April 26, 2022 - Our second stop today was The Peace Palace. "The Peace Palace in The Hague (Netherlands) houses the Permanent Court of Arbitration, the United Nations International Court of Justice and The Hague Academy of International Law. These institutions are supported by the Library of the Peace Palace, one of the most prestigious libraries in its field. The Carnegie Foundation is the owner and manager of the Peace Palace.

For the design of the Peace Palace the jury launched an international architecture competition. The competition enjoyed enormous interest: a choice had to be made out of 216 contributions sent in from all over the world. From the large variety of drawings the jury selected 6 prize winners and awarded first prize to the design entered by the French architect Louis Cordonnier. The choice for Cordonnier’s design, which was inspired by the architecture of earlier centuries, led to a fierce architectural debate. Many had hoped for a building that also in its appearance would inaugurate a new age.

Cordonnier’s original design was quite exuberant, and impossible to realize within the 1.5 million dollars budget provided by Carnegie for the purpose. The French architect was asked to adapt and simplify his design, resulting in the original number of four towers being brought down to only two. A final design was made in collaboration with the established architect Johan van der Steur, who was also appointed as executive architect for the construction of the palace. In six years’ time, an impressive building in the style of the neo-renaissance arose on the grounds of the former estate Zorgvliet, where former Dutch queen Anna Pavlovna had once resided. The great and small towers mark the two courtrooms, the most important spaces in the palace."

Previous descriptions from the following website: www.vredespaleis.nl/?lang=en

This is my UK permanent resident visa, which is the visa that allows me to be in the UK. It's current and has no expiration date so I've tried to spoil it so it would be harder for someone to copy.

Note that the visa does not have my name or even my photograph on it. There are quite legitimate criticisms of the UK immigration system, namely that it is ridiculously easy to forge visas and that they're insecure.

I disagree that it's easy to forge them, but it would be easy for someone to remove the visa from my passport and put it in their own. Since there's no name or photo, how would immigration know that the visa was stolen? I think the Home Office needs to get their act together regarding visas; they're just not secure enough.

Permanently Closed

2230 7th Avenue, Seattle

The history of the Austrian Museum of Applied Art/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.

1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.

1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.

1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.

1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director.

1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag concludes his directorate.

1932 / Richard Ernst is new director.

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the directorate of Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.

1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director.

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria

1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.

2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.

2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.

2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /

Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.

2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.

2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein

2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.

2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.

www.mak.at/das_mak/geschichte

Rafael Mariano Grossi, IAEA Director General met with Prof. James E. Mdoe, Deputy Permanent Secretary and Head of Delegation, during a bilateral meeting at the IAEA 66th General Conference held at the Agency headquarters in Vienna, Austria. 28 September 2022.

Photo Credit: Dean Calma / IAEA

IAEA:

Rafael Mariano Grossi, IAEA Director-General

Jacek Bylica, IAEA Chief of Cabinet

Diego Candano Laris, Senior Advisor to the Director-General

Toshio Kaneko, Special Assistant to the Director-General for Nuclear Energy, Nuclear Applications and Technical Cooperation

Sayed Ashraf, Senior Scientific Adviser to the Director-General

part of the permanent exhibition of the Jewish Museum Berlin - "It was as simple as that" is one of my favorite rooms in this fascinating, modern and interactive museum. I´ve been there in August for the second time and I´ll go there the next time when I´m in Berlin. For more information click www.juedisches-museum-berlin.de/site/EN/01-Exhibitions/01...

Danza permanente - DD Dorvilliers

Nicolas de Rivière, Permanent Representative of France to the United Nations, briefs reporters ahead of the Security Council meeting on the maintenance of peace and security of Ukraine.

UN Photo/Mark Garten

5 May 2022

New York, United States of America

Photo # UN7932737

HISTORY UPDATED - Permanently retired.

Replacing an earlier scanned photo with a better version 05-Dec-21 (DeNoise AI).

'go again' titles, left side ('lets go' titles on the right side).

Note: Go Fly Ltd was a 'low-cost' airline founded by British Airways in 1998 to compete with other low-cost airlines such as easyJet. It was based at London-Stansted. The company was sold by BA in a Management 'Buy Out' in 2001. It didn't help and Go Air was bought by it's rival, easyJet, in Dec-02 and was completely merged into easyJet's operations by 2005.

This aircraft was delivered to the GPA Group Ltd and leased to Philippine Airlines as EI-BZK in May-90. ownership was transferred to GECAS Technical Services in Jul-97. The aircraft was returned to GECAS in Jun-98 and leased to Go Fly (UK) as G-IGOA the following month.

Go Fly was merged into the easyJet Airline Company in Dec-02 and the aircraft was returned to the lessor in Jun-04 and stored. It was leased to AirAsia (Malaysia) as 9M-AAY in Sep-04.

It was returned to the lessor in May-08 and sold on the same day to Nordic Aviation Contractor A/S as OY-JTD and leased to JetTime A/S a few days later. It was fitted with blended winglets in Nov-08.

The aircraft was wet-leased to Arkefly (TUI Airlines Netherlands) in Jul-15 for two months, returning to JetTime at the end of Aug-15. It was returned to the lessor in Oct-17 and stored at Lasham, UK.

In Dec-17 it was sold to TAG Aviation (Stansted) Ltd as G-CKTH and remained stored at Lasham until it was sold to Maleth Aero (Malta) as 9H-ZAK in May-18.

It was fitted with a CIP interior and painted at Bournemouth, UK. The aircraft entered service in Jul-18 and operated on behalf of Orix Jet (UK). It was stored at Stansted, UK in Mar-20 due to the COVID-19 Pandemic.

It was returned to Vallair Ltd as N539CC in Oct-21 after 31 years in service and donated to the Nanchang Hangkong University, China in Nov-21 for use as a ground trainer. Updated 05-Dec-21.

Veranstaltung mit Izabela Uhl – Professional Beauty in Hamburg Wandsbek.

Izabela Uhl – Professional Beauty

Permanent Make-Up auf höchstem Niveau mit Produkten des vielfach ausgezeichneten Unternehmen RISO. Für Allergiker und hypersensible Hauttypen. Die ersten Pigmentierfarben, die auch Ihr Arzt empfehlen würde. Kosmetische und medizinische Fußpflege mit Wellnessfaktor und hochwertiger Nails-Art und Nageldekorationen in Hamburg Wandsbek.

Izabela Uhl – Professional Beauty

Walddörferstrasse 92

22041 Hamburg

Telefon: 040 60 53 48 01

Mobil: 0173 2 33 08 11

E-Mail: beauty@izabela-uhl.de

Internet: www.izabela-uhl.de

© 2011 Thomas Ulrich / LoboStudio Hamburg

zur freien Verwendung im Rahmen der Berichterstattung über das Studio Izabela Uhl – Professional Beauty und der Kooperation zwischen diesem und der BEWEI Bodyform-Lounge. Bitte Autorenvermerk und Belegexemplar!!!

Con motivo del 75 aniversario del Museo, se organizó una exposición de carácter permanente en varias salas de la planta baja del edificio en torno a Benigno de la Vega Inclán, fundador del Museo. En esta muestra se pasaba revista a diferentes aspectos de la vida del marqués, como su formación académica y militar, sus gustos como coleccionista o su labor en la defensa del patrimonio histórico español.

Stirling Falls is one of permanent waterfalls on the Milford Sound. This one drops 155m below a hanging valley between mountains The Elephant and The Lion.

We left Queenstown to make our way to Milford Sounds. Stopped in Te Anau for morning tea and to buy some lunch for our day trip. We we will be staying at Te Anau for the night.

Arrived at Milford Sounds just in time for our boat trip on the 'Milford Sound Nature Cruise" on the 'Milford Marner': For More Info: www.realjourneys.co.nz/en/experiences/cruises/milford-sou...

Day five of our fast trip around the South Island with my friends from the UK. November 5, 2013 New Zealand.

Milford Sound (Māori: Piopiotahi) is a fjord in the south west of New Zealand's South Island, within Fiordland National Park, Piopiotahi (Milford Sound) Marine Reserve, and the Te Wahipounamu World Heritage site. It has been judged the world's top travel destination in an international survey (the 2008 Travelers' Choice Destinations Awards by TripAdvisor) and is acclaimed as New Zealand's most famous tourist destination. Rudyard Kipling had previously called it the eighth Wonder of the World.

Milford Sound is named after Milford Haven in Wales, while the Cleddau River which flows into the sound is also named for its Welsh namesake. The Māori named the sound Piopiotahi after the thrush-like piopio bird, now extinct. Piopiotahi means "a single piopio", harking back to the legend of Māui trying to win immortality for mankind - when Maui died in the attempt, a piopio was said to have flown here in mourning.

Milford Sound runs 15 kilometres inland from the Tasman Sea at Dale Point (also named after a location close to Milford Haven in Wales) - the mouth of the fiord - and is surrounded by sheer rock faces that rise 1,200 metres (3,900 ft) or more on either side. Among the peaks are The Elephant at 1,517 metres (4,977 ft), said to resemble an elephant's head, and The Lion, 1,302 metres (4,272 ft), in the shape of a crouching lion.

Milford Sound sports two permanent waterfalls all year round, Lady Bowen Falls and Stirling Falls. After heavy rain however, many hundreds of temporary waterfalls can be seen running down the steep sided rock faces that line the fiord. They are fed by rain water drenched moss and will last a few days at most once the rain stops.

With a mean annual rainfall of 6,813 mm (268 in) on 182 days a year, a high level even for the West Coast, Milford Sound is known as the wettest inhabited place in New Zealand and one of the wettest in the world. Rainfall can reach 250 mm (10 in) during a span of 24 hours. The rainfall creates dozens of temporary waterfalls (as well as a number of major, more permanent ones) cascading down the cliff faces, some reaching a thousand metres in length. Smaller falls from such heights may never reach the bottom of the sound, drifting away in the wind.

