View allAll Photos Tagged sobriety
Being in recovery is hard. No matter how much you tell yourself how much of a better of a place you're in, you can't help but fantasize about the place you were at not that long ago. Those gloomy thoughts turns to grief. I start to grieve over breaking up with my addictions and then that leads to guilt. Feeling guilty for wanting to go back to that selfish place, where no matter how bad it was, felt so good.
But after I run through that song and dance, I begin to feel grateful. Grateful for another day I can remember. Another day that I can breathe clean breaths, feel feelings, be a mother, be a wife, be me, and be alive.
So G. G for gloomy grief guilty gratefulness and well...
G'night.
Fidalgo Bay.
Press Release from USCG:
Coast Guard tows grounded vessel, responds to pollution near Anacortes, Washington.
A Coast Guard Station Bellingham 45-foot Response Boat- Medium crew towed and safely moored the fishing vessel Arline at the Cap Sante Marina in Anacortes after receiving a report that vessel was aground in the Swinomish Channel Thursday evening.
A boarding was conducted by the crew of the Coast Guard Cutter Adelie, an 87-foot patrol boat homeported in Port Angeles, Wash., revealing the master and crewman aboard the Arline to be intoxicated and the local police department took the master of the fishing vessel into custody.
Coast Guard Sector Puget Sound watchstanders received a call from the master of the Arline reporting the grounding near Anacortes. The Coast Guard Cutter Adelie was on a routine patrol at the time and was diverted to assist the crew of the grounded vessel.
Upon boarding the vessel, the Adelie crew suspected the master of the vessel was intoxicated and issued a field sobriety and breathalyzer test revealing a blood alcohol content level of .115, well over the legal limit in Washington State.
“Thanks to the crews of both Station Bellingham and the Coast Guard Cutter Adelie for making our local waterways safer,” said Captain Joe Raymond, Commanding Officer of Sector Puget Sound. “Boating while intoxicated is not only a danger to the crew of the vessel being operated, but it is endangers the lives of any boaters in the area.”
After the vessel was moored a light sheen was discovered coming from the Arline. Further inspection revealed a crack in the vessel’s shaft packing causing oily water to be discharged overboard.
Containment boom has been applied around the vessel. A Coast Guard incident management team from Seattle is working with contractors to contain further pollution and develop a possible salvage plan for the vessel.
The Arline is a 50-foot fishing vessel homeported in Seattle and is reportedly carrying up to 150 gallons of diesel aboard. The Coast Guard is investigating the grounding.
This isn't the first time the F/V ARLINE has run aground and a captian was arrested:
From September 5, 2013
British Columbia: American skipper arrested Monday on suspicion of impaired operation of a vessel after his fishing boat ran aground near Kelsey Bay.
The 58-foot American F/V Arline was heading south when it ran aground and the two remaining crew members apparently tried to abandon ship. Conditions may have been foggy at the time. The two remaining crew were safely evacuated and the captain was escorted to Campbell River while Coast Guard towed his boat. Awaiting the captain at the docks in Campbell River were Mounties, Canadian Border Services, Transport Canada, and Fisheries and Oceans Canada. Police arrested the captain on suspicion of impaired operation of a motor vessel and dangerous operation of a motor vessel.
The preserved barge 'Sobriety' heads upstream under the Humber Bridge on the occasion of the Queen's Diamond Jubilee celebrations.
id-iom
Title: Favourite Celebrity Quote no.71
Media: hand cut stencil, spraypaint, marker pen on piece of cardboard
To be used in a street drop
Lorenzo Lippi (1606-1665), active in Florence
Christ and the Samaritan woman, 1644
Lorenzo Lippi - painter, poet, intellectual - in 1643/44 by Claudia de' Medici was called to the Court in Innsbrucki who after the death of her husband, Archduke Leopold V, exercised the Regency in Tyrol until the majority of her son. In addition to numerous portraits, also this scene was created after the Gospel of John (John 4, 1-25) in which the characteristics of Lippi's style - clarity and precision of the drawing, a sobriety immersed in bright light and a sense of decorative detail - become recognizeable in pure form.
Lorenzo Lippi (1606-1665), tätig in Florenz
Christus und die Samariterin, 1644
Lorenzo Lippi - Maler, Dichter, Intellektueller - wurde 1643/44 von Claudia de' Medici, die nach dem Tod ihres Gatten Erzherzog Leopold V. bis zur Volljährigkeit ihres Sohnes die Regentschaft in Tirol ausübte, an den Hof nach Innsbruck berufen. Hier entstand neben zahlreichen Porträts auch diese Szene nach dem Johannesevangelium (Johannes 4, 1-25), in der die Charakteristika von Lippis Stil - Klarheit und Präzision der Zeichnung, eine in helles Licht getauchte Nüchternheit und Sinn für dekorative Details - in reiner Ausprägung erkennbar werden.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
Inspired by the idea of a graffiti self portrait, there are many words and phrases in this piece that help shape the image, and they are not all entirely sincere. Most of my pieces are self-portraits of a sort.
The title for this drawing came to me like a revelation, a revelation aided perhaps by a lack of sobriety. It is also not at all sincere, but seems to me the kind of statement some artists like to make, though maybe not in so many words, about their work. i'm not only against the "artist statement" in general, but i have a kind of loathing for pretense, which seems rampant in the art world. (i don't even like to say "art world," which seems to drip pretense from its very syllables, (which also sounds pretentious.))
i've met many artists with expansive vocabularies and amazing opinions of themselves, a combination i don't enjoy to fraternize with. i enjoy seeing talent, not hearing talents author give himself a hearty pat on the back, and so this piece is filled with thoughts about the act of making art, about the self-aggrandizement that often goes hand in hand with creating something.
(i feel like there should be a much easier way to say all of that. It just didn't come to me. Sorry.) (And i think i'm also starting to sound exactly how i don't want to.)
As for the artist statement, i've heard some fine ones, some that show me how similar i am in many ways to other artists. We all basically want the same thing and have the same thing to say. We want to make work that connects with people, that illustrates the need for change, for social responsibility, peace, love and all that, or simply to remind people of the mystery and beauty and possibility. But if i were to try to give you a statement, it would run on indefinitely, which probably wouldn't surprise you after looking at my Flickr page. i'd just rather talk to someone about how i feel about art or the world or anything, than assume that i can boil down my ideas and feelings and hopes and intentions into a few sentences that don't seem horribly contrived and repetitive and ultimately insulting to your intelligence, and then assume that you have any interest in those ideas and feelings and hopes.
i'm certainly not against others having "a statement;" i know many painfully talented artists who are happy to offer one, and often they are lovely, as beautifully constructed as the art itself. It just doesn't work for me. i tend toward satire and irony when prompted, when asked for something meaningful. It may be that i don't care for that quality in myself, but i need conversation to express how i feel. i want to talk to you, not simply be read by you (which is happening now).
