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From about the 1890s onwards Australia artists increasing came under the spell of two largely Parisian influences: Impressionism (which we won't look at here specifically because it is so well known), and Art Nouveau.
The Impressionist stream has certainly had the wider impact, but to me the most interesting developments came from those influenced by the highly fashionable Art Nouveau, which found its way into painting, sculpture and architecture.
Here are three very beautiful expressions of this influence in Australian art at the turn of the 20th century. The statue is by Bertram Mackennal and here is a short video introducing his work:
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Another one massively influenced by the work of Adrian Court LRPS who took a similair photo not to long ago - impressed and inspired I made my way to Oxford Brookes to get one of my own!!
If you like this - you really should check out Adrian Court LRPS who has a photostream full of so many gems!
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Beautiful MG TF replica in British Racing Green in Akaroa in New Zealand. The French tricolore flies in the background revealing a significant French influence in this historic little harbour town.
A French sea captain agreed in 1838 to purchase land in the area from local chiefs, and settlers arrived in New Zealand from Rochefort in France in 1840. On arrival they discovered that the British had in the meantime named the area the Banks Peninsula, after the famous naturalist Joseph Banks, who had accompanied James Cook. Given that they had set sail on the understanding that they owned the land, the French were allowed to settle, and they originally named the town Port Louis-Philippe.
Hey Two Thicc Champions and lovers of all things Birth!
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Rach and I were walking home from a family dinner and took a shortcut through the new library. This building is so pretty from a distance and I was mesmerized by the amber lighting, blue skies and reflections. There are those moments when you take a group of pictures and can't wait to see them. This was definitely that for me. As I uploaded these, I was praying that it wasn't the oatmeal cookie martini influencing me. I'm not a proponent of drinking but some of my best shots seem to come after a drink. Maybe my inhibitions about public shooting go away or I relax enough to enjoy my surroundings. Whatever it is, I need to learn how to open my eyes and heart at all times. Life's too short to not feel it fully.
Be well ~ Beth =]
Amedeo Modigliani
Italian, 1884 - 1920
Woman with a Necklace, 1917
Oil on canvas
(closeup)
Amedeo Clemente Modigliani (July 12, 1884 – January 24, 1920) was a Jewish-Italian painter and sculptor who pursued his career for the most part in France. Modigliani was born in Livorno, Italy and began his artistic studies in Italy before moving to Paris in 1906. Influenced by the artists in his circle of friends and associates, by a range of genres and movements, and by primitive art, Modigliani's oeuvre was nonetheless unique and idiosyncratic. He died in Paris of tubercular meningitis—exacerbated by a lifestyle of excess—at the age of 35.
Early life
Modigliani was born into a Jewish family in Livorno, Italy.
Livorno was still a relatively new city, by Italian standards, in the late nineteenth century. The city on the Tyrrhenian coast dates from around 1600, when it was transformed from a swampy village into a seaport. The Livorno that Modigliani knew was a bustling centre of commerce focused upon seafaring and shipwrighting, but its cultural history lay in being a refuge for those persecuted for their religion. His own maternal great-great-grandfather was one Solomon Garsin, a Jew who had immigrated to Livorno in the eighteenth century as a religious refugee.
Modigliani was the fourth child of Flaminio Modigliani and his wife, Eugenia Garsin. His father was in the money-changing business, but when the business went bankrupt, the family lived in dire poverty. In fact, Amedeo's birth saved the family from certain ruin, as, according to an ancient law, creditors could not seize the bed of a pregnant woman or a mother with a newborn child. When bailiffs entered the family home, just as Eugenia went into labour, the family protected their most valuable assets by piling them on top of the expectant mother.
Modigliani had a particularly close relationship with his mother, who taught her son at home until he was ten. Beset with health problems after a bout of typhoid at the age of fourteen, two years later he contracted the tuberculosis which would affect him for the rest of his life. To help him recover from his many childhood illnesses, she took him to Naples in Southern Italy, where the warmer weather was conducive to his convalescence.
His mother was, in many ways, instrumental in his ability to pursue art as a vocation. When he was eleven years of age, she had noted in her diary that:
“The child's character is still so unformed that I cannot say what I think of it. He behaves like a spoiled child, but he does not lack intelligence. We shall have to wait and see what is inside this chrysalis. Perhaps an artist?"
