View allAll Photos Tagged interpretive
The Adirondack Visitors Interpretive Center at Paul Smith's has a guided canoe trip twice a week in the summer. Today was our second trip and, as expected, it was wonderful. Last year it was an easy paddle as the pond was calm. This year, the wind picked up and we had a harder time manoeuvring the little boat. Many thanks to our naturalist guide Lydia for helping us stay on course.
At the Oregon Trail Interpretive Center in Baker City with Nimiipuu Experience, interactive storytelling, song, drum, and dance from the Nez Perce
A fun day at the Oregon Trail Interpretive Center, in Baker City Oregon exploring the Oregon Trail, pioneer and gold rush history and enjoying a special interpretive demonstration including music and storytelling of the Nez Perce.
The Center is currently operating with Covid 19 precautions in place. The interior exhibits remain closed and redesigned interpretive experiences have been moved outside and take place every Thursday through Sunday with a combination of visiting interpreter performances and Ranger led activities. The Center’s outdoor trails and exhibits remain open to the public including the iconic wagon encampment.
The National Historic Oregon Trail Interpretive Center sits high atop Flagstaff Hill outside Baker City Oregon, overlooking the ruts of the Oregon Trail still visible today in the Baker valley below. Located along the Hells Canyon Scenic Byway, an outdoor wagon encampment is the first sights visitors see when they arrive at the National Historic Oregon Trail Interpretive Center. Other outdoor exhibits include a gold panning exhibit, a recreated Lode Mine, a historic stamp mill, and an operating blacksmith shop.
Costumed narrators from the BLM staff and Trail Tenders volunteer group provide interpretation and narration for the exhibits. For more information about the Oregon Trail Interpretive Center including a list of upcoming events and activities visit www.blm.gov/or/oregontrail
For more information about other Baker County heritage sites, attractions and museums, visit the Baker County Tourism website at www.travelbakercounty.com or become a fan at www.facebook.com/travelbakercounty
My kitten enjoys attacking carpet under doors. She's nuts.
I was hoping to achieve a minimalist/comedic feet "portrait." I burned the shadows on the right, under the door, and boosted contrast a bit to give it a more mysterious/horror-"esque" feel (if interpreted as such).
Hunter Noack, In A Landscape performance at the Sumpter Valley Gold Dredge State Park
An incredible music filled evening at the Sumpter Dredge State Park with Hunter Noack and special guest May Arden for this Labor Day weekend performance of In A Landscape.
Hunter, Noack created “In a Landscape,” as a new approach to presenting classical music. "This is the spirit of Oregon, the Wild West, where nothing is impossible, where the wagons circle round and everyone gives what they can to build something greater than any one person," claims Noack. Noack came up with the novel idea of passing out wireless Sennheiser headphones to attendees who want to use them, beaming the music he’s playing to them via radio frequencies, even enhancing the sound a bit with digital magic to make it sound even more like a concert hall.
The Sumpter Dredge State Park in Sumpter Oregon. Listed on the National Register of Historic Places, the Sumpter Valley Gold Dredge is the last of three built on the Powder River. Built in 1935, it ran until 1954. It dug up more than four million dollars worth of gold. The Dredge is located just a block off of the main street of the small historic mining town of Sumpter along the Elkhorn Scenic Byway
The tour of the dredge is a great way to explore the gold mining heritage of Eastern Oregon and the Sumpter Valley. The Dredge is currently undergoing restoration however park rangers will continue to host tours throughout the restoration process.
Visitors to the park can also try their luck at gold panning and explore the vast system of nature and interpretive trails that meander through the tailings left by the dredge as it worked its way up the river bed more than a half century ago.
The Sumpter Dredge is also the setting for bestselling author Patrick Carman’s, Skeleton Creek book series www.patrickcarman.com/enter/skeleton-creek
For more information about the Sumpter Dredge State Heritage Area visit www.oregonstateparks.org/park_239.php
For more information about other Baker County historic sites, attractions, events, and activities visit Baker County Tourism’s website www.travelbakercounty.com
At the Oregon Trail Interpretive Center in Baker City with Dr Balthasar’s Traveling Medicine Show
A fun day at the Oregon Trail Interpretive Center, in Baker City Oregon exploring the Oregon Trail, pioneer and gold rush history and enjoying Dr Balthasar’s Traveling Medicine Man Show.. The Center is currently operating with Covid 19 precautions in place. The interior exhibits remain closed and redesigned interpretive experiences have been moved outside and take place every Thursday through Sunday with a combination of visiting interpreter performances and Ranger led activities. The Center’s outdoor trails and exhibits remain open to the public including the iconic wagon encampment.
The National Historic Oregon Trail Interpretive Center sits high atop Flagstaff Hill outside Baker City Oregon, overlooking the ruts of the Oregon Trail still visible today in the Baker valley below. Located along the Hells Canyon Scenic Byway, an outdoor wagon encampment is the first sights visitors see when they arrive at the National Historic Oregon Trail Interpretive Center. Other outdoor exhibits include a gold panning exhibit, a recreated Lode Mine, a historic stamp mill, and an operating blacksmith shop.
Costumed narrators from the BLM staff and Trail Tenders volunteer group provide interpretation and narration for the exhibits. For more information about the Oregon Trail Interpretive Center including a list of upcoming events and activities visit www.blm.gov/or/oregontrail
For more information about other Baker County heritage sites, attractions and museums, visit the Baker County Tourism website at www.travelbakercounty.com or become a fan at www.facebook.com/travelbakercounty
My niece, Alena, made this beautiful painting/print from an old photo of my mom at Jones Beach in 1955. Alena never got to know her grandmother, but I can tell her that Clara would have loved this print.
More of Alena's artworks can be seen here: www.alenasceusa.com/
At the Oregon Trail Interpretive Center in Baker City with Dr Balthasar’s Traveling Medicine Show
A fun day at the Oregon Trail Interpretive Center, in Baker City Oregon exploring the Oregon Trail, pioneer and gold rush history and enjoying Dr Balthasar’s Traveling Medicine Man Show.. The Center is currently operating with Covid 19 precautions in place. The interior exhibits remain closed and redesigned interpretive experiences have been moved outside and take place every Thursday through Sunday with a combination of visiting interpreter performances and Ranger led activities. The Center’s outdoor trails and exhibits remain open to the public including the iconic wagon encampment.
