrupted the pairs bonding and copulation and no eggs were laid.
This year’s report includes a section on Resightings of banded eagles. Resightings of NJ (green) banded eagles have increased over the years, as well as eagles seen in NJ that were banded in other states. These resightings are important, as they help us to understand eagle movements during the years between fledging and settling into a territory, as well as adult birds at a nest site.
For more info: www.conservewildlifenj.org/blog/2017/12/06/new-jersey-201...
New Jersey Bald Eagle Project Report | 2017 may be downloaded here: www.state.nj.us/dep/fgw/ensp/pdf/eglrpt17.pdf
Sténopé boîte de conserve. Papier Ilford.
8 sec d’exposition.
Pinhole tin can. Paper Ilford.
8 sec of exposure.
Prière du sténopiste :
1,2,3,4, merde, la boîte a bougé, 5, non, 9…, no, 7, 8 9, 10, 11 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, zut, un nuage, j’ajoute 20 secondes… 28, 25, 26, 27, 28, 29, 30, 31, 32, C’est quoi ce type, 34, 35, 36, 37, 38, non, pas ici !, 42, 43, 44, 45, 46, 47, 48, Je parie qu’il va me demander ce que je fait ! 52, 53, 54, 55… (à voix haute : 58, 59, 60, une seconde s’il vous plaît, 63, 64, 65, 66, 67, 68, 69, 70. Ce que je fais ? J’essaie de faire une photo… Oui, monsieur, avec une boite de conserve !)
Prayer of pinholer :
1,2,3,4, shit, the box has moved, 5, no 9 ..., no, 7, 8, 9, 10, 11 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, heck, a cloud, I add 20 seconds ... 28, 25, 26, 27, 28, 29, 30, 31, 32, What is this man, 34, 35, 36, 37, 38, no, not here !, 42, 43, 44, 45, 46, 47, 48, I bet he will ask me what I did! 52, 53, 54, 55 ... (out loud: 58, 59, 60, one second please, 63, 64, 65, 66, 67, 68, 69, 70. What I do? I trying to get a picture ... Yes, sir, with a tin!)
dépôt de l'Eglise Saint Denis - Rocquemont
bois polychrome
XVIème siècle
Musée de l'Archerie et du Valois
Kr_08-05-19 15-20-06
The Musée des Augustins de Toulouse is a fine arts museum in Toulouse, France which conserves a collection of sculpture and paintings from the Middle Ages to the early 20th century. The paintings are from throughout France, the sculptures representing Occitan culture of the region with a particularly rich assemblage of Romanesque sculpture. The building in which the museum is sited was built in 1309 in the Gothic style and prior to the French Revolution housed Toulouse's Augustinian convent. The convent was secularized in 1793 and first opened to the public as a museum on 27 August 1795 by decree of the French Convention, very shortly after the opening of the Louvre, making it one of the oldest museums in France after the Louvre and the Musée des Beaux Arts in Besançon. It at first housed the Muséum Provisoire du Midi de la République and the école des Beaux-Arts. The Musée des Augustins de Toulouse was one of fifteen museums founded in provincial centres, by a decree of 13 Fructidor year IX (31 August 1801), which was promulgated by the minister of the interior, Jean-Antoine Chaptal (Arrêté Chaptal du 14 fructidor an IX). At the start of the 19th century several medieval buildings (notably the refectory) were demolished and in their place Viollet-le-Duc and his pupil Darcy put up new exhibition galleries, accessed by a Gothic Revival monumental stair offering an interplay of richly complicated vaulting systems. The works continued from 1873 to 1901, when the museum reopened. In effect, Toulouse commissioned Urbain Vitry to ensure remove all the convent's religious characteristics. The archaeologist Alexandre Du Mège occupied the cloister and rebuilt it to be able to house the medieval collections gathered from Toulouse's destroyed religious buildings such as the basilique Saint-Sernin. Today the cloister houses a reconstructed medieval garden. The building was classed as a Monument historique in 1840. en.wikipedia.org/wiki/Musée_des_Augustins
Un siècle après sa découverte, la villa des Mystères est toujours la plus grande, la mieux conservée et la plus fascinante des peintures antiques. Cette demeure reconvertie en exploitation agricole tire notamment son nom d’une fresque de 17 m de long et 3,30 m de haut, située dans une petite salle de 7,10 m de long x 4,93 m de large, datant de 70 avant notre ère. Elle se déroule sur les quatre murs du triclinium (n'en sont ici visibles que trois, ceux du nord à gauche, de l'est au centre et du sud à droite), la salle à manger de la maison, et divisés en trois parties : la première imitant le marbre peint, puis la frise de grands panneaux rouge pompéien (ponctuée de pilastres plus sombres) et au-dessus en couronnement une frise de motifs géométriques surmontée d’une imitation de marbres de couleur. La frise dépeint 29 personnages, de tailles différentes, figurés un peu plus petit que nature. Afin de séparer la dizaine de scènes les unes des autres, la frise est régie par une fonction de transition superposant les personnages pour ensuite les orienter dans des directions opposées, marquant ainsi le passage d’une scène à l’autre. Le couple divin au centre de la paroi du fond représente le point de convergence des deux frises parallèles qui courent le long des quatre murs depuis la porte principale.
