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PGB Photographer & Creative - © 2022 Philip Romeyn - Phillostar Gone Ballistic 2021 - Photo may not be edited from its original form. Commercial use is prohibited without contacting me.
museumPASSmusees 2021 - BAM - Fernando Botero - Au dela des formes
BAM (Beaux-Arts Mons)
Pour la premiere fois en Belgique, dans le cadre de la Biennale d'Art et de Culture de la Federation Wallonie-Bruxelles a Mons, le BAM consacre au peintre et sculpteur colombien Fernando Botero une vaste retrospective du 9 octobre 2021 au 30 janvier 2022.
Depuis ses recherches de jeunesse, peu connues du grand public, jusqu'aux oeuvres iconiques de la maturite, dont des toiles recentes presentees pour la premiere fois, cette exposition d'envergure brassera l'ensemble de la carriere de l'artiste.
Reputee pour ses personnages aux formes rondes et voluptueuses, l'oeuvre de Botero est le resultat d'une recherche exigeante et determinee, dans lequel l'artiste s'est engage il y a plus de 70 ans.
A l'heure ou, plus que jamais, le sens commun est en peril, l'exposition interroge la maniere dont une oeuvre, bien que personnelle et situee, parvient a developper un langage universel et accessible. Le parcours emportera les visiteurs dans l'univers foisonnant de Botero, inspire tant par l'art precolombien et l'iconographie populaire que par les muralistes mexicains ou l'art de la Renaissance italienne.
L'exposition Fernando Botero. Au-dela des formes rassemblera des oeuvres importantes empruntees a de prestigieux musees, comme le Gunggenheim de New-York, dont des peintures historiques rarement montrees au public europeen. Des toiles, dessins et sculptures appartenant a des collections privees internationales, notamment de Colombie, seront egalement presents.
Au centre du parcours d'exposition, une quinzaine d'oeuvres issues des collections meconnues du BAM illustreront les inspirations majeures de l'artiste colombien autour de differentes thematiques : natures mortes, nus, scenes de genre...
( 200 musees
Des maintenant, vous pouvez visiter tous les musees participants pendant un an. Pas une fois, mais aussi souvent que vous le souhaitez !
297 expositions
Vous pouvez egalement visiter les expositions temporaires des musees participants gratuitement ou a un tarif fortement reduit.
1 pass musees
Tout ceci avec seulement 1 pass.
Reto de ondrap. A través de este texto, yo encontré una forma de continuarlo:
…esta es la historia de la marioneta que tenía una lágrima pintada en la mejilla…
…desde que tiene recuerdo, todo lo que la rodeaba, e incluso ella misma, se difumina como si de meras ilusiones se tratase, y siente que lo que hacía formaba parte únicamente de un espectáculo…un espectáculo que no sentía suyo…
…día tras día, su decepción era mayor, cada vez estaba más cansada, principalmente de ella y de las incoherentes sensaciones que la acompañaban…un día, ve por casualidad su rostro reflejado en un viejo espejo olvidado en un rincón…se acerca y, por primera vez, ve los hilos que la dirigen…no sabe qué hacer, se siente engañada, dolida por no haberse dado cuenta antes y contenta por haberlo hecho en ese momento…
…animada por sus lágrimas, por fin verdaderas, decide cortarlos para ver hasta dónde la llevan sus movimientos…se siente sola y excitada pero, por una vez en su vida, siente de verdad…
....
Y anduvo hasta que encontró la expresión de su propia delicadeza, al fin libre al no estar dominada por los hilos que la ataban. Sus pasos le llevarán a llenarse de experiencias. Espero poder seguir sus pasos en el camino.
Treecreeper, ( Certhia familiaris ),
The Treecreeper forms a sibling species with the Short-toed Treecreeper in Europe. The Treecreeper is found in coniferous,mixed and some deciduous woodland ( the latter in places where the short-toed Treecreeperdoes not occur ). It prefers more upland or montane forests to the Short-toed species. The diet is mainly small insects and larvae, spiders and woodlice, as well as a few seeds, The food is obtained by searching cracks in the bark of trees and the species runs rapidly up and around tree-trunks, It uses its tail as a support like a woodpecker and rarely descends head-down like a Nuthatch. It is not gregarious and is seldom seen in a group other than family parties, but often associates with mixed feeding flocks of Tits in winter.
