View allAll Photos Tagged multiform
Soto - C.R.
Convenio Fundación HIVOS y MADC.
7 de Febrero al 5 de abril
Sala I, II, III, IV
Artistas: Regina Aguilar, Gustavo Araujo, Patricia Belli, Bayardo Blandino, Andrés Carranza, Isabel de Obaldía, Sandra Eleta, Dario Escobar, Luis González Palma, Walterio Iraheta, Rodolfo Molina, Priscilla Monge, Yasser Musa, Raúl Quintanilla, Isabel Ruíz, Karla Solano, Cinthya Soto, Gilvano Swawey, Jaime David Tischler, Patricia Villalobos.
Curaduría: Rolando Barahona y Tahituey Ribot.
Le Président de la République, Touadera a procédé ce 06 juin au lancement officiel de la consultation populaire nationale dans le cadre de la Commission vérité, justice, réparation et réconciliation (CVJRR), en présence des membres du Gouvernement chefs des missions et corps diplomatique. La MINUSCA continuera à accompagner le Gouvernement dans la mise en œuvre du projet de réconciliation nationale en RCA en mobilisant ses ressources multiformes pour les étapes présentes et futures de l'agenda de la justice transitionnelle.
Photo UN/MINUSCA - Leonel Grothe
■ Feu D'artifice de Clôture de MP2013 par le Groupe F, Marseille (13) 2013, FRA
■ Le 31 Décembre 2013.
Le Groupe F, créateur de lumières de feu et d’images propose une œuvre multiforme, au carrefour du Land Art, de la performance pyrotechnique et du théâtre à ciel ouvert. Mêlant l’eau et le feu, musiques et récits, les Révélations prennent la forme d’une saga épique dont les épisodes parcourent les eaux du territoire Marseille Provence.
Pour clôturer cette année Capitale en beauté, le dernier épisode se déroulera sur le légendaire Vieux Port de Marseille. Projections monumentales, acteurs de lumière, pyrotechnie sur bateaux, tarasque de feu, son…
■ Les photos de ce site ne sont pas libres de droit / The pictures in this website are copyrighted
Pour toute utilisation veuillez Me Contacter ICI ou ICI / For any use please Contact Me HERE or HERE
■ Bonne visite / Good visit.
Templo ubicado en las cercanías de la falda oriente del cerro del Tepeyac. Fue construido de 1777 a 1791 y diseñado por el arquitecto Francisco Guerrero y Torres.Fue edificado sobre un pozo de aguas consideradas milagrosas, así, pronto comenzaron las peregrinaciones al lugar.10 Gran cantidad de enfermos bebía y lavaba sus heridas en el mismo sitio, por lo que pronto se convirtió en foco de infecciones. Para controlar las epidemias se impidió el acceso directo al pozo y se construyó una techumbre sencilla, pero las peregrinaciones continuaron. Para 1777 se tomó la decisión de construir un templo en el sitio.
El sello particular de esta capilla pequeña, considerada joya arquitectónica del estilo barroco, es su forma pues su planta es la única de base circular o cántrica levantada durante el siglo XVIII que se conserva en México. Este carácter permite que el visitante perciba el espacio poco a poco, como si éste se escondiera. El movimiento que le imprime a la cúpula la decoración en zigzag, lo mismo que las líneas multiformes utilizadas en las ventanas contribuye a crear esta atmósfera de movimiento lento. Todos los símbolos que cargan los angelitos pintados en la cúpula, son los símbolos marianos que aparecen en la Letanía Lauretana, parte final del rezo del rosario: espejo de virtudes, torre de David, estrella de la mañana, etc. Otro elemento importante de la decoración es el Juan Diego que sostiene el púlpito de madera.10
En 1815 el insurgente José María Morelos se le permitió como última voluntad ir a orar a la Virgen de Guadalupe en este templo antes de ser ejecutado en una población cercana en el actual municipio de Ecatepec de Morelos.
Con las obras de creación del Atrio de las Américas en la década de 1950, el templo pasó de estar inmerso en la traza urbana a encontrarse aislado de ésta, tal como se lo contempla en la actualidad.
Templo ubicado en las cercanías de la falda oriente del cerro del Tepeyac. Fue construido de 1777 a 1791 y diseñado por el arquitecto Francisco Guerrero y Torres.Fue edificado sobre un pozo de aguas consideradas milagrosas, así, pronto comenzaron las peregrinaciones al lugar.10 Gran cantidad de enfermos bebía y lavaba sus heridas en el mismo sitio, por lo que pronto se convirtió en foco de infecciones. Para controlar las epidemias se impidió el acceso directo al pozo y se construyó una techumbre sencilla, pero las peregrinaciones continuaron. Para 1777 se tomó la decisión de construir un templo en el sitio.
El sello particular de esta capilla pequeña, considerada joya arquitectónica del estilo barroco, es su forma pues su planta es la única de base circular o cántrica levantada durante el siglo XVIII que se conserva en México. Este carácter permite que el visitante perciba el espacio poco a poco, como si éste se escondiera. El movimiento que le imprime a la cúpula la decoración en zigzag, lo mismo que las líneas multiformes utilizadas en las ventanas contribuye a crear esta atmósfera de movimiento lento. Todos los símbolos que cargan los angelitos pintados en la cúpula, son los símbolos marianos que aparecen en la Letanía Lauretana, parte final del rezo del rosario: espejo de virtudes, torre de David, estrella de la mañana, etc. Otro elemento importante de la decoración es el Juan Diego que sostiene el púlpito de madera.10
En 1815 el insurgente José María Morelos se le permitió como última voluntad ir a orar a la Virgen de Guadalupe en este templo antes de ser ejecutado en una población cercana en el actual municipio de Ecatepec de Morelos.
Con las obras de creación del Atrio de las Américas en la década de 1950, el templo pasó de estar inmerso en la traza urbana a encontrarse aislado de ésta, tal como se lo contempla en la actualidad.
Le Président de la République, Touadera a procédé ce 06 juin au lancement officiel de la consultation populaire nationale dans le cadre de la Commission vérité, justice, réparation et réconciliation (CVJRR), en présence des membres du Gouvernement chefs des missions et corps diplomatique. La MINUSCA continuera à accompagner le Gouvernement dans la mise en œuvre du projet de réconciliation nationale en RCA en mobilisant ses ressources multiformes pour les étapes présentes et futures de l'agenda de la justice transitionnelle.