Concurremment, le peintre a joué sur les correspondances sémantiques de groupes qui se font face d'un mur
à l'autre, en se servant habilement de la configuration de la pièce. Le panneau du mur est devait autrefois fortement impressionner celles et ceux qui pénétraient sans la pièce, mais c'est malheureusement aujourd'hui le plus endommagé de la dizaine de scènes représentées des quatre murs, où se trouve justement celle du Couple divin. Si les spécialistes divergent sur le sens à donner à cette fresque, leurs interprétations pointent cependant des éléments communs, une cérémonie de passage initiatique où le thème du mariage est également récurent, une composition à composante onirique, mais étrangère au temps d'aujourd’hui et difficile dès lors à comprendre. La pièce du triclinium ou salle à manger était dévolue à un culte dionysiaque dans le cadre privé, où figure la Domina (maîtresse de maison) sur laquelle la fresque semble se focaliser avec un enchaînement de représentations la mettant en scène.
Le dionysisme mis en scène dans cette fresque, comme sur bien d'autres documents pompéiens contemporains ou postérieurs de quelques années, est celui d'un univers associant un idéal mythique à la réalité humaine, quotidienne et cultuelle, établissant un lien harmonieux dans la vie d'une matrone entre ses valeurs aristocratiques de vertu et de culture et ses croyances en une religion dionysiaque pratiquée et vécue (cf. Charlotte Sammarcelli et Martijn Stoll : La fresque de la villa des mystères : le culte dionysiaque dans le domaine privé, 2018 ; Stéphanie Wyler : Actualité de la fresque de la Villa des Mystères, 2002 ; Gilles Sauron : La grande fresque de la villa des Mystères à Pompéi, mémoires d'une dévote de Dionysos, 2000 ; Jean-Marie Pailler ; Mystères dissipés ou mystères dévoilés ?, 2000 ; Paul Veyne, François Lissarrague et Françoise Frontisi-Ducroux : Les mystères du gynécée, 1998 ; merci veroeddy.be pour la photo).
NEW JERSEY 2017 BALD EAGLE PROJECT REPORT
ANOTHER PRODUCTIVE YEAR FOR NJ’S EAGLES
by Larissa Smith, CWF Wildlife Biologist
The Conserve Wildlife Foundation of NJ in partnership with the NJ Endangered and Nongame Species Program has released the 2017 NJ Bald Eagle Project Report. In 2017, 178 eagle nests were monitored during the nesting season. Of these nests 153 were active (with eggs) and 25 were territorial or housekeeping pairs. One hundred and ninety young were fledged.
In 2017 the number of active nests was three more than in 2016, but the number young fledged decreased by 27 from a record high of 216 fledged in 2016. The productivity rate this season of 1.25 young/active nest is still above the required range of 0.0 to 1.1 for population maintenance. Productivity could be lower this season for many reasons including weather, predation and disturbance to the nesting area. In 2017 nest monitors reported several instances of “intruder” eagles at nests which did disrupt the nesting attempts of several pairs. One of these “eagle dramas” unfolded at the Duke Farms eagle cam watched by millions of people. An intruder female attempted to replace the current female. This harassment interrupted the pairs bonding and copulation and no eggs were laid.
This year’s report includes a section on Resightings of banded eagles. Resightings of NJ (green) banded eagles have increased over the years, as well as eagles seen in NJ that were banded in other states. These resightings are important, as they help us to understand eagle movements during the years between fledging and settling into a territory, as well as adult birds at a nest site.
For more info: www.conservewildlifenj.org/blog/2017/12/06/new-jersey-201...
New Jersey Bald Eagle Project Report | 2017 may be downloaded here: www.state.nj.us/dep/fgw/ensp/pdf/eglrpt17.pdf
2018 NJ BALD EAGLE PROJECT REPORT
by: Larissa Smith, CWF Wildlife Biologist
The Conserve Wildlife Foundation of NJ in partnership with the NJ Division of Fish and Wildlife, Endangered and Nongame Species Program, has released the 2018 NJ Bald Eagle Project Report.
“Two hundred-four nest sites were monitored during the nesting season, of which 185 were documented to be active (with eggs) and 19 were territorial or housekeeping pairs. Thirty new eagle pairs were found this season, 20 in the south, nine in central and one in the north. One hundred-twenty-one nests (66%) of the 182 known-outcome nests produced 172 young, for a productivity rate of 0.94 young per active/known-outcome nest. The failure rate was well above average with 61 nests (33%) failing to produce. The Delaware Bay region remained the state’s eagle stronghold, with roughly half of nests located in Cumberland and Salem counties and the bayside of Cape May County.”
