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Chris Kelly (Dudley South) (Con):
Thank you, Mr Deputy Speaker, for calling me to speak in this important debate, not least because I was otherwise due to serve on a Public Bill Committee. I draw the House’s attention to my declaration in the Register of Members’ Financial Interests.
I will restrict my remarks to how I see the autumn statement benefiting and assisting the economy in my own region. Many businesses across the west midlands are set to benefit from the plans laid out by my right hon. Friend the Chancellor last week. The 368,000 small businesses in the region, including many in my own black country constituency, will benefit from the business bank, which brings together existing Government finance plans and uses £1 billion to stimulate the market for long-term capital. The decision to increase the annual investment allowance limit from £25,000 to £250,000 for two years, in addition to an extra £25 million per year for UK Trade and Investment’s assistance and guidance on exports, will be of great help to an area such as mine, which is crammed with small and medium-sized engineering and manufacturing firms. In addition, the scrapping of the 3p rise in fuel duty, which means that fuel prices will be 10p lower than they would have been under the plans of the Labour party, will help ease the strain of transport costs for small and medium-sized enterprises.
My right hon. Friend the Chancellor has demonstrated once again that Britain is open for business. The reduction in corporation tax to 21% from April 2014 means that the UK will have the lowest corporation tax in the G7. It is worth noting that the total amount raised in corporation tax for the year 2011-12 was £43.4 billion—20% higher than it was for Labour’s last year in office. Lower corporation tax is working. It is resulting in the higher yields that the Treasury needs, while also contributing to increased private sector investment and employment.
Prior to the autumn statement, the black country chamber of commerce, which has many members in my constituency, called for my right hon. Friend the Chancellor to support a pro-business environment. In response to the measures announced by my right hon. Friend, the chamber’s president, Paul Bennett, welcomed his actions to get British business growing:
“The Chancellor’s Statement was encouraging for businesses and many of our members concerns seem to have been addressed”.
Meanwhile, Mark Hastings, the director general of the Institute for Family Business, described several of the measures as “encouraging”. This qualified support reflects the attitudes of many of the business people whom I have spoken to recently in my own constituency—they recognise that this Government are on their side—and of those in the family business sector, in which I am involved as the founder and chairman of the all-party group on family business.
It is pleasing to see the Chancellor building on this Government’s support for British businesses. Last year, we saw an increase of 250,000 in the number of private businesses, which included 226,000 new small businesses, a good proportion of which were in the west midlands. It is obvious, but still worth pointing out, that every successful large employer in the private sector started off as a small start-up. Even JCB, which was started by the inspirational J.C. Bamford and which I have had the privilege of visiting in Rocester, was once a small enterprise in a small shed. I refer the House to my declaration in the register relating to the last election.
This Government are cutting red tape and making it easier for budding entrepreneurs in this country to set up their own businesses, and that is clearly being borne out by the figures. All of that is in marked contrast to the previous Labour Administration, who introduced the equivalent of six new regulations for every single working day they were in power. It is estimated by the British Chambers of Commerce that those new regulations have cost British businesses almost £77 billion since 1998.
Last week, the Chancellor announced further support for local enterprise partnerships, which the Government created. That is the right approach because it promotes local growth by ensuring that Government spending is aligned with the priorities of local business communities. We have an excellent LEP in the black country, which is ably chaired by the no-nonsense Stewart Towe of Hadley Industries. I am confident that the Government’s approach will help to create the conditions that will enable the private sector to get on with creating more jobs in the black country.
The Government are continuing to demonstrate that they are not afraid to take tough decisions in the face of tough economic times. A clear message is being sent out that Britain is open for business and that Britain has a pro-business Government.
Video: www.parliamentlive.tv/Main/Player.aspx?meetingId=11985 (go to 16:15:00)
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Hi
Our candle light vigil was a success despite the ridiculously cold weather.
Ours was held in Saskatoon, Saskatchewan, Canada. It was -28 but felt like
-41 with the wind chill. We had a total number of 37 people come out and
brave the cold. This was heart warming to see just how important this issue
is for people. We had 2 speakers talk, one from Oxfam Canada and the other
from the Saskatchewan Environmental Society. We also sang some Christmas
carols with altered lyrics (See below). Everyone was in good spirits and
left energized. The local newspaper covered this event and it's printed on
the 2nd page of today's paper!
This was a definite success and was relatively easy to organize. Glad I did
it!
Julianne Rooke
(306)220-1887
Climate Carols
To the tune of Jingle Bells
Emissions here, emissions there,
Emissions every day!
The Tories know that one day soon the Earth will have to pay.
Hey!
Offsets here, offsets there,
Offsets every day!
Let us keep on mining while the Third World pays our way.
Hey!
Selling dirty oil,
Stinking up the air,
Never was our right,
Never was too fair. (cough, cough, cough)
A fair and binding deal,
That is what we need,
Canada must stop this madness,
And show that we can lead!
To the tune of Winter Wonderland
Come close, have you noticed?
Something new, in Ottawa.
Big oil companies, have been given the keys,
And are colonising countries by degrees.
Buying land, selling credits,
Foreign aid, spent on offsets.
When profits are made, our forests aren¹t saved.
We¹re colonising countries by degrees.
