View allAll Photos Tagged expression
If anyone knows chimpanzee facial expressions I would love to know the emotions going on here.
Nori (the baby) was running around causing a disturbance and the rest of the troop was running around making noises.
~Update~ This is Ruthie and her caregiver told me this about the facial expressions:
"First expression showing teeth is a fear grimace. The second was a vocalization, probably an alarm call if the group was wound up but could be a couple of other things. The last is just Ruthies relaxed or tired face"
MUCH appreciated EGM!
This is one of my first attempts at Jump Photography. As you can see the timing wasn't perfect . And the jump was free style too without any synchronization ! Still I love the expressions!... This one is unedited but have plans to edit it into a better picture.
Pietro Perugino, born Pietro Vannucci, was an Italian Renaissance painter of the Umbrian school, who developed some of the qualities that found classic expression in the High Renaissance. Raphael was his most famous pupil.
He was born Pietro Vannucci in Città della Pieve, Umbria, the son of Cristoforo Marie Vannucci. His nickname characterizes him as from Perugia, the chief city of Umbria. Scholars continue to dispute the socioeconomic status of the Vannucci family. While certain academics maintain that Vannucci worked his way out of poverty, others argue that his family was among the wealthiest in the town. His exact date of birth is not known, but based on his age at death that was mentioned by Vasari and Giovanni Santi, it is believed that he was born between 1446 and 1452.
Pietro most likely began studying painting in local workshops in Perugia such as those of Bartolomeo Caporali or Fiorenzo di Lorenzo. The date of the first Florentine sojourn is unknown; some make it as early as 1466/1470, others push the date to 1479. According to Vasari, he was apprenticed to the workshop of Andrea del Verrocchio alongside Leonardo da Vinci, Domenico Ghirlandaio, Lorenzo di Credi, Filippino Lippi and others. Piero della Francesca is thought to have taught him perspective form. In 1472, he must have completed his apprenticeship since he was enrolled as a master in the Confraternity of St Luke. Pietro, although very talented, was not extremely enthusiastic about his work.
Perugino was one of the earliest Italian practitioners of oil painting. Some of his early works were extensive frescoes for the convent of the Ingessati fathers, destroyed during the Siege of Florence; he produced for them also many cartoons, which they executed with brilliant effect in stained glass. A good specimen of his early style in tempera is the tondo (circular picture) in the Musée du Louvre of the Virgin and Child Enthroned between Saints.
Perugino returned from Florence to Perugia, where his Florentine training showed in the Adoration of the Magi for the church of Santa Maria dei Servi of Perugia (c. 1476). In about 1480, he was called to Rome by Sixtus IV to paint fresco panels for the Sistine Chapel walls. The frescoes he executed there included Moses and Zipporah (often attributed to Luca Signorelli), the Baptism of Christ, and Delivery of the Keys. Pinturicchio accompanied Perugino to Rome, and was made his partner, receiving a third of the profits. He may have done some of the Zipporah subject. The Sistine frescoes were the major high Renaissance commission in Rome. The altar wall was also painted with the Assumption, the Nativity, and Moses in the Bulrushes. These works were later destroyed to make a space for Michelangelo's Last Judgement.
Between 1486 and 1499, Perugino worked mostly in Florence, making one journey to Rome and several to Perugia, where he may have maintained a second studio. He had an established studio in Florence, and received a great number of commissions. His Pietà (1483–1493) in the Uffizi is an uncharacteristically stark work that avoids Perugino's sometimes too easy sentimental piety.
Graeme Butler, Camberwell Conservation Study 1991: .
Warrawee, 626-628 Riversdale Road, Camberwell.
History.
Built: 1884-5.
A maltster, Thomas A. Fielding, was the first owner of Warrawee .
when it was erected on four acres in 1884-5. This followed closely the construction .
of the adjoining Astolat (q.v.) for the Derham family, reputedly .
by the same builder, James Swan. .
Given the Derham link with biscuit-making and sugar .
refining, speculation that the Fieldings were connected in some .
way may be true..
Signatures on the internal plaster wall and remnant wall paper .
provide dates of February 1885 and 1891 respectively. .
The first detailed rate description (1898-9) of the house was for .
a brick house of 8 rooms, still on 4 acres. .
By the mid-1920s, the land had shrunk to 152 x 404 feet and the .
ownership changed to Arthur E. Fielding, solicitor. Presumably Thomas's son, Arthur Fielding, won scholastic .
prizes when attending Camberwell Grammar..
