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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
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.
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.
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/
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.
51156787 Actress Chloe Grace Moretz leaving the set of ‘The Equalizer?with a black and blue bruise on her right cheek and wearing Uggs on another 90+ degree day in Chelsea, Massachusetts on July 17, 2013. In the film Chloe plays a prostitute along side co-star Denzel Washington. FameFlynet, Inc - Beverly Hills, CA, USA - +1 (818) 307-4813
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.
Japanese market
Specifications :
Year 1976
Display 3-Digit Mechanical Counter
Analog Needle Meters
Transport Sìngle Capsŧan
Transport Belt Drive (Capsŧan)
Direct Loading Auto Shut off
Tape Manual Tape Equalization
Chrome Tape Capability Ferro-Chrome Tape Capability Normal Tape Capability Manual Tape Type Selection
Head Configuration 2 Head Design 4 Track / 2 Channel
Connectivity 2 Mono Microphone Inputs RCA Input/Output Connectors Headphones
Preamplifier
Output-Level Control
Individual Input Level Controls
Individual Output Level Controls
Operation Mechanical Transport Control
Memory StopTimer Recording/PlaybackLine / Mic Input Select Indicators
Cassette Back Lighting
Peak Indicator
Record Noise Reduction Dolby-B Noise Reduction
Exterior
Front Loading Orientation Left
Silver Finish
Speed1⅞ ips - 4.76 cm/s
General
Stereo
Source :
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.
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...
Two failover pairs of Coyote Point Equalizer E670LX Application load balancers and a Cisco 2900 series switch.
Sacramento, California, with the snowcapped Sierra Nevada mountains in the background. This view is looking eastward; in the foreground is the Vic Fazio Yolo Wildlife Area, located between Sacramento and Davis along Interstate 80.
Lucknow, where I live, was reeling under scorching max temp of approx 40 °C yesterday. Today we had sharp showers, bringing it down to almost 25°C. Reminds me of-
Mother Nature is the great equalizer. You can't get away from it.
Christopher Heyerdahl
"http://www.brainyquote.com"
A journey to reduce noise and increase bit depth…. See the end of this description for links to before and after pictures. The JPEG pictured is only 8 bit and reintroduced a bit of banding in the lower left, so it doesn't fully show what is possible.
For a while I have been enamored with the quality of color that can be had from a properly exposed large format color negative. There is something almost hyper-realistic about it. I have been thinking about why this might be the case. What is it specifically that gives it that specialness when compared to dSLR's? I have noted that pictures taken in subdued light and flat lighting tend to exhibit the greatest difference between the two. So this might be the best place to start in answering this question. Over time and looking at many photos, it seems that increase in noise and continuous tones break down in dSLR pictures more quickly, especially under suboptimal lighting conditions.
There are two kinds of general noise that can be found in pictures. One is luminance and the other is chromatic. Most would concur that humans find luminance noise less distracting and irritating compared to a similar amount of chromatic noise. For some background on what these two things are, take a look here. www.cambridgeincolour.com/tutorials/image-noise-2.htm . (I'm linking to the second page, but the pictures on this page are more useful if you aren't going to read the article.)
Let's focus on chromatic noise. It increases as the ISO speed increases for both film and digital cameras. It increases as a digital sensor gets smaller. And chromatic noise increases when a bayer pattern is used to construct a full color image as opposed to measuring a red, green, and blue value at every pixel. The vast majority of dSLR's use a bayer pattern on the CCD/CMOS. The current exceptions are Foveon based CCD cameras, such as the sigma SD1. With a given dSLR, we can't control the last two variables, but we can set our dSLR's to the lowest ISO setting. This is usually ISO 100 and sometimes ISO 50 in higher end cameras.
