Today I began painting up the box art model for the MPC upgrade kit; currently just pre-shading and modulation.

I'm using Tamiya XF Black through a cheapo airbrush, and hand-brushing high contrast highlights with XF White.

Because of the relatively poor surface detail on the MPC this technique ought to add a new dimension to an otherwise plain surface.

I took this on it's maiden voyage today up Mt. Shasta, to almost 8,000

feet above the sea, then enjoyed a 14 mile twisty descent averaging 37mph. There was plenty of high-speed hairpinning to test a prototype brake...

My opinions: this brake is more powerful than the Racer (due to the shorter arms?), with at least the same smooth modulation, maybe better. There's never a point where you can't keep applying more power.

It eats a 40mm Honjo fender, no problem. 35mm cyclocross tires fit too, but not with what I'd call mud clearance. I imagine the sweet spot on this brake will be a 25-32mm tire with fenders.

There are still some design elements to tweak, but it's gettin' close. And nope, I've not a clue when they'll drop.

Blacktron Gold - Listening and Assault Unit

Spacecraft equipped with:

- stereo cockpit

- optoechoic head

- white noise generator

- modulation metronome

- dual megabass cannon

- large aperture antenna with phrase scanning

- dual IR (iridium) jam-session-er

- powerful pro-tone torpedo

- dual frequency Hi-Fi-per sonic missiles

Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com

Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.

Higher resolutions with no attribution required can be downloaded: rawpixel

British postcard in the Picturegoer Series, London, no. 1048. Photo: Metro Goldwyn Mayer.

German-American-British film actress Luise Rainer (1910-2014) was the first to win multiple Academy Awards and the first to win back-to-back for The Great Ziegfeld (1936) and The Good Earth (1937). At the time of her death, thirteen days shy of her 105th birthday, she was the longest-lived Oscar recipient, a superlative that had not been exceeded as of 2020.

Luise Rainer was born in 1910 in Düsseldorf, in then the German Empire (now Germany). Her parents were Heinrich and Emilie (née Königsberger) Rainer. Her father was a businessman who settled in Europe after spending most of his childhood in Texas. Rainer's rebellious nature made her appear to be a "tomboy" and happy to be alone. She started her acting career in Berlin at age 16, under the pretext of visiting her mother, she traveled to Düsseldorf for a prearranged audition at the Dumont Theater. In the 1920s the theatre director Louise Dumont separated from her husband. Dumont was attached to a number of young actresses including Fita Benkhoff, Hanni Hoessrich, and Rainer. It has been presumed that Dumont was bisexual. Rainer later began studying acting with the leading stage director at the time, Max Reinhardt. By the time she was 18, several critics felt that she had an unusual talent for a young actress. She became a distinguished Berlin stage actress with Reinhardt's theatre ensemble. She also appeared in several German-language films. After years of acting on stage and in films in Austria and Germany, she was discovered by MGM talent scout Phil Berg, who signed her to a three-year contract in Hollywood in 1935. He thought she would appeal to the same audience as Swedish MGM star Greta Garbo. Mayer assigned actress Constance Collier to train her in speech and dramatic modulation, and Rainer's English improved rapidly.

Luise Rainer's first American film role was in the romantic comedy Escapade (Robert Z. Leonard, 1935) with William Powell. It is a remake of the popular Austrian Operetta film Maskerade/Masquerade (Willy Forst, 1934). The film generated immense publicity for Rainer, who was hailed as "Hollywood's next sensation." The following year she was given a supporting part as the real-life character Anna Held in the musical biography The Great Ziegfeld (Robert Z. Leonard, 1936), featuring William Powell. Despite her limited role, her emotion-filled performance so impressed audiences that she was awarded the Oscar for Best Actress. She was later dubbed the "Viennese Teardrop" for her dramatic telephone scene, attempting to congratulate Ziegfeld on his new marriage, in the film. On the evening of the Academy Award ceremonies, Rainer remained at home, not expecting to win. When Mayer learned she had won, he sent MGM publicity head Howard Strickling racing to her home to get her. She was also awarded the New York Film Critics' Award for the performance. For her next role, producer Irving Thalberg was convinced, despite the studio's disagreement, that she would also be able to play the part of a poor, plain Chinese farm wife opposite Paul Muni in The Good Earth (Sidney Franklin, 1937), based on Nobel Prize-winning author Pearl Buck's novel about hardship in China. The humble, subservient, and mostly silent character role was such a dramatic contrast to her previous vivacious character that she again won the Oscar for Best Actress. Rainer and Jodie Foster are the only actresses ever to win two Oscars by the age of thirty.

However, Luise Rainer later stated nothing worse could have happened to her than winning two consecutive Oscars, as audience expectations from then on would be too high to fulfill. A few months before the film was completed, Irving Thalberg died suddenly at the age of 37. Rainer commented years later: "His death was a terrible shock to us. He was young and ever so able. Had it not been that he died, I think I may have stayed much longer in films." After four more, insignificant roles, MGM and Rainer became disappointed, and she was dubbed "Box Office Poison" by the Independent Theatre Owners of America. Adding to her rapid decline, some feel, was the poor career advice she received from her then-husband, playwright Clifford Odets. She ended her brief three-year Hollywood career and returned to Europe where she helped get aid to children who were victims of the Spanish Civil War. Nevertheless, she was not released from her MGM contract and, by 1940, she was still bound to make one more film for the studio. Some film historians consider her the "most extreme case of an Oscar victim in Hollywood mythology". Rainer studied medicine and returned to the stage. In 1939, she made her first appearance at the Palace Theatre, Manchester in Jacques Deval's play 'Behold the Bride', and later played the same part in her London debut at the Shaftesbury Theatre. Returning to America, she played the leading part in George Bernard Shaw's 'Saint Joan' in 1940 at the Belasco Theatre in Washington, D.C. under the direction of German emigrant director Erwin Piscator. In 1943, she made an appearance in the film Hostages (Frank Tuttle, 1943). Rainer abandoned film making in 1944 after marrying publisher Robert Knittel. She made sporadic television and stage appearances, appearing in an episode of the World War II television series Combat! in 1965. She took a dual role in a 1984 episode of The Love Boat. She appeared in the film The Gambler (Károly Makk, 1997), starring Michael Gambon. It marked her film comeback at the age of 86. Luise Rainer passed away in 2014, in Belgravia, London, England. She was 104. Rainer married Clifford Odets in 1937 and they divorced in 1940. Her second husband was publisher Robert Knittel. They were married from 1945 till his death in 1989 and lived in the UK and Switzerland for most of their marriage. The couple had one daughter, Francesca Knittel.

Sources: Wikipedia and IMDb.

And, please check out our blog European Film Star Postcards.

Pierre-Auguste Renoir, Limoges 1841 – Cagnes-sur Mér 1919

Der Spaziergang - The Promenade (1870)

J. Paul Getty Museum, Los Angeles

In The Promenade, both figures are crucial to the scene, but they are treated very differently. Brightly lit and wearing a white dress, the woman is the dominant focus of the picture. Sporting a dark jacket and pressing back against the foliage, the man is a far more shadowy figure, only partially lit by scattered flashes of sunlight on his trousers, hands, collar, and hat. The trail into the depths of the wood may be well lit, but there is the hint, in the young man’s heavily shaded, almost caricatural features, that his intentions might be less than pure.

There is nothing in the painting that allows us to pinpoint the exact location of Renoir’s scene, but it’s clear from the dense, overgrown foliage and rough, uneven terrain that this is not the cultivated space of a park or garden.

The most telling clue is the figures’ relatively informal urban dress, which suggests that they are Parisian pleasure seekers on an excursion outside the city. The distinctive ribboned hat worn by the man identifies him as a canotier, or boater – a common sight along the Seine River valley to the west of Paris. Have these two just left their boat by the riverbank in a search for greater privacy?

The Promenade is considered a genre painting, meaning it depicts a familiar scene of everyday life whose characters are recognizable social types. The canotier can be imagined in his weekday life as a petit bourgeois, belonging to the lower-middle class and his companion as one of the legendary grisettes, the good-hearted girls common in the mythology of Parisian bohemian life who were interested in handsome young men for their charm, not their money. Together, these day-tripping Parisians evoke an easygoing, semi-bohemian world in which the pursuit of fleeting pleasures is paramount and social strictures are relaxed in the context of unbound nature.

The informality of the picture’s youthful, romantic subject is complemented by that of its lively, energetic technique. The Promenade rejects traditional notions of drawing and the imperative to clearly delineate and carefully model forms. Instead, Renoir works in a vibrant, painterly mode, animating the whole picture surface with fluid, broken brushstrokes and flecks and dashes of contrasting tone and color. Through brushwork and the modulation of light and color, he creates a dynamic interplay between the figures and their natural surroundings, responding in his way to one of the defining challenges of the Impressionist generation: how to depict large-scale figures outdoors in sunlight.

Despite the apparent informality and speed of Renoir’s loose, flickering technique, The Promenade is a work of great artifice, its composition is carefully framed and orchestrated. While dark foliage in the upper left corner sets off the woman in white, sun-dappled greens in the upper right corner set off the man’s dark figure.

