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A cabin stands on land owned by Marion Karl of Cooperstown, N.Y., on May 21, 2015. Karl’s 173 acres are in a conservation easement with the Otsego Land Trust, and she hikes through it almost daily to take in a view of Otsego Lake. (Photo by Will Parson/Chesapeake Bay Program)
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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.
To conserve energy, the solar powered holiday lights can be turned off remotely- someone at the Operations Center has a peculiar sense of humor...
OLYMPUS E-600
Project 365, #157 - 3rd Aug 2012
I have recently become addicted to this conserve.
These conserves are some of the most delicious products I have ever tasted. This jar was at an end so I thought I’d submit it for this challenge. It didn’t last long this particular flavour - Berries & Cherries. I am trying to sample my way through their entire range. It’s a lot bigger than I first imagined, but that’s fine with me! ;)
After the final bits of the fruit conserve has been picked, licked and teased out, the iconic jars can be re-used, sometimes in creative and imaginative ways. From attractive storage for cooking spices, seed packets, buttons & ribbons to flowers.
Many thanks for looking/comments/shares/favs!
Enjoy your weekend!!!
Our Daily Challenge (ODC): END/ENDINGS
88 " Land Rover 2A Station Wagon Restoration, Designed by Border Rovers and Built by Retroworks.
Owned and operated by Border Rovers:
07515899390
TRAVOIS BLACKFEET, vers 1900;
Photographe : Franklin Johnson .
J'adore cette image stéréoscopique, un peu sombre, mais j'ai réussi à conserver un ciel légèrement nuageux. J'aime le contraste entre le cheval/poulain et le père/les filles. Cependant, le monogramme sur la couverture du père, l'espace (l'humanité, était-elle infinie pour eux ?), et les quatre éléments : l'air, le feu, l'eau et la terre, les croix ??? SEE DOC
Il est difficile de trouver des informations à leur sujet en ligne ; tous les monogrammes, symboles et logos amérindiens sont aujourd'hui principalement utilisés pour les tatouages…
Ne surtout pas faire voire cette photo a DTrump, il est allergique !
Photographie historique de 1900 prise par Franklin Johnson, représentant une famille Blackfeet transportée sur un travois tiré par des chevaux
La réserve actuelle est située dans le nord-ouest du Montana, bordée par le parc national de Glacier à l'ouest et le Canada au nord. S'étendant sur 1,5 million d'acres, la réserve Blackfeet est l'une des plus grandes des États-Unis.
La réserve actuelle est située dans le nord-ouest du Montana, bordée par le parc national du Glacier à l'ouest et le Canada au nord. S'étendant sur 1,5 million d'acres, la réservation Blackfeet est l'une des plus grandes des États-Unis.
Le Blackfeet Water Compact est le résultat d’un processus de plusieurs décennies qui confirme les droits de la tribu sur l’eau Winters et la juridiction et l’autorité de la tribu sur son eau. Le pacte offre à la tribu d’importants droits sur l’eau qui nous permettront de mettre notre eau à profit et de développer une économie durable à long terme dans le futur.
La réserve de Blackfeets possède d'abondantes ressources naturelles, y compris des forêts et des réserves de pétrole et de gaz, et abrite de nombreuses espèces de poissons et de faune. Plus de 518 miles de ruisseaux et 180 plans d'eau, dont huit grands lacs, peuvent également être trouvés sur la réservation.
Pendant longtemps, ces communautés ont été les plus marginalisées du pays. Réduites à la pauvreté, durement touchées par le chômage et les addictions, elles survivaient parquées dans des réserves. Mais depuis quelques années, un mouvement de revendication s'est emparé de ces populations autochtones.
Dans le Dakota du Nord, la réserve de Fort Berthold rachète ses terres ancestrales à coups de millions de dollars. Car la tribu est immensément riche depuis la découverte de pétrole dans son sous-sol, il y a une dizaine d'années. Grâce à ses 40 millions de dollars mensuels de revenus pétroliers, le chef de la communauté investit à tour de bras. Commissariat flambant neuf, stade de football rutilant ou hôpital dernier cri, la tribu ne manque de rien. Et le chômage, sur son territoire, est passé de 70 % à 3 % selon les chiffres du comté.
Dans le Dakota du Sud, le gigantesque défilé de l'Indian Pride remplace désormais le Columbus Day. Ce jour férié, dédié à la découverte de l'Amérique par Christophe Colomb, est devenu le symbole de l'oppression pour les peuples autochtones. À cette occasion, Ashley et son fils de 7 ans, Washoshe, participent à un pow-wow, une compétition de danse traditionnelle. Si ces rassemblements ont été interdits par le gouvernement américain pendant des décennies pour éradiquer la culture amérindienne, aujourd'hui, ils sont de plus en plus populaires. Vêtus de leurs plus beaux habits traditionnels, Ashley et Washoshe affrontent 1 200 danseurs venus de tout le pays. Et des milliers de dollars de récompenses sont distribués aux vainqueurs.
Dans le Montana, la tribu des Blackfeet réintroduit un animal mythique : le bison. Avant l'arrivée des colons européens, l'Amérique du Nord comptait près de 60 millions de bêtes. Après la conquête de l'Ouest, il n'en restait que 500. L'animal a frôlé l'extinction. Aujourd'hui, le pays compte un cheptel de 500 000 bisons. Sur son territoire, la tribu des Blackfeet en autorise la chasse une fois par an pour sensibiliser les jeunes générations à l'importance de cet animal sacré. Mais ici, les Indiens ont abandonné l'arc et les flèches pour une chasse façon XXIe siècle, tirant avec un fusil à lunette depuis un pick-up !
À Seattle dans l'état de Washington, Louie Gong s'est réapproprié son identité amérindienne pour en faire une marque à succès. Ses accessoires de décoration s'arrachent et font la Une des magazines de luxe. Cet entrepreneur a créé l'une des premières sociétés autochtones du pays, en proposant des couvertures et objets du quotidien, 100 % amérindiens. Ces dernières années, ses ventes ont explosé et le chef d'entreprise exporte désormais dans le monde entier.
auvio.rtbf.be/media/doc-shot-tribus-bisons-et-petrole-la-...
Historical photograph from 1900 taken by Franklin Johnson, showing a Blackfeet family being transported on a horse-drawn travois
TRAVOIS BLACKFOOT, circa 1900
Photographer: Franklin Johnson.
I love this stereoscopic image; it’s a bit dark, but I managed to preserve a slightly cloudy sky. I like the contrast between the horse/foal and the father/daughters. However, the monogram on the father’s jacket, the space (was humanity infinite to them?), and the four elements: air, fire, water, and earth—the crosses???
It’s hard to find information about them online; all Native American monograms, symbols, and logos are now mainly used for tattoos…
Don’t let DTrump see this photo under any circumstances—he’s allergic to it!
The current reservation is located in northwestern Montana, bordered by Glacier National Park to the west and Canada to the north. Covering 1.5 million acres, the Blackfeet Reservation is one of the largest in the United States.
The current reservation is located in northwestern Montana, bordered by Glacier National Park to the west and Canada to the north. Spanning 1.5 million acres, the Blackfeet Reservation is one of the largest in the United States.
The Blackfeet Water Compact is the result of a decades-long process that affirms the tribe’s rights to the Winters River and the tribe’s jurisdiction and authority over its water. The compact grants the tribe significant water rights that will allow us to utilize our water resources and develop a sustainable, long-term economy in the future.
The Blackfeet Reservation possesses abundant natural resources, including forests and oil and gas reserves, and is home to numerous species of fish and wildlife. More than 518 miles of streams and 180 bodies of water, including eight large lakes, can also be found on the reservation.
For a long time, these communities were the most marginalized in the country. Reduced to poverty and severely affected by unemployment and addiction, they survived confined to reservations. But in recent years, a movement for self-determination has taken hold among these Indigenous peoples.