The National Historic Oregon Trail Interpretive Center sits high atop Flagstaff Hill outside Baker City Oregon, overlooking the ruts of the Oregon Trail still visible today in the Baker valley below. Located along the Hells Canyon Scenic Byway, an outdoor wagon encampment is the first sights visitors see when they arrive at the National Historic Oregon Trail Interpretive Center. Other outdoor exhibits include a gold panning exhibit, a recreated Lode Mine, a historic stamp mill, and an operating blacksmith shop.
Costumed narrators from the BLM staff and Trail Tenders volunteer group provide interpretation and narration for the exhibits. For more information about the Oregon Trail Interpretive Center including a list of upcoming events and activities visit www.blm.gov/or/oregontrail
For more information about other Baker County heritage sites, attractions and museums, visit the Baker County Tourism website at www.travelbakercounty.com or become a fan at www.facebook.com/travelbakercounty
Interpreting a found object (shoe) through the focus of surface texture and structure.
Independent study.
Size: 42x60cm
Media: Oil Pastel, Ink, Emulsion, Charcoal
At the Oregon Trail Interpretive Center in Baker City
A fun fall day at the Oregon Trail Interpretive Center, in Baker City Oregon exploring the Oregon Trail, pioneer and gold rush history. The Center currently open with new Covid 19 precautions in place including social distancing and mask requirements, and redesigned interpretive experiences.
The National Historic Oregon Trail Interpretive Center sits high atop Flagstaff Hill outside Baker City Oregon, overlooking the ruts of the Oregon Trail still visible today in the Baker valley below. Located along the Hells Canyon Scenic Byway, an outdoor wagon encampment is the first sights visitors see when they arrive at the National Historic Oregon Trail Interpretive Center.
Costumed narrators from the BLM staff and Trail Tenders volunteer group provide interpretation and narration for the exhibits and activities throughout the center. For more information about the Oregon Trail Interpretive Center including a list of upcoming events and activities visit www.blm.gov/or/oregontrail
For more information about other Baker County heritage sites, attractions and museums, visit the Baker County Tourism website at www.travelbakercounty.com or become a fan at www.facebook.com/travelbakercounty
© Brian Callahan 2011 All rights reserved.
This is the first real chance I had to try out my Sigma 12-24 on the 5D2. I have wanted to shoot this for a while. They won't let you use a tripod or a monopod inside here, so I had to improvise. Actually, I have one of those Steade-Pods that reel out a cable and you step on the end and pull up on the cable to steady your shot. Works well in a pinch.
Located in the zoo’s oldest building, has been completely restored and reconfigured.
The original building was designed by the architect William H. Creaser, the Gallery features large Pewabic tile peacocks at the entrance and exit. The Wildlife Interpretive Gallery is a multidisciplinary, 10,000 square foot facility designed to interpret wildlife using theater, video, multi-media computers, interactive displays, art and nature. Nothing like it exists in other zoos - and it is designed to help visitors experience, understand, enjoy and celebrate wildlife. The Wildlife Interpretive Gallery also is home to the Matilda Wilson Free - Flight Aviary and the world renowned Butterfly Garden.
At the Oregon Trail Interpretive Center in Baker City
A fun fall day at the Oregon Trail Interpretive Center, in Baker City Oregon exploring the Oregon Trail, pioneer and gold rush history. The Center currently open with new Covid 19 precautions in place including social distancing and mask requirements, and redesigned interpretive experiences.
The National Historic Oregon Trail Interpretive Center sits high atop Flagstaff Hill outside Baker City Oregon, overlooking the ruts of the Oregon Trail still visible today in the Baker valley below. Located along the Hells Canyon Scenic Byway, an outdoor wagon encampment is the first sights visitors see when they arrive at the National Historic Oregon Trail Interpretive Center.
Costumed narrators from the BLM staff and Trail Tenders volunteer group provide interpretation and narration for the exhibits and activities throughout the center. For more information about the Oregon Trail Interpretive Center including a list of upcoming events and activities visit www.blm.gov/or/oregontrail
For more information about other Baker County heritage sites, attractions and museums, visit the Baker County Tourism website at www.travelbakercounty.com or become a fan at www.facebook.com/travelbakercounty
At the Oregon Trail Interpretive Center in Baker City with Wandering Minstrel Hank Cramer and friends
A fun day at the Oregon Trail Interpretive Center, in Baker City Oregon exploring the Oregon Trail, pioneer and gold rush history. The Center recently reopened with new Covid 19 precautions in place including social distancing and mask requirements, and redesigned interpretive experiences.
Hank Cramer’s performance is just one of numerous annual visiting musical performances including this summer’s new “After Hours on the Oregon Trail” outdoor concert series
The National Historic Oregon Trail Interpretive Center sits high atop Flagstaff Hill outside Baker City Oregon, overlooking the ruts of the Oregon Trail still visible today in the Baker valley below. Located along the Hells Canyon Scenic Byway, an outdoor wagon encampment is the first sights visitors see when they arrive at the National Historic Oregon Trail Interpretive Center.
Costumed narrators from the BLM staff and Trail Tenders volunteer group provide interpretation and narration for the exhibits and activities throughout the center. For more information about the Oregon Trail Interpretive Center including a list of upcoming events and activities visit www.blm.gov/or/oregontrail
For more information about other Baker County heritage sites, attractions and museums, visit the Baker County Tourism website at www.travelbakercounty.com or become a fan at www.facebook.com/travelbakercounty
Exploring Nova Scotia's South Shore is a unique and savoury experience. Sip your way along the Good Cheer Trail, sample Taste of Nova Scotia dishes, step back in time to our Interpretive Centres and UNESCO Historic Sites and National Parks, stroll the beaches, trails and visit our lighthouses! Visit Peggy's Cove -a small rural community located on the eastern shore of St. Margarets Bay, Oak Island and it search for buried treasure and Lunenburg with the BlueNose.