The number of active nests has increased while the number of young eagles fledged has decreased since a high of 216 young fledged in 2016. During the 2018 eagle nesting season there was an abundance of cold, wet, windy and snowy weather which was the cause for a portion of the nest failures. As the eagle population increases, there are more eagles competing for territories. This can also be a contributing factor in nest failures. NJ is still in the range of 0.9 to 1.1 young per nest which is needed for population maintenance with a productivity rate of 0.94 young per known-outcome/active nest in 2018. The 2018 NJ Eagle Project Report has all the details on the project including telemetry, re-sightings and recoveries.
The success of the eagle project is due to the tremendous dedication of the NJ Eagle Project Volunteers. They monitor the nests in all types of conditions and education people about the eagles with enthusiasm.
Link to the 2018 NJ Bald Eagle Project Report: www.conservewildlifenj.org/downloads/cwnj_852.pdf
J'ai placé cette rose dans ce pot il y a deux jours. À l'extérieur sur la neige. Il a neigé et le mercure a marqué moins 6° c. La rose est toujours aussi jolie que lorsque je l'ai mise. Peut-être que le pot Mason a reproduit les conditions comme dans une serre. Enfin je ne comprends exactement. Elle y est toujours,alors à voir demain...Red rose.
Eels Foot Inn,RSPB Minsmere.
26th June 2017.
One of 7 Photograph's i Gave away to the Barn Owl Trust to help conserve Them.
NEW JERSEY 2017 BALD EAGLE PROJECT REPORT
ANOTHER PRODUCTIVE YEAR FOR NJ’S EAGLES
by Larissa Smith, CWF Wildlife Biologist
The Conserve Wildlife Foundation of NJ in partnership with the NJ Endangered and Nongame Species Program has released the 2017 NJ Bald Eagle Project Report. In 2017, 178 eagle nests were monitored during the nesting season. Of these nests 153 were active (with eggs) and 25 were territorial or housekeeping pairs. One hundred and ninety young were fledged.
In 2017 the number of active nests was three more than in 2016, but the number young fledged decreased by 27 from a record high of 216 fledged in 2016. The productivity rate this season of 1.25 young/active nest is still above the required range of 0.0 to 1.1 for population maintenance. Productivity could be lower this season for many reasons including weather, predation and disturbance to the nesting area. In 2017 nest monitors reported several instances of “intruder” eagles at nests which did disrupt the nesting attempts of several pairs. One of these “eagle dramas” unfolded at the Duke Farms eagle cam watched by millions of people. An intruder female attempted to replace the current female. This harassment interrupted the pairs bonding and copulation and no eggs were laid.
This year’s report includes a section on Resightings of banded eagles. Resightings of NJ (green) banded eagles have increased over the years, as well as eagles seen in NJ that were banded in other states. These resightings are important, as they help us to understand eagle movements during the years between fledging and settling into a territory, as well as adult birds at a nest site.
For more info: www.conservewildlifenj.org/blog/2017/12/06/new-jersey-201...
New Jersey Bald Eagle Project Report | 2017 may be downloaded here: www.state.nj.us/dep/fgw/ensp/pdf/eglrpt17.pdf
2018 NJ BALD EAGLE PROJECT REPORT
by: Larissa Smith, CWF Wildlife Biologist
The Conserve Wildlife Foundation of NJ in partnership with the NJ Division of Fish and Wildlife, Endangered and Nongame Species Program, has released the 2018 NJ Bald Eagle Project Report.
“Two hundred-four nest sites were monitored during the nesting season, of which 185 were documented to be active (with eggs) and 19 were territorial or housekeeping pairs. Thirty new eagle pairs were found this season, 20 in the south, nine in central and one in the north. One hundred-twenty-one nests (66%) of the 182 known-outcome nests produced 172 young, for a productivity rate of 0.94 young per active/known-outcome nest. The failure rate was well above average with 61 nests (33%) failing to produce. The Delaware Bay region remained the state’s eagle stronghold, with roughly half of nests located in Cumberland and Salem counties and the bayside of Cape May County.”
The number of active nests has increased while the number of young eagles fledged has decreased since a high of 216 young fledged in 2016. During the 2018 eagle nesting season there was an abundance of cold, wet, windy and snowy weather which was the cause for a portion of the nest failures. As the eagle population increases, there are more eagles competing for territories. This can also be a contributing factor in nest failures. NJ is still in the range of 0.9 to 1.1 young per nest which is needed for population maintenance with a productivity rate of 0.94 young per known-outcome/active nest in 2018. The 2018 NJ Eagle Project Report has all the details on the project including telemetry, re-sightings and recoveries.
The success of the eagle project is due to the tremendous dedication of the NJ Eagle Project Volunteers. They monitor the nests in all types of conditions and education people about the eagles with enthusiasm.
Link to the 2018 NJ Bald Eagle Project Report: www.conservewildlifenj.org/downloads/cwnj_852.pdf
A Fox Squirrel conserves energy and relies on its insulated fur to thrive during cold winter days: stevecreek.com/winter-survival-adaptations-how-birds-and-...
Le temple de la Concorde est, avec l'Héphaïstéion (Théséion) d'Athènes et le temple de Poséidon à Paestum, l'un des temples les mieux conservés de l'antiquité grecque. Son appellation arbitraire n'est due qu'à une inscription romaine trouvée à proximité, où figurait le mot latin concordia. Il a été construit dans les années -440 à -430.