Art student years
Modigliani is known to have drawn and painted from a very early age, and thought himself "already a painter", his mother wrote, even before beginning formal studies. Despite her misgivings that launching him on a course of studying art would impinge upon his other studies, his mother indulged the young Modigliani's passion for the subject.
At the age of fourteen, while sick with the typhoid fever, he raved in his delirium that he wanted, above all else, to see the paintings in the Palazzo Pitti and the Uffizi in Florence. As Livorno's local museum only housed a sparse few paintings by the Italian Renaissance masters, the tales he had heard about the great works held in Florence intrigued him, and it was a source of considerable despair to him, in his sickened state, that he might never get the chance to view them in person. His mother promised that she would take him to Florence herself, the moment he was recovered. Not only did she fulfil this promise, but she also undertook to enroll him with the best painting master in Livorno, Guglielmo Micheli.
Micheli and the Macchiaioli
Modigliani worked in the studio of Micheli from 1898 to 1900. Here his earliest formal artistic instruction took place in an atmosphere deeply steeped in a study of the styles and themes of nineteenth-century Italian art. In his earliest Parisian work, traces of this influence, and that of his studies of Renaissance art, can still be seen: artists such as Giovanni Boldini figure just as much in this nascent work as do those of Toulouse-Lautrec.
Modigliani showed great promise while with Micheli, and only ceased his studies when he was forced to, by the onset of tuberculosis.
In 1901, whilst in Rome, Modigliani admired the work of Domenico Morelli, a painter of melodramatic Biblical studies and scenes from great literature. It is ironic that he should be so struck by Morelli, as this painter had served as an inspiration for a group of iconoclasts who went by the title, the Macchiaioli (from macchia—"dash of colour", or, more derogatively, "stain"), and Modigliani had already been exposed to the influences of the Macchiaioli. This minor, localised art movement was possessed of a need to react against the bourgeois stylings of the academic genre painters. While sympathetically connected to (and actually pre-dating) the French Impressionists, the Macchiaioli did not make the same impact upon international art culture as did the followers of Monet, and are today largely forgotten outside of Italy.
Modigliani's connection with the movement was through Micheli, his first art teacher. Micheli was not only a Macchiaioli himself, but had been a pupil of the famous Giovanni Fattori, a founder of the movement. Micheli's work, however, was so fashionable and the genre so commonplace that the young Modigliani reacted against it, preferring to ignore the obsession with landscape that, as with French Impressionism, characterised the movement. Micheli also tried to encourage his pupils to paint en plein air, but Modigliani never really got a taste for this style of working, sketching in cafes, but preferring to paint indoors, and especially in his own studio. Even when compelled to paint landscapes (three are known to exist), Modigliani chose a proto-Cubist palette more akin to Cézanne than to the Macchiaioli.
While with Micheli, Modigliani not only studied landscape, but also portraiture, still-life, and the nude. His fellow students recall that the latter was where he displayed his greatest talent, and apparently this was not an entirely academic pursuit for the teenager: when not painting nudes, he was occupied with seducing the household maid.
Despite his rejection of the Macchiaioli approach, Modigliani nonetheless found favour with his teacher, who referred to him as "Superman", a pet name reflecting the fact that Modigliani was not only quite adept at his art, but also that he regularly quoted from Nietzsche's Thus Spake Zarathustra. Fattori himself would often visit the studio, and approved of the young artist's innovations.
In 1902, Modigliani continued what was to be a life-long infatuation with life drawing, enrolling in the Accademia di Belle Arti (Scuola Libera di Nudo, or "Free School of Nude Studies") in Florence. A year later while still suffering from tuberculosis, he moved to Venice, where he registered to study at the Istituto di Belle Arti.
It is in Venice that he first smoked hashish and, rather than studying, began to spend time frequenting disreputable parts of the city. The impact of these lifestyle choices upon his developing artistic style is open to conjecture, although these choices do seem to be more than simple teenage rebellion, or the cliched hedonism and bohemianism that was almost expected of artists of the time; his pursuit of the seedier side of life appears to have roots in his appreciation of radical philosophies, such as those of Nietzsche.
Early literary influences
Having been exposed to erudite philosophical literature as a young boy under the tutelage of Isaco Garsin, his maternal grandfather, he continued to read and be influenced through his art studies by the writings of Nietzsche, Baudelaire, Carduzzi, Comte de Lautréamont, and others, and developed the belief that the only route to true creativity was through defiance and disorder.
