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Sometimes I find myself standing at some fantastic vantage point with a great photo opportunity in front of me and I have no idea how to capture it in a way that would do it justice. This was the case a few weeks ago when I went up to San Francisco at the crack of dawn and stood in freezing temperatures at the top of Twin Peaks as the sun was rising. The warm glow covered the city and I had a nearly unobstructed 360 degree view. As you can tell from the picture above, this is not that photo. This is the picture I got instead of the one I just described because I was too cold and dumbfounded to figure out a way to capture what I saw. Oh well, I will just have to go up again and keep trying until I get it. =)
In the mean time, I hope you enjoy this little consolation prize shot.
Japan Photo Charity Update
There is one week left for the Japan charity! We have raised just over $100 so far, so thank you for everyone who has contributed. I am donating 100% of the profits from the sales of any of my photos through the end of March to Doctors Without Borders to aid Japan
Quello che vedo non è mio. Mentre quello che sento in ciò che vedo è mio: la sensazione, il sentimento, l'emozione, l'armonia, il pathos, la ragione, il racconto, l'attimo. Dunque, ciò che fotografo non è mio, mentre è mio ciò che sento in quello che fotografo. È questo "sentire" che voglio comunicare agli altri, condividere, e sarebbe assurdo rinchiuderlo in qualche stupida rivendicazione di proprietà, materiale, commerciale o intellettuale che sia. Con le mie foto non sto vendendo, lucrando, guadagnando; sto parlando, per essere ascoltato e non per essere comprato. E il mio parlare non ha copyright. Buona visione. E buon ascolto
Questi sono alcuni degli scatti realizzati al mercato nei pressi del Castello medievale di Bran, comune della storia regione della Transilvania, dimora dimora, secondo la leggenda, del sanguinario conte Dracula, personaggio ispirato alla figura del principe Vlad III che nel XV secolo fece parlare di sè per la ferocia e la crudeltà del suo animo .
La fortezza tuttavia, non è il vero maniero appartenuto all'imperatore Vlad ma era utilizzato dal sovrano come residenza di caccia. Curioso è l'aver appreso che i rumeni sono venuti a conoscenza di Dracula e di tutta la leggenda ad esso annessa ai primi anni '90, dopo che l'ex dittatore comunista Ceacescu è stato destituito dei suoi poteri.
Sapere questo ha suscitato curiosità prima e riflessione poi: mi trovavo li, in mezzo alla popolazione locale portatrice di tradizioni in parte costruite e piegate al consumismo frenetico, recitando la mia parte da turista occidentale, inconsciamente privo del reale contatto con quel mondo di genti diverse . Ero in Transilvania per vedere il castello di un vampiro? Ero in Transilvania per poi raccontare di esserci stato?
Come il pezzo di una carovana di passanti ciechi e sordi che si autocompiace perchè viaggia e conosce, che prende tutto per oro colato, che non si pone un perchè, un percome. Ecco come mi son sentito. Volutamente cieco.
La Romania non è una leggenda. Non è un vampiro.
Sono persone.
Che non conoscevo e non conosco.
Class A zero-feedback hybrid integrated amplifier. Stereoplay "Absolute Spitzenklasse" rated. Tube preamplifier and two solid-state monaural power amps in the same chassis.
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… I sometimes run out of creative titles for these pictures.
Have you heard of the famous “Monk Debates”? They are held in Sera Monastery and are both a form of verbal sparing as well as a method for teaching Monks about Buddhism. The basic premise is that one monk asks a questions and the other has a limited amount of time to answer. But it is more lively that than. The monk asking the questions makes martial art-like gestures while the monk sitting on the floor tries to retort before he gets a figurative karate chop to the head. The questions are all relating to the teachings of Buddha and I am sure they are really tough to answer, because this little monk kept making a can-you-repeat-the-question face. It was fun to watch these otherwise, peaceful dudes, let out some steam with all their crazy gestures and yelling.