The next owner over some 22 years was Arthur S. Cudmore, an .
investor. He replanted the garden using many Australian native .
plants; creating today's dense front garden. A later long-term owner was the radiologist, Dr. Boyard .
Taft, (34 years). By the 1980s the .
house had grown to some 50 squares, but with only 3 bedrooms. .
Its coachhouse was used for a four-car garage, sited next to the .
old stables. A swimming pool had been added on the .
west side..
Description.
Warrawee is a large but typical single-storey Italianate-styled .
villa, with an encircling cast-iron verandah and projecting roan .
bays. Distinguishing aspects include its unpainted stucco, the .
serrated fascia and the eaves-entablature details. Internally .
plaster and joinery details and some mantles survive in the .
generously sized rooms. The front garden and gravel drives are .
notable for the mature planting..
External Integrity.
The verandah floor has been replaced with bricks and the covered .
pool added on the west. The front fence has been replaced .
(picket originally?)..
Streetscape.
One of a notable garden pair, formed with the adjoining Astolat..
Significance.
Historically, as the home of an industrialist and successful .
professional, Warrawee is typical of the middle-classes who .
sought out Camberwell for their home in the late 19th century..
Architecturally, the house is a large and externally near intact .
example of the typical Italianate style, but benefits from its .
mature landscape setting and siting, well back from the street, .
which accentuates its expression of the period.'
Sin motivo aparente es una traducción razonablemente adecuada de la voz inglesa “out of the blue”, una expresión que designa una causalidad singular, inesperada, fortuita. Esta es la idea central que vertebró la exposición: la posibilidad de que las obras de arte aquí reunidas no tuvieran que ceñirse a una trama discursiva concreta, evitando la tiranía curatorial y la imposición narrativa. Sin motivo aparente fue una ficción por la que el arte se despojó lentamente del discurso hasta quedar sustentado en el vacío, en la nada, funcionando de manera independiente en la mente del espectador. Siguió, así, una de las aportaciones más importantes de Lawrence Weiner al arte de nuestro tiempo: la posibilidad de que el arte “no tenga por qué ser construido”, que pueda funcionar sólo como idea y que sea el receptor el que active finalmente su significado. El artista estadounidense también decía que el arte público no sólo era el arte que ocurría fuera de las instituciones sino el arte que “pertenecía al público”. Esta idea sobrevoló un proyecto, que estuvo, esencialmente, dirigido a explorarnos como receptores de arte. Las obras aquí reunidas no perdieron nunca su significado original, pero juntas funcionaron ilustrándose unas a otras y no solamente ilustrando ideas, y poniendo el acento en el propio concepto de exposición, reflexionando sobre cómo nos movemos en el espacio, el modo en que estamos en el arte.
No apparent reason is a reasonably adequate translation of the English voice "out of the blue," an expression that designates a singular, unexpected, fortuitous causality. This is the central idea behind the exhibition: the possibility that the works of art assembled here should not be confined to a specific discourse, avoiding curatorial tyranny and narrative imposition. Without apparent motive it was a fiction by which art slowly deprived itself of discourse until it was sustained in the void, in nothingness, functioning independently in the mind of the spectator. He followed one of Lawrence Weiner's most important contributions to the art of our time: the possibility that art "does not have to be built", that it can function only as an idea and that it is the receiver that finally activates its meaning. The American artist also said that public art was not only art that occurred outside of institutions but art that "belonged to the public." This idea flew over a project, which was essentially aimed at exploring us as recipients of art. The works assembled here never lost their original meaning, but together they worked by illustrating each other and not only illustrating ideas, and emphasizing the very concept of exhibition, reflecting on how we move in space, the way we are in the art.
Obra de Ceal Floyer "Página 8680 de 8680, 2010"
Work of Ceal Floyer "Page 8680 of 8680, 2010"
Comisario/ curator: Javier Hontoria
Fotografías/ Photographs: Jaime Villanueva
ca2m.org/exposiciones/sin-motivo-aparente
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This is my first video show on flickr. You can read more about it in my blog here
I know the slide show is fast little bit but this is due to flickr limitation on the duration of any video uploaded here.
My cracking little Nova 1.2i Expression. I reluctantly sold this last year. It was 100% reliable, it never broke down once, in the 8 years I owned it. I bought it at 65,000 miles, and sold it when it had 126,000miles on the clock, just running it in. Absolutely superb car, very, very sad to see it go!
It is seen basking in the sun at one of my favourite haunts at Dunstable Downs in 2007.