The Pershing Highway was the first road to travel between Daytona and Deltona. The course of the brick road runs largely similar to that of US Highway 92, for which this trailhead comes off.
Caw Caw Interpretive Center birdwalk. These are birds of shrubby habitats and old fields, and as forest clearing has continued, the birds have moved north. In the past century or so, many cleared areas have become trampled, and are often mowed so that the grass is maintained at lawn-length. This forces birds out of some native areas.
These grosbeaks tend to be some of the latest arrivals and latest singers in their habitat, sometimes not even arriving until well into July. Fortunately, the warm climate allows the birds to raise young late into the year, with the more southern populations raising two broods a year.
Herrenvolk (German: die Herrenrasse, das Herrenvolk), interpreted as 'master race', was a concept in Nazi ideology in which a supposed Nordic people, as a branch of what in a late-19th and early-20th century racialist taxonomy was called the Aryan race, represented an ideal and "pure race". In Nazi ideology this "Nordic" race was the purest example of the original racial stock of those who were then called the Proto-Aryans, whom the Nazis believed to have prehistorically dwelt on the North German Plain and to have ultimately originated from the lost continent of Atlantis.
The Nazis declared that the Nordics, or in their mythology, the Germanic peoples, were the true Aryans because they were less racially mixed with "non-native" Indo-European peoples than other people of what were then called the Aryan peoples (now generally called the Indo-European peoples), such as the Slavic peoples, the Romance peoples and the Indo-Iranian peoples.
Based on this claim that the "Nordic" peoples were superior to all other races, the Nazis believed they were entitled to world domination. This concept is known as Nordicism.
The Nazis maintained that for example the Northern Russians had Nordic traits such as light hair and light eye color and were racially fit to be a part of the master race. The Nazis also considered some percentages of young Slavs like Poles, Czechs, Ukrainians, and Belarusians to be the sufficient subjects for Germanisation. However, it was believed that for instance the Polish people were too patriotic and would ultimately resist Germanisation, what resulted in the Generalplan Ost, according to which all of the Slavs from East-Central Europe were destined to be expelled from the European continent by the Third Reich. Nevertheless, the Nazi Germans eventually decided to exterminate the Poles, so as the vast majority of the Slavic people who, along with the Jews and Gypsies, were defined as untermenschen, dangerous for the Germanic peoples representing the master race
Netherland, IJmuiden / Reenactment WWII / 01 april 2012.
No glorification, no heroism, just history.
© All rights reserved.
This Image may not be copied, reproduced, distributed,
republished, downloaded, displayed, posted or trasmitted
in any forms or by any means, including electronic,
mechanical, photocopying & recording without My written
permission.
Interpreting Ruth Asawa in the Tower gallery by Yoshi Williams 2019 Bouquets to Art at the DeYoung Museum
This year because of Covid a Virtual Show is happening this week
La Cofradía de la Entrada de Jesús en Jerusalén se fundó en 1938.
Algunos de los portadores del paso de Antonio Palao, quemado por la barbarie revolucionaria republicana, tenían relación
con la banca y las cajas de ahorros de Zaragoza. Ante la falta del misterio en la Semana Santa zaragozana, acordaron la creación
de una cofradía que conllevara la realización del paso, tras esa intención muchos de los empleados de
las cajas de ahorros
y bancos comprometidos. Un año más tarde procesionaban sin hábito en el Santo Entierro y al año
siguiente, el Domingo de Ramos
ya con hábito y su paso recién estrenado
HÁBITO
Túnica blanca con dos rayas longitudinales azules. Capirote azul. Cíngulo azul. Zapatos, calcetines y guantes
negros. Los hermanos de la Sección de bombos ,atributos y Sección montada, llevan el tercerol blanco con antifaz
azul.
ADVOCACIÓN
El episodio de la Entrada de Jesús en Jerusalén está recogido por los tres evangelios sinópticos
y también por el de San Juan.
Se cumple con él la profecía de Zacarías: " Lanza gritos de gozo, hija de Jerusalén. He aquí
que viene a tí tu rey; justo
el rey victorioso, humilde y montado en un asno, en un pollino cría de asno"
La Leyenda Dorada en el capítulo "El Domingo de Ramos", interpreta el misterio de la Entrada Triunfal de
Jesús en
Jerusalén como una prefiguración de lo que más tarde acontecerá en la subida al Monte Calvario.
Se centra en los honores y
burlas que recibió Jesús por parte de los judíos.
Las palmas, que simbolizaban la victoria entre los romanos, siempre aparecen en las representaciones de la Entrada Triunfal.
Significan el reconocimiento de los hombres de la Naturaleza Divina de Cristo, también el triunfo sobre el pecado.
Según los
cuatro evangelistas es momento mesiánico
En el códice B del apócrifo "Actas de Pilato" se da referencia de un sirviente, de nombre Rachaab,
que extendió
el manto del procurador romano cuando Jesús entró en Jerusalén. Del mismo texto es el comentario de la
inclinación de los
estandartes romanos al paso del Mesías.
PASO
La Entrada de Jesús en Jerusalén (Hnos Albareda. 1940). Realizado en madera de Flandes, es uno de los mejores,
que con esta
temática, procesionan en España. En él aparecen nueve figuras, todas de bella factura, entre las que
destacan la madre que
sostiene con los brazos en alto a su hijo y, sobre todo, la imagen de Jesús de Nazaret, hermosísima, gallarda
, y evocadora.
Muy difícil conseguir semejante expresión conociendo de la montura de que disfruta el Hijo de Dios. Especialmente
destacable
SALIDA PROCESIONAL Y RECORRIDO
Domingo de Ramos
Salida a las 12.00 horas de la iglesia de Santa Isabel de Portugal (San Cayetano)
Oregon or Bust Wagon Encampment in Baker City Oregon
A fun Labor Day weekend at the Oregon Trail Interpretive Center’s “Oregon Or Bust” wagon encampment, exploring the Oregon Trail history, and watching living history performers and guest musicians. This annual wagon encampment held each Labor Day weekend typically takes place at the Oregon trail Interpretive Center but was moved to Baker City’s Geiser Pollman Park this year since the Center remains closed due to COVID.