In Kenya locals losing all their land rights,
Banks are running schemes on you and me,
While Canadaian companies just keep polluting,
And traders sell their offsets happily.
To the tune of Deck the Halls
Carbon offsets are a scam
Fa-la-la-la-la La-la-la-la
Traders profiting all they can
Fa-la-la-la-la La-la-la-la
Wonky schemes and massive profits
Fa-la-la La-la-la La-la-la
Aren¹t the way to save our forests
Fa-la-la-la-la La-la-la-la
Corporations never gave us
Fa-la-la-la-la La-la-la-la
Proof to show that they will save us
Fa-la-la-la-la La-la-la-la
Bankers shouldn¹t own the forests
Fa-la-la La-la-la La-la-la
Native Title can¹t be offset
Fa-la-la-la-la La-la-la-la
Bikes for the world
(to the tune of Joy to the World)
Bikes for the world! The time has come
Let earth receive clean air
Let every heart, beat steadily
And heaven and nature sing
And heaven and nature sing
And heaven and heaven and nature sing
Bikes rule the road, with speed and grace
And make our nation free
From oil rigs and corporate greed
So ride your bicycle
So ride your bicycle
So ride, so ride your bicycle!
Climate change is coming to town
(to the tune of Santa Claus in coming to town)
You better watch out, you better not drive
You better ride bikes I¹m telling you why
Climate change is coming to town
We¹re making it hot, we¹re raising the sea
Gonna feel life at a hundred degrees
Climate change is coming to town
If people keep on driving
The poles will soon be lakes
The air will stink like petrol fumes
Ride your bike for goodness sake
We¹re making a list, we¹re checking it twice
We¹re gonna find out who drove and who biked!
Climate change is coming to town
Lisa M. Faye
Public Engagement, Advocacy and Campaigns Officer
Oxfam Canada
416 21st Street East, Suite 200
Saskatoon, Saskatchewan
S7K 0C2
Fax: (306) 955-6455
Email: lisaf@oxfam.ca <
Because me and my sis have met and talked to that lady during my first visit to Whitby and somehow I was really happy to spot her again.
And just now I noticed that they can also be seen on the picture with the lighthouse. :o)
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The northwest turret of Nagoya Castle is an important national asset. Why? Because when Nagoya Castle was constructed, Kiyosu Castle's keep was moved to Nagoya where it became one heck of a formidable turret. So, there really is nothing original about the Kiyosu Castle that exists today because the real Kiyosu Castle is located on the grounds of Nagoya Castle.
The day I shot these photos, I was at Nagoya Castle for the Grand Opening of the Honmaru Palace's entryway. The Northwest Turret, which is normally closed to the public was open for this special occasion, and what a treat it was. Again, I really don't know what it is about Nagoya Castle. Everytime I go there, I find a new picture to shoot of the castle. I don't know if it is the lighting, the angles or what. Anyway, it is truly the castle that "keeps giving"!
Early into the Edo period, as it became clear that a second showdown with the Toyotomi clan would likely happen, Tokugawa Ieyasu ordered that Nagoya Castle be built on the site of the old Oda Castle where Nobunaga was born. As the area stood at an important strategic point along the Tōkaidō Road, Ieyasu wanted to make sure that he had a strong fortress to control the approach midway between Osaka and Edo. Work on the castle started in 1609 and it was completed in 1612. Nagoya Castle became the seat of the Owari Tokugawa clan, who relocated here from nearby Kiyosu Castle, which was dismantled and parts of it were used in the building of Nagoya Castle. The castle with its Honmaru Palace, was along with Himeji Castle, considered one of the most beautiful ones in the entire country. Nagoya Castle was destroyed in a bombing raid by US forces in May 1945 during World War II. The castle was rebuilt, this time using Ferro-concrete and steel in 1959. The Honmaru Palace is also being rebuilt, using traditional materials and techniques when applicable. The first segment will open in 2010, and the construction will finally wrap up in 2017.
On the Square in Columbia, Tennessee
I did a test run with Ilford Delta 400 on the streets. I like the results, but I still have not decided on a "go-to" film for street work. I am going to compare these to a couple rolls of TRI-X 400 I have in the hopper. I also just loaded some HP5 Plus 400 in my OM1. I have a feeling I might choose TRI-X, but I've heard good things about HP5 as well. Read my blog about this picture here: www.shutteringthrulife.com/on-the-square/
Olympus OM1
Olympus OM Zuiko 50mm f1.8
Ilford Delta 400
Developed & Scanned by the Film Box Lab
Eu junto a moradores, a arquiteta da Cohab, Violeta, o Diretor da Cohab José Rubens, a secretária da Associação, Marinalva, e Aribazão - acompanhe em www.antoniocarlosrodrigues.blog.br/agenda-do-final-de-sem...
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Centrally located within Longwood, the Peirce-du Pont House can be seen as an anchor—the home base for two very important stewards of this region’s land (and the evolution of the Brandywine Valley). As you tour the residence, enjoy the Heritage Exhibit, covering 300 years of history and horticulture at Longwood. Short videos, photographs, artifacts, and some of the original plans for the early days of Longwood are here, with many spaces to sit and take it all in. The gardens that surround the home provide shaded benches for resting, along with proximity to the stunning trees of Peirce’s Park just east of the house. Springtime brings a sea of flowering bulbs on the nearby lawns and the fragrant allure of wisteria. Come late summer and fall, look for the blooms of the Franklin tree. If you’re taking a break from the sun, or you’re craving a getaway on a chillier day, the warmth of the airy, sunlit conservatory is a great place to consider the earliest beginnings of Longwood.
