View allAll Photos Tagged equalizer
From a totally different trip to Porvoo as the other night shot in the stream (www.flickr.com/photos/naggobot/8174561179/). This is actually from a different winter. Special thanks to the friend who made the trip happen. Weather was far from good, it was raining snow and in addition the wind was also significant. I would not have gone out at all if it was only up to me alone.
As it is the extremish weather rewarded both of us with some nice shots. I took only three different sets of exposures until I was freezing. This is from the first set and by far the best. At least I belive so since I have not processed others yet.
Strange bokeh effect is caused by the snow on the camera lens. In reality all exposures were orange due to the lights but I decided to fake most of the image to the cooler blue instead of orange. The bridge I left warm orange and I did four different versions of the fade out to the cool blue until I settled for this.
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Three exposure HDR tonemapped with Luminance HDR 2.0.2 Mantiuk06 Contrast equalization. Exposures were shot tripod mounted at ISO100 with -2,0,2 EV bracketing.
Subsequent editing with Gimp and G'Mic in total 14 layers.
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This photo is Creative Commons licensed so you can distribute it freely but may not use it for any noncommercial purpose. Also CC license means that you may not use, distribute, abuse or steal this image under any such license that you pay of, namely you may not use or distribute this image under Finnish Copyright Groups Digilupa bit.ly/ozwGtt or corresponding license.
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McDonnell Douglas AV-8B Harrier II of VMA-214 "Blacksheep" from MCAS Yuma seen at the 2016 MCAS Miramar Air Show held September 23-25, 2016. Note the GAU-12 25mm "Equalizer" cannon pod.
A glimpse of my teenage rock n roll bedroom, circa 1990. Oh, wait, that math makes me 22 or 23, not a teenager! Ok, this is a few months before I finally moved out of mom and dad's house.
- Realistic STA-2600 Receiver 100w/channel
- Technics SL-Q200 direct drive turntable
- JVC TD-xxx-BK 3 head, auto-revers tape deck (it was top notch!)
- JVC XL-V211 CD player w/remote
- Realistic 312020 10 band graphic equalizer
- Realistic Optimus 900 speakers (on top)
- Realistis Optimus 1000 speakers (on bottom)
It was a good time and I am pretty sure it went to eleven!!
Vancouver Skylines - 4 (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.
Wren Rovers advanced to the next round with a 4-2 penalty shootout win over tital rivals Longridge Town. The game finished with 10 players on each side and Longridge equalized in the last minute
Vancouver Skylines - 15 (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.
HIFK winger Henri Tamminen celebrating after scoring the 2-2 equalizer tonight against Espoo Blues. HIFK went on to win 3-2 in the end, just like they did yesterday. Two hard-fought wins in two days and all nine points from this weeks three games. Not bad at all.
ESPOO, FINLAND 2016-01-23 Liiga: Blues - HIFK at Metro Areena in Espoo, Finland. (Photo: Riku Laukkanen/R1ku Exposures)
HOLGA is the ultimate concert photographer's equalizer. As with any professional photography there is a lot of cock and swagger going on, a bit of, "Whose got the biggest lens...?" especially down in the pit, but when shooting with the snub-nosed HOLGA, expect to get looks that suggest more than just banal stock topics over afterdinner drinks with vague allusions to Hello Kitty anal beads and dildos as swizzle sticks. That's right, with HOLGA you can move beyond the quotidian latent faggocy of testosterone-driven lens-envy and into the eternal, the asexual, the plasticine, into HONG KONG manufactured light itself.
World Cup Group of Death Soccer Football Futbol Virginia Richmond Manaus Brazil Draw Dempsey Howard Ronaldo Yanks USA Portugal Ghana Germany 2014 Kickers
Guns N’ Roses @ Lincoln Financial Field, Philadelphia, PA, on Thursday, July 14, 2016.
