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Seemingly endless rows of C-130 Hercules transport aircraft, from many nations, lies sitting in the desert, essentially as parts for operational aircraft. A triumph of engineering and manufacturing, or an astounding misuse of resources -- or both?
This seemingly big fellow is a sucker for a caress, and I never fail to pet him whenever it's nearby. When these pictures were taken, I had to share my time with the rooster and Willie, the Vietnamese hog, that kept pestering me for a scratching.
A seemingly mundane photograph that contains two items of some local interest in Leigh-On-Sea. The pedestrian footbridge which has been declared as not being disabled friendly has been the subject of some discussion on whether it should stay or be demolished. And to the left of the bridge is Kent Elms Heath Centre which apparently is in some form of special measures following Care Quality Commission ( CQC ) reports. A doctors surgery in Westcliff-On-Sea that received similar unfavourable reports has closed within the last few days.
I actually took this photograph some time ago thinking that the bridge was going to be demolished when the Kent Elms Corner Junction modifications started, but it has survived.
Seemingly unrelated, the sextant, earthquakes, and port gave rise to what we now know as Portugal. In short, the invention of the sextant jump started the “age of discovery” and Portugal’s conquest of Brasil, Spain, Madagascar, Macau and others. Barrels of wine enticed sailors to endure the stench of life abroad. To keep the wine from fermenting into vinegar, brandy and cherries were added and thereby unwittingly creating port. England’s thirst literally fortified Portugal’s economy in the 18th century.
From the 2000 flamingos that winter in the Rio Formosa to the Moorish, Romans and Celtic, Portugal has a history of migrations.
This history is what shapes Portugal’s architecture, language and cuisine abound. For example, centuries of Roman influence account for the number of words that begin with “Al”, the word Arabic sounds like “a rabbit”.
In the Algarve Moorish mosques became Catholic monasteries and are now train depots, police stations, and other public facilities. Castles of various dictators are tourists attractions.
The Lackawanna Valley, c. 1856
George Inness
West Building, Main Floor — Gallery 64
The Lackawanna Valley in northeastern Pennsylvania was home to the Lenni-Lenape peoples for centuries before the arrival of Europeans.
The word Lackawanna comes from a Lenape term meaning “stream that forks,” which describes the Lackawanna River. The dark, jagged tree stumps in this image by George Inness reveal that the area, once densely wooded, was cleared to make way for industry. He painted this for the Delaware, Lackawanna and Western Railroad Company to advertise a rail network that would link Pennsylvania coal mines with new markets.
Inness shows the train moving across a new bridge and track through a landscape altered by development. In contrast, works by Hudson River School artists celebrate seemingly unspoiled American wilderness.
We look across and down into a valley with a person sitting near a tall tree and a train puffing smoke beyond, all enclosed by a band of mountains in the distance in this horizontal landscape painting. Closest to us, several broken, jagged tree stumps are spaced across the painting’s width. A little distance away and to our left, the person wears a yellow, broad-brimmed hat, red vest, and gray pants. He reclines propped on his left elbow near a walking path beside a tall, slender tree with golden leaves. The green meadow stretching in front of him is dotted with tree stumps cut close to the ground. Beyond the meadow, puffs of white smoke trail behind a long steam locomotive that crosses a bridge spanning a tree-filled ravine, headed to our left. The ravine creates a diagonal line across the canvas, moving subtly away from us to our left. The train has climbed out of the valley, away from a cluster of brick-red buildings. The most prominent structure is a train roundhouse, a large building with a high, domed roof to the right of the tracks. Smoke rises from chimneys on long, warehouse-like buildings, and a steeple and smaller structures suggest a church and homes to our left. Hazy in the distance, a row of mountains lines the horizon, which comes about halfway up the composition. The sky above deepens from pale, shell pink over the mountains to watery, pale blue above. The artist signed the work in tiny letters in the lower left corner: “G. Inness.”
Rather than celebrating nature in the tradition of the Hudson River School, George Inness' Lackawanna Valley seems to commemorate the onset of America's industrial age. While documenting the achievements of the Delaware, Lackawanna, and Western Railroad, Inness has also created a topographically convincing view of Scranton, Pennsylvania. The artist took relatively few liberties with his composition, but in compliance with the wishes of his corporate patron, he intentionally exaggerated the prominence of the railroad's yet-to-be-completed roundhouse. His inclusion of numerous tree stumps in the picture's foreground, although accurate, lends an important note of ambiguity to the work.
Whether it is read as an enthusiastic affirmation of technology or as a belated lament for a rapidly vanishing wilderness, this painting exemplifies a crucial philosophical dilemma that confronted many Americans in the 1850s; expansion inevitably necessitated the widespread destruction of unspoiled nature, itself a still-powerful symbol of the nation's greatness. Although it was initially commissioned as an homage to the machine, Inness' Lackawanna Valley nevertheless serves as a poignant pictorial reminder of the ephemeral nature of the American Dream.
More information on this painting can be found in the Gallery publication American Paintings of the Nineteenth Century, Part I, pages 350-354, which is available as a free PDF.