Although film scanners also use a bayer pattern to acquire a color image, they typically can acquire the image at a bit depth of 16 bits as opposed to 12 or 14 bits, which is a benefit. But most would agree that film is inherently more noisy than a digital sensor, which includes both chrominance and luminance noise. One would likely come to this conclusion by taking a similar picture with a film camera and a digital camera. Then scan in the film at 6,400 dpi at 16bit. Next compare both images on your monitor side by side at 100%. You might wonder why I suggested 6,400dpi. The reason why is that going much more beyond this, even with a drum scanner and perfect focus, you are probably just imaging individual silver halide crystals as opposed to picking up more real image information. It's like taking a picture of your monitor. Imaging the individual pixels on your monitor with a microscope isn't going to get you very far in bringing down noise. Or increasing resolution for that matter! :)
To my knowledge, noise is basically constant in film on a per square mm basis. The trick with bringing down the apparent noise in a film based image is to use a larger piece of film to capture an image. The bigger the square area of film used to capture the image, the less relative noise there is when viewing the image at a given size. In practical terms, compare a dSLR image sized to FIT on your monitor versus a large sheet of film that has been scanned in and downsized to fit on your monitor. The noise is going to be buried and imperceptible in the film based image taken with a large sheet of film even though it has a whole lot more noise when compared to the digital based image viewed at 100%. Because of this property and because 35mm film is so small, at this point in time I find 35mm color images to be subpar in terms of color quality compared to recent dSLR's. This has been the case for a while. But I find that 4x5 or larger sheets of film hold more opportunity for keeping noise at bay compared to current dSLR's.
We've looked at chromatic noise, so what about continuous tones? Continuous tones typically break down in pictures either because of a limited bit depth or manipulations to the image. Usually limited bit depth is not a problem under normal circumstances by itself. Most dSLR's now capture images natively at 12 or 14 bits per channel, which is more than plenty. Unless your image is highly biased to one particular color, this won't inherently be a problem. However, common image manipulations can easily break continuous tones and cause posterization. One of the easiest ways to improve continuous tones from digital cameras through the editing process is to start with RAW images. JPEG's fall apart much more quickly in the editing process because they only have a bit depth of 8. RAW images give you the native bit depth of the camera, which is typically 12 or 14 bits. But recall that the typical film scanner is capable of delivering 16 bits. The extra two bits of information can represent a lot more nuances in the shades of colors. It is worth pointing out that image editing programs cannot typically edit images in 12 or 14 bits. They will typically edit RAW images at a bit depth of 16 bits. Even though the image is being edited in a bit depth of 16 bits, there is really no more bit depth than what the camera natively captured the image at. So if your camera captures images at 14bits per channel and you notice you are editing the image at a 16 bit depth in photoshop, you are not magically gaining two bits worth of real information.
In my own work, I have noticed at times that there is simply not enough information to make the kinds of manipulations that I want in color dSLR images without the image falling apart. This is even with shooting at RAW and my camera having a native bit depth of 14 bits.
In a quest to better understand what can be done about these two problems with, limited bit depth and noise, I wondered how photographers in the most extreme situations deal with these two problems with digital cameras. The most extreme conditions can be found in astrophotography. It can take HOURS to acquire sufficient light of a particular celestrial body. And even worse, that object is often strongly biased to the red or blue sensors. This means that the apparent bit depth of the image is much smaller than in normal photography. I'm probably making this "apparent bit depth" term up. But basically it is a qualitative term relating the bit depth of the individuals channels to the relative amounts that those channels are used in describing color in the overall image. To make this more clear, imagine the apparent bit depth of an object that was only illuminated with a red laser. The green and blue channels are hardly going to be used if at all. If your camera had 14bits per channel or a combined 42 bits, it would have an apparent bit depth that is much less than the combined 42 bits of the camera because the colors used are limited to being defined primarily by only one color channel.
Anyway, so what can be done to remove noise in general? One technique that can be used, is to take several exposures of the same picture. Then combine them and take the medium or average of each pixel. A second technique is to use special software to detect and remove noise from areas of low detail in the picture. For a detailed look at these two options and how they can be combined together, take a look at this page. It has some example side by side pictures. www.cambridgeincolour.com/tutorials/image-averaging-noise...
But what about limitations on bit depth? It appears that one can increase bit depth too. Craig Stark has made an analysis of this subject with some math to back up his claims on how someone can increase bit depth beyond the limitations of their hardware. See his analysis in this PDF www.stark-labs.com/craig/articles/assets/BitDepthStacking... . It comes down to combining multiple pictures taken at different exposures. This is not an attempt to create an HDR image for the sake of an HDR image per se. He suggests that adding 1 f-stop adds one bit of bit depth and adding -1 f-stop adds another bit worth of bit depth. Sadly, he does not go into great detail about how to accomplish this. The link in the PDF is dead. On the surface it seems reasonable, but I'd like to try it out.
