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Wagner's later operas and Nietzsche's early philosophy are greatly influenced by Schopenhauer's metaphysics as published in his 'The World as Will and Representation' (1819).
If I tell you the meaning of universe lies in the pepper, do you believe me?
Silly photo buff shot a pepper in the kitchen and boasting he discovered the metaphysical solution that has puzzled philosophers like Heidegger, Hegel for centuries.
The pepper was cooked and eaten in the meal right after and this meaning of universe is gone forever like mystery!
about 9 x 8 inches. Vintage paper from children's book and two pieces from 50s h.s. yearbook. (The black scuffed bits). Gray scale, cubed
Book of Shadows pages I created. These are not pre-punched so they can be customized for most any Book of Shadows. These pages are on parchment paper 8.5 x 11 size.
Day One-hundred and Eighty-Two, it's a Metaphysical Day. Pools can easily turn into metaphysical places, it all depends on how you look at them.
365+1 Day of NEX-7 project
Carlo Carrà -
The metaphysical muse [1917]
La Muse métaphysique [1917] -
Milan Pinacoteca Brera - JLM
Original photo by courtesy of Jean-Louis Mazières (flickr)
The Stele Forest, or Beilin Museum (碑林; pinyin: Bēilín), is a museum for steles and stone sculptures in Xi'an, China. The museum, which is housed in a former Confucian Temple, has housed a growing collection of Steles since 1087. By 1944 it was the principal museum for Shaanxi province. Due to the large number of steles, it was officially renamed the Forest of Stone Steles in 1992. Altogether, there are 3,000 steles in the museum, which is divided into seven exhibitions halls, which mainly display works of calligraphy, painting and historical records.The Stele Forest began with the Kaicheng Shi Jing Steles (开成石经碑) and Shitai Xiao Jing Steles (石台孝经碑), two groups of steles both carved in the Tang dynasty and displayed in the temple to Confucius in Chang'an. In 904, a rebel army sacked Chang'an, and the steles were evacuated to the inner city. In 962, they were returned to the rebuilt temple. In the Song Dynasty (1087), a special hall with attached facilities was built to house and display the two stele groups. It was damaged in the 1556 Shaanxi earthquake during the Ming dynasty. In 1936, famous Chinese calligrapher Yu Youren donated his entire collection of more than three hundred rubbings from steles to the Xian Forest of Stele Museum.[2] It became a Major Historical and Cultural Site Protected at the National Level in 1961 and thus survived the Cultural Revolution.
Dragons offer strong protection from evil, from all directions, North, South, East, West, Above, and Below. They have always been associated with metaphysics and alchemy. Magic, mystery and majesty are only a few of the Totem virtues of the mighty Dragon. All continents of the world have their own legends, myths and beliefs about the Dragon; however, they originated in the East, in China and Japan, and are still honored in those regions to this day.
This is a composite of several photos (ice, clouds, motion, even some lightning) all put together over an ice photo of Lake McBride. Sometimes it's fun to do something different!
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My Images Do Not Belong To The Public Domain - All images are copyright by silvano franzi ©all rights reserved©
Oil on canvas; 94 x 77.9 cm.
Giorgio de Chirico was an Italian painter who, with Carlo Carrà and Giorgio Morandi, founded the style of Metaphysical painting. After studying art in Athens and Florence, de Chirico moved to Germany in 1906 and entered the Munich Academy of Fine Arts. His early style was influenced by Arnold Böcklin’s and Max Klinger’s paintings, which juxtapose the fantastic with the commonplace. By 1910 de Chirico was living in Florence, where he began painting a unique series of landscapes that included The Enigma of an Autumn Afternoon (1910), in which the long, sinister, and illogical shadows cast by unseen objects onto empty city spaces contrast starkly with bright, clear light that is rendered in brooding green tonalities. Moving to Paris in 1911, de Chirico gained the admiration of Pablo Picasso and Guillaume Apollinaire with his ambiguously ominous scenes of deserted piazzas. In these works, such as The Soothsayer’s Recompense (1913) and The Mystery and Melancholy of a Street (1914), classical statues, dark arcades, and small, isolated figures are overpowered by their own shadows and by severe, oppressive architecture.
