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THE EQUALIZER sees Oscar-winner Denzel Washington taking over the late Edward Woodward in the role of Robert McCall, reuniting with TRAINING DAY director Antoine Fuqua for a big-screen adaptation of the cult 1980s series.
The film arrives in cinemas this Friday (our solid 4-star review), and to...
Town Showed Great Hart! A gritty comeback from 2 nil down midway through the first was started with a Tom Ince goal just before half time. Ridge came out strong in the 2nd and soon saw an equalizer from captain George Melling before a quick brace from Jay Hart put the game to bed. Town got one more through Richie Allen before AFC got a consolation. A great start to the new league with 3 points.
Town Showed Great Hart! A gritty comeback from 2 nil down midway through the first was started with a Tom Ince goal just before half time. Ridge came out strong in the 2nd and soon saw an equalizer from captain George Melling before a quick brace from Jay Hart put the game to bed. Town got one more through Richie Allen before AFC got a consolation. A great start to the new league with 3 points.
Gas and fire equalizer made by artist Andrea Valenti for the Kunst Symposium and exhibition at Herr Keramikmanufaktur, Bogen (Bayern) the 11th August 2012.
Kitch me on Fakebook Site
Final view of restored Victor SEA-50 stereo graphic equalizer unit. More details are available at jayakody2000lk.blogspot.com/2016/01/victor-sea-50-graphic...
1651 Filippo Lauri (1623-1694)
The Rest on the Flight into Egypt
Die Ruhe auf der Flucht nach Ägypten
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
2009-2019: Sabine Haag as general director
2019– : Eike Schmidt (art historian, designated)
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
EPS10 vector abstract rainbow equalizer wave design against dark background; composition has bright lights and particles
Centurion Equalizer c. 1989 $300.00 57 x 59 Made in Japan, nice gears and wheels, Suntour group incl. SuperbePro cranks classicjapanesebicycles.com/centurion/
Mingle Media TV's Red Carpet Report and host, Brandi Chang, were invited to come out to to the Husbands The Series, CW Seed Launch for Season 3 with a Screening and Red Carpet at the Paley Center for Media in Beverly Hills.
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About Husbands
For too long newlywed comedy has been defined as a comedy between one man and one woman. Husbands is a story with a classic premise, as told in a marriage equalized-world. Watch every Thursday, Starting August 15th @ CWSeed.com. Starring Brad Bell, Sean Hemeon, featuring Amy Acker, Alessandra Torresani, Seth Green, Beth Grant, Michael Hogan, and Deb Theaker. Written By Brad Bell and Jane Espenson. For more info visit www.HusbandsTheSeries.com @TeamHusbands
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It was goals-a-plenty in this West Lancashire League Premier Match with Lostock taking a 24th minute lead but going in at half time level after a late goal. Lostock regained the lead early in the second with Oxley getting his brace but 2 goals from Whitehaven took them in front. Matty Bulcock fired in an equalizer from distance to level once again. LSG finished the game with 9 players after late dismissals for Wilkinson and Riding.
Download / Customize the Equalizer Music YouTube Channel Art Template here: www.custom-page.com/equalizer-music-youtube-channel-art-t...
Centurion Equalizer c. 1989 $300.00 57 x 59 Made in Japan, nice gears and wheels, Suntour group incl. SuperbePro cranks classicjapanesebicycles.com/centurion/
Town Showed Great Hart! A gritty comeback from 2 nil down midway through the first was started with a Tom Ince goal just before half time. Ridge came out strong in the 2nd and soon saw an equalizer from captain George Melling before a quick brace from Jay Hart put the game to bed. Town got one more through Richie Allen before AFC got a consolation. A great start to the new league with 3 points.
We've played extensively with the Equalizer Double-Trouble crank and found conclusively that it kicks truckloads of ass.
It's no surprise, since this beast rips off around 30 rounds per second. With a couple of flips of the Gatlin-style crank, you've got half a pod of paint in the air, sailing toward a cowering foe.