I wanted a convenient place to try all this out and I wanted some of the worst light I could find. So I choose my bedroom at night that was only lit from the office on the other side of the hall. With low flat light and very subtle shadows, I knew from experience that this would be difficult to image technically well. All test pictures were taken on a tripod, triggered with a remote, taken at ISO 200, and captured in 14bit RAW files. I choose ISO 200 so I could get a (approximate) +1 f-stop exposure at 30 seconds. I took an initial comparison and control picture at ISO 200. As I expected, there was quite a bit of noise at 20 seconds even at ISO 200 and the graduations broke into banding when I tried to move up the contrast to an acceptable level. And the subtle shadows were not as pleasing as viewing them in person. The delicate light was not well preserved in the capture and I was hardly pleased with it.
Next I took 10 pictures at ISO 200 and averaged them together. This markedly reduced the noise present in the picture. To reduce the noise further, I used the second technique of special noise reducing software. There are a few options when it comes to specialized noise reducing software, but I choose Neat Image for testing purposes. You can find their software for demo here -- www.neatimage.com/ . (If you would like to see some example of Neat Image check here www.neatimage.com/mac/standalone/examples.html .) The two techniques combined together significantly reduced the overall noise. However, there was still some banding issues trying to bring up the contrast to an acceptable level. And my perception of the overall quality of the color wasn't anything too special. It might be worth noting that noise reduction software does not make up for a bad image with lots of noise. As someone put it, "It's like scraping the burnt parts off of a burnt pancake." Natively reducing the noise by taking the median of several pictures together is the more important technique to apply FIRST if it is an option.
For a third test, I wanted to combine averaging pictures together and software noise reduction. But I also wanted to attempt to use some form of HDR to improve the actual or apparent bit depth without any real change in local contrast. I was a little hesitant that this would help considering the image was fairly constrained already in terms of the histogram; meaning that there was not a huge inherent dynamic range. I took 30 images all together. 10 images were -1 f-stop. 10 images were at the metered exposure. And 10 images were +1 f-stop. I averaged the first 10 images together and exported the resultant image as a 16bit TIFF. I repeated this twice more for the other two sets. Then I used Photoshop's HDR Pro to merged the three images together and chose a mode of 32 bits. Equalize Histogram was selected in the algorithm field and was greyed out. I now believe that this grayed out option isn't being used during the conversion. No options are given but sitting the White Point Preview when selecting the 32 bit mode. It appears, but I haven't been able to confirm that selecting the 32bit option does little more than create an extended histogram as if you had taken a single picture with a super high dynamic camera. This resultant image is very flat. After working with the image CS5 allows you to convert to a bit depth of 16bits without going through the HDR Pro dialog.
I altered the contrast and corrected the overall color cast caused by light reflecting off colored objects and illuminating the room. Then I converted the image to 16bits, applied a bit of unsharpened mask, and saved the image back out as a 16bit TIFF file. Finally I used Neat Image to reduce the noise in low detail areas. This is the picture that you are looking at above! I might note that the demo version of Neat Image only allows you to save the resultant image as a 8bit high quality JPEG. This is part of the reason that I made it last in the process, but it seems that it should be last in the process anyway.
Applying all three techniques together has yielded a picture that even LESS noise, especially luminance noise. The subjective color quality is markedly better. The graduations in the shadows have improved significantly. They are great, but not perfect. The overall image is far more pleasing and it has seemingly captured the subtle colors and shadows of the original scene. It subjectively seems to be much closer to what I would expect from a large format color negative. As a combined technique, this is a lot of work. But on the other hand, so is working with large format. There are minutes worth of computer time doing all of this processing. The bigger problem is that many scenes and subjects would not tolerate the length of time necessary to take so many pictures without movement. But it is something that I may have to experiment with outside during an evening with little wind. I have an idea or two. :)
If I have made some technical mistake in describing something, please let me know and I'll correct it. I don't claim to be an oracle of knowledge on this subject. I do feel that after some research and this experiment, I have a better understanding of why I like large format color negatives and how I can come closer to it with my digital camera when the opportunity is right.
As an aside, I have a large format camera, but I don't tend to take many color images. I find that my hit rate with color is far less than with black and white. It's a different subject as to why, but I think it comes down to the fact that black and white images can be pushed much further in post processing than color images. Color images in general tend to fall apart much faster.