In the bottom corners, the scene is framed by a delicate spray of leafy twigs and a massive tree trunk - contrasting natural elements that wittily echo the gendered opposition of Renoir's female and male figures.

And just as the man leads the woman up the path, so a sequence of pink and red touches lead the viewer’s eye across the composition from the woman's face and hat through the joined hands to the man's face and the remarkable red ribbon on his hat . and finally to his left hand, pointing to where he wishes her to go.

"I like a painting which makes me want to stroll in it.” Renoir

Source: "Taking a Stroll in Renoir's The Promenade" published online in 2021 via Google Arts & Culture, the J. Paul Getty Museum, Los Angeles.

William Basinski

⚫️

Book :

Modulations

Une Histoire De La Musique Électronique

Peter Shapiro & Caipirinha Productions

Éditions Allia

2007

CD :

Frank Bretschneider & Peter Duimelinks

Fflux

Brombron

BROMBRON10

Design . Lenno Verhoog

iMusic :

Ryoji Ikeda

Variations For Modulated Sinewaves

Raster - Noton

RN20TO2000

GMAhz ...

French postcard by A.N., Paris, no. 1182. Photo: Metro Goldwyn Mayer.

German-American-British film actress Luise Rainer (1910-2014) was the first to win multiple Academy Awards and the first to win back-to-back for The Great Ziegfeld (1936) and The Good Earth (1937). At the time of her death, thirteen days shy of her 105th birthday, she was the longest-lived Oscar recipient, a superlative that had not been exceeded as of 2020.

Luise Rainer was born in 1910 in Düsseldorf, in then the German Empire (now Germany). Her parents were Heinrich and Emilie (née Königsberger) Rainer. Her father was a businessman who settled in Europe after spending most of his childhood in Texas. Rainer's rebellious nature made her appear to be a "tomboy" and happy to be alone. She started her acting career in Berlin at age 16, under the pretext of visiting her mother, she traveled to Düsseldorf for a prearranged audition at the Dumont Theater. In the 1920s the theatre director Louise Dumont separated from her husband. Dumont was attached to a number of young actresses including Fita Benkhoff, Hanni Hoessrich, and Rainer. It has been presumed that Dumont was bisexual. Rainer later began studying acting with the leading stage director at the time, Max Reinhardt. By the time she was 18, several critics felt that she had an unusual talent for a young actress. She became a distinguished Berlin stage actress with Reinhardt's theatre ensemble. She also appeared in several German-language films. After years of acting on stage and in films in Austria and Germany, she was discovered by MGM talent scout Phil Berg, who signed her to a three-year contract in Hollywood in 1935. He thought she would appeal to the same audience as Swedish MGM star Greta Garbo. Mayer assigned actress Constance Collier to train her in speech and dramatic modulation, and Rainer's English improved rapidly.

Luise Rainer's first American film role was in the romantic comedy Escapade (Robert Z. Leonard, 1935) with William Powell. It is a remake of the popular Austrian Operetta film Maskerade/Masquerade (Willy Forst, 1934). The film generated immense publicity for Rainer, who was hailed as "Hollywood's next sensation." The following year she was given a supporting part as the real-life character Anna Held in the musical biography The Great Ziegfeld (Robert Z. Leonard, 1936), featuring William Powell. Despite her limited role, her emotion-filled performance so impressed audiences that she was awarded the Oscar for Best Actress. She was later dubbed the "Viennese Teardrop" for her dramatic telephone scene, attempting to congratulate Ziegfeld on his new marriage, in the film. On the evening of the Academy Award ceremonies, Rainer remained at home, not expecting to win. When Mayer learned she had won, he sent MGM publicity head Howard Strickling racing to her home to get her. She was also awarded the New York Film Critics' Award for the performance. For her next role, producer Irving Thalberg was convinced, despite the studio's disagreement, that she would also be able to play the part of a poor, plain Chinese farm wife opposite Paul Muni in The Good Earth (Sidney Franklin, 1937), based on Nobel Prize-winning author Pearl Buck's novel about hardship in China. The humble, subservient, and mostly silent character role was such a dramatic contrast to her previous vivacious character that she again won the Oscar for Best Actress. Rainer and Jodie Foster are the only actresses ever to win two Oscars by the age of thirty.

However, Luise Rainer later stated nothing worse could have happened to her than winning two consecutive Oscars, as audience expectations from then on would be too high to fulfill. A few months before the film was completed, Irving Thalberg died suddenly at the age of 37. Rainer commented years later: "His death was a terrible shock to us. He was young and ever so able. Had it not been that he died, I think I may have stayed much longer in films." After four more, insignificant roles, MGM and Rainer became disappointed, and she was dubbed "Box Office Poison" by the Independent Theatre Owners of America. Adding to her rapid decline, some feel, was the poor career advice she received from her then-husband, playwright Clifford Odets. She ended her brief three-year Hollywood career and returned to Europe where she helped get aid to children who were victims of the Spanish Civil War. Nevertheless, she was not released from her MGM contract and, by 1940, she was still bound to make one more film for the studio. Some film historians consider her the "most extreme case of an Oscar victim in Hollywood mythology". Rainer studied medicine and returned to the stage. In 1939, she made her first appearance at the Palace Theatre, Manchester in Jacques Deval's play 'Behold the Bride', and later played the same part in her London debut at the Shaftesbury Theatre. Returning to America, she played the leading part in George Bernard Shaw's 'Saint Joan' in 1940 at the Belasco Theatre in Washington, D.C. under the direction of German emigrant director Erwin Piscator. In 1943, she made an appearance in the film Hostages (Frank Tuttle, 1943). Rainer abandoned film making in 1944 after marrying publisher Robert Knittel. She made sporadic television and stage appearances, appearing in an episode of the World War II television series Combat! in 1965. She took a dual role in a 1984 episode of The Love Boat. She appeared in the film The Gambler (Károly Makk, 1997), starring Michael Gambon. It marked her film comeback at the age of 86. Luise Rainer passed away in 2014, in Belgravia, London, England. She was 104. Rainer married Clifford Odets in 1937 and they divorced in 1940. Her second husband was publisher Robert Knittel. They were married from 1945 till his death in 1989 and lived in the UK and Switzerland for most of their marriage. The couple had one daughter, Francesca Knittel.

Sources: Wikipedia and IMDb.

And, please check out our blog European Film Star Postcards.

[c400 | bruxelles, november 2010]

www.chaindata.nl

This 8 channel PWM (Pulse Width Modulation) card using NE555 timers is based on a test circuit devised and published by Giorgos Lazaridis in 2009. It is part of enhancements to the exhibition "public control panel" to provide wired operation of signals and points (turnouts) on the 16mm scale exhibit using servos instead of solenoids. The aim is more reliable control with slower, more realistic movement - a sort of "fly by wire" for model railways...

紫色の変調

Citroen C2 VTS (2003=09) Engine 1587cc TU5 S4 16v

Driver Juozas (Joe) Meskauskas

Series Champion BTRD Rallycross - Production Class

CITROEN SET

www.flickr.com/photos/45676495@N05/sets/72157623776731490...

Designed by Donato Coco as a replacment for the Citroen Saxo in the supermini category. Whereas its stablemate the C3 was aimed as a larger "family friendly vehicle", with its five doors the C2 was aimed at younger drivers with two doors and flatter styling. April 2007 saw Citroën Europe announcing a facelift for its C2 model, which had received a minor update in November 2006. The 2009 C2 featured a larger front bumper and restyled grille with a chrome surround.

.

Available with 1.1, 1.4 and 1.6 litre petrol engines along with a 1.4 litre Diesel, the entry trim level the LX was strictly a no frills version, the L available 2003-05 came with black lower bumper and door handles, CD player, rear seat modulation and no fog lamps. The Design included body coloured bumpers and electric windows. The SX was the luxury spec.

There were three sports models the Furio, VTR and the VTS. The Furio has the same sports body kit as the more expensive VTR and VTS models but lacks their alloy wheels. except the pre-2003 cars which came with 15" Coyote alloys, The VTR also has a 110 bhp (82 kW; 112 PS) engine, whereas the VTS, the premium sports model, has a 125 bhp (93 kW; 127 PS) engine capable of accelerating from 0 to 60 mph (97 km/h) in 8.0 seconds, it was intended that these cars attracted lower insurance premiums than some of their hot hatch rivals and the VTS came with security based additions including deadlocks and a Thatcham Category 1 alarm system which includes perimeter and volumetric detection as well as an engine immobiliser.