Les inégalités du terrain sur lequel il est édifié sont compensées par un soubassement (krépis) important. Son plan correspond à la forme la plus classique des temples d'Agrigente : pronaos, naos, opisthodome et péristyle de 6 × 13 colonnes.
Le temple de la Concorde est de tous ceux d'Agrigente celui qui a été réalisé avec le plus de précision. Le problème des extrémités propre aux temples doriques (conflit entre la régularité des métopes et des triglyphes d'une part, et l'espacement régulier des colonnes d'autre part) a été résolu d'une manière inhabituelle : il a été procédé tout à la fois au rétrécissement de l'espace entre les deux dernières colonnes et à l'allongement de la métope extrême, pour un meilleur effet visuel.
Les recherches ont également montré que les parties inférieures du temple étaient ornées de stucs blancs, tandis que les frises, métopes et parties hautes étaient peintes de couleurs vives. Le toit était couvert de tuiles de marbre.
En 597, l'évêque Grégoire d'Agrigente a fait du temple une basilique chrétienne consacrée aux apôtres Pierre et Paul, après en avoir chassé les démons païens Eber et Raps qui y demeuraient11. Chacun des murs de la cella fut alors percé de douze arcatures, et les entrecolonnements furent murés, tout comme on peut encore le voir de nos jours à la cathédrale de Syracuse. L'entrée fut reportée sur le côté ouest, ce qui entraîna la suppression de la cloison entre le naos et l'opisthodome, tandis que la sacristie trouvait sa place dans l'ancien pronaos.
La découverte dans le temple de deux figures de dieux puniques mises de côté a fait déduire que déjà les Grecs y honoraient deux divinités, peut-être les Dioscures.
Après l'abandon de la cité, l'église fut à nouveau remise en usage, jusqu'au XVIIe siècle. Elle est désaffectée en 1748. En 1788, les dernières structures appartenant à l'église chrétienne sont enlevées par ordre du prince de Torremuzza. Depuis lors, le temple a été restauré dans son état initial.
The Temple of Concord is, along with the Hephaestion (Thesion) of Athens and the Temple of Poseidon at Paestum, one of the best-preserved temples of Greek antiquity. Its arbitrary name is only due to a Roman inscription found nearby, where the Latin word concordia appeared. It was built in the years -440 to -430.
The unevenness of the land on which it is built is compensated by a significant base (krépis). Its plan corresponds to the most classic form of the temples of Agrigento: pronaos, naos, opisthodome and peristyle of 6 × 13 columns.
The temple of Concord is of all those of Agrigento the one that was created with the most precision. The problem of extremities proper to Doric temples (conflict between the regularity of the metopes and triglyphs on the one hand, and the regular spacing of the columns on the other hand) has been solved in an unusual way: both by narrowing the space between the last two columns and by lengthening the extreme metope, for a better visual effect.
Research has also shown that the lower parts of the temple were decorated with white stucco, while the friezes, metopes and upper parts were painted in bright colors. The roof was covered with marble tiles.
In 597, Bishop Gregory of Agrigento made the temple a Christian basilica dedicated to the apostles Peter and Paul, after having driven out the pagan demons Eber and Raps who lived there11. Each of the cella's walls was then pierced with twelve arches, and the intersections were walled, just as we can still see today in the cathedral of Syracuse. The entrance was moved to the west side, which led to the removal of the partition between the naos and the opisthodome, while the sacristy found its place in the old pronaos.
The discovery in the temple of two figures of Punic gods put aside made it deduce that already the Greeks honored two deities there, perhaps the Dioscuri.
After the abandonment of the city, the church was again put back into use, until the 17th century. It was abandoned in 1748. In 1788, the last structures belonging to the Christian church were removed by order of the prince of Torremuzza. Since then, the temple has been restored to its original state.
"Mr. & Mrs. W34"
NEW JERSEY 2017 (Year End) BALD EAGLE PROJECT REPORT
ANOTHER PRODUCTIVE YEAR FOR NJ’S EAGLES
by Larissa Smith, CWF Wildlife Biologist
The Conserve Wildlife Foundation of NJ in partnership with the NJ Endangered and Nongame Species Program has released the 2017 NJ Bald Eagle Project Report. In 2017, 178 eagle nests were monitored during the nesting season. Of these nests 153 were active (with eggs) and 25 were territorial or housekeeping pairs. One hundred and ninety young were fledged.
In 2017 the number of active nests was three more than in 2016, but the number young fledged decreased by 27 from a record high of 216 fledged in 2016. The productivity rate this season of 1.25 young/active nest is still above the required range of 0.0 to 1.1 for population maintenance. Productivity could be lower this season for many reasons including weather, predation and disturbance to the nesting area. In 2017 nest monitors reported several instances of “intruder” eagles at nests which did disrupt the nesting attempts of several pairs. One of these “eagle dramas” unfolded at the Duke Farms eagle cam watched by millions of people. An intruder female attempted to replace the current female. This harassment interrupted the pairs bonding and copulation and no eggs were laid.