Photo UN/MINUSCA - Leonel Grothe
Le Président de la République, Touadera a procédé ce 06 juin au lancement officiel de la consultation populaire nationale dans le cadre de la Commission vérité, justice, réparation et réconciliation (CVJRR), en présence des membres du Gouvernement chefs des missions et corps diplomatique. La MINUSCA continuera à accompagner le Gouvernement dans la mise en œuvre du projet de réconciliation nationale en RCA en mobilisant ses ressources multiformes pour les étapes présentes et futures de l'agenda de la justice transitionnelle.
Photo UN/MINUSCA - Leonel Grothe
La mostra – la più ampia ed articolata antologica degli ultimi decenni di uno tra i più imprevedibili e multiformi artisti nel campo della fotografia – offre un panorama dettagliato ed esauriente del percorso di Nino Migliori, in più di 60 anni di ricerca sulla fotografia, della fotografia, con la fotografia.
Oltre 300 opere esposte a Palazzo Fava Palazzo delle Esposizioni per raccontare l’opera dell’autore, a cui si aggiungono 9 installazioni, 2 delle quali a Casa Saraceni e Palazzo Pepoli Museo della Storia di Bologna.
Mostra promossa da Fondazione Cassa di Risparmio in Bologna
in collaborazione con l'Archivio Nino Migliori
18 gennaio - 28 aprile 2013
Palazzo Fava Palazzo delle Esposizioni
Genus Bononiae Musei nella Città
Bologna
foto Paolo Righi
La mostra – la più ampia ed articolata antologica degli ultimi decenni di uno tra i più imprevedibili e multiformi artisti nel campo della fotografia – offre un panorama dettagliato ed esauriente del percorso di Nino Migliori, in più di 60 anni di ricerca sulla fotografia, della fotografia, con la fotografia.
Oltre 300 opere esposte a Palazzo Fava Palazzo delle Esposizioni per raccontare l’opera dell’autore, a cui si aggiungono 9 installazioni, 2 delle quali a Casa Saraceni e Palazzo Pepoli Museo della Storia di Bologna.
Mostra promossa da Fondazione Cassa di Risparmio in Bologna
in collaborazione con l'Archivio Nino Migliori
18 gennaio - 28 aprile 2013
Palazzo Fava Palazzo delle Esposizioni
Genus Bononiae Musei nella Città
Bologna
foto Paolo Righi
Herrero - C.R.
Convenio Fundación HIVOS y MADC.
7 de Febrero al 5 de abril
Sala I, II, III, IV
Artistas: Regina Aguilar, Gustavo Araujo, Patricia Belli, Bayardo Blandino, Andrés Carranza, Isabel de Obaldía, Sandra Eleta, Dario Escobar, Luis González Palma, Walterio Iraheta, Rodolfo Molina, Priscilla Monge, Yasser Musa, Raúl Quintanilla, Isabel Ruíz, Karla Solano, Cinthya Soto, Gilvano Swawey, Jaime David Tischler, Patricia Villalobos.
Curaduría: Rolando Barahona y Tahituey Ribot.
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone 43 / ( 0) 1 / 79557-0
Fax 43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
As the battle against evil begins three ninjas learn to master the elements and control the mighty beasts of the world. Led by the blue ninja, the red and white ninja follow him closely, defeating evil wherever they go in the hunt for their arch nemesis, the multiform
Le Président de la République, Touadera a procédé ce 06 juin au lancement officiel de la consultation populaire nationale dans le cadre de la Commission vérité, justice, réparation et réconciliation (CVJRR), en présence des membres du Gouvernement chefs des missions et corps diplomatique. La MINUSCA continuera à accompagner le Gouvernement dans la mise en œuvre du projet de réconciliation nationale en RCA en mobilisant ses ressources multiformes pour les étapes présentes et futures de l'agenda de la justice transitionnelle.
Photo UN/MINUSCA - Leonel Grothe
This picture shows the multiforms of Android gadgets. From smartphones to tablets.
Top to bottom: Sony Ericsson Xperia X10 mini, Xperia X8, Nexian Journey, Tabulet Mech, Zyrex One Pad.
Le Président de la République, Touadera a procédé ce 06 juin au lancement officiel de la consultation populaire nationale dans le cadre de la Commission vérité, justice, réparation et réconciliation (CVJRR), en présence des membres du Gouvernement chefs des missions et corps diplomatique. La MINUSCA continuera à accompagner le Gouvernement dans la mise en œuvre du projet de réconciliation nationale en RCA en mobilisant ses ressources multiformes pour les étapes présentes et futures de l'agenda de la justice transitionnelle.
Photo UN/MINUSCA - Leonel Grothe
Oggi i diritti di espressione dei cittadini si esercitano anche attraverso la telematica.
Sottoscriviamo questo appello affinché sia garantito anche in rete il diritto di manifestare liberamente il proprio pensiero con la parola, lo scritto e ogni altro mezzo di diffusione, stabilito dall'articolo 21 della nostra costituzione. L’attuale legislazione in Italia e’ infatti squilibrata: esiste una normativa recentissima sul diritto d'autore che reprime ferocemente la pirateria informatica e telematica (per tutelare le aziende del software) e non esiste come contrappeso una normativa che tuteli i diritti dei cittadini alla comunicazione telematica, in particolare di quei cittadini che decidono di partecipare attivamente al processo di creazione delle informazioni in rete.
In tale situazione di incertezza l'informazione popolare, gratuita, amatoriale e basata sul volontariato rischia di morire a tutto vantaggio dell'informazione commerciale e centralizzata dei grandi gruppi mediatici, editoriali e televisivi. Denunciamo il modello dittatoriale che domina il flusso planetario delle notizie. La maggior parte delle informazioni che circolano su giornali, telegiornali, radio e riviste proviene da un oligopolio di agenzie di stampa internazionali, che ogni giorno svolgono un’opera di selezione, controllo e filtraggio delle informazioni. La gente comune e' esclusa dal grande circo dei media, i cui attori principali sono le società che dominano il mercato dell’informazione mondiale. Quattro agenzie di stampa gestiscono da sole l’80 per cento del flusso delle notizie sull'intero pianeta: sono le americane Associated Press e United Press International, la britannica Reuter e la francese France Presse.
La maggior parte delle informazioni che riguardano il sud del mondo passa attraverso queste grandi agenzie di stampa prima di raggiungere i nostri giornali e i nostri TG. Spesso le realtà più emarginate e le più grandi ingiustizie sociali vengono semplicemente ignorate. Tutta l’informazione prodotta al di fuori del cerchio ristretto delle grandi agenzie di stampa viene soffocata e travolta dai colossi dell’informazione. I protagonisti delle notizie vengono immediatamente espropriati delle informazioni che li riguardano, e immediatamente i fatti vengono raccontati, una volta filtrati dai grandi gestori dell’informazione, senza che coloro che sono parte in causa abbiano la possibilità di esprimersi. Tutto ciò può essere combattuto soltanto garantendo una molteplicità delle fonti informative e garantendo a ogni individuo l’accesso a potenti canali comunicativi attraverso il pieno utilizzo delle nuove tecnologie della comunicazione.
