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Green Aventurine is known as the “Stone of Opportunity,” thought to be the luckiest of all crystals, especially in manifesting prosperity and wealth, or for increasing favor in competitions or games of chance. Its winning energy makes it a great ally for boosting one’s chances in any situation - a first date, tax audit, even landing a promotion.
It reinforces leadership qualities and decisiveness. Promotes compassion and empathy. It stabilises one’s state of mind, stimulates perception and enhances creativity.Aids in seeing alternatives and possibilities.Calms anger and irritation.Promotes feelings of well-being. It encourages regeneration of the heart. Wearing Aventurine also absorbs electromagnetic smog and guards against environmental pollution.
Aventurine benefits the thymus gland and nervous system. It balances blood pressure and stimulates the metabolism, lowering cholesterol. Aventurine has an anti-inflammatory effect and eases skin eruptions, allergies, migraines, and soothes the eyes. It heals lungs, sinuses, heart, muscular and urogenital systems.
Green Aventurine energetically stimulates the physical growth of premature infants, young children and teenagers. It increases overall vitality and enhances the intellectual development of children struggling with schoolwork and destructive hyperactivity. It assists adults with written work, typing and computer skills, and is beneficial to all in overcoming clumsiness.
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#Crystalhealing #Crystal #Chakras #ChakraHealing #FengShui #Healing #SelfHealing #energyHealing #Meditation
Philipp Geist 2011 - 2005 Light Installations/ Video Mapping
www.videogeist.com / www.philipp-geist.de
The Berlin artist Philipp Geist (1976) works internationally as a light and multi-media artist in the mediums of video, performance, photography and painting. In 2011, he has shown abstract photo works in a solo exhibition in the Museum für gegenstandsfreie Kunst in Otterndorf, including the video mapping show 'Construction|Deconstruction' on the museum facade and the installation “Liquid Time” on the historical Water Tower in Cuxhaven. Earlier in 2011, he showed his outdoor installation 'Time Drifts' during the 125th anniversary of the city of Vancouver, and in 2010, visitors of the Montreal Mutek festival for new media could experience 'Time Drifts'.In December 2009, Geist showed a 4D mapping installation on the facade of the royal throne in Bangkok on the occasion of king Bhumibol's 82nd birthday. The one-hour-show was seen by 2,5 million of visitors.At the Glow Festival 2009 in Eindhoven he showed the light installation 'Timing'. In 2008, during the 'Long Night of the Museums', he exhibited his video installation 'Time Fades' at the Kulturforum.In September 2007, he realized the video installation 'Time Lines' on the entire front of the Palazzo delle Espozioni in Rome. In 2006, he opened the Salon Noir within the context of the exhibition 'Melancholie, Genie und Wahnsinn' ('Melancholy, Genius and Insanity') in the Berlin Neue National Galerie. Together with the symphony orchestra OBC Barcelona and the Finnish sound ensemble Pan Sonic, Geist opened in 2004 the Sonar Festival in Barcelona. He has exhibited his art work and audio-visual performances internationally at various renowned festivals and art spaces. Geist´s projects are characterized by their complexity and the integration of the location, the sound and moving images. In his video mapping installations, he avoids using canvasses and turns diverse architectures in moving, painterly light sculptures, which challenge the onlookers' perception of two- and threedimensionality.
Watch this video on Vimeo. Video created by Philipp Geist | Videogeist.
I combined some of the most sacred of geometry. 'Metatron's Cube' and 'The Tree of Life' and then had the thought. What if it were an equation, but with symbols; like we use letters today (E+mc2)???
Well this is my illustration of that Idea...
The truth around "Parsely in the Morning" demonstrates the power of perception in photography and the danger of comparing yourself with bloggers and public figures. We're people, too - we just heavily edit!
voilà, je sais toujours pas trop quoi penser de la retouche de cette photo... enfin je poste quand même, on verra bien !
Original mesh dress with split-front bodice, tapered peplum skirt, zippered back closure.
7 sizes: Standard sizes XXS-L, plus special sizes M+ and Bx. Demos available in-world and on the marketplace.
...of other people and the intersubjective world is problematic only for adults. The child lives in a world which he unhesitatingly believes accessible to all around him. He has no awares of himself or of others as private subjectives, nor does he suspect that all of us, himself included, are limited to one certain point of view of the world. That is why he subjects neither his thoughts, in which he believes as they present themselves, to any sort of criticism. He has no knowledge of points of view. For him men are empty heads turned towards one single, self-evident world where everything takes place, even dreams, which are, he thinks, in his room, and even thinking, since it is not distinct from words.”
- Maurice Merleau-Ponty, Phenomenology of Perception -
www.goodreads.com/work/quotes/19727-ph-nom-nologie-de-la-...