In 1915 de Chirico was conscripted into the Italian army and stationed at Ferrara, Italy. There, he was able to continue making art and practiced a modification of his earlier manner, marked by more compact groupings of incongruous objects. Diagnosed with a nervous condition, he was admitted into a military hospital, where he met Carlo Carrà in 1917; together the two artists developed the style they named Metaphysical painting. In de Chirico’s paintings of this period, such as the Grand Metaphysical Interior (1917) and The Seer (1915), the colors are brighter, and dressmakers’ mannequins, compasses, biscuits, and paintings on easels assume a mysterious significance within enigmatic landscapes or interiors.
The element of mystery in de Chirico’s paintings dwindled after 1919, when he became interested in the technical methods of the Italian classical tradition. He eventually began painting in a more realistic and academic style, and by the 1930s he had broken with his avant-garde colleagues and disclaimed his earlier works. De Chirico’s Metaphysical paintings exercised a profound influence on the painters of the Surrealist movement in the 1920s.
Collection Peggy Guggenheim
[Bibliography]
Peggy Guggenheim's career belongs in the history of 20th century art. Peggy used to say that it was her duty to protect the art of her own time, and she dedicated half of her life to this mission, as well as to the creation of the museum that still carries her name.
Peggy Guggenheim was born in New York on 26 August 1898, the daughter of Benjamin Guggenheim and Florette Seligman. Benjamin Guggenheim was one of seven brothers who, with their father, Meyer (of Swiss origin), created a family fortune in the late 19th century from the mining and smelting of metals, especially silver, copper and lead. The Seligmans were a leading banking family. Peggy grew up in New York. In April 1912 her father died heroically on the SS Titanic.
In her early 20s, Peggy volunteered for work at a bookshop, the Sunwise Turn, in New York and thanks to this began making friends in intellectual and artistic circles, including the man who was to become her first husband in Paris in 1922, Laurence Vail. Vail was a writer and Dada collagist of great talent. He chronicled his tempestuous life with Peggy in a novel, Murder! Murder! of which Peggy wrote: "It was a sort of satire of our life together and, although it was extremely funny, I took offense at several things he said about me."
In 1921 Peggy Guggenheim traveled to Europe. Thanks to Laurence Vail (the father of her two children Sindbad and Pegeen, the painter), Peggy soon found herself at the heart of Parisian bohème and American ex-patriate society. Many of her acquaintances of the time, such as Constantin Brancusi, Djuna Barnes and Marcel Duchamp, were to become lifelong friends. Though she remained on good terms with Vail for the rest of his life, she left him in 1928 for an English intellectual, John Holms, who was the greatest love of her life. There is a lengthy description of John Holms, a war hero with writer's block, in chapter five of Edwin Muir's An Autobiography. Muir wrote: "Holms was the most remarkable man I ever met." Unfortunately, Holms died tragically young in 1934.
In 1937, encouraged by her friend Peggy Waldman, Peggy decided to open an art gallery in London. When she opened her Guggenheim Jeune gallery in January 1938, she was beginning, at 39 years old, a career which would significantly affect the course of post-war art. Her friend Samuel Beckett urged her to dedicate herself to contemporary art as it was âa living thing,â and Marcel Duchamp introduced her to the artists and taught her, as she put it, âthe difference between abstract and Surrealist art.â The first show presented works by Jean Cocteau, while the second was the first one-man show of Vasily Kandinsky in England.
In 1939, tired of her gallery, Peggy conceived âthe idea of opening a modern museum in London,â with her friend Herbert Read as its director (2). From the start the museum was to be formed on historical principles, and a list of all the artists that should be represented, drawn up by Read and later revised by Marcel Duchamp and Nellie van Doesburg, was to become the basis of her collection.
In 1939-40, apparently oblivious of the war, Peggy busily acquired works for the future museum, keeping to her resolve to âbuy a picture a day.â Some of the masterpieces of her collection, such as works by Francis Picabia, Georges Braque, Salvador DalÃ- and Piet Mondrian, were bought at that time. She astonished Fernand Léger by buying his Men in the City on the day that Hitler invaded Norway. She acquired Brancusiâs Bird in Space as the Germans approached Paris, and only then decided to flee the city.
In July 1941, Peggy fled Nazi-occupied France and returned to her native New York, together with Max Ernst, who was to become her second husband a few months later (they separated in 1943).
Peggy immediately began looking for a location for her modern art museum, while she continued to acquire works for her collection. In October 1942 she opened her museum/gallery Art of This Century. Designed by the Rumanian-Austrian architect Frederick Kiesler, the gallery was composed of extraordinarily innovative exhibition rooms and soon became the most stimulating venue for contemporary art in New York City.
