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Coraggio nuovo.
"...Ma io resisterò; con mani nude affronterò i soldati"
(Andromaca)
(another inside)
©All rights reserved.
Andreas Templin "HELL IS COMING / WORLD ENDS TODAY", a situationist play for the inner city of Madrid bit.ly/179nEdV Madrid Abierto 2008
"The Apprentice…motion Style" - Senior Motion Design Student at Ex'pression College for Digital Arts: Lydia Baillergeau, Lauren Patterson, Andrew Bauer, Charles Lee // photo credit: John Maio Photography
Taken through thick glass and in the dark, so far from ideal conditions, but I just had to record that resigned expression and those emotive eyes!
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It was my first day in Lhasa, Tibet and I was getting used to the altitude. My mind was a bit hazy as I walked through the Muslim quarter and made my way to the main square. I spent the day floating around and after the sun had set, I started to make my way back to my hotel when I looked up and saw this scene. It was a perfect Bohemian moment and I wondered what they must have been discussing in that interesting cafe. Was it politics, art or were they sharing philosophies on life? Either way, it was a perfect moment from my perspective.
Johann Elias Grimmel (1703-1759). "Jonah ejected by the whale" (1739).
The restoration of this painting was taken by the Lions Club Memmingen. Stemming from a Memming merchant family, had the born on October 28, 1703 Johann Elias Grimmel himself trained as a painter with Johann Friedrich Sichelbein and after his death with Jerome Hau in Kempten. During his twelve-year period of study at the Imperial Academy of Arts in Vienna (1726-38), in 1734 the Second Price falls to him in the held annually painting competition. After a brief interlude in Memmingen, he was appointed in 1741 as a teacher of drawing and painting at the Academy of Sciences in St. Petersburg, where he died on January 12, 1759 on "apoplexy". The workshop tradition of Sichelbein connecting with the pathos of Viennese Baroque, Grimmel in his panel paintings for St. Martin achieves considerable painterly quality.
Johann Elias Grimmel (1703 - 1759). "Jonas vom Walfisch ausgeworfen" (1739).
Die Restauration dieses Gemäldes wurde vom Lions Club Memmingen übernommen. Aus einer Memminger Handelsfamilie stammend, lässt sich der am 28. Oktober 1703 geborene Johann Elias Grimmel bei Johann Friedrich Sichelbein und nach dessen Tod bei Hieronymus Hau in Kempten zum Maler ausbilden. Während seiner zwölfjährigen Studienzeit an der Kaiserlichen Kunstakademie in Wien (1726-38) fällt ihm 1734 der II. Preis im alljährlich stattfindenden Malwettbewerb zu. Nach einem kurzen Intermezzo in Memmingen wird er 1741 als Lehrer für Zeichnen und Malen an die Akademie der Wissenschaften in St. Petersburg berufen, wo er am 12. Januar 1759 am "Schlagfluss" stirbt. Die Werkstatttradition Sichelbeins mit dem Pathos des Wiener Barock verbindend, gelangt Grimmel in seinen Tafelbildern für St. Martin zu beachtlicher malerischer Qualität.
Chevaliers de la Croix avec l'Étoile Rouge, Caballeros de la Cruz con la Estrella Roja
Kreuzherrenkloster Memmingen
Church building with its distinctive tower from the Hallhof (depository)
Detail of richly with Wessobrunner stucco decorated church ceiling
Church ceiling frescoes
The Kreuzherrenkloster (monastery of the Knights of the Cross with the red stars) Memmingen is a former monastery of the Order of the Holy Ghost in Memmingen in Bavaria in the diocese of Augsburg.
History
The beginnings of the Holy Spirit consecrated monastery date back to the 13th century. Counterfeit refer to the year 1010, which was before the founding of the city of Memmingen in 1160. It was probably in 1210 by the Staufian Empire bailiff in Upper Swabia, count Heinrich von Neuffen-Weißenhorn and his wife Hedwig, donated. This ones established at the eastern edge of the central city in front of the gate Kalchtor a hospital, equipped it with landed property and handed it over to the Hospitaller Order of Canons Regular of the Holy Spirit in Rome, whose main activity focus was the care of the sick and the homeless and the admission of pregnant women and foundlings. After a devastating fire in 1223, the monastery and the hospital had to be rebuilt, in this context, it is also for the first time mentioned in the municipal document.