If you found this interesting and helpful about this adventure, let me know. Thanks! :)
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I have repeated this process again with the same images, but with a goal of creating a before and after picture that are as close to each other as possible. This way you can flip back and forth between the two images and see the differences in noise and apparent bit depth and not other changes.
The only processing I did on the original reference image was to increase the contrast by 13% in CS5. In the picture shown on Flickr above, I did further modifications which were somewhat hard to duplicate across two images.
You can download the source reference image here … ORIGINAL . The final processed comparison image can be found here … PROCESSED . Both images are 16 bit TIFF files, so there will be no issues with the images being degraded, which was a problem in the uploaded image to Flickr. You will most likely want to save these to your hard drive as opposed to viewing them in your browser. They are huge.
The evaluation should be done at or near 100% because virtually all of the noise and bit depth differences that are under scrutiny will be evident for evaluation. These two pictures shouldn't be compared to the posted Flickr image. A significant amount of post processing was done on the posted picture to Flickr that was not done in the two linked pictures.
my identifier: hdr_filtered_plus
Went into "enemy territory" yesterday to shoot HJK play against Ilves to test out a few software related things during the whole process of shooting a match. Everything went well and managed to get few decent pics in the process as well. Here's HJK's Mikael Forssell heading in the 1-1 equalizer for HJK and his first of two for the evening.
Following the NewArea51 around to the photo spots outside Nellis worked out really well. Great job on the intel Franz!
Taken several blocks away from Independence Hall in Old City Philadelphia, this man claims that it is he that keeps America free. Very interesting arguments and just generally a nice man. It was mid-day when I stumbled upon this gentlemen and unfortunately the light was harsh.
Shot with:
Leica M9
Noctilux 50mm f1 E58 @ f1.4
Processed in Aperture
A modular computer with an A/V equalizer? Only Japan, only Sony, only the early 1990s!
« source: www.flickr.com/photos/26934921@N03/6852705056/ »
Steamtown Museum display of old Rutland Railroad heavyweight baggage car # 129 at Scranton, Pennsylvania, October 1996. This car needs more than just a sandblasting job, primer and new paint. It need some of its side plate steel replaced, along with door and roof rebuilding to make a nice display piece. This is a shorter style baggage car that rides on drop equalized four wheel trucks and contains a double door and a single door on each side.
Thanks to Bill's latest app update, we can now shoot proper framerate radiometric video that can be analysed in FLIR Tools.
This also means that FLIR's histogram equalization can be applied to video too now.
Unfortunately frame timing is still currently incorrect and as a result graphs etc. cannot be generated. I have a few ideas as to how to resolve this, so hopefully that will be ready soon.
But even in it's current state, we've now exceeded the featureset of the Therm-App TH (which can't record radiometric video).
I have some pens and pencils.
A moleskine.
And a head full of quotes, lyrics and the like.
Come and see them at quoteskine.tumblr.com
Successeur de Caravage
Christ et les disciples à Emmaüs,
avant 1614 ou autour de 1621
Christ apparut après sa résurrection deux disciples sur la route d'Emmaüs. La peinture dépeint cette scène où le Christ à l'occasion de manger ensemble, comme à la Dernière Cène, rompt le pain en se faisant connaître. L'image répéte à l'envers une composition de Caravage (Londres, National Gallery) datant de l'époche autour de 1600. L'artiste, possiblement d'origine génoise, était sous l'influence des successeurs néerlandaises de Caravage (principalement d'Hendrick Terbrugghen).
Nachfolger des Caravaggio
Christus und die Jünger in Emmaus,
vor 1614 oder um 1621
Christus was nach seiner Auferstehung zwei Jüngern auf dem Weg nach Emmaus erschienen. Das Gemälde zeigt jene Szene, als Christus beim gemeinsamen Essen, wie beim Abendmahl, das Brot bricht und sich damit zu erkennen gibt. Das Bild wiederholt seitenverkehrt eine Komposition Caravaggios (London, National Gallery) aus der Zeit um 1600. Der möglicherweise genuesische Künstler stand unter dem Einfluss der niederländischen Caravaggio-Nachfolger (vor allem Hendrick Terbrugghens).