Born in Newburgh, New York, in 1825, George Inness was raised in New York City and Newark, New Jersey. His early life was disrupted by severe illness, and he had as a result little formal academic or artistic education. In Newark, he studied with the itinerant painter John Jesse Barker, and in New York, probably in 1843, with the French-born landscape painter, Régis François Gignoux. Inness visited Italy in 1850. In 1853 he visited France, where he studied French Barbizon landscape painting, admiring especially the work of the most radical of the Barbizon artists, Théodore Rousseau. This was, in the influence on his style, the most decisive experience of Inness' artistic life. In the early 1860s Inness moved from New York to Medfield, Massachusetts. In 1864, he moved to Eagleswood, New Jersey. At Eagleswood he was introduced to the teaching of Emanuel Swedenborg. It became his religious faith, and determined, too, the increasingly allusive, expressive, and almost mystical character of his later art.
Inness lived in Italy from 1870 to 1874 and in France briefly in 1875, when he returned to America. In 1876 he settled in Montclair, New Jersey. He lived in Montclair for the rest of his life, but traveled widely, often for the sake of his health, to Niagara Falls, Virginia, California, and Tarpon Springs, Florida.
He died on a trip to Scotland in 1894.
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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Last weekend there were seemingly hundreds of scooters out and about. There must have been an event or something.
These were seen at the Division Street Fair down near Genie's.
As is becoming common for me, I manipulated these using the Gimp (Open Source software). Several layers were used, curves were deployed, tints applied, etc, etc, etc.
The ruins of ancient Lycia are seemingly everywhere. For reasons unknown, perhaps isolation, recycling of the building stone was minimal compared to other regions. Lycia combines huge possibilities to study both ancient history as well as rich biodiversity.
For any form of publication, please include the link to this page: www.grida.no/resources/4279
This photo has been graciously provided to be used in the GRID-Arendal resources library by: Peter Prokosch
Through (seemingly identical, emphasis on the word "seemingly") swirls and twirls; and dark intriguing hues interspersed with flashes of light, I've attempted to portray an unparalleled look at a strange and mysterious world which has now almost vanished.
Gemstones used are Ceylonese Moonstone Ovals, Rare Green Sunstone Briolettes, Red Coral, Sky Blue Topaz Briolettes and buttery smooth Polished Rounds of Topaz as well as Blue Labradorite.
The interior is a delight, seemingly unrestored, long and low with a plastered ceiling to the nave, a strange almost featureless chancel arch and a fine C15 panelled wagon roof to the chancel having carved wall plates with fleurons, ribs and bosses (although most of these restored). The clue was the small windows at the west end of the nave for a west gallery, although the present one seems to be more of a reinstatement of what was once here rather than original C17 work which the listing information says (and Pevsner offers early C19). It is accessed by a pull down ladder on small wheels, and you can closely inspect the Royal Arms dated 1792. Much of the woodwork is C17, there is extra seating available by pulling out sliding benches. Painted texts on the wall too, including one "The aged women...... shall teach the young women to be sober, to be chaste, keepers at home, to love their husbands." The north transept is subdivided and has a glazed screen to the two sections beyond (locked). The only jarring features, clearly seen in my view, the electronic sixties/seventies-styled organ behind the C13 font and the prominently displayed fire extinguisher! The village stocks are preserved in the porch, presumably for among others those young women who did not heed the advice inside!
This seemingly random grouping showcases my first piece of Pyrex bakeware purchased (the baking pan), a miniature pie plate that I purchased at a garage sale, and the well-and-tree that is tinted a bit blue.
I suppose it represents the different ages of the development of Pyrex.
The man buried here seemingly was with the police or military. The statue has a uniform including sunglasses and a cell phone.
Kachon village cemetery. This destination is mentioned in various guidebooks but the villagers we met were not being to friendly and I tend to think that visiting cemeteries of most other indigenous villages in Cambodia is not encouraged by the community and would be very insensitive.
The Tompuon inter their dead in the jungle less than a hundred yards from the village in small pavilions guarded by carved, life-sized wooden figures representing the people buried there, usually a husband and wife. The figures and pavilions are often decorated with objects that reveal something about the deceased – drums for a musician, a figure wearing glasses, and in one case, an electric fan, a curious artifact in a community where the only electricity is provided by car batteries recharged every few days by a diesel-powered generator. When a lengthy period of mourning is complete villagers hold a big celebration and add two wooden likenesses to the structures.
After visiting this cemetery the local tribesmen told us we were not supposed to go there and they were pointing at a sign saying we should pay a fine of 50 usd. They also said that one of us would die the same day for bothering the deceased. There was quite a bit of a tension. We were only the two of us. We tried to tell them we didnt understand Khmer. We were also upset because they saw us enter the cemetery but didnt tell us anything first. Finally we gave them five dollars. Luckily there was a Japanese man around who spoke the local language and helped us out in the end.
Seemingly incongruous in the centre of Dallas, a log cabin is attributed to the city's founder John Neely Bryan. The cabin has been in several locations before this. The accompanying plaque is very interesting.
