View allAll Photos Tagged influence
Rolleiflex K4B // CineStill 800t
Casey Neistat's Winter Wonderland, 2021 update.
Northridge Mall
Milwaukee, WI
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。
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.
"The Cathedral of the Holy Spirit is the main church of the Hradec Králové Diocese and therefore also the seat of its bishop. The Gothic brick pseudo-basilica with two towers in the southwest corner of the Great Square has formed the characteristic panorama of Hradec Králové for more than seven centuries. The external dimensions of the cathedral are: length 56 m, width 25 m, height of the towers 48 m. The length of the interior is 50 m. The width of the walls ranges from 1.12 m (naves) to 2.12 m (towers).
It is sometimes said that the church was founded in 1307 by the widow of the Czech king Wenceslas II queen Eliška Rejček, however, according to more recent research, a parish church stood here already in the second half of the 13th century, which burned down in 1339. The current presbytery was built in 1339–1342, and the construction of the nave was completed in the 1460s under Queen Elizabeth of Pomerania. Jan Žižka from Trocnov is said to have been buried here in 1424. During the repairs after the Hussite Wars, which ended in 1463, an extensive crucifix was built. A fire in 1484 mainly damaged the towers, which were then raised by one floor and given new bells. The oldest of the four bells, Leopold (Dominik) is from 1485. The largest of the bells is Michael (Eagle) from 1496, which weighs 3847 kg. The pastoforium on the left side of the presbytery also dates from 1497. The church was repaired several times, looted and burned by Swedish soldiers in 1639. In 1664, with the founding of the bishopric, the church became a cathedral and was then modified in the Baroque style, further modifications followed at the end of the 18th century. In the years 1864–1876, the church was radically renovated by František Schmoranz and the towers in 1901 by L. Lábler. In the years 1980–1990, the church received a copper roof, and in 1997 for the jubilee of St. Vojtěch was visited by Pope John Paul II.
Hradec Králové (Königgrätz in German) is a statutory city in eastern Bohemia, located at the confluence of the Elbe and Orlica. It has approximately 94 thousand inhabitants and is the capital of the Hradec Králové region. Together with nearby Pardubice, it forms a metropolitan area with 340,000 inhabitants.
Due to its favorable characteristics, the territory of Hradec was already inhabited in prehistoric times. In the Middle Ages, it was the dowry city of Czech queens, and it is to this period that the Gothic cathedral of St. Ducha on its Great Square, which today, alongside the White Tower and the Old Town Hall, is one of the city's landmarks. In the years 1766 to 1857, the city served as a military fortress, due to the lack of interest of the city, it was restored and abolished only in 1884. The city administration made full use of the possibility of complete management of urban development. This literally freed up space for the golden era of Hradec Králové architecture at the beginning of the 20th century, from which, thanks to the buildings of Gočár and Kotěra, the city earned the title Salon of the Republic.
When looking at this landmark of Hradec Králové, observers will be particularly impressed by the contrast between the red brickwork and the white sandstone of the portals, windows and cornices of the temple. At the time of construction, sandstone was commonly used as the main building material in East Bohemian cities, which was absent in the vicinity of Hradec Králové. The builders of the cathedral therefore chose less common bricks as the main building material. The three-nave basilica church has a raised nave and a long east choir, through which the cathedral faces the square. In the axis of the choir, there is a cross in front of the church and two symmetrical towers on the sides. The baroque chapter sacristy adjoins the north side of the cathedral, the dean's sacristy and the Royal vestibule on the south side. Several Renaissance tombstones can be found on the outer walls of the church. Massive supporting pillars divided into three parts are prescribed for the exterior.
Hradec Králové is a university town, the University of Hradec Králové, some faculties of Charles University and the University of Defense teach here. For example, the regional court or the bishops of the Royal Hradec Catholic and Czechoslovak Hussite dioceses are based here. Klicper's theater is a recognized scene that has won the award "Theatre of the Year" four times, artkino Central is proud of the award "Best European cinema for young audiences" from 2008. Hradec Králové Park 360, which was created in part of the area of the former military airport, provides space, among other things, for the summer of the Rock for People festival.
Bohemia (Latin Bohemia, German Böhmen, Polish Czechy) is a region in the west of the Czech Republic. Previously, as a kingdom, they were the center of the Czech Crown. The root of the word Czech probably corresponds to the meaning of man. The Latin equivalent of Bohemia, originally Boiohaemum (literally "land of Battles"), which over time also influenced the names in other languages, is derived from the Celtic tribe of the Boios, who lived in this area from the 4th to the 1st century BC Bohemia on it borders Germany in the west, Austria in the south, Moravia in the east and Poland in the north. Geographically, they are bounded from the north, west and south by a chain of mountains, the highest of which are the Krkonoše Mountains, in which the highest mountain of Bohemia, Sněžka, is also located. The most important rivers are the Elbe and the Vltava, with the fertile Polabean Plain extending around the Elbe. The capital and largest city of Bohemia is Prague, other important cities include, for example, Pilsen, Karlovy Vary, Kladno, Ústí nad Labem, Liberec, Hradec Králové, Pardubice and České Budějovice, Jihlava also lies partly on the historical territory of Bohemia." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Viewed from the inside.
