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Evidently there is a UK law where you MUST get your statements sent to you. Even if you don't want them and you're happy to look at them online like I am.
View across an autumnal Princess Street Gardens to the Bank of Scotland Headquarters. Originally designed by Richard Crichton and Robert Reid, 1801-6 it was largely remodelled and enlarged by David Bryce, 1863 in a Roman Baroque style. Bryce added the wings and the linking entrance extension. He replaced the simple saucer dome on cylindrical drum with a Roman Baroque dome. Part of the basement has been arranged as a museum.
You have to admire a job that allows you to make a bumble-bee/owl (a bumblowl?) fly around a mural merely by waving your finger... all while drinking beer.
This is an elaboration on my actionscript webcam motion detection experiments, built as an installation for the Inverge party hosted by North. The idea was to take motion detection and combine it with art in the form of digital drawing and 2d space in the form of a wall mural. The concept is to allow human interaction to affect physical space, freeing oneself from all traditional user interface. The application works by constantly monitoring a webcam, taking snapshots of each frame every millisecond. The pixels in the current frame are compared to pixels in the previous. The difference in brightness within each section determines whether or not motion had occurred in this area of the screen. If motion is detected the coordinates of a rectangular grid around said motion is recorded and the owl is ordered to go to that point. The line drawings begin and follow the owl recording a 'flight path'. A mask is drawn to prevent the owl and its drawing trail from going in front of some of the trees giving the mural a sense of dimension.
Thanks to the great Eric Natzke for the drawing inspiration and open source, and NORTH for being forward thinking enough to encourage digital experimentation.
To try a version of the experiment for yourself, go here: AS3 Motion Detection Drawing Installation. [webcam a must, obv]
Westfalia unveils new mission statement:
Our Mission... To deliver unparalleled warehousing solutions by earning the trust of our customers, understanding their business needs and honoring the commitments we make.
© Westfalia Technologies Inc. 2013
Luxurious Statement Fashion Jewelry Set By CULTE DE PARIS / Proudly Made In The US - $24 each or 2 for $40
On Monday, 9 May 2022 at 9:30 (Hague time), the Defence in the case of The Prosecutor v. Al Hassan Ag Abdoul Aziz Ag Mohamed Ag Mahmoud made its opening statement before Trial Chamber X of the International Criminal Court (ICC). Mr Al Hassan is represented by Lead Counsel Melinda Taylor and Associate Counsel Michiel Pestman. The statement was made in open session.
Lúa Coderch’s intervention for the "Composiciones" programme brings a mysterious and improbable apparition to life in the home of the Club de Billar Barcelona. Beneath the Teatre Coliseum in Gran Vía there is a rainbow. Coderch guides sunlight and a spectrum of colours down into the underground gaming space with a series of precisely positioned mirrors and prisms, as if evoking the mechanics, geometry and artistry involved in billiards. Accompanying the rainbow is a turntable and a transparent vinyl record that can be used to play an audio recording of a female voice. This voice narrates and interprets what can be seen in front of us, and the process that led to its appearance. The title of her intervention, “The Rainbow Statement” (2016), refers to one of the verbal tricks used by fortune-tellers and clairvoyants in ‘cold reading’ an individual’s life or personality. Suggestively nebulous assertions maximize the chance of apparently specific and meaningful paranormal insights hitting the mark. “The Rainbow Statement” is either an experiment of the imagination or a phenomenon of optical science with which Coderch seems to have invented a form of psychic meteorology, or spectral physics. – Latitudes
Lúa Coderch (Iquitos, Perú, 1982) obtained an MA in Artistic Production and Research (2012) and a degree in Fine Arts at the Universidad de Barcelona (2010). Amongst her individual exhibitions are: ‘Night in a Remote Cabin Lit By a Kerosene Lamp’, Galería Àngels Barcelona (2015); ‘Or’, Fundació Suñol, Barcelona (2014–2015); ‘La parte que falta’, Galería Bacelos, Madrid (2014); ‘La muntanya màgica’, Espai 13, Fundació Joan Miró, Barcelona (2013–14). She has participated in the following group shows: ‘¿Por qué no lo llamas entropía?’, Edición 0 Encuentro de Cultura Contemporánea de Guadalajara, México (2015); ‘The World of Interiors’, The Green Parrot, Barcelona (2014), ‘El futuro no espera’, La Capella, BCN Producció (2014).