The National Historic Oregon Trail Interpretive Center sits high atop Flagstaff Hill outside Baker City Oregon, overlooking the ruts of the Oregon Trail still visible today in the Baker valley below. Located along the Hells Canyon Scenic Byway, an outdoor wagon encampment is the first sights visitors see when they arrive at the National Historic Oregon Trail Interpretive Center.
Costumed narrators from the Trail Tenders, and BLM staff provide interpretation and narration for the exhibits and activities throughout the center. For more information about the Oregon Trail Interpretive Center including a list of upcoming events and activities visit www.blm.gov/or/oregontrail
For more information about other Baker County heritage sites, attractions and museums, visit the Baker County Tourism website at www.travelbakercounty.com.
The Oregon Trail Interpretive Center in Baker City Oregon
A fun summer day at the Oregon Trail Interpretive Center in Baker City, Oregon
A pioneer wagon encampment is the first thing that visitors see when arriving at this award winning and world class interpretive center. The entire facility is staffed with costumed interpreters helping visitors discover the Oregon trail and the experiences of early pioneers as they made their way West during the nation’s largest overland migration. The Interpretive Center hosts numerous special events and activities throughout the year including, Dutch oven cooking demonstrations, lectures, and hands on gold panning demonstrations.
The National Historic Oregon Trail Interpretive Center, operated by the Bureau of Land Management, is located 5 miles east of Baker City, Oregon on Highway 86. Take Exit 302 from I-84. The Center is open from 9 a.m. to 6 p.m. daily. Admission for adults is $8. Seniors are $4.50. Children 15 and under are free. Federal passes are accepted. Visit
HYPERLINK "http://www.oregontrail.blm.gov"
for more information about the Center, or call 541-523-1843
For more information about other Baker County historic sites, attractions and special events, visit the Baker County tourism website at
HYPERLINK "http://www.basecampbaker.com"
At the Oregon Trail Interpretive Center in Baker City with Dr Balthasar’s Traveling Medicine Show
A fun day at the Oregon Trail Interpretive Center, in Baker City Oregon exploring the Oregon Trail, pioneer and gold rush history and enjoying Dr Balthasar’s Traveling Medicine Man Show.. The Center is currently operating with Covid 19 precautions in place. The interior exhibits remain closed and redesigned interpretive experiences have been moved outside and take place every Thursday through Sunday with a combination of visiting interpreter performances and Ranger led activities. The Center’s outdoor trails and exhibits remain open to the public including the iconic wagon encampment.
The National Historic Oregon Trail Interpretive Center sits high atop Flagstaff Hill outside Baker City Oregon, overlooking the ruts of the Oregon Trail still visible today in the Baker valley below. Located along the Hells Canyon Scenic Byway, an outdoor wagon encampment is the first sights visitors see when they arrive at the National Historic Oregon Trail Interpretive Center. Other outdoor exhibits include a gold panning exhibit, a recreated Lode Mine, a historic stamp mill, and an operating blacksmith shop.
Costumed narrators from the BLM staff and Trail Tenders volunteer group provide interpretation and narration for the exhibits. For more information about the Oregon Trail Interpretive Center including a list of upcoming events and activities visit www.blm.gov/or/oregontrail
For more information about other Baker County heritage sites, attractions and museums, visit the Baker County Tourism website at www.travelbakercounty.com or become a fan at www.facebook.com/travelbakercounty
Parmigianino (1503-1540), active in Parma, Rome and Bologna
Conversion of Paul the Apostle, about 1527/28
According to the story of the Apostles, Saul was suddenly illuminated by heavenly light on his way to Damascus, where he was to persecute Christians. Dazzled, he fell to the ground. Saul returned, had himself baptized, and became as Paul the passionate advocate of the new faith.
Parmigianino interprets the miracle of divine enlightenment as a highly dramatic event which, as ecstatic excitement, equally captures man and beast.
Parmigianino (1503-1540), tätig in Parma, Rom und Bologna
Paulussturz, um 1527/28
Wie die Apostelgeschichte berichtet, wurde Saulus auf dem Weg nach Damaskus, wo er Christen verfolgen sollte, plötzlich von himmlischem Licht umstrahlt. Geblendet stürzte er zu Boden. Saulus kehrte um, ließ sich taufen und wurde als Paulus zum glühenden Verfechter des neuen Glaubens.
Parmigianino deutet das Wunder göttlicher Erleuchtung als hochdramatisches Geschehen, das als ekstatische Erregung gleichermaßen Mensch und Tier erfasst.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
At the Oregon Trail Interpretive Center in Baker City with Nimiipuu Experience, interactive storytelling, song, drum, and dance from the Nez Perce
A fun day at the Oregon Trail Interpretive Center, in Baker City Oregon exploring the Oregon Trail, pioneer and gold rush history and enjoying a special interpretive demonstration including music and storytelling of the Nez Perce.
The Center is currently operating with Covid 19 precautions in place. The interior exhibits remain closed and redesigned interpretive experiences have been moved outside and take place every Thursday through Sunday with a combination of visiting interpreter performances and Ranger led activities. The Center’s outdoor trails and exhibits remain open to the public including the iconic wagon encampment.
The National Historic Oregon Trail Interpretive Center sits high atop Flagstaff Hill outside Baker City Oregon, overlooking the ruts of the Oregon Trail still visible today in the Baker valley below. Located along the Hells Canyon Scenic Byway, an outdoor wagon encampment is the first sights visitors see when they arrive at the National Historic Oregon Trail Interpretive Center. Other outdoor exhibits include a gold panning exhibit, a recreated Lode Mine, a historic stamp mill, and an operating blacksmith shop.