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
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" piano exit intro… more )
Knockin' on Heaven's Door (Bob Dylan cover)
Nightrain
Encore:
Don't Cry
The Seeker (The Who cover)
Paradise City
A ground support technician walks alongside crawler-transporter 2 (CT-2) as the vehicle moves slowly along the crawlerway toward the Vehicle Assembly Building at NASA's Kennedy Space Center in Florida. The crawler took a trip to the Pad A/B split to test upgrades recently completed that will allow the giant vehicle to handle the load of the agency's Space Launch System rocket and Orion spacecraft atop the mobile launcher. The Ground Systems Development and Operations Program oversaw upgrades to the 50-year-old CT-2. New generators, gear assemblies, jacking, equalizing and leveling (JEL) hydraulic cylinders, roller bearings and brakes were installed, and other components were upgraded to prepare for Exploration Mission 1. Photo credit: NASA/Leif Heimbold
These photos are from a 2013 county fair. The fair layout was much smaller than the stadium layouts on TV. It was great to see them up close outdoors and fun to take photos from a low angle with a clear view.
This photo is from a backflip Equalizer executed. He completed the backflip OK but landed on his front wheels a little short. He bounced backwards and landed on the roof.
!GHT: KEN’S COAT – DUSTER
Time to get dressy in this great mesh duster coat! Defined stitching with a distinct collar and buttons, this leather duster will make you stand out in the crowd.
Colors: Dark Black, Light Black, Dark Brown, Light Brown
Back textures: Plain (none), City Skylines Beat, Heart Beat, Equalizer
Mario Minniti (1585-1652), active in Rome and Sicily
Ecce Homo, c. 1610
The Sicilian Minniti was one of the few painters apparently befriended with Caravaggio, who had met him again and again in his late period. As a model for the composition, Caravaggio's not-preserved versions of this passion theme of 1605 and 1609 may have served. Iconographically, the many-figured scene of the ostentation of Christ by Pilate is shortened to a half-figured devotional image, which is particularly effectively staged in the dramatic half-darkness.
Mario Minniti (1585-1652), tätig in Rom und Sizilien
Ecce Homo, um 1610
Der Sizilianer Minniti war einer der wenigen mit Caravaggio offensichtlich befreundeten Maler, der ihm bis in dessen Spätzeit immer wieder begegnet ist. Als Vorbild für die Komposition dürften Caravaggios nicht erhaltene Versionen dieses Passionsthemas von 1605 bzw. 1609 gedient haben. Ikonographisch ist die vielfigurige Szene der Schaustellung Christi durch Pilatus zu einem halbfigurigen Andachtsbild verkürzt, das durch das dramatische Halbdunkel besonders wirkungsvoll inszeniert ist.
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
Impressions of Estate Elswoud near Overveen, county Bloemendaal, Netherlands.
In 1634 the Haarlem merchant Carel Molijn bought this partly equalized 85 hectare large dune area to have an estate created there. He had it further equalized selling the sand to be used for building new quarters in Haarlem. In 1780 the estate got once again new owners, the Borski family, who during three generations changed the estates' outlooks drastically. The large house was put down and they started to have a new large house built. Through the sudden death of Mr Borski III in 1884 the work was stopped. Not only the house but also the gardens and the park were greatly influenced by the changes in ownership. Nevertheless there are still beech trees left from the very beginning; they have meanwhile reached a respectable age of more than 250 years... Nowadays the house, the other buildings and the gardens are protected as cultural historical monuments. And ... the large house is under (re)construction in accordance with the original plans.
This is my latest machine, just finished yesterday.
I am calling it The Piano Player. It was made for my father's 75th birthday party which is tomorrow. He taught himself to play piano when I was a kid, and I remember him sitting with his earphones on playing away with no music to hear. I thought it would be fitting for me to make this for him since I am a self taught woodworker.
When the handle is turned, the keys that the fingers rest on move up and down and the corresponding equalizer bars in the back move with them. It is made from Cherry (frame), Maple (keys and mechanical parts), walnut (black keys and finishing dowels), Padauk (equalizer bars), and Yellowheart (hands). The final machine took close to 60 hours to finish, including having to make a custom box to transport it in. That does not include the concept and study models I started with. Dimensions are approx. 22"x16"x10"
I hope to have video edited and ready for upload sometime this coming week, along with a bunch more pictures