Coderch is represented by galería Bacelos (Madrid/Vigo) and àngels barcelona.
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“The Rainbow Statement” (2016) was commissioned for the second edition of the Barcelona Gallery Weekend as part of the “Composiciones” commissions programme.
Curated by Latitudes for the second time (see 2015 edition), "Composiciones" project further explores Barcelona as a rich fabric of the historic and the contemporary, the unfamiliar and the conspicuous. Resisting an overall theme, and instead developing from the artists’ responses to the specificity of each context—people as well as places—the five art projects form a temporary thread that links evocative locations and public space, running parallel to the Weekend’s exhibitions in galleries and museums.
In its second edition, "Composiciones" presents interventions by Lúa Coderch (Club Billar Barcelona); Regina Giménez (Antigua Fábrica de Can Trinxet, L’Hospitalet de Llobregat); Lola Lasurt (Biblioteca Pública Arús); Robert Llimós (connecting all the participating galleries) and Wilfredo Prieto (Unitat Muntada de la Guàrdia Urbana de Barcelona). Their projects offer moments of intermission, intimacy and bewilderment throughout the weekend, highlighting some lesser-known aspects of the city’s cultural heritage and municipal life.
Conceived and curated by Latitudes | www.lttds.org
Photo: Roberto Ruiz / Courtesy: Barcelona Gallery Weekend.
Info: www.lttds.org/projects/composiciones2016/
Social media documentation: storify.com/lttds/composiciones-five-commissions-curated-...
Media statement from Lock the Gate Alliance:
Queensland farmers and Senators visit Sydney to hold Tony Abbott to CSG promise
Two Queensland women have travelled to Sydney and joined forces with Queensland Senators Glenn Lazarus and Larissa Waters to deliver a petition to the Prime Minister’s Manly electorate office today asking him to deliver coal seam gas protections promised when he first took office.
The Prime Minister visited Tara in southern Queensland in November 2013 and promised Tara resident Debbie Orr that never again would a gas well be built so close to residential areas and that “nobody should be forced to have a gas well on their property.”
More than a year later, there is still no right for landholders to refuse gas wells on their property, there are gas wells being drilled near homes in Gloucester, and there are no routine health impact assessments of coal seam gas projects.
More than 9,000 people have signed a petition to Mr Abbott asking him to deliver on his promise and give landholders the right to say no to coal seam gas, introduce mandatory setbacks from homes and health impact assessments for unconventional gas.
Senators Lazarus has delivered the petition to Mr Abbott’s electorate office in Manly with Queensland farmer Shay Dougall and mother of eleven, Narelle Nothdurft along with Camden mother, Danielle Hodges.
Shay’s community at Hopeland are surrounded by gasfields, and have recently declared themselves “gasfield free” by direct community democracy.
Mrs Dougall said, “We up in Queensland know the worst of what coal seam gas can do. My community has declared itself gasfield free, and we think our Governments should respect that, and give us the right to say “no” to unconventional gas wells.”
Mrs Hodges said, “Camden is one of the State’s important residential growth areas, but we have an operating gasfield very close to homes and it is making our children sick, just as it does in Queensland. We want the Prime Minister to deliver his promise and make sure gas wells stay away from our kids, and that proper health assessments are done.”
Lock the Gate National Coordinator, Phil Laird, said, “People from around the country are facing the same challenges and the same lack of basic rights and protections. The Prime Minister took the trouble to visit Tara, but 9,000 people have signed this statement asking him to walk the walk and deliver on his promises.”
“We’re grateful to Senators Lazarus and Waters and to Shay and Narelle for travelling to Sydney to deliver this petition. If we work together across the country, we can stop this dangerous industry from damaging our land and water – and that’s what we plan to do.”