… I feel your pain little monk, I wouldn’t know the answer to half those questions …
110 Bell B206L-3 Long Ranger III (51148) Cyprus Air Force - Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
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I found my friend, Confucius, pondering the imponderable in the middle of the Cheonggyecheon (청 계천) stream that runs down the middle of Seoul in South Korea. I asked him if he would join me for a pint at the local pub and we proceeded to have a deep philosophical conversation ...
Confucius: Christian, respect yourself and others will respect you.
Christian: What is that supposed to mean, C? Who have you been talking to?
Confucius: What the superior man seeks is in himself; what the small man seeks is in others.
Christian: Who are you calling small? Look in the mirror, my friend, you are about an inch taller than a Care Bear.
Confucius: Faced with what is right, to leave it undone shows a lack of courage.
Christian: That sounds like a dare. See that angry-looking linebacker by the bar? I am going to challenge him to a thumb war.
Confucius: Christian, he who learns but does not think, is lost! He who thinks but does not learn is in great danger.
Christian: C, the only thing that is lost are my car keys and the only thing that is in great danger are those buffalo wings if you don't eat them.
Confucius: And remember, no matter where you go, there you are.
Christian: Dude, are you sure you are OK to drive?
Confucius: Be not ashamed of mistakes and thus make them crimes.
Christian: The only crime you should be ashamed of is not talking to that lady over at the next table who keeps giving you the "come-hither" look.
Confucius: Never impose on others what you would not choose for yourself.
Christian: I choose life!
Confucius: It does not matter how slowly you go so long as you do not stop.
Christian: ... in bed.
Confucius: You're an idiot. I am going back to the stream to continue pondering.
Christian: Naw baby, don't go to sleep angry. Come back.
Confucius is a little feisty, but we are totally BFFs.
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I felt a little bad posting this today because I deliberately isolated this little fella from his family for the sake of my selfish artistic vision. He was happily swimming in his circle of safety when all of the sudden he started noticing his wolf pack disappear one by one. At first he thought he must be imagining their absence, but then he actually witnessed his cousin being erased from existence by my Adobe Photoshop eraser. He looked up at me with these big googly-jellyfish-eyes and asked “Why?” I told him that they were still around in another layer but I wanted to focus on him because I thought he had the stuff to be one of the aquarium’s top models. He took some time to consider this and finally said, “You know, ever since Aunt Margaret told me I was the cutest jellyfish she had ever seen, I knew I was destined to be a jelly-model.” We quickly worked out a contract and he happily posed for this picture. He may only be a jelly, but he had some mad negotiating skills. Somehow I owe him an annual stipend of two tons of tuna and 90% of all profits from the sales of his photo …
La chiesa di Santa Maria degli Angeli di Lugano fu eretta nel 1499. Faceva parte di un complesso conventuale che venne espropriato e parzialmente demolito per ordine del Governo del Canton Ticino. Al suo interno son conservati affreschi rinascimentali di Bernardino Luini di Dumenza, tra i più ammirati della Svizzera.
All’interno dell’edificio vi è uno dei capolavori del pittore rinascimentale Bernardino Luini: il grandioso affresco della Passione e Crocifissione di Cristo, i Santi Rocco e Sebastiano, datati 1529 sono raffigurati sulle spalle dell'arco centrale, e sopra le arcate i profeti. La grande parete del tramezzo offre uno spettacolo avvincente: un affresco ricco di figure della Passione; in primo piano sono poste le tre croci, quella di Cristo e dei due ladroni; la croce di Cristo è circondata in alto da un gruppo di angeli; una folla di personaggi anima la scena: ai lati dei soldati a cavallo: a destra, ai piedi della croce, Santa Maria Maddalena afflitta e inginocchiata; a sinistra si vede San Giovanni Evangelista piangente e, di lato, il gruppo delle Pie donne sostengono la Vergine addolorata; sul lato opposto alcuni soldati romani si giocano ai dadi il mantello di Gesù. Entro un colonnato, si possono ammirare le scene dell'Incontro con San Tommaso apostolo e della Derisione; fra queste: il Cristo Portacroce e il Compianto sul Cristo morto. La preghiera nell'Orto degli ulivi, appare a sinistra del fondale paesaggistico, mentre, a destra si può distinguere l'Ascensione.