Of the opening night, she wrote: âI wore one of my Tanguy earrings and one made by Calder in order to show my impartiality between Surrealist and Abstract Art" . There Peggy exhibited her collection of Cubist, abstract and Surrealist art, which was already substantially that which we see today in Venice. Peggy produced a remarkable catalogue, edited by André Breton, with a cover design by Max Ernst. She held temporary exhibitions of leading European artists, and of several then unknown young Americans such as Robert Motherwell, William Baziotes, Mark Rothko, David Hare, Janet Sobel, Robert de Niro Sr, Clyfford Still, and Jackson Pollock, the âstarâ of the gallery, who was given his first show by Peggy late in 1943. From July 1943 Peggy supported Pollock with a monthly stipend and actively promoted and sold his paintings. She commissioned his largest painting, a Mural, which she later gave to the University of Iowa.
Pollock and the others pioneered American Abstract Expressionism. One of the principal sources of this was Surrealism, which the artists encountered at Art of This Century. More important, however, was the encouragement and support that Peggy, together with her friend and assistant Howard Putzel, gave to the members of this nascent New York avant-garde. Peggy and her collection thus played a vital intermediary role in the development of Americaâs first art movement of international importance.
In 1947 Peggy decided to return in Europe, where her collection was shown for the first time at the 1948 Venice Biennale, in the Greek pavilion. In this way the works of artists such as Arshile Gorky, Jackson Pollock, and Mark Rothko were exhibited for the first time in Europe. The presence of Cubist, abstract, and Surrealist art made the pavilion the most coherent survey of Modernism yet to have been presented in Italy.
Soon after Peggy bought Palazzo Venier dei Leoni, on the Grand Canal in Venice, where she came to live. In 1949 she held an exhibition of sculptures in the garden curated by Giuseppe Marchiori, and from 1951 she opened her collection to the public.
In 1950 Peggy organized the first exhibition of Jackson Pollock in Italy, in the Ala Napoleonica of the Museo Correr in Venice. Her collection was in the meantime exhibited in Florence and Milan, and later in Amsterdam, Brussels, and Zurich. From 1951 Peggy opened her house and her collection to the public annually in the summer months. During her 30-year Venetian life, Peggy Guggenheim continued to collect works of art and to support artists, such as Edmondo Bacci and Tancredi Parmeggiani, whom she met in 1951. In 1962 Peggy Guggenheim was nominated Honorary Citizen of Venice.
In 1969 the Solomon R. Guggenheim Museum in New York invited Peggy Guggenheim to show her collection there. In 1976 she donated her palace and works of art to the Solomon R. Guggenheim Foundation. The Foundation had been created in 1937 by Peggy Guggenheimâs uncle Solomon, in order to operate his collection and museum which, since 1959, has been housed in Frank Lloyd Wrightâs famous spiral structure on 5th Avenue.
Peggy died aged 81 on 23 December 1979. Her ashes are placed in a corner of the garden of Palazzo Venier dei Leoni, next to the place where she customarily buried her beloved dogs. Since this time, the Guggenheim Foundation has converted and expanded Peggy Guggenheim's private house into one of the finest small museums of modern art in the world.
[Info]
Address
Peggy Guggenheim Collection
Palazzo Venier dei Leoni
Dorsoduro 701
I-30123 Venezia
Opening hours
Daily 10 am - 6 pm
Closed Tuesdays and December 25
General information
tel: +39.041.2405.411
fax: +39.041.520.6885
e-mail: info@guggenheim-venice.it
Visitor services
tel: +39.041.2405.440/419
fax: +39.041.520.9083
e-mail: visitorinfo@guggenheim-venice.it
Photography
Photography is permitted without flash. You may not use tripods or monopods.
Animals
Animals of all sizes are not allowed in the galleries and in the gardens.
For information and assistance please contact "Sporting Dog Club".
Call Tel. +39 347 6242550 (Marie) or +39 347 4161321 (Roberto)
or write to sportingdoginvenice@gmail.com
Venice Art for All
The Peggy Guggenheim Collection joins the Venice Art for All project and becomes accessible to all, including people with limited mobility.
Palazzo Venier dei Leoni was probably begun in the 1750s by architect Lorenzo Boschetti, whose only other known building in Venice is the church of San Barnaba.