Accumulated rainwater can, at times, cause portions of the rain forest to lose their grip on the sheer cliff faces, resulting in tree avalanches into the sound. The regrowth of the rain forest after these avalanches can be seen in several locations along the sound.

Taken From and for More Info: en.wikipedia.org/wiki/Milford_Sound

Any one interested in following our trip around the South Island.. here is a map: <a href="http://www.wises.co.nz/l/lewis+pass/#c/-41.801671/172.516537/8/"

Esna I, Ägypten/Egypt 2011, C-Print, DiaSec Face

Collection

The foundation of the collection consists of 205 mostly French and Dutch paintings from the 17th and 18th centuries which Margravine Karoline Luise acquired 1759-1776. From this collection originate significant works, such as The portrait of a young man by Frans van Mieris the Elder, The winter landscape with lime kiln of Nicolaes Pieterszoon Berchem, The Lacemaker by Gerard Dou, the Still Life with hunting equipment and dead partridge of Willem van Aelst, The Peace in the Chicken yard by Melchior de Hondecoeter as well as a self-portrait by Rembrandt van Rijn. In addition, four still lifes of Jean Siméon Chardin and two pastoral scenes by François Boucher, having been commissioned directly by the Marchioness from artists.

A first significant expansion the museum received in 1858 by the collection of canon Johann Baptist von Hirscher (1788-1865) with works of religious art of the 15th and 16th centuries. This group includes works such as two tablets of the Sterzinger altar and the wing fragment The sacramental blessing of Bartholomew Zeitblom. From 1899 to 1920, the native of Baden painter Hans Thoma held the position of Director of the Kunsthalle. He acquired old masterly paintings as the tauberbischofsheim altarpiece by Matthias Grünewald and drove the expansion of the collection with art of the 19th century forward. Only his successors expanded the holdings of the Art Gallery with works of Impressionism and the following generations of artists.

The permanent exhibition in the main building includes approximately 800 paintings and sculptures. Among the outstanding works of art of the Department German painters of the late Gothic and Renaissance are the Christ as Man of Sorrows by Albrecht Dürer, the Carrying of the Cross and the Crucifixion by Matthias Grünewald, Maria with the Child by Lucas Cranach the Elder, the portrait of Sebastian Brant by Hans Burgkmair the elder and The Nativity of Hans Baldung. Whose Margrave panel due to property disputes in 2006 made it in the headlines and also led to political conflicts. One of the biggest buying successes which a German museum in the postwar period was able to land concerns the successive acquisition of six of the seven known pieces of a Passion altar in 1450 - the notname of the artist after this work "Master of the Karlsruhe Passion" - a seventh piece is located in German public ownership (Wallraf-Richartz Museum, Cologne).

In the department of Dutch and Flemish paintings of the 16th century can be found, in addition to the aforementioned works, the portrait of the Marchesa Veronica Spinola Doria by Peter Paul Rubens, Moses strikes the rock and water flows for the thirsty people of Israel of Jacob Jordaens, the still life with kitchen tools and foods of Frans Snyders, the village festival of David Teniers the younger, the still life with lemon, oranges and filled clay pot by Willem Kalf, a Young couple having breakfast by Gabriel Metsu, in the bedroom of Pieter de Hooch, the great group of trees at the waterfront of Jacob Izaaksoon van Ruisdael, a river landscape with a milkmaid of Aelbert Jacobsz. Cuyp as well as a trompe-l'œil still life of Samuel van Hoogstraten.

Further examples of French paintings of the 17th and 18th centuries are, the adoration of the golden calf of Claude Lorrain, preparations for dance class of the Le Nain brothers, the portrait of Marshal Charles-Auguste de Matignon by Hyacinthe Rigaud, the portrait of a young nobleman in hunting costume of Nicolas de Largillière, The storm of Claude Joseph Vernet and The minuet of Nicolas Lancret. From the 19th century can be found with Rocky wooded valley at Civita Castellana by Gustave Courbet, The Lamentation of Eugène Delacroix, the children portrait Le petit Lange of Édouard Manet, the portrait of Madame Jeantaud by Edgar Degas, the landscape June morning near Pontoise by Camille Pissarro, homes in Le Pouldu Paul Gauguin and views to the sea at L'Estaque by Paul Cézanne further works of French artists at Kunsthalle.

One focus of the collection is the German painting and sculpture of the 19th century. From Joseph Anton Koch, the Kunsthalle possesses a Heroic landscape with rainbow, from Georg Friedrich Kersting the painting The painter Gerhard Kügelgen in his studio, from Caspar David Friedrich the landscape rocky reef on the sea beach and from Karl Blechen view to the Monastery of Santa Scolastica. Other important works of this department are the disruption of Adolph Menzel as well as the young self-portrait, the portrait Nanna Risi and The Banquet of Plato of Anselm Feuerbach.

For the presentation of the complex of oeuvres by Hans Thoma, a whole wing in 1909 at the Kunsthalle was installed. Main oeuvres of the arts are, for example, the genre picture The siblings as well as, created on behalf of the grand-ducal family, Thoma Chapel with its religious themes.

Of the German contemporaries of Hans Thoma, Max Liebermann on the beach of Noordwijk and Lovis Corinth with a portrait of his wife in the museum are represented. Furthermore the Kunsthalle owns works by Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner and Max Klinger.

In the building of the adjacent Orangerie works of the collection and new acquisitions from the years after 1952 can be seen. In two integrated graphics cabinets the Kupferstichkabinett (gallery of prints) gives insight into its inventory of contemporary art on paper. From the period after 1945, the works Arabs with footprints by Jean Dubuffet, Sponge Relief RE 48; Sol. 1960 by Yves Klein, Honoring the square: Yellow center of Josef Albers, the cityscape F by Gerhard Richter and the Fixe idea by Georg Baselitz in the Kunsthalle. The collection of classical modernism wandered into the main building. Examples of paintings from the period to 1945 are The Eiffel Tower by Robert Delaunay, the Improvisation 13 by Wassily Kandinsky, Deers in the Forest II by Franz Marc, People at the Blue lake of August Macke, the self-portrait The painter of Ernst Ludwig Kirchner, the Merzpicture 21b by Kurt Schwitters, the forest of Max Ernst, Tower gate II by Lyonel Feininger, the Seven Deadly Sins of Otto Dix and the removal of the Sphinxes by Max Beckmann. In addition, the museum regularly shows special exhibitions.

Sammlung

Den Grundstock der Sammlung bilden 205 meist französische und niederländische Gemälde des 17. und 18. Jahrhunderts, welche Markgräfin Karoline Luise zwischen 1759 und 1776 erwarb. Aus dieser Sammlung stammen bedeutende Arbeiten, wie das Bildnis eines jungen Mannes von Frans van Mieris der Ältere, die Winterlandschaft mit Kalkofen von Nicolaes Pieterszoon Berchem, Die Spitzenklöpplerin von Gerard Dou, das Stillleben mit Jagdgeräten und totem Rebhuhn von Willem van Aelst, Der Friede im Hühnerhof von Melchior de Hondecoeter sowie ein Selbstbildnis von Rembrandt van Rijn. Hinzu kommen vier Stillleben von Jean Siméon Chardin und zwei Schäferszenen von François Boucher, die die Markgräfin bei Künstlern direkt in Auftrag gegeben hatte.

Eine erste wesentliche Erweiterung erhielt das Museum 1858 durch die Sammlung des Domkapitulars Johann Baptist von Hirscher (1788–1865) mit Werken religiöser Kunst des 15. und 16. Jahrhunderts. Zu dieser Gruppe gehören Werke wie zwei Tafeln des Sterzinger Altars und das Flügelfragment Der sakramentale Segen von Bartholomäus Zeitblom. Von 1899 bis 1920 bekleidete der aus Baden stammende Maler Hans Thoma die Position des Direktors der Kunsthalle. Er erwarb altmeisterliche Gemälde wie den Tauberbischofsheimer Altar von Matthias Grünewald und trieb den Ausbau der Sammlung mit Kunst des 19. Jahrhunderts voran. Erst seine Nachfolger erweiterten die Bestände der Kunsthalle um Werke des Impressionismus und der folgenden Künstlergenerationen.

Die Dauerausstellung im Hauptgebäude umfasst rund 800 Gemälde und Skulpturen. Zu den herausragenden Kunstwerken der Abteilung deutsche Maler der Spätgotik und Renaissance gehören der Christus als Schmerzensmann von Albrecht Dürer, die Kreuztragung und Kreuzigung von Matthias Grünewald, Maria mit dem Kinde von Lucas Cranach der Ältere, das Bildnis Sebastian Brants von Hans Burgkmair der Ältere und die Die Geburt Christi von Hans Baldung. Dessen Markgrafentafel geriet durch Eigentumsstreitigkeiten 2006 in die Schlagzeilen und führte auch zu politischen Auseinandersetzungen. Einer der größten Ankaufserfolge, welche ein deutsches Museum in der Nachkriegszeit verbuchen konnte, betrifft den sukzessiven Erwerb von sechs der sieben bekannten Tafeln eines Passionsaltars um 1450 – der Notname des Malers nach diesem Werk „Meister der Karlsruher Passion“ – eine siebte Tafel befindet sich in deutschem öffentlichen Besitz (Wallraf-Richartz Museum, Köln).

In der Abteilung niederländischer und flämischer Malerei des 16. Jahrhunderts finden sich, neben den erwähnten Werken, das Bildnis der Marchesa Veronica Spinola Doria von Peter Paul Rubens, Moses schlägt Wasser aus dem Felsen von Jacob Jordaens, das Stillleben mit Küchengeräten und Lebensmitteln von Frans Snyders, das Dorffest von David Teniers dem Jüngeren, das Stillleben mit Zitrone, Orangen und gefülltem Römer von Willem Kalf, ein Junges Paar beim Frühstück von Gabriel Metsu, Im Schlafzimmer von Pieter de Hooch, die Große Baumgruppe am Wasser von Jacob Izaaksoon van Ruisdael, eine Flusslandschaft mit Melkerin von Aelbert Jacobsz. Cuyp sowie ein Augenbetrüger-Stillleben von Samuel van Hoogstraten.