Costumed narrators from the BLM staff and Trail Tenders volunteer group provide interpretation and narration for the exhibits. For more information about the Oregon Trail Interpretive Center including a list of upcoming events and activities visit www.blm.gov/or/oregontrail
For more information about other Baker County heritage sites, attractions and museums, visit the Baker County Tourism website at www.travelbakercounty.com or become a fan at www.facebook.com/travelbakercounty
La “Opera moderna” que narró la gloriosa historia de Peñarol, le puso broche de oro a la fiesta de inauguración del Estadio Campeón del Siglo, la nueva Catedral del pueblo carbonero.
Desde las entrañas del campo de juego apareció el Tren del tiempo. De inmediato Jorge Drexler interpretó “todos a su puesto” y Jorge Bolani caracterizó a Juan Bautista Crosa, italiano nacido en la localidad de Pinerolo y afincado en las tierras que luego fueron bautizadas como “Villa Peñarol”. En 1891 nació el legendario CURCC (Central Uruguay Railway Cricket Club) y con él “el juego de los ingleses locos” se transformó en pasión de multitudes que fue compuesta por mapping, fotografías y documentos históricos de la fundación del club, las primeras victorias y los primeros héroes.
El segundo acto fue protagonizado por Raúl Castro que en compañía de una murga, recitó décimas e interpretó canciones culminando con el tradicional “Y dale, dale los peñaroles…”. Recordó el clásico denominado “La Fuga” de 1949, el “8 contra 11” de 1987 y el 5:0 de 2014. Mientras el cuerpo de baile dirigido por Martín Inthamoussu actuaba con mapping e imágenes de archivo que aparecieron reflejadas en la cancha.
Comenzó el desafío de competir en otros rincones del mundo, nació la gran tribu de las Copas internacionales. Aparecieron cuatro enormes marionetas, sinónimo de la grandeza de sus históricos capitanes, representando a William Martínez, Néstor “Tito” Goncalves, Walter “Indio” Olivera y Eduardo Pereira, líderes de los equipos que conquistaron las cinco Libertadores (1960-61-66-82-87). A continuación, Francisco y Osvaldo Fattoruso al frente de una cuerda de 200 tambores interpretaron un excelente recital de electro-candombe que recibió en el campo de juego a los futbolistas campeones de América y del Mundo. Néstor “Tito” Goncalves, Walter “Indio” Olivera y Eduardo Pereira, elevando al cielo las tres copas Intercontinentales (1961-66-82), encabezaron la vuelta olímpica ante el delirio de los parciales presentes.
El tren, símbolo del nacimiento de Peñarol, dio inicio al bloque de los dos Quinquenios de oro. El primero con año de partida en 1958, que tuvo su segunda versión desde 1993. Mientras la locomotora con los cuatro vagones, portando a los músicos que con sus canciones homenajearon a la famosa número 12, la hinchada que siempre alienta y empuja sin parar. Interpretaron distintos temas Francisco y Hugo Fattoruso, Lucila y Julieta Rada, Mandrake Wolf y Gustavo Cordera. El momento cumbre se produjo con el ingreso de los futbolistas protagonistas de los dos Quinquenios de oro, con Néstor “Tito” Goncalves y Pablo Bengoechea, abrazados y abriendo la enorme fila de campeones.
Fito Páez, de cara a la tribuna Washington Cataldi, puso en marcha el final del viaje, con su tradicional “Dale alegría a mi corazón” que cantó a coro con los hinchas que entonaron el tema a viva voz soñando con la sexta Libertadores. A continuación, la orquesta de Raúl Medina interpretó el himno oficial de Peñarol, acompañados por 125 futbolistas de las formativas de club.
Volvió a escena un emocionado Jorge Drexler, que vistiendo la camiseta oro y carbón, estrenó “La vida eterna”, el tema que compuso especialmente para la inauguración del estadio. Fin de fiesta con Mapping 3 D proyectado sobre la cancha imágenes del proceso de construcción del estadio y la inconfundible voz de Julio Pérez, liderando a la murga “Los Mirasoles” entonando el himno del “Campeón del Siglo”, mientras un espectacular show de fuegos artificiales le ponía color a la noche en simultáneo en distintos puntos de la capital.
Ref: www.tenfield.com.uy/el-mega-espectaculo-dio-comienzo-en-e...
Club Atlético Peñarol.
Montevideo, Uruguay
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ISO: 200
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Mamma Mia! torna finalmente in Italia al Teatro degli Arcimboldi in Milano.
Mamma Mia! nasce dalla geniale idea di Judy Craymer di mettere in scena la magia delle canzoni senza tempo degli ABBA con un’affascinante storia di famiglia e amicizia che si svolge su una paradisiaca isola greca. Ad oggi, lo spettacolo è stato visto da oltre 54 milioni di persone in 39 produzioni e in 14 lingue diverse. Mamma Mia! The Movie è il film musicale che ha incassato di più nella storia del cinema a livello mondiale, e nel Regno Unito una famiglia su quattro possiede il DVD, che su Amazon è ad oggi è il più venduto di tutti i tempi.
Da spettacolo locale della West End di Londra a fenomeno globale, la produzione londinese di Mamma Mia! è stata vista da oltre il 10% dell’intera popolazione britannica. È uno dei cinque musical al mondo ad essere rimasto in scena per oltre dieci anni sia a Broadway che nella West End, e nel 2011 è diventato il primo musical occidentale a essere rappresentato in mandarino nella Repubblica Popolare Cinese.
Il cast di Mamma Mia! International Tour: Sara Poyzer interpreta Donna Sheridan, Shobna Gulati è Tanya, Sue Devaney è Rosie e Niamh Perry interpreta Sophie Sheridan.
Fa parte del cast anche il vero marito di Sara Poyzer, Richard Standing, nel ruolo di Sam Carmichael; Michael Beckley nel ruolo di Bill Austin, Mark Jardine nel ruolo di Harry Bright; Justin Thomas come Sky, Daniella Bowen come Ali, Tara Young come Lisa, Alex Simmons come Pepper e Charlie Stemp come Eddie. Per alcune repliche il ruolo di Donna sarà coperto da Francesca Ellis.
