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Balcony in the old Paramount Theater … the seats downstairs were removed when the place was made into a nightclub and these upstairs are dusted with plaster crumbs. Hopefully that ceiling doesn’t go through another New England winter without some attention.
The Athena statue was constructed from 1982 to 1990, Designed by Alan LeQuire
The Athena statue was constructed from 1982 to 1990, Designed by Alan LeQuire
The Parthenon, a full-scale replica of the one in Athens, Greece, was built largely out of plaster as a temporary exhibit building (the Nashville pavilion of the 1897 Centennial Exposition). It was saved from demolition by public sentiment and the nickles and dimes of school children and tourists, thus preserving this symbol of Nashville as the "Athens of the South". In the 1920s the temporary plaster building was replaced with a permanent, concrete and steel incarnation, which remains today. It functions primarily as an art gallery and houses a statue of Pallas Athena, said to be the largest indoor sculpture in the Western world, which was commissioned by the city and created by the renowned Nashville sculptor Alan LeQuire. Owing to the completeness and the multiple color surface painting (called polychrome), this replica is arguably closer to what the Athenians saw than are the current ruin
NRHP Reference#:72001236
Woodchester Mansion is an unfinished, Gothic revival mansion house. It is on the site of an earlier house known as Spring Park. The mansion is a Grade I listed building.
The mansion was abandoned by its builders in the middle of construction, leaving behind a building that appears complete from the outside, but with floors, plaster and whole rooms missing inside. It has remained in this state since the mid-1870s.
The mansion's creator William Leigh bought the Woodchester Park estate for £100,000 in 1854, demolishing the existing house, which had been home to the Ducie family.
A colony of approximately 200 greater horseshoe bats reside within the attic of the mansion, and have been studied continuously since the mid-1950s.
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I cut my drawing finger quite badly today, which is annoying especially seeing as it was on a pack of painkillers. Oh the irony.
My compulsive need to deface things made me draw a sad face on it
MEG 159 235 (90 80 2159 235-1 D-ELP) + Knauf zug/Knauf train (plaster empties/Gips Leerfahrt) # 99646 Würzburg Zell >>> Merseburg.
A first attempt at using oil-based relief printing inks to print onto plaster.
Read more on this blog>
bella4370.wixsite.com/artspace/single-post/2018/01/21/Pla...
Inside an empty 200 year old house in Scott county KY. Taken on Lomo 800 film in a Voigtlander Bessa L with 15mm lens
Prints available at zacharymassengill.smugmug.com
A few signs caught my eye the first morning we chased the northbound turn and I didn’t think too much of them until later that morning when a pair of US Navy F/A-18Fs buzzed us while practicing low level flights on the range. Afterward, every time we’d pass one, I wanted to get a shot with the passing train, and then I finally got my chance. While heading north to chase the first morning run, I convinced Ian to stop as the train approached and got my shot. In hindsight, I should’ve gone wide but that’ll be my motivation to get trackside.
These bees were plaster mouldings on the ceiling in one of the rooms in the Abbey. They were quite small and there were lots of them. Great place to visit.
Marquette Rail's inbound Z151 waits for a signal into CSX's Wyoming yard at the Plaster Creek interlocking. Leading a pair of orange SD40-2s is NREX #5418, a former North Shore Mining SD40-2 that MQT had leased for a little over a year along with a former UP unit.
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A last minute decision to check on Q329's status led me to make a quick route change and head to Plaster Creek to catch Q329 climbing the small hill with SD40-2 8138 leading the way in some fresh snow. CSX's Wyoming yard lays behind me and the crew is almost home after a round trip to Detroit.
Plaster model of the angel which in the future will serve as a model for the angel to Catherine's Church dome.
Jean-Baptiste Carpeaux, Why Born Enslaved!, 1868, plaster with patina, 13 3/4 × 9 1/4 × 7 in.
An African woman turns her head defiantly upward in a sculpture defined by its dramatic shapes and silhouettes. Jean-Baptiste Carpeaux created this work twenty years after France abolished slavery in 1848, and only three years after emancipation in the United States in 1865. This bust was meant to appeal to the antislavery views of a progressive white audience. However, the sculpture also objectifies the Black female body with her bound bare breasts that symbolize both liberty and colonial fantasy. This plaster is one of a few sculptures he modelled after this now-unknown woman.
This woman was also the model for the allegorical figure of Africa on a large fountain representing the four continents that Carpeaux designed for a park in Paris. This plaster is one of the independent sculptures he made based on that figure.
(Brooklyn Museum)
This photograph was taken at the "Monet to Matisse: French Moderns, 1850-1950" exhibition at the Birmingham Museum of Art.
Antonello da Messina (Antonio di Giovanni de Antonio - Messina, 1430 - Messina, February 1479) - Portrait Trivulzio (1476) oil on walnut panel - Size 37.4 × 29.5 cm - Palazzo Madama Civic museum of ancient art, Turin
Mostra Antonello da Messina Palazzo Reale di Milano.
Exhibition Antonello da Messina Royal Palace of Milan.
Antonello, dopo aver osservato con attenzione la tecnica dei pittori fiamminghi, la imita elaborando una peculiare stesura a olio e miscele con tempera all'uovo, così da ridurre i tempi di essicazione degli strati e suggerendo con estrema maestria, più che dettagliarla, la verità dei particolari .
Sceglie come supporti sempre tavole ed è uno dei pochi pittori a impiegare non solo legni di pioppo ma anche di tiglio, noce o alberi da frutto, preparate a gesso e perferramente lisciate. I supporti dei piccoli formati sono spesso tandardizzati, con un rapporto fisso tra altezza e larghezza (4:3)
Antonello, takes inspiration from Flemish painters, whose style he closely observed imitating it. He helaborated a personal technique of a coating mixture of oil painting and tempera adding egg to make the colours dry faster.
An important part of Antonello's art involves his attention to details. He skilfully paints them to achieve autenticity rather then extensiveness.
He prefers panel painting and is one of the few painters to use limewood, walnut, fruit trees, beyond the mor common polpars wood, prepared with plaster and smoothed all over. The supports of small sizes are often standardized, with a fixed ratio between height and width (4: 3)
it.wikipedia.org/wiki/Ritratto_Trivulzio
en.wikipedia.org/wiki/Male_portraits_by_Antonello_da_Mess...(Turin)