Statement by H.E. Ambassador Venu Rajamony, Permanent Representative of the Republic of India to the OPCW at the 24th Session of the Conference of States Parties to the Chemical Weapons Convention.
The Conference is held at the World Forum, The Hague, the Netherlands, from 25-29 November 2019.
[image: Inline image 1][image: Inline image 2]The Southern Appalachian
Mountain Stewards (SAMS) took a moment tonight to honor our waters,
standing on a foot bridge over the Powell River, in the town of Appalachia,
Virginia.
As we took a moment of silence, and listened to the flowing waters of the
Powell River below, snow falling on bare tree branches, we were struck by
how precious and life-giving water is. It is more fundamental to life than
electricity, education or even money. Without clean water to drink, we are
all in danger.
We stand in solidarity with our friends in West Virginia, calling for an
end to the West Virginia Water Crisis. As citizens of the coalfields, the
members of SAMS recognize how threatened our water is by careless industry,
and lackluster regulatory oversight. We call on everyone to honor our
waters, and to take action to protect them.
Policy Statements ITU PP-18
H.E. Mr Anour Maarouf, Minister of Communication Technologies and Digital Economy, Tunisia
©ITU/R.Maniego
Dr. Robert Nasi, Director General of Center for International Forestry Reasearch (CIFOR), delivery speech during 3rd Asia-Pacific Rainforest Summit in Yogyakarta on April 23, 2018 in Indonesia.
Photo by Ulet Ifansasti/CIFOR
More information on the 3rd Asia-Pacific Rainforest Summit, please visit cifor.org/aprs
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
This replaces a composite photo that appeared yesterday but was deleted as it is a breach of the rules.
It's almost another 100% thrifted outfit: the skirt, top & fake gold necklaces were all bought from The Wayside Chapel Shoppe. The bangles are from 'Diva', my favourite wild animal print leggings from Target & red tap shoes from a ballet shop.
wall covered with posters of candidates for a local election - afternoon - Bagong Silang, Manila, The Philippines
Left to right: Antony J. Blinken (US Secretary of State) with NATO Secretary General Jens Stoltenberg
Wondering where to get an effectively crafted sample nursing personal statement? Check the following link and learn how to get into your dream nursing program using professional writing assistance of top-notch admission experts at www.nursingpersonalstatement.com/sample-nursing-personal-...
The vibrant colors of spring are a fashion statement in this original notecard I created. Silhouettes of runway models show off some of the eccentric designer patterns for 2012! Florals pop off the page for that unexpected twist. Now available in my online boutique.
Statement by Mr Kwamena Essilfie Quaison, Deputy Director of Environment, Ministry of Environment, Science, Technology and Innovation at the 24th Session of the Conference of States Parties to the Chemical Weapons Convention.
The Conference is held at the World Forum, The Hague, the Netherlands, from 25-29 November 2019.
File name: 08_02_005466
Box label: Boston public schools: Volume: Claywork, 1892: Photographs by A. H. Folsom
Title: Clay work from the kindergarten.
Alternative title:
Creator/Contributor: Folsom, Augustine H. (photographer)
Date issued:
Date created: 1892
Physical description: 1 photographic print ; 8 x 9 1/2 in.
Genre: Photographic prints
Subjects: Public schools; Modeling (Sculpture)
Notes: Title from volume plate listing.; Date from item, from additional material accompanying item, or from information provided by the Boston Public Library.
Provenance:
Statement of responsibility: A. H. Folsom, photographer, 48 Alleghany St. Roxbury
Source: Boston public schools. Photographs XV. Claywork. 1892
Location: Boston Public Library, Print Department
Rights: Rights status not evaluated.
Image available for purchase from www.ballaratheritage.com.au
Victorian Heritage Register information
Statement of Significance
What is significant?