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Arithmetic is extremely important for building up a solid academic foundation for our children. UCMAS Mental Arithmetic is an internationally well known powerful mental development programme. Our successful, step by step, guidance and motivational teaching method will, effectively activate children’s latent Mental Power and develop memory, analysis, observation, creative, judgment and self-confidence. The advantage of learning UCMAS Mental Arithmetic is to acquire high levels of Concentration, fine quality Listening, Visualization, Creativity and Presentation skills and help in excelling in other academic subjects.
UCMAS is an international Concept and it was developed from “Zhusuan Methodology” that originated in China. UCMAS Mental Arithmetic System is a modern representation of an ancient art of Mental Math. UCMAS Mental Arithmetic is an internationally well-known powerful Mental Development Programme, which will effectively activate children’s latent mental power and develop their utmost in Photographic Memory and Mental & Creative Skills resulting in Self-reliance and Self-confidence.
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“It is important that we can continue to count on the support of the International Community“. The responsible representative of the Afghan Ministry of Education, Mohammad Hanif and Zahra, Head of the Girls’ School.
Important legal note.
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Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liaIble to prosecution.
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liaIble to prosecution.
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting or removing water marks are liable to prosecution.
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting or removing water marks are liable to prosecution.
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liaIble to prosecution.
The cheerless City Fathers of Edinburgh (or their regional equivalents) remind you of the dire consequences of dodging your fare.
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Important stuff going on in there. Unless they're talking about icanhascheezburger.com/">icanhascheezburger.com/
IMPORTANT:
© All rights reserved
© Derechos Reservados
© TUTTI I DIRITTI RISERVATI
Please dont use my images without my permission.
Auguste Rodin (Paris 1840-1917 Meudon)
The head of John the Baptist, 1878
Acquired 1981 Inventory P 161
Auguste Rodin (Paris 1840 - 1917 Meudon)
Das Haupt Johannes' des Täufers, 1878
Erworben 1981, Inventar P 161
Collection
The foundation of the collection consists of 205 mostly French and Dutch paintings from the 17th and 18th centuries which Margravine Karoline Luise acquired 1759-1776. From this collection originate significant works, such as The portrait of a young man by Frans van Mieris the Elder, The winter landscape with lime kiln of Nicolaes Pieterszoon Berchem, The Lacemaker by Gerard Dou, the Still Life with hunting equipment and dead partridge of Willem van Aelst, The Peace in the Chicken yard by Melchior de Hondecoeter as well as a self-portrait by Rembrandt van Rijn. In addition, four still lifes of Jean Siméon Chardin and two pastoral scenes by François Boucher, having been commissioned directly by the Marchioness from artists.
A first significant expansion the museum received in 1858 by the collection of canon Johann Baptist von Hirscher (1788-1865) with works of religious art of the 15th and 16th centuries. This group includes works such as two tablets of the Sterzinger altar and the wing fragment The sacramental blessing of Bartholomew Zeitblom. From 1899 to 1920, the native of Baden painter Hans Thoma held the position of Director of the Kunsthalle. He acquired old masterly paintings as the tauberbischofsheim altarpiece by Matthias Grünewald and drove the expansion of the collection with art of the 19th century forward. Only his successors expanded the holdings of the Art Gallery with works of Impressionism and the following generations of artists.
The permanent exhibition in the main building includes approximately 800 paintings and sculptures. Among the outstanding works of art of the Department German painters of the late Gothic and Renaissance are the Christ as Man of Sorrows by Albrecht Dürer, the Carrying of the Cross and the Crucifixion by Matthias Grünewald, Maria with the Child by Lucas Cranach the Elder, the portrait of Sebastian Brant by Hans Burgkmair the elder and The Nativity of Hans Baldung. Whose Margrave panel due to property disputes in 2006 made it in the headlines and also led to political conflicts. One of the biggest buying successes which a German museum in the postwar period was able to land concerns the successive acquisition of six of the seven known pieces of a Passion altar in 1450 - the notname of the artist after this work "Master of the Karlsruhe Passion" - a seventh piece is located in German public ownership (Wallraf-Richartz Museum, Cologne).
In the department of Dutch and Flemish paintings of the 16th century can be found, in addition to the aforementioned works, the portrait of the Marchesa Veronica Spinola Doria by Peter Paul Rubens, Moses strikes the rock and water flows for the thirsty people of Israel of Jacob Jordaens, the still life with kitchen tools and foods of Frans Snyders, the village festival of David Teniers the younger, the still life with lemon, oranges and filled clay pot by Willem Kalf, a Young couple having breakfast by Gabriel Metsu, in the bedroom of Pieter de Hooch, the great group of trees at the waterfront of Jacob Izaaksoon van Ruisdael, a river landscape with a milkmaid of Aelbert Jacobsz. Cuyp as well as a trompe-l'œil still life of Samuel van Hoogstraten.