Weitere Beispiele französischer Malerei des 17. bzw. 18. Jahrhunderts sind Die Anbetung des Goldeen Kalbes von Claude Lorrain, die Vorbereitung zur Tanzstunde der Brüder Le Nain, das Bildnis des Marschalls Charles-Auguste de Matignon von Hyacinthe Rigaud, das Bildnis eines jungen Edelmannes im Jagdkostüm von Nicolas de Largillière, Der Sturm von Claude Joseph Vernet und Das Menuett von Nicolas Lancret. Aus dem 19. Jahrhundert finden sich mit Felsiges Waldtal bei Cività Castellana von Gustave Courbet, Die Beweinung Christi von Eugène Delacroix, dem Kinderbildnis Le petit Lange von Édouard Manet, dem Bildnis der Madame Jeantaud von Edgar Degas, dem Landschaftsbild Junimorgen bei Pontoise von Camille Pissarro, Häuser in Le Pouldu von Paul Gauguin und Blick auf das Meer bei L’Estaque von Paul Cézanne weitere Arbeiten französischer Künstler in der Kunsthalle.

Einen Schwerpunkt der Sammlung bildet die deutsche Malerei und Skulptur des 19. Jahrhunderts. Von Joseph Anton Koch besitzt die Kunsthalle eine Heroische Landschaft mit Regenbogen, von Georg Friedrich Kersting das Gemälde Der Maler Gerhard Kügelgen in seinem Atelier, von Caspar David Friedrich das Landschaftsbild Felsenriff am Meeresstrand und von Karl Blechen den Blick auf das Kloster Santa Scolastica. Weitere bedeutende Werke dieser Abteilung sind Die Störung von Adolph Menzel sowie das Jugendliche Selbstbildnis, das Bildnis Nanna Risi und Das Gastmahl des Plato von Anselm Feuerbach.

Für die Präsentation des Werkkomplexes von Hans Thoma wurde 1909 in der Kunsthalle ein ganzer Gebäudetrakt errichtet. Hauptwerke des Künstlers sind etwa das Genrebild Die Geschwister sowie die, im Auftrag der großherzöglichen Familie geschaffene, Thoma-Kapelle mit ihren religiösen Themen.

Von den deutschen Zeitgenossen Hans Thomas sind Max Liebermann mit Am Strand von Noordwijk und Lovis Corinth mit einem Bildnis seiner Frau im Museum vertreten. Darüber hinaus besitzt die Kunsthalle Werke von Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner und Max Klinger.

Im Gebäude der benachbarten Orangerie sind Werke der Sammlung und Neuankäufe aus den Jahren nach 1952 zu sehen. In zwei integrierten Grafikkabinetten gibt das Kupferstichkabinett Einblick in seinen Bestand zeitgenössischer Kunst auf Papier. Aus der Zeit nach 1945 finden sich die Arbeiten Araber mit Fußspuren von Jean Dubuffet, Schwammrelief >RE 48:Sol.1960< von Yves Klein, Ehrung des Quadrates: Gelbes Zentrum von Josef Albers, das Stadtbild F von Gerhard Richter und die Fixe Idee von Georg Baselitz in der Kunsthalle. Die Sammlung der Klassischen Moderne wanderte in das Hauptgebäude. Beispiele für Gemälde aus der Zeit bis 1945 sind Der Eiffelturm von Robert Delaunay, die Improvisation 13 von Wassily Kandinsky, Rehe im Wald II von Franz Marc, Leute am blauen See von August Macke, das Selbstbildnis Der Maler von Ernst Ludwig Kirchner, das Merzbild 21b von Kurt Schwitters, Der Wald von Max Ernst, Torturm II von Lyonel Feininger, Die Sieben Todsünden von Otto Dix und der Abtransport der Sphinxe von Max Beckmann. Darüber hinaus zeigt das Museum regelmäßig Sonderausstellungen.

de.wikipedia.org/wiki/Staatliche_Kunsthalle_Karlsruhe

Shackles very thick and heavy which are scary and degrading to think a person can be shackled and manacled like this

Fonte Official Skindred web page :

The music world may be in a permanent state of panic and flux, but one basic principle of rock’n’roll remains true: the key to longevity is to always deliver the goods. No band has better encapsulated this ethos of integrity and determination over the last decade than Skindred.

Widely acknowledged as one of the most devastating and enthralling live bands on the planet, the Newport destroyers have been a perennial force for musical invention and remorseless positivity since emerging from the ashes of frontman Benji Webbe’s former band Dub War back in 1998. Over the course of four universally praised studio albums – Babylon (2002), Roots Rock Riot (2007), Shark Bites And Dog Fights (2009) and Union Black (2011) – Skindred’s reputation for producing the ultimate spark-spraying state-of-the-art soundclash, combining all manner of seemingly disparate musical elements into an irresistibly exhilarating explosion of energy and cross-pollinated cultural fervour has rightly earned them a reputation as a band capable of uniting people from all corners of the globe and making every last one of them tear up the dancefloor with a giant shit-eating grin plastered across their faces.

With the toughest and most infectious metal riffs colliding with the biggest, phattest hip hop and reggae grooves, cutting edge electronics and a razor-sharp pop sensibility guaranteed to encourage even the most curmudgeonly music fans bellow along with rabid enthusiasm, Skindred are both the ultimate thinking man’s party band. And now, with the release of their fifth studio album Kill The Power, Benji Webbe and his loyal henchmen – bassist Dan Pugsley, guitarist Mikey Demus and drummer Arya Goggins – are poised to spread their gospel of good times and badass tunes to an even bigger global audience.

“We know that everyone recognises us as one of the best live bands around,” says Arya. “We’re really proud of all of the albums we’ve made, but we all felt that we needed to make an album that would be as powerful and effective as the live show. That’s what Kill The Power is all about. This time, we want everyone to sit up and listen and join in the party.”

“I started DJ-ing a little while ago and it’s taught me a lot,” adds Benji. “Now I feel like I wanted to make an album where every intro to every song makes kids think ‘Fucking hell, they’re playing that song!’ Every middle eight on this album is a banger. Every chorus is massive. On this album, the lyrics are deep and the songs are just bigger than ever.”

In keeping with their tradition of making people move while singing about universal issues and spreading a message of positive action and social unity, Kill The Power is an album bulging with fury at the state of the modern world. Never afraid to tackle important topics head on, while never forgetting his band’s mission to entertain and leave the world in a sweaty, sated heap, Benji’s notoriously insane energy levels seem to be creeping up with every album and Kill The Power showcases his most furious and impactful performances to date.

“The world’s getting worse so how can I get more mellow?” he laughs. “Of course I’m getting angrier! People normally stay in a bag when it comes to lyrics. Stephen King stays with horror and he’s brilliant at it, you know? With Skindred, it’s always about encouraging an uplift. It’s about a sense of unity. Lyrics can change people’s lives, you know? You can be going down one road and hear a song and have a Road To Damascus experience and become someone else.”

On an album that has no shortage of invigorating highlights, Kill The Power takes Skindred to new extremes at both ends of the lyrical spectrum, reaching a new level of fiery intensity on the lethal cautionary tale of “Playin’ With The Devil” and the euphoric end-of-the-working-week celebration of “Saturday”: both songs proving that this band’s ability to touch the heart and fire the blood remains as incisive and potent as ever. As if to enhance their songwriting chops more than ever, Kill The Power also features several songs written in collaboration with legendary songwriting guru Russ Ballard, the man behind such immortal rock staples as Since You’ve Been Gone and God Gave Rock & Roll To You, and this seemingly perverse team-up has led to Skindred’s finest set of lyrics and melodies to date.

“Basically, I try to write songs that people can interpret however they like,” says Benji. “When I wrote ‘Playin’ With The Devil’, I originally wrote some words down on a piece of paper thinking about friends I’ve had who smoke crack and live on the pipe, you know? I wrote the song about that kind of thing, but then a couple of days later the riots happened in London and so it became about that as well. When you shit on your own doorstep, your house is going to smell of shit. You’ve got to clean that up! With ‘Saturday’, it’s not a typical Skindred song; it’s a big celebration. We got Russ Ballard involved on that one and he helped me structure the lyrics in the right way so when the chorus hits, it hits like a hammer. It’s an upbeat song but when you listen to the lyrics it goes on about how people all have different reasons to be out and partying. Some people are celebrating, some people are drowning their sorrows, and we all come together on a Saturday. When this record comes out and people go to a club on a Saturday, that’s when it’s gonna go off! The chorus is huge!”

While Skindred’s previous album Union Black was dominated by the bleeps, booms and squelches of British electronic dance music, albeit balanced out by Mikey Demus’ trademark riffs, the new album sees the band return to a more organic sound that amounts to the most accurate representation of the Skindred live experience yet committed to tape. From the huge beats and stuttering samples of the opening title track and the laudably demented Ninja through to the insistent melodies and rampaging choruses of “The Kids Are Right Now” and “Saturday” and on to the thunderous, metallic throwdowns of “Proceed With Caution” and “Ruling Force” and the cool acoustic breeze of the closing More Fire, Kill The Power is Skindred cranked up to full throttle and revelling in their own febrile creativity like never before.

“It’s all about making an album that moves people in the same way that our live shows do,” says Arya. “We love what we achieved on Union Black and we still used a lot of those basic ideas on Kill The Power, but this time it’s a more organic sound. All the drum loops you hear were originally played by me before we started chopping them up, and there are a lot more guitars on this record too. We love combining all the music that we love in Skindred but we all love heavy music and we’re a rock band at heart and that really comes across this time.”