Twitching what can you see from the window www.todaysposting.com/TPAssignment.php?TP=731
Digital print (Epson 7600), 39 x 61 cm image on 76 x 56 hand-coated (inkAID) rag paper, edition 25.
Triptych composed of:
(central part) enlarged scan of copper etching plate left to "marinate" with household "reagents" such as vinegar, salt, ammonia
(right part) scan of copper etching plate without corrosion
(left part) layers of photos of fields of plumed grass
For more detail on this work, please see
www.pfranzini.com/2007/prints/percep.php where each of the three parts can be clicked on separately to see an enlarged detail.
On April 27th, 2018, NATO Rapid Deployable Corps – Greece Commander, Lieutenant General Dimitrios BIKOS, welcomed in the Headquarters’ premises the USA Ambassador, H.E. Geoffrey R. PYATT, who paid an official visit accompanied by the USA Consul General in Thessaloniki, Mrs. Rebecca A. FONG.
After an official welcome ceremony and a Commander’s office call, a briefing was delivered to the distinguished visitor, regarding the structure, role and mission of NRDC-GR as well as the upcoming challenges on the way ahead to its transition to Joint Headquarters.
Lieutenant General Dimitrios BIKOS in his opening remarks said “It is a great honor today to have with us the US Ambassador in the HQ. We really appreciate his support not only to NRDC-GR but also to the Hellenic Army and the Armed Forces”. The General pointed in his remarks the great support of the Hellenic National Defense General Staff over the last years especially in terms of augmentation and funding.
U.S. Ambassador, H.E. Geoffrey R. PYATT, addressing the staff congratulated the NRDC-GR for assuming joint command for the first time, highlighting the geostrategic importance of northern Greece. He added, “We deeply value our partnership with Greece, a pillar of stability in the region, and continue to deepen our defense and security relationship.” He further stated, “when we look at this part of the world we see an enormous level of unpredictability and so it is even more important for us to work together bilaterally and through NATO to set a collective approach for this dynamic strategic environment.”
After the memorabilia exchange, the USA Ambassador singed the HQ’s Guest book which was followed by a commemorative family photo in front of NRDC-GR HQ. Such important visits is an opportunity for NRDC-GR to promote its success as well as Commander’s vision and intent thus enhancing perception about HQ’s key role in the Alliance.
Alberto Giacometti (1901-1966)
Amenophis, 1954 (Albertina - Sammlung Batliner)
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Boston Winter CityScape: Just Before Sundown
Winter 2007
Back Bay area
Boston, MA, USA
View of the Back Bay area skyline from across the Charles River, Memorial Drive near the Massachusetts Institute of Technology (MIT) in Cambridge.
Reality and Perception
There is a belief that photographs don't lie, i.e., they are a representation of reality. This perception is of the reasons why people accept images captured in photographs as real and true, and thus used quite often as evidence in court and as "truth" of our world in publications.
But, is this really true, or accurate?
Compare the image shown here for example with an almost exactly the same image Before Darkness Reigns -- taken about a minute before the image show here. In fact, without this added information, it would appear as if this image shown was taken before the other image, Before Darkness Reigns, rather than the other way around. In reality, this was exposed just slightly longer to reveal a more clear foreground (notice the most green on the dock not evident in the other image). It would appear too, as if the Charles River was quite tranquil. In fact, there was a slight breeze, more evident in the undulation of the Charles River in the image, Before Darkness Reigns. In fact, the waves would have been much higher had the shutter speed been faster, suggesting a stronger breeze and explaining the more significant windchill effect when the images were taken. [I was freezing cold, I was starting to have "cold burns" and pin pricks as my fingers were slowly getting numb.]
Here, there was no deliberate attempt to alter or falsify the image that is presented (see note below). But, in fact, even this statement is relative.
With digital photography and post-processing tools now available, it is so easy to alter what we present, even before we capture the image and to some, after we capture the image. In most of the shots shown in this series, for example, I used the "Vivid" rather than the "Normal" option because I thought after reviewing my initial images in previous shots, it was a more "realistic" representation of the actual colors of the images -- with the current setting of my camera. [I am literally taking my first baby steps into the world of digital photography, there are so many buttons in the Nikon D200 I have yet to learn, to capture the "perfect" picture.]
In movies, like Forrest Gump, for example, by juxtaposing images, it is now possible to make people of the past become part of the present. But, we know that movies are make believe, so that we still can distinguish sometimes what is real and what is not. However, it is now accepted in newsroom to use backdrop scenery in studios to give a semblance that the people are in natural setting. Here, it is still easy to discern that the setting is unreal.
With these advances in audio-visual tools and computer technology however, it is now possible electronically "to cut and paste" portions of images and audio -- to literally do anything you want.