Since 1353, the City Council took part in the management of the hospital, in 1365 the hospital complex was divided into a lower and an upper Hospital. To the now directly managed by the Imperial City Lower Hospital belonged the Poor room on the ground floor and several adjoining rooms, to the remaining with the monastery Upper Hospital belonged furthermore the Church of St. Peter and Paul and the upper floors of the monastery and convent building. In the room for needy persons concentrated the imperial city charitable organisations. Together with the Antonite monastery the Crusaders shaped the intellectual and cultural life of the imperial city.
In a fire in 1477, again large parts of the complex were destroyed. The hospital church was rebuilt in 1480-1484 as a Gothic hall church and the whole complex obtained the form of a towards to the south lain Hallhof open three-winged complex. 1484 was southwards adjacent to the church building a tower built. In the years 1709-1711 the church was remodelled in Baroque style and fitted out with Wessobrunner stuck by Matthias Stiller and his son Michael Stiller (plasterer). The ceiling paintings stem from Johann Friedrich Sichelbein.
Shortly after the mediatization of the Free Imperial City and the transfer to the Electorate of Bavaria in 1802, the monastery was secularized. All expendable and movable properties of the monastery in 1803 were auctioned, the last Canons 1804 left the house. Still until the year 1806, the church was used as a parish church, after which it served as a timber warehouse. The room for the needy until 1816 served for the accommodation of prebendaries, in the monastery premises Bavarian officials were housed. Although the church and the steeple first in favor of a new toll and customs building should be demolished, but they would do without it from 1819 on since other areas were vacated and the demand for a new building was not given. Therefore, from 1820 the room for the needy served as storage space. The church was rebuilt into a goods hall, in the northern and southern side wall each a large gate entrance was broken, orchestra and pulpit were demolished. The stucco in the lower area was knocked off and vault and basements were demolished in order to obtain a ground-level access. In the nave itself a false floor was inserted and a wooden crane mounted. To the north, the entire complex was provided with a classicist facade.
Due to the foundation of the German Reich, the building as depository and Customs Office was increasingly without function, which is why the City Council in 1920 requested to expose in the former vestry works of Memminger painters. After a water pipe breakage was discussed in 1932 to relocate the municipal art collection to the unused nave, for cost reasons but this solution was discarded, and only from 1947 on the upper part of the nave was used as an exhibition and concert hall. The ground floor was combined with the room for the needy persons and from 1960 as a hospital arch as an open walkway used. In the convent building various municipal facilities were housed: the sing and music school, the Stadtjugendring (city youth council) and psycho-social support center.
The as a whole neglected complex from 1998 to 2003 was according to original plans elaborately rehabilitated and restored. In the process, inter alia, the intermediate floor in the nave was removed and restored the room for needy people of the hospital. Today the church hall serves again as an exhibition and event space, the Poor facility as a café.
Buildings
Steeple
The compex consisted of a hospital with attachments for economical use, as well as an east adjacent church and a convent building. The complex burned down several times, as part of the reconstruction work it was repeatedly extended and modified.
Poor facility
The oldest still surviving part is the Poor facility. Its two-aisled, four-yoked and vaulted by a ribbed vault hall dates from the early 15th century. By hospital master Elias Bruggberger extensive construction were induced from 1675 to 1680, at the same time, he Poor facility was expanded to additional floors in which two large halls were housed. The room on the second floor was provided in 1691 with a wooden coffered ceiling, which is largely still intact.
Monastery church
→ Main article: St. Peter and Paul (Memmingen)
1477 the abbey church of St. Peter and Paul in a fire was destroyed and rebuilt in the following years as equally two-aisled and four-yoked late Gothic hall church. As is common in many hospitals, it forms an extension of the Poor facility. After hospital master Sigismund Teufel it was from 1709 remodelled in Baroque style and the ceiling vaults probably by Matthias Stiller with Wessobrunner stucco coated. In each field of bays there are ceiling paintings, probably stemming from Memminger painter Johann Friedrich Sichelbein. Supported is the around 14 meter high vault of three stucco marble columns.
