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Keshav Creations Best Bridal Lehenga Shop In Chandni Chowk
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Continuous as the stars that shine
and twinkle on the Milky Way,
They stretched in never-ending line
along the margin of a bay:
Ten thousand saw I at a glance,
tossing their heads in sprightly dance.
The 2nd stanza from the sonnet "Daffodils" by William Wordsworth (1770-1850).
I was completely inspired by a picture (the sun dancer) from one of my favourite photographers on Flickr: flowerpics09. Thank you Claudia Müller!
This was taken with my Sony SLT-A33 and a Sony 50mm 1.8 SAM lens.
ISO 100, 1/13, f22.0 using AF-C (continuous AF).
b/w conversion with PS5
Continuous lighting; Key--Floor lamp, camera right; Fill--20 degree grid on AB 800 7" reflector modeling light only, camera left
Honoré Daumier - French, 1808 - 1879
Advice to a Young Artist, 1865/1868
West Building, Ground Floor — Gallery G8
Information about Honoré Daumier's life and his personal beliefs is limited. He seems to have lived mostly apart from the great events of his day, retreating to a modest life within a small circle of family and friends. He was born in 1808 in Marseilles to the world of the cultured artisan. His father was a framer and glazier whose literary ambitions, as a classicizing poet, took the family to Paris early in the Bourbon Restoration. Museum director and archaeologist Alexandre Lenoir (1761-1839), a patron and family friend, reportedly convinced Daumier père to allow his son to prepare for an artistic career, after seeing the boy's drawn copies from the Louvre. Lenoir, who studied painting with Gabriel-François Doyen (1726-1806), undertook the boy's initial education himself, supervising further drawing from antique casts, his own collection of paintings, and the collections at the Louvre. The latter were in dramatic flux, absorbing elements of Lenoir's dismantled Musée des Monuments Français as Napoleon's artistic booty from throughout his dominions was removed for repatriation. Among Daumier's many jobs during the 1820s, it seems, was to move sculpture for Lenoir as part of this process. However brief, Lenoir's tutelage was critical to Daumier's later work. From about 1823 to 1828, Daumier reportedly worked from the live model at the studios of the Bureau des Nourrices, rue Saint-Denis, at the academy of someone known only as "Boudin," about whom little is known, and at the Académie Suisse. Though he supposedly learned more about the figure at the public baths, it was at these informal art academies that he made some of his most enduring friendships, notably with painters Philippe-Auguste Jeanron (1807-1877) and Paul Huet (1803-1869), and the sculptor Antoine-Augustin Préault (1809-1879).
Around the same time (c. 1820s), Daumier apprenticed to a lithographer, Zéphirin Belliard (1798-after 1843), setting the course for his lifelong profession. After some itinerant work for several print publishers around 1829, he began his long association with liberal editor and caricaturist Charles Philipon (1800-1862), as one of the various artists for Philipon's satiric journals, La Silhouette, then La Caricature, and, finally, Le Charivari. Like other draftsmen working for Philipon, Daumier produced a considerable amount of political caricature for the newspapers. A vast proportion, however, instead represented scenes of broader modern life, physiologies of social types--lawyers, doctors, the bourgeois--and ambitious compositions concerning modern creativity (Chimeras of the Imagination). Unlike his editor and publisher, Daumier was charged, fined, and imprisoned for satiric images against the government only once, early on, from late 1832 to February 1833, for his censored Gargantua. He concentrated on genre images when press censorship suppressed political dissidence at different points in his career: from 1835 to 1848, and from 1852 to 1867. Daumier's published imagery seems to convey the views of his engaged and witty editor. His own politics and social vision remain unclear and prompt continuous debate among modern scholars. One contingent claims Daumier was at times even more radically left than Philipon, who rejected images that promoted the more extreme position. Others argue that Daumier had no political views--or did not express his own in his published images. Many scholars feel that, though Philipon supervised all prints and controlled the legends attached to them, Daumier's images of women--the bluestocking, the laundress, the devoted wife--reflect his own Rousseauesque antifeminist views. What little is known about his home life seems to fit: His own wife was reportedly retiring and devoted to the family hearth.