(So no one thinks all this rambling is a some sort of "statement," please know i'm full of shit and have no clue, officially, what it is that i'm talking about.)
Marker on watercolor paper.
May 2006 - 14 x 24
Warning
When I am an old woman I shall wear purple
With a red hat which doesn't go, and doesn't suit me.
And I shall spend my pension on brandy and summer gloves
And satin sandals, and say we've no money for butter.
I shall sit down on the pavement when I'm tired
And gobble up samples in shops and press alarm bells
And run my stick along the public railings
And make up for the sobriety of my youth.
I shall go out in my slippers in the rain
And pick flowers in other people's gardens
And learn to spit.
You can wear terrible shirts and grow more fat
And eat three pounds of sausages at a go
Or only bread and pickle for a week
And hoard pens and pencils and beermats and things in boxes.
But now we must have clothes that keep us dry
And pay our rent and not swear in the street
And set a good example for the children.
We must have friends to dinner and read the papers.
But maybe I ought to practice a little now?
So people who know me are not too shocked and surprised
When suddenly I am old, and start to wear purple.
Jenny Joseph
Texture by Borealnz
Read the tags, too.
Day 28 of Occupy Wall Street - Tom Morello of Rage Against the Machine plays Zuccotti Park. October 13, 2011
.
Good Magazine: The (Un)Official Occupy Wall Street Photographer's 15 Favorite Frames
The Occupy Wall Street Creative Commons Project
Day 1 September 17 Photos - Preoccupation and Occupation Begins
Day 2 September 18 Photos - People settle in; cardboard sign menage begins
Day 3 September 19 Photos - Community forms; protest signs
Day 7 September 23 Photos - First rain, protest signs, life
Day 8 September 24 Photos - Pepper spray day, Zuni Tikka, people
Day 21 October 6 Photos - Naomi Klein
Day 23 October 8 - Faces of OWS
Day 28 October 13 - Tom Morello of RATM
Day 31 - protesting Chihuahua and The Daily Show
Day 36 - Parents and Kids Day and quite a crowd
Day 40 - protesting hotties, Reverend Billy and tents
Day 43 Photos - Snow storm at OWS of the first NYC winter snowfall
Day 47 - Solidarity with Occupy Oakland
Day 52 November 7 - Jonathan Lethem, Lynn Nottage and Jennifer Egan
Day 53 November 8 - David Crosby and Graham Nash play OWS
Day 57 November 12 - Former NJ Gov. Jim McGreevey
Day 60 November 15 - Police evict protesters from Zuccotti
Occupy Colorado Springs Colorado on November 20
Do you want to see the Occupy Wall Street series laid out thematically? Click here
Originally built in 1667, it is the largest temple of Zen Buddhism in Guizhou Province. It features majesty and sobriety. Hongfu means to develop Buddha's spirits and to benefit mankind. Today it is rated as one of the 142 National Key Temple Sscenic Areas as well as the Key Cultural Relic Preservation in Guizhou Province.
'Hongfu' is Chinese for 'good fortune', which is an apt name for the temple considering its history. It was in 1672 when Chisong, a monk during the Ming Dynasty founded the temple. It had very poor beginnings, being little more than a small hut, but Chisong was determined that it should become a revered shrine and through his persistence many local officials gave their support. In time the temple was to become the most important Buddhist temple in the area.
When you visit the temple, on entering the gate, you will first see the Bell Tower and the Drum Tower on both sides. The bronze bell weighs more than 3,000 jin in Chinese measurement (equal to about 3,300 pounds), and was cast in 1469 during the Ming Dynasty (1368-1644).
On entering the first hall named Heavenly King Hall, you can see the carved statues of Maitreya Buddha and the four Heavenly Kings. On its walls there are also steles of sutra and huge paintings. The second main hall is the Bodhisattva Hall dedicated to Skanda Bodhisattva, and Bodhisattva Avalokiteshvara with 32 arms. Inside the third hall named Mahavira Hall there are gilded statues of Sakyamuni, juuhachi rakan (or the 18 arhats), and others. There's also a jade Buddha statue that is from Rangoon, the capital of Burma. It is 1.5 meters (4.92 feet) high and weighs 900 kilograms (1984 pounds). The statue is made out of choice jade and looks beneficent but solemn, and it stands among more than 10 other jade statues of Bodhisattva and Maitreya.
Besides these superb halls, the temple is also adorned with galleries, pools, and springs, which are of high artistic value. In recent years many prominent people have visited the temple and in accordance with Chinese tradition have left poetry in praise of the inspiring architecture and its setting. A stroll through the temple compound will enable you to enjoy its peaceful environment while reflecting upon its splendid past.
Deputies with the Boone County Sheriff get ready for a sobriety checkpoint somewhere in the Show Me State.
1:64 Greenlight Diecast
Hitch & Tow Series 3
Ford Interceptor Utility
DWI Enforcement Trailer
Boone County Sheriff
Missouri
Olympus OM-D E-M5 Mark II
Olympus M.14-42mm F3.5-5.6 II R
For more info about the dioramas, check out the FAQ: 1stPix FAQ
Are you looking for a drug and alcohol treatment center in Charlotte, North Carolina?
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Most of the pieces I've created over the past four years convey my ongoing struggle with alcoholism/addiction and my ambivalence toward sobriety. A main reason I "picked up" during this time period (this piece is from January 2014) was because, after nearly 10 years of self-employment as a writer/editor (a job I absolutely adored and made good money doing), journalistic work was drying up dramatically, and I was losing hours to the point where I was faced with not only losing my apartment but having to consider returning to minimum-wage work. Losing the financial independence I'd worked my ass off to acquire throughout my late 20s and 30s was beyond devastating. Alcohol served almost as a sort of "protection" against this reality, granting me distance from the shock of it (albeit temporarily), and---more significantly---served as a defense against the parts of me that blamed me rather fiercely for my "failures" as an adult and believed I deserved punishment . . .