The nest is concealed behind loose bark on a tree or in a crevice, and is a loose cup of twigs, moss, roots and plant material, lined with feathers, wool or fine bark debris, Both sexes take part in nest-building. The Female incubates alone and the young are tended by both parents,
The Treecreeper is mainly resident and sedentary, though some movement of northern birds takes place in winter, with some of the Scandinavian form occasionally reaching Britain,
Length, - 13 cm
Wing Length, - 5.9 - 6.7 cm
Weight, - 9 g
Breeding,- End of April to June, 2 broods per year,
I have always liked this crusty old industrial building, especially when the ivy that covers the corner turns red in the fall. By contrast, the sign seen here represents a high tech company that centers around machining for an aerospace and defense group.
The long facade on Sterling Avenue has a lot of these caged windows which make it possible to open the windows though the screens would not keep bugs out. They might be more to prevent people from getting in or out!
Tintern Abbey from guest house
[between ca. 1890 and ca. 1900].
1 photomechanical print : photochrom, color.
Notes:
Title from item. Title also in the Detroit Publishing Co., Catalogue J--foreign section, Detroit, Mich. : Detroit Publishing Company, 1905.
Print no. "10980".
Forms part of: Views of the British Isles, in the Photochrom print collection.
Subjects:
Wales--Tintern.
Format: Photochrom prints--Color--1890-1900.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
Part Of: Views of the British Isles (DLC) 2002696059
More information about the Photochrom Print Collection is available at hdl.loc.gov/loc.pnp/pp.pgz
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ppmsc.08904
Call Number: LOT 13415, no. 917 [item]
PGB Photographer & Creative - © Philip Romeyn - Phillostar Gone Ballistic 2021 - Photo may not be edited from its original form. Commercial use is prohibited without contacting me.
After the conquest of Istanbul by Mehmed the Conqueror at 1453, construction of the Topkapı Palace was started at the year 1460 and completed at 1478 . Palace was built upon a 700.000 squaremeters area on an Eastern Roman Acropolis located at the Istanbul Peninsula between Sea of Marmara, Bosphorus and the Golden Horn. Topkapı Palace, was the administrative, educational and art center of the Empire for nearly four hundred years since Mehmed the Conqueror until Sultan Abdulmecid who is the thirty-first Sultan. Although Palace was abandoned by the Ottoman Dynasty by moving to the Dolmabahçe Palace at middle 19th century, Topkapı Palace was protected its importance everytime.
After the establishment of the Republic of Turkey, Topkapı Palace, was transformed into a museum at the date April 3th 1924 and it was also the first museum of the Republic of Turkey. Topkapı Palace Museum is covering approximately 400.000 squaremeters at the present day. Topkapı Palace divided from the city from the land-side by the Imperial Walls which is made by Mehmed the Conqueror. It divided from the city also from the sea-side by the Byzantine Walls. Topkapı Palace is one of the biggest palace-museums with its architectural structures, collections and approximately 300.000 archive papers.
There are surroundings like gardens and squares around the Palace. Palace which its Main Gate located at the Hagia-Sophia side, has four courtyards which has passages between them. At the first courtyard, Hagia-Irene Church which was used as Armory and the outer service buildings like Mint, Oven and Hospital were located there.
Second Courtyard was the Divan Square (Square of Justice) that hosting the administrative buildings fort the Empire. This courtyard was also a ceremonial courtyard. Divan-ı Hümayun (Kubbealtı / Imperial Council) and Treasury of the Divan-ı Hümayun were located on that courtyard. Behind the divan structure, there is the Tower of Justice which represents justice of the Sultan. Dormitory of the Halberdiers with Tresses and the Entrance of Harem were also located at this courtyard. There are also Privy Stable structures at the same side around an inner courtyard. At the Marmara side of the Courtyard of Justice, there are the Palace Kitchens and additional service buildings. Babüssaade (Gate of Felicity) where coronation, funeral and festival ceremonies held is located at the Northern side of the Courtyard of Justice.