Further examples of French paintings of the 17th and 18th centuries are, the adoration of the golden calf of Claude Lorrain, preparations for dance class of the Le Nain brothers, the portrait of Marshal Charles-Auguste de Matignon by Hyacinthe Rigaud, the portrait of a young nobleman in hunting costume of Nicolas de Largillière, The storm of Claude Joseph Vernet and The minuet of Nicolas Lancret. From the 19th century can be found with Rocky wooded valley at Civita Castellana by Gustave Courbet, The Lamentation of Eugène Delacroix, the children portrait Le petit Lange of Édouard Manet, the portrait of Madame Jeantaud by Edgar Degas, the landscape June morning near Pontoise by Camille Pissarro, homes in Le Pouldu Paul Gauguin and views to the sea at L'Estaque by Paul Cézanne further works of French artists at Kunsthalle.
One focus of the collection is the German painting and sculpture of the 19th century. From Joseph Anton Koch, the Kunsthalle possesses a Heroic landscape with rainbow, from Georg Friedrich Kersting the painting The painter Gerhard Kügelgen in his studio, from Caspar David Friedrich the landscape rocky reef on the sea beach and from Karl Blechen view to the Monastery of Santa Scolastica. Other important works of this department are the disruption of Adolph Menzel as well as the young self-portrait, the portrait Nanna Risi and The Banquet of Plato of Anselm Feuerbach.
For the presentation of the complex of oeuvres by Hans Thoma, a whole wing in 1909 at the Kunsthalle was installed. Main oeuvres of the arts are, for example, the genre picture The siblings as well as, created on behalf of the grand-ducal family, Thoma Chapel with its religious themes.
Of the German contemporaries of Hans Thoma, Max Liebermann on the beach of Noordwijk and Lovis Corinth with a portrait of his wife in the museum are represented. Furthermore the Kunsthalle owns works by Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner and Max Klinger.
In the building of the adjacent Orangerie works of the collection and new acquisitions from the years after 1952 can be seen. In two integrated graphics cabinets the Kupferstichkabinett (gallery of prints) gives insight into its inventory of contemporary art on paper. From the period after 1945, the works Arabs with footprints by Jean Dubuffet, Sponge Relief RE 48; Sol. 1960 by Yves Klein, Honoring the square: Yellow center of Josef Albers, the cityscape F by Gerhard Richter and the Fixe idea by Georg Baselitz in the Kunsthalle. The collection of classical modernism wandered into the main building. Examples of paintings from the period to 1945 are The Eiffel Tower by Robert Delaunay, the Improvisation 13 by Wassily Kandinsky, Deers in the Forest II by Franz Marc, People at the Blue lake of August Macke, the self-portrait The painter of Ernst Ludwig Kirchner, the Merzpicture 21b by Kurt Schwitters, the forest of Max Ernst, Tower gate II by Lyonel Feininger, the Seven Deadly Sins of Otto Dix and the removal of the Sphinxes by Max Beckmann. In addition, the museum regularly shows special exhibitions.
Sammlung
Den Grundstock der Sammlung bilden 205 meist französische und niederländische Gemälde des 17. und 18. Jahrhunderts, welche Markgräfin Karoline Luise zwischen 1759 und 1776 erwarb. Aus dieser Sammlung stammen bedeutende Arbeiten, wie das Bildnis eines jungen Mannes von Frans van Mieris der Ältere, die Winterlandschaft mit Kalkofen von Nicolaes Pieterszoon Berchem, Die Spitzenklöpplerin von Gerard Dou, das Stillleben mit Jagdgeräten und totem Rebhuhn von Willem van Aelst, Der Friede im Hühnerhof von Melchior de Hondecoeter sowie ein Selbstbildnis von Rembrandt van Rijn. Hinzu kommen vier Stillleben von Jean Siméon Chardin und zwei Schäferszenen von François Boucher, die die Markgräfin bei Künstlern direkt in Auftrag gegeben hatte.
Eine erste wesentliche Erweiterung erhielt das Museum 1858 durch die Sammlung des Domkapitulars Johann Baptist von Hirscher (1788–1865) mit Werken religiöser Kunst des 15. und 16. Jahrhunderts. Zu dieser Gruppe gehören Werke wie zwei Tafeln des Sterzinger Altars und das Flügelfragment Der sakramentale Segen von Bartholomäus Zeitblom. Von 1899 bis 1920 bekleidete der aus Baden stammende Maler Hans Thoma die Position des Direktors der Kunsthalle. Er erwarb altmeisterliche Gemälde wie den Tauberbischofsheimer Altar von Matthias Grünewald und trieb den Ausbau der Sammlung mit Kunst des 19. Jahrhunderts voran. Erst seine Nachfolger erweiterten die Bestände der Kunsthalle um Werke des Impressionismus und der folgenden Künstlergenerationen.
Die Dauerausstellung im Hauptgebäude umfasst rund 800 Gemälde und Skulpturen. Zu den herausragenden Kunstwerken der Abteilung deutsche Maler der Spätgotik und Renaissance gehören der Christus als Schmerzensmann von Albrecht Dürer, die Kreuztragung und Kreuzigung von Matthias Grünewald, Maria mit dem Kinde von Lucas Cranach der Ältere, das Bildnis Sebastian Brants von Hans Burgkmair der Ältere und die Die Geburt Christi von Hans Baldung. Dessen Markgrafentafel geriet durch Eigentumsstreitigkeiten 2006 in die Schlagzeilen und führte auch zu politischen Auseinandersetzungen. Einer der größten Ankaufserfolge, welche ein deutsches Museum in der Nachkriegszeit verbuchen konnte, betrifft den sukzessiven Erwerb von sechs der sieben bekannten Tafeln eines Passionsaltars um 1450 – der Notname des Malers nach diesem Werk „Meister der Karlsruher Passion“ – eine siebte Tafel befindet sich in deutschem öffentlichen Besitz (Wallraf-Richartz Museum, Köln).