When we absolutely, positively need the opposition to put their heads down, we bring up our Heavy Gunner and his Double-T. He rips off a couple hundred rounds and everyone hits the dirt (and then we charge up under the firestorm and bunker 'em all.)
Also, we've found that the Double-T works like cluster-bombing artillery. Paired with optional Tippmann Flatlines, the Double-T can launch a fusillade of paint a very long ways. Even if you could never hit a guy with your normal paintgun, the Heavy Gunner can rip off a giant arc of paint that will splatter all over the enemy. It's amazing what a couple hundred lobbed paintballs can do. It's the perfect solution to hammering guys across an open field.
And, of course, the Double-T is ideal for mowing down bushes. When we have an op force that's concealed behind bushes and grass, we bring up the Heavy Gunner to pound through. With that kind of volume, you always get some paint through. Our Double-Ts have pounded many a dude who was hiding behind some brush.
We wouldn't be doing the Double-T justice if we didn't mention our liberal use of the Double Trouble in our paintball tank. We've mounted one of these bad boys in a rotating mesh turret and it raises massive hell in scenario games. The Razorback and its Double Ts racked up over 2,000 eliminations just during the Summer of 2004.
Technically, the Double Trouble crank works by toggling the triggers of two Tippmann A-5s four times each per turn of the crank. That's right; four cranks blasts out 32 balls. The air supply of both guns is combined in the aluminum rail that holds both guns together under the pistol grips.
You can mount the Double-T in a fixed position, such as on a tripod or strap it to a specially-made vest that totes the beast around in relative comfort. The vest clips onto the rear "D" rings in back of the A-5s. It suspends the guns at chest level - which we've discovered to be perfect for field use.
We've run the Double-T on both CO2 and compressed air and it runs great on either. We have run into a little bit of air-starvation when we getting cranking hard on the thing. We fixed the problem by drilling out the 90 degree fitting on the back of the connecting bar. Also, the stock connecting bar makes the paintball trajectory cross (when you fire it) only about ten yards out. We prefer to have them cross at thirty yards, so we slotted the rear connection points and now our Double-Ts are fully adjustable.
Our Heavy Gunner packs a large compressed air, or a 20 pound CO2 tank to get through a game. During scenario games, we really go big on the air supply. Our specially-made vest holds 1800 rounds of paint and the biggie-sized tank. It weights about 40 pounds loaded, which really isn't too bad to pack around.
So, if you're like Tim the Tool-man Taylor, and you stay up late at night fantasizing about MORE POWER, then the Double-T should definitely be on your wish list.
Includes
* 2 Tippmann A-5 Paintball Markers
* 2 Tippmann A-5 Flatline Barrels
* Double Trouble A-5 Equalizer Firestorm Crank Kit
History of the castle
Architecture and use of the castle
Events connected with the castle
Did you know that ... ?
(Pictures, quite old ones, you can see by clicking on the link at the end of the site!)
History of Bratislava castle dating back to the Celts and Romans, because Castle Hill was a strategic location at the crossroads of important trade routes. BC was in its place Celtic settlement, which for centuries was replaced by a Roman frontier fort.
The first written reference dates back to 907, when the subject is mentioned under the name Pressalauspruch. Period of the Principality of Nitra and Great Moravia document remains Slavic fortress with three-aisled basilica. Slovak princely castle of several reconstructions and modifications gradually arose from a medieval mid 11th century castle and county. At the time it became a treasure trove of crown jewels and coronation castle later. It established the priory and the Priory School and Church of the Most Holy Saviour. Documentary evidence shows that in the first quarter of the 13th century stood on the highest point complex terrain Romanesque residential tower with separate walls with defensive towers, from which to this day despite rearrangements preserved so. Crown Tower.
