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Rijks Museum - National Museum of Netherlands
Vision:
The Rijksmuseum links individuals with art and history.
Mission:
At the Rijksmuseum, art and history take on new meaning for a broad-based, contemporary national and international audience.
As a national institute, the Rijksmuseum offers a representative overview of Dutch art and history from the Middle Ages onwards, and of major aspects of European and Asian art.
The Rijksmuseum keeps, manages, conserves, restores, researches, prepares, collects, publishes, and presents artistic and historical objects, both on its own premises and elsewhere.
From 1800 to 2013
The Rijksmuseum first opened its doors in 1800 under the name ‘Nationale Kunstgalerij’. At the time, it was housed in Huis ten Bosch in The Hague. The collection mainly comprised paintings and historical objects. In 1808, the museum moved to the new capital city of Amsterdam, where it was based in the Royal Palace on Dam Square.
After King Willem I’s accession to the throne, the paintings and national print collection were moved to the Trippenhuis on Kloveniersburgwal, while the other objects were returned to The Hague. The current building was put into use in 1885. The Netherlands Museum for History and Art based in The Hague moved into the same premises, forming what would later become the departments of Dutch History and Sculpture & Applied Art.
The beginning
On 19 November 1798, more than three years after the birth of the Batavian Republic, the government decided to honour a suggestion put forward by Isaac Gogel by following the French example of setting up a national museum. The museum initially housed the remains of the viceregal collections and a variety of objects originating from state institutions. When the Nationale Kunstgalerij first opened its doors on 31 May 1800, it had more than 200 paintings and historical objects on display. In the years that followed, Gogel and the first director, C.S. Roos, made countless acquisitions. Their first purchase, The Swan by Jan Asselijn, cost 100 Dutch guilders and is still one of the Rijksmuseum’s top pieces.
Move to Amsterdam
In 1808, the new King Louis Napoleon ordered the collections to be moved to Amsterdam, which was to be made the capital of the Kingdom of Holland. The works of art and objects were taken to the Royal Palace on Dam Square, the former city hall of Amsterdam, where they were united with the city’s foremost paintings, including the Night Watch by Rembrandt. In 1809, the Koninklijk Museum opened its doors on the top floor of the palace.
A few years after Willem I returned to the Netherlands as the new king in 1813, the ‘Rijks Museum’ and the national print collection from The Hague relocated to the Trippenhuis, a 17th-century town-palace on Kloveniersburgwal, home to what would later become the Royal Netherlands Academy of Arts and Sciences. Much to the regret of the director, Cornelis Apostool, in 1820 many objects including pieces of great historical interest were assigned to the Kabinet van Zeldzaamheden [Royal Gallery of Rare Objects], which had been founded in The Hague. In 1838, a separate museum for modern 19th-century art was established in Paviljoen Welgelegen in Haarlem. Contrary to the days of Louis Napoleon, very few large acquisitions were made during this period.
Cuypers Cathedral
The Trippenhuis proved unsuitable as a museum. Furthermore, many people thought it time to establish a dedicated national museum building in the Netherlands. Work on a new building did not commence until 1876, after many years of debate. The architect, Pierre Cuypers, had drawn up a historic design for the Rijksmuseum, which combined the Gothic and the Renaissance styles. The design was not generally well-received; people considered it too mediaeval and not Dutch enough. The official opening took place in 1885.
Nearly all the older paintings belonging to the City of Amsterdam were hung in the Rijksmuseum alongside paintings and prints from the Trippenhuis, including paintings such as Rembrandt’s Jewish Bride, which had been bequeathed to the city by the banker A. van der Hoop. The collection of 19th-century art from Haarlem was also added to the museum’s collection. Finally, a significant part of the Kabinet van Zeldzaamheden, which had by then been incorporated into the new Netherlands Museum for History and Art, was returned to Amsterdam.
Renovations
Over the years, collections continued to grow and museum insight continued to expand, and so the Rijksmuseum building underwent many changes. Rooms were added to the south-west side of the building between 1904 and 1916 (now the Philips wing) to house the collection of 19th-century paintings donated to the museum by Mr and Mrs Drucker-Fraser. In the 1950s and 1960s, the two original courtyards were covered and renovated to create more rooms.
In 1927, while Schmidt-Degener was Managing Director, the Netherlands Museum was split to form the departments of Dutch History and Sculpture & Applied Art. These departments were moved to separate parts of the building after 1945. The arrival of a collection donated by the Association of Friends of Asian Art in the 1950s resulted in the creation of the Asian Art department.
The 1970s saw record numbers of visitors of almost one-and-a-half million per year, and the building gradually started to fall short of modern requirements.
‘Verder met Cuypers'
The current renovation reinstates the original Cuypers structure. The building work in the courtyards are removed. Paintings, applied art and history are no longer displayed in separate parts of the building, but form a single chronological circuit that tells the story of Dutch art and history.
The building is thoroughly modernized, while at the same time restoring more of Cuypers original interior designs: the Rijksmuseum has dubbed the venture ‘Verder met Cuypers‘ [Continuing with Cuypers]. The Rijksmuseum will be a dazzling new museum able to satisfy the needs of its 21st-century visitors!
Every year, the Rijksmuseum compiles an annual report for the previous year. Annual reports dating back to 1998 can be found here (in Dutch only). Reports relating to the years before 1998 are available in the reading room of the library.
O Museu Rijks é um dos maiores e mais importantes museus da Europa.É o maior dos Países Baixos, com acervo voltado quase todo aos artistas holandeses. As obras vão desde exemplares da arte sacra até a era dourada holandesa, além de uma substancial coleção de arte asiática.
Esse é o Rijksmuseum, o Museu Nacional dos Países Baixos. E aproveite, caro leitor, porque o Rijks esteve parcialmente fechado para reforma durante 10 anos – voltou a funcionar só em 2013. Ou seja, quem esteve em Amsterdam na última década não conheceu o Rijks, pelo menos não completamente.
Mas o quê tem lá? Muita coisa. Destaque para as coleções de arte e História holandesas. Os trabalhos dos pintores Frans Hals e Johannes Vermeer são alguns dos mais concorridos, mas imbatível mesmo é Rembrandt van Rijn, considerado um dos maiores pintores de todos os tempos. Se você não é um fã de museus de arte, mas faz questão de conhecer o trabalho desses grandes artistas, uma dica: assim que chegar ao Rijks, vá direto para a ala onde estão as obras-primas. Assim você vê o mais importante no início da visita, quando ainda está descansado e poderá dedicar o tempo necessário para essas obras.
A mais famosa delas é a “A Ronda Noturna”, de Rembrandt, uma obra que inspirou músicas, pinturas, filmes e até um flash mob. Quando o Rijks foi reaberto, artistas recriam a cena mostrada no quadro dentro de um shopping de Amsterdam. A ação está no vídeo abaixo e eu te garanto que vale a pena dar play.
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Rijksmuseum, Museu Nacional
42 Stadhouderskade
Amsterdam
O museu Rijksmuseum de Amsterdã é o Museu Nacional da Holanda, onde você encontrará uma impressionante coleção permanente, formada por 5.000 pinturas e 30.000 obras de arte, além de 17.000 objetos históricos.
Esse museu nacional foi fundado em 1885 e está instalado em um edifício de estilo neogótico. A sua principal atração é a extensa coleção de quadros pintados por artistas holandeses, abrangendo um período que vai do séc. XV aos dias de hoje. A obra de arte mais famosa em exibição é o quadro A Ronda Noturna, de Rembrandt.
O museu Rijksmuseum está dividido em cinco departamentos: pintura, escultura, arte aplicada, arte oriental, história dos Países Baixos e gravuras. O núcleo da coleção é a pintura e suas obras mais representativas são as que pertencem ao Século de Ouro holandês, com quadros de artistas como Rembrandt, Vermeer ou Frans Hals.
Ver fonte: dreamguides.edreams.pt/holanda/amsterda/rijksmuseum
Museu Rijks, Amesterdão
O Museu Rijks (Museu Nacional) é um edifício histórico, sendo o maior museu nos Países Baixos. O Museu é o maior no numero relativamente às suas colecções, na área do edifício em si, no financiamento e no numero de funcionários empregados.
Cada ano, mais de um milhão de pessoas visitam o Museu Rijks. O Museu emprega cerca de 400 pessoas, incluindo 45 conservadores de museu que são especializados em todas as áreas.
O Museu Rijks é internacionalmente reconhecido pelas suas exibições e publicações, mas não só apenas por estes produtos de grande qualidade, mas também pelas áreas no museu em si que são fonte de inspiração e encorajam a criação de novas ideias.
O museu também tem recursos consideráveis para a educação, para a decoração e apresentação de exibições. Importantes designers são regularmente chamados a trabalharem em projectos no Museu Rijks.
O edifício principal do Museu Rijks está a ser renovado. A boa noticia é que a melhor parte da exposição está apresentada na redesenhada ala Philips. O nome desta exposição denomina-se "The Masterpieces'.
O museu abre diariamente das 10 da manhã até ás 5 da tarde.
A entrada é pela Stadhouderskade 42.
Rijksmuseum
Origem: Wikipédia, a enciclopédia livre.
O Rijksmuseum é um museu nacional dos Países Baixos, localizada em Amsterdão na Praça do museu. O Rijksmuseum é dedicado à artes e história. Ele tem uma larga coleção de pinturas da idade de ouro neerlandesa e uma substancial coleção de arte asiática.
O museu foi fundado em 1800 na cidade da Haia para exibir a coleção do primeiro-ministro. Foi inspirado no exemplo francês. Pelos neerlandeses ficou conhecida como Galeria de Arte. Em 1808 o museu mudou-se para Amsterdã pelas ordens do rei Louis Napoleón, irmão de Napoleão Bonaparte. As pinturas daquela cidade, como A Ronda Nocturna de Rembrandt, tornaram-se parte da coleção.
Em 1885 o museu mudou-se para sua localização atual, construído pelo arquiteto neerlandês Pierre Cuypers. Ele combinou elementos góticos e renascentistas. O museu tem um posição proeminente na Praça do Museu, próximo ao Museu van Gogh e ao Museu Stedelijk. A construção é ricamente decorada com referências da história da arte neerlandesa. A Ronda Nocturna de Rembrandt tem seu próprio corredor no museu desde 1906. Desde 2003 o museu sofreu restaurações, mas as obras-primas são constatemente presentes para o público.
A coleção de pinturas inclui trabalhos de artistas como Jacob van Ruysdael, Frans Hals, Johannes Vermeer e Rembrandt e de alunos de Rembrandt.
Em 2005, 95% do museu está fechado para renovação, mas as pinturas da coleção permanente ainda estão em mostra em uma exibição especial chamada As Obras-primas.
Algumas das pinturas do museu:
Rembrandt van Rijn
A Ronda Nocturna
Os síndicos da guilda dos fabricantes de tecidos
A noiva judia
A lição de Anatomia do Dr. Deyman
Pedro negando Cristo
Saskia com um véu
Retrato de Titus em hábito de monge
Auto-retrato como Apóstolo Paulo
Tobias, Ana e o Bode
Johannes Vermeer:
A Leiteira
A Carta de Amor
Mulher de Azul a ler uma carta
A Rua pequena
Frans Hals:
Retrato de um jovem casal
A Companhia Reynier Real
O bebedor alegre
Retrato de Lucas De Clercq
Retrato de Nicolaes Hasselaer
Retrato de um homem
Página oficial do Rijksmuseum
Virtual Collection of Masterpieces (VCM)
O melhor museu de Amsterdam: Rijksmuseum
O Commons possui uma categoria contendo imagens e outros ficheiros sobre Rijksmuseum
Rijksmuseum Amsterdam
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Se você visitar Amsterdam, precisará conhecer o Museu Nacional da Holanda: Rijksmuseum Amsterdam. O Museu Nacional fica na Praça do Museu, situada no centro de Amsterdam. O Museu Nacional, ou Rijksmuseum, possui uma maravilhosa coleção de arte e história holandesas. Após uma visita ao Rijksmuseum, você saberá mais sobre história e arte e terá visto alguns dos maiores marcos culturais da Holanda.
Obras-primas do Museu Nacional
Ao todo, a coleção do Rijksmuseum apresenta a história da Holanda em um contexto internacional, desde 1.100 até o presente. Há alguns ícones da história e cultura da Holanda que você não pode perder:
Ronda Noturna (de Nachtwacht) de Rembrandt é uma das mais famosas obras desse mestre holandês e é de tirar o fôlego.
O Rijksmuseum tem uma das melhores coleções de pinturas dos grandes mestres do século XVII, como Frans Hals, Jan Steen, Vermeer e Rembrandt.
Assim como o Museu Histórico de Haia, o Rijksmuseum apresenta lindas casas de bonecas, mobiliadas em detalhes, datando de 1676.
Se você não puder ir ao Delft Real, pode ainda apreciar algumas das melhores cerâmicas de Delft, de conjuntos de chá a vasos, no Museu Nacional.
Museu que é visita obrigatória em Amsterdam
Quer sua estadia em Amsterdam seja breve ou longa, você deve visitar o Rijksmuseum. Chegue cedo para evitar enfrentar filas. Combine a visita ao Rijksmuseum com várias outras atrações próximas, como o Museu Van Gogh, o Museu Stedelijk Amsterdam e a Coster Diamonds
Para obter mais informações sobre Amsterdam, retorne à página sobre Amsterdam ou à página sobre os museus de Amsterdam.
