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This cottage dates from the 17th and 18th centuries, with transformations in the 19th century. It is built in half-timbering with colored bricks and a plaster fill between the wooden frame.
It is covered with a thatched roof.
Ce cottage date des XVIIe et XVIIIe siècles, avec des transformations au 19ème siècle. Il est construit en colombages avec des briques colorées et un remplissage de plâtre entre l'armature de bois.
Il est couvert d'un toit de chaume.
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.
Y106 is about to knock down the restricting signal at Plaster Creek as the conductor comes out to say hello.
Interested in purchasing a high-quality digital download of this photo, suitable for printing and framing? Let me know and I will add it to my Etsy Shop, MittenRailandMarine! Follow this link to see what images are currently listed for sale: www.etsy.com/shop/MittenRailandMarine
If you are interested in specific locomotives, trains, or freighters, please contact me. I have been photographing trains and ships for over 15 years and have accumulated an extensive library!
I love how they decorate plaster here. Neoclassical House of the Emir of Bukhara (1914) in Saint Petersburg.
Some plaster that's seen newer days. Shot at Balboa Park in San Diego, CA. It's got a "vintage Nine Inch Nails album" vibe which pleases me.
Herwig Todts, curator of modern art of the Royal Museum of Fine Arts in Antwerp, says about this sculpture: “The nymph is a fragment of one of the very first ambitious sculptures that Rik Wouters created. It is also one of his first nudes. It ties in with the 19th century academic tradition in which a classic theme, such as nymphs, is used to justify the portrayal of a nude.”
Rik Wouters (1882-1916), The Nymph (1905), plaster (unfinished).
Day off on Thursday. No real chance of sun but with Mrs. B. otherwise engaged and not much else going on I decided to pop out and get the gypsum empties as all the ins and outs at the Kirkby Thore works are slated for Class 60 operation during the leaf fall season and I didn't know when I'd have another chance.
Eddie and I had put this working on our "to do" list during his stay but it was caped, as it was for the majority of that week.
I knew it would be a runner as the loaded train runs overnight and RTT confirmed we were go whilst TOPS indicated the presence of 60059 at the plant.
With a lack of sun it was necessary to create some sort of impact so a return visit to Appleby was made to compress things up a bit with a few props.
The train was heading for Tees Dock.
La Plaza de San Nicolás es uno de los lugares de interés turístico más importantes de Plasencia, pues alberga numerosos edificios interesantes como la Iglesia de San Nicolás de la que recibe el nombre y el Palacio de Mirabel.
Desde la Plaza Mayor se llega por la calle de la Rúa Zapatería y desde las Catedrales por la calle de La Blanca caminando entre 150 y 200 metros en ambos casos.
Plaza de San Nicolás en Plasencia (minube.com)
The San Nicolás Square is one of the most important tourist attractions in Plasencia, as it houses many interesting buildings such as the Church of San Nicolás from which it is named and the Mirabel Palace.
From the Main Square, you can get there by Rúa Zapatería street and from the Cathedrals by La Blanca street, walking between 150 and 200 meters in both cases.
La Iglesia de San Nicolás fue construida en el siglo XIII y es una de las primeras iglesias de la ciudad.
Destaca además de su factura tardo-románica o proto-gótica la belleza de sus retablos interiores, así como la lucerna que hay en la nave del evangelio (la de la izquierda según se mira al altar mayor). La iglesia ha sufrido numerosas restauraciones a lo largo de los siglos.
Su aspecto actual es gótico debido a la última restauración del siglo XV. También pueden verse importantes daños en su fachada sur. Donde se encuentra el rosetón, puede verse una gran grieta, provocada por el terremoto de Lisboa, así como lo sellos de yeso que se utilizan para comprobar si dicha grieta se agranda y hace peligrar estructuralmente la iglesia o no.