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Heeey, Stanford. I was visiting and I noticed that your tower is not as tall as Berkeley’s. That’s cool …
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About This Collection
This collection of photographs was the result of a happy mistake while walking through the Hakone Garden’s bamboo forest in Saratoga. I was messing around with my camera on manual mode, trying different angles and motions when I noticed the resulting images resembled impressionist paintings. I liked how the bamboo forest was implied though color, light and movement, so I sat there for a while and tried different things until I got the look I wanted. All of these photographs are single shots with very minor adjustments in Photoshop.
I will put up one piece every Monday, Thursday and Saturday for the next three weeks.
Airship 27 Productions is thrilled to present Sgt.Janus – Spirit Breaker by Jim Beard. Part detective, part occultist, Janus is himself a man of mystery whose own past is shrouded and the motivations behind his calling kept hidden.
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Sgt. Janus•Spirit-Breaker Vol. 1
Within this volume you will find eight tales as narrated by Sgt. Janus' clients, each with his or her own perspective on this uncanny hero and his amazing career. Filled with suspense, terror and agonizing pathos, each a solid mesmerizing journey into the unknown world beyond.
Featuring a cover by artist Jeff Herndon and eight stunning illustrations by Eric Johns, Sgt.Janus – Spirit Breaker is the first in a new series by one of today’s leading stars in New Pulp Fiction.
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I am pretty sure this is where I would hide me lucky charms if I ever managed to get them back from that ill mannered leprechaun. It was supposed to be a friendly game of "who can throw the boulder farther", but he cheated and ran off with me lucky charms. Who knew he had magical powers?! I hear he even got his own cereal ... pssh! Whatever, I like Coco Pebbles better anyway.
He was a French Baroque painter, sculptor, architect and engineer. His sculpture expressed emotion, pathos and drama.
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Every so often you come across a place that sends you back in time. I was walking around San Francisco a few years ago, looking for a place to live and came across Grace Cathedral at the top of a hill overlooking the city. It was such a juxtaposition of thriving urban culture and medieval stone architecture that my mind did one of those upside down triple axle somersaults and landed in a different era. I was transported to the times when Knights Templar scorched the Earth and damsels were still in distress. I am sure someone is going to say that Grace Cathedral is actually a fine example of blagh, blagh architecture, but I don't care. To me it is the place where some religious belief or another was securely fortified and defended against a quickly diminishing pagan world. Too bad the endless pursuit of religious propagation had such a heavy hand.
I took this picture recently and wanted to process it in a way that would accentuate the dark times it must have lived in. The darkened angry sky surrounding the cold stone fortification almost looks like an admonishment of the ideals safeguarded inside. But rather than shrinking back, the structure stands tall and menacingly imposing in defiance. I like how the labyrinth in the foreground seems to represent the search for spiritual truth. Coming back to the present time, it is awesome how Grace Cathedral in actuality represents an open-minded search for God and the inclusion of all faiths. Visiting this gorgeous cathedral leaves you with the comforting feeling that we might be on the right track after all.
There is a pathos about any object that once had employment and utility, but has fallen into disuse. Of what industrial process was this contrivance once a part? I have no idea, but it seems to bear a sort of family resemblance to the mangles one used to see in old-fashioned flagstoned kitchens when I was a boy ...next to the sink, with its spluttering brass cold water tap. Coal mining and pottery had been the two mainstays of Swadlincote, Derbyshire, where the photograph was taken on Saturday 3rd January 1970.
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Not too long ago, I was in Carmel with my family and I took the opportunity to visit Point Lobos State Reserve. I wanted to catch a sunset, but the park closes well before the sun goes down and the thought of being taken unawares by a mountain lion got me nervous, so I just spent a few hours climbing over this and that to look for interesting things to photograph. I found this little rock formation right before I left for the day. It seemed to me like some sort of stoic monolith looking out into the sea, as if waiting for something that may never arrive.