Ancient Selge.....(in Greek Σελγη) was an important city in Pisidia, on the southern slope of Mount Taurus, modern Antalya Province, Turkey, at the part where the river Eurymedon River (Turkish: Köprüçay)forces its way through the mountains towards the south. The town was believed to be a Greek colony, for Strabo[1] states that it was founded by Spartans, but adds the somewhat unintelligible remark that previously it had been founded by Calchas. The acropolis of Selge bore the name of Kesbedion.[2] The district in which the town was situated was extremely fertile, producing abundance of oil and wine, but the town itself was difficult of access, being surrounded by precipices and beds of torrents flowing towards the Eurymedon and Cestrus (today Aksu), and requiring bridges to make them passable. In consequence of its excellent laws and political constitution, Selge rose to the rank of the most powerful and populous city of Pisidia, and at one time was able to send an army of 20,000 men into the field. Owing to these circumstances, and the valour of its inhabitants, for which they were regarded as worthy kinsmen of the Spartans, the Selgians were never subject to any foreign power, but remained in the enjoyment of their own freedom and independence. When Alexander the Great passed through Pisidia (333 BC), Selge sent an embassy to him and gained his favour and friendship.[3] At that time they were at war with Termessos. At the period when Achaeus had made himself master of Western Asia, Selge were at war with Pednelissus, which was besieged by them; and Achaeus, on the invitation of Pednelissus, sent a large force against Selge (218 BC). After a long and vigorous siege, the Selgians, being betrayed and despairing of resisting Achaeus any longer, sent deputies to sue for peace, which was granted to them on the following terms: they agreed to pay immediately 400 talents, to restore the prisoners of Pednelissus, and after a time to pay 300 talents in addition.[4] We now have for a long time no particulars about the history of Selge; in the 5th century AD Zosimus[5] calls it indeed a little town, but it was still strong enough to repel a body of Goths. It is strange that Pliny does not notice Selge, for we know from its coins that it was still a flourishing town in the time of Hadrian; and it is also mentioned in Ptolemy[6] and Hierocles. Independently of wine and oil, the country about Selge was rich in timber, and a variety of trees, among which the storax was much valued from its yielding a strong perfume. Selge was also celebrated for an ointment prepared from the iris root. The remains of the city consist mainly of parts of the encircling wall and of the acropolis. A few traces have survived of the gymnasium, the stoa, the stadium and the basilica. There are also the outlines of two temples, but the best conserved monument is the theater, restored in the 3rd century AD. Selge was the seat of a bishop; it remains a titular see of the Roman Catholic Church.
Des stalles du château de Gaillon sont conservées dans la basilique Saint-Denis près de Paris. Ce château était la résidence de loisir des archevêques de Rouen. Commandées au début du XVIe siècle par Georges d’Amboise, ces stalles ont été construites lorsque cet archevêque, devenu légat du pape et premier conseiller de Louis XII a fait transformer le château médiéval en palais de la Renaissance. Seules stalles en France à présenter de nombreux panneaux de marqueterie et une iconographie inédite, elles forment un mobilier unique, chef-d’œuvre de cette période charnière entre gothique et Renaissance, arborant une grande mixité de styles. Ces stalles sont les chaires qui étaient destinées aux trois chanoines qui officiaient dans la chapelle haute du château de Gaillon, dédiée à saint Georges. Elles étaient ceintes d’une clôture en boiset constituaient ainsi le chœur liturgique de l'édifice.
Les stalles en chêne sont composées de deux rangées disposées côté nord et sud du transept de la basilique de Saint-Denis. La rangée nord présente un ensemble de six stalles, la rangée sud de cinq stalles et une isolée. Seules douze stalles ont été créées au XVIe siècle alors que le programme iconographique en prévoyait quatorze. De 2,83 m de haut, elles composées d’un siège et d’un dorsal, ce dernier comprenant deux registres : un bas-relief surmontant un panneau de marqueterie. Tous les éléments sont sculptés ou marquetés. De manière unique, les dossiers, les dorsaux et les voussures des dais sont galbés. De même les chaires ont des largeurs variées, fixées par celles des bas-reliefs des dorsaux. Pour s’adapter, les largeurs d’autres composants ont été rectifiées. La mixité de style se retrouve dans la globalité, les interdorsaux et deux dais étant gothiques alors que les faibles reliefs sont apparentés aux grotesques de la Renaissance, les bas-reliefs et les marqueteries des dorsaux étant quant à eux à la fois d’inspiration péninsulaire et septentrionale.
Sont illustrées sur les bas-reliefs originaux des dorsaux deux scènes de la vie d’Anne et Joachim, parents de la vierge Marie, cinq scènes de la vie de saint Jean-Baptiste le précurseur et sept scènes de la vie de saint Georges selon les textes d’Évangile ou de la Légende dorée. Nombre d’autres saints sont présentés en pied, sous forme de statuettes sur les interdorsaux ou de bas-reliefs sur les soubassements des jouées, notamment les quatre évangélistes sur ces derniers. Sur les panneaux marquetés des quadrants des parcloses sont figurées les affres des enfers des condamnés selon les sept péchés capitaux, avec les planètes et leurs influences. Les représentations sont inspirées des gravures du Calendrier des bergers imprimé à cette époque.
Les miséricordes figurent des scènes des Métamorphoses d’Ovide ainsi que les arts libéraux selon la Margarita Philosophica de G. Reisch. Les artisans se sont inspirés de gravures d’ouvrages imprimés au début du XVIe siècle, par exemple le soldat romain Caius Mucius Scaevola devant le roi Étrusque Porsenna y étant représenté exposant ainsi des thématiques propres à la culture antique. De manière également tout à fait inédite, les 7 vertus, cardinales et théologales, et 7 sibylles sont figurées et représentées sur les panneaux de marqueterie du premier registre des dorsaux. Les allégories et les prophétesses sont encadrées d’architectures identiques deux à deux qui les mettent en concordance. Les sibylles ont été choisies parmi celles du manuscrit des Heures de Louis de Laval dont les auteurs ont cité les prophéties. Ces dernières proviennent du manuscrit des Institutions divines de Lactance qui était de nouveau traduit et que le cardinal a lui-même fait enluminer. Ce grand rhéteur du IVe siècle ayant quant à lui repris les oracles rédigés dans les Oracles sibyllins.
Georges Ier d’Amboise n’a pas manqué de faire valoir qu’il était le commanditaire des stalles en demandant à ce que ses armes et sa devise y figurent à de nombreuses reprises. Le légat a donné pour modèles aux artisans des stalles des enluminures ou gravures de manuscrits faisant partie de sa splendide bibliothèque, digne d'un grand érudit humaniste. Il fit venir l’Italie en choisissant la marqueterie figurative en sus de la sculpture, seule technique utilisée à l'époque en France. Sans renier la tradition en faisant figurer les saints, il a fait représenter de manière inédite leur cycle de vie, dont il a choisi des événements bien spécifiques. De plus, il a incité les fidèles à s’instruire et à étudier les auteurs antiques en faisant sculpter des allégories des arts libéraux et des personnages mythiques ou héroïques. Enfin, par le dialogue des sibylles et des vertus, il a montré que la rhétorique de Lactance était convaincante. Il a ainsi non seulement introduit en France la mode italienne dans le mobilier, le décor et les ornements du château de Gaillon, mais surtout donné corps à l’esprit humaniste en faisant de ses stalles les messagères qui appellent à une vie vertueuse, dans la foi au Christ annoncé à tous les hommes (cf. wikipédia, merci Glass Angel pour la photo).
Domaine conservé intact depuis la seconde moitié du 18e siècle, sans aucun ajout, le Château de Canon constitue un parfait témoin du siècle des Lumières en basse-normandie.
Photographie aérienne par cerf-volant.
Domain intact since the second half of the 18th century, without any addition, the Château de Canon is a perfect example of the Age of Enlightenment in Normandy.
Kite Aerial Photography.
© Janvier 2012, François Levalet
Whenever there's a glut of fruit, meat, vegetables or mushrooms we conserve as much as we can. It's very nice having a good food stash when the shops are far away. For me this isn't really living frugally - as far as we're concerned - we're rich !
Sous le pape Hilaire (Ve siècle) ont été ajoutée les trois chapelles dédiées à Saint-Jean-Baptiste, Sainte-Croix et Saint-Jean l’Évangéliste (au septième siècle, fut ajoutée au sud-est la chapelle de San Venancio, avec des mosaïques à fond doré). Des trois chapelles, seulement celle située à l'est, accessible par des portes en bronze et dédiée à Saint- Jean l'Evangéliste, conserve sa forme originale de croix grecque, avec une voûte en mosaïque datant du règne du pape Sixte III. Sur un fond d'or, l'Agnus Dei est accompagné d'animaux et de plantes, symbolisme évident de l'Eucharistie. Les cinq fresques intérieures reproduisant des épisodes de la vie de Constantin dont celle de la bataille du pont Milvius (312), au plafond, remportée sur Maxence où se fit l'apparition de la Sainte Croix, avec la promesse in hoc signo vinces (Par ce signe tu vaincras), remontent au pape Urbain VIII (première moitié du XVIIe siècle) dont le blason avec les abeilles sur le sol.
La cuve circulaire où les chrétiens étaient baptisés jadis par immersion est au centre, entourée de huit belles colonnes en porphyre rouge aux chapiteaux ioniques et corinthiens, qui soutiennent un entablement de 8 colonnes de marbre blanc (le chiffre huit signifie l’accomplissement des temps dans la vie éternelle). Un déambulatoire entoure le bassin. Sur ces colonnes repose une architrave, avec des vers en latin, attribués au pape Saint Sixte II (432-440) et qui résument admirablement bien la doctrine chrétienne sur le Baptême :
C'est ici que jaillit ce peuple de noble lignée, voué au Ciel
Que l'Esprit engendre en ces eaux fécondées.
C'est dans l'eau que Notre Mère l'Église, dans un accouchement virginal,
met au monde ceux qu'elle a conçus par l'oeuvre de l'Esprit divin.
Vous qui êtes nés à cette source, vivez dans l'espérance du royaume des cieux.
Il faut renaître pour avoir la vie éternelle.
Voici la source de vie qui lave toute la terre,
et prend sa source aux plaies du Christ.
O pécheur, viens te plonger dans ce flot sacré et purificateur
Dont les ondes rajeuniront tout vieil homme qui s'y plonge.
Si, sous le poids du péché hérité ou de ton péché personnel,
tu tiens à l'innocence, lave-toi dans ces eaux.
Plus rien ne sépare ceux qui y sont renés. Ils sont devenus un,
Grâce à une seule source baptismale, à un seul Esprit, à une seule Foi.
Que personne ne craigne le nombre et la gravité de ses péchés :
Celui qui est rené de cette eau vive deviendra saint.
Après une période d'abandon dû à la résidence du pape à Avignon, puis au Vatican, des restaurations commencèrent au XVIe siècle, avec notamment une nouvelle porte d'entrée sur la Piazza San Giovanni réaménagée, se substituant à la chapelle nord (Sainte Croix). Le décor intérieur fut renouvelé au XVIIe siècle.
Avec le mausolée de Santa Costanza et celui du Saint-Sépulcre de Jérusalem, c'est l'un des premiers exemples d'une architecture chrétienne de ce genre, et fut l'archétype des baptistères construits dans la chrétienté au moyen-âge. Pendant les six premiers siècles, seul l’évêque, successeur des apôtres, faisait entrer dans l’église le catéchumène au cours de la liturgie pascale.
Under Pope Hilaire (5th century) were added the three chapels dedicated to Saint-Jean-Baptiste, Saint-Croix and Saint-Jean the Evangelist (in the seventh century, was added to the south-east the chapel of San Venancio, with mosaics with a golden background). Of the three chapels, only that located to the east, accessible by bronze doors and dedicated to St. John the Evangelist, retains its original Greek cross form, with a mosaic vault dating from the reign of Pope Sixtus III. On a gold background, the Agnus Dei is accompanied by animals and plants, an obvious symbolism of the Eucharist. The five interior frescoes reproducing episodes of the life of Constantine, including the battle of the Milvius Bridge (312), on the ceiling, won over Maxentius where appeared the Holy Cross, with the promise in hoc signo vinces (Par this sign you conquer), go back to Pope Urban VIII (first half of the 17th century) whose coat of arms with the bees on the ground.
The circular bowl where Christians were formerly baptized by immersion is in the center, surrounded by eight beautiful red porphyry columns with Ionic and Corinthian capitals, which support an entablature of 8 columns of white marble (the figure eight means the fulfillment of the times in eternal life). An ambulatory surrounds the basin. On these columns rests an architrave, with verses in Latin, attributed to Pope Saint Sixtus II (432-440) and which sum up admirably the Christian doctrine on Baptism:
It is here that springs this people of noble lineage, dedicated to Heaven
That the Spirit begets in these fertilized waters.
It is in the water that Our Mother Church, in a virgin birth,
give birth to those whom she has conceived by the work of the Divine Spirit.
You who are born at this source, live in the hope of the kingdom of heaven.
We must be reborn to have eternal life.
Here is the source of life that is washing the whole earth,
and takes its source in the wounds of Christ.
O sinner, come immerse yourself in this sacred flow and purifier
Whose waves will rejuvenate any old man who dives there.
If, under the weight of inherited sin or your personal sin,
you want innocence, wash in these waters.
Nothing separates those who are reborn. They became one,
Through one baptismal source, one Spirit, one Faith.
Let no one fear the number and the gravity of his sins:
He who is reborn from this living water will become holy.
After a period of abandonment due to the residence of the Pope in Avignon, then in the Vatican, restorations began in the 16th century, including a new gateway to Piazza San Giovanni
This is my new faceup for Nikkolas, my Tauros from IOS... I used pastels, acrilics and watercolor pencils, classic way. Horns conserve Oil paint cause I like so much that effect ^^
So, then his eyeholes was opened... Thanks to my bigbro!!! he is always helping me with my experiments *^* ... he used a Dremel and sandpaper to finish.
I really like how looks, I wanted eyes to him long ago.