In North Dakota, the Fort Berthold Reservation is buying back its ancestral lands with millions of dollars. This is because the tribe has become immensely wealthy since oil was discovered beneath its land about a decade ago. Thanks to its $40 million in monthly oil revenues, the community leader is investing heavily. With a brand-new police station, a gleaming football stadium, and a state-of-the-art hospital, the tribe lacks for nothing. And unemployment on its territory has dropped from 70% to 3%, according to county figures.
In South Dakota, the massive Indian Pride parade has now replaced Columbus Day. This holiday, dedicated to Christopher Columbus’s discovery of America, has become a symbol of oppression for Indigenous peoples. On this occasion, Ashley and her 7-year-old son, Washoshe, participate in a powwow, a traditional dance competition. While these gatherings were banned by the U.S. government for decades in an effort to eradicate Native American culture, today they are growing in popularity.
On this occasion, Ashley and her 7-year-old son, Washoshe, are participating in a powwow, a traditional dance competition. Although these gatherings were banned by the U.S. government for decades in an effort to eradicate Native American culture, today they are growing in popularity. Dressed in their finest traditional attire, Ashley and Washoshe compete against 1,200 dancers from across the country. And thousands of dollars in prize money are awarded to the winners.
In Montana, the Blackfeet tribe is reintroducing a mythical animal: the bison. Before the arrival of European settlers, North America was home to nearly 60 million bison. After the conquest of the West, only 500 remained. The animal came close to extinction. Today, the country has a herd of 500,000 bison. On its territory, the Blackfeet tribe allows hunting once a year to raise awareness among younger generations about the importance of this sacred animal. But here, the Native Americans have traded their bows and arrows for 21st-century hunting methods, shooting with a sniper rifle from a pickup truck!
In Seattle, Washington, Louie Gong has reclaimed his Native American identity and turned it into a successful brand. His home decor accessories are flying off the shelves and making headlines in luxury magazines. This entrepreneur founded one of the country’s first Native-owned companies, offering 100% Native American blankets and everyday items. In recent years, his sales have skyrocketed, and the entrepreneur now exports worldwide.
S:auvio.rtbf.be/media/doc-shot-tribus-bisons-et-petrole-la-...
Meerkat
The meerkat or suricat is a small carnivoran belonging to the mongoose family. It is the only member of the genus Suricata.Meerkats live in all parts of the Kalahari Desert in Botswana, in much of the Namib Desert in Namibia and southwestern Angola, and in South Africa. A group of meerkats is called a "mob", "gang" or "clan". A meerkat clan often contains about 20 meerkats, but some super-families have 50 or more members. In captivity, meerkats have an average life span of 12–14 years, and about half this in the wild.
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...
AUMSVILLE, Ore. – Father-son farmers Steve and Daniel Keudell are seeing tremendous energy and water savings on their 1,600-acre vegetable farm, thanks to energy-efficient linear irrigation systems installed with financial assistance from USDA’s Natural Resources Conservation Service (NRCS). NRCS is helping farmers in Marion County convert to low-pressure, efficient irrigation systems, as part of a strategic groundwater conservation initiative in the Stayton-Sublimity Restricted Groundwater Priority Area. The new linear irrigation systems are up to 30 percent more efficient than other systems typically used in the area (such as big guns), and they save significant water and energy. Over time, these water savings reduce the strain on the groundwater priority area and allow the aquifer to stabilize. NRCS photo by Tracy Robillard, June 2015.
To conserve water resources. The mother had this child sit in a bowl to recycle the water and would pour the water onto her hand to not frighten her. Taken in Dipolog City, Mindanao Philippines.
Had a relaxing morning, conserving all my energy for an afternoon/evening out with my friend James and his friend Jackie (a fellow photography lover). More or less the first time I've been out this year - apart from a couple of trips to the pharmacy - and I did feel a bit weird to begin with, and pretty knackered, but I was glad I went.
It was SO busy there though! I'd packed my tripod and an extra lens, thinking I'd do some 'proper' photography - but it was all a bit of a scrum, so I just got a load of high ISO handheld snaps in the end. A few of the installations had massive queues, so we skipped them, but we did see most of what was on offer. Oh, and we bought some food in an Amazon Fresh shop there, which was an experience (scan an app to go in, then pick up what you want and simply walk out, and trust that it'll charge you the right amount. It did.)
Had a lovely time with James and Jackie, but I was very happy to be home by 7:30pm and have a very chilled evening with Tim :)
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).
Un territoire enchanteur qui donne envie de parcourir et d'explorer de long en large ses forêts et montagnes conservées. Allez on y va ! Je vous attends pour le découvrir et vous guider. Farallones de Cali, département du Valle del Cauca, Colombie.
Un territorio encantador que da ganas de recorrer y explorarlo sus bosques y montañas conservados de una extremidad a la otra. Vamos ! Los espero para descubrirlo y guiarlos. Farallones de Cali, departamento del Valle del Cauca, Colombia.
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.
Conservation of solar power; it is time to stop worrying about cleaner air--let's concentrate on some serious ecology. Save the sun from burning up before its time...
Excavated from Castledonovan, Co. Cork.
Photographed by Sara Nylund, 2009
Client: DoE on Behalf of the Office of Public Works (OPW)
Publication: Produced: [1948]
Format: Still image
Subject(s): Library Materials
Library Technical Services
Army Medical Library (U.S.)
Genre(s): Photographs
Abstract: Image caption on page 45 of the book US National Library of Medicine: "Library staff in the bindery section review materials in the collection. Binding involves putting together multiple issues of serials to conserve shelf space, improve durability, and assist reading by patrons."
Related Title(s): US National Library of Medicine
Extent: 1 photograph : 11 x 13 cm
Technique: black and white
NLM Unique ID: 101445602
NLM Image ID: A017014
Permanent Link: resource.nlm.nih.gov/101445602
Officieren en andere schutters van wijk XVIII in Amsterdam onder leiding van kapitein Albert Bas en luitenant Lucas Conijn, Govert Flinck, 1645
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.
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...
The endangered dwarf bear-poppy (Arctomecon humilis) near St. George, Utah.
Photo: Bekee Hotze/USFWS
Story & Recipe (in italian & lithuanian) is here: www.tartamour.com/2014/02/11/klementinu-dzemas-su-juodosi...
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
1/4
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).
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
1/4
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.
Story & Recipe (in italian & lithuanian) is here: www.tartamour.com/2014/02/11/klementinu-dzemas-su-juodosi...
Polar Bear
"Region: America
Class: Mammalia
Order: Carnivora
Family: Ursidae
Genus: Ursus
Scientific Name: Ursus maritimus
Description : Polar bears are considered the largest land carnivores in the world, matched only by very large individual Kodiak brown bears. Both sexes differ in size throughout their range; males being much larger than females and continuing to grow for a longer period of time. These bears have long, massive skulls, necks and bodies with long legs and large paws. Ears and tail are short. The nose is more prominent or “Roman” with a black rhinarium (nose pad). The tongue is black and the eyes brown. The surface of the skin is also black. Fur colour varies slightly with the season: new coats grown just prior to the winter season are very white appearing as slightly creamy white against the stark white of their icy winter environment. This pelage is thick, coarse and long with dense underfur. Guard hairs, found throughout the pelage, are shiny, almost glossy, oily and waterproof and have hollow shafts. Polar bears moult annually between the end of May and August. The coat becomes thinner and has a yellow wash or is almost a golden colour. Male polar bears weigh between 400 – 600 kg, and have been recorded up to a maximum of 800 kg. Females are smaller than the males weighing up to 300 kg, and when pregnant up to 460 kg. Polar bears are 2.5 – 3.5 m long.