In der Abteilung niederländischer und flämischer Malerei des 16. Jahrhunderts finden sich, neben den erwähnten Werken, das Bildnis der Marchesa Veronica Spinola Doria von Peter Paul Rubens, Moses schlägt Wasser aus dem Felsen von Jacob Jordaens, das Stillleben mit Küchengeräten und Lebensmitteln von Frans Snyders, das Dorffest von David Teniers dem Jüngeren, das Stillleben mit Zitrone, Orangen und gefülltem Römer von Willem Kalf, ein Junges Paar beim Frühstück von Gabriel Metsu, Im Schlafzimmer von Pieter de Hooch, die Große Baumgruppe am Wasser von Jacob Izaaksoon van Ruisdael, eine Flusslandschaft mit Melkerin von Aelbert Jacobsz. Cuyp sowie ein Augenbetrüger-Stillleben von Samuel van Hoogstraten.
Weitere Beispiele französischer Malerei des 17. bzw. 18. Jahrhunderts sind Die Anbetung des Goldeen Kalbes von Claude Lorrain, die Vorbereitung zur Tanzstunde der Brüder Le Nain, das Bildnis des Marschalls Charles-Auguste de Matignon von Hyacinthe Rigaud, das Bildnis eines jungen Edelmannes im Jagdkostüm von Nicolas de Largillière, Der Sturm von Claude Joseph Vernet und Das Menuett von Nicolas Lancret. Aus dem 19. Jahrhundert finden sich mit Felsiges Waldtal bei Cività Castellana von Gustave Courbet, Die Beweinung Christi von Eugène Delacroix, dem Kinderbildnis Le petit Lange von Édouard Manet, dem Bildnis der Madame Jeantaud von Edgar Degas, dem Landschaftsbild Junimorgen bei Pontoise von Camille Pissarro, Häuser in Le Pouldu von Paul Gauguin und Blick auf das Meer bei L’Estaque von Paul Cézanne weitere Arbeiten französischer Künstler in der Kunsthalle.
Einen Schwerpunkt der Sammlung bildet die deutsche Malerei und Skulptur des 19. Jahrhunderts. Von Joseph Anton Koch besitzt die Kunsthalle eine Heroische Landschaft mit Regenbogen, von Georg Friedrich Kersting das Gemälde Der Maler Gerhard Kügelgen in seinem Atelier, von Caspar David Friedrich das Landschaftsbild Felsenriff am Meeresstrand und von Karl Blechen den Blick auf das Kloster Santa Scolastica. Weitere bedeutende Werke dieser Abteilung sind Die Störung von Adolph Menzel sowie das Jugendliche Selbstbildnis, das Bildnis Nanna Risi und Das Gastmahl des Plato von Anselm Feuerbach.
Für die Präsentation des Werkkomplexes von Hans Thoma wurde 1909 in der Kunsthalle ein ganzer Gebäudetrakt errichtet. Hauptwerke des Künstlers sind etwa das Genrebild Die Geschwister sowie die, im Auftrag der großherzöglichen Familie geschaffene, Thoma-Kapelle mit ihren religiösen Themen.
Von den deutschen Zeitgenossen Hans Thomas sind Max Liebermann mit Am Strand von Noordwijk und Lovis Corinth mit einem Bildnis seiner Frau im Museum vertreten. Darüber hinaus besitzt die Kunsthalle Werke von Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner und Max Klinger.
Im Gebäude der benachbarten Orangerie sind Werke der Sammlung und Neuankäufe aus den Jahren nach 1952 zu sehen. In zwei integrierten Grafikkabinetten gibt das Kupferstichkabinett Einblick in seinen Bestand zeitgenössischer Kunst auf Papier. Aus der Zeit nach 1945 finden sich die Arbeiten Araber mit Fußspuren von Jean Dubuffet, Schwammrelief >RE 48:Sol.1960< von Yves Klein, Ehrung des Quadrates: Gelbes Zentrum von Josef Albers, das Stadtbild F von Gerhard Richter und die Fixe Idee von Georg Baselitz in der Kunsthalle. Die Sammlung der Klassischen Moderne wanderte in das Hauptgebäude. Beispiele für Gemälde aus der Zeit bis 1945 sind Der Eiffelturm von Robert Delaunay, die Improvisation 13 von Wassily Kandinsky, Rehe im Wald II von Franz Marc, Leute am blauen See von August Macke, das Selbstbildnis Der Maler von Ernst Ludwig Kirchner, das Merzbild 21b von Kurt Schwitters, Der Wald von Max Ernst, Torturm II von Lyonel Feininger, Die Sieben Todsünden von Otto Dix und der Abtransport der Sphinxe von Max Beckmann. Darüber hinaus zeigt das Museum regelmäßig Sonderausstellungen.
Important legal note.