Originally built in 1667, it is the largest temple of Zen Buddhism in Guizhou Province. It features majesty and sobriety. Hongfu means to develop Buddha's spirits and to benefit mankind. Today it is rated as one of the 142 National Key Temple Sscenic Areas as well as the Key Cultural Relic Preservation in Guizhou Province.
'Hongfu' is Chinese for 'good fortune', which is an apt name for the temple considering its history. It was in 1672 when Chisong, a monk during the Ming Dynasty founded the temple. It had very poor beginnings, being little more than a small hut, but Chisong was determined that it should become a revered shrine and through his persistence many local officials gave their support. In time the temple was to become the most important Buddhist temple in the area.
When you visit the temple, on entering the gate, you will first see the Bell Tower and the Drum Tower on both sides. The bronze bell weighs more than 3,000 jin in Chinese measurement (equal to about 3,300 pounds), and was cast in 1469 during the Ming Dynasty (1368-1644).
On entering the first hall named Heavenly King Hall, you can see the carved statues of Maitreya Buddha and the four Heavenly Kings. On its walls there are also steles of sutra and huge paintings. The second main hall is the Bodhisattva Hall dedicated to Skanda Bodhisattva, and Bodhisattva Avalokiteshvara with 32 arms. Inside the third hall named Mahavira Hall there are gilded statues of Sakyamuni, juuhachi rakan (or the 18 arhats), and others. There's also a jade Buddha statue that is from Rangoon, the capital of Burma. It is 1.5 meters (4.92 feet) high and weighs 900 kilograms (1984 pounds). The statue is made out of choice jade and looks beneficent but solemn, and it stands among more than 10 other jade statues of Bodhisattva and Maitreya.
Besides these superb halls, the temple is also adorned with galleries, pools, and springs, which are of high artistic value. In recent years many prominent people have visited the temple and in accordance with Chinese tradition have left poetry in praise of the inspiring architecture and its setting. A stroll through the temple compound will enable you to enjoy its peaceful environment while reflecting upon its splendid past.
white flour, but bigger holes (those ambient yeasts again.)
'...Count Marco was Old Chronicle. You have to be over 40 to remember Count Marco, and to have grown up in a household where the Chronicle was delivered to the doorstep so that your mother could open the women's pages to Count Marco and begin pounding the table about what an idiot he was. The Chronicle had hired Count Marco in 1959--in real life he was a hairdresser named Marc Spinelli--to assume the voice of a fussy Continental aristocrat in a regular column that railed about "you American women," who Marco liked to complain were fat and whiny and insufficiently attentive to their husbands. ("I'll make a deal with you libido-orationists," read one typical Marco passage. "Do as I suggest and I'll go along with your bleats and pleas, even to the point of encouraging you to strangle femininity to death.") As actual newspaper copy it was ludicrous, but as San Francisco Chronicle material it was choice: arch, silly, flamboyantly uninterested in bourgeois sobriety, and aiming, I'm guessing, for precisely the sort of reaction it elicited from my mother, who loved being infuriated by Count Marco as much as she loved reading George Murphy's front-page stories about the scandal of English muffin redesign. The English muffin stories ran in 1969, when I was a teenager:
"A bakery blasphemy is abroad in San Francisco.
Foster's English Muffins are being sold sliced.
As everyone here knows, English muffins are never touched by a knife.
"You must tear, tear," says the San Franciscan to the benighted visitor.
Actually, the true English muffin devotee first takes the muffin whole and inserts the tines of a fork about the perimeter.
Now, having achieved purchase, he takes thumb and forefinger (there are some two-handed muffin-tearers, but they are in the minority; mostly the one-handed approach is favored) and delicately separates the top from the bottom..."
In a sense the whole paper was written in those days for my parents, who were literate, funny, well-traveled people who had moved to San Francisco because the city--that shorthand, The City, was and has remained the standard terminology around here--seemed to them unlike any other place they had ever been. San Francisco's visual appeal was famous, the crowded wooden-house-covered hills bathed in golden light and ringed on three sides by water, but the geography also helped reinforce a kind of exuberant self-absorption that Scott Newhall, the most famous editor the Chronicle ever had, understood exactly how to exploit. Scott Newhall is part of the reason the Chronicle became so terrible. But Scott Newhall is also part of the reason my parents and a great many people like them took such enormous pleasure in living in San Francisco, and to get this story right--to follow the sorrowful tale right down to the trough-bottom days of "Send it to the Chronicle"--you have to go back about 45 years, when Newhall masterminded the last publicly declared Bay Area Journalism War, which Newhall won, and rather brilliantly, too.
Scott Newhall was named executive editor of the San Francisco Chronicle in 1952, when the paper was running a dismal fourth in circulation behind the Oakland Tribune, the San Francisco News Call Bulletin and the San Francisco Examiner. The News Call Bulletin [we were a News Call family, the afternoon paper my father brought home with him to read in the carpool, except on wednesdays when he drove; the paper vendor sent home a box of turtles, the candy, every christmastime, for me.] and the Examiner were both Hearst papers, but the News Call Bulletin was an afternoon daily; it was the morning Examiner, the flagship paper in the Hearst publishing empire, that Newhall decided to attack head-on. He had been at the paper for 17 years by that time, not counting the stretch in 1936 when Newhall and his wife both quit their jobs, sailed out the Golden Gate on a 42-foot ketch, wrote cartoon-illustrated newspaper dispatches from the Mexican interior ("Horse Gets Colic, Bed Crashes, It Rains"), and finally came home with Newhall so sick from a bone abscess that American doctors amputated his right leg. After a while on crutches Newhall learned how to get around vigorously on a wooden leg, thereby adding to his aura. He was by all accounts an utterly charming and quick-witted man, fiercely opinionated, given to fits of impulse and passionate about the sound of the writing on the pages he edited.
"His idea of a perfect headline on a mysterious murder of three people on Market Street, if that were to happen, would be: A Strange Occurrence at Night," recalls William German, the paper's longtime and now mostly emeritus editor, whose spacious carpeted corner office in the city room still contains a few items of Newhall vintage, like the massive leather-topped desk. "He took the cannon with him when he left," German says. "This guy was a complete wacko. But a very talented wacko. And probably right for the time."