NEW JERSEY’S BALD EAGLE POPULATION CONTINUES TO SOAR
January 14th, 2016
CONSERVE WILDLIFE FOUNDATION OF NEW JERSEY RELEASES RESULTS OF 2015 STATE BALD EAGLE REPORT
by Lindsay McNamara, Communications Manager
Conserve Wildlife Foundation of New Jersey today released the 2015 Bald Eagle Report, highlighting the number of nesting pairs, active nests and nest productivity for the raptors throughout New Jersey with data collected by New Jersey Department of Environmental Protection Division of Fish and Wildlife biologists, CWF biologists and committed volunteers.
“With 161 pairs of bald eagles this past year — up from just a single nest in the early 1980’s — the dramatic ongoing recovery of bald eagles across the northeast continues to inspire so many of us,” said David Wheeler, Conserve Wildlife Foundation Executive Director. “The thrill of seeing a bald eagle fly across the sky is unparalleled. This report captures how these eagles are continuing their All-American return.”
The report notes that thirteen new eagle pairs were found this season, nine in the south, two in Central Jersey and two in Northern New Jersey.
For more info: www.conservewildlifenj.org/blog/2016/01/14/new-jerseys-ba...
SA Police Museum.
This police museum was established in 1977 to conserve and detail some of the work and achievements of South Australian police personnel. The museum has five main galleries with different themes as well as a collection of police uniforms, police cars and motor cycles etc. The history of the South Australian Mounted Police Force began in 1838 making it the third oldest organised police force in the world after England and Ireland! Henry Inman was the first police chief in April 1838. The mounted police and their horses were in a paddock behind the SA Museum which later became their barracks and the state armoury site. They wore blue British style uniforms with a differences between the uniforms of footed and mounted officers. Our forward thinking police department was the first in Australia to introduce bicycles for officers in 1893 and they were not totally replaced by motor cycles until the 1950s. More significant than the introduction of bicycles was the introduction of female police officers 1915 – the second country in the British Empire to do so after NSW which also introduced female officers in 1915. These female officers received the same pay and had the same conditions as the men. The first female officers who were instrumental in having the women’s force established were Kate Cocks and Annie Ross. Kate Cocks had worked in Children’s Welfare before being transferred to the Police Department. The responsibilities of these two women centred on women and violence, prostitution and youth sex offences. SA also followed NSW’s early introduction of finger printing, the earliest form of forensic science in the police force in 1894. But SA provided the new Commonwealth of Australia with a uniform system of finger printing which was adopted across all states in 1904. The Police Museum also has a replica of a Black Maria police van for transporting criminals in a secure horse drawn carriage. The Black Maria’s were introduced in 1874 and used until replaced by motor vehicles in 1928.
"No one saves us but ourselves. No one can and no one may. We ourselves must walk the path."
--Buddha
The Sterns Woods Nature Series
Wednesday, June 15, 2016
Sterns Woods and Fen
McHenry County, Illinois
Olympus E-P5
Lumx G Vario 14-45mm f/3.5-5.6 zoom
ISO 800 -- f/11 -- 1/40 -- 25mm
CI-CLIL-2016-06-15-EP5-31
FB.2016.07.04
A pair of driver trainer buses at the First Rotherham depot, from different generations. Volvo B10M Alexander PS G602 NWA is the outgoing type, being a step entrance bus and so not really reprenstative of a modern First fleet, and the incoming bus is ex-Manchester (Wigan) Volvo B10BLE Wright Renown R571 YNC. Alongside is something right on the cutting edge - brand new to the Sheffield fleet, and part of a massive order for these buses, Wright Streetlite Max Micro Hybrid SN14 DWG. The Micro Hybrid concept achieves 10% better fuel efficiency by means of conserving energy otherwise lost through braking.
R1-1995 was the last tram to operate on the former Sydney tramway system being the last car in the convoy that proceeded from Hunter Street to La Perouse and return to Randwick Depot on 25 February 1961.
It has a special place in my heart for, as a 15 year old schoolboy, I was a passenger that day.
Tram car R1 1995 is now located near the entrance to Tramsheds, the converted Rozelle Tram Depot (which is described as a fine dining destination) at the original track level, on a former track alignment to provide an understanding of how the tram shed operated.
Externally the body is painted in green and yellow, with a tan roof, based on the original colour scheme for the R1 Trams. Internally the tram car has been fitted with café style seating with original type seats at both ends.
A plaque at the entrance reads reads:
"Sydney R1 Tramcar 1995 was in service from the Rozelle Tram Depot from November 1951 until the depot’s closure in 1958. It was the last of four trams to operate in procession from La Perouse to Randwick Workshops on Saturday 25th February 1961 and as such was the last tram to operate on Sydney Streets. The Tram was conserved by the Bendigo Tramway Museum in 2014"
Today 1995 slumbers near Sydney's Inner West Light Rail line (the L1) - disembark at Jubilee Park.
Ben is a naturalist with the New Jersey Conserve Wildlife Foundation. He is licensed to band birds, including ospreys. Here Ben selects a band to place on the osprey chicks. The anxious osprey mom circles above.
Below are several chicks, note the newly placed band on the left leg of the standing osprey chick.. The nest platforms were 30 to 40 feet above the ground! Climbing ladders and going up in utility bucket trucks was a thrill for me!
● Caractéristique CC 40100
Mise en service :
• 8 avril 1970
Radiation :
• 3 juin 1996
Livré :
• Arzens
Baptême :
• Nice ( 1er février 1975 ) sont unique passage à Nice.
● Captage :
• 4 pantographes
Tension ligne de contact :
• 1,5 kV continu
• 3 kV continu
• 15 kV 16 2/3 Hz
• 25 kV 50 Hz V
Puissance continue :
• ( 40101-3 ) 3670 kW
• ( 40104-10 ) 4480 kW
Masse totale :
• 109,6 t
Longueur totale :
• 22,030 m
Vitesse maximale :
• ( CC 40101 à 104 ) 160/240
• ( CC 40105 à 110 ) 180/220 km/h
▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬
🇫🇷 Fr.
Propriétaire : MFPN
● Présentation :
La CC 40110 est une locomotive électrique quadritension construite en 1970 et baptisée Nice le 1er février 1975. Sauvegardée par le MFPN depuis 1996 dans le cadre de ses activités de préservation du patrimoine ferroviaire, la CC 40110 a été classée Monument Historique le 24 février 2010.
Notre locomotive présente une longueur de 22,03 mètres avec une masse de 109 tonnes. De construction, elle pouvait circuler à 180 km/h mais sa vitesse a été limitée à 160 km/h par la SNCF. Depuis que nous la préservons, sa vitesse limite est de 120 km/h.
Machine quadritension et bicourant, la CC 40110 peut aujourd’hui être alimentée sous 25kV monophasés et 1500V continus. D’origine, elle pouvait également utiliser les 3000V continus et 15kV à 16Hz⅔ pour les services internationaux. Actuellement, ces tensions supplémentaires ne sont plus utilisées pour nos besoins de préservation. Par ailleurs, l’équipement 15kV était déjà démonté sur la locomotive, car non utilisé en service commercial.
La CC 40110 est mue par 2 moteurs doubles TDQ 662 B1 à collecteur central, soit 4 moteurs, couplés en série ou parallèle selon le type d’alimentation. Les couplages moteurs et les bancs résistifs sont gérés par un double système électro-mécanique Jeumont-Heidmann (JH). La puissance totale en régime continu est de 4480 kW.
Dans la série des CC 40100, notre locomotive représente le dernier exemplaire des 10 machines produites par Alsthom. Elles furent construites entre 1964 et 1970. En Belgique, 6 locomotives équivalentes, les séries 18 assuraient conjointement les relations internationales avec les CC 40100.
Source :
▬▬▬▬▬▬▬ஜ۩۞۩ஜ▬▬▬▬▬▬▬
● CC 40100 ( Wikipédia )
Bien qu'équipées pour circuler en 15 kV – 16 Hz, les CC 40100 n'ont jamais été utilisées en Allemagne ni aux Pays-Bas en service commercial. Leur équipement 15 kV – 16 Hz a d'ailleurs été démonté, en faisant d'elles des locomotives tritension : 3 kV continu (Belgique), 1,5 kV continu (sud de la France et Pays-Bas) et 25 kV – 50 Hz (nord de la France). Pour des raisons plus politiques que techniques, leurs cousines belges de la série 18 ont été pleinement utilisées sur la liaison Liège – Cologne tout au long de leur carrière.
Les CC 40100 ont donc assuré de 1964 à 1996 les trains de voyageurs internationaux entre Paris et Bruxelles (vers Amsterdam) ou Liège (vers Cologne), dont de nombreux Trans-Europ-Express (TEE Brabant, Étoile du Nord, Île de France, Oiseau Bleu, etc.).
Elles ont assuré à certaines époques la traction de trains rapides sur Paris – Lille et Paris – Amiens, et même un aller-retour Lille – Aulnoye. Elles ont sporadiquement effectué la traction de trains de messageries nocturnes entre la France et la Belgique.
Jugées à l'usage insuffisamment fiables et très onéreuses en maintenance (du fait de la technologie utilisée pour la diminution de la résistance pour augmenter l'effort de traction de la locomotive, qui avait tendance à fondre), elles ont cédé la place aux Thalys (TGV PBA et PBKA) en 1996.
La CC 40104 avait tout de même parcouru 7 465 470 de kilomètres le jour de son amortissement, le 3 juin 1996.
Pour célébrer la fin de leur service commercial, un voyage spécial en rame TEE Inox a été organisé les 1er et 2 juin 1996, avec les CC 40109 et 40110 qui ont effectué un long périple entre la France, la Belgique, les Pays-Bas, ainsi qu'une incursion en Allemagne (alors que ces deux derniers pays n'avaient jamais accueilli ce type de machines auparavant)
La SNCB mit en service à partir de 1973 des locomotives quadritension directement dérivées des CC 40100, afin d'exploiter conjointement avec la SNCF les liaisons TEE Paris-Bruxelles et Paris-Liège-Cologne. Ces six locomotives formant la série 18 ont été assemblées en Belgique par la Brugeoise et Nivelles sur la base de composants fournis par Alsthom.
Machines conservées
- CC 40101 : exposée à la Cité du train de Mulhouse depuis 2010, après une restauration réalisée par le Centre de la Mine et du Chemin de Fer à Oignies, et une préservation en réserve à l'atelier des rotondes de Mohon.
- CC 40109 : initialement exposée à la Cité du train de Mulhouse, elle a été échangée en 2005 avec la CC 40101, pour être préservée par le Centre de la Mine et du Chemin de Fer à Oignies.
- CC 40110 : la machine appartient au Matériel Ferroviaire, Patrimoine National (MFPN) à Drancy : désormais classée au titre objet des Monuments historiques4 depuis le 24 février 2010, elle est restaurée et maintenue en état de marche pour remorquer des trains spéciaux.
Source :
fr.wikipedia.org/wiki/CC_40100
🇬🇧 GB. UK.
SNCF CC 40100
en.wikipedia.org/wiki/SNCF_CC_40100
🇩🇪 DE.
SNCF CC 40100
de.wikipedia.org/wiki/SNCF_CC_40100
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La version Belge pour la SNCB est sous la désignation: SERIE 18
La première série 18 est une série de six locomotives électriques polytensions commandées en 1970 par la SNCB, à cause du manque de puissance des locomotives de la série 15 engagées alors sur l'axe Paris - Bruxelles, consécutif à l'augmentation de la demande - et donc du poids à remorquer - sur ces relations Trans-Europ-Express. Ces motrices dérivent des CC 40100 de la SNCF et furent construites par la Brugeoise et Nivelles sous licence, et sur base d'éléments fournis par Alsthom, constructeur des machines françaises.
Histoire
Série 1802 à Köln Hauptbahnhof en avril 1976
Locomotives quadritensions, elles étaient conçues pour assurer les relations qui sont depuis assurées par Thalys, mais à l'époque, elles furent essentiellement engagées sur les trains TEE Paris - Liège - Cologne.
Délicates et couteuses à entretenir, ces machines se retrouveront privées de leur principal terrain de jeu avec l'arrivée des rames TGV qui leur ravirent la plupart des services TEE "ressuscités" dans le milieu des années 1990, préfigurant l'ouverture des lignes à grande vitesse.
La SNCB songe alors déjà à les réformer, mais les conserve finalement pour prêter main-forte aux machines de la série 16 sur la relation InterCity Ostende - Bruxelles - Eupen/Cologne.
En 1999, elles sont retirées du service et mises en parc à l'atelier de Kinkempois. L'une d'entre elles (la 1801) sera utilisée par l'atelier central de Salzinnes comme banc de test pour l'alimentation des voitures voyageurs internationales sous différentes tensions.
Les prémices de la libéralisation du rail rendirent la SNCB très méfiante. Elle ne souhaite pas que ces machines homologuées sur plusieurs réseaux ne soient acquises par des opérateurs qui en profiteraient pour tirer des trains internationaux en concurrence avec ses propres activités. Aussi, l'association Patrimoine Ferroviaire et Touristique ne pourra assurer la conservation de la 1805 en 2001 qu'à la condition que cette motrice soit définitivement neutralisée[réf. nécessaire].
En 2007, l'état des machines s'est sérieusement dégradé. Les 1803 et 1806 sont envoyées chez Soluxtrafer, à Aubange, pour être ferraillées. Peu de temps après leur arrivée, elles sont sauvées de justesse et envoyées chez Rail et Traction afin d'être reconditionnées à moindre frais pour pouvoir assurer des trains de travaux Speno dans le futur tunnel de Vaux-sous-Chèvremont, sur la LGV 3. L'idée sera abandonnée face au défi technique et au coût que cela aurait impliqué. Mi 2009, elles pourrissent toujours sur les voies de garage de cette société à Raeren. Mais finalement, en 2011, une entreprise tchèque de travaux a racheté ces locomotives et souhaitait les utiliser pour tracter ses trains. Elles ont été acheminées en octobre 2011 vers la République tchèque. Mais en février 2012 ces deux machines ont été ferraillées.