En el interior se diferencian tres naves, donde destacan las capillas de enterramientos de Fernando de Loaisa de mediados del s. XVI (lado de la Epístola), con bóveda de crucería estrellada y retablo sobre tabla de la Asunción de la Virgen, de 1561, de los artistas flamencos Juan de Flores y Jorge de la Rúa. La capilla del obispo de Coria, Pedro de Carvajal Girón, cubierta con cúpula elíptica de principios del siglo XVII y estatua orante del prelado realizada por el escultor portugués Andrés Francisco, natural de Entremoz.
La parroquia de San Nicolás de Bari tiene elementos románicos muy importantes, como las dos portadas y el campanario y una preciosa pila bautismal románica en su interior.
El Fuero de la ciudad fijaba la portada norte como lugar para resolver los pleitos y juicios entre judíos, árabes y cristianos.
Es visitable durante todo el año y sobre todo son destacadas los segundos domingos de mes las eucaristías cofrades.
Iglesia de San Nicolas de Plasencia - Plasencia Turismo
Multa de 1.600 euros por pintadas en la muralla y una iglesia - Noticias Plasencia - El Periódico Extremadura (elperiodicoextremadura.com)
The Church of San Nicolás was built in the 13th century and is one of the first churches in the city.
In addition to its late-Romanesque or proto-Gothic style, the beauty of its interior altarpieces stands out, as well as the skylight in the Gospel nave (the one on the left as you look at the main altar). The church has undergone numerous restorations over the centuries.
Its current appearance is Gothic due to the last restoration of the 15th century. Important damage can also be seen on its south facade. Where the rose window is located, you can see a large crack, caused by the Lisbon earthquake, as well as the plaster seals that are used to check if this crack is enlarged and structurally endangers the church or not.
Inside there are three naves, where the burial chapels of Fernando de Loaisa from the middle of the s. XVI (Epistle side), with a star-shaped rib vault and a tabletop altarpiece of the Assumption of the Virgin, from 1561, by the flamenco artists Juan de Flores and Jorge de la Rúa. The chapel of the bishop of Coria, Pedro de Carvajal Girón, covered with an elliptical dome from the early seventeenth century and a praying statue of the prelate made by the Portuguese sculptor Andrés Francisco, a native of Entremoz.
The parish of San Nicolás de Bari has very important Romanesque elements, such as the two façades and the bell tower and a beautiful Romanesque baptismal font inside.
The Jurisdiction of the city established the north portal as a place to resolve lawsuits and trials between Jews, Arabs and Christians.
It can be visited throughout the year and, especially on the second Sundays of the month, the brotherhood Eucharists are highlighted.
MLW DL535E diesel. 3-foot-gauge. Three of four Bombardier DL535E units built in July 1982 for the White Pass & Yukon as Nos. 111-114. They never operated except in tests at the builder's plant. They were stored at Bombardier for a time, then moved to Soulanges Industries Ltd., Les Cedres, Quebec. WP&Y Nos. 112 and 113 were sold to USG in January 1991. The 113 was wrecked December 1992. The 111 was purchased February 1993 as a replacement; in service March 8, 1993.
D701 rolls into the Plaster Creek interlocking at the east end of Wyoming yard, passing the now severed spur into Alro Steel. Union Pacific GEs, an AC6000 and an AC4400 respectively, do the honors on this day.
Interested in purchasing a high-quality digital download of this photo, suitable for printing and framing? Let me know and I will add it to my Etsy Shop, MittenRailandMarine! Follow this link to see what images are currently listed for sale: www.etsy.com/shop/MittenRailandMarine
If you are interested in specific locomotives, trains, or freighters, please contact me. I have been photographing trains and ships for over 15 years and have accumulated an extensive library!
Walter Hancock created the iconic memorial at 30th Street Station in Philadelphia to commemorate the roughly 1300 employees of the Pennsylvania Railroad who gave their lives during World War II. This plaster model is 1/3 the size of the final memorial.
This plaster model is viewable at the Museum of Fine Arts in Boston.
Prints and greeting cards available at Fine Art America.
I don't know the artist, and I can't decipher his signature (left, behind the neck of the profile). Spotted this striking portrait on a backstreet wall in downtown Mulhouse, Alsace FR. In my album: Dan's Fantastic Faces.
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.