Crocifissione di Bernardino Luini
La composizione della scena, severamente simmetrica, e la disposizione delle figure in piani regolari sovrapposti, conferiscono all'opera l'aspetto di un maestoso arazzo. La ricchezza di particolari e di pathos corrisponde con la migliore tradizione tardogotica tuttavia illuminata da una nuova cultura pittorica leonardesca.
Sulla parete meridionale della navata sono pure frutto dell'arte del Luini, con palesi influssi leonardeschi, l'affresco dell'Ultima Cena, traslato qui dal vecchio refettorio e, sulla parete est nella prima cappella (qui ricollocata dalla lunetta del portale che immetteva nel cimitero), la delicata Madonna col Bambino e San Giovannino. Le pitture murali nei tre archi della parete divisoria, che vennero scoperte nel 1929, rivelano la mano di un altro artista. Sulla fronte dell'arco di destra: i Santi Lorenzo e Stefano (?) e medaglioni con profeti; sulla parete interna meridionale: dipinto ricco di figure, forse ritratti di personaggi realmente vissuti, che attorniano un bambino addormentato ed una fanciulla: interpretato come quadro votivo per la guarigione dalla peste e da altre malattie, compreso il mal d'amore.
Nell'arco mediano: due visioni paesaggistiche di Gerusalemme e del Calvario, che si rifanno ad antichi modelli. Nella prima cappella laterale dedicata all'Immacolata e fondata in onore del medico luganese Lodovico Camuzio: sull'arco, fregio d'ornamenti rinascimentali; nell'intradosso, medaglioni con profeti; sulle pareti laterali, quattro Scene della Vita della Vergine dipinte dal Maestro della cappella Camuzio, identificato da Alessandra Brambilla con il pittore Bartolomeo da Ponte Tresa delle quali si son salvate solo quelle della Fuga in Egitto e dell'Adorazione dei Magi, (sul modello di una silografia di Albrecht Dürer). Interessante la Madonna col Bambino che ricorda il gruppo analogo nella chiesa dell'Annunziata ai piedi del Santuario della Madonna del Sasso ad Orselina, dello stesso pittore. Nelle lunette, angeli musicanti; sulla volta, quattro grandi figure di angeli attorno ad un'illusionistica cupola, e medaglioni con putti nelle unghie delle vele.
Photos by Philipp Geist ©2013 / VG BildKunst
WAGNR RMX - Philipp Geist
WGNR rmx 2013 - PHILIPP GEIST
Light Installation / Video Mapping Installation
New City Hall Bayreuth from July 7th to August 28th On the occasion of Richard Wagner’s 200th birthday the Berlin artist Philipp Geist (1976) develops a comprehensive light and video mapping installation on the external walls of the New City Hall in Bayreuth over a period of 40 nights. The artist dismisses the use of screens and projects his artistic image and light projections directly onto the facade. The projection merges with the location and invites visitors to linger around the New City Hall. The art installation is going to be further developed and enhanced during the mentioned period.
The subject of the artistic installation is Richard Wagner and his works; images, words, quotes, and associations from his operas are artistically interpreted and incorporated into the installation. These terms and quotations from Wagner's operas are projected in a "carpet of words" and abstract verbal images on the facade. With his pictorial language the artist Philipp Geist develops his own artistic interpretation of Wagner's themes. Geist creates a dialog between the location, i.e. the New City Hall, the visitors, and the artistic works of Richard Wagner. In the process, the access to the "Wagner" topic is complex: On a first direct level, concepts and images of his major works will be displayed on the facade by means of the visual language of Philipp Geist. Visitors will be inspired by individual characters and scenes from the rich repertoire of fine arts, from paintings and illustrations, especially from the 19th century. However, the characters and scenes will be alienated and integrated into the abstract structures of Philipp Geist’s worlds of images. Known Wagner themes, such as fire, natural phenomenons, and symbols like the ring, the sword, and the storm as a mirror for the inner turmoil, can be re-experienced and emerge as quotes in the form of images. In this way the installation demonstrates connections in a non-narrative manner and thus admits a different modern and contemporary access to Wagner’s works.