La concentrazione di grandi gruppi editoriali, televisivi e mass-mediatici, frutto del cammino inesorabile verso il mercato globale, sta soffocando la piccola editoria, l’autoproduzione letteraria, la stampa locale, le piccole riviste delle associazioni e degli organismi no profit, schiacciati da un "libero" mercato sempre più esigente e competitivo. Ogni giorno, nell’indifferenza generale, muoiono riviste, case editrici, piccole radio locali e molte altre forme di espressione editoriale, radiofonica e televisiva che non possono garantire il profitto necessario alla propria sopravvivenza.
Questa nuova forma di censura e di limitazione della libertà di stampa, che si nasconde dietro la presunta ineluttabilità delle leggi economiche, e' un grave pericolo per la nostra libertà di espressione, per il nostro pluralismo e per la nostra democrazia. I nuovi bavagli alla libertà di stampa, alla libertà giornalistica e alla libertà editoriale passano inosservati alla maggior parte delle persone, e proprio per questo rappresentano una preoccupante minaccia per una società civile distratta. Di fronte a questa grave crisi editoriale, già da tempo avvertita dagli operatori del settore, rivendichiamo il diritto a forme di espressione, di stampa e di scrittura costruite con nuove regole, che diano priorità ai contenuti e non alla vendibilità di un prodotto culturale come un libro o una rivista, che favoriscano la produzione di informazione locale, variegata, multiforme, pluralistica e autogestita, in alternativa alle strutture che possono permettersi di sostenere i pesantissimi costi fissi necessari per la distribuzione dei propri prodotti editoriali nei supermercati, negli autogrill e nelle edicole di ogni città d’Italia.
L’accesso all’informazione e ai mezzi di comunicazione (telematici e non) e' un diritto fondamentale per ogni essere umano.
La mostra – la più ampia ed articolata antologica degli ultimi decenni di uno tra i più imprevedibili e multiformi artisti nel campo della fotografia – offre un panorama dettagliato ed esauriente del percorso di Nino Migliori, in più di 60 anni di ricerca sulla fotografia, della fotografia, con la fotografia.
Oltre 300 opere esposte a Palazzo Fava Palazzo delle Esposizioni per raccontare l’opera dell’autore, a cui si aggiungono 9 installazioni, 2 delle quali a Casa Saraceni e Palazzo Pepoli Museo della Storia di Bologna.
Mostra promossa da Fondazione Cassa di Risparmio in Bologna
in collaborazione con l'Archivio Nino Migliori
18 gennaio - 28 aprile 2013
Palazzo Fava Palazzo delle Esposizioni
Genus Bononiae Musei nella Città
Bologna
foto Paolo Righi
Sous le soleil cette fois, meilleure lumière d'où plus de photos, avant, pendant et après la manifestation ...
Déjà 43 jours que le peuple tente de faire comprendre à ces "dirigeants" qu'il ne veut pas de cette réforme ...
Actions multiformes en plus des manifestations ... que faudra-t-il faire pour se faire entendre ?
Le Président de la République, Touadera a procédé ce 06 juin au lancement officiel de la consultation populaire nationale dans le cadre de la Commission vérité, justice, réparation et réconciliation (CVJRR), en présence des membres du Gouvernement chefs des missions et corps diplomatique. La MINUSCA continuera à accompagner le Gouvernement dans la mise en œuvre du projet de réconciliation nationale en RCA en mobilisant ses ressources multiformes pour les étapes présentes et futures de l'agenda de la justice transitionnelle.
Photo UN/MINUSCA - Leonel Grothe
[FONTE ]Comunicato Stampa
a cura di DivA – Progetto di Divulgazione Astronomica
Ufficio Stampa: Ilaria Berlingeri – tel: 349.2520729 – ilaria.berlingeri@gmail.com
Segreteria: Tel. +39 06 94286427 E-mail: diva@oa-roma.inaf.it
APERITIVO SCIENTIFICO Scientific session: Osserviamo la musica
Con Enzo Pietropaoli, contrabbasso
Venerdì 17 gennaio 2014
INAF - Osservatorio Astronomico di Roma
Via Frascati, 33. Monte Porzio Catone - RM
h. 20.30 € 10,00
Prenotazione obbligatoria con ticket online di 10 € sul sito webdiva2.oa-roma.inaf.it/index.php?option=com_dtregister&..., la serata non è adatta ai bambini, per loro si potrà richiedere eventualmente una visita alla mostra Astrolab, l’aperitivo si svolgerà all’interno e in caso di tempo avverso le osservazioni potranno essere sostituite da una visita all’Astrolab per tutti i convenuti.
Monte Porzio Catone – Roma. Venerdì 17 gennaio 2014, dalle ore 20.30, presso l'INAF - Osservatorio Astronomico di Roma, si tiene la serata evento dal titolo: Scientific session: Osserviamo la musica
L’estro improvvisativo di Enzo Pietropaoli al contrabasso e le multiformi conoscenze di Fernando Pedichini si uniscono per diventare strumento di divulgazione scientifica in grado di rendere piacevole a tutti la fisica che sta dietro alla percezione del suono e della luce. Brani musicali si alternano ad esperimenti scientifici di cui voi sarete protagonisti. Scoprirete analogie e discordanze tra il mondo classico del suono e quello quantistico della luce. I vostri sensi saranno confusi fino a scoprire, avvolti da ritmo, melodia e armonia, che esistono colori alieni, invisibili ai non iniziati... La serata sarà arricchita, inoltre, delle letture di Daniela Cavallini.
I ricercatori accoglieranno gli ospiti e li accompagneranno nella visita alle sale storiche dedicate a Padre Angelo Secchi e Athanasius Kircher. Un gustoso aperitivo seguirà l’incontro scientifico, e sarà occasione per conversare con il relatore e lo staff di ricerca sul tema della serata.
Programma
•ore 20:30 – ingresso e accoglienza da parte dei ricercatori
•ore 20:45 - aperitivo e visita delle sale storiche
•ore 21:00 – Scientific session: Osserviamo la musica- E. Pietropaoli - F. Pedichini
•a seguire - Osservazioni astronomiche (compatibilmente con le condizioni meteo)
La mostra – la più ampia ed articolata antologica degli ultimi decenni di uno tra i più imprevedibili e multiformi artisti nel campo della fotografia – offre un panorama dettagliato ed esauriente del percorso di Nino Migliori, in più di 60 anni di ricerca sulla fotografia, della fotografia, con la fotografia.