By the 1850s, Daumier had won high accolades as a draftsman and caricaturist. He was lauded by Baudelaire as a peer of both Delacroix and Ingres, and was later extolled by the Goncourts. He was painting simultaneously, though canvases or panels reportedly executed in the 1830s have never been traced. By the 1860s, when Philipon's death temporarily interrupted work for Le Charivari, Daumier had produced an abundance of watercolors, paintings, and drawings for sale and exhibition at dealers. An advocate of alternative exhibition contexts, Daumier showed only sparingly at the Salon, and in a largely different vein from his prints: mythological and literary subjects. In 1849, a republican Salon, he showed a celebrated fable subject from La Fontaine, a painting entitled The Miller, His Son, and the Ass (Burrell Collection, Glasgow). In 1850, he showed Don Quijote and Sancho (panel, private collection) and bacchic images (Women Pursued by Satyrs, Museum of Fine Arts, Montreal; and an unlocated drawing of Silenus). Despite the critics' dislike of their pallid, unmodulated color, the republican government commissioned paintings from Daumier: his sketch for the 1848 state competition (Republic) and two religious subjects. Daumier was unaccountably unable to complete any of these projects beyond sketches, however. Yet he produced successfully and voluminously for the market, atypically yielding works instead full of vibrant, translucent color that were bought by collectors in Paris and the United States. During the Second Empire official circles sought to honor him. In 1869 the Ecole des Beaux-Arts bought a drawing of Fugitives for its collections, and the following year government offered him the cross of the Légion d'Honneur, which he refused. Daumier continued to work quietly, as his eyesight failed, until he died in 1879 at his country home at Valmondois.
Daumier's sculpture is central to his work yet constitutes one of its most enduring puzzles. His formal idiom is repeatedly called sculptural for its light-catching volumes in three-dimensional space. He is known to have produced sculpture from the 1830s to at least the early 1850s. The corpus of widely accepted works is limited to about fifty clay models, thirty-six of which are an informal set. The latter are Daumier's earliest autograph sculpture--polychrome unbaked-clay maquettes--caricatural portrait busts commissioned by Philipon and executed beginning around 1832, as lithographic models (Musée d'Orsay, Paris). Only one statuette is surely documented: Ratapoil, executed around 1851, and two bas-relief variants entitled Fugitives of around the same time. Apart from these, there are many genre figures and portrait heads whose attribution to Daumier remains debated. Most of his sculpture represents modern life, except for Fugitives, an ambiguous image with neutral spaces and anonymous nude figures. Few were executed in a "finished" material during the artist's lifetime; those cast in plaster were more durable and stand in for the lost originals. The many posthumous campaigns to serialize Daumier's sculpture, which lasted well into the 1960s, have provided a subtly altered view of that aspect of his work at the same time they made examples widely available.
Little is known about Daumier's sculptural training. His friends Préault, and later Victor Geoffroy-Dechaume (1716-1802) and Jean-Jacques Feuchère (1807-1852) in the early 1850s, are often credited with inspiring the artist to work in this medium. Geoffroy-Dechaume is known to have cast certain models into plaster and stored them in his nearby studio--Fugitives, for instance, which he eventually owned in plaster. The unconventional non-finito and close resemblance of Daumier's sculpture to his two-dimensional work suggests, to most scholars, that he had no formal training in the discipline. Though speculative, it seems likely that Lenoir directed Daumier's education there as well. He was a trained artist, known to emphasize technique, and he had devoted his professional career, as founder and director of the previously mentioned Musée des Monuments Français (a repository of French sculpture), to making that body of work available to artists and the public.
Daumier's prints reveal how intimately aware he was of the many facets of the medium, its makers, and the public. They repeatedly explore sculpture-filled studios, plaster-casting in progress, amateurs holding figurines, the public's disinterest in Salon sculpture, and the symbolic power of public effigies. His own sculpture is technically challenging. Though of painted, unbaked clay--a fragile state doomed to disintegrate--the initial set of thirty-six portrait busts reveals a sure and daring hand with the clay and modeling tools, producing nuanced features as well as the celebrated molten textures. The clay model for Ratapoil, the location of which is now unknown, would have required a sophisticated armature for its serpentine, contrapposto pose.
The conclusion that the busts were made by an untrained artist stems from an unclear notion of their purpose. Except for Ratapoil, the accepted works were called maquettes or sketches in their own time; they were thus defined as private preliminary efforts, not as finished works. None was apparently produced for public view or sale. Most critics and the public at large only learned of Daumier's sculpture at his retrospective the year before he died. The resemblance of the sculpture to the two-dimensional oeuvre has caused scholars to consider the surely attributed examples as study pieces, rather than as separate exercises in a different medium. However, Ratapoil emerges as an independent work produced for Daumier himself, apparently midway through the print series for Le Charivari.