"The Prague Gate - formerly also the Vraclav Gate, is the best-preserved part of the former fortifications from the 14th century. Although it burned down in the great fires of the city in 1461, 1700, 1774 and 1816, its Gothic layout has remained intact to this day. The neo-Gothic reconstruction in 1882–1883 was carried out according to the plans of the architect František Schmoranz. From the walkway at a height of 48 meters there is a view of the city.
Vysoké Mýto (Czech pronunciation: [ˈvɪsokɛː ˈmiːto]; German: Hohenmaut, also Hohenmauth) is a town in Ústí nad Orlicí District in the Pardubice Region of the Czech Republic. It has about 12,000 inhabitants. Its town square is the largest example of its type in the country. The historic town centre is well preserved and is protected by law as an urban monument zone.
The predecessor of the town was a small settlement by a trade route called Mýto (literally "toll"). After a new town was founded, it adopted the privilege of collecting the toll. The old settlement was renamed to Staré Mýto ("Old Toll") and the new town was called Vysoké Mýto ("High Toll"), probably referring to its location above the old settlement.
Vysoké Mýto is located about 27 km (17 mi) southeast of Pardubice. It lies in the Svitavy Uplands. The highest point is at 436 m (1,430 ft) above sea level. The Loučná river flows through the town.
The first written mention of Vysoké Mýto is from 1265. It was founded shortly before this year by King Ottokar II as one of the trading centres on the trade route from Bohemia to Moravia, and was inhabited by German settlers. The town square and the network of streets were built in a regular shape, which is preserved to this day. Stone walls with three gates were gradually built around the whole town.
In the early 14th century, Vysoké Mýto became a dowry town administered by Elizabeth Richeza of Poland. Thanks to its location on a busy mercantile road it soon became rich. During the Hussite Wars, the town was occupied several times. Most of the German population left the town and Czech citizens became the majority. After the wars, it became royal town of King Sigismund, who donated it to his wife Barbara of Cilli and it became again a dowry town.
Vysoké Mýto was devastated by fires between 1461 and 1517. Thanks to its wealth, the town recovered and new buildings were building, including stone houses on the square, the new town hall, and the Church of the Holy Trinity. In the 16th century, the town prospered and crafts developed. Cloth and knives were exported abroad. The prosperity ended with the Thirty Years' War and several fires in the 18th century.
During the 19th century, new development occurred, and the town became a cultural centre. A Czech-language theatre was established in 1825, the first public library in the region was established in 1839, and the town museum was founded in 1871. At the end of the 19th century, Vysoké Mýto was industrialized and two big engineering and machine-building companies were founded.
Until 1918, Vysoké Mýto was part of Austria-Hungary, head of the district of the same name, one of the 94 Bezirkshauptmannschaften in Bohemia.
Bohemia (Latin Bohemia, German Böhmen, Polish Czechy) is a region in the west of the Czech Republic. Previously, as a kingdom, they were the center of the Czech Crown. The root of the word Czech probably corresponds to the meaning of man. The Latin equivalent of Bohemia, originally Boiohaemum (literally "land of Battles"), which over time also influenced the names in other languages, is derived from the Celtic tribe of the Boios, who lived in this area from the 4th to the 1st century BC Bohemia on it borders Germany in the west, Austria in the south, Moravia in the east and Poland in the north. Geographically, they are bounded from the north, west and south by a chain of mountains, the highest of which are the Krkonoše Mountains, in which the highest mountain of Bohemia, Sněžka, is also located. The most important rivers are the Elbe and the Vltava, with the fertile Polabean Plain extending around the Elbe. The capital and largest city of Bohemia is Prague, other important cities include, for example, Pilsen, Karlovy Vary, Kladno, Ústí nad Labem, Liberec, Hradec Králové, Pardubice and České Budějovice, Jihlava also lies partly on the historical territory of Bohemia." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
This has been an on-going project of mine for the last 9 months. I am pleased with the finished product.
Haven't done a collage in a while!
People whose photography inspire/d my work or decision to be here in Flickr. I have a lot of new favorites and contacts I follow now, but these people will always be special as they were my earliest influences. I'm really thankful that they do what they do (and they do them so well!), and that I stumbled onto their stream which really made me fall in love with photography :)
1. .., 2. anonymous, 3. Untitled, 4. lullaby, 5. The Knowledge of the Trees., 6. No More Keeping My Feet On The Ground, 7. Failed opportunities, 8. It's Like I'm Staring Down The Sun (Explored #52), 9. ., 10. Yildiz, 11. Fly, 12. fowl, 13. Dust in the Wind, 14. Left Behind, 15. 315/365 Everything gets washed up, and only the bravest survive., 16. Fish Tank (363/365)
I know I said I'll be by your streams today but things came up. My weekend is going to be hectic too and I might not be in Flickr until Monday. I love being busy and I will miss you guys. Until Monday then! :)
P.S. I did do my promise of The Collector's Before and After in my Tumblr's "Before and Afters" link.