Oltre 300 opere esposte a Palazzo Fava Palazzo delle Esposizioni per raccontare l’opera dell’autore, a cui si aggiungono 9 installazioni, 2 delle quali a Casa Saraceni e Palazzo Pepoli Museo della Storia di Bologna.
Mostra promossa da Fondazione Cassa di Risparmio in Bologna
in collaborazione con l'Archivio Nino Migliori
18 gennaio - 28 aprile 2013
Palazzo Fava Palazzo delle Esposizioni
Genus Bononiae Musei nella Città
Bologna
foto Paolo Righi
Le Président de la République, Touadera a procédé ce 06 juin au lancement officiel de la consultation populaire nationale dans le cadre de la Commission vérité, justice, réparation et réconciliation (CVJRR), en présence des membres du Gouvernement chefs des missions et corps diplomatique. La MINUSCA continuera à accompagner le Gouvernement dans la mise en œuvre du projet de réconciliation nationale en RCA en mobilisant ses ressources multiformes pour les étapes présentes et futures de l'agenda de la justice transitionnelle.
Photo UN/MINUSCA - Leonel Grothe
Le Président de la République, Touadera a procédé ce 06 juin au lancement officiel de la consultation populaire nationale dans le cadre de la Commission vérité, justice, réparation et réconciliation (CVJRR), en présence des membres du Gouvernement chefs des missions et corps diplomatique. La MINUSCA continuera à accompagner le Gouvernement dans la mise en œuvre du projet de réconciliation nationale en RCA en mobilisant ses ressources multiformes pour les étapes présentes et futures de l'agenda de la justice transitionnelle.
Photo UN/MINUSCA - Leonel Grothe
Le Président de la République, Touadera a procédé ce 06 juin au lancement officiel de la consultation populaire nationale dans le cadre de la Commission vérité, justice, réparation et réconciliation (CVJRR), en présence des membres du Gouvernement chefs des missions et corps diplomatique. La MINUSCA continuera à accompagner le Gouvernement dans la mise en œuvre du projet de réconciliation nationale en RCA en mobilisant ses ressources multiformes pour les étapes présentes et futures de l'agenda de la justice transitionnelle.
Photo UN/MINUSCA - Leonel Grothe
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone 43 / ( 0) 1 / 79557-0
Fax 43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
La mostra – la più ampia ed articolata antologica degli ultimi decenni di uno tra i più imprevedibili e multiformi artisti nel campo della fotografia – offre un panorama dettagliato ed esauriente del percorso di Nino Migliori, in più di 60 anni di ricerca sulla fotografia, della fotografia, con la fotografia.
Oltre 300 opere esposte a Palazzo Fava Palazzo delle Esposizioni per raccontare l’opera dell’autore, a cui si aggiungono 9 installazioni, 2 delle quali a Casa Saraceni e Palazzo Pepoli Museo della Storia di Bologna.
Mostra promossa da Fondazione Cassa di Risparmio in Bologna
in collaborazione con l'Archivio Nino Migliori
18 gennaio - 28 aprile 2013
Palazzo Fava Palazzo delle Esposizioni
Genus Bononiae Musei nella Città
Bologna
foto Paolo Righi
Le Président de la République, Touadera a procédé ce 06 juin au lancement officiel de la consultation populaire nationale dans le cadre de la Commission vérité, justice, réparation et réconciliation (CVJRR), en présence des membres du Gouvernement chefs des missions et corps diplomatique. La MINUSCA continuera à accompagner le Gouvernement dans la mise en œuvre du projet de réconciliation nationale en RCA en mobilisant ses ressources multiformes pour les étapes présentes et futures de l'agenda de la justice transitionnelle.
Photo UN/MINUSCA - Leonel Grothe
Bayardo.
Convenio Fundación HIVOS y MADC.
7 de Febrero al 5 de abril
Sala I, II, III, IV
Artistas: Regina Aguilar, Gustavo Araujo, Patricia Belli, Bayardo Blandino, Andrés Carranza, Isabel de Obaldía, Sandra Eleta, Dario Escobar, Luis González Palma, Walterio Iraheta, Rodolfo Molina, Priscilla Monge, Yasser Musa, Raúl Quintanilla, Isabel Ruíz, Karla Solano, Cinthya Soto, Gilvano Swawey, Jaime David Tischler, Patricia Villalobos.
Curaduría: Rolando Barahona y Tahituey Ribot.
Templo ubicado en las cercanías de la falda oriente del cerro del Tepeyac. Fue construido de 1777 a 1791 y diseñado por el arquitecto Francisco Guerrero y Torres.Fue edificado sobre un pozo de aguas consideradas milagrosas, así, pronto comenzaron las peregrinaciones al lugar.10 Gran cantidad de enfermos bebía y lavaba sus heridas en el mismo sitio, por lo que pronto se convirtió en foco de infecciones. Para controlar las epidemias se impidió el acceso directo al pozo y se construyó una techumbre sencilla, pero las peregrinaciones continuaron. Para 1777 se tomó la decisión de construir un templo en el sitio.
El sello particular de esta capilla pequeña, considerada joya arquitectónica del estilo barroco, es su forma pues su planta es la única de base circular o cántrica levantada durante el siglo XVIII que se conserva en México. Este carácter permite que el visitante perciba el espacio poco a poco, como si éste se escondiera. El movimiento que le imprime a la cúpula la decoración en zigzag, lo mismo que las líneas multiformes utilizadas en las ventanas contribuye a crear esta atmósfera de movimiento lento. Todos los símbolos que cargan los angelitos pintados en la cúpula, son los símbolos marianos que aparecen en la Letanía Lauretana, parte final del rezo del rosario: espejo de virtudes, torre de David, estrella de la mañana, etc. Otro elemento importante de la decoración es el Juan Diego que sostiene el púlpito de madera.10
En 1815 el insurgente José María Morelos se le permitió como última voluntad ir a orar a la Virgen de Guadalupe en este templo antes de ser ejecutado en una población cercana en el actual municipio de Ecatepec de Morelos.
Con las obras de creación del Atrio de las Américas en la década de 1950, el templo pasó de estar inmerso en la traza urbana a encontrarse aislado de ésta, tal como se lo contempla en la actualidad.
