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Barred Owls roost quietly in forest trees during the day, though they can occasionally be heard calling in daylight hours. At night they hunt small animals, especially rodents, and give an instantly recognizable “Who cooks for you?” call.
Website: edmundlowephoto.com/
All my photographs are © Copyrighted and All Rights Reserved. None of these photos may be reproduced and/or used in any form of publication, print or the Internet without my written permission.
This is an older image form Caldwell Idaho, but seemed fitting to post. The real trick here is getting the image without the throngs of people that were there too. The dragon breathes fire, but I did not get the right kind of exposure to be able to use that image. Neat to see though.
Mitt bidrag till Fotosöndag 2020-08-23 på temat form. Ännu en "klassisk Magnus". Inget planerat under veckan blev en snabbt genomförd idé på lördagen när den dök upp i huvudet. Skönt att alltid ha en kamera i fickan nu för tiden.
This is a quarter view of a 1955 Mercury D-528 concept car at The Petersen Automotive Museum in Los Angeles, California. The rounded fenders were actually functional -- a spare tire was beneath one and a gas tank beneath the other.
I go different ways on my long walks to and from work, and noticed this display the other day. On my way home I purposely went this way again to capture this image through the window.
Suffering, in all it's varied forms, is what exactly?
A compounding of fractured soul, so matter-of-factly,
She said that He Himself said,
That surgery is an art gallery of faith instead
Masterpieces where health invariably decreases
Swan songs of broken hearts where love ceases
To enliven home truth's of carefree surrealism
One empty soul does not make another idealism,
Minimal is the grey day that paves the way for darkness
Looming on the horizon of unseen weathering blackness
A colossus of sky with the upper land
Nature the only card, saviour, and prophet to hand
Fear may only be a feeling, but the feeling is beyond fear itself
As they say, depression is expectant as we each try to find oneself
In the mire of news, be it the betrayal of the health of our citizens
Or just the assassination of natural resources wealth, that bloody well glistens
In the headlights and highlights of our obit we now live in memory alone
"A Song for Departure" plays upon the mind that cannot find adequate words to bemoan
The lack of attention paid to the well-being of Mother Nature, ageism spammed!
We are seeking the revolution for the revolving Earth whose door's are jammed
By the annual quagmire of festive exposure by all means time is spent!
Here by the grace of God, we breathe in life, in a place, in grace Heaven sent
It's tempting to stop reading, as it is to cease listening, turning a blind eye as well, why not?
But dare I say, it's nigh on impossible for very long to do the whole damned lot!
Mother Nature, She is suffering can't you see upon this obdurate land
We tune-in to be deceived, ghost hunters and faithful followers of a new kind of religious brand
Detect only what the illusion alludes to in the lost art of heart and soul
In part, life is already obfuscated with it's own toxins, we're the decade on parole
1988, 1998, 2008, I remember well, the future that is coming too soon
Here before tomorrow ever knows what to do with itself, we must find the answers to be in tune
Petty arguments wage wars within the minds of boys whose toys have been confiscated by ignorance
A belief of faith cannot be true if it sees red at every turn, nor can it bring hope for the children in whom we bestow what kind of continuance?
Benevolence is awaited with a youthful eagerness that has grown old waiting on the wings of fighters
Knives replace fists that substitute backs for tables in the cities full of such blighters
Intervention risks life and death for the removal of compassion brings the hooded underworld
That has now come up to grab society by the ruddy throat twirled
A society indeed, un-policed and unappeased the x-factor of fearless nerves
Can no longer meet with the supply, that which steals warns of what it serves
We're a breed apart though we never used to be and never should be
Walking tall when we should be down on our damned knees begging for forgiveness until we all finally agree
So the trepidant beggars of belief peaceably fly in the face of popular opinion,
For the standards of today will invariably fail the tests of time and ever-changing dominion
If you feel the force of scientific tribulation, will it numb the senses of tomorrow
Can the government's diet, passed fit for us all, sustain us through political sorrow?
If a smile should pass your face someday, cherish it's presence upon the lifestyle that forgot how to use it
Wear yourself well, but for the love of life we must address what does reciprocally befit.
by anglia24
09h55: 02/10/2008
©2008anglia24
A combination of pieces from Hiroshi Sugimoto's photographic exhibition at the Museum of Contemporary Art Art Australia.