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Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liaIble to prosecution.
Harrison Stafford was born in 1977 and grew up in the town of Pleasanton, an east bay suburb of San Francisco, California. He attended regular public schools and also spent time in Synagogue studying the Torah and learning Hebrew. His parents have a deep appreciation for the love of music and music played an important role in the daily life of the family.
For reasons even he can’t fully explain, Reggae music and its’ history touched him at a very young age and sparked a love of the rhythm and culture of the African Diaspora. Still in high school he began to wonder why Reggae music, coming from a relatively small group of poor black people, was such a powerful voice for equal rights and justice, and he longed to be a part of that worldwide struggle.
After graduating from high school, Harrison studied jazz at Sonoma State University where he formed the fusion Reggae group Groundation in 1998. Groundation has since become one of the leading conscious bands of the underground music scene having released eight albums of original music and participated in countless world tours. Harrison continues to be a driving force behind Groundation both in his role as lead vocalist and in his creative ability to develop exciting new music.
Drawing on his personal research and his travel experiences in Jamaica and Africa, Harrison created a college level course titled “the History of Reggae Music”, which he taught at Sonoma State University from 1999-2001. The course was unique in that it took students who maybe just recently heard of Reggae music or only knew it from the popularity of Bob Marley and helped them appreciate the music on a deeper level; helped them understand how the music and message really defines who we are and where we stand in this time.
From 2000-2012 Harrison produced a documentary film on the history of the Rastafarian movement and Reggae music; entitled “Holding on to Jah”. The film features exclusive interviews with the who’s who of Reggae legends including The Congos, The Abyssinians, Ras Michael, Brother Samuel Clayton, Pablo Moses, Israel Vibration, IJahman Levi, Countryman, and Winston McAnuff among many others. Holding on to Jah was a collaboration with his long time childhood friend, director Roger Hall, and is currently in contract negotiations for the publishing rights to secure its world-wide release November, 2015.
Harrison continues to write music and tour with Groundation and to get involved in other projects that help spread the music and the message. He recorded a jazz influenced album call “Rockamovya” in 2008 which was a collective featuring members of Groundation along with Horsemouth on the drums and Grammy nominated Jazz guitarist Will Bernard. Harrison also began solo works including a studio release (Madness 2011) and a live DVD/CD (Throw Down Your Arms 2012) under the name “Professor” which focused on the Israeli-Palestinian conflict and featured legendary Jamaican musicians Leroy “Horsemouth” Wallace on the drums and Errol “Flabba Holt” Carter on bass.
Today Harrison is gearing up to release another solo project this time under the name “Harrison Stafford & The Professor Crew” set for a May 2016 release date. To coincide with the release of his long awaited documentary film Holding On To Jah, Harrison will be touring come Jan 2016 under the name Harrison Stafford & The Professor Crew, performing the works from his solo “Madness” and “Throw Down Your Arms” releases and also new material from the coming studio album release “One Dance.”
Outside St George's Hall during "Liverpool Pride" day.
N.B. I googled the firm's name out of curiosity and learned it's an "Adult" store.
More importantly though, my MacAfee anti-virus programme immediately warned me that their website was considered a "risk" to visit.
CHAPTER XVIII
You will recall that at the beginning of the Last French War in 1756 the English colonies lived almost entirely between the Alleghany Mountains and the Atlantic Ocean. Such continued to be their narrow boundaries up to the beginning of the Revolutionary War. To understand how, at the end of this war, the western boundary had been extended to the Mississippi, we must turn our attention to those early western pioneers, the backwoodsmen, who rendered very important services to their country.
One of the most noted of these pioneers was Daniel Boone. He was born in Bucks County, Pa., in 1735. Caring little for books, he spent most of his time in hunting and fishing. The woods were his special delight, and naturally he became an expert rifleman.
The story is told that when a small boy he wandered one day into the forest some distance from home,[Pg 223] and built himself a rough shelter of logs. There he would spend days at a time with only his rifle and game for company. The rifle served to bring down the game, and this he cooked over a fire of logs. A prince might have envied his dreamless slumber as he lay on a bed of leaves with the skin of a wild animal for covering. This free, wild life trained him for his future career as a fearless hunter and woodsman.
The Kentucky Settlement. The Kentucky Settlement.
When Daniel was about thirteen years old his father moved to North Carolina and settled on the Yadkin River, where Daniel grew to manhood. After his marriage at the age of twenty, he built him a hut in the solitude of the wilderness, far removed from other settlers' homes.
Indian Costume (Female). Indian Costume (Female).
But Boone was restless. For years he looked with eager eyes toward the rugged mountains on the west and to the country beyond. Day by day, his desire to[Pg 224] visit this wild unknown region increased, until he could no longer restrain it. By the time he was twenty-five he had begun his explorations and had pushed his way as far as Boone's Creek, which is a branch of the Watauga River in Eastern Tennessee. Near this creek there yet stands a beech-tree with the inscription: "D. Boon cilled a bar on (this) tree in the year 1760."
Nine years after this date Daniel Boone, in company with five other men, started out on May 1st to cross the Alleghany Mountains. For five weeks the bold travellers picked their way through the pathless woods. But when in June they reached Kentucky, they were rewarded for all the hardships they had endured. For here was a beautiful country with an abundance of game, including deer, bears, and great herds of bison.