Daumier's sculpture distills some essences of his art, which are in turn profoundly traditional to the three-dimensional medium. One essence is its subject matter. His sculpture utilizes the most time-honored tool and concern of the medium, the human figure, to focus on the primary subject of his work, the human condition. The artist's modeled forms emphasize a widely acknowledged virtue of his oeuvre, the rich expressive power of the human form--through costume, gesture, expression, and structure. Daumier took those expressive features to a greater extreme than his peers, often in the name of satire. His three-dimensional pieces deploy a formal quality that is quintessentially sculptural: manipulating the war between gravity and heavy mass for expressive purposes. His modeled forms in relief and in three dimension suggest mood or character through their interaction with gravity: disheartened humans struggle for progress on a difficult road; lumpy, static portrait busts suggest obstructive mental inertia. This expressive strategy gives special power to his drawings and paintings. His many images of burdened laundresses, of Atlases struggling with overwhelming loads, of Louis-Philippe as the pear weighing heavily on the belly of a traumatized citizen (often likened to Fuseli's Nightmare), suggest Daumier represented the symbolic power of weight, of a body struggling with a spiritual or symbolic burden made physical. Physiological interest of this sort links Daumier's work with the late oeuvre of Degas, who admired Daumier and similarly explored physical tensions within laboring bodies. However, the overtly expressive use of ponderous mass relates Daumier to Michelangelo and to Rodin, whose tortured caryatids are the clearest evidence of their portrayal of psychological weight through burdened physical form.
Daumier's sculpture apparently influenced the Belgian nineteenth-century sculptor Constantin Meunier (1831-1905) and possibly Henri Matisse (1869-1935) in its sense of apparent scale, despite its small size, and in its capacity to suggest the epic or monumental quality in modern life, whether in modern dress or in ideal nudity.
For all its transgressive blend of pictorial and sculptural sources, Daumier's work seems to respect artistic mode. There are usually differences, details, or fundamental strategies explored in one medium but not in another, suggesting he undertook each category on its own terms. The innovativeness that came with such respect may have contributed to his influence in each formal type.
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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One of the many municipal publications issued by UK local authorities during the mid-20th Century intended to describe the services, industries and amenities of the borough. This, from 1929 and issued by the County Borough of Bolton in industrial Lancashire, is one that is firmly aimed at attempting to introduce the town to perspective investors as well as imparting information to the town's residents.
As usual the descriptive text is interspersed with adverts for many local manufacturers and undertakings. Here the municipally owned Gas Department is telling of continous progress. Bolton was an early adopted of town gas with the private Bolton Gas Light & Coke Company opening their works in Forge St (later Gas Street) in 1819. Acquired by the Corporation in 1872 the Gas St works was expanded and an additional plant was constructed at Lum Street. The Corporation's supply area was, for a municipality, quite extensive covering towns outside the boundary such as Horwich.
"In our clothing, one continuous line makes an image, creating situations that defy reality, symbolizing an individual’s path in life: often, not being a simple, straight line. Valleys and mountains along the way will naturally, make you question if your goal is attainable; but the learning process will leave you smarter, stronger, capable of handling difficult situations when they arise.
Lines we create during our lifetime are numerous. Some maybe short- others long. No matter the distance, the hurdles, the distractions, you get there, to your destination. Our message is positive–push your goals to unimaginable points. We want you to succeed while being surrounded with optimistic people alike.
Don’t stop. Stay Continuous."
Check out this dope clothing line!
The Continuous Improvement Conference 2018 is an event designed for sharing best practices in continuous improvement across academic, business, and community organizations. This event will focus on helping industry professionals achieve operational and performance excellence through tools such as Lean Six Sigma. The event is capped at 70 attendees, representing academic and business organizations.
shooting data :
Panasonic DMC-LX1
lens : 28-112 mm ( 16:9 ) : 28 mm
program auto exposure : - 1.33 EV
manual focussing : 3-6 feet zone setting, 6-15 feet zone setting
shooting mode : continuously
ISO : 80
date : Wed. 23 Aug. 2006
place : the upper deck of my junction station, JR Higashi-Kanagawa station south-east area, Yokohama canal, on the road of Route 15
JR --- Japan Railroad or something
higashi --- east
note :
I used my LX1 on 28 mm with 3-6 feet zone setting and 6-15 feet zone setting.
I used 3-6 feet zone setting for the person.
and I used 6-15 feet zone setting for the canal mainly.
and naturally,
LX1's battery was dead in 2 hours usually.
That was the place just near the main road to my Dai-koku Pier.
...
my frivolities
I went shooting with LX1 and W5.
W5 was using for the evening and night.
my W5 has f 2.8 and f 5.6.
and my W5 still had made stains on f 5.6 at that night.
but in the night, it is very hard to get f 5.6 naturally.
so I could use my W5 in my Dai-koku Pier with manual exposure for the evening and with auto exposure for the night.