For King Sigismund from 1427 began to radically change the appearance of the castle, rebuilding it today vtlačila (pressing) character block monumental structures. King had demolished almost all of that time the building and gradually grew large two-story Gothic palace representative trapezoid in plan. The earlier buildings remain standing today as southwestern Crown defense tower. In this period were also two entrance gates to the castle area, of which only the eastern was preserved, called Sigismund's Gate. Richly structured double-shell architecture with the goal of stonework demanding solution in the form of a donkey back a vault in crossing it included the construction centers of development in the Danube region, which were the models for a wide range of architectures in the period.
The current layout of the castle with a regular quadrangular ground-plan around a central courtyard is a result of the construction directions during the Renaissance and early Baroque. After the Battle of Mohács in 1526, the castle became coronation seat of the Hungarian kings, by the Turkish troops expelled from the original center of the Hungarian Empire in Buda.
Conversions were oriented not only to improve the fortifications of the castle, but also on its modernization. During pálfyovskej conversion in the first half of the seventeenth century, the palace was redundant the third floor, the two original towers were added two more were rebuilt and redesigned interiors defenses. On the southern fortifications and bastions of the castle built in 1674 has been added Leopold Gate.
Bratislava Castle experienced a golden age in the reign of Maria Theresa. The concept of the construction of major projects by French, Italian and Austrian architects were directed at making the castle as a representative residence of the Habsburg Kingdom equalized leading European royal court.
In the western headquarters of the castle have been built new representation staircases. Extensive changes to the application of luxury and contemporary taste, however, occurred in the wider area of the castle. In the east wing of the old palace was added under a new name Theresianum, which served mainly to accommodate the monarch.
It set up a gallery, library and valuable art collections, especially graphic cabinet viceroy Albert of Saxony-Cieszyn. Cabinet known as the Albertina later moved to Vienna, where it is now. The spacious surface area of land improved - there grew terraces, French garden, orangery, summer and winter riding school and stables, where ustajňovali (military censor) breeds rare horses.
Bratislava Castle after the death of Maria Theresa fell significantly. Her son and successor to the throne was Joseph II. He has set up a training center for Catholic clergy seminar where eminent scholars have studied the then time, among them Anton Bernolák. During the Napoleonic Wars in the early 19th century served as barracks, what happened to it ultimately fatal. Due garrison in 1811 the castle burnt down and more than 140 years remained a dilapidated ruin.
After several attempts to restore the castle returned to his new life as a big renovation, which was decided in 1953. Curators were architects Alfred Piffl and Dušan Martinček. After restoring the castle took shape as it was never called. Theresian reconstruction of the 18th century. In 1961 the Bratislava Castle, declared a national monument.
Town Showed Great Hart! A gritty comeback from 2 nil down midway through the first was started with a Tom Ince goal just before half time. Ridge came out strong in the 2nd and soon saw an equalizer from captain George Melling before a quick brace from Jay Hart put the game to bed. Town got one more through Richie Allen before AFC got a consolation. A great start to the new league with 3 points.
Edited Landsat 8 image of a new iceberg from Pine Island in Antarctica. Color/processing variant. (I used an equalize filter and was a little surprised at the colors that resulted...)
Image source: earthobservatory.nasa.gov/IOTD/view.php?id=91066
Original caption: A new iceberg recently calved from Pine Island Glacier—one of the main outlets where ice from the West Antarctic Ice Sheet flows into the ocean.
On September 21, 2017, a rift was clearly visible across the center of the glacier’s floating ice shelf. The break ultimately produced iceberg B-44, visible in radar imagery captured on September 23 by the European Space Agency’s Sentinel-1 satellite. On September 28, the Operational Land Imager (OLI) on the Landsat 8 captured this natural-color image.
The new iceberg, afloat in the Amundsen Sea, has an area of about 185 square kilometers (72 square miles). That’s larger than the pieces that broke away in January 2017, but smaller than the 583-square-kilometer berg that broke loose in July 2015 and the 700-square-kilometer berg in November 2013.