It is an unfinished palace. A model exists in the Museo Correr, Venice. Its magnificent classical façade would have matched that of Palazzo Corner, opposite, with the triple arch of the ground floor (which is the explanation of the ivy-covered pillars visible today) extended through both the piani nobili above. We do not know precisely why this Venier palace was left unfinished. Money may have run out, or some say that the powerful Corner family living opposite blocked the completion of a building that would have been grander than their own. Another explanation may rest with the unhappy fate of the next door Gothic palace which was demolished in the early 19th century: structural damage to this was blamed in part on the deep foundations of Palazzo Venier dei Leoni.
Nor is it known how the palace came to be associated with "leoni," lions. Although it is said that a lion was once kept in the garden, the name is more likely to have arisen from the yawning lion's heads of Istrian stone which decorate the façade at water level. The Venier family, who claimed descent from the gens Aurelia of ancient Rome (the Emperor Valerian and Gallienus were from this family), were among the oldest Venetian noble families. Over the centuries they provided eighteen Procurators of St Markâs and three Doges. Antonio Venier (Doge, 1382-1400) had such a strong sense of justice that he allowed his own son to languish and die in prison for his crimes. Francesco Venier (Doge, 1553-56) was the subject of a superb portrait by Titian (Madrid, Fundaciòn Thyssen-Bornemisza). Sebastiano Venier was a commander of the Venetian fleet at the Battle of Lepanto (1571) and later became Doge (1577-78). A lively strutting statue of him, by Antonio dal Zotto (1907), can be seen today in the church of Ss. Giovanni e Paolo, Venice.
From 1910 to c. 1924 the house was owned by the flamboyant Marchesa Luisa Casati, hostess to the Ballets Russes, and the subject of numerous portraits by artists as various as Boldini, Troubetzkoy, Man Ray and Augustus John. In 1949, Peggy Guggenheim purchased Palazzo Venier from the heirs of Viscountes Castlerosse and made it her home for the following thirty years. Early in 1951, Peggy Guggenheim opened her home and collection to the public and continued to do so every year until her death in 1979.
In 1980, the Peggy Guggenheim Collection opened for the first time under the management of the Solomon R. Guggenheim Foundation, to which Peggy Guggenheim had given her palazzo and collection during her lifetime.
Palazzo Venier dei Leoni's long low façade, made of Istrian stone and set off against the trees in the garden behind that soften its lines, forms a welcome "caesura" in the stately march of Grand Canal palaces from the Accademia to the Salute.
[Permanent collection]
The core mission of the museum is to present the personal collection of Peggy Guggenheim. The collection holds major works of Cubism, Futurism, Metaphysical painting, European abstraction, avant-garde sculpture, Surrealism, and American Abstract Expressionism, by some of the greatest artists of the 20th century. These include Picasso (The Poet, On the Beach), Braque (The Clarinet), Duchamp (Sad Young Man on a Train), Léger, Brancusi (Maiastra, Bird in Space), Severini (Sea=Dancer), Picabia (Very Rare Picture on Earth), de Chirico (The Red Tower, The Nostalgia of the Poet), Mondrian (Composition No. 1 with Grey and Red 1938 / Composition with Red 1939), Kandinsky (Landscape with Red Spots, No. 2, White Cross), Miro (Seated Woman II), Giacometti Woman with Her Throat Cut, Woman Walking), Klee (Magic Garden), Ernst (The Kiss, Attirement of the Bride), Magritte (Empire of Light), DalÃ- (Birth of Liquid Desires), Pollock (The Moon Woman, Alchemy), Gorky (Untitled), Calder (Arc of Petals) and Marini (Angel of the City).
The museum also exhibits works of art given to the Solomon R. Guggenheim Foundation for its Venetian museum since Peggy Guggenheim's death, as well as long-term loans from private collections.
Hannelore B. and Rudolph B. Schulhof Collection
In October 2012 eighty works of Italian, European and American art of the decades after 1945 were added to the collections of the Solomon R. Guggenheim Foundation in Venice. They were the bequest of Hannelore B. Schulhof, who collected the works with her late husband Rudolph B. Schulhof. They include paintings by Burri, Dubuffet, Fontana, Hofmann, Kelly, Kiefer, Noland, Rothko, and Twombly, as well as sculptures by Calder, Caro, Holzer, Judd and Hepworth. The Hannelore B. and Rudolph B. Schulhof Garden exhibits works from this collection.