I had to use my W5 by manual focussing with f 2.8.
but I did the normal mistake naturally again.
at first,
I had been shooting my W5 by manual focussing with f 2.8.
and soon I had been shooting my W5 by manual focussing with f 5.6.
and soon later I had been shooting my W5 with auto exposure entirely.
I found it on my Dai-koku Oo-hashi ( big bridge ) in the night.
I had already been shooting over 200 jpgs until then.
My memory stick pro could accept only around 250 jpgs plainly.
I couldn't do my shooting from the evening again.
It had already all been passing.
All the causes had been hidden in my W5's tiny little pushing buttons.
It comes from my frivolities.
...
Leica M8
my W5 had already come back from SONY for repairing with no cost.
so,
I don't have a need to use my frivolities any more.
the manual exposure setting was not my shooting style naturally.
I had been shooting by manual exposure in my film lording type camera days.
The film lording type camera days could not be coming any more for me probably.
That has two simply reasons,
One is from my monetary reason.
and the other,
Leica had released Leica M8 already.
The most of all someone had been saying like this.
" I only shoot film ! "
The monetary reason person had been using the plastic digital cameras.
With no monetary reason person would be soon using Leica M8 naturally.
I have been simply loved Leica since 1978.
M8 is my too much more more far away dreaming still now.
aibii_blue
Mon. 23 Oct. 04:13 PM 2006
edited : added ISO 80
Mon. 23 Oct. 07:15 PM 2006
Suspended in mid descent, this blaze of light is screaming out: stay alive, you blithering idiot!
Check out the map of italy on the wall. That's what happens when your paper mache bursts apart.
Program:Manual
Lens:150-600mm f/5-6.3 G VR
F:6.0
Speed:1/1000
ISO:4000
Focal Length:420 mm
AF Fine Tune Adj:0
Focus Mode:AF-C
AF Area:Dynamic Area (3D-tracking)
Shooting Mode:Continuous, Auto ISO
VR:On
Metering Mode:Multi-segment
WB:Auto0
Picture Control:Neutral
Focus Distance:59.57 m
Dof:7.23 m (56.17 - 63.40)
HyperFocal:978.49 m
All self made and shot--pushing the idea of a lace-up garment even further--can you make it lace all the way around the center back and front seam? Hand set many, many eyelets
I'd be even fonder of it if it rotated continuously but maybe the owners haven't got enough money for that?
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South of Tularosa, New Mexico on May 26th, 2009, on the grounds of McGinn's Pistachio Tree Ranch Country Store, on the west side of U.S. Routes 54 & 70.
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Library of Congress classification ideas:
E179 Curiosities and wonders—United States—Pictorial works.
NB205.5.O98 Outdoor sculpture—United States.
NA6212 Roadside architecture—United States—Pictorial works.
N8217.F64 Food in art.
HD9259.P573U6 Pistachio industry—United States—Pictorial works.
TA455.S84 Stucco—Pictorial works.
HE356.U554 United States Highway 54—Pictorial works.
HE356.U57 United States Highway 70—Pictorial works.
F802.O7 Otero County (N.M.)—Pictorial works.
Program:Manual
Lens:70-300mm f/4-5.6 G VR
F:4.8
Speed:1/1250
ISO:280
Focal Length:160 mm
AF Fine Tune Adj:-1
Focus Mode:AF-C
AF Area:Dynamic Area (3D-tracking)
Shooting Mode:Continuous, Auto ISO
VR:On
EV:+1
Metering Mode:Multi-segment
WB:Auto0
Picture Control:Neutral
Focus Distance:28.18 m
Dof:9.13 m (24.34 - 33.47)
HyperFocal:177.50 m
The largest continuously running waterfall in the state of Missouri drops off no more than 25 feet. Definatly worth the drive to see...
Newton County
Joplin Missouri
James Garrett, Dean of the College of Engineering, congratulates the Continuous Excellence Award recipient, Elisabeth Udyawar.
One continuous wall of windows with a door in a condo building in downtown Milwaukee. We installed a roman shade, small cornice board (above the door) and swags & cascades. All treatments are in the same fabric. These picture show how you can have more than one treatments next to each other and still have it look great!
Obviously a place that's been a holy site continuously for thousands of years -- a Scottish church with a recumbent stone circle in its churchyard. The early church fathers must have recognized the importance of this spot to the locals and said "sure, keep honoring your ancestors, and why not stop by our building while you're at it."
Tools, Collaboration, and Conway's Law: how to choose and use tools effectively for Continuous Delivery and DevOps