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LE FOTOGRAFIE SONO IN VENDITA
La storia si ripete, gli uomini migrano da sempre, è determinante non perdere le proprie radici ma rafforzare la propria identità .
Come ha detto Ernesto De Martino «se non hai un paese nei ricordi sei un apolide, non un cosmopolita».
Per Ferdinando Scianna «oggi siamo tutti un po’ emigrati dentro. E per questo il cibo diventa così importante, perché dopo il latte materno è una lingua primordiale».
Condivido il suo pensiero quando dice «essere siciliani significa andarsene e quando te ne vai, i sapori non si modificano, si cristallizzano».
Per me «essere pugliese» ha lo stesso significato. Al mercato di Rimini, quando è possibile, sono alla ricerca dei sapori della mia terra, alla ricerca della mia terra, elementi che affermano la mia identità , che rassicurano, che danno una sensazione di pace interiore.
Inizio la mostra proprio dalla terra madre e nutrice.
I ricordi, mi riportano nei luoghi, alle persone, alla saggezza delle tante persone anziane che tramandano il sapere, le tradizioni e l’identità .
Ci sono paesaggi impregnati di storie che li distinguono e le storie sono ricche di personaggi, di amore per la terra, di riflessioni sulla vita.
E’ un racconto tra ricordi, ritualità , luoghi, persone, sapori, odori, lo specchio dell’identità culturale.
Il paesaggio delle terre disegnato dalla natura e scolpito dall’uomo con le coltivazioni dell’ulivo, delle viti, del grano, offre nutrimento e bellezza.
Tra le semplici fonti di nutrimento, il pane ci riporta ad una antica dimensione, alla ritualità , alle simbologie, ci conduce alle storie comuni tra le diverse identità dei popoli e delle culture.
Antichi detti mi risuonano nella testa «il pane non si butta, è peccato – il pane di ieri è buono anche domani».
Infatti le donne curavano il recupero del prodotto con gradevoli trasformazioni.
Ad esempio «la cialledda fredda» a base di pane raffermo lo ritroviamo con nomi diversi nella stessa Puglia e nella nostra Italia: la cialledda fredda a Gravina di Puglia, l’acqua sala a Taranto, il pane cunzato in Calabria, il pan ‘mbuss in Basilicata, la panzanella in Toscana.
La ricetta riesce sapientemente a trasmettere valori antichi che potrebbero essere validi ancora oggi come la condivisione del cibo in un unico grande piatto.
POSTATA ... 07/22/2021 - H. 17:22:00
Marian McCall (date unknown)
Central Florida
With Apologies to VanGogh
Fiber, 12 x 13 ½ in.
On loan from Florida CraftArt
Florida CraftArt Purchase Award
PS manipulation
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The Rietveld Pavilion in the sculpture garden of the the Kröller-Müller Museum in Park Hoge Veluwe with sculptures by Hepworth, Couzijn & De Vries.
The famous Sculpture Garden of the Kröller-Müller Museum in Park Hoge Veluwe is one of the largest in Europe. The magnificent collection of sculptures is exhibited in an innovative way, surrounded by nature. Various artists, from the late 19th century to today, are represented: Auguste Rodin, Henry Moore, Barbara Hepworth, Richard Serra, Mario Merz, Jean Dubuffet and Claes Oldenburg.
The Rietveld Pavilion in the sculpture garden of the museum was restored in 2010. Gerrit Rietveld (1884-1964) designed the pavilion for the display of small sculptures at the Third International Sculpture Exhibition in Arnhem’s Sonsbeek Park in 1955. This ‘Sonsbeek Pavilion’ was intended as a temporary structure, and it was dismantled when the exhibition was over. On the initiative of several Dutch architects, the building found a permanent home in the Kröller-Müller Museum’s sculpture garden, under a new name: the ‘Rietveld Pavilion’. The second Rietveld Pavilion in the sculpture garden of the museum was built in 1965.
From the very outset, the maintenance of the Rietveld Pavilion was a constant source of concern. Every conceivable method was considered and tried, from conservation and restoration to copying and replacing parts of the building, but it eventually became clear that the structure was beyond saving. The 1965 pavilion has been disassembled. In 2010, the museum has rebuild the structure with new materials, while adhering as closely as possible to Gerrit Rietveld’s original design. Wherever possible, parts of the 1965 pavilion that were still in adequate condition have been reused. Construction work began in January and finished in September 2010. The new, third version of the pavilion now stands in the museum’s sculpture garden, preserving Rietveld’s world-famous design for the future. The pavilion is the property of the Government Buildings Agency (GBA) of the State of the Netherlands, which, as its owner, is responsible for its maintenance. The GBA was also overseeing the restoration project on behalf of the Kröller-Müller Museum
Photo shoot in Albuquerques Old Town..
Model: Johnnah.
Photographed by: Lloyd Thrap for Halo Media Group.
© 2018 Photo by Lloyd Thrap Photography
for Halo Media Group
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Waldfriedhof Neuwarmbüchen / 04.02.2018 / Niedersachsen / lower saxony
© ks60one photography - All rights reserved.
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Im Hintergrund: "Polonaise" und "Wäschefrauen"
"Alltagsmenschen" -
Ausstellung im Skulpturenpark Eschborn (Taunus).