They promptly put up a shelter made of logs and open on one side. The floor of this camp, as it was called, was the earth, covered with leaves and hemlock twigs.
Indian Costume (Male). Indian Costume (Male).
Six months after their arrival Boone and a man named Stewart had an unpleasant experience. While off on a hunting expedition, they were captured by an Indian party. For seven days the dusky warriors carefully guarded their prisoners. But on the seventh night,[Pg 225] having gorged themselves with the game killed during the day, the Indians fell into a sound sleep. Boone, while pretending to be asleep, had been watching his opportunity. So when the right moment came he quietly arose, awoke Stewart, and the two crept stealthily away until out of hearing of the Indians. Then, leaping to their feet, they bounded away like deer, through the dark woods toward their camp. This they found deserted, and what had become of their friends they never learned.
Some weeks later Boone was pleasantly surprised by the appearance at the camp of his brother, Squire Boone, and a companion. The four men lived together without special incident, until one day Stewart was surprised and shot by some Indians. Stewart's death so terrified the man who had accompanied Squire Boone, that he gave up the wilderness life and returned to his home.
Boone and his brother remained together in the forest for three months longer, but their ammunition getting low, on May 1st Squire Boone returned to North Carolina for a fresh supply and for horses. Daniel was thus left alone, 500 miles from home. His life was in constant peril from wild beasts and Indians. He dared not sleep in his camp, but resorted at night to a canebrake or some other hiding-[Pg 226]place, where he lay concealed, not even kindling a fire lest its light might betray him. During these months of solitary waiting for his brother, Boone endured many privations. He had neither salt, sugar, nor flour, his sole food being game brought down by his rifle. But the return of his brother, in July, with the expected provisions, brought him much good cheer.
After two years of this experience in the wilderness, Daniel Boone returned to his home on the Yadkin to make preparations for removal. By September, 1773, he had sold his farm and was ready to go with his family to settle in Kentucky. His enthusiastic reports of the fertile country he had been exploring found eager listeners, and when his party was ready to start it included, besides his wife and children, five families and forty men, with a sufficient number of horses and cattle. Unhappily they were attacked on their way by Indians, and six men, one of them Boone's eldest son, were killed. Discouraged by this setback the party returned to the nearest settlement, and for a while longer the migration westward was postponed.
But it was Boone's unflinching purpose to settle in the beautiful Kentucky region. It had already become historic, for the Indians called it a "dark ground," a "bloody ground," and an old Indian Chief had related to Boone how many tribes had hunted and fought on its disputed territory.
None of the Indians held an undisputed claim to the land. Nevertheless a friend of Boone, Richard Henderson, and other white men made treaties with[Pg 227] the powerful Cherokees, who allowed them to settle here. As soon as it became certain that the Cherokees would not interfere, Henderson sent Boone in charge of thirty men to open a pathway from the Holston River, over Cumberland Gap to the Kentucky River. This is still known as the Wilderness Road, along which so many thousand settlers afterward made their way.
On reaching the Kentucky River, Boone and his men set to work to build a fort on the left bank of the stream. This fort they called Boonesborough. Its four stout walls consisted in part of the outer sides of log cabins and in part of a stockade, some twelve feet high, made by thrusting into the ground stout pieces of timber pointed at the top. There were loop-holes in all the cabins, and a loop-holed block-house at each corner of the fort.
Daniel Boone, the leader of this settlement, was a man of interesting personality. He was a tall, slender backwoodsman, with muscles of iron and a rugged nature that enabled him to endure great hardship. Quiet and serious, he possessed courage that never shrank in the face of danger. Men had confidence in him because he had confidence in himself. Moreover, his kind heart and tender sympathies won lasting friendships. He usually though not always dressed like an Indian. A fur cap, a fringed hunting shirt, and leggings and moccasins, all made of skins of wild animals, made up his ordinary costume.
[Pg 228]
Daniel Boone in his Cabin. Daniel Boone in his Cabin.
If we should go in imagination into Daniel Boone's log cabin out in the clearing not far from the fort, we should find it a simple home with rude furnishings. A ladder against the wall was the stairway by which the children reached the loft. Pegs driven into the wall held the scanty family wardrobe, and upon a rough board, supported by four wooden legs, was spread the family meal.[Pg 229]
A Hand Corn Mill. A Hand Corn Mill.
There was an abundance of plain and simple food. Bear's meat was a substitute for pork, and venison for beef. As salt was scarce, the beef was not salted down or pickled, but was jerked by drying in the sun or smoking over the fire. Corn was also an important article of diet. When away from home to hunt game or to follow the war trail, sometimes the only food which the settler had was the parched corn he carried in his pocket or wallet. Every cabin had its hand-mill for grinding the corn into meal and a mortar for beating it into hominy. The mortar was made by burning a hole into the top of a block of wood.
A pioneer boy found his life a busy and interesting one. While still young he received careful training in imitating the notes and calls of birds and wild animals. He learned how to set traps, and how to shoot a rifle with unerring aim. At twelve years of age he became a fort-soldier, with port-hole assigned to him for use in case of an Indian attack. He received careful training, also, in following an Indian trail and in concealing his own when on the warpath. For expert knowledge of this kind was necessary in the midst of dangers from unseen foes that were likely to creep stealthily upon the settlers at all times[Pg 230] whether they were working in the clearings or hunting in the forest.