Distribution : The polar bear is circumpolar in distribution, inhabiting all Arctic seas and coastlines. It is found on the pack-ice off the Alaskan coast north of Bering Strait, off the coasts of Greenland and along the Eurasian Arctic coast from Spitsbergen to Wrangell Island. Rare stragglers reach Iceland. Individual bears have been seen on the frozen Arctic Ocean as far as latitude 88 degrees North, only 2 degrees from the North Pole. In Canada, they are found along the Arctic coasts from Alaska to Labrador and from the tip of James Bay to northern Ellesmere Island. Polar bears do roam as far as 150 kilometres inland into the coniferous forests, where they live very differently from the polar bears which belong to the high Arctic.
Habitat : They prefer areas of annual ice, which they use as a hunting platform and protective cover. This includes snow-drifted pressure ridges, refrozen cracks and areas of open water surrounded by ice. In areas where the pack ice melts by mid to late summer they come inland and live in coniferous forest areas. Here they remain until the ice re-freezes. Areas of solidly frozen sea ice and the open seas are avoided. Generally they are most common along coastal areas. Some do enter the permanent pack ice.
Food : The ringed seal is by far the most common prey. They also eat bearded seal, harp seal and hooded seal. Young walrus are sometimes taken. During the summer months they feed upon the shoreline carrion, fish, mussels, crabs, starfish, lemmings and the eggs and nestling young of waterfowl and cliff-dwelling birds. They will also graze on kelp, grasses and eat mushrooms and crowberries.
Reproduction and Development : Normally they are solitary animals outside the breeding season, the exception being a mother with cubs. Polar bears mate in mid-summer. Females first start to breed at 3 to 5 years of age. In April and May adult females are in oestrus and ready to accept a mate. They are polyandrous, meaning one female will mate with more than one male in one breeding season. Males fight among themselves for the female’s attention and a couple will pair off for a period of a few days to two weeks. With females, delayed implantation occurs, the fertilized egg does not implant in the uterus until mid-September to mid-October. Embryonic development begins at this time. Gestation periods, therefore, vary a great deal when including this period of delay. Females choose suitable locations to build their maternity dens in mid-October and retreat to them for the winter season. They give birth to one to four cubs somewhere between late November and early January. Twins are most common. The newborns are small; 25 to 30 cm long and weigh less than 1 kg. They are covered with very fine hair, appearing almost naked and their eyes are closed. Their eyes open at 6 weeks. Growth is very quick; at two months their fur has thickened; they weigh about 5 kg and move about the den. By mid-March to early April, when the den is opened, the cubs weigh about 10 kg and are surprisingly strong. The cubs suckle for nine months, occasionally one year. They are very dependent on their mother and stay with her for two years. At that time they weigh 90 - 180 kg and are half grown.
Adaptations : Polar bears are wonderfully adapted to their Arctic surroundings.
Locomotion. On land a shuffling walk may be increased to a rolling gallop of 40 km/h and can outrun caribou over a short distance. Bears are often seen standing high on their hind legs, necks stretched to scan the landscape. On thin ice, legs are spread to distribute body mass. Thickly padded and furred soles allow the bear to move quietly as well as providing good traction. Small bumps and cavities on the soles act like suction cups keeping bears from slipping on the ice. The claws are used to dig into icy slopes and to grip prey. They are strong swimmers, paddling with their forefeet only and trailing their hind feet which act as a rudder. They can stay submerged for over one minute, keeping their eyes open. They swim at a speed of approximately 6.4 km/h, often covering long distances.
Insulation. Polar bears have a thick layer of sub-cutaneous fat and very dense underfur with several layers of glossy guard hair on the outside. Their pelt is much thicker in winter and provides excellent insulation. The fat layer also adds to buoyancy in the water. Water is shed easily from the oily waterproof fur. Small, furry ears have a heavy network of blood vessels, keeping them warm and conserving heat. The tail is short and rounded also conserving heat. Fur is very dense around the soles of the feet.
Pelage. The creamy white appearance of the coat allows the bear to be inconspicuous when hunting seal. Each hair is similar to an optical fibre; colourless and hollow. Being translucent, it reflects the heat from the sun down to the base of the hair, where it is absorbed by the black skin. Whiteness comes from reflection of light rather than pigmentation.
Hunting. Bears use their keen sense of smell to detect seal breathing holes. These can be up to a kilometer away and covered by a layer of snow and ice. They will stand or lie by the seal’s blowhole in the ice for hours; they may swim towards seals resting on the ice flows with only their nose showing above the water. They will dive quietly, then swim up to the ice edge and jump out on the seal, and will also crawl towards a sunbathing seal using every piece of raised ice to conceal the approach.
Denning. Both sexes occupy dens for shelter. Topographic factors influence the den sites. In Canadian core areas, dens frequently occur on south-facing slopes where northerly prevailing winds create the best drifts, where the wind-chill is least and insulation from received solar radiation is greatest. One of the three largest denning areas worldwide is in Canada. There are three main types of winter refuges: maternity dens, temporary dens and winter shelters. During the winter any bear may dig a temporary den and use it for a few days during a storm, or take shelter in a natural cavity. Winter shelters are used for longer periods of time as resting places. This type of shelter is usually roomier with additional features such as alcoves, porches and ventilation holes. Bears do not hibernate in the strict sense of the word; they have the ability to slow down their metabolism to conserve energy at any time of year. The state of self-induced lethargy while in the shelter allows them to preserve their vital fat reserves. During this time, the body temperature of the polar bear decreases by a few degrees from normal and the respiration rates are markedly reduced. Maternity dens are built and occupied by pregnant females and can vary in size. The denning chamber is at the upper end of an entrance tunnel 1 to 2 m long. It averages 1.5 m in diameter with a height of 90 to 100cm in the middle. Drifting snow seals the entrance. The chamber is higher than the tunnel, trapping bear body heat inside. Dens not only provide a safe place to give birth to her cubs, but are also a place of protection for the cubs during their first few months. During this time she does not leave the den, remaining with her cubs and living on her reserves of fat. In the spring, with her fat severely depleted she must leave to find food to sustain herself and her cubs. After they leave the maternity den she will build temporary refuges in which to nurse, rest and shelter her young cubs and warms them as they all sleep together. She heads with her cubs towards the nearest supply of food, this is usually pack ice.
Sight and sounds. Polar bears have good eyesight. Their eyes have inner eyelids that keep the glare of the sun on snow and ice from blinding them. When defending a food source from other bears they use a deep growl. They hiss and snort to show aggression. Angry bears use loud roars and growls. Mothers scold cubs with a low growl.
Threats to Survival : Polar bears are one of the animals most threatened by global warming. They depend entirely on sea ice as a platform from which to hunt seals. Reduction of the total ice cover in the Arctic is a serious concern globally. When the ice does not form or forms too late in the season many polar bears starve. In Hudson Bay, scientists have found the main cause of death for cubs to be either lack of food or lack of fat on nursing mothers. Exploitation of minerals and fossil fuels in the Arctic pose a continuous threat. Of the oil and natural gas deposits globally, 20% are located in the Arctic. As the ice cap recedes these become more accessible. Countries are competing which each other in claiming ownership of Arctic and its resources. This can only result in further and more drastic impact on polar bear habitat.
Status : IUCN: Vulnerable; CITES: Appendix II; COSEWIC: Special Concern
Zoo Diet : Toronto Zoo carnivore diet, dog chow, jumbo smelt and herring, carrots, bean sprouts, Vitamin E and Thiamine supplements."
- Courtesy of the Metro Toronto Zoo
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Paudy (Indre)
Cette tour de 35 mètres, appelée parfois donjon, est en réalité un châtelet d'entrée. C'est le seul reste important de l'ancien château du XIIe siècle.
La tour est sur un plan carré, sauf une tourelle d'escalier sur la façade sud. La porte est conservée, avec l'emplacement des herses et du pont-levis. Au-dessus se trouvent deux salles avec trois cheminées. La charpente et la toiture datent du XVIIIe siècle.