The third Courtyard (Enderun – Inner Palace) was the section that the Palace aghas were educated and assigned to high ranks of the State. It formed by the dormitories and the structures belongs to the Sultan. Hall of Audience where Sultan accepts viziers and ambassadors, Enderun Library which was constructed by the Sultan Ahmed III, Treasury of Enderun also known as Conqueror’s Pavilion, Privy Room (Chamber of Sultan) and the Aghas’ Mosque which was constructed for the Enderun aghas at the reign of Fatih are the important structures of this courtyard. Courtyard is surrounded by the Big and Small Room Wards, Expeditionary Force Ward, Pantries’ Ward, Treasure Ward and the Privy Room Ward which added to the Privy Room at the 19th century.
From the Privy Room, and the Enderun Courtyard, there are passages to the Imperial Sofa courtyard which hosts to the kiosks and gardens. At the Marble Terrace part of this courtyard, there are Revan and Baghdat Kiosks, Circumsision Room and the Iftaree Canopy. Under this terrace, there is a hanging flower garden which surrounded by wooden Sofa Kiosk and the Tower of the Chief-Physician. At the Marmara side of this garden, there are Sofa Mosque, Mecidiye Kiosk and Wardrobe Room. It also known that there are lots of kiosks and service structures at the Privy Gardens which surrounds the Palace in axis of Maramara, Seraglio-Point and the Golden Horn.
Many thanks to all those whether you comment, add them as favourites or just take the time to view on my photographs.
I appreciate it very much!
Best viewed in lightbox - please click on the image or press L.
© All rights reserved R.Ertug
Please do not use this image without my explicit written permission.
Stancez r coolz. Yo Skrillz drop it hard.
No seriously, almost all stanced cars look better than their standard counterpart.
No exception for the Subaru Impreza WRX STi here. Damn, this thing reeks of stance and JDM so much, I'm gonna get knocked over.
Form over Function, stanced!
Stance 4 lyfe.
Photo Taken in Gran Turismo 5.
Positive Runway Global Catwalk African Fashion Show. African Ambassadors & Diaspora Interactive Form AAIF United Nations buildings International Maritime Organization HQ IMO London.
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint) and electronic drawing.
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[1] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
In addition to its more artistic forms, drawing is frequently used in commercial illustration, animation, architecture, engineering and technical drawing. A quick, freehand drawing, usually not intended as a finished work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, draftsman or a draughtsman.[2]
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other material, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Madame Palmyre with Her Dog, 1897. Henri de Toulouse-Lautrec
Galileo Galilei. Phases of the Moon. 1616.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling, free hand and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
History[edit]
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[20] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[21] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Technique[edit]
Raphael, study for what became the Alba Madonna, with other sketches
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[22]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[23] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[24]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[25]
Tone[edit]
Line drawing in sanguine by Leonardo da Vinci
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]
Pencil portrait by Ingres
Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive volumes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic volumes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive volumes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[26]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.
Two-point perspective drawing
When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[27] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
Artistry[edit]
Chiaroscuro study drawing by William-Adolphe Bouguereau
The composition of the image is an important element in producing an interesting work of artistic merit. The artist plans element placement in the art to communicate ideas and feelings with the viewer. The composition can determine the focus of the art, and result in a harmonious whole that is aesthetically appealing and stimulating.
The illumination of the subject is also a key element in creating an artistic piece, and the interplay of light and shadow is a valuable method in the artist's toolbox. The placement of the light sources can make a considerable difference in the type of message that is being presented. Multiple light sources can wash out any wrinkles in a person's face, for instance, and give a more youthful appearance. In contrast, a single light source, such as harsh daylight, can serve to highlight any texture or interesting features.
When drawing an object or figure, the skilled artist pays attention to both the area within the silhouette and what lies outside. The exterior is termed the negative space, and can be as important in the representation as the figure. Objects placed in the background of the figure should appear properly placed wherever they can be viewed.
Drawing process in the Academic Study of a Male Torso by Jean-Auguste-Dominique Ingres (1801, National Museum, Warsaw)
A study is a draft drawing that is made in preparation for a planned final image. Studies can be used to determine the appearances of specific parts of the completed image, or for experimenting with the best approach for accomplishing the end goal. However a well-crafted study can be a piece of art in its own right, and many hours of careful work can go into completing a study.