Sant Climent de Taüll, also known as the Church of St. Clement of Tahull is a Roman Catholic church. It is a form of Romanesque architecture that contains magnificent Romanesque art. Other influences include the Lombard and Byzantine styles, which can be seen throughout the exterior and interior of the building. The church is a basilica plan structure with three naves,(each of them with a terminal apse) and large columns separating the side naves. Connecting to the church is a slim bell tower that has six floors plus a base. The artwork inside the church include the famous mural paintings by the Master of Taüll (contained in the different apses and the keys of the arches), as well as the wooden alter frontal. These works of art represent different aspects of Christianity that can also be found in many other works of art. The most famous fresco, of Christ in Majesty in the Apse of Sant Climent de Taüll main apse of the church, has been moved to the Museu Nacional d'Art de Catalunya in Barcelona.
Sant Climent de Taüll is located in Taüll in municipality of Valley of Boí, in the province of Lérida, Spain. The exact date of construction is unknown however the church was consecrated on December 10, 1123. In 1064, before Sant Climent de Taüll was constructed, it was an object of sale and exchange by several different counts. The different counts include the Counts of Pallars Sovereign (I Artau and his wife Lucia), the Counts of Pallars Jussà (Ramon IV and his wife Valença), as well as the castle Erill and other possessions. Sant Climent de Taüll was devoted to and consecrated by the Bishop of Roda-Barbastro, Guillem Ramon. One day later Guillem Ramon also consecrated Santa Maria de Taüll, another Romanesque church located near Sant Climent de Taüll.
Sant Climent de Taüll is a Romanesque style church greatly influenced by the Lombard style, which can be seen through its exterior decoration. The bell tower is an example of Byzantine influence because it stands out for its verticality. The church was intended as a place for Christian worship, unlike other churches of the time, which were intended as a pilgrimage. The artwork in Sant Climent de Taüll was important in bringing the art into the public atmosphere. The main work of art is the mural painting, located on the central apse of the church. This mural painting was painted by a painter, whose identity is unknown, but is referred to as Master Taüll. The altar-frontal is another work of art found in the church, and it was created by a native Catalan artist. It is possible that the altar frontal was made in a workshop in La Seo de Urgel
Sant Climent de Taüll is the largest, most well preserved, and has the most outstanding architecture out of all the churches in the Valley of Boí. The church is a basilica plan structure, that has three naves (each of them with a terminal apse), and large columns separating the side naves. One of the doorways opens on the west side of the building, with the remains of what might have been a porch. The other openings are located on the south side and the on the access tower. The facades of the church do not have any decoration, however the apses have simple Lombard decorations and are built with stone and brick. The central apse on the exterior is decorated by groups of four arches, separated by half columns. The apsidioles (apses on either side of the central apse), have groups of three arches instead of four, with each of the apses having one window each. In addition, the central apse has three arched windows located on ground level and two portholes on either side of the central apse.
In the south corner of the church there is a tall, slim bell tower that is a square plan with a prism-shaped roof. The tower has seven floors (base floor plus six), where the base is the foundation of the entire structure. As we ascend through the bell tower, the structure becomes lighter in weight because of the larger windows near to top of the tower. On each of the plants there is the same amount of windows on the four sides of the tower, and there are five arcs in the space around the windows.
Inside Sant Climent de Taüll three naves are separated by three cylindrical columns. The columns are made of amalgamated stone, which support the arcades and the roof of the church has wooden beams. The first column on the north side of the church near the apse, was found to have the inscription of the consecration of the church. This document is painted with white letters on red and black background and is now preserved in the National Museum of Catalan Art. The interior of the church (the walls of the naves, apses and columns), were originally covered with polychrome decoration. In the early twentieth century, the National Art Museum of Catalonia in Barcelona took the mural paintings inside the church to protect and preserve them. An exact replication of the mural painting on the central apse was made in place of the original. However, the original mural painting on the northern apse can only be seen in the National Art Museum of Catalonia. The removal of the mural paintings was done by applying horsehide glue. The hardened glue was then peeled off, carrying the pigments of the mural with it.
A mural paintings is an art that is painted and applied to the wall, ceiling or other permanent surfaces that are sufficient in size. The technique used is called fresco, where the paint is applied on plaster on walls and/or ceilings. The pigment is mixed with water on a small layer of wet lime mortar or plaster, where it is later absorbed. After several hours, the plaster dries while reacting with the air. This creates a chemical reaction making the pigment stick to the plaster. Over a long period of time, the painting will end up with brilliant colors. [9] One of the main mural paintings is four meters in diameter located on the central apse. There are several holes (due to excess moisture), on the original mural painting on the central apse that have not been restored. A polychrome wood carving and other objects are also located inside the church, some of which were successfully restored. [10]
Sant Climent de Taüll had the earliest wooden altar-frontal, which was 1.36 m by 0.98 m in size. When it reached Barcelona it was covered with a coat of paint which was removed. An inscription on the center of the upper frame shows that in the year 1579, the altar-frontal was repainted. The wooden alter frontal is enclosed by a narrow wooden frame, which is held together at the four corners with wooden dowels. The figures were each carved separately, and then were attached to the back of the panel using wooden dowels. The four side divisions contain a blind arcade of three arches, where there are figures located directly underneath. The arches are formed from tall capitals, which are supported by slim colonnettes with torus molding, as well as a high base. The upper right corner is slightly damaged, though some of the original colour can be seen on the lower left corner of the antependium. The frame was painted green and yellow, and there are indications that the frame originally had some stucco ornament. The wooden alter frontal use to have four symbols of the evangelists that had filled the outside of the mandorla, however these have been lost.