L'enceinte formait un quadrilatère d'une centaine de mètres de côté, avec une grosse tour circulaire à chaque angle. Des quatre tours, du château aucune ne subsiste dans son entier.
Le pont levis a disparu vers 1810.
Construit en pierre, à l'emplacement d'une précédente forteresse en bois, au début du XIIe siècle, le constructeur pourrait être Raoul d'Issoudun de 1092 à 1164*. Une inscription de 1118 sur un escalier de bois attesterait de la date de sa construction.
Du XIIe au XVIIIe siècle, la seigneurie de Paudy a appartenu aux familles Cortenai, Blanchefort, Chevrier, Villard, La Fond et Riffardeau. (Chartrier des seigneuries de Paudy et de La Ferté-Gillebert)
Au milieu du XIIIe siècle, il fut transmis à un parent du Roi Louis IX, Raoul de Courtenay. Au début de la guerre de Cent Ans, il passa par alliance à Jean de La Personne, chambellan du duc de Berry. Dans la première moitié du XVe siècle, il était à "l'écorcheur" Jean de Blanchefort**.
La légende dit que Zizim***, fils du sultan Mahomet II, aurait été détenu dans le château de Paudy vers 1483, comme otage du Grand Maître de SaintJean de Jérusalem.
"À la fin du 19 siècle, le comte de la Teyssonnière sera contraint de le vendre car les impôts qu’il payait étaient supérieurs à ses revenus. Des spéculateurs de Paris le lui rachèteront. « On disait qu’il y avait un trésor à l’intérieur. Alors, les nouveaux propriétaires l’ont démoli en 1901 pour le chercher. Bien évidemment, il n’y avait rien... », rappelle Thierry Ledet, l’actuel propriétaire de la ferme qui a été construite à sa place." (La Nouvelle République du 01/02/2021)
* "Raoul d’Issoudun avait fait construire à Paudy, sur le chemin qui conduisait d’Issoudun à Graçay, un château-fort, dont la garnison, composée de chevaliers et d'hommes d'armes, opprimait d'une manière intolérable les hommes que le chapitre de Saint- Étienne de Bourges possédait dans le voisinage, et exigeait d'eux, au nom du seigneur, des coutumes excessives, soit en redevances, soit en corvées, soit en gites ou procurations; en outre un étang qu'il avait établi, les fossés du château et les eaux qu'il avait fallu y conduire inondaient les prés du chapitre. En 1154 , l'archevêque, comme arbitre, termina la contestation et concilia ces intérêts contraires." (Histoire de Berry par M. Louis Raynal - 1844)
** Blanchefort appartient à la petite noblesse du Berry. Il connaît Jeanne d'Arc, il participe au siège d'Orléans en 1420 comme lieutenant général de Sainte-Sévère. Sans emploi après le traité d'Arras (1435) qui mit fin à la guerre civile entre Armagnacs et Bourguignons, il est à la tête d'une troupe d' "écorcheurs", appelés aussi "Armagnacs", qui ravagent l'Est de la France. En 1440, il se range et le roi le nomme capitaine de Château-Gontier, aux gages de 1000 livres par an (voir Jeanne d'Arc, vérités et légendes de Colette Beaune).
*** Zizim ou Zizimi, en réalité Djem, est un prince ottoman. Son père est Mehmed II, sultan qui a mis fin à l'empire Byzantin par la prise de Constantinople en 1453. Assassiné en 1481, Mehmed II laisse deux fils : Bajazet l'aîné, et Djem le cadet. Les deux frères se font la guerre pour la succession. Djem échoue et se réfugie sur l'île de Rhodes. Rhodes est sous le contrôle des chevaliers de l'Ordre de Saint-Jean de Jérusalem et Djem espère s'en faire des alliés. Le grand maître de l'Ordre, le creusois Pierre d'Aubusson fait Djem prisonnier et passe un marché avec Bajazet qui s'engage, en échange, à ne pas envahir Rhodes. Djem est envoyé comme prisonnier France. Bajazet versera une indemnité annuelle de 40 000 ducats d'or aux Hospitaliers pour qu'ils le gardent. Pendant tout le temps de sa présence en Europe, tous les puissants vont tenter de se l'accaparer, car il représente une rente énorme. Il sera un temps prisonnier à Bourganeuf dans la Creuse, mais ne semble pas être passé par Paudy. Pierre d'Aubusson finira par échanger Djem avec le pape Innocent VIII, contre la pourpre cardinalice et une rente d'un quart de l'indemnité versée par Bajazet. Djem se retrouve donc à Rome. Lors de sa campagne militaire en Italie, le roi de France Charles VIII enlève Djem (et récupère l'indemnité), et l'emmène avec lui dans sa campagne militaire. Djem meurt subitement à Naples à l'âge de 35 ans, peut-être empoisonné.
monumentum.fr/ancien-chateau-pa00097426.html
www.lanouvellerepublique.fr/indre/commune/paudy/paudy-le-...
france3-regions.francetvinfo.fr/nouvelle-aquitaine/creuse...
Les fouilles d'Herculanum ont révélé cette exceptionnelle tête de jeune homme que l'on a crue longtemps provenir de Bénévent. Faite de bronze incrusté de cuivre rouge, elle couronnait vraisemblablement un pilier hermaïque et devait participer du décor de quelque riche demeure romaine ou de quelque palestre. Elle manifeste la persistance de la tradition argienne au Ier siècle av. J.-C., s'inspirant largement des figures athlétiques créées par le sculpteur Polyclète au Ve siècle avant notre ère.
La "Tête de Bénévent"
Le musée du Louvre a acquis en 1870 une exceptionnelle tête en bronze, conservée auparavant dans la collection du comte Michel Tyszkiewicz. L'œuvre est généralement désignée comme la "tête de Bénévent", bien que cette appellation ait été fondée sur un quiproquo depuis longtemps élucidé : le bronze provient non pas de Bénévent mais des fouilles effectuées à Herculanum, également en Campanie (Italie du Sud). La tête, qui avait été offerte au seigneur bénéventin par Ferdinand II, roi des deux Siciles, fut ensuite considérée - à tort - comme une œuvre découverte à Bénévent. Elle reproduit le visage d'un jeune homme à peine sorti de l'adolescence, les lèvres rehaussées de cuivre rouge et les yeux autrefois incrustés.
Décor d'une villa campanienne
Réalisée vers 50 avant J.-C., cette tête surmontait vraisemblablement un pilier hermaïque. Elle participait sans doute du décor de quelque riche demeure campanienne, ou bien ornait quelque palestre ou académie de la région de Naples dans lesquelles la sculpture décorative faisait souvent écho aux exercices physiques qui y étaient pratiqués. La couronne d'olivier sauvage dont est ceinte la tête du jeune homme rappelle d'ailleurs la récompense offerte aux athlètes vainqueurs aux jeux d'Olympie. Le thème de l'athlète s'inspire d'un type statuaire très en faveur dans la sculpture grecque classique, puis largement exploité à l'époque romaine sous forme de copies, de pastiches et de recréations.
Un écho des créations de Polyclète d'Argos
Le jeune homme "de Bénévent" perpétue le souvenir des créations argiennes du Ve siècle avant J.-C., en particulier celui des figures athlétiques sculptées après 450 avant J.-C. par le plus illustre représentant de cette école : Polyclète d'Argos. L'arrangement des cheveux est plus libre que sur les répliques des œuvres de Polyclète (telles que le Doryphore ou le Diadumène), mais il conserve le caractère soigné des mèches incisées et un souci similaire du détail ; le désordre des boucles qui foisonnent autour du front trahit cependant une approche presque pittoresque, étrangère à l'art du sculpteur. Le visage, quant à lui, est construit selon les principes de l'école argienne et témoigne de la persistance de l'influence polyclétéenne au Ier siècle avant notre ère. Le menton plein, le contour de la bouche, la forme du nez dont les ailes joignent les joues par de légères dépressions, manifestent l'héritage du maître argien.