SMC PENTAX (K) 28mm f2 "Hollywood"
CONSTRUCTIVE CRITICISM/SUGGESTIONS ARE ALWAYS WELCOME
© All Rights Reserved - No Usage Allowed in Any Form Without the Written Consent of the photographer.
check out my website www.chrisvandolleweerd.com
Il tabernacolo, in forma di trittico, pervenne in Galleria dopo il 1910 come deposito del convento di sant'Agnese di Perugia, dove era conservato da almeno un secolo. Non esistono fonti documentarie che possano individuare l'originaria ubicazione, tuttavia, recentemente Scarpellini ha ritenuto di localizzare il luogo di provenienza del dipinto nella chiesa templare di san Bevignate a Perugia. Lo studioso così si esprime: "Nella Presentazione al Tempio, sulla tovaglia d 'altare, spicca una croce a forcella di colore rosso che è una tipica croce templare. E la presenza di tale motivo in quella scena (ove viene rappresentato per l'appunto l'antico tempio di Salomone a Gerusalemme, cioè il luogo ove i templari si accasarono subito dopo la fondazione dell'Ordine e da cui presero il nome), non può essere una semplice coincidenza. Insomma tutto induce a pensare che il trittico venisse realizzato su commissione dei templari e che fosse originariamente destinato alla chiesa suburbana di san Bevignate di Perugia, fondata nel 1256, dove l'antico, intatto altare è di misure giuste ad accogliere l'opera". Nella letteratura locale tra Ottocento e Novecento non si coglie alcuna traccia relativa all'opera in esame (molto probabilmente perché conservata in un monastero di clarisse); la prima apparizione del tabernacolo fu nella mostra sull'antica arte umbra del 1907, dove il dipinto figura come proprietà di monsignor Marzolini; tuttavia essa era certamente nota nell'ambiente artistico locale degli ultimi due decenni del XIII secolo, essendo, la Madonna con il Bambino, citata in uno degli affreschi in san Matteo degli Armeni. La conoscenza della cultura mediorientale in particolare armena da parte di un pittore occidentale, autore del tabernacolo, potrebbe spiegarsi oltre che con la committenza templare, anche con l'influenza esercitata da alcune miniature presenti nel gruppo più antico dei corali di san Domenico, conservati presso la Biblioteca Augusta di Perugia e databili negli anni settanta. Riflessi dell'arte sinaitica vengono colti anche da Pace, che punta l'attenzione sulla colonia armena, insediatasi in san Matteo a Perugia fin dall'ottavo decennio del XIII secolo, la quale nel 1279 ricevette in dono numerosi libri dalla Cilicia. Un termine ante quem di datazione è posto da Todini che vede nella Crocifissione miniata nel messale n. 8 dell'Archivio capitolare del Duomo di Assisi, datata 1273, precisi riflessi dal cosiddetto Trittico Marzolini. Per quanto riguarda le due figure sulla fronte esterna degli sportelli, le indagini condotte in seguito al recente restauro hanno evidenziato come queste siano state dipinte più tardi e in maniera affrettata (manca l'imprimitura della tela di lino). Del resto già dal semplice confronto stilistico emergeva chiara la minor raffinatezza delle figure, rispetto alle altre parti dell'opera. A tal proposito Scarpellini nel tentativo di meglio comprendere le vicende storico-artistiche del tabernacolo, suppone che l'esecuzione di san Francesco e di santa Chiara risalga al momento del trasferimento del trittico nella chiesa di sant'Agnese, appartenente all'Ordine francescano. D'altro canto proprio nel 1307 i Francescani vennero incaricati da papa Clemente V di arrestare i Templari e di requisirne i beni: è probabile che in quell'occasione l'opera in esame subisse tali modifiche
Clouds forming above the Grand Canyon - taken with a Nikon D300 and 24-120MM AFS lens, tripod mounted - I have been to the Grand Canyon often and each time it is wonderfully different - sometimes the haze is awful, sometimes the fog in the morning is so thick you can't even tell there is a canyon there, and sometimes, the clouds and the light are absolutely magical. All my published books, available world wide, can be viewed here:
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Chapelle en forme de croix latine, avec un seul transept, contenue dans l'enclos monastique. La nef et la façade principale remontent au XVIe siècle, avec ogives et sculptures. Le transept est séparé de la nef par une colonne qui possédait un chapiteau sculpté rappelant le style de l'architecture lombarde, détruit. Au Moyen-Age, s'y rassemblaient les pèlerins désirant rejoindre Rocamadour ou Compostelle à pied.. La chapelle Sainte-Anne avait de plus cette particularité d’être associée à un hospice, attesté dès le début du XVe siècle qui accueillait malades et pèlerins, notamment ceux du Tro Breiz qui venaient de franchir au bas de la rue de l’Église, le carrefour des Sept Saints. Une ouverture pratiquée dans le mur ouest permettait aux malades d’entendre et de participer aux messes célébrées dans la chapelle.
and forms ...
artist/architect unknown to me ...
in my Art Series ...
Taken Mar 21, 2019
Thanks for your visits, faves, invites and comments ... (c)rebfoto