Gianni Mattioli Collection
The museum exhibits twenty six masterpieces on long-term loan from the renowned Gianni Mattioli Collection, including famous images of Italian Futurism, such as Materia and Dynamism of a Cyclist by Boccioni, Interventionist Demonstration by Carrà , The Solidity of Fog by Russolo, works by Balla, Severini (Blue Dancer), Sironi, Soffici, Rosai, Depero. The collection includes important early paintings by Morandi and a rare portrait by Modigliani.
Patsy R. and Raymond D. Nasher Sculpture Garden
The Patsy R. and Raymond D. Nasher Sculpture Garden and other outdoor spaces at the Peggy Guggenheim Collection presents works from the permanent collections (by Arp, Duchamp-Villon, Ernst, Flanagan, Giacometti, Gilardi, Goldsworthy, Holzer, Marini, Minguzzi, Mirko, Merz, Moore, Ono, Paladino, Richier, Takis), as well as sculptures on temporary loan from foundations and private collections (by Calder, König , Marini, Nannucci, Smith).
To learn more about my craft, please visit my profile page.
SUMMER GLOW is a handcrafted 70 carat labradorite pendant that I created swirling and shaping antique brass copper wire by hand, adding topaz chips to enhance the natural beauty, shape and colors of the stone. This labradorite is unique in that it displays flashes of a beautiful golden color with shimmers of green when viewed from different angles. It is a nice versatile pendant in that it can be dressed up or dressed down, and no doubt will get many compliments from fascinated admirers.
It measures 1" across and 2 1/4" top to tip including the bail.
The bail is designed to be large enough to accommodate your favorite chain, choker or cord. A 20" adjustable gunmetal chain is included and is nicely packaged in a gift box.
The following metaphysical healing properties have been collected from various sources. For more specific information please contact an experienced Crystal Therapist.
Labradorite's healing effects:
Labradorite (also called Spectrolite sometimes) is a considered by mystics to be a stone of transformation. It is said to clear, balance and protect the aura. It is purported to help provide clarity and insight into your destiny, as well as attract success. It is used in metaphysics for dream recall, and finding ways to use dreams in daily life. Mystically, energies of stress and anxiety are reduced by labradorite. It helps to stimulate the imagination, enhancing intuition, psychic abilities, strength of will, strengthens and protects the aura. Helps us to understand the destiny that we have chosen.
Physical: Labradorite is said to increase intuition, psychic development, esoteric wisdom, help with subconscious issues, and provide mental illumination. Labradorite is associated with the solar plexus and brow chakras.
Oil on canvas; 71.5 x 61.5 cm.
Giorgio Morandi was an Italian painter and printmaker known for his simple, contemplative still lifes of bottles, jars, and boxes.
Morandi cannot be closely identified with a particular school of painting. His major influence was the work of French Post-Impressionist painter Paul Cézanne, whose emphasis on form and flat areas of colour Morandi emulated throughout his career. Morandi first exhibited his work in 1914 in Bologna with the Futurist painters, and in 1918–19 he was associated with the Metaphysical school, a group who painted in a style developed by Giorgio de Chirico and Carlo Carrà. Artists who worked in the Metaphysical painting style attempted to imbue everyday objects with a dreamlike atmosphere of mystery.
Morandi developed an intimate approach to art that, directed by a highly refined formal sensibility, gave his quiet landscapes and disarmingly simple still-life compositions a delicacy of tone and extraordinary subtlety of design. His gentle, lyrical colours are subdued and limited to clay-toned whites, drab greens, and umber browns, with occasional highlights of terra-cotta. Morandi’s paintings of bottles and jars convey a mood of contemplative repose reminiscent of the work of Piero della Francesca, an Italian Renaissance artist whom he admired.
As instructor of etching at the Academy of Fine Arts in Bologna from 1930 to 1956, Morandi had a profound influence on succeeding generations of Italian graphic artists.
Oil on canvas; 80 x 60 cm.