In this manner the radiant face of the hero appears in order to darken and vanish in the next moment. The great void comes into sight through the building bathed in darkness symbolizing the fraud, the vile and the dark side existing in men.
A scenery appears for an instant to dissolve in a flash into a graphic pattern again. Pristine landscapes turn into pixels and remind the viewer of the actual romantic ideal.
The Rheingold shines and sparkles through a hinted blue surface of water to crumble to dust a moment later. Gray and white particles float over the facade; the material transience is almost palpable.
The symbolism of the colors is adopted from the works: white sails become black, and vice versa; for the contemporary video projection technology it is easy to decide instantly on fateful questions. The sails may also turn into colorful triangles and fly away over the facade as a graphic pattern. At the same time, it is the random and ludic character of the installation that lures out the tragic and borne nature of the Wagner pathos and allows viewers of any age to envision uncountable points of contact. The installation celebrates Wagner, but it also uncovers critical voices: polarizations like genius and kitsch clash together and cover the building as one, quotes as Wagner’s "Aber, aber, was sollen die Sentimentalitäten" [But for all that, what’s the point of all these sentimentalities] wander along the facade.
On another level the approaches followed by Wagner matter for Geist’s installation: Wagner crossed the boundaries between the different arts and contents. He allied image and sound, music and stories, symphony and legends. Also Geist’s installation is influenced by Crossover: the multimedia artist creates a synergetic work on the City Hall giving rise to images from texts and mixing the analog with the digital by painting with light and his computer
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
WAGNR RMX - Philipp Geist
Lichtinstallation / Video-Mapping-Installation
Bayreuth Neues Rathaus 20.07.2013 bis 28.08.2013
KONZEPT PHILIPP GEIST
Anlässlich des 200. Geburtstags von Richard Wagner entwickelt der Berliner Künstler Philipp Geist (1976) über den Zeitraum von 40 Abenden eine flächendeckende Licht- und Video-Mapping-Installation auf das Neue Rathaus in Bayreuth. Dabei verzichtet der Künstler auf den Einsatz von Leinwänden und projiziert seine künstlerischen Bild- und Lichtprojektionen direkt auf die Fassade. Die Projektion verschmilzt mit dem Ort und lädt Besucher zum Verweilen am Neuen Rathaus ein. Über den Zeitraum der Installation wird die künstlerische Installation weiterentwickelt und ergänzt. Inhalt der künstlerischen Installation ist Richard Wagner und sein Werk; Bilder, Begriffe, Zitate und Assoziationen aus seinen Opern werden künstlerisch interpretiert und in die Installation eingebaut. Dabei werden Begriffe und Zitate aus Wagners Opern als Wörterteppich und abstrakten Wort-Bilder auf die Fassade projiziert. Der Künstler Philipp Geist entwickelt mit seiner Bildsprache seine eigene künstlerische Interpretation der Wagner-Themen. Geist entwickelt einen Dialog zwischen dem Ort, also dem Neuen Rathaus, den Besuchern und dem künstlerischen Werk von Richard Wagner. Der Zugang zum Thema „Wagner“ ist dabei vielschichtig. Zum Einen auf einer ersten, direkten Ebene, werden Begriffe und Bilder seiner Hauptwerke in der Bildsprache von Philipp Geist auf der Fassade zu sehen sein. Einzelne Figuren und Szenen aus dem reichen Repertoire der Bildenden Kunst, aus Gemälden und Illustrationen v.a. aus dem 19. Jahrhundert werden dem Besucher begegnen. Sie werden jedoch verfremdet und in die abstrakten Strukturen von Philipp Geists Bilderwelten integriert. Bekannte Wagner-Themen wie das Feuer, Naturereignisse und Symbole wie der Ring, das Schwert, und den Sturm als Spiegel für die innere