Le Président de la République, Touadera a procédé ce 06 juin au lancement officiel de la consultation populaire nationale dans le cadre de la Commission vérité, justice, réparation et réconciliation (CVJRR), en présence des membres du Gouvernement chefs des missions et corps diplomatique. La MINUSCA continuera à accompagner le Gouvernement dans la mise en œuvre du projet de réconciliation nationale en RCA en mobilisant ses ressources multiformes pour les étapes présentes et futures de l'agenda de la justice transitionnelle.
Photo UN/MINUSCA - Leonel Grothe
Punto in Movimento/Shiftingpoint circuitoteatro
Big Band Ritmo Sinfonica Città di Verona
presentano:
CANTO DI NATALE di Charles Dickens
Reading musicale in chiave blues
Musiche di repertorio jazz e blues a cura di Big Band Ritmo Sinfonica Città di Verona
Direttore d’orchestra Marco Pasetto
Regia Roberto Totola
Attori:
Roberto Totola e Marina Furlani
Dickens affronta ne “Il Canto di Natale” tematiche sociali, mettendo in discussione il rapporto tra le classi sociali, il lavoro minorile in fabbrica (che lui stesso aveva dovuto sopportare, perché costretto dal padre), la povertà.
Da questo presupposto è nata l'idea di sonorizzare in chiave blues e jazz il racconto. Il canto afroamericano ben si collega alle atmosfere affascinanti e misteriose del racconto di Dickens. Nello spettacolo le varie sonorità del racconto si dipanano per mezzo del multiforme universo del blues strumentale. Le parole e la musica diventano un tutt’uno.
Presentazione di Argo H2O e di Argo Art Projects ed esposizione di alcune opere da WATERSHAPE, a cura di Eleonora Di Erasmo e Daniela Shalom Vagata, sabato 21 dicembre 2013, Roma.
Live-set "Snowy Afternoon" di Andrea Buratta aka Novembertraum
Video, musica, fotografie di:
Andrea Buratta aka Novembertraum, Stefano Bandini, Sebastiano Luciano, Chie Matsui, Andrés Mendéz, Monochrome Circus, Yoichi Nagano, Masakatsu Tagaki, Chris Rudz, Yasu Suzuka, Toru Yamanaka
Argo rivista d’esplorazione dedica il nuovo numero Argo H2O al tema fluido e multiforme dell’acqua: acqua come fonte primordiale di vita, frontiera dell’orizzonte umano, risorsa e bene comune. Pensati appositamente per questo nuovo numero, sono visibili nelle versioni cartacea e online di Argo H2O i progetti Voce al silenzio e WATERSHAPE.
Templo ubicado en las cercanías de la falda oriente del cerro del Tepeyac. Fue construido de 1777 a 1791 y diseñado por el arquitecto Francisco Guerrero y Torres.Fue edificado sobre un pozo de aguas consideradas milagrosas, así, pronto comenzaron las peregrinaciones al lugar.10 Gran cantidad de enfermos bebía y lavaba sus heridas en el mismo sitio, por lo que pronto se convirtió en foco de infecciones. Para controlar las epidemias se impidió el acceso directo al pozo y se construyó una techumbre sencilla, pero las peregrinaciones continuaron. Para 1777 se tomó la decisión de construir un templo en el sitio.
El sello particular de esta capilla pequeña, considerada joya arquitectónica del estilo barroco, es su forma pues su planta es la única de base circular o cántrica levantada durante el siglo XVIII que se conserva en México. Este carácter permite que el visitante perciba el espacio poco a poco, como si éste se escondiera. El movimiento que le imprime a la cúpula la decoración en zigzag, lo mismo que las líneas multiformes utilizadas en las ventanas contribuye a crear esta atmósfera de movimiento lento. Todos los símbolos que cargan los angelitos pintados en la cúpula, son los símbolos marianos que aparecen en la Letanía Lauretana, parte final del rezo del rosario: espejo de virtudes, torre de David, estrella de la mañana, etc. Otro elemento importante de la decoración es el Juan Diego que sostiene el púlpito de madera.10
En 1815 el insurgente José María Morelos se le permitió como última voluntad ir a orar a la Virgen de Guadalupe en este templo antes de ser ejecutado en una población cercana en el actual municipio de Ecatepec de Morelos.
Con las obras de creación del Atrio de las Américas en la década de 1950, el templo pasó de estar inmerso en la traza urbana a encontrarse aislado de ésta, tal como se lo contempla en la actualidad.
Templo ubicado en las cercanías de la falda oriente del cerro del Tepeyac. Fue construido de 1777 a 1791 y diseñado por el arquitecto Francisco Guerrero y Torres.Fue edificado sobre un pozo de aguas consideradas milagrosas, así, pronto comenzaron las peregrinaciones al lugar.10 Gran cantidad de enfermos bebía y lavaba sus heridas en el mismo sitio, por lo que pronto se convirtió en foco de infecciones. Para controlar las epidemias se impidió el acceso directo al pozo y se construyó una techumbre sencilla, pero las peregrinaciones continuaron. Para 1777 se tomó la decisión de construir un templo en el sitio.
El sello particular de esta capilla pequeña, considerada joya arquitectónica del estilo barroco, es su forma pues su planta es la única de base circular o cántrica levantada durante el siglo XVIII que se conserva en México. Este carácter permite que el visitante perciba el espacio poco a poco, como si éste se escondiera. El movimiento que le imprime a la cúpula la decoración en zigzag, lo mismo que las líneas multiformes utilizadas en las ventanas contribuye a crear esta atmósfera de movimiento lento. Todos los símbolos que cargan los angelitos pintados en la cúpula, son los símbolos marianos que aparecen en la Letanía Lauretana, parte final del rezo del rosario: espejo de virtudes, torre de David, estrella de la mañana, etc. Otro elemento importante de la decoración es el Juan Diego que sostiene el púlpito de madera.10
En 1815 el insurgente José María Morelos se le permitió como última voluntad ir a orar a la Virgen de Guadalupe en este templo antes de ser ejecutado en una población cercana en el actual municipio de Ecatepec de Morelos.
Con las obras de creación del Atrio de las Américas en la década de 1950, el templo pasó de estar inmerso en la traza urbana a encontrarse aislado de ésta, tal como se lo contempla en la actualidad.
(further pictures and information you can see if you go to the end of page and by clicking on the link...)
Belvedere
Belvedere Castle. Garden Front of the Lower Belvedere.
Belvedere Palace stands supposedly on the foundations of a Roman camp that had been erected here for strategic reasons. In 1693 Prince Eugene of Savoy acquired field and vineyard grounds between today's Rennweg and today's Gürtel. In 1700 Johann Lukas von Hildebrandt began with the construction of a palace garden (Lower Belvedere), whose in French-style layed out park was equipped with large water basins, an orangery with precious foreign plants and a menagerie. Prince Eugene was a great animal lover, and some animals in his collection could be fed exclusively by himself.