Inoltre nel cast: Michael Anthony, Holly Ashton, Charlotte Bradford, Devon-Elise Johnson, Matt Kennedy, Gemma Lawson, Scott Mobley, Dean Read, Matthew Ronchetti, Ellie Rutherford, Parisa Shahmir, Katy Stedder, Rhodri Watkins, Tom Stanford-Wheatley, Simon Wilmont, Sarah Wilkie e Jamie Wilkin.
Con le musiche e i testi di Benny Andersson e Björn Ulvaeus, Mamma Mia! è scritto da Catherine Johnson e diretto da Phyllida Lloyd; la coreografia è di Anthony Van Laast, il design della produzione è di Mark Thompson, le luci sono state progettate da Howard Harrison, e il suono da Andrew Bruce e Bobby Aitken, la supervisione musicale e gli arrangiamenti sono di Martin Koch.
Mamma Mia! International Tour è prodotto da Judy Craymer, Richard East e Björn Ulvaeus per Littlestar in associazione con Universal, Stage Entertainment e NGM.
Chicago, Burlington & Quincy 5633 was assembled at the CB&Q West Burlington, Iowa, shops 1940, It was retired from service in 1962 and donated to Douglas, Wyoming. Today it is on display at the Douglas Railroad Interpretive Center.
Using precious gems, minerals & metals, artist Kathy Chan interprets the genuine awe of the cosmos and its vibrant oasis, Earth.
Interpretada por la actriz Antonia Zegers. Es la enfermera Jefe de la Clínica Santiago, amante del Director del establecimiento, doctor Valenzuela. Fue quien cuidó personalmente a Isabel (Magdalena Max Neef ), la mujer de Valenzuela cuando ella enfermó de cáncer. Ahora son grandes amigas.
Wagon Encampment At The Oregon Trail Interpretive Center in Baker City
A fun day at the Oregon Trail Interpretive Center, exploring the Oregon Trail history, and watching living history performers and guest musicians during the annual Labor Day Weekend Wagon Encampment
The National Historic Oregon Trail Interpretive Center sits high atop Flagstaff Hill outside Baker City Oregon, overlooking the ruts of the Oregon Trail still visible today in the Baker valley below. Located along the Hells Canyon Scenic Byway, an outdoor wagon encampment is the first sights visitors see when they arrive at the National Historic Oregon Trail Interpretive Center.
Costumed narrators from the Trail Tenders provide interpretation and narration for the exhibits and activities throughout the center. For more information about the Oregon Trail Interpretive Center including a list of upcoming events and activities visit www.blm.gov/or/oregontrail
For more information about other Baker County heritage sites, attractions and museums, visit the Baker County Tourism website at www.travelbakercounty.com or become a fan at www.facebook.com/travelbakercounty
Joseph Stella, The Voice of the City of New York Interpreted, 1920–1922, oil and tempera on canvas, 99-¾ x 270 inches (Newark Museum)
OLYMPUS DIGITAL CAMERA
surprenante lumière d'après orage, cieux bien tourmentés,mais Il a l'Oeil...sur sa branche perché : Cette ambiance m'a mis assez mal à l'aise.
Les jeunes danseurs du BNMNEXT dansent CRISI. Un ballet qui traite de l'ambivalence entre l'amour et la violence de la sexualité, entre les rapports du corps qui se révolte et de l'esprit.
Chorégraphes : Emio Grego et Pieter C. Sholten.
Dans le cadre du festival du Ballet National de Marseille
Magnifique interpretation
Relations between the rebel body and the spirit in female sexuality
Dancer : Maria Cargnelli
Gala 75 Aniversario Coros y Danzas "Villa de Madridejos"
VÍDEO en youtu.be/3ehb5TZVQ4A
El 75 aniversario de la Asociación de Coros y Danzas Villa de Madridejos reunió este fin de semana en el Pabellón Santa Ana a la mayoría de los componentes que han pasado por dicha asociación desde 1940 en una gala homenaje a las personas que tuvieron la iniciativa de crear el grupo y han sabido transmitir el saber popular hasta nuestros días.
La gala consistió en un recorrido por la historia de la asociación desde su creación hasta nuestros días documentada con vídeos y fotografías, e intercalada con distintos bailes regionales, propios de La Mancha, que interpretaron miembros antiguos de las asociación, el grupo actual compuesto por 48 personas y el grupo infantil.
La pieza clave de las actuación y que sirvió como colofón a la gala fue la ‘seguidilla de Madridejos’, considerada desde el alma del grupo como el himno de esta asociación. También se interpretaron fandangos, jotas y rondeñas.
Los antiguos componentes subieron al estrado para contar algunas de sus experiencias a su paso por la asociación o recibir obsequios en reconocimiento a su labor.
Al evento asistieron el Presidente de la Federación Española de Agrupaciones de Folclore, Pedro Asuar y el Presidente de la Federación Castellano-Manchega de Folclore, Jesús Moreno.
Asuar destacó la importancia de los grupos de folclore en cuanto al cuidado de la historia e idiosincrasia de los pueblos como defensores de los mismos. Y definió al folclore como «la salvaguarda de nuestro patrimonio cultural y material», añadiendo que «esta salvaguarda la ha sabido reconocer las Cortes Generales y así ha sido también reconocida a nivel Europeo».
Por su parte Jesús Moreno recordó con entusiasmo que las «seguidillas» serán declaradas Bien de Interés Cultural si el expediente que está en curso sale adelante, hecho del que dijo que tiene esperanza que así sea en 2016.
Sendos presidentes entregaron un obsequio a la asociación madridejense que fue recogido por su presidente, Pablo Gómez, con motivo de este 75 aniversario.
El obsequio que la Federación Castellano Manchega de Folclore le entregó de manera simbólica a Pablo Gómez, consistió en la más alta distinción que puede recibir un grupo de folclore, la insignia de oro, que recibirá la Asociación de Coros y Danzas ‘Villa de Madridejos’ materialmente el próximo 15 de noviembre en Albacete.