Letters that he wrote from his 'sabbatical' in Capri in 1901 clearly indicate that he is being more and more influenced by the thinking of Nietzsche. In these letters, he advised friend Oscar Ghiglia,
“(hold sacred all) which can exalt and excite your intelligence... (and) ... seek to provoke ... and to perpetuate ... these fertile stimuli, because they can push the intelligence to its maximum creative power.”
The work of Lautréamont was equally influential at this time. This doomed poet's Les Chants de Maldoror became the seminal work for the Parisian Surrealists of Modigliani's generation, and the book became Modigliani's favourite to the extent that he learnt it by heart. The poetry of Lautréamont is characterised by the juxtaposition of fantastical elements, and by sadistic imagery; the fact that Modigliani was so taken by this text in his early teens gives a good indication of his developing tastes. Baudelaire and D'Annunzio similarly appealed to the young artist, with their interest in corrupted beauty, and the expression of that insight through Symbolist imagery.
Modigliani wrote to Ghiglia extensively from Capri, where his mother had taken him to assist in his recovery from the tuberculosis. These letters are a sounding board for the developing ideas brewing in Modigliani's mind. Ghiglia was seven years Modigliani's senior, and it is likely that it was he who showed the young man the limits of his horizons in Livorno. Like all precocious teenagers, Modigliani preferred the company of older companions, and Ghiglia's role in his adolescence was to be a sympathetic ear as he worked himself out, principally in the convoluted letters that he regularly sent, and which survive today.
“Dear friend
I write to pour myself out to you and to affirm myself to myself. I am the prey of great powers that surge forth and then disintegrate... A bourgeois told me today - insulted me - that I or at least my brain was lazy. It did me good. I should like such a warning every morning upon awakening: but they cannot understand us nor can they understand life...”
Paris
Arrival
In 1906 Modigliani moved to Paris, then the focal point of the avant-garde. In fact, his arrival at the epicentre of artistic experimentation coincided with the arrival of two other foreigners who were also to leave their marks upon the art world: Gino Severini and Juan Gris.
He settled in Le Bateau-Lavoir, a commune for penniless artists in Montmartre, renting himself a studio in Rue Caulaincourt. Even though this artists' quarter of Montmartre was characterised by generalised poverty, Modigliani himself presented - initially, at least - as one would expect the son of a family trying to maintain the appearances of its lost financial standing to present: his wardrobe was dapper without ostentation, and the studio he rented was appointed in a style appropriate to someone with a finely attuned taste in plush drapery and Renaissance reproductions. He soon made efforts to assume the guise of the bohemian artist, but, even in his brown corduroys, scarlet scarf and large black hat, he continued to appear as if he were slumming it, having fallen upon harder times.
When he first arrived in Paris, he wrote home regularly to his mother, he sketched his nudes at the Colarossi school, and he drank wine in moderation. He was at that time considered by those who knew him as a bit reserved, verging on the asocial. He is noted to have commented, upon meeting Picasso who, at the time, was wearing his trademark workmen's clothes, that even though the man was a genius, that did not excuse his uncouth appearance.
Transformation
Within a year of arriving in Paris, however, his demeanour and reputation had changed dramatically. He transformed himself from a dapper academician artist into a sort of prince of vagabonds.
The poet and journalist Louis Latourette, upon visiting the artist's previously well-appointed studio after his transformation, discovered the place in upheaval, the Renaissance reproductions discarded from the walls, the plush drapes in disarray. Modigliani was already an alcoholic and a drug addict by this time, and his studio reflected this. Modigliani's behaviour at this time sheds some light upon his developing style as an artist, in that the studio had become almost a sacrificial effigy for all that he resented about the academic art that had marked his life and his training up to that point.
Not only did he remove all the trappings of his bourgeois heritage from his studio, but he also set about destroying practically all of his own early work. He explained this extraordinary course of actions to his astonished neighbours thus:
“Childish baubles, done when I was a dirty bourgeois."
The motivation for this violent rejection of his earlier self is the subject of considerable speculation. The self-destructive tendencies may have stemmed from his tuberculosis and the knowledge (or presumption) that the disease had essentially marked him for an early death; within the artists' quarter, many faced the same sentence, and the typical response was to set about enjoying life while it lasted, principally by indulging in self-destructive actions. For Modigliani such behavior may have been a response to a lack of recognition; it is known that he sought the company of other alcoholic artists such as Utrillo and Soutine, seeking acceptance and validation for his work from his colleagues.