Bibliographie
Polyklet. Der Bildhauer der Griechischen Statuen, Francfort-sur-Main, 1990, p. 646-647, n 177.
P. Zanker, Klassizistische Statuen, Mainz, 1974, p. 32-33, n 29, pl. 34, 36.
E. Michon, "Tête d'athlète", Monuments et Mémoires. Fondation Piot I, 1898, p. 77-84, pl. 10-11.
From Wikipedia
2012–2019 restoration
During September 2012, fundraising begins for a planned £19 million programme of repair and expansion. This project aimed to repair and conserve the ancient stained-glass windows of the presbytery clerestory, restore the wooden vault of the presbytery, replace the lead roof of the east end, rewire the building with a new sound system, and open a new exhibition on the Winchester Bible in the south transept triforium.
During the end of 2012, a high-level internal access scaffold was erected in the presbytery to enable close inspection of the vault and clerestory windows. The vault was subject to a detailed construction and paint analyses. The results of the inspection and analysis revealed severe corrosion in the windows, many of which had holes in and collapsed glass, and the failure of the lead roof above, which was causing degrading to the 16th century wooden vault of the presbytery. A trial removal of the 1950s paint revealed the surviving 16th century paint underneath on the nearly 200 roof bosses. In July 2013, a £10.5 million grant from the Heritage Lottery Fund allowed the restoration work to begin.
In 2014, a birdcage or suspended scaffold was installed below the vault in the presbytery, where it was expected to stay for four years. This scaffold allowed close contact with the vaults and clerestory windows to be repaired. The scaffold weighed 5 tonnes. Also in 2014, the south transept was removed of all of its items including 7,000 books from the library, to allow it to be restored and made ready for the new exhibition, Kings and Scribes, which was planned to open in the triforium at the end of the restoration project. The south transept was then filled with scaffolding and sealed off at the tower arch from the rest of the cathedral, which was expected to remain for nearly three years.
The presbytery vault in February 2009, before restoration
In January 2015, a massive scaffolding frame began to be assembled in the Outer Close, which would be raised to cover the entire presbytery roof. In March 2015, a 300 tonne crane lifted the 27 tonne scaffolding frame to a height of 80 feet (25 m) above the cathedral floor onto the roof. This scaffolding frame, which was moulded to the shape of the roof, was then covered with a waterproof layer to allow the lead underneath to be removed. Over the next few weeks, 54 tonnes of lead were removed from the roof, dating back as far as the early 19th century, and sent to Leicester to be recast. This stage of work was completed in May 2016 with the removal of the external scaffolding and the completion of the lead replacement.
The same vault in November 2020, after restoration
As part of the works to restore the south transept ahead of its use as an exhibition space, a statue was discovered on its gable end in 2017. The original statue, made of Caen stone, was in a very poor state of repair. Caen stone was too soft as an external stone, especially on the exposed roof ridge on the south transept, where it is exposed to the prevailing wind. The head had sheared off at the neck and several cracks were found elsewhere in the statue. The plinth supporting the statue was also in very poor condition. Examination of the statue revealed it dated back to c. 1330 to 1352. Thanks to a grant from The Radcliffe Trust, the statue was replaced with a newly carved life-sized figure of a medieval ecclesiastic clad in an alb, made of Portland stone. By February 2017, the cathedral were only £200,000 short of their fundraising goal, which had increased to £20.5 million. Also in February, a pit was created in the south transept floor to allow future insertion of a lift, thus allowing the exhibition on the south transept triforium to be accessible to all. Eight piles were inserted to a depth of 16.4 metres (54 ft) below the floor to support the new lift.
In June 2017, the lift shaft and outer frame was installed, comprising 4 tonnes of steel rising 12.6 metres (41 ft) from the floor. To enable this, the 12th century groin vault of the south transept aisle was opened up in a world first. The lift shaft is entirely free standing, it does not exert any pressure on the vault or walls. By November, the final clerestory window had been reinserted. They had been removed beginning 2015 for restoration and were sent to Wells, Somerset for restoration. The Great East Window was also restored in this time but was so fragile, the conservation works were completed in-situ. Just as these window repairs were completed, conservation on eight windows in the north transept began, including the oldest stained-glass window in the cathedral, dating from 1330. A new oak mezzanine floor was installed in the triforium to prevent visitors from walking on the uneven floor. The glass lift was installed in the frame during this time, comprising 18 panels, the largest weighing some 550 kilograms.
Starting in January 2018, the birdcage installed in 2014 was slowly removed due to the completion of the vault and window repairs, allowing the vault and windows to be viewed for the first time in nearly four years. The stone reredos, dating from 1450-1476, called the Great Screen, was cleaned for the first time since 1890.
The entire project came to a close on 21 May 2019, with the opening of the Kings and Scribes exhibition in the south transept, the removal of all internal and external scaffolding, and the reopening of the south transept, which had been closed off for five years, some two and a half years longer than originally expected.
Christ’s Descent into Limbo, anoniem, c. 1515
eikenhout met resten van originele en latere polychromie, h 48.5cm.
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.
paper from history book, wax. more about this piece here: ines-seidel.de/2014/02/beruhrungsempfindlich/?lang=en
Betws Garmon Station remains. Conserved with soft capping to the repointed walls. Work done by the excellent Cyril Williams. This picture by Cyril Williams.
The project is described in the next WHRHG Journal along with an analysis of the Parcels Book (September 1913 to September 1923) plus a description of the Gwynedd Archaeological Trust's 1995 investigations of the site.
To conserve energy, the birds like to stand on the ice and huddle together in great numbers. Every so often the seagulls get restless and play their version of musical chairs.....
The Komodo dragon (Varanus komodoensis), also known as the Komodo monitor, is a large species of lizard found in the Indonesian islands of Komodo, Rinca, Flores, Gili Motang, and Padar. A member of the monitor lizard family Varanidae, it is the largest living species of lizard, growing to a maximum length of 3 metres in rare cases and weighing up to approximately 70 kilograms.
Their unusually large size has been attributed to island gigantism, since no other carnivorous animals fill the niche on the islands where they live. However, recent research suggests the large size of Komodo dragons may be better understood as representative of a relict population of very large varanid lizards that once lived across Indonesia and Australia, most of which, along with other megafauna, died out after the Pleistocene. Fossils very similar to V. komodoensis have been found in Australia dating to greater than 3.8 million years ago, and its body size remained stable on Flores, one of the handful of Indonesian islands where it is currently found, over the last 900,000 years, "a time marked by major faunal turnovers, extinction of the island's megafauna, and the arrival of early hominids by 880 ka [kiloannums]."
As a result of their size, these lizards dominate the ecosystems in which they live. Komodo dragons hunt and ambush prey including invertebrates, birds, and mammals. It has been claimed that they have a venomous bite; there are two glands in the lower jaw which secrete several toxic proteins. The biological significance of these proteins is disputed, but the glands have been shown to secrete an anticoagulant. Komodo dragon group behaviour in hunting is exceptional in the reptile world. The diet of big Komodo dragons mainly consists of deer, though they also eat considerable amounts of carrion. Komodo dragons also occasionally attack humans in the area of West Manggarai Regency where they live in Indonesia.
Mating begins between May and August, and the eggs are laid in September. About 20 eggs are deposited in abandoned megapode nests or in a self-dug nesting hole. The eggs are incubated for seven to eight months, hatching in April, when insects are most plentiful. Young Komodo dragons are vulnerable and therefore dwell in trees, safe from predators and cannibalistic adults. They take 8 to 9 years to mature, and are estimated to live up to 30 years.
Komodo dragons were first recorded by Western scientists in 1910. Their large size and fearsome reputation make them popular zoo exhibits. In the wild, their range has contracted due to human activities, and they are listed as vulnerable by the IUCN. They are protected under Indonesian law, and a national park, Komodo National Park, was founded to aid protection efforts.