“We’ve delivered an album that’s gonna make people rock for the next few years,” states Benji. “You know what? I can’t do anything about record sales, but if people come to a Skindred show they’re gonna know they’ve been there, you know? Ha ha! The music we make is not about Christians or Muslims, straight people or gay people, black or white or any of that shit. When people are in that room together it’s just Skindred, one unity and one strength!”

Having conquered numerous countries around the world, Skindred could easily be taking a breather and resting on their laurels at this point. Instead, this most dedicated and hard-working of modern bands are preparing to launch their most exuberant assault on the world ever when Kill The Power hits the streets. Anyone that has ever seen the band live before will confirm that it is impossible not to get fired up and drawn into the joyous abandon of a Skindred show and with their greatest album to date primed and ready to explode, the best live band on the planet simply cannot fail to conquer the entire world this time round. Wherever and whoever you are, Skindred are coming. Open your ears and get your dancing feet ready…

“There’s nothing better than being on stage with these guys,” says Arya. “Skindred is my favourite band and I’m so lucky to be part of this thing we’ve created. We’ve been all over the world but there are always new places to visit and new crowds to play for. We just want to keep getting bigger and better.”

“We’re a global band. We’ve played in Colombia and India and everywhere and it’s the same energy,” Benji concludes. “I get letters from people in Hawaii and people in Turkey. It’s all the same. We resonate globally and it’s the greatest thing ever. It seems funny to us sometimes because we’re always kicking each other’s heads in and saying ‘You’re a wanker!’ to each other before we go on stage, but as soon as it’s time to play the show the oneness this band creates together and the unity we bring is unique. I’ve never experienced anything like it and we can’t wait to get back on the road and do it all again.”

A devotee.

My Experienceof Chhath

I am a permanent resident of Kolkata, but I never witnessed the celebration of Chhath Pooja here. Lakhs of migrant residents from Uttar Pradesh, Bihar and other states of India and Nepal as well, celebrated their most ancient festival along the bank of river Hoogly, the sacred river that flows through the city. On 6th November this year, around 2pm, I went to a famous ghat on the bank of river Hoogly opposite to Eden gardens. It was an unique photographic journey to witness how people performed their rituals with so much devotion and faith. I saw hundreds of devotees sitting on the banks quietly with their offerings to Sun God and some performing their rituals with half of their bodies immersed in the Ganges, and some with fire, called ‘Homas’. I was closely looking at them, and I was amazed by their dedication, devotion and complacency. Thousands of devotees were found proceeding towards the Ganges with their offerings, all cladded in bright clothes and ornaments, and many were found on their way to lay prone on the roads touching their whole body (Ashtanga or eight parts of the body) on the Earth and performing ‘Dondis’(Surya Namaskara -Sanskrit: सूर्यनमस्कार, Sun Salutation). Many of the family members, including newborn kids were found lying on the roads waiting for the main worshipper of the family to crossover their bodies as a way to get blessings from them. Most of the main family worshippers were found to be the eldest ladies of the family. Through Chhath, I rediscovered my religious India, in a new and beautiful way.

Chhath Pooja

Chhath is an ancient Hindu Vedic festival of worshiping Sun God, as the Rigveda contains hymns worshiping the Sun God and describes similar rituals.Historically it is native to eastern Uttar Pradesh, North Bihar of India and Mithila State of Nepal.The Chhath Puja is dedicated to the Sun and his wife Usha in order to thank them for bestowing the bounties of life on earth.The God is worshiped during the Chhath festival to promote well-being, prosperity and progress. In Hinduism, Sun worship is also believed to help cure a variety of diseases, including leprosy, and helps ensure the longevity and prosperity of family members, friends, and elders. Environmentalists claim that Chhath is the most eco-friendly Hindu festival.

Regions Celebrating Chhath

Although the festival is observed most elaborately in Mithila Province of Nepal,Terai-Madhesh region of Nepal, Indian states of Bihar, Jharkhand and UP, it is also more prevalent in areas where migrants from those areas have a presence.The festival is celebrated in the regions including but not exclusive to the northeast region of India, Madhya Pradesh, Uttar Pradesh, Chhattisgarh, Chandigarh, Gujarat, as well in various countries worldwide.

Timings

Chhath puja is performed on Kartika Shukla Shashthi, which is the sixth day of the month of Kartika in Bengali calender. This falls typically in the month of October or November in the Gregorian English Calendar.

History

The rituals also find reference in the Sanskrit epic poem Mahābhārata in which Draupadi is depicted as observing similar rites. It is assumed that the oldest Purohits were requested by the kings to come and perform the traditional pooja of the Lord Sun. They used to chant the ancient Rigveda texts and a variety of hymns for worshiping the God. In the ancient time of Mahabharata Chhath pooja was celebrated by Draupadi and Pandavas of Hastinapur (present Delhi) for solving their instant problem and regaining their lost kingdom. It is also assumed that the Chhath puja was first started by the Surya Putra (son of Sun God) Karna. He was a great warrior and had ruled over the Anga Desh (Munger district of Bihar) during the Mahabharata period.

Ethymology

The word chhath means sixth in Nepali, Maithili and Bhojpuri languages and the festival is celebrated on the sixth day of the month Kārtika of the Hindu lunar Bikram Sambat calendar.The word is a Prakrit derivation from the Sanskrit ṣaṣṭhi, meaning sixth.

The Goddess who is also worshipped during the famous Chhath Puja is known as Chhathi Maiya. Chhathi Maiya is known as Usha in the Vedas. She is believed to be the beloved younger wife of Surya, the sun god. The rituals signify rising sun as well as setting sun.

Rituals and Traditions of Chhath Puja

It is believed that worshipers of the Chhath take holy bath and follows a period of abstinence and become separate for 4 days from the main family. Throughout the period he is believed as the pure spirit and sleep on the floor having single blanket.

Devotees offer prasad to Sun at the Chhath such as sweets, Kheer, Thekua, bananas and other fruits included in a small bamboo tokari. The prasad is cooked without salt, onions or garlic with maintained purity. It is a four days festival which includes:

On the first day, devotees take bathe early in the morning in the holy water of Gange and bring some holy water to their home to prepare the offerings. The home and its surroundings should be cleaned at this day. They take only one meal a day known as kaddu-bhat cooked only by using the bronze or soil utensils and mango woods over the soil stove.

On the second day, the day before Chhath, devotees keeps fast for whole day and break their fast in the evening after sunset after the worship of Sun. They offer Rasiao-kheer, puris, fruits in the puja. After taking meal in the evening, they go on a fast without water for the next 36 hours.

On the third day (day of Chhath) they offer the Sanjhiya Arghya at the ghat of riverbank. After Arghya, they wear the single saree of turmeric color. Other family members are waiting for getting the blessings from worshiper. At the night of Chhath a vibrant event of Kosi is celebrated by lighting the lamps of clay diyas under the covering of five sugarcane sticks. The five sugarcane sticks indicate the Panchatattva (earth, water, fire, air and space) the human is body made up of.

On the early morning of the fourth day (Paarun), devotees along with their family and friends offer Bihaniya Aragh at the ghat of riverbank of Gange. Devotees end their festival through breaking the fast by having the Chhath prashad.

Six levels of purification in Chhath ( a belief)

The belief of fast and cleanliness of body on the festival identify the detoxification of the body and mind in order to set up the body and mind to accept the cosmic solar energy.

Standing in water with half of the body inside the water diminishes the escape of energy as well as facilitates the prana to elevate to the sushumna.

Then the entrance of cosmic solar energy takes place in the pineal gland, pituitary gland and hypothalamus (known as the Triveni complex) through the retina and optic nerves.

In the 4th stage Triveni complex gets activated.

After activation of the Triveni complex, spine gets polarized and body of devotee gets transformed into a cosmic powerhouse and gets the Kundalini Shakti.

At this stage the devotee is fully able to conduct, recycle and pass on the energy into entire universe.

Benefits of the rituals (a belief)

Devotee of the Chhath puja can improve the immunity of body.

A variety of skin infections can be cured through the safe radiations of sunlight.

It increases the fighting power of blood by improving the performance of WBC.

Solar energy provides the power to control the secretion of hormones.

Significance

Chhath puja has a special significance during the Sunrise and Sunset periods. The Sunrise and sunset are the most important periods of the day during which a human body can safely get the solar energy without any harm. That’s why there is a myth of offering the Sanjhiya Arghya and Bihaniya Arghya to the Sun at the Chhath festival. During this period the solar energy has low level of ultraviolet radiations so it is safe for the human body. People perform the Chhath puja in order to thank the Lord Sun for the lives on the earth as well as to get blessings.

The ritual of Chhath puja provides mental calmness (by detoxifying the body and mind), enhances the energy level and immunity, reduces the frequency of anger, greed and jealousy as well as lot of negative emotions. It is also believed that following the Chhath processes helps in slowing down the ageing process. Such beliefs and rituals of the Chhath make it the most significant festival in the Hindus ever.

[ Source: en.wikipedia.org/wiki/Chhath and www.varanasi.org.in/chhath-pooja ]

Octavo Salón de Dibujo Tránsito y Permanencia 2011

“Independencia y Dependencia”

Del 9 de junio al 24 de Julio de 2011

Artistas:

Ricardo Clement

Cándido Pineda

Rodolfo Oviedo

Edwin López

Henry Ramírez

Orlando Rivas

Saúl Ayala

Ernesto Cartagena

Joel Ascencio

Gabriel Jovel

Renacho Melgar

José Alvarenga

Dany Ruiz

Miguel Ángel Efigenio

Álvaro Sermeño.

Octavo Salón de Dibujo Transito y Permanencia 2011

Independencia y Dependencia

Después de firmada la independencia encabezada por los criollos, se crea un vacío de poder que se expresa en las diferentes guerras que se desarrollaron en la región centroamericana y que llevaron nuevamente al pueblo a enfrentarse para defender las ideas.