Modigliani's behavior stood out even in these Bohemian surroundings: he carried on frequent affairs, drank heavily, and used absinthe and hashish. While drunk he would sometimes strip himself naked at social gatherings. He became the epitome of the tragic artist, creating a posthumous legend almost as well-known as that of Vincent van Gogh.
During the 1920s, in the wake of Modigliani's career and spurred on by comments by Andre Salmon crediting hashish and absinthe with the genesis of Modigliani's style, many hopefuls tried to emulate his 'success' by embarking on a path of substance abuse and bohemian excess. Salmon claimed—erroneously—that whereas Modigliani was a totally pedestrian artist when sober,
“...from the day that he abandoned himself to certain forms of debauchery, an unexpected light came upon him, transforming his art. From that day on, he became one who must be counted among the masters of living art.”
While this propaganda served as a rallying cry to those with a romantic longing to be a tragic, doomed artist, these strategies did not produce unique artistic insights or techniques in those who did not already have them.
In fact, art historians suggest that it is entirely possible for Modigliani to have achieved even greater artistic heights had he not been immured in, and destroyed by, his own self-indulgences. We can only speculate what he might have accomplished had he emerged intact from his self-destructive explorations.
Output
During his early years in Paris, Modigliani worked at a furious pace. He was constantly sketching, making as many as a hundred drawings a day. However, many of his works were lost - destroyed by him as inferior, left behind in his frequent changes of address, or given to girlfriends who did not keep them.
He was first influenced by Henri de Toulouse-Lautrec, but around 1907 he became fascinated with the work of Paul Cézanne. Eventually he developed his own unique style, one that cannot be adequately categorized with other artists.
He met the first serious love of his life, Russian poet Anna Akhmatova, in 1910, when he was 26. They had studios in the same building, and although 21-year-old Anna was recently married, they began an affair. Tall (Modigliani was only 5 foot 5 inches) with dark hair (like Modigliani's), pale skin and grey-green eyes, she embodied Modigliani's aesthetic ideal and the pair became engrossed in each other. After a year, however, Anna returned to her husband.
Experiments with sculpture
In 1909, Modigliani returned home to Livorno, sickly and tired from his wild lifestyle. Soon he was back in Paris, this time renting a studio in Montparnasse. He originally saw himself as a sculptor rather than a painter, and was encouraged to continue after Paul Guillaume, an ambitious young art dealer, took an interest in his work and introduced him to sculptor Constantin Brancusi.
Although a series of Modigliani's sculptures were exhibited in the Salon d'Automne of 1912, he abruptly abandoned sculpting and focused solely on his painting.
Question of influences
In Modigliani's art, there is evidence of the influence of primitive art from Africa and Cambodia which he may have seen in the Musée de l'Homme, but his stylisations are just as likely to have been the result of his being surrounded by Mediaeval sculpture during his studies in Northern Italy (there is no recorded information from Modigliani himself, as there is with Picasso and others, to confirm the contention that he was influenced by either ethnic or any other kind of sculpture). A possible interest in African tribal masks seems to be evident in his portraits. In both his painting and sculpture, the sitters' faces resemble ancient Egyptian painting in their flat and masklike appearance, with distinctive almond eyes, pursed mouths, twisted noses, and elongated necks. However these same chacteristics are shared by Medieval European sculpture and painting.
Modigliani painted a series of portraits of contemporary artists and friends in Montparnasse: Chaim Soutine, Moise Kisling, Pablo Picasso, Diego Rivera, Marie "Marevna" Vorobyev-Stebeslka, Juan Gris, Max Jacob, Blaise Cendrars, and Jean Cocteau, all sat for stylized renditions.
At the outset of World War I, Modigliani tried to enlist in the army but was refused because of his poor health.
The war years
Known as Modì, which roughly translates as 'morbid' or 'moribund', by many Parisians, but as Dedo to his family and friends, Modigliani was a handsome man, and attracted much female attention.
Women came and went until Beatrice Hastings entered his life. She stayed with him for almost two years, was the subject for several of his portraits, including Madame Pompadour, and the object of much of his drunken wrath.
