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Another head from the Thutmose workshop at Amarna. Although the carving is nearly complete, the face has drafted lines which perhaps would be used as a reference for checking one side was symmetrical with the other.
18th dynasty, under Akhenaten (mid-14th century BCE), New Kingdom. Egyptian Museum, Cairo.
Darden Towe Park, Charlottesville.
Nikon FE - Nikkor 50 1.2 - R60 filter - Ilford HP5+ @ 800 - Adox Rodinal 1+25 8min - dslr scan - Nikon D810 - Micro Nikkor 105 2.8 - Lightroom (convert/crop) - Photoshop (add mat)
2020-2021 - Spent in i-SEW-lation. These are sized for JAMIEshow Grace doll. Got some good fits! :o)
Standby Inc - Miyazaki Drafting Table (January Collabor88)
Bed - CP (previous Collabor88)
Sofa - CP (Love Hunt)
Rug - Nordari
Plant - Bazar
Bathrobe - Aria
* Loft - Scarlet Creative *
Silvestro Lega (Modigliana, Forlì 1826 - Florence 1895) - Bersaglieri leading Austrian prisoners (1861) - Oil on canvas 57 x 95 cm - Florence, Galleria Nazionale d'arte Moderna di Palaz
Nella carriera artistica di Silvestro Lega questo quadro segna idealmente la fine del suo apprendistato accademico. Il pittore con questa opera si sentì finalmente libero di esprimere il suo spirito artistico, di seguire la sua indole, diventando di fatto uno dei principali rappresentanti del movimento dei Macchiaioli.
Silvestro fu allievo, presso l’Accademia di Belle arti di Firenze, di Antonio Ciseri (1821-1891). I suoi esordi furono legati anche all’ideale pittorico di Luigi Mussini (1813-1888), dal quale apprese l’utilizzo di colori limpidi e puri, frutto di un attento studio della pittura dei primitivi. Caratteristica, che troviamo anche in questo dipinto, dove la gamma di colori utilizzati rispecchia proprio questi insegnamenti. La scena ariosa è scandita dall’intercedere dei bersaglieri vittoriosi, seguiti dai malinconici prigionieri austriaci. L’episodio storico, a lui contemporaneo, viene illustrato senza patetismi e retorica. L’utilizzo magistrale della macchia si trova sia nei contrasti cromatici, ottenuti con l’accostamento delle diverse divise, che nella sapiente stesura del colore del terreno roccioso e del cielo cristallino. In questo quadro Lega esemplifica sia l’adesione al movimento che il sentimento risorgimentale. I macchiaioli infatti, non furono uniti solo dalla condivisione di un nuovo stile pittorico, ma furono legati da una passione patriottica che portò molti di loro ad arruolarsi. Lega stesso partecipò, come volontario, alla battaglia di Curtatone e Montanara. Non è quindi un caso che proprio tra il 1859 e il 1861 la produzione di opere sul tema risorgimentale fu notevole e accomunò tutti gli esponenti del movimento macchiaiolo. Lega in particolar modo con questo quadro compì il salto di qualità esprimendo, attraverso l’uso esemplare della macchia, un capolavoro assoluto. Un’evoluzione che non passò inosservata quando il quadro fu esposto alla mostra della Società Promotrice fiorentina. L’opera fu infatti acquistata dal Governo per andare ad implementare la nascente collezione di quadri contemporanei che, dal 1914, sarebbero stati esposti presso la Galleria d’Arte moderna di Palazzo Pitti.
In Silvestro Lega's artistic career, this painting ideally marks the end of his academic apprenticeship. With this work, the painter finally felt free to express his artistic spirit, to follow his nature, becoming one of the main representatives of the Macchiaioli movement.
Silvestro was a student of Antonio Ciseri (1821-1891) at the Academy of Fine Arts in Florence. His beginnings were also linked to the pictorial ideal of Luigi Mussini (1813-1888), from whom he learned the use of clear and pure colors, the result of a careful study of the painting of the primitives. A characteristic that we also find in this painting, where the range of colors used reflects these teachings. The airy scene is marked by the interceding of the victorious Bersaglieri, followed by the melancholy Austrian prisoners. The historical episode, contemporary to him, is illustrated without patheticism and rhetoric. The masterful use of the stain is found both in the chromatic contrasts, obtained with the juxtaposition of the different uniforms, and in the skilful drafting of the color of the rocky terrain and the crystalline sky. In this painting Lega exemplifies both the adhesion to the movement and the sentiment of the Risorgimento. The Macchiaioli, in fact, were not only united by sharing a new style of painting, but were linked by a patriotic passion that led many of them to enlist. Lega himself participated, as a volunteer, in the battle of Curtatone and Montanara. It is not by chance, therefore, that between 1859 and 1861 the production of works on the Risorgimento theme was remarkable and united all the exponents of the Macchiaioli movement. Lega in particular, with this painting, made a qualitative leap expressing, through the exemplary use of the stain, an absolute masterpiece. An evolution that did not go unnoticed when the painting was exhibited at the exhibition of the Florentine Promotrice Society. The work was in fact purchased by the Government to implement the nascent collection of contemporary paintings that, since 1914, would be exhibited at the Gallery of Modern Art in Palazzo Pitti.
NS 1065, the S&A, leads northbound manifest train NS 14Z through Stuarts Draft, VA as the train passes the famed N&W signals that in just a few months time would be replaced for “modern” signals. Even though the signals themselves might be gone, the memories and photos of Stuarts Draft will live on.
Firefighters "drafting" from the Erie canal in support of firefighting ops at a large industrial fire in Lockport ny
30 oktober 2022
Judging by the sweat tracks, the horses took a ride in front of the wagon shortly before
A really good friend of mine brought me to this sim to explore and relax. I was first TPed into the middle of a vast field of sunflowers... I love sunflowers... well we soon ducked into one of the buildings and I saw this wonderful corner with a drafting table, open window and sunflowers peeking in.
What affected me so much about this image was the device attached to the table... way back in the day.... and I won't be saying how many... I was taught drafting using a device quite similar... I believe it was (and is) called a drafting machine. And the first "machine" I used was an old fashioned on as this in the picture. But it was soon replaced by a new fangled one of sparkly knobs, springs and aluminum.
It's funny how something we find in SL will TP our RL selves back to some forgotten memories and lost dreams. The man who I was taught by told me I would never be good at drafting. He told me to pursue another avenue of interest. I didn’t... I followed thru with my dream to be a graphic artist and to this day I still am... and I think I am a pretty fair one at that...
Oh and by the way.... I think the sim is Bacio but my friend will have to confirm it. Smiles.
An ambient designed by essences.
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A photo that shows, I suppose, part of the discard that happens when I'm writing, with whole poems being cast aside and only occasional lines surviving in to their next iteration. Also, right now, not very much is feeling natural and I've only just noticed there has been an awful lot of angry crossing out of late...
I participated in a draft of 40124 Winter Fun and 40125 Santa's Visit recently (my first actually) and this is what I got!
I got the trans clear 1x2 bricks and grass stalks through trading. And the flat silver 1x1 round tiles, black 1x1 cheese slopes, black 4L bar, and Mixel joints were all gifts from the sorter.
Had a lot of fun participating, the guys I did it with were active and good to work with. I'd do it again anytime!