This year’s report includes a section on Resightings of banded eagles. Resightings of NJ (green) banded eagles have increased over the years, as well as eagles seen in NJ that were banded in other states. These resightings are important, as they help us to understand eagle movements during the years between fledging and settling into a territory, as well as adult birds at a nest site.
For more info: www.conservewildlifenj.org/blog/2017/12/06/new-jersey-201...
New Jersey Bald Eagle Project Report | 2017 may be downloaded here: www.state.nj.us/dep/fgw/ensp/pdf/eglrpt17.pdf
La statue connue sous le nom d’Vénus d’Arles est l’une des œuvres les plus fascinantes de l’Antiquité conservées au Musée du Louvre. Découverte en 1651 dans le théâtre antique d’Arles, elle est généralement considérée comme une copie romaine d’un original grec attribué à Praxitèle, probablement réalisé vers 360 av. J.-C.
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Cette sculpture est capitale pour comprendre :
l’évolution de la représentation du nu féminin dans l’art grec ;
la diffusion des modèles grecs dans le monde romain ;
l’histoire moderne de la restauration des antiques ;
la naissance du goût classique sous Louis XIV.
Description de l’œuvre
Date de la copie romaine : fin du Ier siècle av. J.-C. ou début du Ier siècle ap. J.-C.
Matériau : marbre de l’Hymette, provenant de la région d’Athènes
Hauteur : environ 1,94 m à l’origine, davantage après restauration
Provenance : théâtre antique d’Arles
Type : sculpture en ronde-bosse
La déesse est représentée debout, dans une attitude souple. Le torse est nu, tandis que les jambes sont enveloppées d’un drapé (himation) qui glisse autour des hanches. Cette alternance entre nudité et vêtement est essentielle : elle crée une tension entre dévoilement sensuel et dignité divine.
Praxitèle et la révolution de la beauté féminine
Avant Praxitèle, les représentations féminines grecques restaient largement vêtues. Avec lui apparaît une nouvelle vision du corps féminin :
plus sensuelle ;
plus humaine ;
plus psychologique.
La Vénus d’Arles appartient au climat esthétique du « second classicisme » grec :
lignes fluides ;
transitions douces ;
modelé délicat ;
sensualité intériorisée.
Le corps ne cherche pas l’héroïsme musculaire des statues du Ve siècle av. J.-C. ; il recherche la grâce vivante.
On retrouve ici le fameux « canon praxitélien » :
tête légèrement inclinée ;
regard rêveur ;
bouche entrouverte ;
paupières lourdes ;
hanche décalée créant un balancement subtil.
Cette courbe élégante du corps correspond au principe du contrapposto poussé à un raffinement extrême.
Le visage : une sensualité psychologique
Le visage constitue l’un des aspects les plus remarquables de la statue.
Les caractéristiques praxitéliennes sont très visibles :
front calme et ample ;
yeux mi-clos ;
bouche charnue ;
ovale doux du visage.
La déesse paraît absorbée dans une intériorité silencieuse. Contrairement aux divinités archaïques hiératiques, cette Aphrodite semble éprouver une émotion.
C’est précisément ce qui fit la célébrité de Praxitèle dans l’Antiquité : il introduit le sentiment humain dans la représentation divine.
Plusieurs auteurs anciens associaient même les Aphrodites de Praxitèle à la courtisane Phryné, qui aurait servi de modèle au sculpteur.
Le drapé : un art du dévoilement
Le drapé n’est pas un simple vêtement.
Chez Praxitèle, il agit comme un instrument érotique et plastique :
il cache partiellement ;
il révèle par contraste ;
il accentue les volumes.
Les plis descendent en diagonale et soulignent le mouvement du bassin. Le tissu semble glisser naturellement, comme retenu au dernier instant.
Cette tension entre nudité et voilement est essentielle à l’iconographie d’Aphrodite :
déesse de la beauté ;
puissance du désir ;
incarnation de l’attraction physique.
Une statue romaine dans la Gaule d’Auguste
La présence de cette statue dans le théâtre antique d’Arles n’est pas anodine.
Sous Auguste, Arles devient une colonie romaine majeure. Le théâtre monumental célébrait :
la romanité ;
le prestige impérial ;
les origines mythiques de Rome.
Or la famille d’Auguste prétendait descendre de Vénus par l’intermédiaire d’Énée.
Ainsi, installer une Aphrodite monumentale dans le théâtre revenait aussi à célébrer idéologiquement le pouvoir impérial.
La découverte de 1651 : naissance d’un chef-d’œuvre français
La découverte de la statue provoqua un immense enthousiasme.
Elle fut retrouvée en plusieurs fragments dans les ruines antiques d’Arles. Rapidement, les érudits y virent un chef-d’œuvre grec perdu.
Au XVIIe siècle, la France cherchait à rivaliser avec l’Italie dans la possession des antiquités prestigieuses. Lorsque la ville d’Arles offrit la statue à Louis XIV en 1683, celle-ci devint immédiatement un symbole culturel du royaume.