El alcalde de Madridejos, José Antonio Contreras Nieves, también hizo entrega al presidente de la asociación de un obsequio que representaba el escudo de Madridejos y que ocupará un lugar en la vitrina de trofeos conseguidos por esta asociación.
El presidente de la Asociación de Coros y Danzas ‘Villa de Madridejos’, Pablo Gómez, intervino diciendo sentirse satisfecho con la herencia de este grupo y destacó algunos de los momentos más emblemáticos de esta asociación, e intervino en la tanda de agradecimientos a los actuales miembros de la asociación, los que han pasado por ella y en la mención que se hizo a título póstumo a los ya fallecidos.
El evento estuvo organizado por dicha asociación en colaboración con el Ayuntamiento de Madridejos y la Diputación de Toledo, y asistieron grupos de folclores de la Comunidad de Castilla La Mancha y Madrid.
De quinceañeras a un grupo cohesionado
La fecha exacta de creación del grupo se desconoce, aunque se ha recabado de un programa de festejos del Ayuntamiento de Madridejos que con motivo de la celebración de «el primer aniversario de la Victoria», el 1 de abril de 1940, la Asociación de Coros y Danzas ‘Villa de Madridejos’, entonces grupo, hacía su primera actuación en este municipio.
El grupo estuvo gestionado por la sección femenina en sus principios, con la peculiaridad de que las chicas no podían tener más de 20 años porque estaba mal visto y todas rondaban los quince años. Fue en 1967 cuando entró el primer grupo de chicos.
La actuación más importante del grupo, en sus inicios, tuvo lugar en 1947 en la muestra de bailes regionales que se ofreció el Toledo a Eva Perón en la visita que hizo a España.
El grupo participó en distintos concursos, que entonces se hacía entre los grupos de folclore, donde se medía la destreza e importancia del los grupos que participaban.
La asociación ha viajado dentro y fuera de España llevando el folclore de La Mancha e incluso fueron invitados por Televisión Española en el programa Gente Joven en la final de grupos de folk donde actuaron con una rondeña.
Con motivo de su 50 aniversario abrieron un chiringuito con motivo de las Ferias y Fiestas en honor al Santísimo Cristo del Prado de Madridejos con cuya recaudación consiguieron costear la sede que actualmente tienen.
El grupo mantiene, tras 75 años de trabajo, una cohesión que ha hecho historia en el municipio de Madridejos tal y como dejaron reflejado sus componentes en esta gala.
por Consuelo Sánchez para la Tribuna de Toledo
Autor: José-María Moreno García. Fotógrafo humanista y documentalista.Cronista Oficial de la Villa de Madridejos.
Una de las mejores formas de conocer la historia de un pueblo es a través de sus imágenes; en ellas se conserva no sólo su realidad tangible, calles, plazas, monumentos, si no también sus costumbres, fiestas, tradiciones, lenguaje, indumentaria, gestos y miradas, que nos dicen sin palabras como se vivía, cuales eran sus esperanzas y temores, qué había en su pasado, qué esperaban del futuro. Uno de los objetivos más ambiciosos es recuperar y catalogar todo el material gráfico existente en nuestra familia desde 1.915, para después ponerlo a disposición de vosotros, que la historia volviera a sus protagonistas, y los que aún siguen con nosotros pudieran disfrutar con ello. VISITA La colección "CIEN AÑOS DE FOTOGRAFÍA FAMILIA MORENO (1915-2015)" en www.josemariamorenogarcia.es y www.madridejos.net
SI ALGUIEN NO DESEA APARECER EN EL ÁLBUM POR FAVOR COMUNÍCALO A josemariamorenogarcia@gmail.com
I visited Fraserburgh on Tuesday 13th of November 2018, after a few hours at the harbour I made my way to Kinnaird Lighthouse Museum.
I decided to walk along the harbours path rather than drive, as I made my way towards the museum I came across this historic building.
I post its tragic history below, thanks to Wiki etc for the research.
The Winetower
The Winetower is a small three-storey tower located approximately 50 metres (160 ft) from Kinnaird Head Lighthouse.
The tower has been dated to the 16th-century, and may have gained its name through use as a store associated with the castle
The tower is accessed via the second floor, and contains elaborate carved stone pendants.
It is reputed that in the cave below, one of the Fraser family imprisoned his daughter's boyfriend, leaving him to drown there.
The daughter then jumped from the roof of the tower. There is red paint on the rocks below to illustrate her blood. According to local tradition, the tower is said to be haunted.
Castle
Kinnaird Head Castle and the adjacent Wine Tower are two of the best preserved structures of the ancient “nine castles of the knuckle” situated along the Buchan coast.
The 16th century castle was built by the Frasers of Philorth to demonstrate dominance and power over their planned town of Fraserburgh.
Falling out of fashion, the castle was sold to the Northern Lighthouse Board in 1787 to be converted into Scotland’s first mainland lighthouse, making Kinnaird Head unique among Scotland’s castles.
As well as the tower itself, original features such as the old castle kitchens and elements of the grand hall can be seen by visitors.
Discover the castle’s unique 450 year story of continual reinvention and survival from castle, to lighthouse, to museum.
The adjacent Wine Tower is an ancient pre-reformation building steeped in mystery and curiosity, dramatically perched over the crashing waves.
Visit the upper vaulted chamber of the Wine Tower to view seven preserved roof pendants, carved in stone, showing the Fraser’s family connections and commitment to the faith.
The monument consists of the upstanding remains of a 16th century tower, originally an ancillary building associated with the nearby Kinnaird Head Castle.
The tower retains its original scale and form and contains unusual sculptural detail in the form of seven carved stone bosses.
The bosses depict heraldic symbols of the Frasers and affiliated families, the royal arms of Scotland and the coat of arms of Christ. They demonstrate the familial connections and interests of the Frasers of Philorth.