1720 the Prince conceived the plan the summer palace to supplement by a another palace building on the hill of the garden.
The 1721 by Johann Lukas von Hildebrandt begun works had been completed in 1724. The Upper Belvedere served in contrast to the Lower only representative purposes and was never meant to live.
The Prince and his architect managed a perfect symbiosis between architecture and garden. After the death of the Savoy (1736) inherited his niece Victoria of Savoy-Soisson, nee Princess Hildburghausen, all his possessions. From her the Habsburgs beginning of 1752 acquired the Belvedere. From 1755 Empress Maria Theresa moved the Arcierenleibgarde (Royal Company of the Archers) and the Galician Guard in the annex of the Belvedere. Besides, the castle stood almost empty.
Belvedere Castle. Engraving by Salomon Kleiner 1731/40 (left).
Vienna from the Belvedere. Coloured copper engraving by Carl Schütz, 1784 (right).
1770 Belvedere Palace was venue of brilliant festivities:
In castle and park the marriage of Archduchess Maria Antonia (Marie Antoinette) with the Dauphin of France by proxy (per procura) was celebrated. About 2,000 people were invited, more than 1,500 bottles of champagne, which was far from home in Vienna at that time,
were emptied. For hospitality of the guests, there were round tables, which were covered with silver. However, the Court of Vienna had a large part of the silver service to rent of nobles, because the stocks of the silver chamber were not sufficient. Finished was the festival by a magnificent fireworks.
1776, the imperial picture gallery from the Stallburg (home of the famous Lipizzan stallions) was transferred to the Upper Belvedere, the animals of the menagerie came to Schönbrunn. Shortly before the Congress of Vienna in 1814 in the Lower Belvedere the Ambras Collection was exposed. During the war against Napoleon (1805-1809), much of the collection of paintings had to be outsourced. The Corsican claimed 400 masterpieces for himself, but which after his defeat at Waterloo to the Habsburgs have been restituted. The after the French wars completely neglected building has been restored 1850-1866.
Castle Park with Upper Belvedere. Photograph, around 1890.
1819 Emperor Franz II (I) the Institute of Botany, University of Vienna, had given spacious grounds for enlargement of the Botanical Garden at Rennweg. Franz was very interested in botany and in accordance with a Habsburg House bill - every Archduke must learn a civilian job - has been educated for gardener. In an adjoining garden of Schloß Belvedere he had from his private funds laid out a botanical garden ("Flora Austriaca") which was left to the Institute of Botany for use.
During the cholera epidemic of 1831, the Belvedere served as well as Schönbrunn Palace the imperial family as a refuge; supposedly one was there protected from the bad air, which was attributed to the onset of the disease. Both castles lay in the "countryside", the air was much better here than in the densely populated city. During wartime, a hospital was set up in the castle.
As the space for the imperial collections became too small, it was thought to expand the Upper Belvedere by wing buildings. This plan was dropped for aesthetic reasons, however. After the expansion of the city (razing of the bastions and glacis) arose on the ring road the newly created Court Museums; moved there in 1891 the major part of the paintings.
Archduke-Heir to the Throne Franz Ferdinand of Austria-Este at folk and children's party in the park of the Belvedere Palace. Photograph, 1905.
To 1893/94 it is likely that Archduke Franz Ferdinand has chosen the Upper Belvedere to his residence in Vienna. Other sources say that it had been assigned to him by the Emperor Franz Joseph as a place to stay in Vienna. The rooms have been restored, adapted for residential purposes and supplemented with neo-Baroque furniture. The heir of the Este collections furnished his residence with numerous works of art. He had envisaged the castle for the accommodation of his collections; in 1893 were numerous boxes from India and Singapore in Belvedere stored. 1894 Emperor Franz Joseph could see the collection: "Yesterday I went to the Belvedere, where Franzi showed me his now quite and very nicely prepared collections. The same are as imposing as interesting by the incredible amount of objects and by the rarity and beauty of them. I believe that this exhibition would be interesting for you", wrote the monarch to his wife, Empress Elisabeth. That same year, Archduke Franz Ferdinand showed his collections his future wife, Sophie Chotková,
"Where I unaware of your fatigue with particular brutality you dragged from box to box" as he apologetically from Budweis wrote to the Countess.
Then the collections moved one the one hand to the Palais Modena in the Beatrixgasse, on the other hand to Konopischt. Only in 1898, Franz Ferdinand was granted by Emperor Franz Joseph to move into the Belvedere as Vienna Residence. More revitalization works were carried out and were also necessary. Technical modernization and preservation of the original building condition had priority - as always with the projects of Archduke Franz Ferdinand. As furnishings served still preserved furnitures from Schloss Hof, which were supplemented by new ones in old style. The private rooms in addition to electric lighting were equipped with central heating.
Belvedere Castle. Staircase in the Upper Belvedere (left).
Marble plastic "Apotheosis of Prince Eugene" by Balthasar Permoser in Gold Cabinet of the Lower Belvedere (right).
If his presence was needed in Vienna, Franz Ferdinand here could lead a normal family life and escape the pressures of court ceremonial, in which the to him in morganatic marriage affiliated wife was exposed to the evils of the courtiers. When the heir to the throne invited guests to the Belvedere, he was sitting opposite his wife as a hostess while she was ranked in the Hofburg always after the latest unmarried Archduchess. About the cozy family life at Belvedere reported Prince von Clary-Aldringens:
"Aunt Sophie invited us ... to snack into a Belvedere, unexpectedly, suddenly appeared the Archduke - we literally froze in our Hab-Acht-position (stand at attention). He greeted us warmly ... [I got to know] the Archduke as a friendly landlord, who was playing and laughing with his Children..."
Between 1899 and 1914 in the Lower Belvedere the military bureau of the heir to the throne was housed. Other well-known Residents - but of outbuildings - were Anton Bruckner, who in 1896 died in the Kustodenwohnung (guardian house), and Richard Strauss, who lived here from 1925 to 1944.
After the assassination of the Archduke and his wife in Sarajevo, the Belvedere should serve as the residence of the new heir to the throne, Archduke Karl and his family. This, however, preferred living in Schönbrunn and especially in the villa Wartholz. In 1917, Charles' brother Archduke Maximilian moved with his family into the Belvedere.
During World War II the castle was badly damaged by bombs, but rebuilt after the war ended immediately. On 15 May 1955 was the Marble Hall venue of the signing of the Austrian State Treaty. Today, the Upper Belvedere houses important art collections.