Giorgio de Chirico was an Italian painter who, with Carlo Carrà and Giorgio Morandi, founded the style of Metaphysical painting. After studying art in Athens and Florence, de Chirico moved to Germany in 1906 and entered the Munich Academy of Fine Arts. His early style was influenced by Arnold Böcklin’s and Max Klinger’s paintings, which juxtapose the fantastic with the commonplace. By 1910 de Chirico was living in Florence, where he began painting a unique series of landscapes that included The Enigma of an Autumn Afternoon (1910), in which the long, sinister, and illogical shadows cast by unseen objects onto empty city spaces contrast starkly with bright, clear light that is rendered in brooding green tonalities. Moving to Paris in 1911, de Chirico gained the admiration of Pablo Picasso and Guillaume Apollinaire with his ambiguously ominous scenes of deserted piazzas. In these works, such as The Soothsayer’s Recompense (1913) and The Mystery and Melancholy of a Street (1914), classical statues, dark arcades, and small, isolated figures are overpowered by their own shadows and by severe, oppressive architecture.
In 1915 de Chirico was conscripted into the Italian army and stationed at Ferrara, Italy. There, he was able to continue making art and practiced a modification of his earlier manner, marked by more compact groupings of incongruous objects. Diagnosed with a nervous condition, he was admitted into a military hospital, where he met Carlo Carrà in 1917; together the two artists developed the style they named Metaphysical painting. In de Chirico’s paintings of this period, such as the Grand Metaphysical Interior (1917) and The Seer (1915), the colors are brighter, and dressmakers’ mannequins, compasses, biscuits, and paintings on easels assume a mysterious significance within enigmatic landscapes or interiors.
The element of mystery in de Chirico’s paintings dwindled after 1919, when he became interested in the technical methods of the Italian classical tradition. He eventually began painting in a more realistic and academic style, and by the 1930s he had broken with his avant-garde colleagues and disclaimed his earlier works. De Chirico’s Metaphysical paintings exercised a profound influence on the painters of the Surrealist movement in the 1920s.
For more information about my craft, please visit my profile page.
GLACIER ICE is a 20 carat handcrafted raw genuine aquamarine gemstone pendant that I created swirling and shaping sterling silver plate wire by hand to enhance the natural beauty and shape of the stone. The combination of the elegant, swirly silver wire setting, together with the crystal-like and dramatic gemstone creates a very versatile piece of wearable art that can be worn with a party dress or your favorite casual attire. Stylish Care More pendants are sure to add a touch of natural drama to your fashion wardrobe. Aquamarine is the birthstone for the month of March.
It measures 3/4" across and 1 3/4" top to tip including the bail.
The bail is designed to be large enough to accommodate your favorite chain, choker or cord. Your gift of a 17" silver plate chain is included.
All purchases are nicely packaged in a gift box.
The following metaphysical healing properties have been collected from various sources. For more specific information please contact an experienced Crystal Therapist.
Aquamarine's healing effects:
Aquamarine is a stone of courage. It provides a shielding property for the aura and the subtle bodies. It helps to attune to more spiritual levels of awareness; for those who are involved in spiritual development, it provides emotional and intellectual stability and enhances the connection with the higher self. It enables one to travel deep within the self. Carry Aquamarine to provide a protective layer around your energy field and create stability within your field. Use your crystal to open up to spiritual energies and increase your awareness. Aquamarine helps with cleansing, meditation, serenity, safe travel on water and water spirits. It is a stone of courage and tolerance. It's a good stone for aligning and balancing the chakra's. Helps to stimulate and cleanse the throat chakra to allow better communication.
Chakras: Frontal, Soul Star, Third Eye, Throat
Astrological sign: Aries, Gemini, Aquarius, Pisces
To learn more about me and my craft, please visit my profile page.
CARIBBEAN QUEEN is a 70 carat handcrafted wire wrapped turquoise howlite pendant that created swirling and shaping sterling silver plate copper wire by hand, adding silver plate beads and turquoise chips to enhance the natural beauty and shape of the stone. The combination of the elegant, swirly and shiny wire setting, together with the earthy and dramatic gemstone creates a very versatile piece of wearable art that can be worn with a formal gown or your favorite casual jeans. Stylish Care More pendants are sure to be a focal point of any outfit.
It measures 1" across and 2 1/4" top to tip including the bail.
The bail is designed to be large enough to accommodate your favorite chain, choker or cord. A 17" silver plate chain is included.
All purchases are nicely packaged in a gift box.
The following metaphysical healing properties have been collected from various sources. For more specific information please contact an experienced Crystal Therapist.