The paper Newhall inherited from his predecessor, a high-minded visionary named Paul Smith, was often described by Smith himself as a West Coast version of the New York Times. It was stodgy, distinguished and dense, and it was losing money. When Smith was relieved of his duties and replaced by the editor who had filed those dispatches from Mexico, the paper began what Newhall would later refer to as "a long trip back up": Newhall wanted the paper read, and read in greater numbers than the San Francisco Examiner, and the come-on he chose was a front page that could not possibly be mistaken, by the time Newhall was finished with it, for any other front page in the United States.
Newhall's Chronicle sent Count Marco, accompanied by a real reporter who did the deadline work incognito from the back of the courtroom, to cover a sensational Los Angeles murder trial. ("Carole has changed the tint of her hair from sun bronze to copper tone. I consider this action an important switch indicating her present state of mind and perhaps her own future.") It ran highbrow limerick clues, most of them composed by Newhall's wife, Ruth, to the Emperor Norton Treasure Hunt, an annual citywide search for a buried $1,000 medallion. It carried a run of hugely displayed stories about a comedy writer's campaign to combat the moral disgrace of rampant animal nudity, illustrating one of the front-pagers with a drawing of suggested undershorts for cows. In 1963 the paper commenced its own civic campaign to improve the quality of San Francisco's coffee, accompanied by a lead editorial titled "Decent Coffee--A Basic Right."
'We have documented the shameful manner in which ignorant, money-grubbing, hole-in-corner restaurateurs of San Francisco crudely ravish this peer among brews. The offensive, long-simmering swill they pump out of their tarnished boilers is a disgrace to the city.'
Easterners casting about for material with which to make fun of the Chronicle always come up with the coffee campaign, but they miss the essence of it: The essence was "swill." What other newspaper would use a word like "swill" to describe bad coffee in a front-page headline? (Just for the record, the famous and often slightly misquoted head was "A Great City's People Forced to Drink Swill." There was also "Coffee Horror," and "The Recipe for Horror"--it was a series, after all--and numerous subheads, like "4 O'Clock Varnish" and "Heady Brew.") The paper managed to be lyric, loopy and unbelievably parochial all at the same time, a great private joke that San Franciscans liked to imagine only we really understood, and although professing outrage about the Chronicle became a popular civic pastime, circulation soared. On the day in 1960 when the Chronicle's circulation made its first official surge past the Examiner's, Newhall walked out of his office, according to the veteran Chronicle reporter David Perlman, and cried, "Well, we've done it." Then Newhall ordered up champagne for the newsroom.
That David Perlman tells this story with such affection--he was there, and got his share of the champagne--is a testament to Newhall's ability to keep some dedicated newspapermen working pretty happily in the midst of the carnival acts. Perlman was then and remains today a nationally admired science writer (he's 80, looks 20 years younger, and has no imminent plans to retire), and when I asked him whether he had minded watching his copy appear alongside pictures of livestock in boxer shorts, he smiled and adamantly shook his head. "Oh, no, it was too much fun," he said. Perlman learned to adapt his leads to the squiggly boxes, as did his junior colleague Charles Petit, who came to the Chronicle in 1972; the squiggly boxes were front-page wavy-line rules that flagged the reader to stories about sex or weird behavior, thus assuring extra attention on the newsracks.
"If you somehow got the word 'bizarre' into your lead, you got a wiggly line," Petit told me. "So I tried to find every way to do it. Science is perfect for that. I could slip the word 'bizarre' into a story about strange bacteria or weird plants or exotic diseases. They're all bizarre."
But by the time Charlie Petit got to the Chronicle the paper had begun its slide into the post-Newhall era, and the joke was wearing thin. Before Petit left the Chronicle in 1997 to join U.S. News & World Report, the paper gave him a framed copy of the front page that ran on the August 1972 day he was hired; as we were talking Petit pulled it from a closet and gazed at it with fond resignation. "Look at this," he said. The lead was an Associated Press story about George McGovern. Lower right, a New York Times story about nuclear strategy; page middle, an AP Vietnam War story; and off-lead on the left, a squiggly box--150 WED AT MARIN RANCH. Illustrated, too: Marin County ranch ladies, in long skirts and bonnets, preparing for their Synanon-arranged group wedding. "The only thing we contributed was a goofball photo of a bunch of people getting married," Petit said glumly. "It's like being the best sitcom on TV. You're not '60 Minutes.' You're not 'Nova.' But damn, you're funny."
The paper still had its strengths. Petit, like Perlman, was a dedicated reporter whose "bizarre" leads usually sat atop serious science and medical stories. The beloved Herb Caen, who had turned three-dot reporting [three-dot reporting...and here i'd thought all this time it was mr. shawn i'd modelled myself on...] into an art form no other newspaper was ever able to match, had defected temporarily to the Examiner but was now back home at the Chronicle, with the little San Francisco skyline logo that always ran above his column head. The Chronicle's columnists and cultural writers were memorable, the sportswriters were very good, and the Two-Handed Muffin-Tearers school of newspaper prose still showed up from time to time to dress up the front page. But even on its best days, the Chronicle was an awfully fast read. "There was substance, but it was irrelevant substance, and it generally went for the gag," Petit reflected. "Serious journalists made fun of it. But readers liked it. It was amusing. It was a diversion from serious matters."
Part of the problem at the Chronicle--the heart of the problem, according to the standard modern-day Chronicle version of events--was the 1964 joint operating agreement that formally ended competition for the San Francisco morning newspaper audience. From January 1965 on, under the terms of the deal signed by the Hearst and Chronicle Publishing companies, a single jointly owned production facility would print, distribute, sell advertising and manage circulation for both the Chronicle and the Examiner. The agreement closed the News Call Bulletin. It declared that the Chronicle would publish as a morning daily, that the Examiner would publish as an afternoon daily, and that on Sundays the joint facility would print a paper called the San Francisco Sunday Examiner & Chronicle, with most of the news sections to be produced by the Examiner. Editorially, the two papers were to function as "separate, distinct and independent newspapers," in the language of the JOA, but their business operation was now to become a single entity, collecting all advertising and subscription revenues and allocating any after-cost profits "to Chronicle and Hearst, in equal shares."