The tower was built in the 16th century, probably in the latter half of the century. One of the carved bosses bears the Arms of Fraser impaling Ogilvie, commemorating the marriage of Sir Alexander Fraser, 8th Laird of Philorth, and his first wife Magdalen Ogilvie in 1559.
This suggests the tower could not have been built before this date unless the bosses are insertions into an older building. The figure of eight gun loops below the windows in the upper floor also suggest a late 16th century date.
The purpose of the tower is uncertain. It originally stood at the edge of the courtyard of Kinnaird Head Castle flanked by the now demolished doocot tower, and was part of the castle complex. It has been interpreted as a private chapel built for Magdalen Ogilvie, the Roman Catholic wife of Alexander Fraser (Bryce 1987).
The semi-defended nature of the upper chamber may support this interpretation, along with the decoration of one of the carved bosses with the symbols of Christ, known as the Arma Christi.
However, the room is not obviously a chapel; it is oriented north-south with a fireplace occupying the east wall and there are no features indicating a specific ecclesiastical use.
The remaining bosses depict the heraldic symbols of the Frasers and other families, rather than religious symbols.
It is likely the tower has served several different purposes since its construction in the 16th century.
The tower was used as a powder magazine and store during the 19th century and is recorded as being used as a store for the nearby lighthouse in 1914.
Scientific study of the monument would allow us to develop a better understanding of the overall form of the tower (for instance did it have additional fllors) and its relationship with the wider castle complex. It would also help our understanding of the chronology of the site, including its date of origin, original purpose and changing use and status.
The monument has the potential to enhance our understanding of the date of construction and function of the tower and its relationship to the nearby castle. It can add to our knowledge of construction techniques and architectural preferences of the time, and the way in which the fashion and function of such buildings developed.
The carved stone bosses have the potential to further the study of craftsmanship, design influences and artistic significance and enhance our knowledge of sculpture and heraldry. They can add to our knowledge of the religious, social and political history of late 16th century Scotland.
Contextual Characteristics
The monument is the only surviving ancillary structure of the nearby Kinnaird Head Castle (which was converted into Scotland's first mainland lighthouse in 1787). Although most castles were provided with additional buildings such associated features rarely survive.
Additionally, the seven finely carved stone bosses within the tower are of particular significance. Similar carvings are found at the castles of Gight (scheduled monument reference SM2508; Canmore ID 19800), Craig (listed building reference LB2736; Canmore ID 17245), Towie-Barclay (listed building reference LB16405; Canmore ID 19196) and Delgatie (listed building reference LB16421; Canmore ID 19251).
The bosses in the Wine Towner are particularly well carved and their presence in an otherwise plainly decorated ancillary tower is unusual. The tower therefore is an unusual survival of a structure associated with a late medieval/early modern castle.
The Wine Tower has the potential to broaden our understanding of the nature and chronology of late medieval/early modern defensible houses and their ancillary structures, their place within the landscape of northeast Scotland, and the development and use of such sites over time.
Associative Characteristics
The tower is connected with a legend which tells the story of the 17th century daughter of the head of the Fraser family who fell in love with a piper. Her father imprisoned the piper in a cave which supposedly runs below the Wine Tower and locked his daughter in the tower above.
During a high tide the piper drowned and the daughter leapt to her death from the window to the rocks below. Until recently the lighthouse keepers threw red paint on the spot as a tribute when they were painting the lighthouse.
Statement of National Importance
This monument is of national importance because it makes a significant addition to our understanding of the date, construction, use and development of late medieval/early modern defensible houses and their ancillary structures. It is an impressive structure that retains its field characteristics and contains unusual sculptural detail in the form of seven stone bosses carved with heraldic designs. The tower makes a significant contribution to today's landscape and would have been a prominent part of the historic landscape. The loss or damage of the monument would diminish our ability to appreciate and understand the character and development of tower houses and their ancillary structures. It would reduce our understanding of religious, social and political history during the late medieval and early post-medieval periods, as well as the development of such sites over time.
Archaeology Notes
The Wine Tower is most probably so called because it was the wine-cellar of those who at one time resided in the nearby castle which is now the lighthouse. Under this tower is a cave more than 100 feet in length.
Wine Tower: No satisfactory explanation of its existence has been produced for this tower. It is clearly a 16th century work, subsequent to the first quarter of that century, and built by the Frasers. It is built of very rough masonry in three stories, all vaulted, with walls about 5 ft thick and measures externally 26 feet 7 inches by 21 feet by 27 feet high. It is probably connected with the cave below.
Lord Saltoun (Saltoun 1963) states that the Wine Tower and Kinnaird were 'almost certainly successors one of another'.
They were two of a chain of castles along the Buchan coast probably originated by the Comyns in the 13th century.
It has been associated with one of the north-east’s most gruesome legends.
And now, the mysterious Wine Tower at the Scottish Museum of Lighthouses in Fraserburgh is being opened for guided tours later in the summer.
It was built in the 16th century and the Kinnaird Head structure is the oldest building in the port.
The Wine Tower was said to be a store for the old Fraserburgh Castle and there was even a suggestion it was a hidden Catholic chapel.
But the building is perhaps best known as the site of one of Aberdeenshire’s darkest tales.
Legend has it that in the late 1500s, Sir Alexander Fraser, the 8th Laird of Philorth was so enraged by his daughter, Isobel’s romantic dalliance with a piper that he had the musician chained in a sea cave below the tower.
The piper drowned and the distraught Isobel killed herself by jumping on to the rocks below.
It has been claimed the piper can still be heard playing in the cave during stormy conditions.
The tower used to have four different levels, but only three of these still remain.
Each level can be accessed through hatches and stairs placed on the side of the building and different rooms.
Lynda McGuigan, manager of the Museum of Scottish Lighthouses, said they have decided to reopen it after demand from visitors.
She added they had to keep it closed to deter people who damaging the interior.
Ms McGuigan said: “We had a problem with vandals kicking stairs and doors in the past.
“It has not been open on a regular basis and the tours will be an extra.
“We realised people wanted to see inside it, so we are going to open it for a one-off.”
The tower will open for a single daily tour over July and August.