Turquoise's healing effects:
This stone is a very personal and meaningful stone. It takes on the characteristics of the owner. It carries great wisdom of basic truth within it. A symbol of friendship. It also brings peace to the home. It is one of the oldest stones known and has been used for centuries as a protective stone. It's sacred to both Native American and oriental traditions. It has a calming influence, instills wisdom, loyalty, self-realization, promotes honest and clear communication from the heart and helps with creative problem solving. The psychic powers are enhanced when meditating with it. It has an "elevating" effect and can unite the energies of the earth and the skies to promote healing for ones spirit. It strengthens and aligns all chakras, meridians and subtle bodies. Another "All Purpose" healing stone like amethyst, it's fosters empathy, positive thinking and sensitivity. It acts on the immune system and therefore heals the whole body. Also effective in neutralizing over acidity, alleviating rheumatism, gout, stomach problems, viral infections, increases growth, muscular strength, pain, relaxes cramps and contains anti-inflammatory and detoxifying effects.
They That Mourn
Time does not heal them. There is no regeneration
of the amputated limb; they go on with the blank
companionship of an empty space. It follows them,
blinks out, reappears in old accustomed places,
sits itself in that particular chair, warms hands
at the cold fireplace it lit and kindled every day
in life, blindly flips the pages of its favourite
magazines, leaves spoons in teacups as it always did,
folds back the pages of its favourite book, disturbs
the dust in the attic where it planed wood and puffed
its pipe, leaves the smell of it lingering on stairs.
Time does not heal; it wears thin, until its gossamer
is so stretched that the veil of life and death turns
translucent, and even the embittered start to see angels.
Poem by Giles Watson, 2013.
This subjectivity finds significance in observing a flower of brachychiton acerifolius (Illawarra Flame Tree) fall onto page 29 of a copy of Graham Harman's "Guerrilla Metaphysics: Phenomenology and the Carpentry of Things" (Carus Publishing Company 2005). Uses iPad application 'Magic Shutter' to signify the event in multiple exposures.
For more information about my craft, please visit my profile page.
WATERFALL MIST is a 150 carat handcrafted blue stripes agate pendant that I created swirling and shaping sterling silver plate wire by hand, adding Swarovski crystals and glass beads to enhance the natural beauty and shape of the stone. This glass-like stone has striations of white throughout its beautiful shade of light sky blue.
It measures 1 1/4" across and 2 1/2" top to tip including the bail.
The bail is designed to be large enough to accommodate your favorite chain, choker or cord. A 17" silver plate chain is included.
All purchases are nicely packaged in a gift box.
The following metaphysical healing properties have been collected from various sources. For more specific information please contact an experienced Crystal Therapist.
Agate's healing effects:
Agate provides for balancing of Yin/Yang energy and for balancing of the physical, emotional and intellectual bodies with the Etheric energies. It stabilises the aura, providing for a cleansing effect that acts to smooth dysfunctional energies and to both transform and eliminate negativity. It further, assists one in the development of precision in examination of oneself and of circumstances relevant to ones well being. Agate can be used to stimulate analytical capabilities and precision. It provides for perceptiveness to situations and awakens ones inherent talents and adroitness. It is also used to produce inspiration from and connectedness with the entities residing in the spiritual worlds. It has been reported to strengthen the sight, to diminish thirst and to promote marital fidelity.
Chakras: Base, Earth Star, Heart, Link, Navel, Sacral, Solar Plexus, Throat, Thymus
Astrological sign: Gemini
this is a composite of the last three picts (details below). i find this surreal and moving on an emotional level... earth, dust, plantlife, soil, solemn, prayer book, praying, meditation, it's about a "blending" of the physical and metaphysical...
To discover that metaphysical Tree which hid
From my worldling look its brilliant vein
Far deeper in gross wood
Than axe could cut.
But before I might blind sense
To see with the spotless soul,
Each particular quirk so ravished me
Every pock and stain bulked more beautiful
Than flesh of any body
Flawed by love's prints.
— Sylvia Plath “On The Plethora Of Dryads”
LENS TEST: ASAHI PENTAX smc Pentax 200mm f2.5
Metaphysics of a bottle bead-cork. In the neighborhood, Tokyo, Japan. © Michele Marcolin, 2023. K1ii + smc Pentax 200mm f2.5
Some time has gone since I cquired it, but it happened right that I completed the clad during the crush of my computer, so images, homework and everything ended up in a tail. Anyway...
This is not a lens: it is a plasma gun that liquefies everything around your subject! A fantastic tool! I can't possibly conceive how somebody can spend negative reviews on Pentax Forum lens listing not recommending it: must be the fruit of complete photographic infancy... the use of a faulty lens... or the need of a psychological-mental examination (at least an optometric eye test)!