✰ Credit ✰
AVANTAGE - Set Rebecca
NEW ATTITUDE
● Tumblr
● Flickr
● Primfeed
# #cozy #decor #art #fashion #style #portrait #Mode #Model #homedecor #aesthetic #creative #lifestyle #photography #model #fashionphotography #design #mood #vibrant #people #Avantage #Blog #Blogger #Avatar #Fantasy #Tattoo
An Irish pub wrapped in Mediterranean colour — only in Nice could deep Connemara green sit so happily against sun-faded ochre. Snug & Cellar (often affectionately shortened to “The Snug”) occupies a characterful corner at 22 Rue Droite, one of the oldest streets in the Old Town.
By day, shutters closed and laundry fluttering overhead, it feels almost theatrical — as if the set is waiting for the evening performance. By night, it becomes a lively enclave for sport on screens, Guinness on tap, and the cheerful collision of Riviera locals, expats and wandering visitors.
Rue Droite itself traces medieval lines through Vieux Nice, once a principal artery of the city before the 19th-century expansions toward the sea. That layering — Savoyard history, Italianate façades, British and Irish influence — is part of Nice’s enduring charm.
⸻
Snug & Cellar – Rue Droite, Vieux-Nice
Un pub irlandais habillé de couleurs méditerranéennes — seul Nice peut marier un vert profond à des façades ocre baignées de soleil. Situé au 22 Rue Droite, dans l’une des plus anciennes rues du Vieux-Nice, le Snug & Cellar apporte une touche celte au cœur historique de la ville.
Le jour, volets clos et linge suspendu au-dessus, la scène semble presque figée. Le soir, l’endroit s’anime autour d’une Guinness, des retransmissions sportives et d’un public cosmopolite mêlant Niçois, expatriés et voyageurs.
La Rue Droite, d’origine médiévale, fut autrefois une artère majeure de la cité. Ce mélange d’héritage savoyard, d’influences italiennes et britanniques participe au charme singulier de Nice.
✰ Credit ✰
Kaithleen's - Paula Loungewear - Tres Chic Event
NEW ATTITUDE
● Tumblr
● Flickr
New York-New York uses the New York City influence of its name in several ways. Its architecture is meant to evoke the New York City skyline of the 1940s era; the hotel includes several towers configured to resemble New York City towers such as the Empire State Building and the Chrysler Building. In front of the property is a replica of the Statue of Liberty, and replicas of the Soldiers and Sailors Monument, the Whitney Museum of American Art, the Main Immigration Building on Ellis Island, and Grand Central Terminal.
"Marian column (also plague column) is a baroque sandstone column located in the central part of Velké náměstí in Hradec Králové. It was built in 1714–17 (1715–17, 1716–17) as thanks for Hradec Králové avoiding the plague epidemic that hit Bohemia in 1713.
When the plague epidemic raged in Bohemia in 1713, a procession went from Hradec Králové to Chrudim on November 6 to the image of St. Salvator, where the members of the municipality promised that if the city was spared the plague, they would have a Marian statue erected. The plague really avoided the city, so the pillory was removed from the area in the middle of the Great Square and a pedestal was erected in its place, then the column itself, and statues were placed on the ends. The final works included the addition of metal elements and gilding. The column was completed in 1717, but its consecration by Hradec Bishop Jan Adam Vratislav of Mitrovic did not take place until August 24, 1718. Queen Eleonora Magdalena Falcko also contributed to the construction of the column with a donation in the amount of three years' road tolls, which Hradec Králové paid her as a dowry city. Neuburg.
The authorship of the column is not entirely clear: either Giovani Battista Bulla or Jan Pavel Cechpauer are mentioned as creators.
In 1791, Brandenburg soldiers wanted to tear down the column in order to gain more space for their encampment in the square, but at the pleas of the townspeople, they abandoned their intention.
The building is 19 meters high and consists of a column with a statue of the Virgin Mary, standing on a four-sided plinth with four statues, complemented by four more statues on separate plinths and an enclosure in the form of a balustrade. The material is medium-coarse light gray sandstone, which was originally imported from the Boháňka quarry near Hořice. From 1965, however, material for repairs and reconstruction was taken from the quarry in Podhorní Újezd.
The statue of the Virgin Mary stands on a column on a globe and at her feet are angel figures. The statue has a halo of six-pointed gilded stars around its head. Statues of Saint Charles Borromeo, Saint John of Nepomuk, Saint Jachymus and Saint Ludmila are placed around the four-sided plinth (some sources give a statue of Saint Anne instead of Saint Ludmila). On the base itself there are Latin chronograms and below them reliefs with the coat of arms of the city (this is the very first depiction of the new Králové Hradek city coat of arms: a lion holding the letter G), with Saint Rozália Sicilia – patroness against the plague, as well as a relief with the coat of arms of the empire and a relief St. Francis Xavier. Statues of Saint Wenceslas, Saint Joseph, Saint Sebastian and Saint Lawrence are placed on separate plinths in the balustrade. On the front side of the balustrade is a wrought-iron door.
Hradec Králové (Königgrätz in German) is a statutory city in eastern Bohemia, located at the confluence of the Elbe and Orlica. It has approximately 94 thousand inhabitants and is the capital of the Hradec Králové region. Together with nearby Pardubice, it forms a metropolitan area with 340,000 inhabitants.