ETYMOLOGY
The Komodo dragon is also known as the Komodo monitor or the Komodo Island monitor in scientific literature, although this is not very common. To the natives of Komodo Island, it is referred to as ora, buaya darat (land crocodile), or biawak raksasa (giant monitor).
EVOLUTIONARY HISTORY
The evolutionary development of the Komodo dragon started with the Varanus genus, which originated in Asia about 40 million years ago and migrated to Australia. Around 15 million years ago, a collision between Australia and Southeast Asia allowed the varanids to move into what is now the Indonesian archipelago, extending their range as far east as the island of Timor. The Komodo dragon was believed to have differentiated from its Australian ancestors 4 million years ago. However, recent fossil evidence from Queensland suggests the Komodo dragon evolved in Australia before spreading to Indonesia. Dramatic lowering of sea level during the last glacial period uncovered extensive stretches of continental shelf that the Komodo dragon colonized, becoming isolated in their present island range as sea levels rose afterwards.
DESCRIPTION
In the wild, an adult Komodo dragon usually weighs around 70 kg, although captive specimens often weigh more. According to the Guinness Book of World Records, an average adult male will weigh 79 to 91 kg and measure 2.59 m, while an average female will weigh 68 to 73 kg and measure 2.29 m. The largest verified wild specimen was 3.13 m long and weighed 166 kg, including undigested food. The Komodo dragon has a tail as long as its body, as well as about 60 frequently replaced, serrated teeth that can measure up to 2.5 cm in length. Its saliva is frequently blood-tinged, because its teeth are almost completely covered by gingival tissue that is naturally lacerated during feeding. This creates an ideal culture for the bacteria that live in its mouth. It also has a long, yellow, deeply forked tongue. Komodo dragon skin is reinforced by armoured scales, which contain tiny bones called osteoderms that function as a sort of natural chain-mail. This rugged hide makes Komodo dragon skin poorly suited for making into leather.
SENSES
As with other Varanids, Komodo dragons have only a single ear bone, the stapes, for transferring vibrations from the tympanic membrane to the cochlea. This arrangement means they are likely restricted to sounds in the 400 to 2,000 hertz range, compared to humans who hear between 20 and 20,000 hertz. It was formerly thought to be deaf when a study reported no agitation in wild Komodo dragons in response to whispers, raised voices, or shouts. This was disputed when London Zoological Garden employee Joan Proctor trained a captive specimen to come out to feed at the sound of her voice, even when she could not be seen.
The Komodo dragon can see objects as far away as 300 m, but because its retinas only contain cones, it is thought to have poor night vision. The Komodo dragon is able to see in color, but has poor visual discrimination of stationary objects.
The Komodo dragon uses its tongue to detect, taste, and smell stimuli, as with many other reptiles, with the vomeronasal sense using the Jacobson's organ, rather than using the nostrils. With the help of a favorable wind and its habit of swinging its head from side to side as it walks, a Komodo dragon may be able to detect carrion from 4–9.5 km away. It only has a few taste buds in the back of its throat. Its scales, some of which are reinforced with bone, have sensory plaques connected to nerves to facilitate its sense of touch. The scales around the ears, lips, chin, and soles of the feet may have three or more sensory plaques.
BEHAVIOUR AND ECOLOGY
The Komodo dragon prefers hot and dry places, and typically lives in dry, open grassland, savanna, and tropical forest at low elevations. As an ectotherm, it is most active in the day, although it exhibits some nocturnal activity. Komodo dragons are solitary, coming together only to breed and eat. They are capable of running rapidly in brief sprints up to 20 km/h, diving up to 4.5 m, and climbing trees proficiently when young through use of their strong claws. To catch out-of-reach prey, the Komodo dragon may stand on its hind legs and use its tail as a support. As it matures, its claws are used primarily as weapons, as its great size makes climbing impractical.
For shelter, the Komodo dragon digs holes that can measure from 1–3 m wide with its powerful forelimbs and claws. Because of its large size and habit of sleeping in these burrows, it is able to conserve body heat throughout the night and minimize its basking period the morning after. The Komodo dragon hunts in the afternoon, but stays in the shade during the hottest part of the day. These special resting places, usually located on ridges with cool sea breezes, are marked with droppings and are cleared of vegetation. They serve as strategic locations from which to ambush deer.
DIET
Komodo dragons are carnivores. Although they eat mostly carrion, they will also ambush live prey with a stealthy approach. When suitable prey arrives near a dragon's ambush site, it will suddenly charge at the animal and go for the underside or the throat. It is able to locate its prey using its keen sense of smell, which can locate a dead or dying animal from a range of up to 9.5 km. Komodo dragons have been observed knocking down large pigs and deer with their strong tails.
Komodo dragons eat by tearing large chunks of flesh and swallowing them whole while holding the carcass down with their forelegs. For smaller prey up to the size of a goat, their loosely articulated jaws, flexible skulls, and expandable stomachs allow them to swallow prey whole. The vegetable contents of the stomach and intestines are typically avoided. Copious amounts of red saliva the Komodo dragons produce help to lubricate the food, but swallowing is still a long process (15–20 minutes to swallow a goat). A Komodo dragon may attempt to speed up the process by ramming the carcass against a tree to force it down its throat, sometimes ramming so forcefully, the tree is knocked down. To prevent itself from suffocating while swallowing, it breathes using a small tube under the tongue that connects to the lungs. After eating up to 80% of its body weight in one meal, it drags itself to a sunny location to speed digestion, as the food could rot and poison the dragon if left undigested for too long. Because of their slow metabolism, large dragons can survive on as little as 12 meals a year. After digestion, the Komodo dragon regurgitates a mass of horns, hair, and teeth known as the gastric pellet, which is covered in malodorous mucus. After regurgitating the gastric pellet, it rubs its face in the dirt or on bushes to get rid of the mucus, suggesting, like humans, it does not relish the scent of its own excretions.
The largest animals eat first, while the smaller ones follow a hierarchy. The largest male asserts his dominance and the smaller males show their submission by use of body language and rumbling hisses. Dragons of equal size may resort to "wrestling". Losers usually retreat, though they have been known to be killed and eaten by victors.
The Komodo dragon's diet is wide-ranging, and includes invertebrates, other reptiles (including smaller Komodo dragons), birds, bird eggs, small mammals, monkeys, wild boar, goats, deer, horses, and water buffalo. Young Komodos will eat insects, eggs, geckos, and small mammals. Occasionally, they consume humans and human corpses, digging up bodies from shallow graves. This habit of raiding graves caused the villagers of Komodo to move their graves from sandy to clay ground and pile rocks on top of them to deter the lizards. The Komodo dragon may have evolved to feed on the extinct dwarf elephant Stegodon that once lived on Flores, according to evolutionary biologist Jared Diamond.
The Komodo dragon drinks by sucking water into its mouth via buccal pumping (a process also used for respiration), lifting its head, and letting the water run down its throat.
SALIVA
Auffenberg described the Komodo dragon as having septic pathogens in its saliva (he described the saliva as "reddish and copious"), specifically the bacteria E. coli, Staphylococcus sp., Providencia sp., Proteus morgani, and P. mirabilis. He noted, while these pathogens can be found in the mouths of wild Komodo dragons, they disappear from the mouths of captive animals, due to cleaner diets and the use of antibiotics. This was verified by taking mucous samples from the external gum surfaces of the upper jaws of two freshly captured individuals. Saliva samples were analyzed by researchers at the University of Texas, who found 57 strains of bacteria growing in the mouths of three wild Komodo dragons, including Pasteurella multocida. The rapid growth of these bacteria was noted by Fredeking: "Normally it takes about three days for a sample of P. multocida to cover a Petri dish; ours took eight hours. We were very taken aback by how virulent these strains were". This study supported the observation that wounds inflicted by the Komodo dragon are often associated with sepsis and subsequent infections in prey animals. How the Komodo dragon is unaffected by these virulent bacteria remains a mystery.Research in 2013 suggested that the bacteria in the mouths of komodo dragons are ordinary and similar to those found in other carnivores. They actually have surprisingly good mouth hygiene. As Bryan Fry put it: "After they are done feeding, they will spend 10 to 15 minutes lip-licking and rubbing their head in the leaves to clean their mouth... Unlike people have been led to believe, they do not have chunks of rotting flesh from their meals on their teeth, cultivating bacteria." The observation of prey dying of sepsis would then be explained by the natural instinct of water buffalos, who are not native to the islands where the Komodo dragon lives, to run into water when attacked. The warm, feces filled water would then cause the infections. The study used samples from 16 captive dragons (10 adults and six neonates) from three U.S. zoos.