Many thanks for a Marmalising

52,510.429 views

Shot 15.06.2016 at the Coventry Festival of Motoring, Coventry REF 118-033

Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:

cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/

Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/

Ernest Hubert Lewis Schwarz was born in Lewisham on February 27 1873 the youngest of 12 children. His, father Frederick Maximilian Phillip Hubert Schwarz, was 60 at the time of his birth, his mother Johanna, 34. The couple were both from Germany, Frederick from Dusseldorf, Johanna from Schleswig-Holstein, but they married in London, at St Giles, in 1853 when he was an established South America merchant of 40 and she just a girl of 15. No doubt worn out by childbirth, she had her 12 children in just 18 years, Johanna died in April 1874 when Ernest would have barely been weaned. The motherless family were living on College Road in Dulwich at the time of the 1881 census and had moved to 80 Philbeach Gardens in what then known as Brompton but is now Earls Court by 1891. Ernest studied at the Royal College of Science in London and the School of Mines in Cambourne, Cornwall but despite being an excellent student he failed to gain a degree. In 1895, at the age of 22, Ernest moved to South Africa where he first worked as an editor on a short lived journal The Scientific African (it folded after just 5 issues) before being appointed as a field geologist to the Geological Commission of the Cape of Good Hope, a post he kept for most of the following decade. In 1899 his father died at the age of 86 leaving an estate of £18712 8s 6d to be shared amongst his brood. On 30 April 1904 in St George Anglican Cathedral, Cape Town Ernest married Daisy Murray Bowne Halloran and the following year he became the first professor of geology at Rhodes University College, Grahamstown, and simultaneously as keeper of geology and mineralogy at the Albany Museum.

Ernest liked to engage in speculation untrammelled by the harsh restriction of facts. In his last published book ‘The Kalahari and its Native Races’, published in 1929 shortly after his death, he suggests that Hottentot modulations of speech are derived from Chinese and eventually even convinces himself that the race itself is Asiatic in origin. And he felt that the Makalaka people were descendants of Malays who had sailed across the Indian Ocean. As his gravestone shows he was (and remains) most well known for his proposed Kalahari irrigation scheme first proposed in a newspaper in 1918, then in a scientific paper ‘The dessication of Africa: The cause and the remedy’ and finally in a full length book ‘The Kalahari or Thirstland Redemption’ published in 1920. Schwarz said that large permanent lakes that had existed at Etosha Pan, the Makgadikgadi Pans and Lake Ngami and which had dried up during the last few centuries. The loss of these lakes, he claimed, decreased rainfall over the Kalahari basin from about 1860 onwards. He was sure that restoring the lakes by damning the Kunene River and Chobe Rivers would increase rainfall by up to 250 mm a year and turn the desert into a green savannah. The proposal aroused such popular support that the South African government launched a scientific expedition in 1925 to survey the Kalahari and to report on the possibility of practically implementing the scheme. The official report alleged that Schwarz had many of his key facts wrong and that there was little or no chance of the scheme working. Schwarz continued to argue that he was right and after his death his widow continued to publish articles on the now discredited scheme. In 1927 he visited Senegal on six month's leave to study the upper drainage system of the Niger River. He was not able to complete his survey and so returned the following year, dying in the old colonial town of St Louis of a heart attack before he begin his work again. On his table was a letter to the editor of the Geographical Journal which outlined a solution to the problem of the route followed by Hanno the Carthaginian along the Senegal coast in his famous 5th century BC African expedition. Schwarz’s body was returned to England for burial and Willesden chosen by his widow to be his final resting place. Probate lists is estate as being worth £1162 12s 8d, the sole beneficiary being his Daisy Murray Bowne Schwarz, widow, of 4 Burgess Park Mansions, West Hampstead.

Willesden Cemetery

Four Modulations, 1969

Painted wood and metal wall relief

Palm Springs Art Museum

Modulation level with a MAGIC EYE 6E5 Tube and "RECORD LEVEL escutcheon. This tube was used in many Radios and test equipment.

Webcor Tape Recorder reel-to-reel all-tube set in a case. This is the once ubiquitous 6E5 "magic eye". When I use my tube-tester, I make it wink with the turn of a bias knob. The tape recorder had a badly designed multi-point slide switch inside that was beyond repair.

Unit scrapped and tubes tested all ok. Unit salvaged for parts.

Turbocoleoptozoide a modulation cosmique urbexologique n°10

photo par Chrixcel

bricolaged notes from STUDIO UNBOUND : Lane Relyea

Institutional Critique : Studio/Post Studio Activity

The Function of the Studio

Daniel Buren

The Studio is no longer as seen as belonging to a system.

No longer a retreat but it now INTEGRATES

It is all exterior.

The Network places the artist as a 'like item' within an integrative inventory or database.

Networks are both integrative and decentralizing in that they privilege casual or weak ties over formal commitments.

Being part of a network that privileges itinerancy and circulation over fixity, that diminishes hierarchies and boundaries in favour of mobility and flexibility across a more open extensive environment.

'The Studio made into a showroom display'

Antagonism and Relational Aesthetics. 2004

Claire Bishop

The Individual and The Social

A place where meanings, properties and behaviors fluctuate radically.

Bennett Simpson. Can you work as fast as you like to think. 2003

The hosting/re-created artist's workspaces, like a threshold between private and public actuality and potentiality.

Spaces of Fluid Interchange Between Objects, Activities, People.

Today studio and museum are superseded by more temporal, transient events.

The Notion of the Evolutionary Exhibition.

Placing greater emphasis on INFORMATION, DISCUSSION and GATHERINGS

Establishing NETWORKS, fluctuating between highly specialized work by scientists, artists, dancers and writers

Obrist/Vanderlinden, Laboratorium, Antwerp. 1999

MODULATION, Deleuze

Immaterial Social Acquaintances/Information

Along with the rise of Networks comes a new Ideology, one that Advertises Agency, Practice and Everyday Life.

The Dividual (The New Mobile Creator) Deleuze

Someone who is 'UNDULATORY In ORBIT, in a CONTINUOUS NETWORK

Colour Nexus : Promiscuous Mobility

Material Flows 2007/2017 Towards Disentanglement

Social behaviour is trapped in inescapable patterns of interaction coded by techno-linguistic machines, smartphones, screens of every size, and all of these sensory and emotional devices end up destroying our organism's sensibility by submitting it to the stress of competition and acceleration.

Franco "bifo" Berardi

OBSCURED MATERIAL

The Modulation of the Image

Auguste Rodin, 1840 - 1917

L'Age d'Airain model 1875-1876, cast 1903-1904

This cast was purchased by the original owners in 1905 from the artist. I have questions about how involved Rodin was in the creation of the reductions. In the normal course of events the artist would produce a maquette for a sculpture. It would be enlarged or reduced by artisans working under his supervision. The subtlety of surface modulation is mostly lost in the reduced version. flic.kr/p/y3BKJt

New!!! Adventure Audio (@adventure_audio) Dream Reaper - Fuzzy Feedback Modulation Machine * * * bit.ly/2km14y6 * * * #adventureaudio #adventure #dreamreaper #fuzz #fuzzpedal #feedbackloop #feedback #feedbacklooppedal #feedbackpedal #effectsdatabase #fxdb, via Instagram: bit.ly/2kWkrRk

in painting, but it is very hard to talk about. There is almost nothing you can say that holds up as a generalization, because it depends on too many factors: size, modulation, the rest of the field, a certain consistency that color has with forms, and the statement you're trying to make. [roy lichtenstein quote]

365 Poladroids

[droid-a-day keeps the doctor away... ]

Oil on canvas; 81.5 x 100 cm.

Ernst Wilhelm Nay studied under Karl Hofer at the Berlin Art Academy from 1925 until 1928. His first sources of inspiration resulted from his preoccupation with Ernst Ludwig Kirchner and Henri Matisse as well as Caspar David Friedrich and Nicolas Poussin.

Nay's still lifes, portraits and landscapes were widely acclaimed. In 1931 Ernst Wilhelm Nay received a nine-months' study bursary to the Villa Massimo in Rome, where he began to paint in the abstract Surrealist manner. On the recommendation of the Lübeck museum director, C.G. Heise, Nay was given a work grant financed by Edvard Munch, which enabled Nay to spend time in Norway and on the Lofoten Islands in 1937. The "Fischer- und Lofotenbilder" represented a first pinnacle of achievement.

That same year, however, two of his works were shown in the notorious exhibition of "Degenerate Art" and Ernst Wilhelm Nay was forbidden to exhibit any longer. Conscripted into the German armed forces in 1940, Nay went with the infantry to France, where a French sculptor placed his studio at Nay's disposal. In the "Hekatebildern" (1945-48), featuring motifs from myth, legend and poetry, Nay worked through his war and postwar experiences.

The "Fugale Bilder" (1949-51) proclaim new beginnings in a fiery palette and entwined forms. In 1950 the Kestner Gesellschaft Hannover mounted a first retrospective of Nay's work. The following year the artist moved to Cologne, where, with the "Rhythmischen Bildern" he took the final step towards entirely non-representational painting. In them he began to use color purely as figurative values. From 1955 Nay's painted "Scheibenbilder", in which round color surfaces organize subtle modulations of space and color. These are developed further in 1963-64 in what are known as the "Augenbilder". A first one-man-show in America at the Kleeman Galleries, New York, in 1955, participation in the 1956 Venice Biennale and the Kassel "documenta" (1955, 1959 and 1964) are milestones marking Nay's breakthrough on the international art scene. Nay was awarded important prizes and is represented by work in nearly all major exhibitions of German art in Germany and abroad.

Cast of classical sculpture in stone. The subtle modulation of the figures veins is amazing.

www.flickr.com/photos/69716881@N02/7745894090/

Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:

cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/

Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/

It's @bonstewart's week for #change11!!!!!