A 50-50 split, in other words--no head-to-head competition, everybody makes money together, and at the end of the day each side gets half the take. The Chronicle-Examiner deal was somewhere around the 20th JOA in American newspapers, according to University of California at Berkeley law professor Stephen R. Barnett, who has written extensively about joint operating agreements, and opinions around here vary as to which entity was ultimately worst served by the terms of San Francisco's: the Examiner newsroom, suddenly stuck with the shrinking audience for afternoon papers; the Chronicle newsroom, stripped of any real competition and forced to watch half of every profit dollar tossed over the wall to the other guys; or the reading public, its one morning daily gradually losing interest in itself as the jolly war years gave way to something darker and more tedious.'
... when we landed up six months later in denver, i was asked, as a late-arriving junior in their high school, to write up the instructions for something as an exercise in an english class. it was practice for declarative writing in preparation for some now-ubiquitous standardized test of which i'd never heard, and ultimately never took. and so, for my maiden effort, i wrote how to brew the perfect pot of tea with all the style to which i had been accustomed, and which you can now see outlined above. not only was the teacher not impressed, he read it aloud to the entire unknown, now never-to-be-known, class, not neglecting to inflict, and inflect, every conceivable sneer, the fuck. i spent the next 18 months ashamed of myself for not dropping out of high school and finally ended up in a breakdown of the nervous variety, until i could get home, where home was gone. that was the first time i left; why was there a second? oh yeah. the Great Migration. [...]
©AVucha 2015
A Woodstock Police Sergeant conducted field sobriety tests on a male motorcyclist after he rear-ended another motorist around 1:30am on May 16th. After failing the sobriety tests the motorcyclists was subsequently arrested and charged with driving under the influence.
Woodstock, Illinois
This photograph is being made available only for personal use printing by the subject(s) of the photograph. The photograph may not be manipulated in any way and may not be used in commercial material, advertisements, emails, products, promotions without the expressed consent of Alex Vucha.
If life’s dear to you – don’t let the deer fail! Jelen Beer Sobriety Test App
When drunk, one’s hands precision and reaction time lessen, and one cannot drive straight and stay on the road. We created a mobile app for Jelen Beer, which tests your sobriety by testing your ability to keep the deer (Jelen beer’s famous logo) on the winding road for 25 seconds. If you fail to pass the sobriety test, your mobile’s GPS will automatically find all available taxi companies near you and call a taxi to take you home safely
Agency: Leo Burnett Belgrade
Brand: Jelen Beer, Apatinska Pivara Apatin a Molson Coors Company
Awards: FORFEST Montenegro 2012 - First Prize in Banners, Offsite Advertising, Interactive Tools Digital, mobile applications
See the case study at vimeo.com/lab604/jelen-pivo-app
If life’s dear to you – don’t let the deer fail! Jelen Beer Sobriety Test App
When drunk, one’s hands precision and reaction time lessen, and one cannot drive straight and stay on the road. We created a mobile app for Jelen Beer, which tests your sobriety by testing your ability to keep the deer (Jelen beer’s famous logo) on the winding road for 25 seconds. If you fail to pass the sobriety test, your mobile’s GPS will automatically find all available taxi companies near you and call a taxi to take you home safely
Agency: Leo Burnett Belgrade
Brand: Jelen Beer, Apatinska Pivara Apatin a Molson Coors Company
Awards: FORFEST Montenegro 2012 - First Prize in Banners, Offsite Advertising, Interactive Tools Digital, mobile applications
See the case study at vimeo.com/lab604/jelen-pivo-app
If life’s dear to you – don’t let the deer fail! Jelen Beer Sobriety Test App
When drunk, one’s hands precision and reaction time lessen, and one cannot drive straight and stay on the road. We created a mobile app for Jelen Beer, which tests your sobriety by testing your ability to keep the deer (Jelen beer’s famous logo) on the winding road for 25 seconds. If you fail to pass the sobriety test, your mobile’s GPS will automatically find all available taxi companies near you and call a taxi to take you home safely
Agency: Leo Burnett Belgrade
Brand: Jelen Beer, Apatinska Pivara Apatin a Molson Coors Company
Awards: FORFEST Montenegro 2012 - First Prize in Banners, Offsite Advertising, Interactive Tools Digital, mobile applications
See the case study at vimeo.com/lab604/jelen-pivo-app
We're back at the Monaco Ballroom on Friday December 12th for the final show of 2008!! Make sure you make it to see how the year's feuds end at this season ending super show - GPW: "Christmas Crunch"
We promise we wont crunch your credit.... we'll only crunch your Christmas!!
GPW Heavyweight Title Match
Bubblegum © vs. Dirk Feelgood
Just a few months ago you'd be forgiven for taking a double take at this match. The friendship between the two former friends totally imploded with the desire to become Heavyweight champion. Refusing to accept the demise of his friendship with Dirk Feelgood, Bubblegum spent months in turmoil not wanting to retaliate to the cutting comments and brutal attacks levelled his way by former friend and champion Feelgood. As time went by however, Bubblegum eventually unloaded on Feelgood but this will be the first time the two have ever come face to face in a one on one match. And to make things just a little more interesting... it's for the GPW Heavyweight Title. Can the fairytale championship reign continue for Bubblegum, or can Dirk shatter his dreams and become the first ever 2 time Heavyweight Champ?
Tag Team Special, Skeletor vs. Stella
Lethal Dose vs. Voodoo & "Sober" Mike Holmes
Alan Alan Alan Tasker's henchmen, Lethal Dose march into battle against former stable member Mike Holmes and the man they hold responsible for Holmes' new found sobriety - Voodoo. Cyanide and Toxic hope to tempt Holmes back over to the stable that two months ago he turned his back on. They want to snap him out of the spell they accuse Voodoo of putting him under. However, Holmes seems very happy with his new outlook on life and he and Voodoo look to send Lethal Dose packing in this tag team special. Lethal Dose have warned they will not be coming to the ring alone though, with them along with their attorney and law - Alan Alan Alan Tasker will be a 12 pack of Stella. Hoping the case of beer will prove to be a bigger demon to Holmes than the tag team itself. To fend off the 12 pack, Holmes and Voodoo will have Vooodoo's trusty skull, Skeletor in their corner. An unpredictable tag team match. Can MIke Holmes stay sober? Will Voodoo's spells work? Or will Lethal Dose deliver a beating big enough to break Voodoo's spell?