VENOM
In late 2005, researchers at the University of Melbourne speculated the perentie (Varanus giganteus), other species of monitors, and agamids may be somewhat venomous. The team believes the immediate effects of bites from these lizards were caused by mild envenomation. Bites on human digits by a lace monitor (V. varius), a Komodo dragon, and a spotted tree monitor (V. scalaris) all produced similar effects: rapid swelling, localized disruption of blood clotting, and shooting pain up to the elbow, with some symptoms lasting for several hours.
In 2009, the same researchers published further evidence demonstrating Komodo dragons possess a venomous bite. MRI scans of a preserved skull showed the presence of two glands in the lower jaw. The researchers extracted one of these glands from the head of a terminally ill specimen in the Singapore Zoological Gardens, and found it secreted several different toxic proteins. The known functions of these proteins include inhibition of blood clotting, lowering of blood pressure, muscle paralysis, and the induction of hypothermia, leading to shock and loss of consciousness in envenomated prey. As a result of the discovery, the previous theory that bacteria were responsible for the deaths of Komodo victims was disputed.
Kurt Schwenk, an evolutionary biologist at the University of Connecticut, finds the discovery of these glands intriguing, but considers most of the evidence for venom in the study to be "meaningless, irrelevant, incorrect or falsely misleading". Even if the lizards have venom-like proteins in their mouths, Schwenk argues, they may be using them for a different function, and he doubts venom is necessary to explain the effect of a Komodo dragon bite, arguing that shock and blood loss are the primary factors.
Other scientists such as Washington State University's Biologist Kenneth V. Kardong and Toxicologists Scott A. Weinstein and Tamara L. Smith, have stated that this allegation of venom glands "has had the effect of underestimating the variety of complex roles played by oral secretions in the biology of reptiles, produced a very narrow view of oral secretions and resulted in misinterpretation of reptilian evolution". According to these scientists "reptilian oral secretions contribute to many biological roles other than to quickly dispatch prey". These researchers concluded that, "Calling all in this clade venomous implies an overall potential danger that does not exist, misleads in the assessment of medical risks, and confuses the biological assessment of squamate biochemical systems".
REPRODUCTION
Mating occurs between May and August, with the eggs laid in September. During this period, males fight over females and territory by grappling with one another upon their hind legs, with the loser eventually being pinned to the ground. These males may vomit or defecate when preparing for the fight. The winner of the fight will then flick his long tongue at the female to gain information about her receptivity. Females are antagonistic and resist with their claws and teeth during the early phases of courtship. Therefore, the male must fully restrain the female during coitus to avoid being hurt. Other courtship displays include males rubbing their chins on the female, hard scratches to the back, and licking. Copulation occurs when the male inserts one of his hemipenes into the female's cloaca. Komodo dragons may be monogamous and form "pair bonds", a rare behavior for lizards. Female Komodos lay their eggs from August to September and may use several types of locality; in one study, 60% laid their eggs in the nests of orange-footed scrubfowl (a moundbuilder or megapode), 20% on ground level and 20% in hilly areas. The females make many camouflage nests/holes to prevent other dragons from eating the eggs. Clutches contain an average of 20 eggs, which have an incubation period of 7–8 months. Hatching is an exhausting effort for the neonates, which break out of their eggshells with an egg tooth that falls off soon after. After cutting themselves out, the hatchlings may lie in their eggshells for hours before starting to dig out of the nest. They are born quite defenseless and are vulnerable to predation. Sixteen youngsters from a single nest were on average 46.5 cm long and weighed 105.1 grams. Young Komodo dragons spend much of their first few years in trees, where they are relatively safe from predators, including cannibalistic adults, as juvenile dragons make up 10% of their diets. The habit of cannibalism may be advantageous in sustaining the large size of adults, as medium-sized prey on the islands is rare. When the young approach a kill, they roll around in fecal matter and rest in the intestines of eviscerated animals to deter these hungry adults. Komodo dragons take approximately three to five years to mature, and may live for up to 50 years.
PARTHENOGENESIS
A Komodo dragon at London Zoo named Sungai laid a clutch of eggs in late 2005 after being separated from male company for more than two years. Scientists initially assumed she had been able to store sperm from her earlier encounter with a male, an adaptation known as superfecundation. On 20 December 2006, it was reported that Flora, a captive Komodo dragon living in the Chester Zoo in England, was the second known Komodo dragon to have laid unfertilized eggs: she laid 11 eggs, and seven of them hatched, all of them male. Scientists at Liverpool University in England performed genetic tests on three eggs that collapsed after being moved to an incubator, and verified Flora had never been in physical contact with a male dragon. After Flora's eggs' condition had been discovered, testing showed Sungai's eggs were also produced without outside fertilization. On 31 January 2008, the Sedgwick County Zoo in Wichita, Kansas, became the first zoo in the Americas to document parthenogenesis in Komodo dragons. The zoo has two adult female Komodo dragons, one of which laid about 17 eggs on 19–20 May 2007. Only two eggs were incubated and hatched due to space issues; the first hatched on 31 January 2008, while the second hatched on 1 February. Both hatchlings were males.
Komodo dragons have the ZW chromosomal sex-determination system, as opposed to the mammalian XY system. Male progeny prove Flora's unfertilized eggs were haploid (n) and doubled their chromosomes later to become diploid (2n) (by being fertilized by a polar body, or by chromosome duplication without cell division), rather than by her laying diploid eggs by one of the meiosis reduction-divisions in her ovaries failing. When a female Komodo dragon (with ZW sex chromosomes) reproduces in this manner, she provides her progeny with only one chromosome from each of her pairs of chromosomes, including only one of her two sex chromosomes. This single set of chromosomes is duplicated in the egg, which develops parthenogenetically. Eggs receiving a Z chromosome become ZZ (male); those receiving a W chromosome become WW and fail to develop, meaning that only males are produced by parthenogenesis in this species.
It has been hypothesized that this reproductive adaptation allows a single female to enter an isolated ecological niche (such as an island) and by parthenogenesis produce male offspring, thereby establishing a sexually reproducing population (via reproduction with her offspring that can result in both male and female young). Despite the advantages of such an adaptation, zoos are cautioned that parthenogenesis may be detrimental to genetic diversity.
HISTORY
DISCOVERY BY THE WESTERN WORLD
Komodo dragons were first documented by Europeans in 1910, when rumors of a "land crocodile" reached Lieutenant van Steyn van Hensbroek of the Dutch colonial administration. Widespread notoriety came after 1912, when Peter Ouwens, the director of the Zoological Museum at Bogor, Java, published a paper on the topic after receiving a photo and a skin from the lieutenant, as well as two other specimens from a collector. The first two live Komodo dragons to arrive in Europe were exhibited in the Reptile House at London Zoo when it opened in 1927. Joan Beauchamp Procter made some of the earliest observations of these animals in captivity and she demonstrated the behaviour of one of these animals at a Scientific Meeting of the Zoological Society of London in 1928. The Komodo dragon was the driving factor for an expedition to Komodo Island by W. Douglas Burden in 1926. After returning with 12 preserved specimens and 2 live ones, this expedition provided the inspiration for the 1933 movie King Kong. It was also Burden who coined the common name "Komodo dragon." Three of his specimens were stuffed and are still on display in the American Museum of Natural History.