When the British painter Nina Hamnett arrived in Montparnasse in 1914, on her first evening there the smiling man at the next table in the café introduced himself as Modigliani; painter and Jew. They became great friends.
In 1916, Modigliani befriended the Polish poet and art dealer Leopold Zborovski and his wife Anna.
Jeanne Hébuterne
The following summer, the Russian sculptor Chana Orloff introduced him to a beautiful 19-year-old art student named Jeanne Hébuterne who had posed for Foujita. From a conservative bourgeois background, Hébuterne was renounced by her devout Roman Catholic family for her liaison with the painter, whom they saw as little more than a debauched derelict, and, worse yet, a Jew. Despite her family's objections, soon they were living together, and although Hébuterne was the love of his life, their public scenes became more renowned than Modigliani's individual drunken exhibitions.
On December 3, 1917, Modigliani's first one-man exhibition opened at the Berthe Weill Gallery. The chief of the Paris police was scandalized by Modigliani's nudes and forced him to close the exhibition within a few hours after its opening.
After he and Hébuterne moved to Nice, she became pregnant and on November 29, 1918 gave birth to a daughter whom they named Jeanne (1918-1984).
Nice
During a trip to Nice, conceived and organized by Leopold Zborovski, Modigliani, Tsuguharu Foujita and other artists tried to sell their works to rich tourists. Modigliani managed to sell a few pictures but only for a few francs each. Despite this, during this time he produced most of the paintings that later became his most popular and valued works.
During his lifetime he sold a number of his works, but never for any great amount of money. What funds he did receive soon vanished for his habits.
In May of 1919 he returned to Paris, where, with Hébuterne and their daughter, he rented an apartment in the rue de la Grande Chaumière. While there, both Jeanne Hébuterne and Amedeo Modigliani painted portraits of each other, and of themselves.
Last days
Although he continued to paint, Modigliani's health was deteriorating rapidly, and his alcohol-induced blackouts became more frequent.
In 1920, after not hearing from him for several days, his downstairs neighbor checked on the family and found Modigliani in bed delirious and holding onto Hébuterne who was nearly nine months pregnant. They summoned a doctor, but little could be done because Modigliani was dying of the then-incurable disease tubercular meningitis.
Modigliani died on January 24, 1920. There was an enormous funeral, attended by many from the artistic communities in Montmartre and Montparnasse.
Hébuterne was taken to her parents' home, where, inconsolable, she threw herself out of a fifth-floor window two days after Modigliani's death, killing herself and her unborn child. Modigliani was interred in Père Lachaise Cemetery. Hébuterne was buried at the Cimetière de Bagneux near Paris, and it was not until 1930 that her embittered family allowed her body to be moved to rest beside Modigliani.
Modigliani died penniless and destitute—managing only one solo exhibition in his life and giving his work away in exchange for meals in restaurants. Had he lived through the 1920s when American buyers flooded Paris, his fortunes might well have changed. Since his death his reputation has soared. Nine novels, a play, a documentary and three feature films have been devoted to his life.
influenced by the style of Jeune Femme Dans Un Paysage by Salvador Dali in 1959.
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an over view of women past and present and future in the Political landscape.
A sensual and strong entity- the driving force of human nature. Viewing the natural world and perceptions of gender and the question.. "where are we now?"
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multi AI layers edited with in gimp and finalised with pixlr.
I'm under an NDA so I must keep the details to myself, BUT I was offered a job as a social media influencer. Can you imagine that? I asked them what the hours were and they said they expected me to be socializing all hours of the night and day. There were no benefits, no insurance, no holidays and they expected me to go on about all sorts of products like perfume and charcoal grills and TV shows that I've never even heard of. Silly. Benefits would have included having lunch with the above pictured executives, but my time is valuable, too.
I turned them down. Crazy, right?
✰ Credit ✰
{S0NG} - Anya Eyes - The Fair Event
-Eclairer- - Cupid's Love Makeup - The Fair Event
Beary. - Xia Heart Diamond Collection - The Fair Event
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L'édition 2022 est là : PARADE,
Techno Parade, Paris, samedi 24 septembre 2022
Les éditions précédentes sont là aussi :
They will show me what I want to see, Techno Parade, Paris samedi 23 septembre 2017.
Techno Parade, Paris samedi 19 septembre 2015.
et puis, pour les fans, il y a toujours JJ_BT, l'intégrale
le tout , powered by issuu.
