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The second part of the picture is a description of the objects and their origins. Furthermore, it discusses how the artifacts came to the Philippines because of the Spanish settlement and their influence in that area. I found this interesting, because if there wasn’t an explanation or some kind of side note, I would have never known that these objects came from different places. This goes to show that Asian culture does have a lot of similarities. It also shows how ignorant most people, even me can be about the subtle differences in the Asian culture. Perhaps, if I was a person who actually lived in the area where one of those objects were made I would be able to easily see the differences. However, because I am not a person with much knowledge of the object as well as those people trading the object, it seems easier for those people trading the object could easily portray them for something much more valuable.
Stats like these just make our day, the impact of influencer marketing is taking over and we’re here for it!
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Especially after seeing beautiful architecture and landscape photos taken with 10mm-24mm lens. And then I'd stare at my iPhone and go "why can't you go wider?" But at the end of the day, I'm still loving it.
Taken with my (darling) iPhone 3Gs and edited using PhotoForge, Tiltshift and Cross Process.
via ift.tt/2erxRj7
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Da Grace Kelly a Andie McDowell passando per Paola di Liegi, Liz Taylor, Gina Lollobrigida fino a Isabella Rossellini: in moltissime amarono le borse Roberta di Camerino che la portarono sulle vette più alte del successo fino ad entrare di diritto nella storia del costume e dell’alta moda italiana. Must tra le dive di tutto […]
Reindeer - 1850
Johan Christian Dahl (1788 - 1857)
Born in Bergen Norway, and trained at the Copenhagen Academy, Dahl nonetheless spent most of his working career in Germany. He is thus claimed by all three schools for their own, although it was his influence on the latter that was more important, as from 1824 until his death he held the senior professorship of art at the Dresden Academy. His memories of his homeland, however, provided him with themes that he reused throughout his career, but it was his attention to nature and use of the plein-air sketch that earned him the Dresden appointment in preference to Friedrich.
Dahl entered the Copenhagen Academy in 1811, as a pupil of C. A Lorentzen, an undistinguished painter who had looked at Vernet and concentrated on exaggerated mountainous views. It was Jens Juel, however, and Dahls exposure to the sketches and paintings made by Eckersberg on his foreign travels, that persuaded him to make use of plein-air sketches, essential to his artistic formation. The young painter also took advantage of his access to the Danish royal collection, strong in the work of Dutch 17th century artists, which led him to appreciate the Nordic landscapes of Jacob v. Ruisdael and Albert v. Everdingen, both of whom influenced his approach to the natural world. In 1818, after leaving the Academy, he made his first trip to Dresden, where he became acquainted with the work of Caspar David Friedrich, whose use of religious symbols in landscape settings also affected Dahl, even though the younger artist was to temper this with stronger naturalism.
Like so many painters, he felt bound to undertake an Italian trip, spending a few months in Rome where he joined the German and Danish expatriates in exploring the Roman Campagna and the Amalfi coast. Upon his return he was appointed to the Dresden Academy where he taught a whole generation of German painters, and continued his relationship with the many Danish artists who passed through on their journey to and from Italy. Dahl, however, like Friedrich, was also as much interested in the spirit of nature as natural phenomena, and in his admiration for honest naïvety (in the words of Franz Pforr) there was no virtuoso brush-work, no bold handling was to be seen; everything presented itself simply, like something frown rather than painted. Nonetheless in his conception of landscape he was a pure naturalist, seizing on the details of rocks and trees and plants and meadows with quite extraordinary mastery; working with amazing facility, but leaving much to chance, he often seemed to surrender himself to the objective (Carus, writing of Dahl). Dahl may be compared with Constable in that both saw landscape as a means of recording moods and impressions, but they lack the bravura of the English master and Dahl was uninterested in experimenting with technique in order to achieve a particular effect of light. In terms of technique his approach was conventional, but nonetheless it was fresh and direct. Dahl was himself a substantial collector who never lost touch with his homeland; indeed, after his death he bequeathed his collection to the Norwegian capital, Oslo, where it provided the basis for the Norwegian National Gallery.
www.nasjonalmuseet.no/en/stories/explore-the-collection/V...
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Bergensian businessman Rasmus Meyer assembled an enormous art collection during his lifetime. Quite cleverly, he bought a number of principal works from Norwegian artists by the end of the 19th century and the beginning of the 20th century.