Not in This Lifetime Summer 2016 Tour Setlist:
Intro:
Looney Tunes Intro
The Equalizer (Harry Gregson-Williams song)
Main Set:
It's So Easy
Mr. Brownstone
Chinese Democracy
Welcome to the Jungle
Double Talkin' Jive
Estranged
Live and Let Die (Wings cover)
Rocket Queen
You Could Be Mine
New Rose (The Damned cover)
This I Love
Civil War (with Voodoo Child outro)
Sorry
Out Ta Get Me
Coma (with band introductions)
Speak Softly Love (Love Theme From The Godfather)
Sweet Child O' Mine
Better
Slash & Fortus Guitar Duet (Wish You Were Here by Pink Floyd)
November Rain (with Layla)
Knockin' on Heaven's Door (Bob Dylan cover)
Nightrain
Encore:
Don't Cry
The Seeker (The Who cover)
Paradise City
Wren Rovers advanced to the next round with a 4-2 penalty shootout win over tital rivals Longridge Town. The game finished with 10 players on each side and Longridge equalized in the last minute
Luminance HDR 2.3.1 tonemapping parameters:
Operator: Mantiuk06
Parameters:
Contrast Equalization factor: 0.28
Saturation Factor: 1.1
Detail Factor: 27.7
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PreGamma: 0.45
Ben. Cacciatori from Carrara (Madonna, 1840)
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
Music of the youth, magic of beats, energetic of dancing, full of colors, dynamics, joint direction and passion. The pieces of the pattern are different and similar on each other in the same time, and the entire line is reminding of an equalizer. Enjoy the energy, music is the answer!
www.redbubble.com/people/coldmonster/works/25830633-color...
Diego Velázquez (1599-1660), activo en Sevilla y Madrid
Infanta Margarita Teresa con un vestido azul, 1659
Un año antes de su muerte Velázquez creó este retrato de la Infanta de ocho años y de su pequeño hermano Felipe Prosper (número de inventario GG 319) como sus último trabajos terminados. Las pinturas en el mismo año anduvieron al emperador Leopoldo I, que se casó con la infanta en 1666. El estilo personal del pintor aquí alcanzó su pico: manchas de color que centellean en una amplia superficie para pintar producen un efecto casi impresionista - sólo desde una distancia conveniente se tiene la impresión de una plasticidad perfecta.
Diego Velázquez (1599-1660), active in Seville and Madrid
Infanta Margarita Teresa in a blue dress, 1659
One year before his death Velázquez created this portrait of the eight-year old Infanta as well as that of her little brother Philip Prosper (inventory number 319), they were to be his last completed works. That year the pictures went to Emperor Leopold I, who married the Infanta in 1666. The painter's personal style reached its highpoint here: shimmering spots of colour on wide painting surfaces produce an almost impressionistic effect - the viewer must stand at a suitable distance to geht the impression of complete, three-dimensional spatiality.
Diego Velázquez (1599-1660), tätig in Sevilla und Madrid
Infantin Margarita Teresa in blauem Kleid, 1659
Ein Jahr vor seinem Tod schuf Velázquez dieses Bildnis der achtjährigen Infantin und das ihres kleinen Bruders Philipp Prosper (Inventar-Nummer GG 319) als seine letzten vollendeten Arbeiten. Die Bilder gingen im gleichen Jahr an Kaiser Leopold I., der die Infantin 1666 heiratete. Der persönliche Stil des Malers erreichte hier seinen Höhepunkt: flimmernde Farbflecken erzeugen auf breiten Malflächen einen fast impressionistischen Effekt - erst in angemessener Distanz ergibt sich der Eindruck geschlossener Plastizität.
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 Währinger street/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 of Joseph Semper with 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 subsequently moved to Vienna. From the beginning on, 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, in 1878, the first windows installed, in 1879, the Attica and the balustrade finished, and from 1880 to 1881 the dome and the Tabernacle built. 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.
Dome hall
Entrance (by clicking on 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 needs another two years.
1891, the Court 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 "Estensische Sammlung (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 Court 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 on 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. On 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 German Reich.
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 bring 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. To this end 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 also belon 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
Re-opening soon. A quick rundown of the history here… Old red's raided: www.mtdemocrat.com/news/board-of-equalization-chp-raid-po...