Due to its favorable characteristics, the territory of Hradec was already inhabited in prehistoric times. In the Middle Ages, it was the dowry city of Czech queens, and it is to this period that the Gothic cathedral of St. Ducha on its Great Square, which today, alongside the White Tower and the Old Town Hall, is one of the city's landmarks. In the years 1766 to 1857, the city served as a military fortress, due to the lack of interest of the city, it was restored and abolished only in 1884. The city administration made full use of the possibility of complete management of urban development. This literally freed up space for the golden era of Hradec Králové architecture at the beginning of the 20th century, from which, thanks to the buildings of Gočár and Kotěra, the city earned the title Salon of the Republic.
Hradec Králové is a university town, the University of Hradec Králové, some faculties of Charles University and the University of Defense teach here. For example, the regional court or the bishops of the Royal Hradec Catholic and Czechoslovak Hussite dioceses are based here. Klicper's theater is a recognized scene that has won the award "Theatre of the Year" four times, artkino Central is proud of the award "Best European cinema for young audiences" from 2008. Hradec Králové Park 360, which was created in part of the area of the former military airport, provides space, among other things, for the summer of the Rock for People festival.
Bohemia (Latin Bohemia, German Böhmen, Polish Czechy) is a region in the west of the Czech Republic. Previously, as a kingdom, they were the center of the Czech Crown. The root of the word Czech probably corresponds to the meaning of man. The Latin equivalent of Bohemia, originally Boiohaemum (literally "land of Battles"), which over time also influenced the names in other languages, is derived from the Celtic tribe of the Boios, who lived in this area from the 4th to the 1st century BC Bohemia on it borders Germany in the west, Austria in the south, Moravia in the east and Poland in the north. Geographically, they are bounded from the north, west and south by a chain of mountains, the highest of which are the Krkonoše Mountains, in which the highest mountain of Bohemia, Sněžka, is also located. The most important rivers are the Elbe and the Vltava, with the fertile Polabean Plain extending around the Elbe. The capital and largest city of Bohemia is Prague, other important cities include, for example, Pilsen, Karlovy Vary, Kladno, Ústí nad Labem, Liberec, Hradec Králové, Pardubice and České Budějovice, Jihlava also lies partly on the historical territory of Bohemia." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
With my recent show at WOA in Bampton over, I've been sorting through my old work yet again. Oil pastel drawings are a very important aspect of my creative practice and seem to intersect with almost every phase of my output in some way. I enjoy their vibrancy and their lush colour harmonies . America was the early great inspiration for my work, my travels took me all over the USA and Canada and then I reworked and revised these ideas when back in Britain, forming a series of folk art inspired drawings. I guess David Hockney's work was a big influence (and still is), maybe Grant wood, Burchfield, Fauvism and German expressionism. Often these works are harsh to my eyes today, but I'd like them to be viewed in relation to each other, and not compared with my more conventional work.
influenced by Dalí's Paranoiac-critical period - double images .
~
surreal AI layers edited and manipulated via pixlr
"Bamberg (/ˈbæmbɜːrɡ/, US also /ˈbɑːmbɛərk/, German: [ˈbambɛʁk]; East Franconian: Bambärch) is a town in Upper Franconia district in Bavaria, Germany, on the river Regnitz close to its confluence with the river Main. Bamberg had 79,000 inhabitants in 2022. The town dates back to the 9th century, when its name was derived from the nearby Babenberch castle. Cited as one of Germany's most beautiful towns, with medieval streets and buildings, the old town of Bamberg has been a UNESCO World Heritage Site since 1993.
From the 10th century onwards, Bamberg became a key link with the Slav peoples, notably those of Poland and Pomerania. It experienced a period of great prosperity from the 12th century onwards, during which time it was briefly the centre of the Holy Roman Empire. Emperor Henry II was buried in the old town, alongside his wife Kunigunde. The town's architecture from this period strongly influenced that in Northern Germany and Hungary. From the middle of the 13th century onwards, the bishops were princes of the Empire and ruled Bamberg, overseeing the construction of monumental buildings. This growth was complemented by the obtaining of large portions of the estates of the Counts of Meran in 1248 and 1260 by the sea, partly through purchase and partly through the appropriation of extinguished fiefs.
Bamberg lost its independence in 1802, following the secularization of church lands, becoming part of Bavaria in 1803. The town was first connected to the German rail system in 1844, which has been an important part of its infrastructure ever since. After a communist uprising took control over Bavaria in the years following World War I, the state government fled to Bamberg and stayed there for almost two years before the Bavarian capital of Munich was retaken by Freikorps units (see Bavarian Soviet Republic). The first republican constitution of Bavaria was passed in Bamberg, becoming known as the Bamberger Verfassung (Bamberg Constitution).
Following the Second World War, Bamberg was an important base for the Bavarian, German, and then American military stationed at Warner Barracks, until closing in 2014.
Upper Franconia (German: Oberfranken) is a Regierungsbezirk (administrative [Regierungs] region [bezirk]) of the state of Bavaria, southern Germany. It forms part of the historically significant region of Franconia, the others being Middle Franconia and Lower Franconia, which are all now part of the German Federal State of Bayern (Bavaria).
With more than 200 independent breweries which brew approximately 1000 different types of beer, Upper Franconia has the world's highest brewery-density per capita. A special Franconian beer route (Fränkische Brauereistraße) runs through many popular breweries.