The Tower Hill State Game Reserve is an area of approximately 6.2 sq km, 3 km inland from the coast between Warrnambool and Port Fairy managed by Parks Victoria since 1997. The Reserve consists of a volcanic crater of nested maar type bounded by the encircling crater rim that forms a highly visible landmark in the surrounding plain. The crater, filled by a lake and series of islands, themselves volcanic cones, was formed at least 30,000 years ago when a hot rising basaltic magma came into contact with the subterranean water table. The violent explosion that followed created the funnel-shaped crater (later filled by a lake) and the islands. Artefacts found in the volcanic ash layers show that Aboriginal people were living in the area at the time of the eruption. The Warrnambool area was a rich source of foods for the Koroitgundidj people, whose descendants retain special links with this country.
The first confirmed European sighting of Tower Hill crater was by French explorers sailing with Captain Baudin aboard the Geographe in 1802 who named the crater 'Peak of Reconnaissance'. Throughout the 19th century sailors used Tower Hill as a landmark for entering the harbours of Port Fairy (Belfast) and Warrnambool. The name Tower Hill came into common usage in the 1840s. The crater formation, noted by early European settlers for the beauty of its vegetation was memorialised in the landscape painting of Eugene von Guerard in 1855.
By the late 1850s substantial amounts of forest had been cleared in and around the crater. In 1866 when the crater and inner rim were temporarily reserved for public recreation, the Acclimatisation Society of Victoria was appointed the Committee of Management (1866-1869). The Society had formed in 1861 with the aim of introducing exotic plants and animals to suitable parts of the colony and accordingly introduced goats, pheasants and rabbits to Tower Hill. In 1873 the area was permanently reserved for public purposes and in 1892 in an attempt to halt the environmental damage to the crater Tower Hill Reserve became the first National Park to be declared in Victoria. It remained under the control of Koroit Council which permitted clearing of native vegetation, grazing and the quarrying of scoria to continue. By the 1930s the landscape was bare and little wildlife remained.
In the mid-20th century lobbying by the local community concerned about environmental degradation at Tower Hill along with general recognition of the declining numbers of game birds in Victoria led to the crater being declared a State Game Reserve in 1961, one of a number established across the State at this time as wildlife refuges. The contained nature of the crater site meant it could be readily adapted to a scientifically designed habitat management program.
In 1962 Robin Boyd was commissioned to design a Natural History Centre on the main island at Tower Hill, completed in 1969. This early example of an interpretive centre was to provide the public with information about the restoration of the Tower Hill environment and the wildlife and habitats of the State's Reserves and to be a centre of study for wildlife management. Boyd, a hero of the conservation movement, designed a simple stone circular structure with sloping roof mirroring the volcanic island hilltops, sitting in harmony with the landscape. The circular glazed pavilion is a timber construction with a cill height stone skirt and wide eaves. At the centre of the open internal space is a central hollow stone column which supports the roof and is crowned by a skylight reminiscent of the core of the volcano that gave rise to the landscape. Laminated timber rafters, arranged radially, span from the hollow stone core to the outer ring of window and project to form deep eaves.
As early as 1958 local community groups established experimental plots of native trees at Tower Hill. Following designation as a State Game Reserve serious efforts began to replicate the original vegetation using von Guerard's (1855) painting as a guide to replanting using botanists to identify the plant species. By 1981 school children,, naturalists and other volunteers had planted 250 000 trees and shrubs at Tower Hill and removed non-native species and weeds and feral animals. Native animal species including koalas, wombats, emus and echidnas have also been successfully reintroduced to Tower Hill through reinstatement of habitat. The replanting program was the first of its kind in Victoria and provided a model for the national Landcare movement, established in Victoria in the 1980s.
How is it significant?
Tower Hill State Game Reserve is of aesthetic, historic, scientific, social and architectural significance to the State of Victoria
Why is it significant?
Tower Hill State Game Reserve is of aesthetic significance, being an inspirational landscape, recognised for the beauty and uniqueness of its geological form and natural vegetation from first European exploration and settlement of the region.
Tower Hill State Game Reserve is a cultural landscape of historical significance in reflecting more than a century of changing attitudes to landscape in its evolving status and the character of its environment.