The smc Pentax 200mm f2.5 has virtually the same lens design of the 135mm f 2.5, with which it evidently shares the same great sharpness wide open, the solid contrast/color rendering, and the essential, but effective mechanical quality (and also some negative points). It is an incredible photographic tool of a gone age, which pairs perfectly with Pentax K-1, offering yes a heavy combo, but very well balanced when hand-held. Not really saying that it is perfect or easy to hand-hold (despite you do it most of the time); but it is a lens that does not like strong light (not incidentally the 8 blades of its aperture close down until f32), therefore in low light it demands great care in nailing perfectly your subject in focus, due to the extremely thin DOF it achieves. And the weight becomes a challenge. It has also sometimes inconsistent erratic rendering, probably results of its extreme design.
I do not have a completely mint copy, despite functionally it has no problem. It is a foundling: I rescued it on the junk market in a very poor state. It took quite a while to restoring it, since some internal rings where oxidized and hard to remove. It is a lens that was manufactured in a industrial age (despite not in large numbers), with good quality standards, but without an eye to its maintenance in time and the manual built of the Takumars. Internal components often used to be fixed with bonds or solutions that are not impossible to overcome for a clad, but that were not originally intended for that. Solvents and a-like don't go well hand in hand with coatings and glass. Lenses are large and it is pretty challenging avoiding touching them or damaging them. Users were probably expected to buy a newer one, when something got compromised inside (during bubble economy time it might not have been an issue). My lens withstood my siege on my work bench for some weeks, before I was finally able to access the internal lenses, to remove the mold they had. And I had to use pretty unorthodox systems to complete the work. So, despite I originally acquired it to fix it end reselling it for good bucks, due to some faint marks that remained in a couple of spots and an internal ring that I had to force and recycle in a different way, I decided to keep it. But I am so glad for that, because I got to discover a marvelous photographic tool.
Ideal for environmental portrait (in a studio a 200mm is probably too long - min. foc. is around 2 m), astrophotography, travel photo, it has an amazing dreamy blur (the background one, but particularly the foreground). I can only compare it to H.I.H. smc Pentax* 135mm f1.8 for general rendering. Being a tool of its age, it comes with the usual 'disclaimer' of most legacy lenses: some CA in very strong light and some fall of contrast in frontal illumination. Nothing tragic: you know it, you avoid those situations - if you purchase one of these lenses and then complain, you are a fool. Better drop photography and go fishing. That is part of its charm. Beside, if I recall well, this was the first 200mm lens with an f2.5 aperture, put out by Pentax in a momento of show-off of its technological capability - I believe only Nikon had a Nikkor 200mm f2 (!!) that came out that same 1977, which is faster and with a very beautiful rendering, but less sharp wide open and with more CA. On digital this one still kicks!
For more information about my craft, please visit my profile page.
DIVINE is a 45 carat handcrafted natural turquoise pendant that I created swirling and shaping sterling silver filled wire by hand, adding black agate beads and turquoise chips to enhance the natural beauty and shape of the stone.
It measures 1 1/2" across and 2 3/4" top to tip including the bail.
The bail is designed to be large enough to accommodate your favorite chain, choker or cord. A 17" silver plate chain is included.
All purchases are nicely packaged in a gift box.
The following metaphysical healing properties have been collected from various sources. For more specific information please contact an experienced Crystal Therapist.
Turquoise's healing effects:
This stone is a very personal and meaningful stone. It takes on the characteristics of the owner. It carries great wisdom of basic truth within it. A symbol of friendship. It also brings peace to the home. It is one of the oldest stones known and has been used for centuries as a protective stone. It's sacred to both Native American and oriental traditions. It has a calming influence, instills wisdom, loyalty, self-realization, promotes honest and clear communication from the heart and helps with creative problem solving. The psychic powers are enhanced when meditating with it. It has an "elevating" effect and can unite the energies of the earth and the skies to promote healing for ones spirit. It strengthens and aligns all chakras, meridians and subtle bodies. Another "All Purpose" healing stone like amethyst, it's fosters empathy, positive thinking and sensitivity. It acts on the immune system and therefore heals the whole body. Also effective in neutralizing over acidity, alleviating rheumatism, gout, stomach problems, viral infections, increases growth, muscular strength, pain, relaxes cramps and contains anti-inflammatory and detoxifying effects.