The administrative region borders on Thuringia (Thüringen) to the north, Lower Franconia (Unterfranken) to the west, Middle Franconia (Mittelfranken) to the south-west, and Upper Palatinate (Oberpfalz) to the south-east, Saxony (Sachsen) to the north-east and the Czech Republic to the east.
After the founding of the Kingdom of Bavaria the state was totally reorganized and, in 1808, divided into 15 administrative government regions (German: Regierungsbezirke (singular Regierungsbezirk)), in Bavaria called Kreise (singular: Kreis). They were created in the fashion of the French departements, quite even in size and population, and named after their main rivers.
In the following years, due to territorial changes (e. g. loss of Tyrol, addition of the Palatinate), the number of Kreise was reduced to 8. One of these was the Mainkreis (Main District). In 1837 king Ludwig I of Bavaria renamed the Kreise after historical territorial names and tribes of the area. This also involved some border changes or territorial swaps. Thus the name Mainkreis changed to Upper Franconia.
Next to the former episcopal residence city of Bamberg, the capital Bayreuth, the former residence city of Coburg and the classicist centre of Hof, as well as the towns of Lichtenfels, Kronach, Gößweinstein and Kulmbach, the Weißenstein Palace, Banz Abbey and the Basilica of the Fourteen Holy Helpers, the scenic attractions of the River Main and the low mountain ranges of the Fichtel Mountains with the town of Wunsiedel and the Franconian Forest belong among the region's major tourist attractions. There are also numerous spas like Bad Rodach, Bad Steben, Bad Staffelstein, Bad Berneck and Bad Alexandersbad." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
In 1917, Spain started to purchase from France some examples of this gun and by 1922, it was already the standard towed artillery piece of the Spanish Army (many being built by the Trubia Factory).
When the Spanish Civil War started, both sides of the conflict heavily used this gun in combat, namely the Siege of the Alcazar by the Republicans and Madrid (by the Nationalists).
The gun continued to be used until more modern examples were acquired during and after the Second World War. Today, many have been preserved in Military museums or as monuments.
The MOC has been influenced by a COBI set that I saw online of the same gun.
Thank for watching! Don´t forget to subscribe my Youtube Channel!
Eínon
.
Texture layer from darkwood67
www.flickr.com/photos/darkwood67/4510539813/in/set-721576...
and olivepix
www.flickr.com/photos/olivepix/2221345685/
and from Stevekin
www.flickr.com/photos/stevekin/4843479540/in/set-72157623...
With many thanks to the above....
Gregory Gregory's vision for Harlaxton Manor was influenced by his own travels around England and Europe and his desire to merge multiple architectural styles into one. He had a passion for collecting art from around the world and over time amassed a large collection of furniture, tapestries, books, and other pieces.
Gregory was a bachelor with no children, and when he died the manor was passed on to an older cousin. The manor continued to be passed through the family until 1937, when it was purchased by entrepreneur and social campaigner, Violet Van der Elst. Violet made her fortune investing in beauty preparations like Shavex, the first brushless shave cream, but her true passion was campaigning against capital punishment. While much of her wealth went towards this campaign, she still spent a great deal of money fixing up the manor and providing many of its distinct features, such as the massive chandelier in the Great Hall and the lion statues on the front circle.
After Violet, the manor was passed on to the Society of Jesus, who eventually leased the property to Stanford University. In 1970, Dr. Wallace Graves sub-leased the manor for the University of Evansville and it was then purchased in 1978 by Dr. William Ridgway. Dr. Ridgway officially transferred ownership of the manor to the University of Evansville in 1978 and it has been in the hands of the University ever since. For many years the manor has been the beginning of many students’ journeys and has served as the start of their discovery of Europe, and then the rest of the world!
Influenced by the works of Burt Glinn in the making of this photograph.
Portland, 2014.
35mm / kodak
Alcohol, cigarettes and a bag full of trouble – these are the only concessions at this street-side joint, and the only acts you’ll find here are the death-defying hustlers and the cheating, clown bastards getting their fix.
OK, maybe not, but that’s what goes through my head every time I pass this sign in North Hollywood.
There is a mix of Buddhist , Chinese and hindu influence . IN this can see Chinese statues in a Hindu scenerio.
This is still under constructions and will take another 20 years . Its a wooden structure thats worth a visit.
The Sanctuary of truth was started in 1980 by a wealthy Thai businessman who has since passed and his children carry on with the work. Built completely of carved wood it really is an amazing sight and well worth the admission price of 500 baht.
The Sanctuary of Truth is a gigantic wooden construction which covers the area of more than two rais. The top point of the building is about 105 meters high. It was constructed to withstand the wind and sunshine on the seashore at Rachvate Cape, Tumbon Naklea, Amphur Banglamung, Chon Buri Province.The building was constructed according to ancient Thai ingenuity and every square inch of the building is covered with wooden carve sculpture. The purposes of decoration with wooden carve sculptures are to use art and culture as the reflection of Ancient Vision of Earth, Ancient Knowledge, and Eastern Philosophy. With in this complex, visitors will understand Ancient Life, Human Responsibility, Basic Thought, Cycle of living, Life Relationship with Universe and Common Goal of Life toward Utopia.More at hubpages.com/hub/Santuary_of_Truth
Before highways and railways, before pioneers....the land we know as the United States was truly a vast wilderness. To protect these last remaining areas, in 1984 Congress created the Paria Canyon - Vermilion Cliffs Wilderness. Coyote Buttes' outstanding scenery, desert wildlife, colorful history, and opportunities for primitive recreation will remain free from the influence of man and are protected in this condition for future generations. Its 112,500 acres beckon adventurers who yearn for solitude, scenic splendor, and the chance to explore one of the most beautiful geologic formations in the world.