Tower Hill State Game Reserve is of historical significance as an iconic and inspirational landscape, noted for its geological form and the beauty of its natural vegetation from first European exploration and settlement of the region, memorialised in Eugene von Guerard's 1855 painting of Tower Hill crater and island. It was this iconic beauty that environmentalists sought to reinstate through their replanting of native vegetation, the species having initially been identified initially from the detail of von Guerard's painting.
Tower Hill State Game Reserve is of historical significance as the earliest and an outstanding example of community programs to reinstate native vegetation and re-create native habitat on cleared and degraded land. Skills developed in the course of this work, and subsequently applied in other parts of the country include an understanding of the importance of using species indigenous to the local area, requirements for re-introduction of native fauna, and awareness of the need for re-establishment of understorey species.
Tower Hill State Game Reserve is of social significance for the ongoing role of the local community and community groups in the reinstatement of natural habitats in the Reserve.
Tower Hill State Game Reserve is of scientific (geological) significance as an example of a nested maar, a specific type of volcanic crater that formed at least 30 000 years ago when hot rising basaltic magma came into contact with the subterranean water table resulting in a series of phreatic explosions that created the funnel-shaped crater (later filled by a lake) coupled with late stage scoria cone development of the islands seen today.
Chairperson's Statement on the BRICS Foreign Ministers Meeting held on 24 March 2014 in The Hague, Netherlands
Minister Maite Nkoana-Mashabane convened a BRICS Foreign/International Relations Ministers’ meeting on Monday, 24 March 2014 on the margins of the Nuclear Security Summit in The Hague, Netherlands. The meeting was attended by Minister Sergey Lavrov of the Russian Federation, Minister Salman Khurshid of the Republic of India, Minister Wang Yi of the People’s Republic of China and Ambassador Carlos Antonio Paranhos, Under-Secretary General for Political Affairs of the Federative Republic of Brazil.
The Ministers recalled the outcome of the Sanya Declaration adopted at the 3rd BRICS Summit held in China, in April 2011, which articulated the fundamental principles that brought the BRICS countries together, namely:
"the overarching objective and strong-shared desire for peace, security, development and cooperation that brought together BRICS countries with the total population of nearly 3 billion from different continents. BRICS aims at contributing significantly to the development of humanity and establishing a more equitably and fair world."
The Declaration further noted that:
"we affirm that the BRICS and other emerging countries have played an important role in contributing to world peace, security and stability, boosting global economic growth, enhancing multilateralism and promoting greater democracy in international relations."
The BRICS Foreign/International Relations Ministers reflected on the political developments in their regions, as well as reviewed cooperation among BRICS countries following the comprehensive implementation of the eThekwini Action Plan.
The Ministers reflected that the role of governments in contemporary world politics should focus on pertinent areas where leadership is required, notably in finance, security, information and production.
The Ministers noted with concern, the recent media statement on the forthcoming G20 Summit to be held in Brisbane in November 2014. The custodianship of the G20 belongs to all Member States equally and no one Member State can unilaterally determine its nature and character.
They reflected on challenges to peace and security, notably the significant infringements of privacy and related rights in the wake of the cyber threats experienced, for which there is a need to address these implications in respect of national laws as well as in terms of international law.
They agreed that BRICS countries would continue to act as positive catalysts for inclusive change in the transformation process towards a new and more equitable global order. The BRICS agenda is not centered around any specific country or related issue and shares a common vision which drives it to also increasingly identify common areas for cooperation to assist with finding global solutions to global challenges.
BRICS countries agreed that the challenges that exist within the regions of the BRICS countries must be addressed within the fold of the United Nations in a calm and level- headed manner. The escalation of hostile language, sanctions and counter-sanctions, and force does not contribute to a sustainable and peaceful solution, according to international law, including the principles and purposes of the United Nations Charter.
The BRICS Foreign/International Relations Ministers wished the Federative Republic of Brazil well for the successful hosting of the FIFA World Cup and the hosting of the Sixth BRICS Summit.