After building the fort, Boone returned to his home in North Carolina for his family. Some months after the family reached Boonesborough, Boone's daughter with two girl friends was one day floating in a boat near the river-bank. Suddenly five Indians darted out of the woods and, seizing the three girls, hurried away with them. When in their flight the Indians observed the eldest of the girls breaking twigs and dropping them in their trail, they threatened to tomahawk her unless she stopped it. But watching her chance, she from time to time tore off strips of her dress, and dropped them as guides to the pursuing whites.
A Wigwam. A Wigwam.
As soon as possible after hearing of the capture Boone, with seven other men from the fort, started upon the trail of the Indians and kept up the pursuit until, early on the second morning, they discovered the Indians sitting around a fire cooking breakfast. Suddenly the whites, firing a volley, killed two of the Indians and frightened the others so badly that they beat a hasty retreat, leaving the girls uninjured.
Early in 1778, Boone and twenty nine other men were captured and carried off by a party of Indian warriors. At that time the Indians in that part of the country were fighting on the English side in the Revolution, and as they received a ransom for any Americans they might hand over to the English, they took Boone and the other men of his party to Detroit.
Although the English offered $500 for Boone's[Pg 231] ransom the Indians refused to let him go. They admired him so much that they took him to their home, and with due ceremony adopted him into their tribe. Having plucked out all his hair except a tuft on the top of his head, they dressed this with feathers and ribbons as a scalp-lock. Next they threw him into the river and gave his body a thorough scrubbing in order to wash out all the white blood. Then, daubing his face with paint in true Indian fashion, they looked upon him with huge satisfaction as one of themselves.
Boone remained with them several months, during which he made the best of the life he had to lead. But when he heard that the Indians were planning an attack upon Boonesborough, he determined to escape if possible and give his friends warning. His own words tell the story in a simple way: "On the 16th of June, before sunrise, I departed in the most secret manner, and arrived at Boonesborough on the 20th after a journey of 160 miles, during which I had but one meal." He could not get any food because he dared not use his gun, nor would he build a fire for fear of discovery by his foes. He reached the fort in safety, where he was of great service in beating off the attacking party.
But this is only one of the many hairbreadth escapes[Pg 232] of the fearless backwoodsman. Once while in a shed looking after some tobacco, four Indians with loaded guns appeared at the door. They said: "Now, Boone, we got you. You no get away any more. You no cheat us any more." In the meantime, Boone had gathered up in his arms a number of dry tobacco leaves, and with the dust of these suddenly filled the Indians' eyes and nostrils. Then while they were coughing, sneezing, and rubbing their eyes, he made good his escape.
Indian Implements Indian Implements
But from all his dangerous adventures Boone came out safely, and for years remained the leader of the settlement at Boonesborough. He was certainly a masterful leader in that early pioneer life in Kentucky. [Pg 233] The solitude of the wilderness never lost its charm for him even to the last of his long life. He died in 1820, eighty-five years old. It has been said that but for him the settlement in Kentucky could not have been made for many years.
From American Leaders and Heroes: A Preliminary Text-Book in United States History By Wilbur F. Gordy (New York, Charles Scribner's Sons, 1907, public domain)
illus237
Important legal note.
All images are copyright and must not be re posted or water marks removed, anyone found reposting is liable to prosecution.
Per the signage, "this gate faces south (direction of good luck in China, as it generally faces the sun), with a screen wall opposite. It played an important role in exorcising evil spirits. The gate has a geomantic omens tower on the east and a now destroyed theatrical tower on the west."
Pingyao is considered one of China's best-preserved ancient walled towns. (From my limited travels around China, I wholeheartedly concur.)
Pingyao's history goes back about 2,700 years. Located about 90 km (55 miles) south of Taiyuan in Shanxi (山西) province, modern-day Pingyao has around 450,000 residents. The ancient town, is enclosed within a stone wall, 10 meters (31 feet) high and slightly more than 6 kilometers (3.6 miles) with 6 gates: north, lower east, upper east, south, upper west, and lower west, that was built in 1370.
Within these walls live 50,000 people. Also to be found are a number of religious institutions including temples - the Confucian temple with the oldest surviving building in Pingyao (Dacheng Hall from 1163 A.D.), the Taoist City God Temple, Taoist Qingxu Guan (temple), and a Catholic church, among others.
Besides the various religious sites, there are museums to the banking industry such as the Rishengchang Museum. (The first draft bank in China was located here in Pingyao), a few art museums, and -- centrally located -- a city tower on Nan Dajie.
Pingyao also has many guesthouses (I chose Harmony Guesthouse on Nan Dajie near the south gate and highly recommend it to anyone who goes to Pingyao), restaurants (western and local Pingyao cuisine), teahouses, bars, massage parlors, and souvenir shops.
By day, the panoramic view of Pingyao is slightly reminiscent of the imperial city scenes at the beginning of Crouching Tiger, Hidden Dragon (perhaps with a creative imagination). As evening comes, the red lanterns begin to dominate the landscape. Alleys, doorways, the main roads, and courtyards all find themselves awash in a red glow.
In short, Pingyao has plenty to offer by day or night. These images are just a small reflection, through my eyes, of Pingyao's charms.