En este contexto el arte toma su lugar y se expresa a través de diferentes formas, ya sea tomado como base las expresiones artísticas de los nuevos países de intervención y en el menor de los casos, tratando de buscar el sincretismo como una forma de subsistir en el tiempo.

En El Salvador en 1811 se fundó una escuela de dibujo dirigida por el maestro español Miguel de Rivera y Maestre. En 1894 se creó una academia de bellas artes dirigida por Manuel Letona. Las academias de artes después de la independencia se instalaron bajo el enfoque de las escuelas europeas. Se trataba de producir imágenes y motivos, en su mayoría religiosos, dejando de lado la propia visión del caudal de las expresiones indígenas ya que estas estaban satanizadas y por lo tanto excluidas de todo pensamiento cultural de la época.

Tenemos pendientes la construcción del concepto propio de nación. Tenemos que viajar al pasado para reflexionar sobre lo que pasa en nuestras subjetividades, determinar donde quedó paralizada la voz de nuestros pueblos originarios, y desde esa mirada, recuperar y reconstruir el tiempo suspendido y traducir ese sentimiento en expresión artística.

La independencia-dependencia política y cultural marca a los artistas de aquella época y de la actual, ya que todavía se discute cuanta participación de la toma de decisiones tuvo la población originaria, en los hechos de la independencia.

La generación actual tiene el reto de contrarrestar desde una perspectiva propia la influencia implacable y audaz de la cultura hegemónica que no deja tiempo para la reflexión de las propias expresiones, es una cultura de ritmo acelerado, de la avalancha, del suspenso, de la acción, del miedo y la pasión, del individualismo y la violencia y hay poco tiempo para la contemplación, la reflexión, la visión de si mismo en el colectivo, la síntesis hombre-naturaleza y la cosmovisión ancestral.

El arte y la cultura tienen su fundamento en la construcción de la sociedad porque marcan el horizonte de la cisión de sí misma y el caso de nuestro país, marcan el próximo paso para la equidad cultural y artística de una nueva sociedad, para construir un sentimiento de independencia y libertad.

Las expresiones artísticas de otras culturas solo pueden aprovecharse desde un posicionamiento autentico para tener la posibilidad de comparar, definir, decidir y desarrollar las propias formas de interpretar la realidad. Las expresiones artísticas y culturales de nuestro pasado están vivas en lo hondo de nuestros seres. Solo es cuestión de dejarlas salir para que hable el espíritu de nuestros dioses.

Noé Valladares

Curador

Sala Nacional de Exposiciones Salarrué

Costado norte del Parque Cuscatlán, San Salvador El Salvador, Centroamérica.

Teléfono:(503) 2222-4959

Abierto de martes a domingo

9.00 a.m a 12 m - 2.00 p.m a 5.00 p.m

Lunes cerrado al público

Salanacionaldeexposiciones.sv@gmail.com

Entrada gratuita.

A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.

Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.

HISTORY

Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).

During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.

In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.

Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.

TECHNIQUE

In the history of mural several methods have been used:

A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.

Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.

Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.

MATERIAL

In Greco-Roman times, mostly encaustic colors applied in a cold state were used.

Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.

In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.

A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.

Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.

As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.

The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.

Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.

SIGNIFICANCE OF MURALS

Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.

Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.

Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.

Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.

The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.

Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.

WIKIPEDIA

In spring of 2007, the Albertina also received the previously based in Salzburg "Batliner Collection" as unrestricted permanent loan. The collection of Rita and Herbert Batliner includes important works by modern masters, from French impressionism to German expressionism of the "Blue Rider" and the "bridge" to works of the Fauvist or the Russian avant-garde from Chagall to Malevich.

de.wikipedia.org / wiki / Albertina_ (Vienna)

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.

www.wien-vienna.at/albertinabaugeschichte.php

October 19, 2019 - Bishop Parkes ordained Deacon Pablo Riano, Deacon Andrew Williams, Deacon Wil Huertas, Deacon Rafael Ferreris, Deacon Hector Rios, Deacon Mike Miller, Deacon Carlos Zayas Hernandez and Deacon Marc Garofani to the permanent diaconate at the Cathedral of St. Jude the Apostle in St. Petersburg. Photo credit: Michael Donovan with Life Through the Lens Photography.

Scenes from the side event “Peace Building and Well-Being Processes to Contribute to the Eradication of Violence Against Indigenous Women” held during the UN Permanent Forum on Indigenous Issues at UN Headquarters on 28 April 2017.

Participants included:

Cristiane Juliao Pankararu, Brazil (moderator)

Monica Michelana (spiritual ceremony)

Joan Carling, Board Member FIMI

Nwe Oo, Bangladesh Indigenous Women’s Network (BIWN)

Celerina Sanchez, Alianza de Mujeres Indegenas de Centro America y Mexico

Victoria Tauli-Corpuz, UN Special Rapporteur on the Rights of Indigenous Peoples

Buba Balkisou, Network for Indigenous and Local Communities for Sustainable Management of Forest Ecosystems in Central Africa (REPALEAC Cameroon)

Rune Fjelheim, Director General of Samediggi - Sami Parliament

Maria Noel Vaeza, Director, Programme Division, UN Women

Photo: UN Women/Ryan Brown

El salón de actos Marcos Quinto Andrade Zambrano, del Sindicato de Choferes Profesionales del cantón Chone, fue el escenario escogido para la realización de la Cena Navideña Benéfica 2015, organizado por la reina de Chone, Nikole Irigoyen; virreina, Lorena Zambrano Arteaga; Srta. Fundación, Melissa Menéndez, reinas infantiles y contó con el apoyo del Gobierno Autónomo Descentralizado (GAD) Municipal del cantón Chone.

El evento social y benéfico se cumplió la noche del sábado y tuvo como objetivo principal recaudar fondos económicos que serán destinados a generar sonrisas en los niños, niñas y adultos mayores en la celebración de la Navidad.

La presidenta del Comité de Fiesta Permanente, Genny Macías, calificó como positiva la acción emprendida por las soberanas del cantón, quienes a través de este acto buscan recaudar fondos económicos para realizar próximamente una cena navideña con los niños, niñas y personas adultas mayores.

El alcalde del cantón Chone, Deyton Alcívar mostró todo su respaldo a las acciones positivas que emprendan las reinas en favor de quienes más necesitan y que mejor oportunidad hacerlo en favor de los niños y adultos mayores.

La virreina, Ivette Lorena Zambrano Arteaga expresó su agradecimiento a las personas que acudieron masivamente a la cena navideña, mostrando su respaldo incondicional a la justa causa que han emprendido con la finalidad de conquistar sonrisas honestas y sinceras de los niños y personas adultas mayores de la ciudad.

Bismark Cevallos, quien participó del evento, afirmó sentirse complacido en ser parte de la cena benéfica y felicitaron a las reinas por la organización del acto, poniendo de manifiesto la solidaridad y más aún cuando se está viviendo el espíritu navideño.

www.chone.gob.ec/index.php?gc=1&gal=2162

I don't know why, but I have a real soft spot for old RV's and motorhomes. I'd probably collect and restore them if I had unlimited funds and a ten acre garage.

Here's the always dependable Dodge Tradesman 300. It's a shame this is being left to rot.

Found at the strange-in-a-good-way Mira Monte Landing, Novato, CA

Crew members thread strands of the permanent cables through saddles in the tower pylons. The project's recent BridgeView episodes explain this process. You can view them here -- www.trimet.org/pm/library/videos.htm

Licensed for all uses by TriMet.

Vassily Nebenzia, Permanent Representative of the Russian Federation to the United Nations, is followed by journalists asking him questions ahead of the Security Council meeting on the maintenance of peace and security of Ukraine.

UN Photo/Mark Garten

5 May 2022

New York, United States of America

Photo # UN7932733

François Mitterrand

From Wikipedia, the free encyclopedia

"Mitterrand" redirects here. For other uses, see Mitterrand (disambiguation).

François Maurice Adrien Marie Mitterrand (French: [fʁɑ̃swa mɔʁis mitɛˈʁɑ̃] ( listen)) (26 October 1916 – 8 January 1996) was the 21st President of France and ex officio Co-Prince of Andorra, serving from 1981 until 1995. He is the longest-serving President of France and, as leader of the Socialist Party, the first figure from the left elected President under the Fifth Republic.

Reflecting family influences, Mitterrand started political life on the Catholic nationalist right. He served under the Vichy Regime in its earlier years. Subsequently, however, he joined the Resistance, moved to the left, and held ministerial office repeatedly under the Fourth Republic. He opposed de Gaulle's establishment of the Fifth Republic. Although at times a politically isolated figure, Mitterrand outmanoeuvred rivals to become the left's standard bearer in every presidential election from 1965 to 1988, except 1969. Elected President in the May 1981 presidential election, he was re-elected in 1988 and held office until 1995.

Mitterrand invited the Communist Party into his first government, a controversial move at the time. In the event, the Communists were boxed in as junior partners and, rather than taking advantage, saw their support erode. They left the cabinet in 1984. Early in his first term, Mitterrand followed a radical economic program, including nationalization of key firms, but after two years, with the economy in crisis, he reversed course. His foreign and defense policies built on those of his Gaullist predecessors. His partnership with German Chancellor Helmut Kohl advanced European integration via the Maastricht Treaty, but he accepted German reunification only reluctantly. During his time in office he was a strong promoter of culture and implemented a range of costly "Grands Projets". He was twice forced by the loss of a parliamentary majority into "cohabitation governments" with conservative cabinets led, respectively, by Jacques Chirac (1986–88), and Édouard Balladur (1993–95). Less than eight months after leaving office, Mitterrand died from the prostate cancer he had successfully concealed for most of his presidency.