± :: [theorems] :: markov chain - the transition of probability in the present
a future, without a past?
seriously dude
thats totally random!!
A Spidey from a different Earth where he keeps the symbiote. After his Aunt May's death he gave up being the hero everyone needed. With influence from the symbiote slowly taking over his mind, he accepted Black Cat's offer to become a dynamic duo in the thieving world.
This one, the most photographic of my recent paintings was influenced by Millais "The Old Garden" although I've been slightly more liberal with my colour here. These mossy steps were in a neglected area of the terraced garden at Craighall Castle,Rattray Perthshire.The lawn was covered in frost. I am also working on a print based on this. As with other work in this series I'm working from photographic material, I'm intertested that it has fooled a few people into thinking it is a photo manipulation rather than a painting. I saw a very good book on Chuck Close in November, I much admire his quasi photorealistic renderings of the past decade, not the high finish stuff. I was also influenced by Bill Jacklin RA, who paints work that deals with texture and light. Anyway Garden Steps is part of a growing series of work, which I've only just begun. As I'm in my 50th year I thought it was about time to get serious about painting again, these are "warming up" to bigger and better work I hope.
This picture has begun the year with the most comments on any of my material thus far on Flickr. Thank you to everyone for your thoughts, I value everything youve said, particularly the debate on Photoshop or painting.
The camera and the artist (set) about the relationship between photographic images and those painted. I hope to use examples from my own practice where photography has been used in both photo-realistic work as well as illustration and other art-forms.
I have used a number of artists whose work I have studied and look at the way photography informed and influenced their visual expression.
As I have scanned a lot of my old work I'm well aware that photography has played and still plays a significant role for me as an artist, indeed in recent years these two practices have overlapped and are no longer distinct paths.
They say that the Catholic church is a sphere of influence. Here is my Oval of influence…
One of my first experiences with using a telephoto lens. I can tell you that it was quite difficult to focus and hold something as long as this lens! :D
Taken with Olympus OM2SP, telephoto lens, fujifilm superia, ISO 200
A Bab Oudaya, também conhecida como Bab el-Kbir, é uma monumental porta fortificada erguida por volta de 1195 durante o reinado do califa almóada Yaqub al-Mansur, no seguimento da vitória em Alarcos. Situada em Rabat, na costa atlântica marroquina, marca a entrada cerimonial da Kasbah dos Udayas, cidadela militar edificada sobre um promontório junto à foz do rio Bou Regreg. A composição organiza-se em torno de um arco em ferradura polilobado, emoldurado por bandas concêntricas de decoração esculpida em arenito, incluindo entrelaçados vegetais, palmetas, conchas e uma faixa epigráfica em caracteres cúficos com versículos alcorânicos. Os motivos geométricos e florais, dispostos em enxutas e sobre o alfiz, ilustram o refinamento ornamental almóada, que influenciou posteriormente a arte hispano-mourisca de Sevilha e Marraquexe. A porta desempenhava simultaneamente funções defensivas, com corredor em cotovelo interior, e de representação do poder califal. A figura sentada nos degraus permite aferir a escala imponente do conjunto, hoje classificado como Património Mundial da UNESCO desde 2012.
Bab Oudaya, also known as Bab el-Kbir, is a monumental fortified gate built around 1195 during the reign of the Almohad caliph Yaqub al-Mansur, following the victory at Alarcos. Located in Rabat, on Morocco’s Atlantic coast, it marks the ceremonial entrance to the Kasbah of the Udayas, a military citadel built on a promontory near the mouth of the Bou Regreg River. The composition is organized around a polylobed horseshoe arch, framed by concentric bands of carved sandstone decoration, including interlaced plant motifs, palmettes, shells, and an epigraphic band in Kufic script containing verses from the Quran. The geometric and floral motifs, arranged in medallions and on the alfiz, illustrate the Almohad ornamental refinement, which later influenced the Hispano-Moorish art of Seville and Marrakesh. The gate served both defensive functions—with an interior L-shaped corridor—and as a symbol of the caliph’s power. The figure seated on the steps allows one to appreciate the imposing scale of the complex, which has been designated a UNESCO World Heritage Site since 2012.
This is what Detroit might have looked like if John Portman (the principal architect for the Renaissance Center) had been a big fan of 2nd empire architecture. I think it would be awesome.