Process[edit]
Individuals display differences in their ability to produce visually accurate drawings.[28] A visually accurate drawing is described as being "recognized as a particular object at a particular time and in a particular space, rendered with little addition of visual detail that can not be seen in the object represented or with little deletion of visual detail”.[29]
Investigative studies have aimed to explain the reasons why some individuals draw better than others. One study posited four key abilities in the drawing process: perception of objects being drawn, ability to make good representational decisions, motor skills required for mark-making and the drawer's own perception of their drawing.[29] Following this hypothesis, several studies have sought to conclude which of these processes are most significant in affecting the accuracy of drawings.
Motor function Motor function is an important physical component in the 'Production Phase' of the drawing process.[30] It has been suggested that motor function plays a role in drawing ability, though its effects are not significant.[29]
Perception It has been suggested that an individual's ability to perceive an object they are drawing is the most important stage in the drawing process.[29] This suggestion is supported by the discovery of a robust relationship between perception and drawing ability.[31]
This evidence acted as the basis of Betty Edwards' how-to drawing book, Drawing on the Right Side of the Brain.[32] Edwards aimed to teach her readers how to draw, based on the development of the reader's perceptual abilities.
Furthermore, the influential artist and art critic John Ruskin emphasised the importance of perception in the drawing process in his book The Elements of Drawing.[33] He stated that "For I am nearly convinced, that once we see keenly enough, there is very little difficult in drawing what we see".
Visual memory has also been shown to influence one's ability to create visually accurate drawings. Short-term memory plays an important part in drawing as one’s gaze shifts between the object they are drawing and the drawing itself.[34]
What forms lurk in the mists of the Carina Nebula? The dark ominous figures are actually molecular clouds, knots of molecular gas and dust so thick they have become opaque. In comparison, however, these clouds are typically much less dense than Earth's atmosphere. Featured here is a detailed image of the core of the Carina Nebula, a part where both dark and colorful clouds of gas and dust are particularly prominent. The image was captured last month from Siding Spring Observatory in Australia. Although the nebula is predominantly composed of hydrogen gas -- here colored green, the image was assigned colors so that light emitted by trace amounts of sulfur and oxygen appear red and blue, respectively. The entire Carina Nebula, cataloged as NGC 3372, spans over 300 light years and lies about 7,500 light-years away in the constellation of Carina. Eta Carinae, the most energetic star in the nebula, was one of the brightest stars in the sky in the 1830s, but then faded dramatically. via NASA ift.tt/1ThxMNQ
Canon AE-1
FCS C-41 BW film (400)
Old picture that I recently rediscovered. Am planning on getting back some of my cameras because I may have access to a dark room/lab. So watch out!
Filing My Taxes - 1040 Form - Feel free to use this image on your blog, website or other publication. Please give attribution to 'PT Money' (ptmoney.com). Thanks!
Rue Oberkampf
La piscine est un monument historique. Elle est l'une des premières piscines construites à Paris et en région parisienne. Ouverte en 1886, elle fut appelée "Les Grands Bains Parisiens" à l’époque et proposait des bains de vapeurs, des fumigations, de l'hydrothérapie, des douches médicales, un buffet et restaurant. Par la suite, elle s’est transformée en piscine/bains douches. Le bassin et son architecture ont été préservés depuis plus de 130 ans. Vous pouvez encore découvrir cette piscine centenaire aujourd'hui telle qu'elle fut construite à l'époque.
Le bassin se compose de deux longueurs de 17 mètres chacune en forme de L. Il a la particularité d’avoir un balcon tout autour avec des cabines aux portes rétros au 1er étage qui propose une vue sur le bassin. Une hauteur sous plafond de plus de 10 mètres avec un toit en pavés de verre laisse entrer la lumière du jour.
Ce lieu est très prisé par la mode, la publicité et même le cinéma. De nombreux shootings photos et tournages ont eu lieu ici avec des comédiens tels que Romane Bohringer, Michel Serrault, Alexandra Lamy, Charlotte Valandrey, Stéphane Freiss, Juliette Binoche...sans oublier des sportifs célèbres comme Florent Manaudou ou même des artiste comme André Manoukian, Antoine Clamaran ou encore Orelsan et Gringe des "Casseurs Flowters".