Beyond making the French left electable, Mitterrand presided over the rise of the Socialist Party to dominance of the left, and the decline of the once-mighty Communist Party (as a share of the popular vote in the first presidential round, the Communists shrank from a peak of 21.27% in 1969 to 8.66% in 1995, at the end of Mitterrand's second term, and to 1.93% in the 2007 election).

Le Coup d’État permanent

AuteurFrançois Mitterrand

GenreEssai politique

Pays d'origine France

ÉditeurPlon

CollectionLes Débats de notre temps

Date de parution1964

Nombre de pages285

modifier

Le Coup d'État permanent est un essai de l'homme politique français François Mitterrand, publié par l'éditeur Plon en 1964 pendant la présidence de Charles de Gaulle.

Dans ce livre, Mitterrand dénonce la pratique du pouvoir personnel par le général de Gaulle. Il ne se contente pas de critiquer la lettre de la Constitution : il reproche plutôt au général de Gaulle d'avoir trahi la promesse de 1958, selon laquelle le président est un arbitre. Selon Mitterrand, le chef de l'État est devenu tout-puissant : il montre la faiblesse du gouvernement et du Parlement, marginalisés par le président de la République. Dès 1949, Mitterrand s'inquiète de la création du RPF, qu'il juge trop au service exclusif de la personne de De Gaulle. Aussi, lors des débats au terme desquels l'Assemblée nationale lui confie la rédaction d'une nouvelle Constitution, Mitterrand exprime son opposition, puis il appelle à voter non lors du référendum du 28 septembre 19581. Si en 1958, il connaît sa seule défaite aux élections législatives, son opposition au référendum de 1962 paie enfin, puisqu'il retrouve son siège de député de la Nièvre1.

François Mitterrand insiste aussi sur les abus en matière de justice et de police, le gaullisme devenant « de Gaulle plus la police »2,1. Il dénonce par exemple l'utilisation de provocateurs, la multiplication des bavures et brutalités policières, les officines en tous genres (comme le SAC et les réseaux Foccart), les tribunaux d'exception (Haut Tribunal militaire, remplacé par une Cour militaire de justice puis par la Cour de sûreté de l'État, cette dernière ayant été supprimée dès l'été 1981 par la gauche), le mépris du Conseil constitutionnel et du Conseil d'État, ou encore le recours abusif au délit d'offense au chef de l'État.

Les préfaciers de la réédition de 2010 rappellent que Mitterrand a déjà voté contre la Constitution de la Quatrième République, critiquant ce « régime anachronique ». Si le livre est souvent présenté comme une dénonciation de l'élection présidentielle au suffrage universel, il ne contient pas de tel jugement, Mitterrand jugeant le principe « acceptable en soi3 ». En revanche, il dénonce les conditions de ce choix qui procède non d'une délibération parlementaire, mais d'un texte élaboré par l'exécutif, ce qui est anticonstitutionnel dénonce le président du Sénat Gaston Monnerville, qui accuse le Premier ministre de forfaiture en violant le texte de la Constitution en vigueur1.

Le livre connaît un grand écho qui permet à François Mitterrand d'incarner la meilleure opposition à de Gaulle. Alors que Gaston Defferre et Pierre Mendès-France insistent sur la critique du programme gaullien, François Mitterrand fait le choix d'affronter l'essence même du régime gaulliste. Cela le fera choisir comme le candidat de gauche pour l'élection présidentielle de 1965, où son accession au second tour le rendra incontournable pour les échéances futures1.

A mural is any piece of artwork painted or applied directly on a wall, ceiling or other large permanent surface. A distinguishing characteristic of mural painting is that the architectural elements of the given space are harmoniously incorporated into the picture.

Some wall paintings are painted on large canvases, which are then attached to the wall (e.g., with marouflage). Whether these works can be accurately called "murals" is a subject of some controversy in the art world, but the technique has been in common use since the late 19th century.

HISTORY

Murals of sorts date to Upper Paleolithic times such as the paintings in the Chauvet Cave in Ardèche department of southern France (around 30,000 BC). Many ancient murals have survived in Egyptian tombs (around 3150 BC), the Minoan palaces (Middle period III of the Neopalatial period, 1700-1600 BC) and in Pompeii (around 100 BC - AD 79).

During the Middle Ages murals were usually executed on dry plaster (secco). In Italy, circa 1300, the technique of painting of frescos on wet plaster was reintroduced and led to a significant increase in the quality of mural painting.

In modern times, the term became more well-known with the Mexican "muralista" art movement (Diego Rivera, David Siqueiros, or José Orozco). There are many different styles and techniques. The best-known is probably fresco, which uses water-soluble paints with a damp lime wash, a rapid use of the resulting mixture over a large surface, and often in parts (but with a sense of the whole). The colors lighten as they dry. The marouflage method has also been used for millennia.

Murals today are painted in a variety of ways, using oil or water-based media. The styles can vary from abstract to trompe-l'œil (a French term for "fool" or "trick the eye"). Initiated by the works of mural artists like Graham Rust or Rainer Maria Latzke in the 1980s, trompe-l'oeil painting has experienced a renaissance in private and public buildings in Europe. Today, the beauty of a wall mural has become much more widely available with a technique whereby a painting or photographic image is transferred to poster paper or canvas which is then pasted to a wall surface (see wallpaper, Frescography) to give the effect of either a hand-painted mural or realistic scene.

TECHNIQUE

In the history of mural several methods have been used:

A fresco painting, from the Italian word affresco which derives from the adjective fresco ("fresh"), describes a method in which the paint is applied on plaster on walls or ceilings. The buon fresco technique consists of painting in pigment mixed with water on a thin layer of wet, fresh, lime mortar or plaster. The pigment is then absorbed by the wet plaster; after a number of hours, the plaster dries and reacts with the air: it is this chemical reaction which fixes the pigment particles in the plaster. After this the painting stays for a long time up to centuries in fresh and brilliant colors.

Fresco-secco painting is done on dry plaster (secco is "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall.

Mezzo-fresco is painted on nearly-dry plaster, and was defined by the sixteenth-century author Ignazio Pozzo as "firm enough not to take a thumb-print" so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced the buon fresco method, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.

MATERIAL

In Greco-Roman times, mostly encaustic colors applied in a cold state were used.

Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water.

In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist’s studio and later transported to its destination and there attached to the wall or ceiling. Oil paint can be said to be the least satisfactory medium for murals because of its lack of brilliance in colour. Also the pigments are yellowed by the binder or are more easily affected by atmospheric conditions. The canvas itself is more subject to rapid deterioration than a plaster ground. Different muralists tend to become experts in their preferred medium and application, whether that be oil paints, emulsion or acrylic paints applied by brush, roller or airbrush/aerosols. Clients will often ask for a particular style and the artist may adjust to the appropriate technique.

A consultation usually leads to a detailed design and layout of the proposed mural with a price quote that the client approves before the muralist starts on the work. The area to be painted can be gridded to match the design allowing the image to be scaled accurately step by step. In some cases the design is projected straight onto the wall and traced with pencil before painting begins. Some muralists will paint directly without any prior sketching, preferring the spontaneous technique.

Once completed the mural can be given coats of varnish or protective acrylic glaze to protect the work from UV rays and surface damage.

As an alternative to a hand-painted or airbrushed mural, digitally printed murals can also be applied to surfaces. Already existing murals can be photographed and then be reproduced in near-to-original quality.

The disadvantages of pre-fabricated murals and decals are that they are often mass-produced and lack the allure and exclusivity of an original artwork. They are often not fitted to the individual wall sizes of the client and their personal ideas or wishes can not be added to the mural as it progresses. The Frescography technique, a digital manufacturing method (CAM) invented by Rainer Maria Latzke addresses some of the personalisation and size restrictions.

Digital techniques are commonly used in advertisements. A "wallscape" is a large advertisement on or attached to the outside wall of a building. Wallscapes can be painted directly on the wall as a mural, or printed on vinyl and securely attached to the wall in the manner of a billboard. Although not strictly classed as murals, large scale printed media are often referred to as such. Advertising murals were traditionally painted onto buildings and shops by sign-writers, later as large scale poster billboards.

SIGNIFICANCE OF MURALS

Murals are important in that they bring art into the public sphere. Due to the size, cost, and work involved in creating a mural, muralists must often be commissioned by a sponsor. Often it is the local government or a business, but many murals have been paid for with grants of patronage. For artists, their work gets a wide audience who otherwise might not set foot in an art gallery. A city benefits by the beauty of a work of art.

Murals can be a relatively effective tool of social emancipation or achieving a political goal. Murals have sometimes been created against the law, or have been commissioned by local bars and coffeeshops. Often, the visual effects are an enticement to attract public attention to social issues. State-sponsored public art expressions, particularly murals, are often used by totalitarian regimes as a tool of mass-control and propaganda. However, despite the propagandist character of that works, some of them still have an artistic value.

Murals can have a dramatic impact whether consciously or subconsciously on the attitudes of passers by, when they are added to areas where people live and work. It can also be argued that the presence of large, public murals can add aesthetic improvement to the daily lives of residents or that of employees at a corporate venue.

Other world-famous murals can be found in Mexico, New York, Philadelphia, Belfast, Derry, Los Angeles, Nicaragua, Cuba and in India. They have functioned as an important means of communication for members of socially, ethnically and racially divided communities in times of conflict. They also proved to be an effective tool in establishing a dialogue and hence solving the cleavage in the long run. The Indian state Kerala has exclusive murals. These Kerala mural painting are on walls of Hindu temples. They can be dated from 9th century AD.

The San Bartolo murals of the Maya civilization in Guatemala, are the oldest example of this art in Mesoamerica and are dated at 300 BC.

Many rural towns have begun using murals to create tourist attractions in order to boost economic income. Colquitt, Georgia is one such town. Colquitt was chosen to host the 2010 Global Mural Conference. The town has more than twelve murals completed, and will host the Conference along with Dothan, Alabama, and Blakely, Georgia. In the summer of 2010, Colquitt will begin work on their Icon Mural.