Obviously, the genie is out of the bottle. We could not turn back the time, just a decade or so ago, when it would have been easy to detect a forgery or alteration shown in images and audio-visuals.
The impact on us however is more far-reaching, psychologically and sociologically. We tend to be more cynical with what we see and what we hear. How many of us believe the people we "talk to" in the internet? We become guarded and refuse to share the person that we are.
In the song, the "Sound of Silence", there is a phrase there: "People talking without speaking..." -- that is what we have become.
Cornelio
_________________
N.B.
The image was uncropped. Except for "unsharp image" and the automated resizing and "screen image optimization" to reduce the diskspace usage, no further image manipulation was done.
Series emulating the photographic style of Francesca Woodman to show how women are often perceived in society.
Consider again the things from another side, as you saw it now, because that means starting a new life.
St Lawrence's Church, Mereworth
The church was built in the mid-1740s by John Fane, the 7th Earl of Westmorland following his removal of the village's 12th century place of worship to allow for the enlargement of Mereworth Castle.
The Palladian-style stone structure has been described as "the outstanding 18th-century church in the county, in scale, ambition and architectural interest".[1] The architect is unknown, but prominent Palladian-era figures such as Henry Flitcroft, James Gibbs and Roger Morris have been suggested.
Many internal fixtures survive from the medieval church, including heraldic stained glass and a series of high-quality brass and stone memorials. Alterations were made several times in the 19th and 20th centuries, including repairs to wartime bomb damage, and restoration work undertaken in 2009. The church has been awarded Grade I listed status in view of its architectural and historical importance.
One of our most popular exhibits, after many many years running the Perception Tunnel finally had to retire.
3 photo manual blend using Adobe PSE6
Flash Set-up:
Canon Speedlite 580EXII @ 1/8 power, bare, 50mm zoom
1: 50cm above subject, just in front of centre
2: 50cm above/left/front of subject
3: 50cm above/right/front of subject
triggered by Yongnuo RF-602 Tx/Rx.
EF-S 60mm f/2.8 Macro USM @ f/18, 10s (x3)
For this project I wanted to look at the human form from an abstract view, taking away any previous experience or relation to the human body I wanted to create this new physical form relating more to extra terrestrials and the idea of life beyond earth.
What would they look like ?
how would they move ?
Enjoy
Perception is key. We may all be looking at the same exact thing but we're all seeing something different.
Nuestra Señora de Guadalupe en San Bernardo / Our Lady of Guadalupe at St. Bernard in NYC USA Diciembre 12 2021
Our Lady of Guadalupe appeared to Juan Diego December 9, 1531 at Tepeyac Hill in La Ciudad de México CDMX Mexico
Dia de la Virgen de Guadalupe celebrated on December 12th 2021
#OurLadyofGuadalupe #NuestraSeñoradeGuadalupe #VirginMary #CatholicChurch #México
***
Apple iPhone 13 Pro Max smartphone photo
***
Marian apparition legacy in Mexico City
The Virgin Mary intercepted Juan Diego, an indigenous Mexican peasant ( Chichimec which is the name that the Nahua peoples of Mexico generically applied to nomadic and semi-nomadic peoples who were established in present-day Bajio region of Mexico) and asked where he was going, In the words which have become the most famous phrase of the Guadalupe apparitions and are inscribed above the main entrance to the Basilica of Guadalupe, she asked "¿No estoy yo aquí que soy tu madre?" ("Am I not here, I who am your mother?"). Mary assured Juan Diego that Juan Bernardino had now recovered and told him to gather flowers from the summit of Tepeyac Hill, which was normally barren, especially in the cold of December. Juan Diego obeyed her instruction and he found Castilian roses, not native to Mexico, blooming there.
The Virgin arranged the flowers in Juan Diego's tilma, or cloak, and when Juan Diego opened his cloak later that day before Archbishop Zumárraga, the flowers fell to the floor, revealing on the fabric the image of the Virgin of Guadalupe.
***
The Church of Our Lady of Guadalupe was founded in 1902, and became the first parish in New York City to serve Hispanics.
Since there were many Spanish and Mexican residents in the area, this seemed to be the most promising location for a new parish. An available brownstone at 229 West 14th Street was purchased and transformed into an attractive chapel it was fittingly dedicated to Our lady of Guadalupe, patroness of the Spanish-speaking everywhere. This was the first altar, in New York that the Hispanics could truly call their own, on February 23, 1902.