This shape, a two-dimensional structure distorted by the gravitational pull of light, is the perfect form to hold my thoughts on form. Two points need to be clarified: it obviously only holds for this particular form (shape?), and, most importantly, as a two-dimensional structure the shape (form?) could only come into being by being distorted by light because we do talk about ‘photo-graphy’ after all, and, equally importantly, as a two-dimensional structure no other forces are visible that could have worked on it to create this shape. To be sure, this is not a representation of one of Einstein's theories of relativity, nor an infinite number of unfolding polyhedra. This form, Katsuhiro Yamaguchi's soon disappearing work ‘Mesh sculpture’ of 1961, can currently still be seen at the Tate Modern. It merges the two distinctions, form and shape. Imagine that you pull the corners of the wire mesh in the four directions of the compass simultaneously and then Ctrl-Z the process once accomplished. Form and shape thus become inseparable, intertemporally united. If you think that this interpretation hangs by the tiniest of threads, that is precisely what this form (shape?) actually does (check the photo).
Henry Moore - Form and Material - Museum Beelden aan Zee - The Hague
In collaboration with the Henry Moore Foundation, Museum Beelden aan Zee has made a selection of works from the artist's substantial oeuvre. Around 70 objects and sculptures portray the artistic vision and creative process of one of the most important innovators of modern sculpture. The exhibition in Beelden aan Zee focuses on the influence of nature on his work and his growth and development as a sculptor. From promoting direct carving – carving without using preparatory sketches and studies – to experimenting with casting in lead and bronze. Henry Moore (1898-1986) is one of the most important British artists of the twentieth century. His sculptures balance on the boundary between figurative and abstract art and continue to be a source of inspiration to artists. His work has a recognisable and characteristic formal language. Important themes in his oeuvre are ‘mother and child’ and his reclining figures, which he explored extensively.
From the 1920s, Moore participated in countless British and international exhibitions, with solo as well as group exhibitions, he sold work on a regular basis, and so made a name for himself as an important modernist sculptor. However, the Second World War called a halt to these positive developments. Henry Moore left his teaching post and took up a commission as a war artist. It was in this capacity that he produced his deeply moving Shelter Drawings of Londoners crowding the city's underground stations sheltering from the Blitz. In the 1950s he created larger groups of figures. The prices for his works increased considerably and his fame as an international artist continued to grow. In later years he served as a trustee at both the Tate Gallery and the National Gallery and he was the recipient of a large number of prizes and honours.
The World's End beater.
An alder wood reproduction of a beater from 5,530-5,340 ybp. Attaining fibres from flax or bramble, opening chestnut outer casing and pounding tanning leather are all potential uses for this beater made from a softish wood that indicates that its purpose was not intense hammering. The original was found in pieces as the Thames passes Chelsea, with 'World's End' a Chelsea name that may bounce off the Piccadilly Circus 'centre of the world' myth. The original alder beater - now black with time, has a coherent and smooth beating surface, and the 'Flintstone' aspect afforded to this replica may be to entertain the public with an amusing lack of refinement. Displaying the beater next to the idol also makes the viewer look for anthropomorphic elements within a loose reproduction... Might that be a tall neck..? Faint hollow eyes..? A basic body..? Suffice to say the original beater is not at all anthropomorphic and the confusion from the display is simply detrimental to the Dagenham idol which remains rare, early and intriguing in its own right.
The Dagenham idol
From 4,250 ybp, so late neolithic to early bronze age. It is made from Scots pine and stands 46cm high. The idol was found down river from central London in marshland associated with the Thames - just before the river passes the City of London airport. These two reproductions are on display together in a cabinet of the Museum of London, and the original Dagenham Idol is now associated with a castle 80km away to the NE, and moves to keep it local to the discovery spot need to be thought through very seriously. A tight museum of folk and prehistorical anthropomorphs linked to central London via boat trips? The castle museum of Colechester (the idol's current location) has a historical dialogue that is steeped in issues of invasion, with Norman walls overlooking the Temple of Claudius. Just how a rare neolithic anthromorph can gain measure in just such an environment without falling into an invisible mire of invasion/degeneracy fiction traps is difficult to assess. The neolithic is thousands of years before the late bronze and iron ages so unspoken comparison is crass. Finds of this type and date are exceedingly rare on an international scale and need to be viewed from their context.