WIKIPEDIA

PictionID:53014956 - Catalog:Array - Title:Array - Filename:A319-112, US Airways, N738US, LAX, Nov 00 (RJF).jpg - -----Image from the René Francillon Photo Archive. Having had his interest in aviation sparked by being at the receiving end of B-24s bombing occupied France when he was 7-yr old, René Francillon turned aviation into both his vocation and avocation. Most of his professional career was in the United States, working for major aircraft manufacturers and airport planning/design companies. All along, he kept developing a second career as an aviation historian, an activity that led him to author more than 50 books and 400 articles published in the United States, the United Kingdom, France, and elsewhere. Far from “hanging on his spurs,” he plans to remain active as an author well into his eighties.-------PLEASE TAG this image with any information you know about it, so that we can permanently store this data with the original image file in our Digital Asset Management System.--------------SOURCE INSTITUTION: if you would like a hi-res copy San Diego Air and Space Museum Archive

Permanent Secretary in the Ministry of Health, Elaine Foster Allen (2nd right), is engaged in discussion with Economic Programme Oversight Committee (EPOC) Co-Chairman, Richard Byles (2nd left), during a cocktail reception to officially mark Jamaica’s formal commitment to the Quality Assurance for the Health Sector towards Accreditation Initiative at the Terra Nova All-Suite Hotel in Kingston on Tuesday, September 20. Others (from left) are Principal of the University of the West Indies (UWI) Mona Campus, St. Andrew, Professor Archibald McDonald; and Executive Vice President and Actuary, Sagicor Life Jamaica Limited, Willard Brown.

The annual session of the UN Permanent Forum on Indigenous Issues, taking place at the UN Headquarters in New York, from 24 April to 5 May, will celebrate the 10-year anniversary of the United Nations Declaration on the Rights of Indigenous Peoples.

Adopted by the UN General Assembly on 13 September, 2007, the Declaration is the most comprehensive international agreement on indigenous peoples’ rights. The Forum will discuss ways to fully implement the Declaration to ensure the rights, dignity and wellbeing of the estimated 370 million indigenous peoples [1] around the world. As the co-chair the UN Inter Agency Support Group on Indigenous Issues this year, UN Women will participate in a number of events.

Read More: www.unwomen.org/en/news/in-focus/indigenous-womens-rights...

Photo: UN Women/Ryan Brown

Veranstaltung mit Izabela Uhl – Professional Beauty in Hamburg Wandsbek.

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© 2011 Thomas Ulrich / LoboStudio Hamburg

zur freien Verwendung im Rahmen der Berichterstattung über das Studio Izabela Uhl – Professional Beauty und der Kooperation zwischen diesem und der BEWEI Bodyform-Lounge. Bitte Autorenvermerk und Belegexemplar!!!

My Mamiya 80mm f/1.9 decided that it would be better off in two pieces a couple weeks ago, so I planned out and built this tilt-shift deal with the important half of the lens. The bellows is a cut down VW beetle shift boot from ebay. It works surprisingly well! And is much more durable than version 1.0.

At the East Tower site, temporary cables attached to the top of the tower pylons provide stability to the structure as the deck is constructed over the river. The white sheathed cables going through the pylons are the first permanent cables to be installed at this tower.

Licensed for all uses by TriMet.

Rafael Mariano Grossi, IAEA Director General, met with Ambassador Umej Bhatia, Singapore’s Permanent Representative to the United Nations in Geneva and the United Nations Office in Vienna during his official visit at the Agency headquarters in Vienna, Austria. 12 October 2021.

Photo Credit: Dean Calma / IAEA

Tempera, also known as egg tempera, is a permanent, fast-drying painting medium consisting of colored pigment mixed with a water-soluble binder medium (usually a glutinous material such as egg yolk or some other size). Tempera also refers to the paintings done in this medium. Tempera paintings are very long lasting, and examples from the 1st centuries AD still exist. Egg tempera was a primary method of painting until after 1500 when it was superseded by the invention of oil painting. A paint consisting of pigment and glue size commonly used in the United States as poster paint is also often referred to as "tempera paint," although the binders and sizes in this paint are different from traditional tempera paint.

HISTORY

Tempera painting has been found on early Egyptian sarcophagi decorations. Many of the Fayum mummy portraits use tempera, sometimes in combination with encaustic.

A related technique has been used also in ancient and early medieval paintings found in several caves and rock-cut temples of India. High-quality art with the help of tempera was created in Bagh Caves between the late 4th and 10th centuries AD and in the 7th century AD in Ravan Chhaya rock shelter, Orissa.

The art technique was known from the classical world, where it appears to have taken over from encaustic painting and was the main medium used for panel painting and illuminated manuscripts in the Byzantine world and Medieval and Early renaissance Europe. Tempera painting was the primary panel painting medium for nearly every painter in the European Medieval and Early renaissance period up to 1500. For example, every surviving panel painting by Michelangelo is egg tempera.

Oil paint, which may have originated in Afghanistan between the 5th and 9th centuries and migrated westward in the Middle Ages eventually superseded tempera. Oil replaced tempera as the principal medium used for creating artwork during the 15th century in Early Netherlandish painting in northern Europe. Around 1500, oil paint replaced tempera in Italy. In the 19th and 20th centuries, there were intermittent revivals of tempera technique in Western art, among the Pre-Raphaelites, Social Realists, and others. Tempera painting continues to be used in Greece and Russia where it is the traditional medium for Orthodox icons.

TECHNIQUE

Tempera is traditionally created by hand-grinding dry powdered pigments into a binding agent or medium, such as egg, glue, honey, water, milk (in the form of casein) and a variety of plant gums.

Tempera painting starts with placing a small amount of the powdered pigment onto a palette, dish or bowl and adding about an equal volume of the binder and mixing. Some pigments require slightly more binder, some require less. A few drops of distilled water are added; then the binder (egg emulsion) is added in small increments to the desired transparency. The more egg emulsion, the more transparent the paint.

EGG TEMPERA

The most common form of classical tempera painting is "egg tempera". For this form most often only the contents of the egg yolk is used. The white of the egg and the membrane of the yolk are discarded (the membrane of the yolk is dangled over a receptacle and punctured to drain off the liquid inside). Egg yolk is never used by itself with pigment; it dries almost immediately and crackles when it is dry. Some agent is always added, in variable proportions. One recipe calls for vinegar (1:1 proportion to egg yolk by volume); other recipes suggest white wine (1 part yolk, 2 parts wine). Some schools of egg tempera use various mixtures of egg yolk and water.

When used to paint icons on church walls, liquid myrrh is sometimes added to the mixture to give the paint a pleasing odor, particularly as worshipers may find the egg tempera somewhat pungent for quite some time after completion.

The paint mixture has to be constantly adjusted to maintain a balance between a "greasy" and "watery" consistency by adjusting the amount of water and yolk. As tempera dries, the artist will add more water to preserve the consistency and to balance the thickening of the yolk on contact with air. Once prepared, the paint cannot be stored. Egg tempera is water-resistant, but not waterproof.

Different preparations use the egg white or the whole egg for different effect. Other additives such as oil and wax emulsions can modify the medium.

Egg tempera is not a flexible paint and requires stiff boards; painting on canvas will cause cracks to form and chips of paint to fall off.

TEMPERA GRASSA

Adding oil in no more than a 1:1 ratio with the egg yolk by volume produces a water soluble medium with many of the color effects of oil paint, although it cannot be painted thickly.

PIGMENTS

Some of the pigments used by medieval painters, such as cinnabar (contains mercury), orpiment (contains arsenic), or lead white (contains lead) are highly toxic. Most artists today use modern synthetic pigments, which are less toxic but have similar color properties to the older pigments. Even so, many (if not most) modern pigments are still dangerous unless certain precautions are taken; these include keeping pigments wet in storage to avoid breathing their dust.

APPLICATION

Tempera paint dries rapidly. It is normally applied in thin, semi-opaque or transparent layers. Tempera painting allows for great precision when used with traditional techniques that require the application of numerous small brush strokes applied in a cross-hatching technique. When dry, it produces a smooth matte finish. Because it cannot be applied in thick layers as oil paints can, tempera paintings rarely have the deep color saturation that oil paintings can achieve. In this respect the colors of an unvarnished tempera painting resemble a pastel, although the color deepens if a varnish is applied. On the other hand, tempera colors do not change over time, whereas oil paints darken, yellow, and become transparent with age.

GROUND

Tempera adheres best to an absorbent ground that has a lower "oil" content than the tempera binder used (the traditional rule of thumb is "fat over lean", and never the other way around). The ground traditionally used is inflexible Italian gesso, and the substrate is usually rigid as well. Historically wood panels were used as the substrate, and more recently un-tempered masonite and modern composite boards have been employed. Heavy paper is also used.

PRE-MADE PAINTS

Apart from the traditional process of mixing pigment with egg yolk, new methods include egg tempera sold in tubes by manufacturers such as Sennelier and Daler-Rowney. These paints do contain a slight amount of oil to enhance durability within the container. Marc Chagall used Sennelier egg tempera tube paints extensively.

TEMPERA ARTISTS

Although tempera has been out of favor since the Late Renaissance and Baroque eras, it has been periodically rediscovered by later artists such as William Blake, the Nazarenes, the Pre-Raphaelites, and Joseph Southall. The 20th century saw a significant revival of tempera. European painters who worked with tempera include Giorgio de Chirico, Otto Dix, Eliot Hodgkin, Pyke Koch and Pietro Annigoni, who used an emulsion of egg yolks, stand oil and varnish.