These are just some very rough notes.

I insist you go read all about it here:

theory.cribchronicles.com/2012/05/06/digital-identities-s...

The live session was Wednesday May 9 at 11am. It was excellent.

You can even watch the recording. Although a lot of the fun was in the participation so I suggest you keep a pen handy and make some notes.

{Oh, and please note that BlackBoard Corroborate (and most synchronous tools) can mess with audio. So although I didn't hear it from my end LIVE on the day, the recording has added deceptive pseudo sibilant sounds to Bon's speech. Really, she does NOT have a lisp!

I do know that when bandwidth varies and this can cause a variety of voice modulations, usually it's "the chipmunk", which I find particularly entertaining.}

I really appreciate when facilitators approach "their" week early starting from prior weeks and end with a closing reflection post. Accordingly, I suggest you go read her great summary: theory.cribchronicles.com/2012/05/12/fleshing-out-the-dig...

The Palatine Chapel, is the royal chapel of the Norman kings of Sicily situated on the first floor at the center of the Palazzo Reale in Palermo, southern Italy.

Commissioned by Roger II of Sicily in 1132 and built upon an older chapel (now the crypt) constructed around 1080.

The mosaics being only partially finished by 1143.

The sanctuary, dedicated to Saint Peter, is reminiscent of a domed basilica. It has three apses, as is usual in Byzantine architecture, with six pointed arches (three on each side of the central nave) resting on recycled classical columns.

The mosaics of the Palatine Chapel are of unparalleled elegance as concerns elongated proportions and streaming draperies of figures. They are also noted for subtle modulations of colour and luminance. The oldest are probably those covering the ceiling, the drum, and the dome. The shimmering mosaics of the transept, presumably dating from the 1140s and attributed to Byzantine artists, with an illustrated scene, along the north wall, of St. John in the desert and a landscape of Agnus Dei.

Below this are five saints, the Greek fathers of the church, St. Gregory of Nissa, St. Gregory the Theologian, St. Basil, St. John Chrysostom and St. Nicholas.

The three central figures, St. Gregory, St. Basil, St. John Chrysostom, allude to the Orthodox cult known as the Three Hierarchs, which originated fifty years earlier.

Roger II of Sicily depicted on the muqarnas ceiling in an Arabic style.

The rest of the mosaics, dated to the 1160s or the 1170s, is executed in a cruder manner and feature Latin (rather than Greek) inscriptions. Probably a work of local craftsmen, these pieces are more narrative and illustrative than transcendental.

The chapel combines harmoniously a variety of styles: the Norman architecture and door decor, the Arabic arches and script adorning the roof, the Byzantine dome and mosaics. For instance, clusters of four eight-pointed stars, typical for Muslim design, are arranged on the ceiling so as to form a Christian cross.

Muqarnas ceiling

The hundreds of facets were painted, notably with many purely ornamental vegetal and zoomorphic designs but also with scenes of daily life and many subjects that have not yet been explained. Stylistically influenced by Iraqi 'Abbasid art, these paintings are innovative in their more spatially aware representation of personages and of animals.

The chapel has been considered a union of a Byzantine church sanctuary and a Western basilica nave.

The sanctuary, is of an "Eastern" artistic nature, while the nave reflects "Western" influences.

Nave

The nave, constructed under Roger II, did not contain any Christian images.

These were added later by Roger II's successors, William I and William II.

The nave's ceiling consists of Greek, Latin and inscriptions.

The frame for the royal throne sets against the west wall of the nave.

There are six steps leading up to where the throne would be, along with two heraldic lions in two roundels upon the spandrels over the throne frame gabel.

Sanctuary

As an expression of Norman culture, St. Dionysius and St. Martin are represented in the sanctuary.

Mosaics are of Byzantine culture in their composition and subjects.

The apex of the dome consists of the Pantokrator, with rows of angels, prophets, evangelists and saints.

The Byzantine motif ends abruptly with scenes from Christ's life along the south wall of the southern transept arm, while the north wall consists of warrior saints

Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:

cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/

Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/

To answer the lovely, Wave of Modulation, yes.

My literary alter ego is a woman named Sassafrass Whiskeytits. It was a name bestowed upon me by the ancient surfer god, Saint Smiggly Ritz and passed on to me by Senor Eddie Paradise. Not the one from Tuscaloosa, the one with the good hair.

Sassafrass curses out bus drivers and gets hit on by delivery truck drivers as she navigates the concrete jungle on her trusty Sector 9 board she has lovingly dubbed "Boyfriend." At least, she surmises, he takes me places.

Stay tuned for many adventures. . .

Precision Medicine for Brain Circuit Modulation: Dr. Andrew Krystal being forced to move his hand and then just a thumb by pulses of magnetism to the cortex (TMS, Transcranial Magnetic Stimulation).

50% of people don’t respond to TMS, perhaps because it has not been tailored to their brain network. And TMS can’t penetrate deep into the brain. For that, tFUS (franscranial focused ultrasound stimulation) is the most promising non-invasive therapy being tested. It can change the behavior of brain cells in a precise area (I think this comes from opening ion channels in the neuron’s cell membrane) and can sequence locations over time, a unique modality.

Two other precision drug-delivery modes:

1) Relaxing the blood-brain-barrier in a particular area (e.g., delivering ketamine preferentially to the hippocampus).

2) Opening inert spheres that encapsulate a drug just in a targeted brain region

Their conclusion: tFUS is the most promising treatment modality today.

One of the most striking examples of medieval art in existence. Norman elements are interleaved with byzantine and arab motives

The Palatine Chapel (Italian: Cappella Palatina[1]) is the royal chapel of the Norman kings of Sicily situated on the ground floor at the center of the Palazzo Reale in Palermo, southern Italy.

The mosaics of the Palatine Chapel are of unparalleled elegance as concerns elongated proportions and streaming draperies of figures. They are also noted for subtle modulations of colour and luminance. The oldest are probably those covering the ceiling, the drum, and the dome. The shimmering mosaics of the transept, presumably dating from the 1140s and attributed to Byzantine artists, illustrate scenes from the Acts of the Apostles. Every composition is set within an ornamental frame, not dissimilar to that used in contemporaneous mosaic icons. - wiki

Vivid Sydney 2014

Sample image taken with a Fujinon XF 56mm f1.2 R mounted on a Fujifilm XT1 body; each of these images is an out-of-camera JPEG with Lens Modulation Optimisation enabled. These samples and comparisons are part of my Fujinon XF 56mm f1.2 R review at:

cameralabs.com/reviews/Fujifilm_Fujinon_XF_56mm_f1-2_R/

Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/

@big_green I'm bout to make the most crucialist modulation dawg!!!

#VoodooJam #RouxBikes #LeaderBikes #HamCycles #Canon #Kodak

37 Likes on Instagram

4 Comments on Instagram:

omaricato: @doogieroux you coming to voodoo??

doogieroux: @motsutobu YAS!

big_green: i see ya wit the crown royal bag and the disposable camera

doogieroux: @big_green keepin it G mang

Old Fuzzy.

Pen and ink on paper.

Copyright © 2012 by Ian J MacDonald. Permission required for any use. All rights reserved

The story of Old Fuzzy.

Once the life of the party and the center the home, OF always had an audience. He was born a true entertainer and loved the attention and the crowds. A sharp snap of his On switch and his dial lights glowed and brightened until he was fully warmed up and in his best voice.

Old Fuzzy played all the greats: the hottest big bands, the smoothest, velvetiest crooners, all the news fit for consumption, the tops of the pops stars, storied ball games, and endless hours of radio shows. Fuzzy consoled the family during the war. He was the trusted source for news of the thrusts and retreats of the fighting men overseas. His dial light glowed a soft orange onto the faces of the family as they brooded close to him, hanging on every word President Roosevelt...and later "Give Em Hell" Harry spoke, during nights with shades pulled tight and lights snuffed to deny enemy bombers any easy targets. When the war ended and dad returned home Old Fuzzy was the center of celebration, triumphantly playing at full volume while people danced in the living room.

Time, as it does, marched forward and technology and music changed. The Atomic Age arrived along with new wars, Civil Defense announcements...and new music! Good golly Miss Molly how things changed! Bands increasingly played without horns... only guitars, drums and basses...maybe a piano. Instruments became electric and louder, tempos increased and the bass drove the sound. Some guy with gyrating hips and legions of screaming girls played on every station! On the few stations where that young fellow in blue suede shoes wasn't playing, stern old reverends were lamenting the immorality of it all and warning of hell's fires for the young ladies led astray by his hips.

The Victrola was never any real competition for Fuzzy. However the coming of the transistor signaled the beginning of the end for Old Fuzzy. The Hi-Fi set gradually replaced Old Fuzzy's fine "Golden-Throated Monaural" technology. LPs and solid state circuitry came home to the shelf next to Fuzzy and they could play raucous Rock and Roll music much louder and clearer, just like ringing a bell. A new sound called Stereo filled the home with peace...but Old Fuzzy didn't love it despite the fact that it was all you apparently needed. The final straw was Frequency Modulation that the newest Hi-Fi recieved. FM was crystal clear, was in stereo and had no static at all...no static at all! Fuzzy couldn't recieve it. Fuzzy thought they'll miss me when they can't recieve shortwave bounced off the ionosphere from other countries around the world. Nope, they didn't.