Old Red's pics: www.galenfrysinger.com/california_placerville.htm
Old Red's new ownership website: poorreds.com/
Owners arrested, employees left high and dry: www.mtdemocrat.com/news/no-7-poor-reds-owners-arrested-ic...
HOME OF THE GOLDEN CADILLAC!
This place was definitely a favorite and was home to a unique mixed drink - a lot of people don't know it, but mixed drinks and cocktails were an art celebrated across the United States 100 years ago, a scene as big and vibrant as micro-brewery beer today: blogs.sacbee.com/dining/archives/2011/10/golden-cadillac....
New owner's demolition and reconstruction web site with q&a: poorreds.com/uncategorized/democonstruction-has-begun/
Death is a great equalizer. I do not have great memories of everyone i've met in life but some people stood out. They stood out because they were the different ones. Some called them weird, some called them unfortunate and some called them fools. I call them victims of culture based off religious ideologies. The example i will present is a fantastic specimen.
When you live in a Brahmin community you are never short of women named "Saroja" around you. Its one of those famous brahmin names along with "Baby". Chinna Saroja (Chinna means Little in tamil) was a famous character from my childhood days. She and her husband were a unique couple. I guess i think his name was Kutti Raman (Kutti means small in tamil) but i really don't remember it that well. Her husband was the silent one like teller in the Penn and Teller show. Chinna saroja ran the show pretty much and her husband nodded, always.
Chinna Saroja and her Husband were distant relatives. They were quite rich, or rather used to be. They had it all. You can imagine them to be one of the differently rich landlord Brahmin family types. They had business, they had acres of land, farms and pretty much everything going for them in life with the exception of children. They did everything they could in this world to have children. Every doctor money could buy and every type of medication.
Of course, they did perform every pooja for all the hindu gods in the text books and off the text books. I say off the text books because a nun and a father in the lourdes church conned them and made some money claiming jesus was a hindu god and he could help with child birth. So did a gentleman from the venus mosque claim some islamic fairy to be lord ayyappans daughter and made a quick buck. My grandfather put an end to these things with the help of a few other people and of course the cops and i will reserve that incident for another very long blog post. Nevertheless, they had no children.
Saroja and her husband adopted. I really love it now to think of the fact that they were liberal enough to go to an orphanage and adopt a random child. Folks from my community / family pestered them to adopt a "Brahmin" child so that i is not subject to the thought processes of a "non brahmin" child. Many a poor family had even tried to sell them a child one could not raise due to poverty. Nevertheless, they adopted a "non brahmin" child, not one but five. The children were happy. Of course they adopted into the ways of a brahmin family system as well. They were vegetarians, spoke the brahmin accent of tamil and one could hardly recognize them if not told.
Once the children grew up they returned the favour. They drugged their parents and made them write off all the property they had to these five adopted children. With mother-loads of money in their wallet the children split and fled in different directions except one. He lived in the same house as their parents brought them up. This son was the kindest of all. He did not throw the parents on the streets like one would expect. He made them household servants instead. They did all the cooking, washing and cleaning and in return were fed 3 square meals a day, without any pay or benefits.
Saroja reminds me not because of her painful state of life but because how she made merry for everyone by making fun of herself. Every year during Golu, she would go around homes in town visiting the Golu setup. As customary as it is, she would sing. Everyone loved it, not because she was fantastic a singer but she was horrible a singer yet nothing or no one stopped her. I explicitly remember the same song she sang year after year. It went something like...
"Gundu Saroja, Baby Saroja, Kulla Saroja, Chinna Saroja"
Those were the chorus lines. It basically meant "Fatty Saroja, Childlike Saroja, Short Saroja, Small Saroja", it was a tamil song. Her own composition, apparently. You cannot forget that face because it resembled exactly like that of this Chettichi doll in this image. Unlike today's women even in their late 60's, back then women did not shave, they did not use lazer or wax their lips, skin etc., Turmeric was the only option used on the face to prevent hair growth. The yellow of turmeric made her mild mustache stand out blond and it would look so funny we kids exploded into laughter the moment we saw her. All the kids would gather around in my house from our street when she comes over for Golu.