STUDIES
The Dutch, realizing the limited number of individuals in the wild, outlawed sport hunting and heavily limited the number of individuals taken for scientific study. Collecting expeditions ground to a halt with the occurrence of World War II, not resuming until the 1950s and 1960s, when studies examined the Komodo dragon's feeding behavior, reproduction, and body temperature. At around this time, an expedition was planned in which a long-term study of the Komodo dragon would be undertaken. This task was given to the Auffenberg family, who stayed on Komodo Island for 11 months in 1969. During their stay, Walter Auffenberg and his assistant Putra Sastrawan captured and tagged more than 50 Komodo dragons. The research from the Auffenberg expedition would prove to be enormously influential in raising Komodo dragons in captivity. Research after that of the Auffenberg family has shed more light on the nature of the Komodo dragon, with biologists such as Claudio Ciofi continuing to study the creatures.
CONSERVATION
The Komodo dragon is a vulnerable species and is on the IUCN Red List. There are approximately 4,000 to 5,000 living Komodo dragons in the wild. Their populations are restricted to the islands of Gili Motang (100), Gili Dasami (100), Rinca (1,300), Komodo (1,700), and Flores (perhaps 2,000). However, there are concerns that there may presently be only 350 breeding females. To address these concerns, the Komodo National Park was founded in 1980 to protect Komodo dragon populations on islands including Komodo, Rinca, and Padar. Later, the Wae Wuul and Wolo Tado Reserves were opened on Flores to aid with Komodo dragon conservation.
Komodo dragons avoid encounters with humans. Juveniles are very shy and will flee quickly into a hideout if a human comes closer than about 100 metres. Older animals will also retreat from humans from a shorter distance away. If cornered, they will react aggressively by gaping their mouth, hissing, and swinging their tail. If they are disturbed further, they may start an attack and bite. Although there are anecdotes of unprovoked Komodo dragons attacking or preying on humans, most of these reports are either not reputable or caused by defensive bites. Only a very few cases are truly the result of unprovoked attacks by abnormal individuals, which lost their fear towards humans.
Volcanic activity, earthquakes, loss of habitat, fire, loss of prey due to poaching, tourism, and illegal poaching of the dragons themselves have all contributed to the vulnerable status of the Komodo dragon. Under Appendix I of CITES (the Convention on International Trade in Endangered Species), commercial trade of skins or specimens is illegal.
On Padar, a former population of the Komodo dragon became extinct, of which the last individuals were seen in 1975. It is widely assumed that the Komodo dragon died out on Padar after a strong decline of the populations of large ungulate prey, for which poaching was most likely responsible.
IN CAPTIVITY
Komodo dragons have long been great zoo attractions, where their size and reputation make them popular exhibits. They are, however, rare in zoos because they are susceptible to infection and parasitic disease if captured from the wild, and do not readily reproduce. As of May 2009, there were 13 European, 2 African, 35 North American, 1 Singaporean, and 2 Australian institutions that kept Komodo dragons.
The first Komodo dragons were displayed at London Zoo in 1927. A Komodo dragon was exhibited in 1934 at the National Zoo in Washington, D.C., but it lived for only two years. More attempts to exhibit Komodo dragons were made, but the lifespan of these animals was very short, averaging five years in the National Zoological Park. Studies done by Walter Auffenberg, which were documented in his book The Behavioral Ecology of the Komodo Monitor, eventually allowed for more successful managing and reproducing of the dragons in captivity.
A variety of behaviors have been observed from captive specimens. Most individuals are relatively tame within a short time, and are capable of recognizing individual humans and discriminating between familiar keepers. Komodo dragons have also been observed to engage in play with a variety of objects, including shovels, cans, plastic rings, and shoes. This behavior does not seem to be "food-motivated predatory behavior".
Even seemingly docile dragons may become unpredictably aggressive, especially when the animal's territory is invaded by someone unfamiliar. In June 2001, a Komodo dragon seriously injured Phil Bronstein, the then husband of actress Sharon Stone, when he entered its enclosure at the Los Angeles Zoo after being invited in by its keeper. Bronstein was bitten on his bare foot, as the keeper had told him to take off his white shoes and socks, which the keeper stated could potentially excite the Komodo dragon as they were the same color as the white rats the zoo fed the dragon. Although he escaped, Bronstein needed to have several tendons in his foot reattached surgically.
IN POPULARE CULTURE
Komodo dragons are used as a main theme in Komodo (1999), Curse of the Komodo (2004) and Komodo vs. Cobra (2005).
The comedy team of Bob and Ray performed a popular sketch entitled "The Komodo Dragon Expert."
The plot of the 1990 film, The Freshman, involves a university freshman, an aging mobster and a Komodo dragon.
In the 2012 James Bond film Skyfall, one of the Chinese henchmen in a casino that Bond visits in Macau is overtaken, dragged off and presumably killed by a Komodo dragon.
WIKIPEDIA
Flamingos like to stand on one leg to conserve energy. They get there color from shrimp and carrots and there bill is very curvy. They are wading birds that love the wild much better than zoos. I took this at Busch Gardens New Years Eve.
Montblanc, Tarragona (Spain).
Organ of 1607, reconstructed in 1752 and recovered in 1977, is one of the best organs than they are conserved of the Catalan school of the baroque.
Órgano de 1607, reconstruido en 1752 y restaurado en 1977, es uno de los mejores órganos que se conservan de la escuela catalana del barroco.
ENGLISH
The temple of Santa Maria la Major is situated in the highest part of the town, at the same place where the ancient Romanesque church was. Because of the increase in population it was decided to build a new one. The work was made in sections and due to the Black Death, which provoked a great economical and demographic crisis, it had to be left unfinished. The big Gothic façade was destroyed during the ‘Segadors’ war the one we can see now is in a Baroque style (17th century).
The interior is of big dimensions, a long nave with fan vaulting and with scenes of the Old Testament sculptured. At the sides there are the chapels which have a square base with fan vaulting, there are beautiful Gothic windows, where the mysteries of the Rosary are represented. In the 18th century a chapel was extended and it was turned into the Holiest Chapel. We point out the big Gothic image of the Virgin ‘Mare de Déu del Cor’, carved in polychromatic wood, the altarpiece of ‘Sant Bernat I Sant Bernabé’ and the Baroque organ, one of the most important in Catalonia.
Source: www.montblancmedieval.org/niv3.php?id=268
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CASTELLANO
La Iglesia de Santa María la Mayor está situada en la parte más elevada del núcleo, la actual iglesia se encuentra ubicada en el lugar donde antiguamente había la primitiva iglesia románica. El aumento demográfico justificó la construcción de una nueva. La obra se hizo por tramos y debido a la Peste Negra, que provocó una gran crisis económica y demográfica a la villa, se tuvo que dejar inacabada. La gran fachada gótica fue destruida durante la Guerra de los Segadors y por ese motivo hoy en día se puede ver otra en estilo barroco (s. XVIII).
Interior de grandes dimensiones, con una larga nave con bóveda de cañón y con claves esculpidas de escenas del Antiguo Testamento. En los laterales se encuentran las capillas de base cuadrada y bóveda de cañón, a media altura se abren unos bellos ventanales góticos, donde se representan los misterios del Rosario. Durante el siglo XVIII se prolongó una capilla y se convirtió en la del Santísimo. En la parte interior destaca la gran imagen gótica de la Virgen del Cor, tallada en madera policromada, el retablo de Sant Bernat y Sant Bernabé y el órgano barroco, uno de los más importantes de Cataluña.
Fuente: www.montblancmedieval.org/niv3.php?id=154
Más info (catalán): ca.wikipedia.org/wiki/Santa_Maria_de_Montblanc
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...