Excerpts from
Thus lived the Habsburgs - Imperial and Royal Palaces in the
Austro-Hungarian Monarchy
Ingrid Haslinger, Gerhard Trumler
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and
public bodies
www.brandstaetter - verlag.at
Denomination of the summer residence which Prince Eugene of Savoy himself had erected btw Rennweg and Swiss Garden. The term which refers to the unique view over Vienna dates from the time of Maria Theresa. Prinz Eugen bought in 1697 a plot of land at the Rennweg, which he extended to 1721 in four stages to the current area. Between 1714 and 1716 emerged the Lower Belvedere It is an elongated ground floor building, designed of a 7-axes central projection, two wings and two corner pavilions. The 3-axis central pavilion houses the Marble Hall. The castle the only rarely in Vienna sojourning builder served during the summer months as a pleasure palace.
Only in 1720 commenced construction works for the Upper Belvedere, first drawings for this existed already in 1717. The in it extent and form language compared to the Lower Belvedere especially magnificent Upper Belvedere served primarily as a representative setting for grand receptions and festivities. The architectural history of the example due to the loss of the Eugenianischen Bauarchivs (construction archiv of Prince Eugene) cannot be explored in detail without any gaps. 1723 (according to Rizzi 1721/22) the Upper Belvedere s is considered complete. The architect Johann Lukas von Hildebrandt, who repeatedly worked for Prince Eugen, with the construction of the Belvedere has created his main work. It counts in its multiform architectonic as well as sculptural structure to the most important baroque buildings of the 18th century. The to the ensemble belonging, btw Upper and Lower Belvedere laying garden has been created by the Bavarian horticultural engineer D. Girard and today only in broad terms is original. The designs for the interior of the castle stem from C. le Fort du Plessy.
After the death of the prince the belvedere went into the possession of his sole heiress, Victoria Duchess of Saxe-Hildburghausen. She sold it in 1752 to Maria Theresa. At the behest of Joseph II from 1775 the imperial picture gallery was transferred here, which in 1781 for the first time was open to the public. had. Since 1806 was located in the Lower Belvedere the Ambras Collection. Both collections were in 1890 in the Museum of Art History transferred. In 1894, the palace became residence for the heir to the throne Archduke Franz Ferdinand.
After the first World War I the Republic of Austria in Belvedere installed the Austrian Gallery. 1945 suffered the Belvedere severe war damage. In 1950, the "Gold Cabinet" in the north-eastern corner pavilion of the Upper Belvedere was destroyed by fire and replaced by a copy. The since 1988 ongoing general renovation should have been completed in 1996.
aeiou - the cultural information system of the bm: bwk
14,000 key words and 2000 pictures from history, geography, politics and business in Austria
Austrian Gallery Belvedere
The in the center of Vienna situated Belvedere palaces with their extensive parks form an impressive baroque Gesamtkunstwerk. The Museum in the Upper and Lower Castle
provides an excellent overview of the Austrian Art from the Middle Ages to the present. the collections of the 19th and 20th Century also include an exquisite inventory of international art. World Famous works by Klimt, Schiele, Kokoschka, Renoir and Monet you can see in the upper
Belvedere, from where you can enjoy a spectacular view to the center of Vienna. In the historic rooms of the Lower Belvedere are shown works of art from the Middle Ages and Baroque.
Austrian Gallery Belvedere
Prinz Eugen -Strasse 27 , A - 1037 Wien
Phone 43 / ( 0) 1 / 79557-0
Fax 43 / (0) 1/79 84 337
Upper Belvedere
Collections of the 19th and 20th century
Prinz Eugen -Strasse 27 , A - 1037 Wien
Lower Belvedere
Baroque Museum, and Museum of Medieval Art
Rennweg 6a, A - 1030 Vienna
Le Président de la République, Touadera a procédé ce 06 juin au lancement officiel de la consultation populaire nationale dans le cadre de la Commission vérité, justice, réparation et réconciliation (CVJRR), en présence des membres du Gouvernement chefs des missions et corps diplomatique. La MINUSCA continuera à accompagner le Gouvernement dans la mise en œuvre du projet de réconciliation nationale en RCA en mobilisant ses ressources multiformes pour les étapes présentes et futures de l'agenda de la justice transitionnelle.
Photo UN/MINUSCA - Leonel Grothe
La Fiesta de la Historia es una manifestación multiforme que pretende convertir a Sevilla en la “capital de la Historia”. La Universidad Pablo de Olavide participa en este evento que se celebra en la ciudad hispalense por vez primera a iniciativa de la asociación “Historia y Ciudadanía”, fundada entre otros por la antigua alumna de la UPO Olga Moreno Fernández. En aulas, teatros, museos, iglesias, salas públicas, calles y plazas se celebrarán conferencias, debates, visitas, conciertos, espectáculos y exposiciones temáticas que vinculan las experiencias personales y colectivas a los acontecimientos presentes y futuros, poniendo en valor el patrimonio cultural y la historia de la ciudad como patrimonio común de la ciudadanía.
Il Design in vetrina
L’ISIA si mette in mostra a Ravenna
Sabato 13 dicembre, alle ore 17, sarà inaugurata la mostra «Design in vetrina». Un’occasione per conoscere i progetti dei giovani designer dell’Istituto Superiore per le Industrie Artistiche (ISIA) di Faenza. Nella sala espositiva de «La Fenice», in via Paolo Costa 41, il professor Giorgio Gurioli, docente all’istituto manfredo, ha organizzato un percorso trasversale dove compariranno modelli di scooter, fotografie, zainetti e ceramiche rivisitate, insomma: una piccola sintesi delle multiformi attività dell’ISIA. Fondato nel 1980 con lo scopo di completare gli studi orientati al settore ceramico con una formazione di tipo avanzato, col tempo l’ISIA ha allargato i propri orizzonti fino ad abbracciare tutti i temi del design e della comunicazione. Definendo così un modello educativo che permette agli studenti di confrontarsi con la propria fantasia e creatività, senza mai perdere di vista la possibilità di mettere in concreto le idee. Un aspetto, quello della concretezza delle idee, confermato dalle numerose collaborazioni con il mondo dell’industria e della ricerca. Appuntamento dunque alla mostra «Design in vetrina», per scoprire il mondo dei giovani designer dell’ISIA.
Seguirà buffet. La mostra resterà aperta fino al 15 di gennaio.
Per ulteriori informazioni www.isiafaenza.it; oppure chiamare lo 0546/22293.