His dream was a public building where the works of art could be exhibited for a larger audience.
Across two floors, you wander through the golden age of Norwegian art history, from 1880 to 1905 and onwards to 1920. We show works by artists like J.C. Dahl, Hans Gude, Harriet Backer, Christian Krohg, Kitty Kielland, Nikolai Astrup and Erik Werenskiold, as well as Norwegian Matisse students Henrik Sørensen and Jean Heiberg.
We also show historic Bergen interiors in the elegant Blumentahl room with its wall and ceiling paintings from around 1760 covering the entire room.
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Rasmus Meyer ended his own life in 1916, and his heirs donated his collection to Bergen municipality. They stipulated one condition to the municipality: that a public museum should be constructed for the collection.
The building was designed by architect Ole Landmark and was completed in 1924.
Today, Kode and Bergen are home to the world’s third largest Edvard Munch collection. It consists of more than 100 works on paper and 50 paintings, of which most are from Rasmus Meyer’s collections. Rasmus Meyer was among the first distinguished collectors of Munch’s art.
In the collection you find major works from all periods of Munch’s artistic career. Among the highlights are “Jealousy”, “Melancholy”, “Woman in Three Stages” and “Evening on Karl Johan Street”.
At Permanenten we show temporary exhibitions across three floors of both contemporary art and works from our own collection.
You might know Permanenten as Vestlandske Kunstindustrimuseum. Traditionally, this is the building housing the collection of fine craft and design, Norwegian silver and the Chinese art collection.
At the top floor you find Festsalen, suitable for hosting various larger events and festive occasions, in addition to the library and meeting rooms.
The museum is currently being renovated and has a limited number of exhibitions on display in 2022-23. Large parts of the collection previously on display in Permanenten is not available at this time.
At Lysverket we show temporary exhibitions as well as permanent works from our collection.
The building is currently scheduled for refurbishment and will until then have selected temporary exhibitions at display.
Right now, you can experience the spectacular new installation by Børre Sæthre in Tårnsalen.
Lysverket is the only Kode building not originally built for museum purposes. The building from 1938 was previously the administration building for the municipal power company Bergen Lysverker, where we got the name from.
Youth participated in the Above the Influence campaign in 2013. Above the Influence aims to teach youth how to engage in positive behaviors instead of using and abusing substances.
(Photo by Michelle Perdue.)
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Simineral realiza coquetel para divulgação do Prêmio Simineral de Comunicação
Para divulgação da nova área de premiação do Prêmio Simineral de Comunicação, o sindicato, junto com o Sindicato dos Jornalistas (Sinjor-Pa) e o Grupo Eko, realizou um jantar nesta segunda, 16, no Privilége Restô, para jornalistas, influenciadores digitais e professores da área de comunicação para terem conhecimento do Prêmio e do público que ele abrange.
As inscrições permanecem abertas até o dia 31 de outubro. O Prêmio Simineral de Comunicação pretende reconhecer, valorizar e premiar o talento de jornalistas, publicitários e produtores de conteúdos digitais. A premiação é uma iniciativa do Simineral com organização da Agência EKO.
A premiação conta com duas grandes áreas:
1 - Prêmio Hamilton Pinheiro de Jornalismo, realizado em parceria com o Sinjor-Pa, e exclusivo para jornalistas;
2 – Prêmio Simineral de Conteúdos Digitais, aberto a profissionais e estudantes de diversas áreas e que vai premiar diferentes formatos de conteúdos digitais nas categorias Campanha Viral, Campanha Web Institucional e Cobertura Web de Eventos.
O tema geral do prêmio é "Mineração: Presente na Nossa Evolução". No total, são R$ 32.500,00 em prêmios distribuídos nas diferentes áreas e categorias.
Nossos associados podem participar nas diversas categorias, principalmente Campanha Web Institucional, com produtos veiculados em suas redes sociais. Participem!
Baixe os regulamentos e as fichas de inscrição. www.simineral.org.br
This gorgeous chair and artwork shows the fascination the victorians had with all things Egyptian and ethnic. These pieces are in the Lightner Museum in St. Augustine, FL.
View On Black (Large)
Fisher Stolz ‘Sphere of Influence’, 1998, ‘Sculpture On The Way’ [to Grounds for Sculpture], Sloan Avenue, in front of the Hamilton Transit Complex, Hamilton Township, NJ
Films and TELEVISION
Bob Jenkins Might 16, 2015
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