She would take the small amount of money, the blouse bit (clothing to stitch a blouse) and the fruits and other things that were given when you visit ones house for Golu. Saroja lived her life for Golu, if you asked me. She had her moments, and it was clearly meant for those famous lines of her multi-platinum hit number sung at Golu, every year.
She passed away one fine day in sleep. Her husband was even more broke when she was no more. He came one fine day and said he was starving and his daughter in law feeds him no more. My aunt and my mother used to take pity on him and feed him lunch everyday. He would sit at the verandah and eat food out of a banana leaf. The hunger of a man 80 odd year old man who has not eaten for a whole day will show. I felt bad for him.
One fine day he came and he presented a neat "Pallanguzhi" instrument made of teak wood. It was a famous game back then before ludo and trump cards defeated old board games. He wanted to sell it and my aunt brought it for Rs. 20 from him. That was the last we saw of him. A few days later we heard he died during sleep on the pavements, right outside his house. Thaththa (Grandpa) went to the burial ground and offered his "vaaykkarisi" (dropping grains of rice on the dead persons mouth before setting on fire) before he was cremated.
I don't believe in celebrating religious festivals or practices. I somehow was reminded of Chinna Saroja looking at the doll in my house Golu today. I think i will change my mind and make an exception. I will celebrate Saroja, her husband and their life history. I hope there are other people who remember them today. I really hope..
Canon EOS 400D with the Canon EF 50MM F/1.4 USM. Manual, F/11.0 at 1/500th of a Second, ISO100. Canon Speedlite 430EX fired, E-TTL with Omni Bounce diffuser.
All Rights Reserved. Owner and Usage Rights belongs to Dilip Muralidaran. Any use of this work in hard or soft copy or transfer must be done with the expressed consent of Dilip Muralidaran in written. Failing to do so will result in violation as per Section 63 of the Indian Copyrights Act, 1957 & Forgery, Fraud, Misrepresentation and Misinformation as per the Indian Penal Code Section 420 leading to severe legal consequences.
LEGO Technic MOC Arctic Equalizer. Eurobricks [TC6] contest model. It’s a mix of huge bulldozer, ice-breaker and… road-roller!
Dimensions: 77cm x 38cm x 55cm. Weight: 6.9kg.
RC functions (total six motors):
- Left and right tracks, two pairs of XL-motors;
- Three-channel distribution gearbox (two-speed gearbox for tracks and one more switching additional function), one M-motor;
- Additional function, one M-motor.
Video: youtu.be/54cH94GGT6A
I've wanted to do an Equalizer background for a while, and never managed to pull it off. Finally I created a perfect one. It works well as a desktop due to its simplicity
Full sizedversion at xandesigns.com
Derived from the chassis of a civilian heavy hauler, the Equalizer matches its menacing looks with a battery of bombardment weaponry. Able to linger in battle for extended periods of time due to its reinforced plating, the Equalizer delivers punishing volleys against capital ships while also remaining a competent anti-frigate platform.
Derived from the chassis of a civilian heavy hauler, the Equalizer matches its menacing looks with a battery of bombardment weaponry. Able to linger in battle for extended periods of time due to its reinforced plating, the Equalizer delivers punishing volleys against capital ships while also remaining a competent anti-frigate platform.
Seattle, WA – Ever notice that most city skylines look like a spectrum equalizer display? I just realized that while typing that sentence. Like ridges on a vinyl record, each building seems to represent a different frequency. The skyline of Seattle looks like it’s playing some sort of classical symphony, or maybe it’s just another grunge song.
I like this city; it has all kinds of oddities and funky corners filled with pastry shops and generational stories about the old future. The aging Space Needle still stands as you can hear the metal bind and twist in the wind. It moves gracefully like an elderly ballerina. This place reminds me of several different cities all smashed into one, it’s a really slow mosh-pit down there.