A permit is required to visit Coyote Buttes. Due to overwhelming demand, Coyote Buttes North ("The Wave") permits are available through a lottery. For additional information visit www.blm.gov/programs/recreation/permits-and-passes/lotter....
Photo by Bob Wick/Bureau of Land Management.
Show Must Go On
W x H (“): 70 x 60
Oil painting on Cotton (dock canvas)
Signed
Early Period
(1)Mechanism of Inspiration
From a title or period of painting’s execution it is believed that Jaisini was driven in its creation by an influence of a song with corresponding title and the death of its author and singer Freddie Mercury. The interpreting of emotions resulted and transferred by Jaisini in his painting is unexpected development of the theme of Show Must Go On painting rich in color combination, with dynamic composition, nerve and emotion urging to attempt read into it’s concept. At a first glace the picture’s space reminds of an outlandish or even sci-fi landscape with elements that may support the impression, a red sun against a silhouette that reminds a dinosaur. On the right upper side there is a depiction of what looks like a water tower. The color develops from the front ground’s almost black cobalt blue that changes gradually to the lighter value of blue enriched by additional colors and finally to fuse in a sun light spot in the upper left corner that holds a voluptuous female figure with bulging thighs. Her position is either gymnastic of erotic. Her figure is touched by some phallic finger and seems to carry little information except being a compositional space brake.
The figure’s configuration is light almost weightless as is she was a balloon navigating the space. In contrast to this image’s lightness there is another female figure, located below. Her image is independent but at the same time she delineates a right hand of a central man. This is a reclining female torso of intense transparent red color of stain-glass.
This color of transparent red is a highlighting color of the entire picture that is dominated by blue and yellow. The inclusion of such pure sound red fires up accents and add to Jaisini’s painting special power.
He is a great color master developing his composition with complimentary tonal highlights of pure colors and contrasting inclusions that always light up the paintings with additional dimension as multi faceted precious stone that casts color sparkles. His established rule is the inclusion of pure brisk color accents. To justify such pure and intense red in the predominately cobalt composition is a complex task Jaisini successfully accomplishes in SMGO.
The work as most paintings is painted in one go in detection of light and immediate lines that create the whole compositional swirl.
This mode of work in oil called a-la-prima painted without preliminary
sketch and sure is exhausting way of creation.
It will always remain puzzling how is it possible to paint monumental, finished version of a single painting without minimum preparation. In the interview Jaisini confirmed that it takes long time, months if not years to think about future painting. If he is not capable to construct a vision of his future work in his mind until this “vision” occurs, the artist is not ready to paint or if he would persist the result can’t satisfy the artist.
The notion of having direct influence of the music and events that inspired Jaisini to paint SMGO enter the analysis and to understand the immediate mechanics of Jaisini’s creativity is a challenging task.
What moves him in this particular work to bring out strange, unexplainable images to interpret the signer’s death and the musical tune and poetic meaning of the song with theatrical slogan that “show must go on”?
In the picture the central man is in the middle of composition and picture’s concept as a main figure. As in Forbidden Fruit same here the man’s figure is depicted in a rushing forward movement that could read symbolically and remain statuesque. Such duality of being dynamic and still at the same time is always found in the best works of art that can be looked at from different aesthetic points as Rodin’s Thinker, who seemed to be so lively but at a standstill.
In SMGO the central man’s body has an athletic anatomy but also a grotesque exaggerated body part that look like a blown out of proportions phallus, erected from the man’s lower body having no anatomical detailing.
The color serves to divide phallic element in two parts. It enters a figure of a bending down man of light yellow tone. The phallic part of a central man on the point of entering into the bending man’s backside becomes the painting’s red color inclusion with transparent effect of stain glass.
The central man seems to interact with the other in internal game that can be physical game of power. The central man opens his mouth in scream from the own pain that is caused to him by a double-jawed sward-fish who in turn enters his body from the back.
On the entering the swordfish’s nose is ultramarine and then red.
There is also an interesting image of a grieving profile that fills the space between the shark and reclining woman’s torso. The sward-fish is moving out of a dark space where scalaria fish of enlarged size demarcates the side of darkness and light.
Corrals in the front ground add more ambiguity to the space with the red color and rounded shaping.
In the right corner there is a third figure of a man who could fit the definition of submissiveness or weakness by the depiction.
Such personages are often found in Jaisini’s works where they find a place to contrast images of the masculine males.
To conclude the count in SMGO I should mention a profile with a grotesque dinosaur’s long bending neck. This profile is situated between spatial contrasts of almost black concave opening.
Inside the round enclosure of the neck the space is light but indicative of shaping by the reflexes of light.
The interest to understand the work, the birth of the above-described images and their relevance to the painting’s theme, why and how did they arrive in association with prime impulse of the artist, his favorite song and sorrow.