Day 338
Portmeirion Village, which was designed and built by Sir Clough Williams-Ellis between 1925 and 1975 in the style of an Italian village. In Gwynedd, North Wales.
Sir Clough Williams-Ellis, Portmeirion's designer, denied repeated claims that the design was based on the town of Portofino, Italy. He stated only that he wanted to pay tribute to the atmosphere of the Mediterranean. He incorporated fragments of demolished buildings, including works by several other architects. Portmeirion's architectural bricolage and deliberately fanciful nostalgia have been noted as an influence on the development of postmodernism in architecture in the late 20th century.
The main building of the hotel and the cottages "White Horses", "Mermaid", and "The Salutation" had been a private estate called Aber Iâ, developed in the 1850s on the site of a late 18th Century foundry and boatyard. Williams-Ellis changed the name (which he had interpreted as "frozen mouth") to Portmeirion: "Port-" from its place on the coast; "-meirion" from the county of Merioneth (Meirionydd) in which it was sited. The very minor remains of a mediaeval castle (known variously as Castell Deudraeth, Castell Gwain Goch and Castell Aber Iâ) are in the woods just outside the village.
In 1931 Williams-Ellis bought from his uncle, Sir Osmund Williams, the Victorian crenellated mansion Castell Deudraeth with the intention of incorporating it into the Portmeirion hotel complex, but the intervention of the war and other problems prevented this. Williams-Ellis had always considered the Castell to be “the largest and most imposing single building on the Portmeirion Estate" and sought ways to incorporate it. Eventually, with support from the Heritage Lottery Fund and the European Regional Development Fund as well as the Wales Tourist Board, his original aims were achieved and Castell Deudraeth was opened as an 11-bedroom hotel and restaurant.
The grounds contain an important collection of rhododendrons and other exotic plants in a wild-garden setting, which was begun before Williams-Ellis's time by the previous owner George Henry Caton Haigh and has continued to be developed since Williams-Ellis's death.
Portmeirion is now owned by a charitable trust, and has always been run as a hotel, which uses most of the buildings as hotel rooms or self-catering cottages, together with shops, a cafe, tea-room, and restaurant. Portmeirion is today a top tourist attraction in North Wales and day visits can be made on payment of an admission charge.
Information Source:
George Lucas's creation of R2-D2 was influenced by Akira Kurosawa's 1958 feature film The Hidden Fortress. Lucas and artist Ralph McQuarrie also drew inspiration from the robots Huey, Dewey, and Louie from Douglas Trumbull's 1972 film Silent Running. This 'concept sketch' was created by McQuarrie in 1975 with red & graphite pencil on vellum and became the basis for R2-D2 (which stands for Second Generation Robotic Droid Series-2).
This photograph was taken at the Star Wars and the Power of Costume exhibit which explores the challenges in dressing the Star Wars universe from the Galactic Senate and royalty to the Jedi, Sith, and Droids. Features of this exhibit included short films that provide a behind-the-scenes look at the creative process and included interviews with the designers and actors/actresses. The experience is also enhanced by interactive flip books featuring sketches, photographs, and notes that capture the creative team’s inspiration and vision.
The best way to view my photostream is through Flickriver with the link below:
Huge influences come from two amazing photographers : Minatoさん cocoalocoさん
Pretending I have a film cam again.. :p
Thanks a lot for your help ma-! ありがとね、ma-!
This photo does not exist without this song : Pulp - Something Changed
この曲なしにはこの写真はありませんでした。
✰ Credit ✰
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MeHoney - Esma Set
Boots : Vanilla Bae - Valkyrie Boots
Pose : Versuta. - Ravanna Pose
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Primrose has a new dress........and I am thrilled with it.
I have always loved the 'Heidi' dress from 2011 on Martha Boers's site. This is my version of it.
photo rights reserved by B℮n
St. George's Cathedral in Tbilisi, also known as the Cathedral of St. George, is a significant religious and historical landmark in Georgia. Situated in the heart of Tbilisi's old town, this cathedral is one of the oldest and most revered Orthodox churches in the city. The current structure dates back to the 13th century, though it's believed that a church existed on this site even earlier. The cathedral is dedicated to St. George, the patron saint of Georgia, who is venerated in the country for his role as a protector and symbol of the Christian faith. Over the centuries, the cathedral has undergone numerous changes, including restorations and expansions. Its interior is richly decorated with icons and frescoes depicting various saints and Biblical scenes. The architecture of the cathedral blends elements of traditional Georgian design with influences from Byzantine and Persian styles, creating a unique and striking appearance. The serene and sacred atmosphere of the chapel in St. George's Cathedral invites visitors to find a moment of silence, connect with the divine and experience the depth of their faith. The cathedral serves not only as a place of worship but also as a symbol of Georgia's religious and cultural identity. It attracts both worshippers and tourists who come to experience its spiritual and historical significance.