The asymetrical eye sizes may be due to a folk inattention to detail or, a splinter in one side of the original which was then poorly copied in the reproduction; or an attempt to depict a facial expression. There is a folk tradition that is well known in many of today's countries: 'the evil eye', or 'mauvais œil'. In this popular superstition, some individuals have the power to impart bad luck or other specific events via a particular 'look'. I once translated a recounted story from the Occitane language of an old lady who cast an evil eye that stopped a cow from wanting to enter a field, so the effects can be quite day to day.
People 'read' other people by looking at faces and at their eyes. We watch out for reliable and trustworthy faces. We try to read for fakes. This process may have been even more important prior to writing. A wary soul looks through an opening, a thief looks for an opening... difficult to distinguish between the two, and an easy blur for folk idiom to exploit. Might the Dagenham idol represent a figure offering an evil eye in the face of a ritual narrative? An evil eye by proxi or by second degree?
The idol has no arms. If it is male, then it is also missing a phallus and one might presume that these were added to the wooden frame, perhaps with tissue off-cuts and leather off-cuts and a shaped wooden peg. Arguments that the idol is of a female seem less sure as the female sex is not circular. Arguments put forward in modern texts that the Dagenham idol depicts a shamen switching sexes between male and female seem a little abracadabraesque.
AJM 12.5.19
Real Name: Glaberin
Powers: Manipulation and creation of fire, flight, immortality
Backstory: An ancient deity of a forgetten religion, Glaberin is the physical embodiment of the sun. The ancient people who followed him and his fellow gods believed that every celestial body had a physical body in the mortal world. Glaberin is one of the only words scientists know of this ancient people's language; It means "Lightbringer". Glaberin has the ability to transform into his "Awakened Form", where he is a being made of pure flame.
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An entry to Thomas Griffith's contest
Free form embroidery using chain, satin, running stitches and French knots on recycled upholstery sample fabric
PS - OK, can you tell - I've been watching the Universe TV series, -- I think that one thing might be a Lyman-alpha blob.
Delhi Bans all forms of chewing tobacco.
India's capital Delhi has banned chewing tobacco in an effort to lover the higher incidence of mouth and throat cancer .
Violation can be imprisoned for up to six months and fined up to Rs.300,000/- ($4,500)...News
But picture gives the evidence , habit is important .
"York has, since Roman times, been defended by walls of one form or another. To this day, substantial portions of the walls remain, and York has more miles of intact wall than any other city in England. They are known variously as York City Walls, the Bar Walls and the Roman walls (though this last is a misnomer as very little of the extant stonework is of Roman origin, and the course of the wall has been substantially altered since Roman times). The walls are generally 13 feet (4m) high and 6 feet (1.8m) wide.
York is a cathedral city and unitary authority area in North Yorkshire, England. The population of the council area which includes nearby villages was 208,200 as of 2017 and the population of the urban area was 153,717 at the 2011 census. Located at the confluence of the Rivers Ouse and Foss, it is the county town of the historic county of Yorkshire. The city is known for its famous historical landmarks such as York Minster and the city walls, as well as a variety of cultural and sporting activities, which makes it a popular tourist destination in England. The local authority is the City of York Council, a single tier governing body responsible for providing all local services and facilities throughout the city. The City of York local government district includes rural areas beyond the old city boundaries. It is about 25 miles north-east of Leeds and 34 miles north-west of Kingston upon Hull. York is the largest settlement in the ceremonial county of North Yorkshire.
The city was founded by the Romans as Eboracum in 71 AD. It became the capital of the Roman province of Britannia Inferior, and later of the kingdoms of Deira, Northumbria and Jórvík. In the Middle Ages, York grew as a major wool trading centre and became the capital of the northern ecclesiastical province of the Church of England, a role it has retained. In the 19th century, York became a major hub of the railway network and a confectionery manufacturing centre, a status it maintained well into the 20th century. During the Second World War, York was bombed as part of the Baedeker Blitz. Although less affected by bombing than other northern cities, several historic buildings were gutted and restoration efforts continued into the 1960s.
The economy of York is dominated by services. The University of York and National Health Service are major employers, whilst tourism has become an important element of the local economy. In 2016, York became sister cities with the Chinese city of Nanjing, as per an agreement signed by the Lord Mayor of York, focusing on building links in tourism, education, science, technology and culture. Today, the city is a popular tourist attraction, especially for international visitors from America, Germany, France and China. In 2017, York became UK's first human rights city, which formalised the city's aim to use human rights in decision making." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
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