The tube tester was removed from the corner drug store and the radio store stopped carrying vacuum tubes. Now they could only be gotten from old Russian military surplus - the enemy that Old Fuzzy used to play civil defense drill warnings for, and now he was using their tubes. The soft light of tubes were fading and for a while he made a interesting plant stand. Eventually Fuzzy was relegated to the basement where he has sat ever since miserably pondering how it all came to this. Once he was swinging on top of the world and now a moldy relic too interesting to throw away but too old to be in the living room anymore.

Fuzzy's small consolation is that the record player, reel-to-reel, 8-track and cassette players all found their way to the county electronics recycling day. Fuzzy's deco styling, beautiful mahogany and maple veneers, Bakelite and mother-of-pearl inlays, made him too handsome for that. Thus he sits and hopes that maybe some day some hipster will haul him out again. After all fads come and go, but back in the good old days there was true style and true style never goes out of fashion!

See the others here: www.flickr.com/photos/ianmacdonald/sets/72157629372584685...

Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com

Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.

Higher resolutions with no attribution required can be downloaded: rawpixel

Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com

Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.

Higher resolutions with no attribution required can be downloaded: rawpixel

Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com

Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.

Higher resolutions with no attribution required can be downloaded: rawpixel

Architect : Antonio Bonet

architecture.arqhys.com/architects/antoniobonet-biography...

ANTONIO BONET. In 1942, Bonet participates in the constitution of the Organization of the Integral House in the Argentine Republic. The idea of the formation of its work ties it with the ideas suggested by Him Corbusier throughout the process of preparation of the Plan of Buenos Aires. "the routine servitude of conception submissive the outsider does not exist any worthy of consideration argument seriously nor even in that some Argentineans live" So that the initial note of a universal modulation does not take place in our country, whose hope appears in the immediate perspective of the world: on the area in catastrophe of the cities martyred by the war, the genius of the man already begins to project the new forms of the human coexistence. On the contrary, the essential circumstance of our historical youth and the one of our adventurous peace, locate to us in the moral obligation to create new forms of life anticipating us to whatever of project and of dream it even subsists in a world of towns in flames and ruins. This thought of Bonet, is taken from the N° Notebook 1 of OVRA, titled Study of the Contemporary Problems for the organization of the integral house in the Argentine Republic. Without a doubt, the text gathers part of the optimism of the Austral Group. But while this one was directed to the architects and its problems, in the OVRA manifesto the horizon is ampler, next to certain discovered nonfree of messianism of the American, coincident with other similar initiatives in other places of the continent.

Reflections of Antonio Bonet on the architecture: "the architectonic elements that will form the new city will be formed by a series, numerous, of structures little systematized. Those structures will be able to arrive to the maximum from their aesthetic, technical perfection and economic, since besides to be placed in free lands, its study must be based on the progressive improvement of such types, so as it has become in the great architectures of the past. Within those structures, that will be the expression of the effort of the social man, to obtain the order and the harmony of its time, never will be obtained to a freedom reached after the development of the life of the man like individual, and the one of its institutions. It is well certain that we are even far from that stage, But does not fit doubt that once demonstrated that the modern buildings can be developed in simple structures, more and more seemed to each other, it will make the importance powerful of this system. Those buildings will be used and the equipped for but diverse uses, without aging with it, although they will have to work at a time whose social programs, industrial, etc., are in permanent evolution. I am going to finish with the confession of my conviction of which to group the programs for the unification of the structures, is something enormously difficult, but some is no doubt that it is the way that will take us forms to the true architectonic of our time. in that the diverse social programs will be developed freely, cultural hygienic, etc., that must form the structure of the new society.

Op-Ed Daily Times

Dr Ghulam Nabi Kazi

MARCH 31, 2021

She was a princess while her mother was the uncrowned queen of broadcasting in Pakistan. The mother Mohini Das had joined All India Radio in 1938 at the age of 16 years as a drama artist and later compere its children’s program from Lahore with the pseudonym “Apa Shameem”. She would perform the latter role for an uninterrupted 39 years. Meanwhile she married Mr. A. Hameed and came to be called Mohini Hameed. On Independence in 1947, she became the first woman broadcaster of Pakistan, and soon came to be known as the Nightingale of Broadcasting. In 1948, her princess given the name of Kanwal was born.

The Radio Pakistan, more specifically its boss Mr. Ahmed Shah ‘Patras’ Bokhari was impressed by her speeches and recognized the gifts within her, making sure her talents were utilized almost everywhere; be it in dramas and special announcements or other work. By 1963, BBC was calling Mohini Hameed the Golden Voice of Asia and she was decorated twice by the President of Pakistan with the ‘Tamgha-e-Imtiaz’, in addition to several other awards and accolades. Meanwhile her daughter Kanwal had taken to broadcasting since she was only seven years old from Radio Pakistan, Lahore.

The President of Pakistan Mohammad Ayub Khan indicated his willingness to inaugurate the television project in Lahore on November 26, 1964 and it was only that day that when a senior radio producer Mr. Fazal Kamal, who had been assigned to PTV, realized that only with two fixed cameras in the studio and with Mr. Tariq Aziz escorting the Presidential entourage, there would be no announcer within the studio to go live. He hurried to Mohini Hameed and said, “Apa, can we avail the services of Kanwal for just one day as she is quite articulate. I promise we will make the necessary arrangements from tomorrow onwards.” Kanwal Hameed was then only 16 or exactly the same as her mother’s age when the latter started her broadcasting career!

The initial announcement was terse, simple and delivered in flawless Urdu: “Assalam-o-Alaikum – this is Kanwal Hameed. I welcome you to the NEC Pilot Project and congratulate you on the launching of television in Pakistan.” As she would later recall, by the time she said this, the young Kanwal had nearly passed out as President Ayub Khan along with the Governor of West Pakistan the Nawab of Kalabagh, Foreign Minister Zulfikar Ali Bhutto and Finance Minister Muhammad Shoaib, in addition to several other dignitaries had entered the studio and were standing behind her.

Furthermore, her lovely voice modulations, perfect pronunciation and equal ease with which she could speak in English, Urdu or Punjabi soon made her a household name in Pakistan. Not yet realizing her potential and the mentorship capacity of Mr. Aslam Azhar, Kanwal made her mark very soon. The ‘arrangements’ promised by Mr. Fazal Kamal to her mother never materialized and were doomed to failure as nobody was good enough to replace her. Kanwal Hameed, later assuming the name of Kanwal Naseer on marrying an Army officer, would remain in Pakistan Television not just as an announcer but as an anchor, newscaster, drama artist and program compere as well. Her association with television and broadcasting would last for over 57 years until the time of her death.

Still in her teens, Kanwal had the good fortune to interact with personalities such as Madam Noor Jehan, Amanat Ali Khan, Reshma and Mehdi Hassan who had enchanted the country with their melodious voices. Her life was caught up between home, school, radio and later television. Faiz Ahmed Faiz lived very near the radio station and his daughter Moneeza would compere a children’s programme on every Sunday. She also came in touch with famous people like Yasmin Tahir, Naeem Tahir, Khalid Saeed Butt, Dr Anwar Sajjad and Ejaz Shafi. After a long innings with PTV she retired but remained associated with the organization in many ways. Like her mother, she was also decorated twice by the President of Pakistan. Kanwal Naseer’s name is today synonymous in Pakistan with television and broadcasting. Following in her mother’s footstep, Kanwal Naseer became a legend in her own right. She also worked as a stage compere in countless events, mainly in the Pakistan National Council of the Arts.

I first met Ms. Kanwal Naseer around three years ago in 2018 during the course of our organization’s End-TB efforts, which revealed to me the humanist side of her nature. She soon acquired the position of a celebrity Stop TB Ambassador and was so comfortable and knowledgeable with Tuberculosis facts that it was apparent she was absolutely dedicated to the elimination of this disease. She injected life even into listless sentences and read them with such emotion and passion that could mobilize her listeners to action. She was at the height of her maturity and would always perform at her best in any undertaking. Later on she linked up with Mr. Farooq Qaiser of Uncle Sargam fame to develop some marvelous skits that could easily appeal to the audience of any age group in Pakistan, as all of us have seen these eminent personalities ever since we were growing up. She never had any qualms or inhibitions about traveling to far flung places with us to organize TB awareness sessions in association with governmental authorities. We never failed to notice her attention to detail in all respects on all occasions be it in her speeches or demeanor. What struck us the most was her modest and down-to-earth nature. She always focused on the realities of life, and pride or self-importance were never a part of her character. She also had a very charitable nature known to her entire neighborhood. Wherever she accompanied us, she would run into persons who knew her and were evidently in awe of her. However, her disarming nature always made them very comfortable. She was always very proper, dignified and embodied the portrait of a lady!