GPW British Title Match
Jak Dominotrescu vs. "Super" Sam Bailey
After pinning the British Champion last month in a tag team match, WKD's "Super" Sam Bailey has earned himself a title shot at GPW: "Christmas Crunch". Bailey, already a former tag team champion looks to add to his growing reputation by capturing his first ever singles gold in GPW. While reigning champion, Romanian Jak Domitrescu along with his cohorts - The Eastern Bloc look to make life as difficult as possible for the energetic live wire. Domitrescu has held onto the title since April this year with help from his fellow countrymen, but are his days numbered as champ? He surely wont be alone in this title outing and will have the Eastern Bloc close by, but can "Super" Sam Bailey overcome the odds to win his first singles gold in GPW?
And, the main event for the evening is...
GPW Tag Team Title 2/3 Falls Match
MIl-Anfield Connection © vs. Young Offenders
The heat just got turned up in this feud. The re-united Young Offenders have the most established tag team in GPW - The Mil-Anfield Connection firmly in their sights and not to mention the tag team trophy. These two teams met in September this year where there was no clear winner decided after the match ended in a draw. There will be NO excuses this time to not find a winner. This, for the first time in our history will be a 2/3 Falls Match for the tag team titles. A winner HAS to be decided, but who will it be? A truley epic encounter is in our midst as Jiggy Walker & "The Model" Danny Hope try to cling onto the championship that has defined them as a team and "Dangerous" Damon Leigh & Joey Hayes, The Young Offenders chase the title that one of the most popular tag teams in Europe have never held. Can the re-united friends overcome the well established unit that is The Mil-Anfield Connection? Or can the well oiled duo of the Mil-Anfield do what they've been doing all year and win again?
GPW British Title No.1 Contenders Match
Harry Doogle vs. Juice vs. Dylan Roberts vs. Chris Echo
After an eye catchingly good year from rookie Dylan Roberts, he has been included in this battle to earn a shot at the British Title. With a burning desire to win and the fans firmly behind him, Roberts could well mark his arrival onto the main roster by becoming the No.1 Contender and going for gold here. However, his opponents wont give him an easy ride. In a wonderful CC-08 tournament, no one impressed more than WKD's Chris Echo. Echo reached the CC-08 finals with two broken wrists and proved he is ready to take a step up. His previous attempts for British gold have been thwarted by the foreign legion numbers of the Eastern Bloc, is he ready to prove again that he is worthy of being No.1 Contender and finally lift the British title? Juice, the current CC8 champion has been as impressive as ever in singles competition this year, but can he compete in this match with 3 others all vying to be No.1 Contender? Also replacing Jervis Cottonbelly due to injury is Harry Doogle as a last minute entry could one half of the next gen score the upset win? , but with so many possible outcomes who will leave with the plaudits and go on to challenge for the British Title next year?
Lumberjack Match
Si Valour vs. Heresy
A violent and personal feud that has lasted all year long finally comes to a head in what promises to be a violent Lumberjack Match. Ever since brutalising Valour and cutting off all his hair, Heresy has, in some form or other dodged the challenge of Valour. Heresy claimed not to have lost his bottle or be running scared of the 2007 Break Out Star, yet during their Bull Rope clash at GPW: "V" where the two were tied to one another, Heresy still managed to find a way of escaping and creating distance between him and Valour. This time, in a special Lumberjack Match, no matter where either man go - there will be no escape. All lumberjacks will be at the ready to ensure neither man can escape the others clutches and a clear winner, one way or the other will HAVE to be decided. There will be nowhere to run to and nowhere to hide, no matter where they look. Heresy has been one step ahead of Valour all year, is this where he runs out of excuses, or can the master manipulator manipulate another win?
Seen from Brough Haven, the Humber Keel "Sobriety" chugs along a misty and placid Humber on 5th September 2013.
She was built in 1910 at Beverley and is preserved at the Yorkshire Waterways Museum in Goole.
Canon EOS 450D f/10 1300th/sec iso 200
Department of the Air Force Police and 66th Security Forces Squadron personnel held a field sobriety class at Hanscom Air Force Base, Mass., March 10. A detection training class was held prior to evaluating volunteer drinkers (U.S. Air Force photo by Todd Maki)
CMU Police Officer David Coffman gives a student driver a sobriety test during a traffic stop Wednesday night on West Campus Drive. The student was arrested after failing the test. CMU Police had four cars out on the road to handle St. Patrick's day complaints.
for cm-life
DUI traffic stop- was arrested and they did find a open bottle in the vehicle
Was an interesting place to take pictures - the only light was that from the lights off the officers cars
We're back at the Monaco Ballroom on Friday December 12th for the final show of 2008!! Make sure you make it to see how the year's feuds end at this season ending super show - GPW: "Christmas Crunch"
We promise we wont crunch your credit.... we'll only crunch your Christmas!!
GPW Heavyweight Title Match
Bubblegum © vs. Dirk Feelgood
Just a few months ago you'd be forgiven for taking a double take at this match. The friendship between the two former friends totally imploded with the desire to become Heavyweight champion. Refusing to accept the demise of his friendship with Dirk Feelgood, Bubblegum spent months in turmoil not wanting to retaliate to the cutting comments and brutal attacks levelled his way by former friend and champion Feelgood. As time went by however, Bubblegum eventually unloaded on Feelgood but this will be the first time the two have ever come face to face in a one on one match. And to make things just a little more interesting... it's for the GPW Heavyweight Title. Can the fairytale championship reign continue for Bubblegum, or can Dirk shatter his dreams and become the first ever 2 time Heavyweight Champ?
Tag Team Special, Skeletor vs. Stella
Lethal Dose vs. Voodoo & "Sober" Mike Holmes
Alan Alan Alan Tasker's henchmen, Lethal Dose march into battle against former stable member Mike Holmes and the man they hold responsible for Holmes' new found sobriety - Voodoo. Cyanide and Toxic hope to tempt Holmes back over to the stable that two months ago he turned his back on. They want to snap him out of the spell they accuse Voodoo of putting him under. However, Holmes seems very happy with his new outlook on life and he and Voodoo look to send Lethal Dose packing in this tag team special. Lethal Dose have warned they will not be coming to the ring alone though, with them along with their attorney and law - Alan Alan Alan Tasker will be a 12 pack of Stella. Hoping the case of beer will prove to be a bigger demon to Holmes than the tag team itself. To fend off the 12 pack, Holmes and Voodoo will have Vooodoo's trusty skull, Skeletor in their corner. An unpredictable tag team match. Can MIke Holmes stay sober? Will Voodoo's spells work? Or will Lethal Dose deliver a beating big enough to break Voodoo's spell?