Début de ce siècle, la SNCB a commandé 60 locomotives formant la future Série 18 dont la livraison a débuté en 2009. Ces machines se verront attribuer le même numéro de série que les 6 motrices construites par Alsthom, plutôt que les numéros commençant par 14 qui étaient disponibles. La raison invoquée était la forte probabilité qu'une commande supplémentaire ne donne un effectif supérieur à 100 unités, alors que la série 15 était encore en service. Les nouvelles motrices seront finalement au nombre de 120. Elles seront numérotées 1801 à 1896, et 1901 à 1924.
Source:
fr.wikipedia.org/wiki/S%C3%A9rie_18_(Alsthom)_(SNCB)
88 " Land Rover 2A Station Wagon Restoration, Designed by Border Rovers and Built by Retroworks.
Owned and operated by Border Rovers:
07515899390
A powerful burst of energy is released when your silent. A prayer in the passing, helps you conserve it.
Shot at Pataleshawar Temple, JM Road, Pune, India.
Rijks Museum - National Museum of Netherlands
Vision
The Rijksmuseum links individuals with art and history.
Mission
At the Rijksmuseum, art and history take on new meaning for a broad-based, contemporary national and international audience.
As a national institute, the Rijksmuseum offers a representative overview of Dutch art and history from the Middle Ages onwards, and of major aspects of European and Asian art.
The Rijksmuseum keeps, manages, conserves, restores, researches, prepares, collects, publishes, and presents artistic and historical objects, both on its own premises and elsewhere.
From 1800 to 2013
The Rijksmuseum first opened its doors in 1800 under the name ‘Nationale Kunstgalerij’. At the time, it was housed in Huis ten Bosch in The Hague. The collection mainly comprised paintings and historical objects. In 1808, the museum moved to the new capital city of Amsterdam, where it was based in the Royal Palace on Dam Square.
After King Willem I’s accession to the throne, the paintings and national print collection were moved to the Trippenhuis on Kloveniersburgwal, while the other objects were returned to The Hague. The current building was put into use in 1885. The Netherlands Museum for History and Art based in The Hague moved into the same premises, forming what would later become the departments of Dutch History and Sculpture & Applied Art.
The beginning
On 19 November 1798, more than three years after the birth of the Batavian Republic, the government decided to honour a suggestion put forward by Isaac Gogel by following the French example of setting up a national museum. The museum initially housed the remains of the viceregal collections and a variety of objects originating from state institutions. When the Nationale Kunstgalerij first opened its doors on 31 May 1800, it had more than 200 paintings and historical objects on display. In the years that followed, Gogel and the first director, C.S. Roos, made countless acquisitions. Their first purchase, The Swan by Jan Asselijn, cost 100 Dutch guilders and is still one of the Rijksmuseum’s top pieces.
Move to Amsterdam
In 1808, the new King Louis Napoleon ordered the collections to be moved to Amsterdam, which was to be made the capital of the Kingdom of Holland. The works of art and objects were taken to the Royal Palace on Dam Square, the former city hall of Amsterdam, where they were united with the city’s foremost paintings, including the Night Watch by Rembrandt. In 1809, the Koninklijk Museum opened its doors on the top floor of the palace.
A few years after Willem I returned to the Netherlands as the new king in 1813, the ‘Rijks Museum’ and the national print collection from The Hague relocated to the Trippenhuis, a 17th-century town-palace on Kloveniersburgwal, home to what would later become the Royal Netherlands Academy of Arts and Sciences. Much to the regret of the director, Cornelis Apostool, in 1820 many objects including pieces of great historical interest were assigned to the Kabinet van Zeldzaamheden [Royal Gallery of Rare Objects], which had been founded in The Hague. In 1838, a separate museum for modern 19th-century art was established in Paviljoen Welgelegen in Haarlem. Contrary to the days of Louis Napoleon, very few large acquisitions were made during this period.
Cuypers Cathedral
The Trippenhuis proved unsuitable as a museum. Furthermore, many people thought it time to establish a dedicated national museum building in the Netherlands. Work on a new building did not commence until 1876, after many years of debate. The architect, Pierre Cuypers, had drawn up a historic design for the Rijksmuseum, which combined the Gothic and the Renaissance styles. The design was not generally well-received; people considered it too mediaeval and not Dutch enough. The official opening took place in 1885.
Nearly all the older paintings belonging to the City of Amsterdam were hung in the Rijksmuseum alongside paintings and prints from the Trippenhuis, including paintings such as Rembrandt’s Jewish Bride, which had been bequeathed to the city by the banker A. van der Hoop. The collection of 19th-century art from Haarlem was also added to the museum’s collection. Finally, a significant part of the Kabinet van Zeldzaamheden, which had by then been incorporated into the new Netherlands Museum for History and Art, was returned to Amsterdam.
Renovations
Over the years, collections continued to grow and museum insight continued to expand, and so the Rijksmuseum building underwent many changes. Rooms were added to the south-west side of the building between 1904 and 1916 (now the Philips wing) to house the collection of 19th-century paintings donated to the museum by Mr and Mrs Drucker-Fraser. In the 1950s and 1960s, the two original courtyards were covered and renovated to create more rooms.
In 1927, while Schmidt-Degener was Managing Director, the Netherlands Museum was split to form the departments of Dutch History and Sculpture & Applied Art. These departments were moved to separate parts of the building after 1945. The arrival of a collection donated by the Association of Friends of Asian Art in the 1950s resulted in the creation of the Asian Art department.
The 1970s saw record numbers of visitors of almost one-and-a-half million per year, and the building gradually started to fall short of modern requirements.
‘Verder met Cuypers'
The current renovation reinstates the original Cuypers structure. The building work in the courtyards are removed. Paintings, applied art and history are no longer displayed in separate parts of the building, but form a single chronological circuit that tells the story of Dutch art and history.
The building is thoroughly modernized, while at the same time restoring more of Cuypers original interior designs: the Rijksmuseum has dubbed the venture ‘Verder met Cuypers‘ [Continuing with Cuypers]. The Rijksmuseum will be a dazzling new museum able to satisfy the needs of its 21st-century visitors!
Every year, the Rijksmuseum compiles an annual report for the previous year. Annual reports dating back to 1998 can be found here (in Dutch only). Reports relating to the years before 1998 are available in the reading room of the library.
O Museu Rijks é um dos maiores e mais importantes museus da Europa.
É o maior dos Países Baixos, com acervo voltado quase todo aos artistas holandeses. As obras vão desde exemplares da arte sacra até a era dourada holandesa, além de uma substancial coleção de arte asiática.
Esse é o Rijksmuseum, o Museu Nacional dos Países Baixos. E aproveite, caro leitor, porque o Rijks esteve parcialmente fechado para reforma durante 10 anos – voltou a funcionar só em 2013. Ou seja, quem esteve em Amsterdam na última década não conheceu o Rijks, pelo menos não completamente.
Mas o quê tem lá? Muita coisa. Destaque para as coleções de arte e História holandesas. Os trabalhos dos pintores Frans Hals e Johannes Vermeer são alguns dos mais concorridos, mas imbatível mesmo é Rembrandt van Rijn, considerado um dos maiores pintores de todos os tempos. Se você não é um fã de museus de arte, mas faz questão de conhecer o trabalho desses grandes artistas, uma dica: assim que chegar ao Rijks, vá direto para a ala onde estão as obras-primas. Assim você vê o mais importante no início da visita, quando ainda está descansado e poderá dedicar o tempo necessário para essas obras.
A mais famosa delas é a “A Ronda Noturna”, de Rembrandt, uma obra que inspirou músicas, pinturas, filmes e até um flash mob. Quando o Rijks foi reaberto, artistas recriam a cena mostrada no quadro dentro de um shopping de Amsterdam. A ação está no vídeo abaixo e eu te garanto que vale a pena dar play.
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Rijksmuseum, Museu Nacional
42 Stadhouderskade
Amsterdam
O museu Rijksmuseum de Amsterdã é o Museu Nacional da Holanda, onde você encontrará uma impressionante coleção permanente, formada por 5.000 pinturas e 30.000 obras de arte, além de 17.000 objetos históricos.
Esse museu nacional foi fundado em 1885 e está instalado em um edifício de estilo neogótico. A sua principal atração é a extensa coleção de quadros pintados por artistas holandeses, abrangendo um período que vai do séc. XV aos dias de hoje. A obra de arte mais famosa em exibição é o quadro A Ronda Noturna, de Rembrandt.
O museu Rijksmuseum está dividido em cinco departamentos: pintura, escultura, arte aplicada, arte oriental, história dos Países Baixos e gravuras. O núcleo da coleção é a pintura e suas obras mais representativas são as que pertencem ao Século de Ouro holandês, com quadros de artistas como Rembrandt, Vermeer ou Frans Hals.
Ver fonte: dreamguides.edreams.pt/holanda/amsterda/rijksmuseum
Museu Rijks, Amesterdão
O Museu Rijks (Museu Nacional) é um edifício histórico, sendo o maior museu nos Países Baixos. O Museu é o maior no numero relativamente às suas colecções, na área do edifício em si, no financiamento e no numero de funcionários empregados.
Cada ano, mais de um milhão de pessoas visitam o Museu Rijks. O Museu emprega cerca de 400 pessoas, incluindo 45 conservadores de museu que são especializados em todas as áreas.
O Museu Rijks é internacionalmente reconhecido pelas suas exibições e publicações, mas não só apenas por estes produtos de grande qualidade, mas também pelas áreas no museu em si que são fonte de inspiração e encorajam a criação de novas ideias.
O museu também tem recursos consideráveis para a educação, para a decoração e apresentação de exibições. Importantes designers são regularmente chamados a trabalharem em projectos no Museu Rijks.
O edifício principal do Museu Rijks está a ser renovado. A boa noticia é que a melhor parte da exposição está apresentada na redesenhada ala Philips. O nome desta exposição denomina-se "The Masterpieces'.
O museu abre diariamente das 10 da manhã até ás 5 da tarde.
A entrada é pela Stadhouderskade 42.
Rijksmuseum
Origem: Wikipédia, a enciclopédia livre.
O Rijksmuseum é um museu nacional dos Países Baixos, localizada em Amsterdão na Praça do museu. O Rijksmuseum é dedicado à artes e história. Ele tem uma larga coleção de pinturas da idade de ouro neerlandesa e uma substancial coleção de arte asiática.
O museu foi fundado em 1800 na cidade da Haia para exibir a coleção do primeiro-ministro. Foi inspirado no exemplo francês. Pelos neerlandeses ficou conhecida como Galeria de Arte. Em 1808 o museu mudou-se para Amsterdã pelas ordens do rei Louis Napoleón, irmão de Napoleão Bonaparte. As pinturas daquela cidade, como A Ronda Nocturna de Rembrandt, tornaram-se parte da coleção.
Em 1885 o museu mudou-se para sua localização atual, construído pelo arquiteto neerlandês Pierre Cuypers. Ele combinou elementos góticos e renascentistas. O museu tem um posição proeminente na Praça do Museu, próximo ao Museu van Gogh e ao Museu Stedelijk. A construção é ricamente decorada com referências da história da arte neerlandesa. A Ronda Nocturna de Rembrandt tem seu próprio corredor no museu desde 1906. Desde 2003 o museu sofreu restaurações, mas as obras-primas são constatemente presentes para o público.
A coleção de pinturas inclui trabalhos de artistas como Jacob van Ruysdael, Frans Hals, Johannes Vermeer e Rembrandt e de alunos de Rembrandt.
Em 2005, 95% do museu está fechado para renovação, mas as pinturas da coleção permanente ainda estão em mostra em uma exibição especial chamada As Obras-primas.
Algumas das pinturas do museu:
Rembrandt van Rijn
A Ronda Nocturna
Os síndicos da guilda dos fabricantes de tecidos
A noiva judia
A lição de Anatomia do Dr. Deyman
Pedro negando Cristo
Saskia com um véu
Retrato de Titus em hábito de monge
Auto-retrato como Apóstolo Paulo
Tobias, Ana e o Bode
Johannes Vermeer:
A Leiteira
A Carta de Amor
Mulher de Azul a ler uma carta
A Rua pequena
Frans Hals:
Retrato de um jovem casal
A Companhia Reynier Real
O bebedor alegre
Retrato de Lucas De Clercq
Retrato de Nicolaes Hasselaer
Retrato de um homem
Página oficial do Rijksmuseum
Virtual Collection of Masterpieces (VCM)
O melhor museu de Amsterdam: Rijksmuseum
O Commons possui uma categoria contendo imagens e outros ficheiros sobre Rijksmuseum
Rijksmuseum Amsterdam
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Se você visitar Amsterdam, precisará conhecer o Museu Nacional da Holanda: Rijksmuseum Amsterdam. O Museu Nacional fica na Praça do Museu, situada no centro de Amsterdam. O Museu Nacional, ou Rijksmuseum, possui uma maravilhosa coleção de arte e história holandesas. Após uma visita ao Rijksmuseum, você saberá mais sobre história e arte e terá visto alguns dos maiores marcos culturais da Holanda.
Obras-primas do Museu Nacional
Ao todo, a coleção do Rijksmuseum apresenta a história da Holanda em um contexto internacional, desde 1.100 até o presente. Há alguns ícones da história e cultura da Holanda que você não pode perder:
Ronda Noturna (de Nachtwacht) de Rembrandt é uma das mais famosas obras desse mestre holandês e é de tirar o fôlego.
O Rijksmuseum tem uma das melhores coleções de pinturas dos grandes mestres do século XVII, como Frans Hals, Jan Steen, Vermeer e Rembrandt.
Assim como o Museu Histórico de Haia, o Rijksmuseum apresenta lindas casas de bonecas, mobiliadas em detalhes, datando de 1676.