Material: Beton
Künstler: Christel und Laura Lechner (Atelier Lechnerhof)
These beautifully sculpted horns are out at [Mod]ify NOW! maps.secondlife.com/secondlife/Modify/128/78/56
Found in situ was this abandoned summary pie chart from 1968 showing the costs for the year. Clearly, materials and labor makes up the bulk of costs, but is that really the full story?
The Fisk Tire Company was founded in 1898 and headquartered in Chicopee Falls Massachusetts at this now-abandoned office building. The largest and earliest manufacturer of automobile tires by the 1920s, there were Fisk Retail Stores in 40 states; and the Chicopee plant turned out 5,000 tires a day. The Great Depression hit Fisk hard, and its 121 retail tire stores had dwindled to three by 1934. When Fisk transformed into Uniroyal, the Chicopee plant remained its flagship U.S. factory until its closure in 1981. This office building adjoining the office is seven storeys and filled with ornate banisters and entryways, an entire employee cafeteria, and a leather lined executive meeting room.
En fechas veraniegas como es en el caso de dicha captura. Tuve la oportunidad de poder ofrecerme unas merecidas vacaciones en mi querido pueblo Villasur, Provincia de Castilla y León. Uno de eso tal dÃas donde podÃa realmente tener mi merecido tiempo, Asà fue. Normalmente y por si acaso me lleve mi equipo de fotografÃa. Aprovechando esos dÃas me pase a unos lugares donde realmente nunca habÃa explorado y menos poder sacar alguna foto que otra. Mirando y explorando como no con GPS actuales. Realmente era necesario. En mi opinión he tenido que buscarme la vida para poder encontrar algo de ferrocarril cerca de donde estaba. Como veis en este caso en la localización exactamente en Dueñas, A fueras de Valladolid, No me esperaba algo asÃ, Fue una autentica pasada de sitio. Es que positiva mente opino que lo tenia todo lo bueno, El terreno, La luminosidad, Margen de espacio. En fin sin palabras. Cabe decir que a lo lejos veremos la Estación de Dueñas actualmente. Después de estar normalmente 2 duras horas a pleno sol de la tarde, Un dÃa de diario pudimos ver bastante movimiento. La verdad es que me sorprendió. Como podéis ver en la captura ya con las ultimas luces de la tarde. Debo recalcar que en mis carpetas de archivos no suelo tener normalmente cazado este tipo de circulaciones, Es mas casi prácticamente imposible poder cazar este tipo de composición exacta en Vizcaya. Como podéis ver pude cazar a estas doble Primas 333.392+333.345 formándose un bonito bobinero corto, A muy buena marcha minutos mas antes de salir de Venta de Baños. Con destino a Salamanca.
Un Saludo
We went back last Sunday to see if the Ravens were still building their nest. It seems they have almost finished. After the bulk of construction is complete, they'll line the cup of the nest with soft materials like grass, tree bark, moss, flowers, paper or fur. It looks like they have almost finished so she will soon be laying her eggs.
materials used:
Felt-tip pens, markers, crayons, lead pencil, colored pencils on paper
dimensions:
21 x 29.5 cm
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En mi Flickr ya hay una versión antigua de esta foto pero ahora la reincorporo con un nuevo revelado y eligiendo la última foto de una ráfaga de cuatro disparos. Aprovechando una copiosa nevada, aquel dÃa nos acercamos hasta Gujuli para fotografiar los tres trenes diurnos que por entonces partÃan de Bilbao a primeras horas de la mañana. El Diurno gallego era el menos interesante de todos por culpa de su paupérrima composición. Pero aquel dÃa apareció con un regalo en forma de 269 remolcada y encabezado por la inefable 269.908, una locomotora que se distinguÃa de sus "hermanas" por llevar la numeración frontal en un lugar atÃpico y por el aparatoso lijado de la carrocerÃa a la altura de las rejillas de ventilación laterales. También era una de las Mitsubishi 269 que más veces se quedaba tirada pero, pese a todo, no os imagináis el cariño que le pude llegar a coger en aquellos tiempos....
In my Flickr there is already an old version of this photo but now I reincorporate it with a new development and choosing the last photo of a burst of four shots. Taking advantage of a copious snowfall, that day we approached Gujuli to photograph the three day trains that were then leaving Bilbao in the early hours of the morning. The Galician Day train was the least interesting of all because of its very poor composition. But that day it appeared with a gift in the form of a 269 towed and headed by the ineffable 269.908, a locomotive that was distinguished from its "sisters" by carrying the frontal numbering in an atypical place and by the savory sanding of the body at the height of the side ventilation grilles. It was also one of the Mitsubishi 269 that had more breakdowns but, despite everything, you can not imagine the affection that I professed to this locomotive in those times ....
These are the jasper rocks in my back yard birdbath I've been playing with... posted by request.... :-)
Después de fotografiarlo en la estación de Santa Eulália (con luz bastante pésima), tocó echar una carrera para cazarlo en el siguiente punto donde tendria una luz aceptable, ya que el horario del traslado y la dificultad de sitios de la lÃnea sumados a un contraluz hacÃa realmente difÃcil defenderse con esta pieza para que saliera el frontal mÃnimamente iluminado.
Ahà le vemos habiendo dejado Assumar a pocos kilómetros, aproximándose a Portalegre, donde me tocó iniciar el regreso a España, no sin antes fotografiar el Allan saliendo de Elvas.
Aquà está la información sobre los vagones que lleva remolcados: www.flickr.com/photos/alemmtrenes/38675533170
Nº 31602 (MEDWAY) Elvas > Entroncamento.