A prison is made of ice
It melts in the spring
A castle is made of clay
It crumbles in time
Welcome to time
The great equalizer of all things.
Yoko Ono ‘09
The Bevilacqua la Masa Foundation is proud to host the solo exhibition,
Yoko Ono’s “ANTON’S MEMORY,” by an artist who on 6th June will be presented with the Golden Lion for Career Achievement at the Venice Biennale.
Ono, known since the first half of the 1960s – a conceptual artist and one of the founders of Fluxus, as well as an avant-garde performer – has created an exhibition that sets out to provide a vast “fresco” of her artistic practices.
picture-3
The title of the show, ANTON’S MEMORY, reflects “a woman’s life we see only through her son’s eyes – his faded memory.” as Yoko Ono herself says.
The exhibition has been designed especially for the rooms of Palazzetto Tito and is a series of new installations that incorporate some earlier works as points of reference. It includes films, sound compositions, sculptures, and drawings, as well as a number of interactive installations. There will also be elements to do with the corporeal and the sense of touch: for example, Ono’s sculpture “touch me III,” containing fragments of the female body, as if crammed into a simple chest of drawers. At the centre of the display, two filmed versions of her 1964 performance work “Cut Piece,” from 1965 and 2003, will be shown. In this work, the artist lets the public cut away parts of her clothing little by little. In the first version Yoko Ono is thirty-two years old, and in the second version she is seventy, giving a sense of the marks left on us by the passing of time. Military helmets from the Second World War with pieces of sky inside; the film of a woman desperately attempting to free herself from her bra (a metaphor for women’s liberation); an insistent coughing sound; tables, pens and paper for whoever wants to write their own thoughts and leave a trace of them; the book of recipes for artistic actions, “Grapefruit” (1964), left lying around like a generative element for all the rest; tables for playing all-white chess in peace and quiet, in the main chamber of a Venetian chamber between lancet windows opening onto nature or closed with coloured glass… all this and much more, along with a moving soundtrack, will complete the exhibition, punctuated also by the hand of the artist, who will write new pieces directly on the walls.
The entire exposition in the rooms of Palazzetto Tito will constitute a unitary whole evoking “ANTON’S MEMORY”; something that may be looked on as a codified memory, i.e. the story of an adult son rethinking through the existential vicissitudes of his mother through symbols and objects.
In the words of the curator of the project, Nora Halpern: “ANTON’S MEMORY reflects Yoko Ono’s ideas of universal inter-connectedness and the temporal realm that we all inhabit. Through her installation at the Palazzetto Tito, as well as related works throughout Venice, Yoko Ono seeks to evoke memories that are simultaneously overtly personal yet evocative of collective desire and a communal connection.” An artist’s book, Other Rooms, will be published on the occasion of “ANTON’S MEMORY,” serving as a lasting extension of the exhibition. There will also be a brochure with texts by the curator Nora Halpern as well as Angela Vettese, President of the Foundation.
About the artist
Born in 1933 in Tokyo, Yoko Ono was one of the pioneers of Conceptual Art, and one of the most influential artists of the 20th century. In 1952 she was among the first women in Japan to study philosophy. In the mid ‘50s she moved to New York, where she took part in the vibrant artistic scene which included the composer John Cage and artists of the likes of La Monte Young, among others. And it was with Young that in 1960 Yoko Ono set up a series of concerts and events in her loft near Canal Street, which were frequented not only by young artists and musicians like Jasper Johns, George Maciunas (who went on to found the Fluxus movement), and Robert Rauschenberg, but also icons of the art world like Marcel Duchamp, Max Ernst, Peggy Guggenheim and Isamu Noguchi. From the beginning of her career right up to the present day, the works of Yoko Ono have never stopped influencing generation after generation of artists. Her commitment to peace, which continued together with her husband John Lennon, has never ceased, not even after his death.
On the occasion of the 53rd Biennial of Visual Arts, Yoko Ono will be presented with the Golden Lion for Career Achievement.