Aufruhr werden neu erfahrbar gemacht und tauchen als Bildzitate in der Installation auf. Die Installation zeigt so in nicht narrativer Art Zusammenhänge auf und lässt somit einen anderen modernen und zeitgenössichen Zugang zu dem Werk Wagners zu. So erscheint das strahlende Gesicht des Helden, um sich im nächsten Moment zu verdüstern und zu verschwinden. Die große Leere erscheint durch das in Dunkel getauchte Gebäude und symbol- isiert den Betrug, das Niederträchtige und Düstere im Menschen. Eine Szenerie taucht auf, um gleich wieder in ein grafisches Muster zu zerfließen. Unberührte Landschaften werden zu Pixeln und führen dem Betrachter vor Augen, dass es sich um ein romantisches Ideal handelt. Das Rheingold strahlt und funkelt durch die blaue angedeutete Wasseroberfläche hindurch, um im nächsten Moment zu Staub zu zerfallen. Graue und weiße Partikel schweben über die Fassade, die materielle Vergänglichkeit wird geradezu greifbar. Die Symbolik der Farben wird aus dem Werk übernommen, weiße Segel werden zu schwarzen und umgekehrt, es ist der zeitgenössichen Videoprojektionstechnik ein Leichtes, ganze Schicksalsfragen zu entscheiden. Vielleicht werden die Segel auch zu bunten Dreiecken und fliegen als grafisches Muster über die Fassade davon. So ist auch das Zufällige und Spielerische Merkmal der Installation, die das Tragische und Getragene des Wagner-Pathos herausfordert und eine Vielzahl von Anknüpfungspunkten für das Publikum jeden Alters ermöglicht. Die Installation feiert Wagner, macht aber auch kritische Stimmen sichtbar: Polarisierungen wie „Genie“ und „Kitsch“ treffenen aufeinander und ziehen sich gemeinsam über das Gebäude, Zitate wie Wagners: „Aber, aber, was sollen die Sentimentalitäten“wandern die Fassade entlang. Auf einer weiteren Ebene werden die Ansätze, welche Wagner verfolgte, auch für Geists Installation von Bedeutung sein: Wagner überschritt die Grenzen der verschiedenen Künste und Inhalte. Er brachte Bild und Ton, Musik und Geschichten, Symphonie und Sagen zusammen. Auch die Installation von Geist ist geprägt vom Crossover: Der Multimedia-Künstler erschafft ein synergetisches Werk auf dem Rathaus, lässt aus Texten Bilder entstehen und mischt Analoges mit Digitalem, indem er mit Licht und dem Computer malt.
© 2013 Philipp Geist
Philipp Geist STUDIO | VIDEOGEIST
Studio Philipp Geist
Post Box (Postfach) 080311
10003 Berlin/ Germany
Leipziger Str. 6610117 Berlin Studio PHILIPP GEIST - Leipziger Str. 66 - 10117 Berlin
Romantic Snow, as a white chocolate gift from romantic nature to Tokyo's romantic people.
This gift is so ephemera: 物の哀れ。
702 Agusta AW139 (31332) Cyprus Air Force - Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
Aluna: Daniela Arcari
Foto: Denise Wichmann
Modelo: Janaina (JOY)
Cabelo/maquiagem: Johnny Left
Tratamento de imagem: Luly Salle
Trabalho desenvolvido para o editorial do livro Pathos Projeta-me (disciplina Desenvolvimento de Coleções II, a qual ministro), onde o aluno desfilará a sua coleção no dia 11 de dezembro na Feevale.
Danse et théâtre musical - Afrique du Sud.
Palais Royal (1er).
16, 17 et 18 juillet à 22h.
Tarif 1.
Robyn Orlin.
Walking next to our shoes...intoxicated by strawberries and cream, we.
enter continents without knocking....
Création 2009 ? Première à Paris.