The chapel in St. George's Cathedral in Tbilisi is an intimate space within the larger church, designed for personal prayers and smaller, private ceremonies. This chapel is richly adorned with icons, candles, and religious symbols that emphasize the sanctity of the space. The walls are covered with frescoes and icons depicting saints and Biblical scenes, creating a deeply spiritual atmosphere. Here, worshippers find a place of quiet reflection and meditation, away from the bustle of the main cathedral. Kanitha lights a candle in the chapel, her thoughts filled with hope and prayers for someone dear to her. In the soft glow of the light, she trusts in a moment of silent connection, wishing the best for them.
De Sint-Joriskathedraal in Tbilisi, ook bekend als de Kathedraal van Sint Joris, is een belangrijke religieuze en historische locatie in Georgië. Gelegen in het hart van Tbilisi's oude stad, is deze kathedraal een van de oudste en meest vereerde orthodoxe kerken in de stad. De huidige structuur van de kathedraal dateert uit de 13e eeuw, hoewel er aanwijzingen zijn dat er al eerder een kerk op deze plek heeft gestaan. De kathedraal is gewijd aan Sint Joris, de patroonheilige van Georgië, die in het land wordt vereerd vanwege zijn rol als beschermer en symbool van het christelijk geloof. De kathedraal heeft door de eeuwen heen vele veranderingen ondergaan, waaronder restauraties en uitbreidingen. Het interieur is rijk versierd met iconen en fresco's, die verschillende heiligen en Bijbelse scènes uitbeelden. De architectuur van de kathedraal combineert elementen van traditionele Georgische bouwkunst met invloeden uit Byzantijnse en Perzische stijlen, wat resulteert in een uniek en indrukwekkend ontwerp. Het altaar is een plek van diep respect en spirituele betekenis. Rijkelijk versierd met religieuze iconen, kaarsen en sierlijke decoraties, symboliseert het altaar de heilige ruimte waar het goddelijke en het aardse elkaar ontmoeten. De kapel in de kathedraal is een intieme ruimte binnen de grotere kerk, bedoeld voor persoonlijke gebeden en kleinere, meer privéceremonies. Deze kapel is vaak rijkelijk versierd met iconen, kaarsen, en religieuze symbolen die de heilige aard van de ruimte benadrukken. De muren zijn vaak bedekt met fresco's en iconen die heiligen en Bijbelse taferelen afbeelden, wat een diep spirituele sfeer creëert. De kapel biedt een plek van rust en contemplatie, waar gelovigen zich kunnen terugtrekken voor persoonlijk gebed of meditatie, ver weg van de drukte van het hoofdgedeelte van de kathedraal. Kanitha steekt een kaarsje aan in de kapel, haar gedachten gevuld met hoop en gebeden voor iemand die haar dierbaar is. In het zachte schijnsel van het licht, vertrouwt ze op een moment van stille verbinding en wens het beste voor diegene. Sint-Joriskathedraal is niet alleen een plaats van aanbidding, maar ook een symbool van de religieuze en culturele identiteit van Georgië. Het trekt zowel gelovigen als toeristen aan, die de kathedraal bezoeken om haar spirituele en historische betekenis te ervaren.
✰ Credit ✰
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Head : Genus
PARTS :
- Head Preset “SUKI”
- EyeMorph ONI
- Lip&Morph Combo ANIME
SKIN :
- SUKI Skin 2K BOM
ADDONS :
- Horns&Tail (animated) - SUCCUBI - universal - RIGGED
- Harness - HORNY HELL - for Succubi horns/MORPHtoon Triangle Face
COSMETIC :
- Eye lenses - SUCCUBI - Eyes&Sclera applier
♦️♦️♦️
Mekaci - Group Gift
Mekaci has evolved into XORNI
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Aii - + Amorous Demon Wings +
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