GPW British Title Match
Jak Dominotrescu vs. "Super" Sam Bailey
After pinning the British Champion last month in a tag team match, WKD's "Super" Sam Bailey has earned himself a title shot at GPW: "Christmas Crunch". Bailey, already a former tag team champion looks to add to his growing reputation by capturing his first ever singles gold in GPW. While reigning champion, Romanian Jak Domitrescu along with his cohorts - The Eastern Bloc look to make life as difficult as possible for the energetic live wire. Domitrescu has held onto the title since April this year with help from his fellow countrymen, but are his days numbered as champ? He surely wont be alone in this title outing and will have the Eastern Bloc close by, but can "Super" Sam Bailey overcome the odds to win his first singles gold in GPW?
And, the main event for the evening is...
GPW Tag Team Title 2/3 Falls Match
MIl-Anfield Connection © vs. Young Offenders
The heat just got turned up in this feud. The re-united Young Offenders have the most established tag team in GPW - The Mil-Anfield Connection firmly in their sights and not to mention the tag team trophy. These two teams met in September this year where there was no clear winner decided after the match ended in a draw. There will be NO excuses this time to not find a winner. This, for the first time in our history will be a 2/3 Falls Match for the tag team titles. A winner HAS to be decided, but who will it be? A truley epic encounter is in our midst as Jiggy Walker & "The Model" Danny Hope try to cling onto the championship that has defined them as a team and "Dangerous" Damon Leigh & Joey Hayes, The Young Offenders chase the title that one of the most popular tag teams in Europe have never held. Can the re-united friends overcome the well established unit that is The Mil-Anfield Connection? Or can the well oiled duo of the Mil-Anfield do what they've been doing all year and win again?
GPW British Title No.1 Contenders Match
Harry Doogle vs. Juice vs. Dylan Roberts vs. Chris Echo
After an eye catchingly good year from rookie Dylan Roberts, he has been included in this battle to earn a shot at the British Title. With a burning desire to win and the fans firmly behind him, Roberts could well mark his arrival onto the main roster by becoming the No.1 Contender and going for gold here. However, his opponents wont give him an easy ride. In a wonderful CC-08 tournament, no one impressed more than WKD's Chris Echo. Echo reached the CC-08 finals with two broken wrists and proved he is ready to take a step up. His previous attempts for British gold have been thwarted by the foreign legion numbers of the Eastern Bloc, is he ready to prove again that he is worthy of being No.1 Contender and finally lift the British title? Juice, the current CC8 champion has been as impressive as ever in singles competition this year, but can he compete in this match with 3 others all vying to be No.1 Contender? Also replacing Jervis Cottonbelly due to injury is Harry Doogle as a last minute entry could one half of the next gen score the upset win? , but with so many possible outcomes who will leave with the plaudits and go on to challenge for the British Title next year?
Lumberjack Match
Si Valour vs. Heresy
A violent and personal feud that has lasted all year long finally comes to a head in what promises to be a violent Lumberjack Match. Ever since brutalising Valour and cutting off all his hair, Heresy has, in some form or other dodged the challenge of Valour. Heresy claimed not to have lost his bottle or be running scared of the 2007 Break Out Star, yet during their Bull Rope clash at GPW: "V" where the two were tied to one another, Heresy still managed to find a way of escaping and creating distance between him and Valour. This time, in a special Lumberjack Match, no matter where either man go - there will be no escape. All lumberjacks will be at the ready to ensure neither man can escape the others clutches and a clear winner, one way or the other will HAVE to be decided. There will be nowhere to run to and nowhere to hide, no matter where they look. Heresy has been one step ahead of Valour all year, is this where he runs out of excuses, or can the master manipulator manipulate another win?
The day (break) after the Heineken Sensation Party. The day before the General Election.
Nightmare.
The alcohol ban starts in, bugger. The alcohol ban started 8 minutes ago.
Or is it 6pm?
Big questions for a big day.
Is Bangkok safe?
- - - - -
Police Prepare For Election Day Expat Sobriety Riots
Bangkok’s Alcoholic Farang Population “Unpredictable”
notthenation.com/2011/06/police-prepare-for-election-day-...
BANGKOK - Thailand’s police have called up all reserve staff for a full show of force ahead of this weekend’s election, as a precaution against unrest and violence from angry, sober alcoholic expatriates during the ban on alcohol sales.
The ban, in accordance with national election law, prohibits retail alcohol sales at stores, bars and restaurants from 6pm Saturday to midnight Sunday. The 36-hour period is traditionally a high-risk period in areas with high concentrations of expats, such as Sukhumvit Road in Bangkok and large swaths of Pattaya.
“Due to the importance of this election, we are taking no chances with expatriate sobriety-related violence,” said a stern National Police Chief Police General Wichean Potphosri. He justified the deployment of over 20,000 additional security officers nationwide as a necessary precaution against “deranged, sober foreigners.”
Additionally, numerous bars and nightlife areas in Bangkok and other cities will be shut down altogether to avoid gatherings of large numbers of non-drunken expats. Wichean has launched a PR campaign encouraging them to stay home on Saturday night “for once.”
Although large-scale rioting by un-intoxicated foreigners is rare, many previous Thai elections have seen small outbreaks of civil unrest, usually by expats who were unaware of the election at all and who reacted badly to being told that they can’t have a drink at their favorite establishment.
“For many of these men, 36 hours without a drink and the company of a rented Asian female represents something unacceptable, terrifying even,” said Noppawan Rangkulan, sociology professor at Thammasat University. “Sobering up means becoming momentarily aware of their graying bodies and emotionally hollow lives. What we think of as an alcohol-free night represents an existential crisis for them.”
Noppawon claims this “sobriety shock” is an actual medical pathology and recommends that hospitals offer free alcohol IV drips during the election weekend.
“Most expats are perfectly reasonable people,” she said. “The few deranged ones that end up yelling at waitresses at Irish pubs, they just need help.”
But according to Election Commission member Prapun Naigowit, much of the problem simply stems from a lack of communication. “Many expats are so isolated from the realities of the country they live in that something as major as an election can slip under their radar,” he explained. “Those who prepare ahead of time can easily get through the weekend by having a case of beer and a few DVDs ready at home.”
The EC has launched an educational campaign by posting messages on Thaivisa.com, reminding expatriates of the alcohol ban and suggesting that they host ‘Election Parties’ in their apartments.