Se você não puder ir ao Delft Real, pode ainda apreciar algumas das melhores cerâmicas de Delft, de conjuntos de chá a vasos, no Museu Nacional.
Museu que é visita obrigatória em Amsterdam
Quer sua estadia em Amsterdam seja breve ou longa, você deve visitar o Rijksmuseum. Chegue cedo para evitar enfrentar filas. Combine a visita ao Rijksmuseum com várias outras atrações próximas, como o Museu Van Gogh, o Museu Stedelijk Amsterdam e a Coster Diamonds
Para obter mais informações sobre Amsterdam, retorne à página sobre Amsterdam ou à página sobre os museus de Amsterdam.
Leopards are thee most successful of all the big cats around the world. There is far more leopards outside national parks and conserved areas than any other of the big cats. Leopards have adapted with a high level of efficiency to the changing conditions brought about by the impact of man upon the environment.
Sorry , disculpas .... Désolée , en cette fin d'année très chargée pour moi , je ne peux pas vous visiter ni faire de commentaires . Je reviendrai plus tard et je vous souhaite une bonne fin de semaine avec cette photo conservée dans mes dossiers , photo d'un endroit que j'adore dans Paris.
J'aime cette photo où figurent , à l'arrière-plan , des bâtiments témoins du passé et les pyramides du XX° siécle dans la cour Napoléon ,ombragée par endroits
La grande pyramide , inaugurée en 1989 , se trouve dans mon album "Architecture , monuments historiques"
Des stalles du château de Gaillon sont conservées dans la basilique Saint-Denis près de Paris. Ce château était la résidence de loisir des archevêques de Rouen. Commandées au début du XVIe siècle par Georges d’Amboise, ces stalles ont été construites lorsque cet archevêque, devenu légat du pape et premier conseiller de Louis XII a fait transformer le château médiéval en palais de la Renaissance. Seules stalles en France à présenter de nombreux panneaux de marqueterie et une iconographie inédite, elles forment un mobilier unique, chef-d’œuvre de cette période charnière entre gothique et Renaissance, arborant une grande mixité de styles. Ces stalles sont les chaires qui étaient destinées aux trois chanoines qui officiaient dans la chapelle haute du château de Gaillon, dédiée à saint Georges. Elles étaient ceintes d’une clôture en boiset constituaient ainsi le chœur liturgique de l'édifice.
Les stalles en chêne sont composées de deux rangées disposées côté nord et sud du transept de la basilique de Saint-Denis. La rangée nord présente un ensemble de six stalles, la rangée sud de cinq stalles et une isolée. Seules douze stalles ont été créées au XVIe siècle alors que le programme iconographique en prévoyait quatorze. De 2,83 m de haut, elles composées d’un siège et d’un dorsal, ce dernier comprenant deux registres : un bas-relief surmontant un panneau de marqueterie. Tous les éléments sont sculptés ou marquetés. De manière unique, les dossiers, les dorsaux et les voussures des dais sont galbés. De même les chaires ont des largeurs variées, fixées par celles des bas-reliefs des dorsaux. Pour s’adapter, les largeurs d’autres composants ont été rectifiées. La mixité de style se retrouve dans la globalité, les interdorsaux et deux dais étant gothiques alors que les faibles reliefs sont apparentés aux grotesques de la Renaissance, les bas-reliefs et les marqueteries des dorsaux étant quant à eux à la fois d’inspiration péninsulaire et septentrionale.
Sont illustrées sur les bas-reliefs originaux des dorsaux deux scènes de la vie d’Anne et Joachim, parents de la vierge Marie, cinq scènes de la vie de saint Jean-Baptiste le précurseur et sept scènes de la vie de saint Georges selon les textes d’Évangile ou de la Légende dorée. Nombre d’autres saints sont présentés en pied, sous forme de statuettes sur les interdorsaux ou de bas-reliefs sur les soubassements des jouées, notamment les quatre évangélistes sur ces derniers. Sur les panneaux marquetés des quadrants des parcloses sont figurées les affres des enfers des condamnés selon les sept péchés capitaux, avec les planètes et leurs influences. Les représentations sont inspirées des gravures du Calendrier des bergers imprimé à cette époque.
Les miséricordes figurent des scènes des Métamorphoses d’Ovide ainsi que les arts libéraux selon la Margarita Philosophica de G. Reisch. Les artisans se sont inspirés de gravures d’ouvrages imprimés au début du XVIe siècle, par exemple le soldat romain Caius Mucius Scaevola devant le roi Étrusque Porsenna y étant représenté exposant ainsi des thématiques propres à la culture antique. De manière également tout à fait inédite, les 7 vertus, cardinales et théologales, et 7 sibylles sont figurées et représentées sur les panneaux de marqueterie du premier registre des dorsaux. Les allégories et les prophétesses sont encadrées d’architectures identiques deux à deux qui les mettent en concordance. Les sibylles ont été choisies parmi celles du manuscrit des Heures de Louis de Laval dont les auteurs ont cité les prophéties. Ces dernières proviennent du manuscrit des Institutions divines de Lactance qui était de nouveau traduit et que le cardinal a lui-même fait enluminer. Ce grand rhéteur du IVe siècle ayant quant à lui repris les oracles rédigés dans les Oracles sibyllins.
Georges Ier d’Amboise n’a pas manqué de faire valoir qu’il était le commanditaire des stalles en demandant à ce que ses armes et sa devise y figurent à de nombreuses reprises. Le légat a donné pour modèles aux artisans des stalles des enluminures ou gravures de manuscrits faisant partie de sa splendide bibliothèque, digne d'un grand érudit humaniste. Il fit venir l’Italie en choisissant la marqueterie figurative en sus de la sculpture, seule technique utilisée à l'époque en France. Sans renier la tradition en faisant figurer les saints, il a fait représenter de manière inédite leur cycle de vie, dont il a choisi des événements bien spécifiques. De plus, il a incité les fidèles à s’instruire et à étudier les auteurs antiques en faisant sculpter des allégories des arts libéraux et des personnages mythiques ou héroïques. Enfin, par le dialogue des sibylles et des vertus, il a montré que la rhétorique de Lactance était convaincante. Il a ainsi non seulement introduit en France la mode italienne dans le mobilier, le décor et les ornements du château de Gaillon, mais surtout donné corps à l’esprit humaniste en faisant de ses stalles les messagères qui appellent à une vie vertueuse, dans la foi au Christ annoncé à tous les hommes (cf. wikipédia, merci Glass Angel pour la photo).
... with a hint of cinnamon.
story & recipe at:
www.cookinghow.com/2010/09/homemade-strawberry-conserve-w...
R1-1995 was the last tram to operate on the former Sydney tramway system being the last car in the convoy that proceeded from Hunter Street to La Perouse and return to Randwick Depot on 25 February 1961.
It has a special place in my heart for, as a 15 year old schoolboy, I was a passenger that day.
Tram car R1 1995 is now located near the entrance to Tramsheds, the converted Rozelle Tram Depot (which is described as a fine dining destination) at the original track level, on a former track alignment to provide an understanding of how the tram shed operated.
Externally the body is painted in green and yellow, with a tan roof, based on the original colour scheme for the R1 Trams. Internally the tram car has been fitted with café style seating with original type seats at both ends.
A plaque at the entrance reads reads:
"Sydney R1 Tramcar 1995 was in service from the Rozelle Tram Depot from November 1951 until the depot’s closure in 1958. It was the last of four trams to operate in procession from La Perouse to Randwick Workshops on Saturday 25th February 1961 and as such was the last tram to operate on Sydney Streets. The Tram was conserved by the Bendigo Tramway Museum in 2014"
Today 1995 slumbers near Sydney's Inner West Light Rail line (the L1) - disembark at Jubilee Park.
2021_10_25
Je conserve ces petits livres abimés, en souvenir de la personne qui a joué le rôle de grand-père de coeur pour moi. Il m'a appris à raisonner logiquement, "sainement" en se posant toujours les questions "Pourquoi ?" et "Comment?".
"Ave Caesar" ... tu te reconnaîtras !!!!
I keep these small damaged books, in memory of the person who played the role of grandfather of heart for me. He taught me to reason logically and in a sensible way by always asking the questions "Why?" and "How?".
"Ave Caesar" ... you will know it's you !!!!
Conservo questi piccoli libri rovinati, in ricordo della persona che ha svolto per me il ruolo di nonno di cuore. Mi ha insegnato a ragionare in modo logico, in un modo saggio usando le domande "Perché?" e "Come?".
"Ave Caesar"... sai che parlo di te !
The black-necked crane breeds on the Tibetan Plateau and remote parts of India and Bhutan. This beauty lives at the International Crane Foundation in Baraboo, Wisconsin. The International Crane Foundation works worldwide to conserve cranes and the ecosystems, watersheds, and flyways on which they depend. www.savingcranes.org
Leaving aside any political overtones which the word may have, the conservative is someone who seeks to conserve. In order to say whether he is right or wrong, it should be enough to consider what it is he wishes to conserve. If the social forms he stands for—for it is always a case of social forms—are in conformity with man’s highest goal and correspond to man’s deepest needs, why shouldn’t they be as good as, or better than, anything novel that the passage of time may bring forth? To think in this way would be normal.
But the man of today no longer thinks normally. Even when he does not automatically despise the past and look to technical progress for humanity’s every good, he usually has a prejudice against any conservative attitude, because, consciously or unconsciously, he is influenced by the materialistic thesis that all “conserving” is inimical to constantly changing life and so leads to stagnation.
The state of need in which, today, every community that has not kept up with “progress” finds itself, seems to confirm this thesis; but it is overlooked that this is not so much an explanation as a stimulus for even further development. That all must change is a modern dogma that seeks to make man subject to itself; and it is eagerly proclaimed, even by people who consider themselves to be believing Christians, that man himself is in the grip of change; that not only such feeling and thinking as may be influenced by our surroundings are subject to change, but also man’s very being.
Man is said to be in the course of developing mentally and spiritually into a superman, and consequently, 20th century man is looked on as being a different creature from the man of earlier times. In all of this, one overlooks the truth, proclaimed by every religion, that man is man, and not merely an animal, because he has within him a spiritual center which is not subject to the flux of things.
Without this center, which is the source of man’s capacity to make judgements—and so may be called the spiritual organ that vehicles the sense of truth—we could not even recognize change in the surrounding world, for, as Aristotle said, those who declare everything, including truth, to be in a state of flux, contradict themselves: for, if everything is in flux, on what basis can they formulate a valid statement?
Is it necessary to say that the spiritual center of man is more than the psyche, subject as this is to instincts and impressions, and also more than rational thought? There is something in man that links him to the Eternal, and this is to be found precisely at the point where “the Light which lighteth every man that cometh into the world” (John 1:9) touches the level of the psycho-physical faculties. If this immutable kernel in man cannot be directly grasped —anymore than can the dimensionless center of a circle— the approaches to it can nevertheless be known: they are like the radii which run towards the center of a circle. These approaches constitute the permanent element in every spiritual tradition and, as guidelines both for action and for those social forms that are directed towards the center, they constitute the real basis of every truly conservative attitude. For the wish to conserve certain social forms only has meaning—and the forms themselves can only last— if they depend on the timeless center of the human condition.
In a culture which, from its very foundations (thanks to its sacred origin), is directed towards the spiritual center and thereby towards the eternal, the question of the value, or otherwise of the conservative attitude, does not arise; the very word for it is lacking. In a Christian society, one is Christian, more or less consciously and deliberately, in an Islamic society one is Muslim, in a Buddhist society Buddhist, and so on; otherwise, one does not belong to the respective community and is not a part of it, but stands outside it or is secretly inimical to it.
Such a culture lives from a spiritual strength that puts its stamp on all forms from the highest downwards, and in doing this, it is truly creative; at the same time it has need of conservational forces, without which the forms would soon disappear. It suffices that such a society be more or less integral and homogeneous, for faith, loyalty to tradition, and a conserving or conservative attitude mirror one another like concentric circles.
The conservative attitude only becomes problematical when the order of society, as in the modern West, is no longer determined by the eternal; the question then arises, in any given case, which fragments or echoes of the erstwhile all-inclusive order are worth preserving.
In each condition of society (one condition now following the other in ever more rapid succession) the original prototypes are reflected in some way or other. Even if the earlier structure is destroyed, individual elements of it are still effective; a new equilibrium —however dislocated and uncertain— is established after every break with the past. Certain central values are irretrievably lost; others, more peripheral to the original plan, come to the fore. In order that these may not also be lost, it may be better to preserve the existing equilibrium than to risk all in an uncertain attempt to renew the whole.
As soon as this choice presents itself, the word “conservative” makes its appearance (in Europe, it first received currency at the time of the Napoleonic wars) and the term remains saddled with the dilemma inherent in the choice itself. Every conservative is immediately suspected of seeking only to preserve his social privileges, however small these may be. And in this process, the question as to whether the object to be preserved is worth preserving goes by default.
But why shouldn’t the personal advantage of this or that group coincide with what is right? And why shouldn’t particular social structures and duties be conducive to a certain intelligence?
That man seldom develops intelligence when the corresponding outward stimuli are lacking, is proved by the thinking of the average man of today: only very few—generally only those who in their youth experienced a fragment of the “old order”, or who chanced to visit a still traditional Oriental culture—can imagine how much happiness and inward peace a social order that is stratified according to natural vocations and spiritual functions can bring, not only to the ruling, but also to the laboring classes.
In no human society, however just it may be as a whole, are things perfect for every individual; but there is a sure proof as to whether an existing order does or does not offer happiness to the majority: this proof inheres in all those things which are made, not for some physical purpose, but with joy and devotion. A culture in which the arts are the exclusive preserve of a specially educated class (so that there is no longer any popular art or any universally understood artistic language) fails completely in this respect.