As a formulation of the artist’s reaction to the song he liked and death of its singer in the outcoming painting is most unusual. The painting’s formal quality is complete in its dynamical and color elaboration.
When you try to see the picture in its entirety you see a great contrast of spots, beautiful combination of colors enriched by unusual color choices.
The dynamic development of picture’s space divided endlessly to create vigorous effect of foliage washed by sunlight. The yellow color parts are offset by cold deep ultramarine and refined by bold inclusion of red.
Space of the painting can’t be defined as perspective.
As in most Gleitzeit works space is multi perspective with Cubist principle of space being observed from different angles but at the same time unified by Jaisini’s plastical line unlike cubism’s straight angles.
This painting has strong sense of spontaneity with little predictability of the images. The execution of the work holds perfectly an outburst of emotions into a formulation of unlikely response to the initial drive. Jaisini’s ability to work in a style of direct painting that is loaded with philosophical meaning is a unique gift. If abstract art is mathematical it is possible to formulate its principal’s production. In such works as of Jaisini the formula would be with all unknowns.
The artist expresses his deep understanding of social conflict in Show Must Go On uniting images of violence with concept of grief for the lost such as death of singer who inspired the artist to paint.
In this work Jaisini unites man’s violent act with the concept of “show must go on” that means aggression is a primary purveyor of rebellion and its revolutionary radicalism.
In SMGO the portrayal is of a cry that informs universe of raw demands of man desperate to know whom he is and where is he going.
The title of the song and painting is a dynamic addition to the concept.
The central man is shown vulnerable as the shark enters his body. It seems to freeze the effect of his outcry by physical threat. Jaisini reflects in this work the deep-seated fundamental concept. Men transform their fear of male violence into a metaphysical commitment to male aggression.
For Freud a criminal act-aggression and death, restrictions, and suppressed desire lay at the origins of human society. He establishes conflict between Eros and Thanatos as a primal, constant human condition.
Freud proclaims: “Every individual is virtually an enemy of civilization.”
Humans are unfit for civilization because their destructive urges are antagonistic to the fundamental demands of civilization.
The situation has become particularly dire in modern times, Freud argues for there are increasingly fewer outlets for these urges even as more and more restrictions are imposed. If during time of Surrealist art Andre Breton called the “crisis of consciousness” here is the “crisis of existence”.
The subject of absurdity and extinction of male purpose is not a gender-politicized theme in the Gleitzeit works of Jaisini.
It is an artistic questioning of the potential creativity that is hidden in every man but is restricted by rules and social responsibilities.
And still the artist calls for art to continue for show to go on even through death.
The portrayal of violence and victimization has the effect of the sacrificial ritual of ancient tradition that is echoed in the painting. Life will go on through death and sacrifice. There is recognition of life within death as well as death within life. In SMGO the concept of continuance is in the effort that could be described as violent, deviant, inherently shocking. The imagery of the picture focuses on the bonding between aged long that was and is necessary for creativity, agony and ecstasy, violence and sexuality, all inescapable and vitalizing forces of life emphasized in art tradition.
Struggle between instinct of life and instinct of destruction is the struggle that entire life essentially is about.
The picture seems to illustrate what was Freud’s view of the inclination to aggression to be an original, self-subsisting instinctual disposition in man while civilization is a process in the service of Eros and death, between the instinct of life and the instinct of destruction.
This struggle represents and portrays creation and life.
In SMGO Jaisini united the symbolic of fight with transgression of taboo subject of human rage having cruelty with social purpose to continue create.
It has been alleged that Australia has fallen out of love with Shiraz; smitten instead with Moscato.
I've always prided myself in not being slavishly bound to fashion. Max Shubert, the father of Grange Hermitage, did not think "I know, I'll become a legend with some sweet frippery…". No Sir, Max put his money on wines, not whines. You'll not find a Moscato in my cellar!
Along most of the escarpment of the Lake George Fault, there's just a rocky slope hacked through the hideously mineral poor Pittman Group deep sea sediments dating from the Ordovician. To the northern end, that escarpment, while steep, steps back from the lake. Onto that edge, the tumbled down erosion products form a thick wedge of poor soil mixed with the more chunky bits. It's the kind of terrain deep-rooted vines love. Of course, slopes that face the sunshine and have good frost drainage make the vines even more cheery. Yes, it gets cold. But as my Canadian friends upheld, it don't get killin' cold. Late frosts are still a bugger… They happen anywhere.
Where this is headed is that just south of the winding descent off the escarpment, not the Stelvio, just short and steep, there are two accomplished wineries. We didn't get past the first one… I'm evidently driving under the influence! Influenced by Cook's words, I've driven, without hesitation, onto this side road and into a winery.
With the lake in the background , this block of vines is yet to be pruned. It's cold out here. There's still plenty of time; my vines won't be touched for weeks! Inside, where it's warm, among the stacks of aging barrels, there are tables and an enticing menu. I didn't get past the course with the recommended glass of Estate Shiraz. Nor did I notice anyone offering, recommending or drinking Moscato. Perhaps it was offered to the vegans? Outside it was a red meat and potatoes kind of day: beef cheeks and shiraz.
Ah, so this was why Cook was so intrigued by the geomorphology; either that, or she just wanted us out of the house.