La restauration de François Girardon : entre admiration et transformation
L’histoire de la restauration est fondamentale.
François Girardon, sculpteur officiel de Louis XIV, reçut la mission de compléter la statue mutilée.
Il ajouta :
les bras ;
une pomme ;
un miroir ;
plusieurs retouches sur le torse et le drapé.
La pomme fait référence au Jugement de Pâris :
Aphrodite reçoit la pomme de la « plus belle » ;
elle devient Vénus victorieuse (Venus Victrix).
Le miroir renforce le thème de la beauté divine.
Mais cette restauration pose aujourd’hui des questions majeures :
où finit l’antique ?
où commence le XVIIe siècle ?
faut-il restaurer ou conserver les ruines ?
La Vénus d’Arles est devenue un cas d’école dans l’histoire de l’archéologie et de la restauration.
Une œuvre charnière dans l’histoire du nu féminin
La Vénus d’Arles annonce plusieurs siècles de représentation occidentale du corps féminin.
Elle influence :
la Renaissance ;
le classicisme français ;
la sculpture néoclassique ;
l’idéal académique du XVIIIe siècle.
Avant la découverte de la Vénus de Milo, elle était même considérée comme l’incarnation suprême de la beauté antique au Louvre.
Son importance est immense car elle constitue l’un des rares témoignages crédibles de l’art perdu de Praxitèle.
Une beauté ambiguë et vivante
Ce qui rend cette sculpture si moderne est son ambiguïté.
Elle n’est ni totalement divine, ni totalement humaine.
Elle possède :
une majesté sacrée ;
mais aussi une présence charnelle ;
une douceur presque intime.
Le spectateur n’est pas face à une abstraction idéale : il rencontre une personnalité silencieuse.
C’est cette humanisation du divin qui fait toute la révolution praxitélienne et qui explique pourquoi cette Aphrodite demeure, plus de deux millénaires après sa création, l’une des images les plus puissantes de la féminité antique.
CES PHOTOS NE SONT PAS À VENDRE ET NE PEUVENT PAS ÊTRE REPRODUITES, MODIFIÉES, REDIFFUSÉES, EXPLOITÉES COMMERCIALEMENT OU RÉUTILISÉES DE QUELQUE MANIÈRE QUE CE SOIT.
UNIQUEMENT POUR LE PLAISIR DES YEUX.
There were once so many Asiatic lions on our planet that they roamed from north-east India to the Mediterranean but today there are only about 350 left in the wild and all of them live in India’s Gir Forest.
Iblis, the nine year old male at Chester Zoo, is an important part of the European Endangered Species Breeding Programme. This is a carefully managed scheme overseeing the breeding of zoo animals in different
Lions have few sweat glands so they wisely tend to conserve their energy by resting during the day to conserve their energy at night for when it is cooler.
The Asiatic lion is listed as endangered on the International Union for the Conservation of Nature (IUCN) Red list.
Founded in 1906, Mesa Verde National Park was created to conserve and protect the Ancestral Puebloan archaeological sites and cliff dwellings within the present-day park on the sides and top of a large tree-covered cuesta, known as Mesa Verde, that rises approximately 1,500 feet (785 meters) above the surrounding canyons and valleys, with rugged canyons cutting through the cuesta, lined with sandstone cliffs and ledges.
The area was inhabited by indigenous people for thousands of years prior to the rise of the Ancestral Puebloan culture, whom developed villages and farmsteads within what is today Mesa Verde National Park beginning around the year 750, with the structures built by the Ancestral Puebloans growing in complexity and durability, especially due to contact with the nearby culture centered around Chaco Canyon. The famous cliff dwellings for which the area is famous, however, were built between approximately 1020 and 1260, especially after a major drought in the region between 1130 and 1180, which led to a major migration of people from Chaco Canyon to Mesa Verde. The people of Chaco Canyon brought their culture, construction techniques, and goods with them, which is evident at archaeological sites on the cuesta.
The area began to depopulate between 1260 and 1285 due to environmental conditions becoming less favorable, with the people of Mesa Verde moving to the lowlands of what is today New Mexico and Arizona, with many founding or joining Pueblo settlements in these regions that still exist today. The stone houses were left to the elements, and were left uninhabited, only remembered by the descendants of the Ancestral Puebloans and the other indigenous groups who called the area home, most notably the Utes.
The ancient ruins were discovered by European-Americans in 1873, and were documented between 1875 and 1888, with various cliff dwellings and archaeological sites being relatively well-preserved and recognizable to explorers, archaeologists, and scientists whom visited the modern-day park. However, the removal of artifacts from the cuesta became a major concern, and efforts began in 1889 to protect the area as a National Park.
The park covers an area of 82 square miles (212 square kilometers), and features multiple Ancestral Puebloan and other indigenous archaeological sites, and was taken from the Ute people, with land being taken from the Utes after the establishment of the park to expand its borders. The park long struggled with proper interpretation and inclusion of the voices of the Puebloan people, whose ancestors built the ancient dwellings and lived at what are today archaeological sites, with work presently ongoing to redress these issues.