The outward reward of a profession is the profit which its practice may secure; but its inner reward is that it should remind man of what, by nature and from God, he is, and in this respect it is not always the most successful occupations that are the happiest. To till the earth, to pray for rain, to create something meaningful from raw material, to compensate the lack of some with the surplus of others, to rule, while being ready to sacrifice one’s life for the ruled, to teach for the sake of truth—these, amongst others, are the inwardly privileged occupations. It may be asked whether, as a result of “progress”, they have been increased or diminished.
Many today will say that man has been brought to his proper measure, when, as a worker, he stands in front of a machine. But the true measure of man is that he should pray and bless, struggle and rule, build and create, sow and reap, serve and obey—all these things pertain to man.
When certain urban elements today demand that the priest should divest himself of the signs of his office and live as far as possible like other men, this merely proves that these groups no longer know what man fundamentally is; to perceive man in the priest means to recognize that priestly dignity corresponds infinitely more to original human nature than does the role of the “ordinary” man.
Every theocentric culture knows a more or less explicit hierarchy of social classes or “castes”. This does not mean that it regards man as a mere part which finds its fulfillment only in the people as a whole; on the contrary, it means that human nature as such is far too rich for everyone at every moment to be able to realize all its various aspects. The perfect man is not the sum total, but the kernel or essence of all the various functions.
If hierarchically structured societies were able to maintain themselves for millennia, this was not because of the passivity of men or the might of the rulers, but because such a social order corresponded to human nature.
There is a widespread error to the effect that the naturally conservative class is the bourgeoisie, which originally was identified with the culture of the cities, in which all the revolutions of the last five hundred years originated. Admittedly the bourgeoisie, especially in the aftermath of the French revolution, has played a conservative role, and has occasionally assumed some aristocratic ideals — not, however, without exploiting them and gradually falsifying them. There have always been, amongst the bourgeoisie, conservatives on the basis of intelligence, but from the start they have been in the minority.
The peasant is generally conservative; he is so, as it were, from experience, for he knows —but how many still know it?— that the life of nature depends on the constant self-renewal of an equilibrium of innumerable mutually interconnected forces, and that one cannot alter any element of this equilibrium without dragging the whole along with it. Alter the course of a stream, and the flora of a whole area will be changed; eliminate an animal species, and another will be given immediate and overwhelming increase. The peasant does not believe that it will ever be possible to produce rain or shine at will.
It would be wrong to conclude from this that the conservative viewpoint is above all linked with sedentarism and man’s attachment to the soil, since it has been demonstrated that no human collectivity is more conservative than the nomads. In all his constant wandering, the nomad is intent on preserving his heritage of language and custom; he consciously resists the erosion of time, for to be conservative means not to be passive.
This is a fundamentally aristocratic characteristic; in this the nomad resembles the noble, or, more exactly, the nobility of warrior- caste origin necessarily has much in common with the nomad. At the same time, however, the experience of a nobility that has not been spoiled by court and city life, but is still close to the land, resembles that of the peasant, with the difference that it comprises much wider territorial and human relationships.
When the nobility, by heredity and education, is aware of the essential oneness of the powers of nature and the powers of the soul, it possesses a superiority that can hardly be acquired in any other way; and whoever is aware of a genuine superiority has the right to insist upon it, just as the master of any art has the right to prefer his own judgement to that of the unskilled.
It must be understood that the ascendancy of the aristocracy depends on both a natural and an ethical condition: the natural condition is that, within the same tribe or family, one can, in general terms, depend on the transmission by inheritance of certain qualities and capabilities; the ethical condition is expressed in the saying noblesse oblige: the higher the social rank —and its corresponding privilege— the greater the responsibility and the burden of duties; the lower the rank, the smaller the power and the fewer the duties, right down to the ethically unconcerned existence of passive people.
If things are not always perfect, this is not principally because of the natural condition of heredity, for this is sufficient to guarantee indefinitely the homogeneous nature of a “caste”; what is much more uncertain is the accomplishment of the ethical law that demands a just combination of freedom and duty. There is no social system that excludes the misuse of power; and if there were, it would not be human, since man can only be man if he simultaneously fulfills a natural and a spiritual law. The misuse of hereditary power therefore proves nothing against the law of nobility. On the contrary, the example alone of those few people, who, when deprived of hereditary privilege, did not therefore renounce their inherited responsibility, proves the ethical calling of the aristocracy.
When, in many countries, the aristocracy fell because of its own autocracy, this was not so much because it was autocratic towards the lower orders, but rather because it was autocratic towards the higher law of religion, which alone provided the aristocracy with its ethical basis, and moderated by mercy the right of the strong.
Since the fall, not merely of the hierarchic nature of society, but of almost all traditional forms, the consciously conservative man stands as it were in a vacuum. He stands alone in a world which, in its all opaque enslavement, boasts of being free, and, in all its crushing uniformity, boasts of being rich. It is screamed in his ears that humanity is continually developing upwards, that human nature, after developing for so and so many millions of years, has now undergone a decisive mutation, which will lead to its final victory over matter. The consciously conservative man stands alone amongst manifest drunks, is alone awake amongst sleep-walkers who take their dreams for reality.
From understanding and experience he knows that man, with all his passion for novelty, has remained fundamentally the same, for good or ill; the fundamental questions in human life have always remained the same; the answers to them have always been known, and, to the extent that they can be expressed in words, have been handed down from one generation to the next. The consciously conservative man is concerned with this inheritance.
Since nearly all traditional forms in life are now destroyed, it is seldom vouchsafed to him to engage in a wholly useful and meaningful activity. But every loss spells gain: the disappearance of forms calls for a trial and a discernment; and the confusion in the surrounding world is a summons to turn, by-passing all accidents, to the essential.
----
Titus Burckhardt: What is Conservatism?
A large conserved ruin of a late 13th Century castle. It was besieged for nine weeks in 1339, captured and devastated, and the owner killed. King Charles IV. purchased the castle from his heirs in 1356, and restored it. It was used by the wealthiest families as a strongpoint, and was often besieged. It´s importance vanished in the 17th Century, many objects were damaged in the 18th Century when the new owners searched for a treasure. Extensive conservation was done after WW2, the chapel was completely restored and roofed. The area was opened to public in 1994, and is a very nice weekend trip target.
Coventry Transport Museum opened in 1980, after it became clear that the road transport collection was outgrowing the space it occupied in the Herbert Art Gallery & Museum. The Museum’s current collection of vehicles is acknowledged as being one of the finest in the world, and the largest in public ownership.
The Museum’s collection consists of motor cars, commercial vehicles, cycles and motorcycles. In addition, extensive collections of automobilia, books, photographs and a wealth of other archive material is held and conserved at the Coventry History Centre at the Herbert Art Gallery & Museum.
This is what's left of the Conservatory at Witley Court. Part of a palatial house set near the stunning ruins of Witley Court, ravaged by fire in 1937 and now under the care of English Heritage, who tend to the grounds and ruins amazingly. It sits above and to the left of Worcester, near the Malvern Hills and en route to Ludlow. Before the fire the house played host to parties, Royals and the aristocracy.
Des stalles du château de Gaillon sont conservées dans la basilique Saint-Denis près de Paris. Ce château était la résidence de loisir des archevêques de Rouen. Commandées au début du XVIe siècle par Georges d’Amboise, ces stalles ont été construites lorsque cet archevêque, devenu légat du pape et premier conseiller de Louis XII a fait transformer le château médiéval en palais de la Renaissance. Seules stalles en France à présenter de nombreux panneaux de marqueterie et une iconographie inédite, elles forment un mobilier unique, chef-d’œuvre de cette période charnière entre gothique et Renaissance, arborant une grande mixité de styles. Ces stalles sont les chaires qui étaient destinées aux trois chanoines qui officiaient dans la chapelle haute du château de Gaillon, dédiée à saint Georges. Elles étaient ceintes d’une clôture en boiset constituaient ainsi le chœur liturgique de l'édifice.
Les stalles en chêne sont composées de deux rangées disposées côté nord et sud du transept de la basilique de Saint-Denis. La rangée nord présente un ensemble de six stalles, la rangée sud de cinq stalles et une isolée. Seules douze stalles ont été créées au XVIe siècle alors que le programme iconographique en prévoyait quatorze. De 2,83 m de haut, elles composées d’un siège et d’un dorsal, ce dernier comprenant deux registres : un bas-relief surmontant un panneau de marqueterie. Tous les éléments sont sculptés ou marquetés. De manière unique, les dossiers, les dorsaux et les voussures des dais sont galbés. De même les chaires ont des largeurs variées, fixées par celles des bas-reliefs des dorsaux. Pour s’adapter, les largeurs d’autres composants ont été rectifiées. La mixité de style se retrouve dans la globalité, les interdorsaux et deux dais étant gothiques alors que les faibles reliefs sont apparentés aux grotesques de la Renaissance, les bas-reliefs et les marqueteries des dorsaux étant quant à eux à la fois d’inspiration péninsulaire et septentrionale.
Sont illustrées sur les bas-reliefs originaux des dorsaux deux scènes de la vie d’Anne et Joachim, parents de la vierge Marie, cinq scènes de la vie de saint Jean-Baptiste le précurseur et sept scènes de la vie de saint Georges selon les textes d’Évangile ou de la Légende dorée. Nombre d’autres saints sont présentés en pied, sous forme de statuettes sur les interdorsaux ou de bas-reliefs sur les soubassements des jouées, notamment les quatre évangélistes sur ces derniers. Sur les panneaux marquetés des quadrants des parcloses sont figurées les affres des enfers des condamnés selon les sept péchés capitaux, avec les planètes et leurs influences. Les représentations sont inspirées des gravures du Calendrier des bergers imprimé à cette époque.
Les miséricordes figurent des scènes des Métamorphoses d’Ovide ainsi que les arts libéraux selon la Margarita Philosophica de G. Reisch. Les artisans se sont inspirés de gravures d’ouvrages imprimés au début du XVIe siècle, par exemple le soldat romain Caius Mucius Scaevola devant le roi Étrusque Porsenna y étant représenté exposant ainsi des thématiques propres à la culture antique. De manière également tout à fait inédite, les 7 vertus, cardinales et théologales, et 7 sibylles sont figurées et représentées sur les panneaux de marqueterie du premier registre des dorsaux. Les allégories et les prophétesses sont encadrées d’architectures identiques deux à deux qui les mettent en concordance. Les sibylles ont été choisies parmi celles du manuscrit des Heures de Louis de Laval dont les auteurs ont cité les prophéties. Ces dernières proviennent du manuscrit des Institutions divines de Lactance qui était de nouveau traduit et que le cardinal a lui-même fait enluminer. Ce grand rhéteur du IVe siècle ayant quant à lui repris les oracles rédigés dans les Oracles sibyllins.
Georges Ier d’Amboise n’a pas manqué de faire valoir qu’il était le commanditaire des stalles en demandant à ce que ses armes et sa devise y figurent à de nombreuses reprises. Le légat a donné pour modèles aux artisans des stalles des enluminures ou gravures de manuscrits faisant partie de sa splendide bibliothèque, digne d'un grand érudit humaniste. Il fit venir l’Italie en choisissant la marqueterie figurative en sus de la sculpture, seule technique utilisée à l'époque en France. Sans renier la tradition en faisant figurer les saints, il a fait représenter de manière inédite leur cycle de vie, dont il a choisi des événements bien spécifiques. De plus, il a incité les fidèles à s’instruire et à étudier les auteurs antiques en faisant sculpter des allégories des arts libéraux et des personnages mythiques ou héroïques. Enfin, par le dialogue des sibylles et des vertus, il a montré que la rhétorique de Lactance était convaincante. Il a ainsi non seulement introduit en France la mode italienne dans le mobilier, le décor et les ornements du château de Gaillon, mais surtout donné corps à l’esprit humaniste en faisant de ses stalles les messagères qui appellent à une vie vertueuse, dans la foi au Christ annoncé à tous les hommes (cf. wikipédia, merci PMRMayerert pour la photo).
Many species of birds including these sandpipers conserve their body heat by standing on one leg. They use that energy later running up and down the beach pecking their beaks below the sand to hunt for snails, insects and other snacks from the salty sea. The are fun to watch as they scurry about. This group of marine birds was on my favorite beach in San Diego, California.
... Qui n'a pas gardé ou conservé en lui le souvenir de ces années qui ont marquées un nouveau souffle de liberté et de paix... et ça dans la plus grande simplicité... Les fleurs étaient les armes puissantes devant les affrontements militaire et les chars d'assauts... Une fleur placée dans le canon d'un fusil par une jeune adolescente faisait fondre le militaire qui le tenait... Les temps ont bien changés... Mais conservons en nous.. ces magnifiques souvenirs des années '70 ...
Photo prise dans Notre Majestueux Parc de la Gatineau, au Québec
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" Nostalgia of the '70 " ... Who didn't keep or didn't preserve in him the memory of these years which marked a new breath of freedom and peace… and that in greatest simplicity... The flowers were the powerful weapons in front by the confrontations of soldier and the tanks... A flower placed in the gun by a young teenager dissolved the soldier who held it… Times really did changed … But let us preserve in us, these splendid memories of the '70 ...
Picture taken in Our Beautiful Parc de la Gatineau in Québec
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Land Rover 2A Station Wagon Restoration, Designed by Border Rovers and Built by Retroworks.
Extensively tested and used for 6 months. Bumper still bears the scars from The Beast From The East.
Owned and operated by Border Rovers:
07515899390
Cuyahoga Valley National Park conserves and reclaims the rural landscape along the Cuyahoga River between Akron and Cleveland in Northeast Ohio's Cuyahoga and Summit counties.
The 32,572-acre (50.9 square mile) park is administered by the National Park Service, but within its boundaries are areas independently managed as county parks or as public or private businesses. Cuyahoga Valley was originally designated as a National Recreation Area in 1974, then redesignated as a national park 26 years later in 2000, and remains the only national park that originated as a national recreation area.