Major grocery chains such as Tops have also joined in the campaign, touting 12-packs of Chang and Singha at their outlets with offers of free coolers as part of their “Stay Home, Stay Wasted” promotion.
Although the EC is confident in their campaign, Noppawan still thinks that planning ahead simply goes against the mentality of the alcoholic in general, and the alcoholic expat in particular.
“The people likely to cause a stir on election day can’t think three hours ahead, much less plan for a weekend,” she said. “You might as well ask your dog to feed himself while you’re on vacation.”
If life’s dear to you – don’t let the deer fail! Jelen Beer Sobriety Test App
When drunk, one’s hands precision and reaction time lessen, and one cannot drive straight and stay on the road. We created a mobile app for Jelen Beer, which tests your sobriety by testing your ability to keep the deer (Jelen beer’s famous logo) on the winding road for 25 seconds. If you fail to pass the sobriety test, your mobile’s GPS will automatically find all available taxi companies near you and call a taxi to take you home safely
Agency: Leo Burnett Belgrade
Brand: Jelen Beer, Apatinska Pivara Apatin a Molson Coors Company
Awards: FORFEST Montenegro 2012 - First Prize in Banners, Offsite Advertising, Interactive Tools Digital, mobile applications
See the case study at vimeo.com/lab604/jelen-pivo-app
Officer J. Burns from the Rohnert Park Public Safety Department was the first policeman that I had contact with during my drive through of the Memorial Day Weekend Sobriety Checkpoint.
If life’s dear to you – don’t let the deer fail! Jelen Beer Sobriety Test App
When drunk, one’s hands precision and reaction time lessen, and one cannot drive straight and stay on the road. We created a mobile app for Jelen Beer, which tests your sobriety by testing your ability to keep the deer (Jelen beer’s famous logo) on the winding road for 25 seconds. If you fail to pass the sobriety test, your mobile’s GPS will automatically find all available taxi companies near you and call a taxi to take you home safely
Agency: Leo Burnett Belgrade
Brand: Jelen Beer, Apatinska Pivara Apatin a Molson Coors Company
Awards: FORFEST Montenegro 2012 - First Prize in Banners, Offsite Advertising, Interactive Tools Digital, mobile applications
See the case study at vimeo.com/lab604/jelen-pivo-app
Maria Theresa as a Widow, 1773
Maron depicts the empress in the widow's weeds that she always wore after the death of Emperor Francis Stephen in 1765. Her only jewellery is the cross of the Order of the Starry Cross. She is allegorically enhanced of the personification of "peace through strength" in the background. The only coloured accent ist the "Transylvanien" carpet at her feet. The portrait differs from the resplendent courtly portraits of the previous period in its sobriety and lack of decoration.
Anton von Maron (1731-1808)
Marie-Thérèse de veuve, 1733
Maron représente l'impératrice dans ses habits de veuve, qu'elle portait toujours après la mort de Franz Stephan en 1765. Allégoriquement surmonté par la personnification de la «paix par la fermeté", est son seul bijou la croix de l'Ordre de la Croix-étoilée. La seule note de couleur est le "tapis de Transylvanie" à ses pieds. Le portrait se distingue par son manque d'effort décoratif, sa sobriété des portraits voyantes de l'époque précédente.
Anton von Maron (1731-1808)
María Teresa de viuda, 1733
Maron represente la emperatriz en traje de viuda, que ella siempre llevaba tras la muerte de Francisco Esteban en 1765. Alegóricamente superado por la personificación de la "paz mediante la fuerza", su única joya es la cruz de la Orden de la Cruz Estrellada. El único acento de color es la "alfombra de Transilvania" a sus pies. El retrato se distingue por su falta de esfuerzo decorativo, su sobriedad de los retratos llamativos de la época anterior.
Anton von Maron (1731-1808)
Maria Theresia als Witwe, 1733
Maron stellt die Kaiserin in Witwentracht vor, die sie seit dem Tod Franz Stephans 1765 immer trug. Allegorisch durch die Personifikation des "Friedens durch Festigkeit" überhöht, ist ihr einziger Schmuck das Kreuz des Sternkreuzordens. Einziger farbiger Akzent ist der "Siebenbürgerteppich" zu ihren Füßen. Das Bildnis unterscheidet sich durch seinen Mangel an dekorativem Aufwand, seine Nüchternheit von den prunkenden Porträts der vorangehenden Zeit.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
If life’s dear to you – don’t let the deer fail! Jelen Beer Sobriety Test App
When drunk, one’s hands precision and reaction time lessen, and one cannot drive straight and stay on the road. We created a mobile app for Jelen Beer, which tests your sobriety by testing your ability to keep the deer (Jelen beer’s famous logo) on the winding road for 25 seconds. If you fail to pass the sobriety test, your mobile’s GPS will automatically find all available taxi companies near you and call a taxi to take you home safely
Agency: Leo Burnett Belgrade
Brand: Jelen Beer, Apatinska Pivara Apatin a Molson Coors Company
Awards: FORFEST Montenegro 2012 - First Prize in Banners, Offsite Advertising, Interactive Tools Digital, mobile applications
See the case study at vimeo.com/lab604/jelen-pivo-app
Due to my sobriety and contacts in AA. I was able to rent this apartment in Key West when I moved back from Denver in January 2008 for just $620 per month including all Bills :-) In return for cheap rent I collected rent from 8 others in same complex each Saturday morning. It was a lovely place to live for 20 months cheaply
I don't say "Cheese" when i take pictorial portraits of people so i don't appreciate the "Cheesy"critiques.
If life’s dear to you – don’t let the deer fail! Jelen Beer Sobriety Test App
When drunk, one’s hands precision and reaction time lessen, and one cannot drive straight and stay on the road. We created a mobile app for Jelen Beer, which tests your sobriety by testing your ability to keep the deer (Jelen beer’s famous logo) on the winding road for 25 seconds. If you fail to pass the sobriety test, your mobile’s GPS will automatically find all available taxi companies near you and call a taxi to take you home safely
Agency: Leo Burnett Belgrade
Brand: Jelen Beer, Apatinska Pivara Apatin a Molson Coors Company
Awards: FORFEST Montenegro 2012 - First Prize in Banners, Offsite Advertising, Interactive Tools Digital, mobile applications
See the case study at vimeo.com/lab604/jelen-pivo-app