Log Cabin
Seemingly unrelated, the sextant, earthquakes, and port gave rise to what we now know as Portugal. In short, the invention of the sextant jump started the “age of discovery” and Portugal’s conquest of Brasil, Spain, Madagascar, Macau and others. Barrels of wine enticed sailors to endure the stench of life abroad. To keep the wine from fermenting into vinegar, brandy and cherries were added and thereby unwittingly creating port. England’s thirst literally fortified Portugal’s economy in the 18th century.
From the 2000 flamingos that winter in the Rio Formosa to the Moorish, Romans and Celtic, Portugal has a history of migrations.
This history is what shapes Portugal’s architecture, language and cuisine abound. For example, centuries of Roman influence account for the number of words that begin with “Al”, the word Arabic sounds like “a rabbit”.
In the Algarve Moorish mosques became Catholic monasteries and are now train depots, police stations, and other public facilities. Castles of various dictators are tourists attractions.
Seemingly unimportant outbuildings and shacks contribute greatly to the historic urban fabric of Butte. They are so undervalued.
2013, Etching on Velin Arches 300gsm paper.
Edition Size: 12
Editions Available: 7
25.5cm x 37cm
Roohi Shafiq Ahmed
Seemingly unrelated, the sextant, earthquakes, and port gave rise to what we now know as Portugal. In short, the invention of the sextant jump started the “age of discovery” and Portugal’s conquest of Brasil, Spain, Madagascar, Macau and others. Barrels of wine enticed sailors to endure the stench of life abroad. To keep the wine from fermenting into vinegar, brandy and cherries were added and thereby unwittingly creating port. England’s thirst literally fortified Portugal’s economy in the 18th century.
From the 2000 flamingos that winter in the Rio Formosa to the Moorish, Romans and Celtic, Portugal has a history of migrations.
This history is what shapes Portugal’s architecture, language and cuisine abound. For example, centuries of Roman influence account for the number of words that begin with “Al”, the word Arabic sounds like “a rabbit”.
In the Algarve Moorish mosques became Catholic monasteries and are now train depots, police stations, and other public facilities. Castles of various dictators are tourists attractions.
Seemingly boring shot, which I like very much actually... for the line of benches is intended to point at the girl, impatiently waiting for her lover, under the snowfall. - in Lundagård.
Seemingly breathtaking in person as the gentle rolling fog engulfs a Northern California mountain just as it has for millions of years.
It was a privilege today to be able to capture and share this phenomenon in this photo.
Seemingly enjoying SoCal's warm winter sun.
February 2016
Malibu Lagoon, Santa Monica Mountains National Recreation Area, CA
Seemingly that's what you say when the ball hits the wickets like this...I've never really watched the game much before. Whatever about the sport on view, it was another amazing afternoon spent in the grounds of the Pavillion, Trinity College Dublin. Larger on Black
After seemingly weeks of dry cold sunny weather, the last couple of days have been rather cloudy with a light fall of snow. Very light snow/rain showers fell during the afternoon. A dull day brightened by these Crocus. They made a public appearance late in January! To fill in the shadows I used a Nikon R1 flash system.
I loved these seemingly simple images that yet open up such depths into the book of Matthew, with Christ as King of the Jews (1) to King of Kings (2) to King of Heaven (3)... How delicious it felt to sit in that open air Church for the 1st time, brought by friends of contacts of friends (and a kind taxi driver!), surrounded by new faces from seemingly all nations, young & old, enjoying His word, singing Andy Flannagan's "Here I stand in an unfamiliar land"...and knowing wherever or however far we may be or feel, in Him, we have home...
After a seemingly dull first 2 photos of this train I was determined to get something in sun. so I headed back across to the cotswolds to capture the light engine. 56103 passes upper moor working 0Z56 Long Marston to Chaddesden 15/05/2020
Ever since I knew meadowlarks existed, I've never been able to capture one in a decent picture, but I knew that it would happen eventually. Things like this just take hard work, persistence, and time. He only let me get this one shot off before he flew. I am so thankful that this guy was feeling a little lazy. Eastern Meadowlark. Parke Couny, IN
Seemingly, this is Beallara Eurostar (Tahoma Glacier x Oncidium schroederianum). If anybody has different information about this hybrid, please let me know.
Seemingly growing out of the rock.
You could Google William Ricketts if you would like to know more.
This seemingly dull brown tiny bird changes completely in colours when the sunrays can find it: Bright red and gold flash up in amazing brilliance.
This seemingly vacant house, on the market since at least 2007, stands amid a large congregation of mansions on Grymes Hill. We're looking at it from behind, where a Serpentine Commons trail passes by its backyard on the way out to Howard Avenue.
Seemingly frozen mid-hop, this fossil of a juvenile Leptictidium was unearthed in Germany's Messel Pit in September 2008. The animal, whose scientific name means "graceful weasel," was a small, carnivorous mammal with a long nose similar to that of an elephant shrew, researchers say.
news.nationalgeographic.com/news/2009/08/photogalleries/n...