Cuyahoga Valley is the only national park in the state of Ohio and one of three in the Great Lakes Basin, with Isle Royale National Park in Lake Superior and Indiana Dunes National Park bordering Lake Michigan. Cuyahoga Valley also differs from the other national parks in the U.S. in that it is adjacent to two large urban areas and it includes a dense road network, small towns, and public and private attractions.
Information from: en.wikipedia.org/wiki/Cuyahoga_Valley_National_Park
Truss Bridge - Bukit Timah Railway Station, King Albert Park:
Exif:
Aperture: F8;
Focal Length: 29mm;
ISO: 100
Exposure: 239 seconds
Filters stacked in order:
1. NiSi Natural Night Light Pollution Filter
2. Wine Country Camera CPL
Foreground and Leaves framing the side artificially light painted with a white light.
The join of the tracks artificially light painted with a Lumecube and orange filter.
And it is said, sometimes one sees shadows on the bridge where there are none. Some say these are haunted places but I leave that to the fertility of one's imagination.
The Bukit Timah railway station was constructed in the style of traditional small town railway stations found in the United Kingdom and is reminiscent of European country cottages. The single-storey building had an open platform and six structural bays, as well as a stationmaster's office, open and closed waiting areas, and a signals office. The station also served as an unloading point for racehorses due to its proximity to the former Singapore Turf Club.
Like the rest of the railway line after it was sold to the Federated Malay States Railway (FMSR) in the 1910s, ownership of the Bukit Timah Railway Station and the land it sat on was later transferred to FMSR’s successor, Keretapi Tanah Melayu (KTM). When KTM ended train services between Woodlands and Tanjong Pagar in 2011, Bukit Timah and other stations likewise ceased operations.
The now-defunct Bukit Timah Railway Station is the only suburban station which still stands today, and it is often frequented by railway, heritage and photography enthusiasts. As a well-loved local landmark, the station itself was accorded conservation status by the Urban Redevelopment Authority in 2011. Two railway truss bridges, at Fuyong Estate and on Bukit Timah Road near King Albert Park, have also been conserved.
La plaza de San Pablo es una de las plazas más emblemáticas de la ciudad de Valladolid (Castilla y León, España).
Fue construida extramuros de la primitiva ‘cerca vieja’ o interior que delimitaba el casco urbano de Valladolid en el siglo X, época en la que se encontraba situada junto a la ‘puerta de Cabezón’, en el extremo norte de la ciudad. Durante sus más de diez siglos de existencia, ha sido uno de los principales puntos neurálgicos de la ciudad, con una notable impronta clerical durante la Edad Media, palaciega durante el Renacimiento y el Barroco, transformada en espacio cultural y turístico en los siglos XX y XXI.
En nuestros días es uno de los principales espacios urbanos de la ciudad de Valladolid, compartiendo protagonismo con la plaza Mayor, la plaza de Zorrilla y la plaza de España. Su adaptación a las necesidades cambiantes de cada época, ha propiciado que en la actualidad conserve uno de los principales conjuntos de edificios históricos de la ciudad, entre los que destacan la iglesia de San Pablo, el palacio Real y el palacio de Pimentel, los llamados sitios reales en siglos pasados. Junto a ellos, existen otros inmuebles notables como son el palacio de Justicia, el instituto Zorrilla o el colegio El Salvador. En uno de los laterales de la zona centro de la plaza se encuentra situada la estatua del monarca Felipe II, nacido en la ciudad de Valladolid, y frente a la iglesia, precediendo al atrio de su fachada principal, un crucero procedente de la iglesia de Santiago.
Además, en la plaza confluyen numerosas calles, consecuencia del papel central que esta plaza desempeñó durante siglos en la vida de la ciudad. Entre ellas destacan las de Cadenas de San Gregorio (donde se encuentra el Museo Nacional de Escultura) y la de las Angustias, junto con otras que facilitaban el acceso, como la de Felipe II, del León, San Quirce, de Esteban García Chico o la de Cardenal Torquemada (donde se encuentra el antiguo hospital Río Hortega).
La iglesia conventual de San Pablo es uno de los edificios históricos más importantes de Valladolid y también de los más representativos debido a su espectacular fachada gótica. Se encuentra anexa al Colegio de San Gregorio y próxima al resto de sedes del Museo Nacional de Escultura.
Entre 1445 y 1468, fue el cardenal Fray Juan de Torquemada, tío del inquisidor general Tomás de Torquemada, quien sufragó las obras para la construcción de la iglesia definitiva gracias a las bulas papales. En 1601, con el traslado de la capital del Imperio a Valladolid (véase: Capitalidad de Valladolid), el duque de Lerma, valido de Felipe III, se convirtió en su patrono; costeó la reforma de su fachada principal y dotó al convento de numerosas obras de arte. Finalmente, entre 1613 y 1616, se efectuaron reformas en estilo herreriano de algunas capillas de la nave y el coro bajo la dirección de Diego de Praves.
En la iglesia de San Pablo fueron bautizados los reyes Felipe II y Felipe IV. En la actualidad, el Convento acoge el Instituto Superior de Filosofía de Valladolid, adscrito a la Universidad Pontificia de Salamanca.
El Palacio de Pimentel, actual sede de la Diputación de Valladolid, fue construido en el siglo XV. Uno de sus atractivos es su famosa ventana plateresca, de comienzos del siglo XVI, que se encuentra en la esquina. Fue el lugar de nacimiento de Felipe II.
El palacio consta de dos alturas en el cuerpo principal y tres en el torreón. Los materiales utilizados son el ladrillo excepto en el remate de las esquinas, la portada y el zócalo, que fueron realizados en piedra. A partir de 1985 el palacio ss sometió a una profunda restauración según proyecto del arquitecto Ángel Ríos.
Desde la inauguración de la Sala de Exposiciones, tras la restauración del palacio en 1990, con una extensión aproximada de 260 metros cuadrados, ha desarrollado una línea expositiva en la que se conjuga la difusión de artistas locales con los de otras comunidades.
es.wikipedia.org/wiki/Plaza_de_San_Pablo_(Valladolid)
es.wikipedia.org/wiki/Iglesia_de_San_Pablo_(Valladolid)
es.wikipedia.org/wiki/Palacio_de_Pimentel
The Plaza de San Pablo is one of the most emblematic squares in the city of Valladolid (Castilla y León, Spain).
It was built outside the primitive ‘old fence’ or interior that delimited the urban area of Valladolid in the 10th century, at which time it was located next to the ‘Cabezón gate’, at the north end of the city. During its more than ten centuries of existence, it has been one of the main nerve centers of the city, with a notable clerical imprint during the Middle Ages, palatial during the Renaissance and the Baroque, transformed into a cultural and tourist space in the 20th and XXI.1
Today it is one of the main urban spaces in the city of Valladolid, sharing the limelight with Plaza Mayor, Plaza de Zorrilla and Plaza de España. Its adaptation to the changing needs of each era, has led to the fact that it currently conserves one of the main groups of historical buildings in the city, among which the Church of San Pablo, the Royal Palace and the Palace of Pimentel stand out, the so-called royal sites in past centuries. Along with them, there are other notable buildings such as the Palace of Justice, the Zorrilla Institute or the El Salvador School. On one of the sides of the central area of the square is the statue of the monarch Felipe II, born in the city of Valladolid, and in front of the church, preceding the atrium of its main facade, a transept from the church of Santiago.
In addition, numerous streets converge in the plaza, a consequence of the central role that this plaza played for centuries in the life of the city. Among them are those of Cadenas de San Gregorio (where the National Sculpture Museum is located) and that of Las Angustias, along with others that facilitated access, such as that of Felipe II, León, San Quirce, Esteban García Chico or that of Cardenal Torquemada (where the old Río Hortega hospital is located).
The convent church of San Pablo is one of the most important historical buildings in Valladolid and also one of the most representative due to its spectacular Gothic façade. It is attached to the Colegio de San Gregorio and close to the rest of the headquarters of the National Sculpture Museum.
Between 1445 and 1468, it was Cardinal Fray Juan de Torquemada, uncle of the inquisitor general Tomás de Torquemada, who paid for the construction of the definitive church thanks to the papal bulls. In 1601, with the transfer of the capital of the Empire to Valladolid (see: Capital of Valladolid), the Duke of Lerma, valid for Felipe III, became his patron; It paid for the reform of its main facade and endowed the convent with numerous works of art. Finally, between 1613 and 1616, reforms were carried out in the Herrerian style of some chapels in the nave and the choir under the direction of Diego de Praves.
In the church of San Pablo the kings Felipe II and Felipe IV were baptized. Currently, the Convent houses the Valladolid Higher Institute of Philosophy, attached to the Pontifical University of Salamanca.
The Pimentel Palace, current seat of the Valladolid Provincial Council, was built in the 15th century. One of its attractions is its famous Plateresque window, from the early 16th century, which is located in the corner. It was the birthplace of Felipe II.
The palace consists of two heights in the main body and three in the keep. The materials used are brick except for the corner cap, the cover and the plinth, which were made of stone. From 1985 the ss palace underwent a deep restoration according to the project of the architect Ángel Ríos.
Since the inauguration of the Exhibition Hall, after the restoration of the palace in 1990, with an approximate extension of 260 square meters, it has developed an exhibition line that combines the diffusion of local artists with those of other communities.
Rijks Museum - National Museum of Netherlands
Vision
The Rijksmuseum links individuals with art and history.
Mission
At the Rijksmuseum, art and history take on new meaning for a broad-based, contemporary national and international audience.
As a national institute, the Rijksmuseum offers a representative overview of Dutch art and history from the Middle Ages onwards, and of major aspects of European and Asian art.
The Rijksmuseum keeps, manages, conserves, restores, researches, prepares, collects, publishes, and presents artistic and historical objects, both on its own premises and elsewhere.
From 1800 to 2013
The Rijksmuseum first opened its doors in 1800 under the name ‘Nationale Kunstgalerij’. At the time, it was housed in Huis ten Bosch in The Hague. The collection mainly comprised paintings and historical objects. In 1808, the museum moved to the new capital city of Amsterdam, where it was based in the Royal Palace on Dam Square.
After King Willem I’s accession to the throne, the paintings and national print collection were moved to the Trippenhuis on Kloveniersburgwal, while the other objects were returned to The Hague. The current building was put into use in 1885. The Netherlands Museum for History and Art based in The Hague moved into the same premises, forming what would later become the departments of Dutch History and Sculpture & Applied Art.
The beginning
On 19 November 1798, more than three years after the birth of the Batavian Republic, the government decided to honour a suggestion put forward by Isaac Gogel by following the French example of setting up a national museum. The museum initially housed the remains of the viceregal collections and a variety of objects originating from state institutions. When the Nationale Kunstgalerij first opened its doors on 31 May 1800, it had more than 200 paintings and historical objects on display. In the years that followed, Gogel and the first director, C.S. Roos, made countless acquisitions. Their first purchase, The Swan by Jan Asselijn, cost 100 Dutch guilders and is still one of the Rijksmuseum’s top pieces.
Move to Amsterdam
In 1808, the new King Louis Napoleon ordered the collections to be moved to Amsterdam, which was to be made the capital of the Kingdom of Holland. The works of art and objects were taken to the Royal Palace on Dam Square, the former city hall of Amsterdam, where they were united with the city’s foremost paintings, including the Night Watch by Rembrandt. In 1809, the Koninklijk Museum opened its doors on the top floor of the palace.
A few years after Willem I returned to the Netherlands as the new king in 1813, the ‘Rijks Museum’ and the national print collection from The Hague relocated to the Trippenhuis, a 17th-century town-palace on Kloveniersburgwal, home to what would later become the Royal Netherlands Academy of Arts and Sciences. Much to the regret of the director, Cornelis Apostool, in 1820 many objects including pieces of great historical interest were assigned to the Kabinet van Zeldzaamheden [Royal Gallery of Rare Objects], which had been founded in The Hague. In 1838, a separate museum for modern 19th-century art was established in Paviljoen Welgelegen in Haarlem. Contrary to the days of Louis Napoleon, very few large acquisitions were made during this period.
Cuypers Cathedral
The Trippenhuis proved unsuitable as a museum. Furthermore, many people thought it time to establish a dedicated national museum building in the Netherlands. Work on a new building did not commence until 1876, after many years of debate. The architect, Pierre Cuypers, had drawn up a historic design for the Rijksmuseum, which combined the Gothic and the Renaissance styles. The design was not generally well-received; people considered it too mediaeval and not Dutch enough. The official opening took place in 1885.
Nearly all the older paintings belonging to the City of Amsterdam were hung in the Rijksmuseum alongside paintings and prints from the Trippenhuis, including paintings such as Rembrandt’s Jewish Bride, which had been bequeathed to the city by the banker A. van der Hoop. The collection of 19th-century art from Haarlem was also added to the museum’s collection. Finally, a significant part of the Kabinet van Zeldzaamheden, which had by then been incorporated into the new Netherlands Museum for History and Art, was returned to Amsterdam.
Renovations
Over the years, collections continued to grow and museum insight continued to expand, and so the Rijksmuseum building underwent many changes. Rooms were added to the south-west side of the building between 1904 and 1916 (now the Philips wing) to house the collection of 19th-century paintings donated to the museum by Mr and Mrs Drucker-Fraser. In the 1950s and 1960s, the two original courtyards were covered and renovated to create more rooms.
In 1927, while Schmidt-Degener was Managing Director, the Netherlands Museum was split to form the departments of Dutch History and Sculpture & Applied Art. These departments were moved to separate parts of the building after 1945. The arrival of a collection donated by the Association of Friends of Asian Art in the 1950s resulted in the creation of the Asian Art department.
The 1970s saw record numbers of visitors of almost one-and-a-half million per year, and the building gradually started to fall short of modern requirements.