Nuestra Señora de Guadalupe En San Bernardo
328 West 14th Street
New York, NY. 10014
USA
Sabado Diciembre 11
PROCESSION
a las 4:00 PM
desde St. Veronica
MISA E INICIO DE VIGILIA
as las 6:00 pm
Domingo Diciembre 12
serenata con Mariachi
a las 12 de la Medianoche
Misa con
Mariachi
A La 1:00 am
Misas de Ciclistas
Y Corredores
a kas 6:00 am y a las 7:00 am
***
Our Lady of Guadalupe (Spanish: Nuestra Señora de Guadalupe), also known as the Virgin of Guadalupe (Spanish: Virgen de Guadalupe), is a Catholic title of Mary, mother of Jesus associated with a series of five Marian apparitions in December 1531, and a venerated image on a cloak enshrined within the Basilica of Our Lady of Guadalupe in Mexico City. The basilica is the most-visited Catholic shrine in the world, and the world's third most-visited sacred site.
***
A Marian apparition is a reported supernatural appearance by Mary, the mother of Jesus, or a series of related such appearances over a period of time.
In order to be classified as a Marian apparition, the person or persons who claim to see Mary (the "seers") must claim that they see her visually located in their environment. If the person claims to hear Mary but not see her, this is known as an interior locution, not an apparition. Also excluded from the category of apparitions are dreams, visions experienced in the imagination, the claimed perception of Mary in ordinarily-explainable natural phenomena, and miracles associated with Marian artwork, such as weeping statues.
Believers consider such apparitions to be real and objective interventions of divine power, rather than subjective experiences generated by the perceiving individuals, even in cases where the apparition is reportedly seen by only some, not all, of the people present at the event's location.
Marian apparitions are considered expressions of Mary's ongoing motherly care for the church. The understood purpose of each apparition is to draw attention to some aspect of the Christian message, given the needs of a particular time and place. Apparitions are often accompanied by other alleged supernatural phenomena
***
#DiaDeLaVirgenDeGuadalupe
#NuestraSenoraDeGuadalupe
#VirginofGuadalupe
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#Mary
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#Marian
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#
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#JuanDiego
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acrylverf op karton
acrylic on board
Gemeentemuseum Den Haag, 2012
Als eerste vrouwelijke kunstenaar in de geschiedenis wint Bridget Riley (GB, 1931) de Sikkensprijs. Zij is de grand old lady van de Britse beeldende kunst en ontvangt deze prestigieuze kleurprijs voor de manier waarop zij haar werk verrijkt heeft met kleur. De zuiverheid, subtiliteit en precisie van haar kleurgebruik hebben geleid tot een sensationeel oeuvre, waaruit een nieuwe generatie kunstenaars inspiratie haalt. Tegelijkertijd heeft zij aangetoond in staat te zijn een breed publiek aan te spreken met haar abstracte werk.
Bridget Riley is een van de meest vooraanstaande beeldend kunstenaars van deze tijd. Zij studeerde aan Goldsmith College in Londen (1949-1952) en aan het Royal College of Art (1952-1955). Reeds in de jaren zestig ontving zij waardering voor haar zwart-wit schilderijen die de dynamische effecten onderzochten van optische fenomenen. In 1967 begon Riley te experimenteren met kleur en sinds die tijd onderzoekt ze perceptie door middel van kleur en vorm. Sinds de vroege jaren zestig wordt haar werk getoond in internationale solo- en groepstentoonstellingen, van The Responsive Eye in MoMA in 1965 tot de solotentoonstelling New Paintings and Related Work in de National Gallery in 2011. Bridget Riley heeft tal van onderscheidingen en prijzen ontvangen, onder meer de internationale prijs voor schilderkunst op de 1968 Biënnale van Venetië, de Kaiserring van de stad Goslar in 2009 en onlangs de 12e Rubensprijs van de stad Siegen.
Bridget Riley (GB, 1931) is the first female artist in the history of the Sikkens Prize to receive the award. This grand old lady of British art will receive this prestigious colour prize for the way in which she has enriched her work with colour. The purity, subtlety and precision of her use of colour have led to a sensational oeuvre from which a new generation of artists is drawing inspiration. At the same time she has demonstrated her ability to appeal to a broad public with her abstract work.
Bridget Riley is one of the most prominent artists of today. She studied at Goldsmith College London (1949-1952) and the Royal College of Art (1952-1955). She already made a name for herself in the 1960s with her black and white paintings that investigated the dynamic effects of optical phenomena. Riley began to experiment with colour in 1967, and since then she has been investigating perception through colour and form. Her work has been shown in international solo and group exhibitions since the early 1960s, from The Responsive Eye in the MoMA in 1965 to the solo exhibition New Paintings and Related Work in the National Gallery in 2011. Bridget Riley has received numerous distinctions and prizes, including the international prize for painting at the 1968 Venice Biennale, the Kaiserring of the city of Goslar in 2009, and recently the 12th Rubens Prize from the city of Siegen.