Chorégraphie : Robyn Orlin.
avec : Nhlanhla Mahlangu, Dudu Yende, Vusumuzi Kunene, Thulani Zwane.
et la chorale PHUPHUMA LOVE MINUS.
Busani Majozi, Jabulani Mcunu, Mbongeleni Ngidi, Mbuyiseleni Myeza, Mlungiseleni Majozi, Mqapheleni.
Ngidi, Saziso Mvelase, Siyabonga Manyoni, S?yabonga Majozi.
Assistant à la chorégraphie : Nhlanhla Mahlangu.
Costumes : Birgit Neppl.
Lumières : Robyn Orlin/Denis Hutchinson.
Vidéo : Philippe Lainé.
Conseiller musical : Boris Vukafovic.
Coordination : Daniela Goeller.
Comment ça va en Afrique du Sud ? Réponse de l?iconoclaste Robyn Orlin : ?Nous ne sommes pas.
pauvres? Nous continuons à faire la fête et à exprimer nos idées.? Petite plongée musicale dans les.
rues de Johannesburg, entre élégance et dénuement..
En zoulou, ?marcher à côté de ses pompes?, ce n?est pas être perdu mais être pauvre. Au début du XXe siècle,.
les travailleurs immigrés à la ville étaient parqués dans des hôtels ? lorsqu?ils rentraient le soir, ils devaient se.
déchausser et marcher sur la pointe des pieds pour faire le moins de bruit possible. De là sont nés un verbe qui.
signifie ?piétiner soigneusement? et un style de chant a cappella teinté de gospel, l?isicathamiya. Un blues à la.
sud-africaine qui se pratique aujourd?hui dans les rues des grandes villes sous forme de concours d?éloquence.
et d?élégance. Cette tradition, Robyn Orlin la revisite avec son humour corrosif, et elle nous donne au passage,.
sans pathos ni concessions, quelques nouvelles de l?Afrique du Sud post-apartheid. Avec les dix chanteurs du.
choeur traditionnel Phuphuma Love Minus, une chanteuse lyrique, deux danseurs et un swanker ? très chic.
sapeur à la mode de Durban?.
© Laurent Paillier/ photosdedanse.com
818 Mil Mi-35P Hind-F/ Panther (023369) Cyprus Air Force -
Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
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My trip to the Longsheng region of China was very short, but it left an impression on me. The small mountain town was covered in rain and fog more often than not and it made for some treacherous hiking. There is something about the struggle to achieve that makes it all the more worth it. I spent two full days hiking up and down the various mountains and catching fleeting glimpses of the beautiful rice terraces as the wind swept the fog aside for moments at a time.
One morning, I was making my way up one of the steep, narrow paths when I looked up and saw a donkey blocking the way. He was only a foot from my face and he was just staring at me. I made to pass on the right and he swung his head over and fixed one huge eye on me. Ok, he is definitely staring me down. I tried to explain that is was common courtesy for the person coming down the hill to back up and let the other pass, but he did not understand English. Fine, you stubborn donkey, I will move out of your way. When I turned around to make my way back down, I saw this rice farmer plowing the field. I liked the way he was looking out into the distance and how the the rain drops falling off his jacket were catching the light. If it hadn’t been for that stubborn donkey, I would have missed this cool moment.
110 Bell B206L-3 Long Ranger III (51148) Cyprus Air Force - Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
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I recently posted a similar portrait of Yosemite Valley, so I thought I would also post the landscape shot. This was taken as the sun was rising and the sky began to light up with warm colors. I am still in awe of this incredible national park. I wish I could move my family into a little log cabin and spend the year fishing, taking pictures and enjoying the scenery, but I think my wife and daughter would not appreciate that very much.
The high point of the Brussels altarpieces falls in the second half of the 15th century. The Brussels altarpieces belong to the late Gothic style, but from the second half of the 15th century onwards they evolved into a separate style, with a lot of pathos and somptuous robes. Between 1490 and 1530, the Borreman family brought this style to a climax with elaborate details and exotic accents.