The ruins at the park underwent reconstitution and stabilization between 1908 and 1922, with extensive work being done on Spruce Tree House, Cliff Palace, and Sun Temple. Further work was carried out by the New Deal-era Civilian Conservation Corps starting in 1932 and extending through World War II, which included the construction of various park facilities for visitors and staff, and constructing roads atop the cuesta. The Wetherill Mesa ruins, meanwhile, were stabilized with work being carried out between 1958 and 1965, coinciding with the construction of the Far View accommodations atop the cuesta to the east.
The park today features a modern entrance road from US Highway 160, which climbs up the rugged slopes at the north end of the park to the top of the cuesta, stretching across the top of the cuesta to the south, where it connects to various roads that allow visitors to access the overlooks and trails for various cliff dwellings and archaeological sites on Chapin Mesa and Wetherill Mesa. Two areas of tourist accommodation also exist at Far View in the northern section of the park, and the administrative district at Spruce Tree Point at the southern end of the park.
The park was listed on the National Register of Historic Places in 1966, and was designated a UNESCO World Heritage Site in 1978. Today, the park sees over half a million visitors annually, and continues to preserve and maintain the ancient structures built by the Ancestral Puebloans.
NEW JERSEY 2017 BALD EAGLE PROJECT REPORT
ANOTHER PRODUCTIVE YEAR FOR NJ’S EAGLES
by Larissa Smith, CWF Wildlife Biologist
The Conserve Wildlife Foundation of NJ in partnership with the NJ Endangered and Nongame Species Program has released the 2017 NJ Bald Eagle Project Report. In 2017, 178 eagle nests were monitored during the nesting season. Of these nests 153 were active (with eggs) and 25 were territorial or housekeeping pairs. One hundred and ninety young were fledged.
In 2017 the number of active nests was three more than in 2016, but the number young fledged decreased by 27 from a record high of 216 fledged in 2016. The productivity rate this season of 1.25 young/active nest is still above the required range of 0.0 to 1.1 for population maintenance. Productivity could be lower this season for many reasons including weather, predation and disturbance to the nesting area. In 2017 nest monitors reported several instances of “intruder” eagles at nests which did disrupt the nesting attempts of several pairs. One of these “eagle dramas” unfolded at the Duke Farms eagle cam watched by millions of people. An intruder female attempted to replace the current female. This harassment interrupted the pairs bonding and copulation and no eggs were laid.
This year’s report includes a section on Resightings of banded eagles. Resightings of NJ (green) banded eagles have increased over the years, as well as eagles seen in NJ that were banded in other states. These resightings are important, as they help us to understand eagle movements during the years between fledging and settling into a territory, as well as adult birds at a nest site.
For more info: www.conservewildlifenj.org/blog/2017/12/06/new-jersey-201...
New Jersey Bald Eagle Project Report | 2017 may be downloaded here: www.state.nj.us/dep/fgw/ensp/pdf/eglrpt17.pdf
View from the road in Manu National Park, going down towards the amazon region. Dramatic landscapes, deep and impressive canyons, tall waterfalls, well conserved forests. A kind of pristine paradise surviving on Earth ! Cusco department, Southeastern Peru.
Vista desde la carretera en el Parque Nacional del Manual bajar hacía la región amazonica. Paisajes espectaculares, cañones profundos impreionantes, bosques bien conservados. Un tipo de paraiso pristino sobreviviendo en la Tierra ! Departamento del Cusco, sudeste del Peru.
Great Sand Dunes National Park and Preserve
Great Sand Dunes National Park and Preserve is an American national park that conserves an area of large sand dunes up to 750 feet (230 m) tall[5] on the eastern edge of the San Luis Valley, and an adjacent national preserve in the Sangre de Cristo Range, in south-central Colorado, United States.[6] The park was originally designated Great Sand Dunes National Monument on March 17, 1932, by President Herbert Hoover. The original boundaries protected an area of 35,528 acres (55.5 sq mi; 143.8 km2).[2] A boundary change and redesignation as a national park and preserve was authorized on November 22, 2000, and then established on September 24, 2004.[3] The park encompasses 107,342 acres (167.7 sq mi; 434.4 km2) while the preserve protects an additional 41,686 acres (65.1 sq mi; 168.7 km2) for a total of 149,028 acres (232.9 sq mi; 603.1 km2).[1] The recreational visitor total was 527,546 in 2019.[4]
The park contains the tallest sand dunes in North America.[7] The dunes cover an area of about 30 sq mi (78 km2) and are estimated to contain over 1.2 cubic miles (5 billion cubic metres) of sand.[8] Sediments from the surrounding mountains filled the valley over geologic time periods. After lakes within the valley receded, exposed sand was blown by the predominant southwest winds toward the Sangre de Cristos, eventually forming the dunefield over an estimated tens of thousands of years.[9] The four primary components of the Great Sand Dunes system are the mountain watershed, the dunefield, the sand sheet, and the sabkha.[8] Ecosystems within the mountain watershed include alpine tundra, subalpine forests, montane woodlands, and riparian zones.[10]