ISSUED BY THE DEPARTMENT OF INTERNATIONAL RELATIONS AND COOPERATION
The monthly series
According to the statements of the Venetian historian Carlo Ridolfi (1648), a series of paintings representing the twelve months was sent to Rudolf in Prague: It is very likely that the works exhibited here are just those which belonged to the Emperor. The paintings correspond to the refined taste of an aristocratic authority: The high decorative value, the grandiosity of the iconographic program and sizeable dimensions suggest that they were intended for a great room.
In the inventory of the Archduke Leopold Wilhelm are to be found the twelve paintings recorded as works of the young Bassano: almost all are signed and have been created by Leandro towards the end of the nineties of the 16th century. The series has been preserved almost completely, and so we can still enjoy the unity of style and content. September and October are located in Prague, December is not yet reappeared. The image representing July was cut into two parts, probably for decorative considerations, but both fragments are preserved in Vienna.
The lovely hills surrounding Bassano provides the ambience in which take place the field works characterizing the respective month. The winter months of January, February and March, however - they represent a break in the rural task list - show other subjects: the return from the hunt, the carnival and a market scene. Each month is also provided with the corresponding sign of the zodiac, which appears in the middle of the clouds. The composition, wrapped in a dusky light, develops as parallel image into the landscape: the horizon forms the bluish massive of the mountain - probably the Monte Grappa - where the eye can rest.
Leandro describes the activities of the figures with great precision and carefulness in the reproduction of the details, from the working tools, en passant, the objects up to the clothes, so that the paintings in addition also represent a considerable documentary value. The artist intends to entertain the viewer in a pleasant manner and to dispel. Probably recognized some people themselves in the episodes again: for instance, in the richly-dressed lady who had served herself crops, or in the landlord who controls with his steward the works and the harvest. The monthly cycle, which has its roots in the fertile iconographic tradition of the Middle Ages, acquires in the interpretation of Leandros the character of a lively illustrated calendar, which is aimed at an aristocratic clientele.
The family of painters Bassano
Bassano, a small city, situated on the slopes of Monte Grappa in the northern Veneto, gave the family of painters Da Ponte not only the nickname, but also the fundamental inspirations for the art of the head of family Jacopo and his sons.
Jacopo Bassano was primarily active in the province, far away from the urban artists' centers, and is now considered one of the great masters of Venetian painting of the Cinquecento to the side of Titian, Veronese and Tintoretto. His fame he owes, i.a., the invention of a subject type, linking the pastoral scenes with biblical or allegorical motifs: for this reason he realized completely new and original compositions, enjoying such great popularity that the heirs of Jacopo continued to produce such paintings until the middle of the Seicento and beyond. Leandro, after Francesco the most gifted of the sons, was an irreplaceable support for the father in the workshop operation. With its vibrant and brilliant colors, he continued the fame of the Bassano family into the new century and has been, as a consequence, very successful, especially in the field of portraiture.
Die Malerfamilie Bassano
Bassano, eine kleine, an den Hängen des Monte Grappa im nördlichen Veneto gelegene Stadt, gab der Malerfamilie Da Ponte nicht nur den Beinamen, sondern auch grundlegende Anregungen für die Kunst des Familienoberhauptes Jacopo und seiner Söhne.
Jacopo Bassano war vornehmlich in der Provinz aktiv, weit entfernt von den städtischen Künstlerzentren, und gilt heute als einer der großen Meister der venezianischen Malerei des Cinquecento an der Seite von Tizian, Veronese und Tintoretto. Seinen Ruhm verdankt er unter anderem der Erfindung eines Sujettypus, der die Pastoralszenen mit biblischen oder allegorischen Motiven verknüpfte: Er realisierte damit völlig neuartige und originelle Kompositionen, die so große Beliebtheit genossen, dass die Erben Jacopos derartige Gemälde bis über die Mitte des Seicento hinaus weiterproduzierten. Leandro, nach Francesco der begabteste der Söhne, war für den Vater im Werkstattbetrieb eine unersetzliche Stütze. Mit seiner lebendigen und brillanten Farbgebung setzte er den Ruhm der Familie Bassano bis ins neue Jahrhundert fort und war in der Folge vor allem auf dem Gebiet der Portraitmalerei sehr erfolgreich.