TEMPERA REVIVAL IN 20th-CENTURY AMERICAN ART

The tempera medium was used by American artists such as the Regionalists Andrew Wyeth, Thomas Hart Benton and his student Roger Medearis; expressionists Ben Shahn, Mitchell Siporin and John Langley Howard, magic realists George Tooker, Paul Cadmus, Jared French, Julia Thecla and Louise E. Marianetti; Art Students League of New York instructors Kenneth Hayes Miller and William C. Palmer, Social Realists Kyra Markham, Isabel Bishop, Reginald Marsh, and Noel Rockmore, Edward Laning, Anton Refregier, Jacob Lawrence, Rudolph F. Zallinger, Robert Vickrey, Peter Hurd, and science fiction artist John Schoenherr, notable as the cover artist of Dune.

20th-CENTURY INDIAN ART

In the early part of the 20th century, a large number of Indian artist, notably of Bengal school took up tempera as one of their primary media of expression. Artists such as Gaganendranath Tagore, Asit Kumar Haldar, Abanindranath Tagore, Nandalal Bose, Kalipada Ghoshal and Sughra Rababi were foremost. After the 1950s, artists such as Jamini Roy and Ganesh Pyne established tempera as a medium for the new age artists of India.

TEMPERA IN CONTEMPORARY ART

Other practicing tempera artists include, Philip Aziz, Ernst Fuchs, Antonio Roybal, George Huszar, Donald Jackson, Tim Lowly, Altoon Sultan, Shaul Shats, Sandro Chia, Tim Donovan, Alex Colville, Jeremy Gordon, and Ganesh Pyne.

permanentlyonvacation.us

by anthony freeman.

Fonte Official Skindred web page :

The music world may be in a permanent state of panic and flux, but one basic principle of rock’n’roll remains true: the key to longevity is to always deliver the goods. No band has better encapsulated this ethos of integrity and determination over the last decade than Skindred.

Widely acknowledged as one of the most devastating and enthralling live bands on the planet, the Newport destroyers have been a perennial force for musical invention and remorseless positivity since emerging from the ashes of frontman Benji Webbe’s former band Dub War back in 1998. Over the course of four universally praised studio albums – Babylon (2002), Roots Rock Riot (2007), Shark Bites And Dog Fights (2009) and Union Black (2011) – Skindred’s reputation for producing the ultimate spark-spraying state-of-the-art soundclash, combining all manner of seemingly disparate musical elements into an irresistibly exhilarating explosion of energy and cross-pollinated cultural fervour has rightly earned them a reputation as a band capable of uniting people from all corners of the globe and making every last one of them tear up the dancefloor with a giant shit-eating grin plastered across their faces.

With the toughest and most infectious metal riffs colliding with the biggest, phattest hip hop and reggae grooves, cutting edge electronics and a razor-sharp pop sensibility guaranteed to encourage even the most curmudgeonly music fans bellow along with rabid enthusiasm, Skindred are both the ultimate thinking man’s party band. And now, with the release of their fifth studio album Kill The Power, Benji Webbe and his loyal henchmen – bassist Dan Pugsley, guitarist Mikey Demus and drummer Arya Goggins – are poised to spread their gospel of good times and badass tunes to an even bigger global audience.

“We know that everyone recognises us as one of the best live bands around,” says Arya. “We’re really proud of all of the albums we’ve made, but we all felt that we needed to make an album that would be as powerful and effective as the live show. That’s what Kill The Power is all about. This time, we want everyone to sit up and listen and join in the party.”

“I started DJ-ing a little while ago and it’s taught me a lot,” adds Benji. “Now I feel like I wanted to make an album where every intro to every song makes kids think ‘Fucking hell, they’re playing that song!’ Every middle eight on this album is a banger. Every chorus is massive. On this album, the lyrics are deep and the songs are just bigger than ever.”

In keeping with their tradition of making people move while singing about universal issues and spreading a message of positive action and social unity, Kill The Power is an album bulging with fury at the state of the modern world. Never afraid to tackle important topics head on, while never forgetting his band’s mission to entertain and leave the world in a sweaty, sated heap, Benji’s notoriously insane energy levels seem to be creeping up with every album and Kill The Power showcases his most furious and impactful performances to date.

“The world’s getting worse so how can I get more mellow?” he laughs. “Of course I’m getting angrier! People normally stay in a bag when it comes to lyrics. Stephen King stays with horror and he’s brilliant at it, you know? With Skindred, it’s always about encouraging an uplift. It’s about a sense of unity. Lyrics can change people’s lives, you know? You can be going down one road and hear a song and have a Road To Damascus experience and become someone else.”

On an album that has no shortage of invigorating highlights, Kill The Power takes Skindred to new extremes at both ends of the lyrical spectrum, reaching a new level of fiery intensity on the lethal cautionary tale of “Playin’ With The Devil” and the euphoric end-of-the-working-week celebration of “Saturday”: both songs proving that this band’s ability to touch the heart and fire the blood remains as incisive and potent as ever. As if to enhance their songwriting chops more than ever, Kill The Power also features several songs written in collaboration with legendary songwriting guru Russ Ballard, the man behind such immortal rock staples as Since You’ve Been Gone and God Gave Rock & Roll To You, and this seemingly perverse team-up has led to Skindred’s finest set of lyrics and melodies to date.

“Basically, I try to write songs that people can interpret however they like,” says Benji. “When I wrote ‘Playin’ With The Devil’, I originally wrote some words down on a piece of paper thinking about friends I’ve had who smoke crack and live on the pipe, you know? I wrote the song about that kind of thing, but then a couple of days later the riots happened in London and so it became about that as well. When you shit on your own doorstep, your house is going to smell of shit. You’ve got to clean that up! With ‘Saturday’, it’s not a typical Skindred song; it’s a big celebration. We got Russ Ballard involved on that one and he helped me structure the lyrics in the right way so when the chorus hits, it hits like a hammer. It’s an upbeat song but when you listen to the lyrics it goes on about how people all have different reasons to be out and partying. Some people are celebrating, some people are drowning their sorrows, and we all come together on a Saturday. When this record comes out and people go to a club on a Saturday, that’s when it’s gonna go off! The chorus is huge!”

While Skindred’s previous album Union Black was dominated by the bleeps, booms and squelches of British electronic dance music, albeit balanced out by Mikey Demus’ trademark riffs, the new album sees the band return to a more organic sound that amounts to the most accurate representation of the Skindred live experience yet committed to tape. From the huge beats and stuttering samples of the opening title track and the laudably demented Ninja through to the insistent melodies and rampaging choruses of “The Kids Are Right Now” and “Saturday” and on to the thunderous, metallic throwdowns of “Proceed With Caution” and “Ruling Force” and the cool acoustic breeze of the closing More Fire, Kill The Power is Skindred cranked up to full throttle and revelling in their own febrile creativity like never before.

“It’s all about making an album that moves people in the same way that our live shows do,” says Arya. “We love what we achieved on Union Black and we still used a lot of those basic ideas on Kill The Power, but this time it’s a more organic sound. All the drum loops you hear were originally played by me before we started chopping them up, and there are a lot more guitars on this record too. We love combining all the music that we love in Skindred but we all love heavy music and we’re a rock band at heart and that really comes across this time.”

“We’ve delivered an album that’s gonna make people rock for the next few years,” states Benji. “You know what? I can’t do anything about record sales, but if people come to a Skindred show they’re gonna know they’ve been there, you know? Ha ha! The music we make is not about Christians or Muslims, straight people or gay people, black or white or any of that shit. When people are in that room together it’s just Skindred, one unity and one strength!”

Having conquered numerous countries around the world, Skindred could easily be taking a breather and resting on their laurels at this point. Instead, this most dedicated and hard-working of modern bands are preparing to launch their most exuberant assault on the world ever when Kill The Power hits the streets. Anyone that has ever seen the band live before will confirm that it is impossible not to get fired up and drawn into the joyous abandon of a Skindred show and with their greatest album to date primed and ready to explode, the best live band on the planet simply cannot fail to conquer the entire world this time round. Wherever and whoever you are, Skindred are coming. Open your ears and get your dancing feet ready…

“There’s nothing better than being on stage with these guys,” says Arya. “Skindred is my favourite band and I’m so lucky to be part of this thing we’ve created. We’ve been all over the world but there are always new places to visit and new crowds to play for. We just want to keep getting bigger and better.”

“We’re a global band. We’ve played in Colombia and India and everywhere and it’s the same energy,” Benji concludes. “I get letters from people in Hawaii and people in Turkey. It’s all the same. We resonate globally and it’s the greatest thing ever. It seems funny to us sometimes because we’re always kicking each other’s heads in and saying ‘You’re a wanker!’ to each other before we go on stage, but as soon as it’s time to play the show the oneness this band creates together and the unity we bring is unique. I’ve never experienced anything like it and we can’t wait to get back on the road and do it all again.”

© ICC-CPI/Aleksandra Milic

© Adam Mørk

PictionID:45822093 - Catalog:14_020160 - Title:Schilling AFB Details: Site 550-10; View of LCC and Silo at Night Date: 10/11/1960 - Filename:14_020160.tif - - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum

permanentlyonvacation.us

by anthony freeman.

Linda Thomas-Greenfield, Permanent Representative of the United States to the United Nations, briefs reporters following the Security Council meeting on the situation in Ukraine.

UN Photo/Eskinder Debebe

17 February 2022

New York, United States of America

Photo # UN7922656

The defunct Cameo Theatre on Broadway. It opened in October 1910 as Clune's Broadway Theatre, one of the first purpose-built 'picture playhouses' in the city, and the oldest surviving movie theatre on Broadway.

The 24-sheet billboard above it probably incorporates part of Clune's original electric rooftop sign, with a working digital clock that advertised 'THE TIME - THE PLACE - CLUNE'S BROADWAY'.

It was also the longest continually operating movie theatre in California, if not the USA. Clune's advertisements promising 'continuous performance' held true until December 1991.

You can see a colour postcard of the original interior halfway down this page.

permanent marker on paper, 10 x 8 inches, hbt20-10, 2020

Originals - Reproductions