Evidence of human habitation in the San Luis Valley dates back about 11,000 years. The first historic peoples to inhabit the area were the Southern Ute Tribe; Apaches and Navajo also have cultural connections in the area. In the late 17th century, Diego de Vargas, a Spanish governor of Santa Fe de Nuevo México, became the first European on record to enter the San Luis Valley. Juan Bautista de Anza, Zebulon Pike, John C. Frémont, and John Gunnison all travelled through and explored parts of the region in the 18th and 19th centuries. The explorers were soon followed by settlers who ranched, farmed and mined in the valley starting in the late 19th century. The park was first established as a national monument in 1932 to protect it from gold mining and the potential of a concrete manufacturing business.[11]
Visitors must walk across the wide and shallow Medano Creek to reach the dunes in spring and summer. The creek typically has a peak flow from late May to early June. From July to April, it is usually no more than a few inches deep, if there is any water at all.[12] Hiking is permitted throughout the dunes with the warning that the sand surface temperature may reach 150 °F (66 °C) in summer.[13] Sandboarding and sandsledding are popular activities, both done on specially designed equipment that can be rented just outside the park entrance or in Alamosa.[14] Visitors with street-legal four-wheel drive vehicles may continue past the end of the park's main road to Medano Pass on 22 miles (35 km) of unpaved road, crossing the stream bed of Medano Creek nine times and traversing 4 miles (6.4 km) of deep sand.[15] Hunting is permitted in the preserve in the autumn, but prohibited within national park boundaries at all times.[16] The preserve encompasses nearly all of the mountainous areas north and east of the dunefield, up to the ridgeline of the Sangre de Cristos.[6]
Source: en.wikipedia.org/wiki/Great_Sand_Dunes_National_Park_and_...
Chapelle conservée dans l'alpage du Fond d'Aussois à 2330m. (Savoie-Parc National de la Vanoise)
Les documents anciens, les lieu-dits, les ruines rappellent au randonneur attentif que ces chapelles d'alpages étaient très nombreuses dans toutes les vallées alpines.
Once broken ribs and a piece of spine of a huge petrified Temnodontosaurus trigonodon, 200 - 175 000 000 years old...
Catching and conserving moments.
Sometimes I need to remember myself why I fell in love with photography. And basically, that's why.
I took this picture two years ago and always liked the moment, but not the technical quality. So I kept it hidden.
Today I told myself to stop being overcritical with myself (talking about non-commissional work here), what might lead to an upload overkill in the near future, because there are a lot of photos that have been on hold for quite a while.
A large plaque at the zoo where I volunteer. It's mounted at ground-level, outside a classroom. Baba Dioum is a forestry engineer from Senegal.
Une magnifique sortie nature dans un écosystème de paramo incroyable avec des plantes géantes d'Espeletia uribei (famille Asteraceae) grâce á Conserva con ciencia et Karol Pulido qui nous a guidé á Choachi dans le département de Cundinamarca, Magique Colombie ! C'est nécessaire d'aller avec la guide pour aider á conserver l'endroit. Bientôt plus de photos...
A marvelous nature walk in a paramo ecosystem with incredible gigantic plants of Espeletia uribei (family Asteraceae) thanks to Conserva con ciencia and Karol Pulido who guided us in Choachi in Cundinamarca department. Magical Colombia ! Necessary to go with the guide to help conserve this place. More pics soon...
Una magnífica salida en la naturaleza en un ecosistema de páramo increíble con plantas gigantes de "Frailejones" (Espeletia uribei, familia Asteraceae) gracias a Conserva con ciencia y Karol Pulido quien nos a guiado en Choachi en el département de Cundinamarca, Magica Colombia ! Es necesario ir con la guía para ayudar a conservar el lugar. Mas fotos pronto...
Sténopé boite de conserve. Papier Ilford
Pinhole tin can. Paper Ilford
Fin de saison du sténopé.
End of the season of the pinhole.
From my store cupboard; Maple Syrup, Wild Amarena Cherries, Blueberry Conserve, Creme de Framboise, Ginger Syrup and Rhapsodie de Fruits.
116 pictures in 2016 (68) In or from the store cupboard
L'original de ce tableau est conservé au musée du Prado à Madrid.
You should know that it is not the original works that are exhibited at the Jheronimus Bosch Art Center but high quality photos in the original size of the work framed optimally. You can manipulate the triptychs.
In 2016, there was a big exhibition that had a lot of success with the original works at the Noordbrabants museum which adjoins the Stedelijk museum, but you could hardly get close and the cameras were forbidden.
The original of this painting is kept in the museum of Prado in Madrid.
Il faut savoir que ce ne sont pas les oeuvres originales qui sont exposées au Jheronimus Bosch Art Center mais bien des photos de grande qualité au format original de l'oeuvre encadrées de façon optimale. Vous pouvez manipuler les triptyques.
En 2016, il y a eu une grande exposition qui a eu énormément de succès avec les oeuvres originales au Noordbrabants museum qui jouxte le Stedelijk museum, mais vous pouviez à peine approcher et les appareils photos étaient interdits.