Even during the COVID-19 pandemic, which struck Pakistan around 12th March 2020, did not deter her from planning World TB Day activities on and around the 24th of March last year. I last met her in early March this year and though absolutely fit, she seemed to have lost a lot of weight. Around that time, she jokingly told a female colleague of mine that when I die you must come to my place and weep. The remark was made in a light vein and was dismissed accordingly. This year, despite being on her deathbed, TB was on her mind. When I went for a radio talk on the SunoFM channel on World TB Day, I was deeply touched about her comments concerning myself to the compere of the program that very morning while she was in the Intensive Care Unit. And the next day she was gone! It came as a sharp blow to all of us just as if we had lost a family member. Condolences came from far and wide including Dr Lucica Ditiu the Executive Director of the Geneva-based Stop TB Partnership and several others. If I could take the liberty to just change a few words from Shakespeare to sum up a tribute to her unique personality, it would be:

Her life was gentle, and the elements

So mix’d in her that Nature might stand up

And say to all the world, “This was a woman!”

Farewell Ma’am Kanwal Naseer – we will always remember your wonderful accomplishments and health efforts with enormous gratitude and not allow them to go in vain!

The writer is a senior public health and public policy expert in Pakistan and can be reached at gnkaziumkc@gmail.com

Single RAW Exposure

©Jeremy Photography 2014

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iSwarm - Created by Professor Thomas Schroepfer & Professor Suranga Nanayakkara

together with their team from the Singapore University of Technology and Design (SUTD).

A swarm of luminous “sea creatures” that interact with passers-by. Subtle and hardly visible by day, iSwarm comes alive at night. As daylight fades, the cells of iSwarm illuminate the waters of Marina Bay with fluorescent light reminiscent of natural phenomena such as bioluminescent algae or the Aurora Borealis. iSwarm reacts to groups of visitors by detecting human presence and greeting them with subtle modulation of its light patterns.

Co-created with Philip Lighting

Acrylic on canvas; 19 x 26 in.

Julian Stanczak is an American painter and printmaker. The artist lives and works in Seven Hills, Ohio with his wife, the sculptor, Barbara Stanczak. He was born in eastern Poland in 1928. At the beginning of World War II, Stanczak was forced into a Siberian labor camp, where he permanently lost the use of his right arm. He had been right-handed. In 1942, aged thirteen, Stanczak escaped from Siberia to join the Polish army-in-exile in Persia. After deserting from the army, he spent his teenage years in a hut in a Polish refugee camp in Uganda. In Africa Stanczak learned to write and paint left-handed. He then spend some years in London, before moving to the United States in 1950. He settled in Cleveland, Ohio. Stanczak received his Bachelor of Fine Arts degree from the Cleveland Institute of Art, Cleveland Ohio in 1954, and then trained under Josef Albers and Conrad Marca-Relli at the Yale University, School of Art and Architecture, New Haven, where he received his Master of Fine Arts in 1956.

In 2007, Stanczak was interviewed by Brian Sherwin for Myartspace. During the interview Stanczak recalled his experiences with war and the loss of his right arm and how both influenced his art. Stanczak explained, "The transition from using my left hand as my right, main hand, was very difficult. My youthful experiences with the atrocities of the Second World War are with me,- but I wanted to forget them and live a "normal" life and adapt into society more fully. In the search for Art, you have to separate what is emotional and what is logical. I did not want to be bombarded daily by the past,- I looked for anonymity of actions through non-referential, abstract art.

The Op Art movement was named for his first major show, Julian Stanczak: Optical Paintings, held at the Martha Jackson Gallery in New York in 1964. His work was included in the Museum of Modern Art's 1965 exhibition The Responsive Eye. In 1966 he was named a "New Talent" by Art in America magazine. In the early 1960s he began to make the surface plane of the painting vibrate through his use of wavy lines and contrasting colors in works such as Provocative Current (1965). These paintings gave way to more complex compositions constructed with geometric rigidity yet softened with varying degrees of color transparency such as Netted Green (1972). In addition to being an artist, Stanczak was also a teacher, having worked at the Art Academy of Cincinnati from 1957–64 and as Professor of Painting, at the Cleveland Institute of Art, 1964-1995. He was named "Outstanding American Educator" by the Educators of America in 1970.

Stanczak uses repeating forms to create compositions that are manifestations of his visual experiences. Stanczak's work is an art of experience, and is based upon structures of color. In the 1980s and 1990s Stanczak retained his geometric structure and created compositions with bright or muted colors, often creating pieces in a series such as Soft Continuum (1981; Johnson and Johnson Co. CT, see McClelland pl. 50). More recently, Stanczak has been creating large-scale series, consisting of square panels on which he examines variations of hue and chroma in illusionistic color modulations, an example of which is Windows to the Past (2000; 50 panels).

This shot used two remote controlled speed lights. One was tripod mounted to her left at about the 11 o'clock position and one set on the ground behind her. Unfortunately, almost right out of the gate, one of the lights started having issues which included a combination of over flashing and inability to respond to decreased power settings. I think the light may have lost modulation capability. So I had to abandon a lot of the planned pics for this set.

Blacktron Gold - Listening and Assault Unit

Spacecraft equipped with:

- stereo cockpit

- optoechoic head

- white noise generator

- modulation metronome

- dual megabass cannon

- large aperture antenna with phrase scanning

- dual IR (iridium) jam-session-er

- powerful pro-tone torpedo

- dual frequency Hi-Fi-per sonic missiles

Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com

Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.

Higher resolutions with no attribution required can be downloaded: rawpixel

Prague Castle (Pražský hrad)

For more than a thousand years, has the Prague Castle been an important symbol of the Czech state. Founded in the 9th century, it became the permanent seat of the Czech rulers and, most recently, also of the Presidents. One of the largest castle complexes in the world consists of palaces, offices, churches and fortification buildings, gardens and picturesque corners. The castle covers an area of ​​45 hectares. The unique view to the Prague Castle is one of the most amazing panorama views in the world.

Prague Castle is the most important folk-cultural and historical monument, and is the symbol of the more than one thousand years of development of the Czech and all-Czech states. It is a monumental symbol of the palace, church, fortification, official and residential buildings which represent very valuable monuments, included in all style epochs. It covers an area of ​​45 hectares, was the seat of the Bohemian princes, kings and emperors, and since the Republic was founded in 1918, it was also the residence of the presidents. Since 1962, the Prague Castle has been known for its archaeological discoveries.

History

The initial phases of the Prague Castle are connected with the first historically documented Přemyslid Bořivoj (Bořivoj I (Czech pronunciation: [ˈbɔr̝ɪvɔj], Latin: Borzivogius, c. 852 – c. 889) was the first historically documented Duke of Bohemia from about 870 and progenitor of the Přemyslid dynasty.] The Duchy of Bohemia was at those times subordinated to Great Moravia.). This one transferred in the 80s of the 9th century his original seat from Levý Hradec to the place where on the raised spot above the river Vltava/Moldau already existed a Slavic castle and was very well situated.

The first princely palace apparently only consisted of wood. The first stone building and the oldest Christian sanctuary was the Virgin Mary Church. Its remains have been found between the Second Courtyard and the Bastion garden (original name of the garden: Na Baště). This Bořivoj church was soon reconstructed by the prince Spytihněv I, who was buried here in 915. The second church in the castle was the St. George Basilica founded by Prince Vratislaus I. The next Přemyslide, Prince Wenceslas (Saint), the third sanctuary - the St Veit Rotunda - in the twenties of the 10th century nearby had built which in the 11th century by Prince Spytihnev II was transformed into a huge basilica.

In 973, when the bishopric was established in Prague, the castle was not only the seat of the head of state, but also the seat of the Prague bishop, the highest representative of the church. At the same time arose the first monastery in Bohemia at St. George's basilica.

In the 10th century the castle occupied an area of ​​about 6 ha. In the Romanesque epoch the former fortress, especially after the year 1135 thanks to Soběslaus I, as the stony princely palace and the new masonry fortified with some towers were erected, was turned into a fortified medieval castle. Of the towers is the eastern blacktower best preserved.

Very significantly the Gothic period in the appearance of Prague Castle intervened, most of all Charles IV (1346 - 1378), who, with his father, John of Luxemburg (1310 - 1346), obtained from the pope the promotion of the Prague bishopric to the archbishopric and laid the foundations for the construction of St. Vitus Cathedral. Under Charles IV, the castle for the first time was turned into the imperial residence. Charles IV the defense of the Prague Castle had consolidated, the Royal Palace with the Chapel of All Saints he rebuilt generously. The roofs he had covered with gilded plates, which were the foundation for the binding of words "Golden Prague". Since 1382, Bohemian rulers ceased to occupy the Prague Castle for more than 100 years. The royal court was moved to the place of today's Community hall and back to the Prague castle it came only in 1483 under Wladislaus from the Jagiellonian dynasty.

Although the ruler already in 1490 moved to Ofen (Buda), he had the Prague castle renovated in the late Gothic style under the supervision of Benedikt Ried. He was the master builder of the magnificent Vladislav Hall, the largest secular vaulted room of the then Europe, with which the first Renaissance signs came to Prague. He carried out major construction works, including the construction of a new masonry, the defensive towers and the expansion of the Royal Palace. At his time, the Gothic died away and a new architectural style, the Renaissance, gradually prevailed.