‘Verder met Cuypers'
The current renovation reinstates the original Cuypers structure. The building work in the courtyards are removed. Paintings, applied art and history are no longer displayed in separate parts of the building, but form a single chronological circuit that tells the story of Dutch art and history.
The building is thoroughly modernized, while at the same time restoring more of Cuypers original interior designs: the Rijksmuseum has dubbed the venture ‘Verder met Cuypers‘ [Continuing with Cuypers]. The Rijksmuseum will be a dazzling new museum able to satisfy the needs of its 21st-century visitors!
Every year, the Rijksmuseum compiles an annual report for the previous year. Annual reports dating back to 1998 can be found here (in Dutch only). Reports relating to the years before 1998 are available in the reading room of the library.
O Museu Rijks é um dos maiores e mais importantes museus da Europa.
É o maior dos Países Baixos, com acervo voltado quase todo aos artistas holandeses. As obras vão desde exemplares da arte sacra até a era dourada holandesa, além de uma substancial coleção de arte asiática.
Esse é o Rijksmuseum, o Museu Nacional dos Países Baixos. E aproveite, caro leitor, porque o Rijks esteve parcialmente fechado para reforma durante 10 anos – voltou a funcionar só em 2013. Ou seja, quem esteve em Amsterdam na última década não conheceu o Rijks, pelo menos não completamente.
Mas o quê tem lá? Muita coisa. Destaque para as coleções de arte e História holandesas. Os trabalhos dos pintores Frans Hals e Johannes Vermeer são alguns dos mais concorridos, mas imbatível mesmo é Rembrandt van Rijn, considerado um dos maiores pintores de todos os tempos. Se você não é um fã de museus de arte, mas faz questão de conhecer o trabalho desses grandes artistas, uma dica: assim que chegar ao Rijks, vá direto para a ala onde estão as obras-primas. Assim você vê o mais importante no início da visita, quando ainda está descansado e poderá dedicar o tempo necessário para essas obras.
A mais famosa delas é a “A Ronda Noturna”, de Rembrandt, uma obra que inspirou músicas, pinturas, filmes e até um flash mob. Quando o Rijks foi reaberto, artistas recriam a cena mostrada no quadro dentro de um shopping de Amsterdam. A ação está no vídeo abaixo e eu te garanto que vale a pena dar play.
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Rijksmuseum, Museu Nacional
42 Stadhouderskade
Amsterdam
O museu Rijksmuseum de Amsterdã é o Museu Nacional da Holanda, onde você encontrará uma impressionante coleção permanente, formada por 5.000 pinturas e 30.000 obras de arte, além de 17.000 objetos históricos.
Esse museu nacional foi fundado em 1885 e está instalado em um edifício de estilo neogótico. A sua principal atração é a extensa coleção de quadros pintados por artistas holandeses, abrangendo um período que vai do séc. XV aos dias de hoje. A obra de arte mais famosa em exibição é o quadro A Ronda Noturna, de Rembrandt.
O museu Rijksmuseum está dividido em cinco departamentos: pintura, escultura, arte aplicada, arte oriental, história dos Países Baixos e gravuras. O núcleo da coleção é a pintura e suas obras mais representativas são as que pertencem ao Século de Ouro holandês, com quadros de artistas como Rembrandt, Vermeer ou Frans Hals.
Ver fonte: dreamguides.edreams.pt/holanda/amsterda/rijksmuseum
Museu Rijks, Amesterdão
O Museu Rijks (Museu Nacional) é um edifício histórico, sendo o maior museu nos Países Baixos. O Museu é o maior no numero relativamente às suas colecções, na área do edifício em si, no financiamento e no numero de funcionários empregados.
Cada ano, mais de um milhão de pessoas visitam o Museu Rijks. O Museu emprega cerca de 400 pessoas, incluindo 45 conservadores de museu que são especializados em todas as áreas.
O Museu Rijks é internacionalmente reconhecido pelas suas exibições e publicações, mas não só apenas por estes produtos de grande qualidade, mas também pelas áreas no museu em si que são fonte de inspiração e encorajam a criação de novas ideias.
O museu também tem recursos consideráveis para a educação, para a decoração e apresentação de exibições. Importantes designers são regularmente chamados a trabalharem em projectos no Museu Rijks.
O edifício principal do Museu Rijks está a ser renovado. A boa noticia é que a melhor parte da exposição está apresentada na redesenhada ala Philips. O nome desta exposição denomina-se "The Masterpieces'.
O museu abre diariamente das 10 da manhã até ás 5 da tarde.
A entrada é pela Stadhouderskade 42.
Rijksmuseum
Origem: Wikipédia, a enciclopédia livre.
O Rijksmuseum é um museu nacional dos Países Baixos, localizada em Amsterdão na Praça do museu. O Rijksmuseum é dedicado à artes e história. Ele tem uma larga coleção de pinturas da idade de ouro neerlandesa e uma substancial coleção de arte asiática.
O museu foi fundado em 1800 na cidade da Haia para exibir a coleção do primeiro-ministro. Foi inspirado no exemplo francês. Pelos neerlandeses ficou conhecida como Galeria de Arte. Em 1808 o museu mudou-se para Amsterdã pelas ordens do rei Louis Napoleón, irmão de Napoleão Bonaparte. As pinturas daquela cidade, como A Ronda Nocturna de Rembrandt, tornaram-se parte da coleção.
Em 1885 o museu mudou-se para sua localização atual, construído pelo arquiteto neerlandês Pierre Cuypers. Ele combinou elementos góticos e renascentistas. O museu tem um posição proeminente na Praça do Museu, próximo ao Museu van Gogh e ao Museu Stedelijk. A construção é ricamente decorada com referências da história da arte neerlandesa. A Ronda Nocturna de Rembrandt tem seu próprio corredor no museu desde 1906. Desde 2003 o museu sofreu restaurações, mas as obras-primas são constatemente presentes para o público.
A coleção de pinturas inclui trabalhos de artistas como Jacob van Ruysdael, Frans Hals, Johannes Vermeer e Rembrandt e de alunos de Rembrandt.
Em 2005, 95% do museu está fechado para renovação, mas as pinturas da coleção permanente ainda estão em mostra em uma exibição especial chamada As Obras-primas.
Algumas das pinturas do museu:
Rembrandt van Rijn
A Ronda Nocturna
Os síndicos da guilda dos fabricantes de tecidos
A noiva judia
A lição de Anatomia do Dr. Deyman
Pedro negando Cristo
Saskia com um véu
Retrato de Titus em hábito de monge
Auto-retrato como Apóstolo Paulo
Tobias, Ana e o Bode
Johannes Vermeer:
A Leiteira
A Carta de Amor
Mulher de Azul a ler uma carta
A Rua pequena
Frans Hals:
Retrato de um jovem casal
A Companhia Reynier Real
O bebedor alegre
Retrato de Lucas De Clercq
Retrato de Nicolaes Hasselaer
Retrato de um homem
Página oficial do Rijksmuseum
Virtual Collection of Masterpieces (VCM)
O melhor museu de Amsterdam: Rijksmuseum
O Commons possui uma categoria contendo imagens e outros ficheiros sobre Rijksmuseum
Rijksmuseum Amsterdam
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Se você visitar Amsterdam, precisará conhecer o Museu Nacional da Holanda: Rijksmuseum Amsterdam. O Museu Nacional fica na Praça do Museu, situada no centro de Amsterdam. O Museu Nacional, ou Rijksmuseum, possui uma maravilhosa coleção de arte e história holandesas. Após uma visita ao Rijksmuseum, você saberá mais sobre história e arte e terá visto alguns dos maiores marcos culturais da Holanda.
Obras-primas do Museu Nacional
Ao todo, a coleção do Rijksmuseum apresenta a história da Holanda em um contexto internacional, desde 1.100 até o presente. Há alguns ícones da história e cultura da Holanda que você não pode perder:
Ronda Noturna (de Nachtwacht) de Rembrandt é uma das mais famosas obras desse mestre holandês e é de tirar o fôlego.
O Rijksmuseum tem uma das melhores coleções de pinturas dos grandes mestres do século XVII, como Frans Hals, Jan Steen, Vermeer e Rembrandt.
Assim como o Museu Histórico de Haia, o Rijksmuseum apresenta lindas casas de bonecas, mobiliadas em detalhes, datando de 1676.
Se você não puder ir ao Delft Real, pode ainda apreciar algumas das melhores cerâmicas de Delft, de conjuntos de chá a vasos, no Museu Nacional.
Museu que é visita obrigatória em Amsterdam
Quer sua estadia em Amsterdam seja breve ou longa, você deve visitar o Rijksmuseum. Chegue cedo para evitar enfrentar filas. Combine a visita ao Rijksmuseum com várias outras atrações próximas, como o Museu Van Gogh, o Museu Stedelijk Amsterdam e a Coster Diamonds
Para obter mais informações sobre Amsterdam, retorne à página sobre Amsterdam ou à página sobre os museus de Amsterdam.
Des stalles du château de Gaillon sont conservées dans la basilique Saint-Denis près de Paris. Ce château était la résidence de loisir des archevêques de Rouen. Commandées au début du XVIe siècle par Georges d’Amboise, ces stalles ont été construites lorsque cet archevêque, devenu légat du pape et premier conseiller de Louis XII a fait transformer le château médiéval en palais de la Renaissance. Seules stalles en France à présenter de nombreux panneaux de marqueterie et une iconographie inédite, elles forment un mobilier unique, chef-d’œuvre de cette période charnière entre gothique et Renaissance, arborant une grande mixité de styles. Ces stalles sont les chaires qui étaient destinées aux trois chanoines qui officiaient dans la chapelle haute du château de Gaillon, dédiée à saint Georges. Elles étaient ceintes d’une clôture en boiset constituaient ainsi le chœur liturgique de l'édifice.
Les stalles en chêne sont composées de deux rangées disposées côté nord et sud du transept de la basilique de Saint-Denis. La rangée nord présente un ensemble de six stalles, la rangée sud de cinq stalles et une isolée. Seules douze stalles ont été créées au XVIe siècle alors que le programme iconographique en prévoyait quatorze. De 2,83 m de haut, elles composées d’un siège et d’un dorsal, ce dernier comprenant deux registres : un bas-relief surmontant un panneau de marqueterie. Tous les éléments sont sculptés ou marquetés. De manière unique, les dossiers, les dorsaux et les voussures des dais sont galbés. De même les chaires ont des largeurs variées, fixées par celles des bas-reliefs des dorsaux. Pour s’adapter, les largeurs d’autres composants ont été rectifiées. La mixité de style se retrouve dans la globalité, les interdorsaux et deux dais étant gothiques alors que les faibles reliefs sont apparentés aux grotesques de la Renaissance, les bas-reliefs et les marqueteries des dorsaux étant quant à eux à la fois d’inspiration péninsulaire et septentrionale.
Sont illustrées sur les bas-reliefs originaux des dorsaux deux scènes de la vie d’Anne et Joachim, parents de la vierge Marie, cinq scènes de la vie de saint Jean-Baptiste le précurseur et sept scènes de la vie de saint Georges selon les textes d’Évangile ou de la Légende dorée. Nombre d’autres saints sont présentés en pied, sous forme de statuettes sur les interdorsaux ou de bas-reliefs sur les soubassements des jouées, notamment les quatre évangélistes sur ces derniers. Sur les panneaux marquetés des quadrants des parcloses sont figurées les affres des enfers des condamnés selon les sept péchés capitaux, avec les planètes et leurs influences. Les représentations sont inspirées des gravures du Calendrier des bergers imprimé à cette époque.
Les miséricordes figurent des scènes des Métamorphoses d’Ovide ainsi que les arts libéraux selon la Margarita Philosophica de G. Reisch. Les artisans se sont inspirés de gravures d’ouvrages imprimés au début du XVIe siècle, par exemple le soldat romain Caius Mucius Scaevola devant le roi Étrusque Porsenna y étant représenté exposant ainsi des thématiques propres à la culture antique. De manière également tout à fait inédite, les 7 vertus, cardinales et théologales, et 7 sibylles sont figurées et représentées sur les panneaux de marqueterie du premier registre des dorsaux. Les allégories et les prophétesses sont encadrées d’architectures identiques deux à deux qui les mettent en concordance. Les sibylles ont été choisies parmi celles du manuscrit des Heures de Louis de Laval dont les auteurs ont cité les prophéties. Ces dernières proviennent du manuscrit des Institutions divines de Lactance qui était de nouveau traduit et que le cardinal a lui-même fait enluminer. Ce grand rhéteur du IVe siècle ayant quant à lui repris les oracles rédigés dans les Oracles sibyllins.
Georges Ier d’Amboise n’a pas manqué de faire valoir qu’il était le commanditaire des stalles en demandant à ce que ses armes et sa devise y figurent à de nombreuses reprises. Le légat a donné pour modèles aux artisans des stalles des enluminures ou gravures de manuscrits faisant partie de sa splendide bibliothèque, digne d'un grand érudit humaniste. Il fit venir l’Italie en choisissant la marqueterie figurative en sus de la sculpture, seule technique utilisée à l'époque en France. Sans renier la tradition en faisant figurer les saints, il a fait représenter de manière inédite leur cycle de vie, dont il a choisi des événements bien spécifiques. De plus, il a incité les fidèles à s’instruire et à étudier les auteurs antiques en faisant sculpter des allégories des arts libéraux et des personnages mythiques ou héroïques. Enfin, par le dialogue des sibylles et des vertus, il a montré que la rhétorique de Lactance était convaincante. Il a ainsi non seulement introduit en France la mode italienne dans le mobilier, le décor et les ornements du château de Gaillon, mais surtout donné corps à l’esprit humaniste en faisant de ses stalles les messagères qui appellent à une vie vertueuse, dans la foi au Christ annoncé à tous les hommes (cf. wikipédia, merci Glass Angel pour la photo).