Loss of ice from this glacier’s floating ice tongue is not new. Changes in the calving front have been well-documented in satellite imagery since at least 1973 (captured early that year with the Landsat Multispectral Scanner) and studied in detail. As the front of Pine Island retreats upstream, it has the potential to change the flow of the entire system. When ice is in contact with a neighboring ice shelf or the sides a fjord, it can buttress or hold back the ice behind it. If a glacier loses that connection through thinning, rifting, and retreat, inland ice can flow more freely.
According to NASA glaciologist Kelly Brunt, the September 2017 event may not immediately affect the flow of Pine Island Glacier because the ice that calved was already disconnected from much of the system. “This iceberg was the last bit of ice to calve off that was not ‘holding on’ to the sides of the embayment,” Brunt said.
Now that B-44 has calved, all of the ice remaining in Pine Island Glacier appears well connected to its margins. The huge stresses along the glacier’s sides—the so-called “shear margins”—are evident in the series of rifts and crevasses along the glacier’s edges and on the iceberg. “If another event happens fairly soon, that could have a more measurable impact on the flow of the system,” Brunt said.
Fractures elsewhere on the ice also affect the glacier, according to NASA glaciologist Chris Shuman. The rift that ultimately produced B-44 opened from the glacier’s center before propagating out to the margins. Fractures spanning the glacier have weakened the ice, evident in recently calved bergs in 2015 in 2017 that were almost immediately torn apart by winds and currents.
References and Related Reading
Jeong, S. et al. (2016) Accelerated ice shelf rifting and retreat at Pine Island Glacier, West Antarctica. Geophysical Research Letters, 43 (22), 11,720-11,725.
MacGregor, J. A. et al. (2012) Widespread rifting and retreat of ice-shelf margins in the eastern Amundsen Sea Embayment between 1972 and 2011. Journal of Glaciology, 58 (209), 458-466.
U.S. National Ice Center (2017, September 25) Iceberg B-44 Calves off Pine Island Glacier into the Amundsen Sea. Accessed September 26, 2017.
NASA Earth Observatory image by Joshua Stevens, using Landsat data from the U.S. Geological Survey. Story by Kathryn Hansen.
Instrument(s):
Landsat 8 - OLI
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Town Showed Great Hart! A gritty comeback from 2 nil down midway through the first was started with a Tom Ince goal just before half time. Ridge came out strong in the 2nd and soon saw an equalizer from captain George Melling before a quick brace from Jay Hart put the game to bed. Town got one more through Richie Allen before AFC got a consolation. A great start to the new league with 3 points.
EPS10 vector abstract rainbow colored equalizer design against dark background; composition has bright lights and particles
Vancouver Skylines - 7 (of 28) - Olympus dSLR E-410 with Zuiko Digital 1:3.5-5.6 14-42mm (4/3 mount) - Photographer Russell McNeil PhD (Physics) lives in Nanaimo, British Columbia where he works also as a writer and a personal trainer.
Town Showed Great Hart! A gritty comeback from 2 nil down midway through the first was started with a Tom Ince goal just before half time. Ridge came out strong in the 2nd and soon saw an equalizer from captain George Melling before a quick brace from Jay Hart put the game to bed. Town got one more through Richie Allen before AFC got a consolation. A great start to the new league with 3 points.
Some of the 800 Prince George’s County parents who came to Annapolis December 11, 1972 to protest a federal order to integrate schools await a speech by Gov. Marvin Mandel who promised state input into the order.
The integration and equalization of education opportunity has proved elusive in the years following the 1954 U.S. Supreme Court decision outlawing so-called “separate but equal” facilities.
Initial desegregation orders produced less than the promise of equal education. Twenty years after the Supreme Court decision, federal court orders to achieve equal educational opportunity through school bussing also produced little as relatively wealthier white parents moved out of counties and cities where busing was ordered, depriving local jurisdictions of tax revenue and thwarting integration of schools.
For more information and related images, see flic.kr/s/aHskquzhMu
Photograph by Walter M. McCardell. The image is an auction find.