The direct influence of the Italian art on the new style was most frequently observed in Prague under the reign of Ferdinand I (von Habsburg) and after his departure from Prague under the influence of the governor Ferdinand of Tyrol. At that time, the medieval castle was converted into a comfortable Renaissance castle with gardens. The typical Italian architecture of the Royal Pleasure palace arose in the northern King's garden.

For a large building activity in 1541 contributed a fire devastating the castle objects as well as the surrounding area quite a lot. Within the framework of the restoration, both the housing estates and the church buildings were rebuilt. Under the reign of the first Habsburgs, nobility palaces were added to the castle grounds (for example, the Pernstein Palace - later Lobkowicz Palace, Rosenberg Palace and others). Horse stable buildings were built in the north-west.

Under the reign of the Emperor Rudolph II (1576 - 1611), the Renaissance and Mannerism transformation of the castle, which for the second time became the center of the empire, and especially the center of European culture and science, reached its peak. On the second courtyard, new rooms were built for the collections of Rudolph - the new (now Spanish) hall and the Rudolph gallery. Also arose the connection tract between the northwestern and the southwestern part of the castle. Just here the famous Kunstkammer (Art chamber) and other rooms for Rudolph's collective activities were located. Additionally further horse stable properties were built for his rare Spanish horses. During the Rudolph times also the foundation stone of the famous Golden Alley was laid. Laboratories of the Rudolph-Alchymists were supposed to have been in the Powder tower above the Hirschgraben (Deer's ditch). The castle suffered again considerable damages when it was occupied by the Saxon army in 1631 and by the Swedes in 1648 not only was occupied but also plundered. After the Thirty Years' War, the Habsburgs did not care too much about the Prague royal seat.

Only Maria Theresia carried out an extensive reconstruction of the Prague Castle from 1755 - 1775 into a representative castle complex. The reason for the massive construction action were war damages, caused by the intense bombing of the castle during war conflicts at the beginning of her reign. The reconstruction was designed by the Viennese architect Nicolo Pacassi, who also planned the first courtyard with the monumental entrance gate. From the time of the Theresian reconstruction stems also the chapel of the Holy Cross on the 2nd castle forecourt and other buildings, especially the noblewomen institute. The south wing he imprinted the uniform monumental late Baroque facade of a representative seat. His plans influenced by Viennese Rococo and French Classicism the builders Anselmo Lurago, Anton Kunz and Anton Haffenecker brought into life.

In the 19th century, the castle fell into ruin, in several objects after the Josephine reforms the army settled. In connection with the stay of Ferdinand I the Good in the castle after his abdication in 1848 and further in connection with the preparation for the coronation of Franz Joseph I in the sixties it came to building modifications of several objects. After 1859, when the community for the completion of St Veit cathedral emerged, began first the repair, and then, under the influence of the architect Joseph Mocker, the work on the actual completion of St Veit's cathedral was started, completed in 1929.

In the years 1920 - 35, carried out extensive regulations of the Prague Castle as the seat of the Czechoslovak President the great Slovenian architect Josip Plečnik, who masterfully combined the valuable historical space with modern civilization claims. His modifications mainly concerned the 1st and 3rd court, the southern gardens of the castle, the fourth forecourt with the Bastion garden as well as numerous interiors. He created e.g. the pillared hall, private rooms of the presidential residence, including the Masaryk workroom. His pupil, Otto Rothmayer, brought to an end the incomplete solutions of some castle interior spaces after the Second World War in comparable quality.

In 1936, Pavel Janák and after him, in 1959, Jaroslav Fragner became castle architect.

After the year of change of 1989, the Prague Castle was opened to the public in many places. During the term of President Havel, at the castle it came to modulations of the interiors and to the expansion of two new entrances into the second courtyard after the project of the creator and designer Bořek Šípek. The puncture through the rampart of the Powder bridge in Hirschgraben was rewarded with a significant prize (Arch. Josef Pleskot). Also interesting is the modern greenhouse of the world-famous architect Eva Jiřičná. The Georgian Square (Jiřské náměstí) was re-paved and modulated. The Mosaic of the Last Judgment was renovated in collaboration with the specialists from the Getti Institute. In 1990, the Prague Castle was solemnly illuminated and this situation lasts from dusk to midnight until today. In the main tourist season, the lighting time even lasts an hour longer until 1 o'clock. The tradition of electric lighting, but on a much smaller scale, began in 1928, when the lamps were installed for the 10th anniversary of the elevation to a Republic. A little bit the present daylight resembles of those from the end of the sixties, but today it is much more detailed and in communist times it was only switched on at solemn occasions. At that time, illuminative days were state holidays or significant day of republic, which, however, did not lack recognition from the communist point of view.

In recent years the reconstruction and renovation work has been developed in many buildings of the castle and a considerable attention has been devoted to the archaeological investigation, which has been going on since 1925 and has brought many insights into the history of the castle. The investigation as well as the renovation of the individual rooms and objects is motivated by the idea of ​​invigorating them as much as possible by making them accessible to the public.

Prager Burg (Pražský hrad)

Die Prager Burg ist seit über tausend Jahren ein bedeutendes Symbol des tschechischen Staates. Gegründet im 9. Jahrhundert wurde sie zum ständigen Sitz der tschechischen Herrscher und zuletzt auch der Präsidenten. Einer der größten Burgkomplexe weltweit setzt sich aus Palästen, Amts-, Kirchen- und Fortifikationsgebäuden, aus Gärten und malerischen Ecken zusammen. Die Burg erstreckt sich auf einer Fläche von 45 Hektar. Der alleinige Blick auf die Prager Burg stellt einen der überwältigendsten Panoramablicke der Welt dar.

Die Prager Burg ist das bedeutendste Volkskultur- und Historiedenkmal, sie ist das Symbol der mehr als eintausendjährigen Entwicklung des böhmischen sowie gesamttschechischen Staats. Es ist ein monumentales Symbol der Palast-, Kirchen-, Fortifikations-, Amts- und Wohngebäude, die sehr wertvolle Denkmäler darstellen, einbezogen auf alle Stilepochen. Sie erstreckt sich auf einer Fläche von 45 ha, war der Sitz der böhmischen Fürsten, Könige und Kaiser und seit der Republikentstehung im Jahre 1918 war sie auch die Residenz der Präsidenten. Seit 1962 steht die Prager Burg mit ihren archäologischen Funden als bekanntester.

Geschichte

Die Anfangszeiten der Prager Burg sind mit dem ersten historisch belegten Přemysliden Bořivoj verbunden. Dieser übertrug in den 80er Jahren des 9. Jahrhunderts seinen ursprünglichen Sitz von Levý Hradec an den Ort, wo auf der erhabenen Stelle über der Moldau eine slawische Burgstätte bereits bestand und sehr gut gelegen war.

Der erste Fürstenpalast bestand offenbar aus Holz. Der erste Steinbau und das älteste christliche Heiligtum war die Jungfrau Maria Kirche. Ihre Reste wurden zwischen dem II. Vorhof und dem Basteigarten (Originalname des Gartens: Na Baště) gefunden. Diese Bořivoj-Kirche wurde durch den hier im Jahre 915 beigesetzten Fürsten Spytihněv I. bald umgebaut. Die zweite Kirche im Burgraum war die vom Fürsten Vratislaus I. gegründete St. Georg Basilika. Der nächste Přemyslide, der Fürst Wenzel (der Heilige), ließ in der Nähe in den 20er Jahren des 10. Jahrhunderts das dritte Heiligtum - die St. Veit Rotunde - bauen, die im 11. Jahrhundert vom Fürsten Spytihněv II. zu einer gewaltigen Basilika umgebaut wurde.

Im Jahre 973, als in Prag das Bistum gegründet wurde, war die Burg nicht nur der Sitz des Staatsoberhaupts, sondern auch der Sitz des Prager Bischofs, des höchsten Repräsentanten der Kirche. Zu demselben Zeitpunkt entstand an der St. Georg Basilika das erste Kloster in Böhmen.

Im 10. Jahrhundert nahm die Burg eine Fläche von ca. 6 ha in Anspruch. In der romanischen Epoche wurde die einstige Burgstätte, insbesondere nach dem Jahr 1135 dank Soběslaus I., als der steinige Fürstenpalast und das neue mit einigen Türmen verstärkte Mauerwerk aufgebaut wurden, zu einer festen mittelalterlichen Burg umgebaut. Von den Türmen ist der östliche Schwarzturm am besten erhalten.

Sehr bedeutend griff ins Aussehen der Prager Burg die Gotikzeit ein, insbesondere Karl IV. (1346 - 1378), der mit seinem Vater Johann von Luxemburg (1310 - 1346) vom Papst die Beförderung des Prager Bistums zum Erzbistum erwirkte und den Grundstein für den Bau der St. Veit Kathedrale legte. Unter Karl IV. wurde die Burg zum ersten Mal zur Kaiserlichen Residenz. Karl IV. ließ die Verschanzung der Prager Burg festigen, den Königspalast mit der Kapelle Aller Heiligen baute er großzügig um. Die Dächer ließ er mit vergoldeten Blechen decken, die das Fundament für die Wörterbindung „Goldenes Prag“ darstellten. Seit 1382 hörten böhmische Herrscher auf, die Prager Burg für mehr als 100 Jahre zu bewohnen. Der Königshof wurde an den Ort des heutigen Gemeindehauses umgezogen und zurück auf die Prager Burg kehrte er erst im Jahre 1483 unter Wladislaus aus der Jagiellonen-Dynastie.