La mostra – la più ampia ed articolata antologica degli ultimi decenni di uno tra i più imprevedibili e multiformi artisti nel campo della fotografia – offre un panorama dettagliato ed esauriente del percorso di Nino Migliori, in più di 60 anni di ricerca sulla fotografia, della fotografia, con la fotografia.
Oltre 300 opere esposte a Palazzo Fava Palazzo delle Esposizioni per raccontare l’opera dell’autore, a cui si aggiungono 9 installazioni, 2 delle quali a Casa Saraceni e Palazzo Pepoli Museo della Storia di Bologna.
Mostra promossa da Fondazione Cassa di Risparmio in Bologna
in collaborazione con l'Archivio Nino Migliori
18 gennaio - 28 aprile 2013
Palazzo Fava Palazzo delle Esposizioni
Genus Bononiae Musei nella Città
Bologna
foto Paolo Righi
Templo ubicado en las cercanías de la falda oriente del cerro del Tepeyac. Fue construido de 1777 a 1791 y diseñado por el arquitecto Francisco Guerrero y Torres.Fue edificado sobre un pozo de aguas consideradas milagrosas, así, pronto comenzaron las peregrinaciones al lugar.10 Gran cantidad de enfermos bebía y lavaba sus heridas en el mismo sitio, por lo que pronto se convirtió en foco de infecciones. Para controlar las epidemias se impidió el acceso directo al pozo y se construyó una techumbre sencilla, pero las peregrinaciones continuaron. Para 1777 se tomó la decisión de construir un templo en el sitio.
El sello particular de esta capilla pequeña, considerada joya arquitectónica del estilo barroco, es su forma pues su planta es la única de base circular o cántrica levantada durante el siglo XVIII que se conserva en México. Este carácter permite que el visitante perciba el espacio poco a poco, como si éste se escondiera. El movimiento que le imprime a la cúpula la decoración en zigzag, lo mismo que las líneas multiformes utilizadas en las ventanas contribuye a crear esta atmósfera de movimiento lento. Todos los símbolos que cargan los angelitos pintados en la cúpula, son los símbolos marianos que aparecen en la Letanía Lauretana, parte final del rezo del rosario: espejo de virtudes, torre de David, estrella de la mañana, etc. Otro elemento importante de la decoración es el Juan Diego que sostiene el púlpito de madera.10
En 1815 el insurgente José María Morelos se le permitió como última voluntad ir a orar a la Virgen de Guadalupe en este templo antes de ser ejecutado en una población cercana en el actual municipio de Ecatepec de Morelos.
Con las obras de creación del Atrio de las Américas en la década de 1950, el templo pasó de estar inmerso en la traza urbana a encontrarse aislado de ésta, tal como se lo contempla en la actualidad.
Templo ubicado en las cercanías de la falda oriente del cerro del Tepeyac. Fue construido de 1777 a 1791 y diseñado por el arquitecto Francisco Guerrero y Torres.Fue edificado sobre un pozo de aguas consideradas milagrosas, así, pronto comenzaron las peregrinaciones al lugar.10 Gran cantidad de enfermos bebía y lavaba sus heridas en el mismo sitio, por lo que pronto se convirtió en foco de infecciones. Para controlar las epidemias se impidió el acceso directo al pozo y se construyó una techumbre sencilla, pero las peregrinaciones continuaron. Para 1777 se tomó la decisión de construir un templo en el sitio.
El sello particular de esta capilla pequeña, considerada joya arquitectónica del estilo barroco, es su forma pues su planta es la única de base circular o cántrica levantada durante el siglo XVIII que se conserva en México. Este carácter permite que el visitante perciba el espacio poco a poco, como si éste se escondiera. El movimiento que le imprime a la cúpula la decoración en zigzag, lo mismo que las líneas multiformes utilizadas en las ventanas contribuye a crear esta atmósfera de movimiento lento. Todos los símbolos que cargan los angelitos pintados en la cúpula, son los símbolos marianos que aparecen en la Letanía Lauretana, parte final del rezo del rosario: espejo de virtudes, torre de David, estrella de la mañana, etc. Otro elemento importante de la decoración es el Juan Diego que sostiene el púlpito de madera.10
En 1815 el insurgente José María Morelos se le permitió como última voluntad ir a orar a la Virgen de Guadalupe en este templo antes de ser ejecutado en una población cercana en el actual municipio de Ecatepec de Morelos.
Con las obras de creación del Atrio de las Américas en la década de 1950, el templo pasó de estar inmerso en la traza urbana a encontrarse aislado de ésta, tal como se lo contempla en la actualidad.
La mostra – la più ampia ed articolata antologica degli ultimi decenni di uno tra i più imprevedibili e multiformi artisti nel campo della fotografia – offre un panorama dettagliato ed esauriente del percorso di Nino Migliori, in più di 60 anni di ricerca sulla fotografia, della fotografia, con la fotografia.
Oltre 300 opere esposte a Palazzo Fava Palazzo delle Esposizioni per raccontare l’opera dell’autore, a cui si aggiungono 9 installazioni, 2 delle quali a Casa Saraceni e Palazzo Pepoli Museo della Storia di Bologna.
Mostra promossa da Fondazione Cassa di Risparmio in Bologna
in collaborazione con l'Archivio Nino Migliori
18 gennaio - 28 aprile 2013
Palazzo Fava Palazzo delle Esposizioni
Genus Bononiae Musei nella Città
Bologna
foto Paolo Righi
Convenio Fundación HIVOS y MADC.
7 de Febrero al 5 de abril
Sala I, II, III, IV
Artistas: Regina Aguilar, Gustavo Araujo, Patricia Belli, Bayardo Blandino, Andrés Carranza, Isabel de Obaldía, Sandra Eleta, Dario Escobar, Luis González Palma, Walterio Iraheta, Rodolfo Molina, Priscilla Monge, Yasser Musa, Raúl Quintanilla, Isabel Ruíz, Karla Solano, Cinthya Soto, Gilvano Swawey, Jaime David Tischler, Patricia Villalobos.
Curaduría: Rolando Barahona y Tahituey Ribot.
Le Président de la République, Touadera a procédé ce 06 juin au lancement officiel de la consultation populaire nationale dans le cadre de la Commission vérité, justice, réparation et réconciliation (CVJRR), en présence des membres du Gouvernement chefs des missions et corps diplomatique. La MINUSCA continuera à accompagner le Gouvernement dans la mise en œuvre du projet de réconciliation nationale en RCA en mobilisant ses ressources multiformes pour les étapes présentes et futures de l'agenda de la justice transitionnelle.
Photo UN/MINUSCA - Leonel Grothe