Royal Museums for Art and History, Brussels.
Website of the museum: www.kmkg-mrah.be/welcome-art-history-museum
The story about the Brabant alterpieces starts here: www.flickr.com/photos/38700906@N02/51849732193/in/datepos...
Jan II Borreman - Saint George Retable - Brabant - Brussels - 1493
Het hoogtepunt van de Brusselse retabels valt in de tweede helft van de 15de eeuw. De Brusselse retabels sluiten aan bij de laatgotiek, maar evolueerde vanaf de tweede helft van de 15 de eeuw naar een aparte stijl, met veel pathos en somptueuze gewaden. Tussen 1490 en 1530 voerde de familie Borreman deze stijl naar een hoogtepunt met uitgewerkte details en exotische accenten.
Koninklijke Musea voor Kunst en Geschiedenis, Brussel
Website van het museum: www.kmkg-mrah.be/nl/welkom-het-museum-kunst-geschiedenis
Het verhaal over de Brabantse retabels start hier: www.flickr.com/photos/38700906@N02/51849732193/in/datepos...
Jan II Borreman – Sint Jorisretabel – Brabant – Brussel – 1493
Le point culminant des retables bruxellois se situe dans la seconde moitié du XVe siècle. Les retables bruxellois appartiennent au style gothique tardif, mais à partir de la seconde moitié du 15e siècle, ils ont évolué vers un style distinct, avec beaucoup de pathos et de robes somptueuses. Entre 1490 et 1530, la famille Borreman a porté ce style à son apogée avec des détails élaborés et des accents exotiques.
Musées Royaux d’Art et d’Histoire, Bruxelles.
Site web du musée: www.kmkg-mrah.be/fr/bienvenue-au-mus%C3%A9e-art-histoire
L’histoire sur les retables brabançons, commençe ici: www.flickr.com/photos/38700906@N02/51849732193/in/datepos...
Jan II Borreman - Retable de Saint Georges - Brabant - Bruxelles - 1493
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This is one of the most interesting Cathedrals I have found in the Bay Area. It sits on top of a hill in San Francisco and overlooks the city. One of my favorite things about this Cathedral is it's ceiling. It is intricate and geometric and it seems to take on a fluid property as you move about the church. There are so many interesting things to see in here that I ended up spending almost an hour photographing unimpeded. It felt like a little safe-haven.
1921. Aquarel·la i tinta d’impressió transferida sobre paper, emmarcat amb tinta, muntat al revers d’una litografia de Paul Rohrbach. 37,8 x 30,5 cm. The Metropolitan Museum of Art, Nova York. 1984.315.28. Obra no exposada.
Imatge d’accés obert (Open Access, CC0), cortesia de The Metropolitan Museum of Art.
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The Shanghai skyline as seen from the top of the Pearl Tower. The resulting photographs were an interesting mistake of camera shake while zooming in on sections of the heavily smog filled city. They gave me a sense of a long forsaken metropolis so I named this series – Vestige.
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It was my second day in the mountain village of Dazhai and I had very quickly gotten used to randomly walking into houses with none of the usual pesky repercussions (such as being thrown in jail or chased away with a cleaver). This particular house was owned by the Tofu Man. When my guide, Bart, and I walked in we just made our way through the massive three-story wooden house into one of the smaller rooms where Tofu Man was already hard at work cooking the tofu.
He had been expecting us, and when we entered the steam-filled room, he beckoned us to sit down on the tiny wooden stools next to the little fire pit. I sat down and he looked at me with all seriousness and suddenly burst out a mad cackle before going back to work. The light from the fire danced on his face as he intently stirred the pot, looking like a mad scientist working on his Franken-fu. When he was done cooking, he took the pot into another room and poured the content into a large white mesh and hand-strained the water out of the tofu until it was a solid white mass. When it was all done, he produced a bowl out of one of his pockets, looked at it inquisitively and decided it was clean enough for this interloper and served me up some yummy tofu. Mmmm.