View allAll Photos Tagged morbidezza
La chiamavano burro, era morbidezza diafana e miraggio di riccioli da spalmare su un povero pane di carne e sangue. Da affondarci dentro per scordarsi l’inferno.
They used to call her Butter, she was pale softness and a mirage of flakes to be spread on a poor bread of flesh and blood.
design
Alfredo Häberli
The T-shaped frame, in die-cast aluminium, is the key aspect of this design.
It has inspired the name of this collection. A solid shell covered with flexible density
polyurethane foam gives a soft, compact seat. Every detail is considered so that
fabric and leather covers are completely removable.
Il disegno a T delle sue strutture portanti, in alluminio pressofuso, oltre ad essere
la vera sfida statica del progetto, ha ispirato il nome di questo sistema di sedute imbottite.
La compatta morbidezza della seduta è ottenuta grazie a una scocca rigida, ricoperta
con poliuretano espanso a densità flessibile. Tutto è studiato in modo che il rivestimento
in tessuto o in pelle sia completamente sfoderabile.
Little Mou loves the softness of this wonderful dress made by Great Tanya.
When she became SD she'll wear it. So...in the near future, I think.
Mou adora la morbidezza di questo abito fatto da Tanya. Per ora non può, ma quando anche lei diventerà una SD se lo metterà eccome!
"This magnificent landscape (in perfect condition) depicts a Kermis or fair, during which a religious festival is celebrated by a rustic street party. The subject had been treated by Pieter Bruegel the Elder, in his Peasant Dance of c.1568 as a ‘Vanity Fair’ of drink-fuelled folly and vice. Jan Brueghel by contrast sees the Kermis as an emblem of the happiness of a well-ordered society at play. He adopts his father’s technique, of the universal panorama of life, with as many legible mini-incidents as space and ingenuity permit.
This small copper is an inexhaustible record of life, which its original owner must have spent many hours reading. In the background bystanders kneel before the religious procession approaching the church. The pub in the left background is full; amongst many groups we can just make out a ring of peasants playing dice on a tree-stump table. In the middle ground two groups of peasants dance in a ring to the sound of bagpipes and hurdy-gurdy; a pair of children are trying to learn the same moves. One elderly woman in the near group has a ring of keys held on a cord, which flies out from her waist as she spins. Behind the nearer ring to the right there is a toy-seller (who has recently sold a hobbyhorse), a beggar or peddler in red talking to a man and his wife.
The festivities are enjoyed by two groups of prosperous middle-class observers: one group of gallant young lovers (in the middle ground) have courtly manners which contrast with the peasant couple billing in the cart; the nearer group seems to include three generations of a single family, with their nursemaid. A jester is chased away (or possibly restrained with demands for an encore) by a group of children. Some beggars arrive at the extreme left foreground; children play with a ball across the centre; and an elderly couple share a ride home to the right, taking their flag and a basket full of produce.
It is difficult not to see this as a celebration of the abatement of the war and an expression of hope for a lasting peace. This is an early example of a type of image, which defined the hopes and ideals of the rule of the Archdukes Albert and Isabella. Later examples of this subject, also by Jan Brueghel (Prado, dated 1623), depict the Archdukes themselves watching the festivities, as the city-dwellers do here.
The distance here has exactly the same combination of Low Country foreground and Alpine distance seen in Pieter Bruegel the Elder’s work. Jan Brueghel here loses the mountains in the clouds with an indistinctness especially admired by the English theorist Edward Norgate, who advises artists to ‘expresse your remonte Mountaines and grounds with a certaine airie Morbidezza or softnes, which is another remarkable grace and ornament of your worke’.
Provenance
Probably purchased in Spain by Sir Daniel Arthur; his widow, who married George Bagnall; from whom purchased by Frederick, Prince of Wales, before July 1750"
www.rct.uk/collection/405513/a-flemish-fair#/referer/6827...
Waterspeech is an original brand. The inspiration came from Fillico. The packing of Fillico mineral water is amazing. However, as everyday drinking water, it appears too much luxury. I wondered if there was a way that can keep the bottle artistic, as well as make it more practical. Therefore, I designed the packaging of the mineral water. Curve bottle represents morbidezza of the water. The body was made from eco-friendly material, TRITAN, which can be recycled. The bottle’s curve of waterspeech was also displayed in VI.
You will learn to know who you are. #puppy #puppies #kitten #kittens #cat #cats #sleeping #sleep #sweetness #sweet #soft #softness #jute #sunlight #tender #tenderness #gattino #gattini #cucciolo #cuccioli #dormire #gatto #gatti #iuta #lucedelsole #tenerezza #morbidezza #dolcezza #pet #animals
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15 Comments on Instagram:
simoneaversano: @carmen_yyy :) È nato quattro giorni fa insieme ad altri tre cuccioli <3
omajeeb: Adorable
simoneaversano: @omajeeb yes it is! Thank you! :)
omajeeb: You're welcome
conflictinpoetry: Awww... 😻😻
simoneaversano: @conflictinpoetry 🙏😺😊
aurelie_gabriel: Oh lovely!!! 😻😻😻
simoneaversano: @aurelie_gabriel thank you! 😊😊😊
"Nel linguaggio dei fiori la magnolia è simbolo di Candore, ma se è bicolore allude al Pudore virgineo. Quando è precoce evoca l'Ansietà; la magnolia tulipano trasmette invece un messaggio inquietante, «non ti fidar di me», che è stato attribuito anche ai fiori di tutte le magnolie, per motivi a me ignoti."
A. Cattabiani, Florario