Obwohl der Herrscher bereits 1490 nach Ofen (Buda) umsiedelte, ließ er die Prager Burg im spätgotischen Stil unter der Bauleitung von Benedikt Ried umbauen. Er war der Baumeister des großartigen Wladislaus-Saals, des größten weltlichen gewölbten Raums des damaligen Europas, mit dem die ersten Renaissancezeichen nach Prag kamen. Er führte großartige Bauregelungen einschließlich des Ausbaus eines neuen Mauerwerks, der Wehrtürme und der Erweiterung des Königspalastes durch. Zu seiner Zeit klang die Gotik aus und es setzte sich allmählich ein neuer Baustil durch, die Renaissance.

Der direkte Einfluss der italienischen Kunst des neuen Stils wurde in Prag unter der Regierung von Ferdinand I. (von Habsburg) und nach seinem Weggang von Prag unter der Wirkung des Statthalters Ferdinand von Tirol am meisten beobachtet. Damals wurde die mittelalterliche Burg in ein bequemes Renaissanceschloss mit Gärten umgewandelt. Im nördlichen Königsgarten entstand die typisch italienische Architektur des Königlichen Lustschlosses.

Zu einer großen Bauaktivität trug im Jahre 1541 ein Brand bei, der die Burgobjekte sowie die Umgebung ziemlich viel kaputt machte. Im Rahmen der Wiederherstellung wurden sowohl die Wohnräume als auch die Kirchenobjekte umgebaut. Unter der Regierung der ersten Habsburger kamen ins Burggelände auch Adelspaläste dazu (zum Beispiel der Pernstein-Palast - später Lobkowicz-Palast, Rosenberg-Palast und weitere). Im Nordwesten wurden Pferdestallgebäude erbaut.

Unter der Regierung des Kaisers Rudolph II. (1576 - 1611) erreichte der Renaissance- und Manierismusumbau der Burg, die zum zweiten Mal zum Zentrum des Reiches und insbesondere zum Zentrum der europäischen Kultur und Wissenschaft wurde, seinen Gipfel. Auf dem II. Vorhof wurden neue Räume für die Sammlungen Rudolphs erbaut - der Neue (heute Spanische) Saal und die Rudolph-Galerie. Es entstand auch der Verbindungstrakt zwischen dem Nordwest- und dem Südwestteil der Burg. Eben hier befanden sich die berühmte Kunstkammer und weitere Räume für die Sammeltätigkeit Rudolphs. Es wurden auch weitere Pferdestallobjekte für seine seltenen spanischen Pferde aufgebaut. Während der Rudolph-Zeiten wurde auch der Grundstein der berühmten Goldenen Gasse gelegt. Laboratorien der Rudolph-Alchymisten sollen im Pulverturm über dem Hirschgraben gewesen sein. Die Burg erlitt erneut erhebliche Schäden, als sie 1631 vom sächsischen Heer und 1648 von den Schweden besetzt und ausgeplündert wurde. Nach dem Dreißigjährigen Krieg kümmerten sich die Habsburger um den Prager königlichen Sitz nicht allzu sehr.

Erst Maria Theresia führte in den Jahren 1755 - 1775 einen umfangreichen Umbau der Prager Burg zu einem repräsentativen Schlosskomplex durch. Der Grund für die massive Bauaktion waren Kriegsschäden, verursacht durch die intensive Bombardierung der Burg bei Kriegskonflikten zu Beginn ihrer Regierung. Den Umbau entwarf der Wiener Architekt Nicolo Pacassi, der auch den I. Vorhof mit dem monumentalen Eingangstor projektierte. Aus der Zeit des theresianischen Umbaus stammt auch die Kapelle des Heiligen Kreuzes auf dem II. Burgvorhof und weitere Gebäude, insbesondere die Edeldamenanstalt. Dem Südflügel prägte er die einheitliche monumentale Spätbarockfassade eines Repräsentationssitzes ein. Seine durch das Wiener Rokoko und den französischen Klassizismus beeinflussten Pläne brachten die Baumeister Anselmo Lurago, Anton Kunz und Anton Haffenecker zustande.

Im 19. Jahrhundert verfiel die Burg, in mehreren Objekten ließ sich nach den josephinischen Reformen das Heer nieder. Zu Bauregelungen einiger Objekte kam es im Zusammenhang mit dem Aufenthalt von Ferdinand I. dem Guten auf der Burg nach seiner Abdikation im Jahre 1848 und weiter im Zusammenhang mit der Vorbereitung auf die vorgesehene Krönung von Franz Joseph I. in den 60er Jahren. Nach 1859, als die Gemeinde für die Fertigstellung der St. Veit Kathedrale entstand, begann zuerst die Reparatur und anschließend unter der Wirkung des Architekten Joseph Mocker wurde die Arbeit an der eigentlichen Fertigstellung der St. Veit Kathedrale aufgenommen, abgeschlossen im Jahre 1929.

In den Jahren 1920 - 35 führte ausgedehnte Regelungen der Prager Burg als des Sitzes des tschechoslowakischen Präsidenten der bedeutende slowenische Architekt Josip Plečnik durch, der den wertvollen historischen Raum mit modernen Zivilisationsansprüchen meisterlich zusammenfügte. Seine Regelungen betrafen vor allem den 1. und 3. Vorhof, die Südgärten der Burg, den 4. Vorhof mit dem Basteigarten sowie zahlreiche Innenräume. Er schuf z.B. die Säulenhalle, Privaträume der Präsidentenwohnung einschließlich des Arbeitszimmers Masaryks. Sein Schüler Otto Rothmayer brachte die unvollendeten Lösungen einiger Burginnenräume nach dem 2. Weltkrieg in vergleichbarer Qualität zu Ende.

Im Jahre 1936 ist Pavel Janák und nach ihm seit 1959 Jaroslav Fragner Burgarchitekt geworden.

Nach dem Wendejahr 1989 wurde die Prager Burg an vielen Stellen für die Öffentlichkeit geöffnet. Während der Amtszeit des Präsidenten Havel kam es auf der Burg zu Regelungen der Innenräume und zum Ausbau zweier neuer Eingänge in den 2. Vorhof nach dem Projekt des Bildners und Designers Bořek Šípek. Mit einem bedeutenden Preis wurde der Durchstich durch den Wall der Pulverbrücke im Hirschgraben belohnt (Arch. Josef Pleskot). Interessant ist auch das moderne Gewächshaus der weltberühmten Architektin Eva Jiřičná. Der Georg-Platz (Jiřské náměstí) wurde neu bepflastert und geregelt. In Zusammenarbeit mit den Fachleuten aus dem Getti-Institut wurde die Mosaik „des Letzten Gerichts“ renoviert. Im Jahre 1990 wurde die Prager Burg feierlich beleuchtet und dieser Zustand dauert von der Dämmerung bis zur Mitternacht bis heute. In der touristischen Hauptsaison dauert die Beleuchtungszeit sogar eine Stunde länger, bis 1 Uhr. Die Tradition der elektrischen Beleuchtung, jedoch im viel kleineren Umfang, begann im Jahre 1928, als die Lampen zum 10. Jubiläum der Republikentstehung installiert wurden. Ein wenig ähnelte die heutige feierliche Beleuchtung jener aus dem Ende der 60er Jahren, heute ist sie allerdings viel detaillierter und in den Kommunistenzeiten wurde sie nur bei feierlichen Gelegenheiten angemacht. Beleuchtungswürdige Tage waren damals Staatsfeiertage oder bedeutende Republiktage, denen allerdings aus der kommunistischen Sicht die Anerkennung nicht fehlte.

In den letzten Jahren entwickelte sich die Umbau- bzw. Renovierungstätigkeit in vielen Objekten der Burg und eine erhebliche Aufmerksamkeit wurde der archäologischen Untersuchung gewidmet, die bereits seit 1925 läuft und viele Erkenntnisse über die Burggeschichte brachte. Die Untersuchung sowie die Renovierung der einzelnen Räume und Objekte ist von der Idee motiviert, sie dadurch, dass sie der Öffentlichkeit zugänglich gemacht werden, möglichst viel zu beleben.

www.prague.eu/de/objekt/orte/31/prager-burg-prazsky-hrad

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Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.

Higher resolutions with no attribution required can be downloaded: rawpixel

Free download under CC Attribution (CC BY 2.0). Please credit the artist and rawpixel.com

Hu Zhengyan (c. 1584-1674) was a Chinese traditional painter, calligrapher, seal carver and publisher during the transition of the Ming and Qing dynasties. He produced China’s first printed publication in color, and was famous for his incredible techniques achieving gradation and modulation of shades in woodblock prints.

Higher resolutions with no attribution required can be downloaded: rawpixel