Die Monatsserie
Gemäß den Aussagen des venezianischen Historikers Carlo Ridolfi (1648) wurde eine die zwölf Monate darstellende Gemäldeserie an Rudolf II. nach Prag gesandt: Es ist sehr wahrscheinlich, dass die hier ausgestellten Werke eben jene sind, die dem Kaiser gehörten. Die Gemälde entsprechen dem raffinierten Geschmack eines aristokratischen Auftraggebers: Der hohe dekorative Wert, die Grandiosität des ikonographischen Programms und die ansehnlichen Dimensionen lassen vermuten, dass sie für einen großen Raum gedacht waren.
Im Inventar des Erzherzogs Leopold Wilhelm finden sich die zwölf Gemälde als Werke des jungen Bassano verzeichnet: Fast alle sind signiert und wurden von Leandro gegen Ende der neunziger Jahre des 16. Jahrhunderts geschaffen. Die Serie ist fast zur Gänze erhalten geblieben, und so können wir uns auch heute noch an der Einheit von Stil und Inhalt erfreuen. Der September und der Oktober befinden sich in Prag; der Dezember ist noch nicht wieder aufgetaucht. Das Bild, das den Juli darstellt, wurde in zwei Teile geschnitten, wohl aus dekorativen Überlegungen, aber beide Fragmente sind in Wien erhalten.
Die liebliche Hügellandschaft um Bassano liefert das Ambiente, in dem sich die den jeweiligen Monat charakterisierenden Landarbeiten abspielen. Die Wintermonate Januar, Februar und März hingegen - sie stellen eine Ruhepause in der ländlichen Arbeit dar - zeigen andere Sujets: die Rückkehr von der Jagd, den Karneval und eine Marktszene. Jeder Monat ist zudem mit dem entsprechenden Tierkreiszeichen versehen, das inmitten der Wolken erscheint. Die Komposition, in ein dämmriges Licht gehüllt, entwickelt sich bildparallel in die Landschaft hinein: Den Horizont bildet das bläuliche Massive des Gebirges - wahrscheinlich der Monte Grappa -, wo das Auge Ruhe findet.
Leandro beschreibt die Tätigkeiten der Figuren mit großer Präzision und Sorgfalt in der Wiedergabe der Details, von den Arbeitswerkzeugen über die Gegenstände bis hin zur Kleidung, sodaß die Gemälde zusätzlich auch einen beträchtlichen dokumentarischen Wert repräsentieren. Der Künstler beabsichtigt, den Betrachter in angenehmer Weise zu unterhalten und zu zerstreuen. Wahrscheinlich erkannte sich so mancher in den Episoden wieder: Etwa in der reich gekleideten Dame, die sich Feldfrüchte vorlegen läßt, oder im Grundherrn, der zusammen mit seinem Gutsverwalter die Arbeiten und die Ernte kontrolliert. Der Monatszyklus, der seine Wurzeln in der fruchtbaren ikonographischen Tradition des Mittelalters hat, nimmt in der Interpretation Leandros den Charakter eines lebendig illustrierten Kalenders an, der sich an ein aristokratisches Publikum richtet.
This template is used for creating the statements of banks. It contains "Financial Position", "Operations and Changes" and "Cash Flow" statements. SpreadsheetWEB version of the template allows to publish the statements online easily.
NATO Secretary General Jens Stoltenberg makes a statement prior to the start of the Defence Minister Meetings
This set is a photo project I did for school along with my artist statement.
About Photography Peeves
This photo series is a combination of things that many photographers do in their work that irks me. With this series, I am being blatant. I am going beyond deep meaning or rather not going deep at all, but staying at the realistic view of things.
I felt that writing the words on paper would portray the most realism, since I want to make a few points here. With the train track photographs, you see the train tracks in the image, but with the word “cliche” added, it really puts it into perspective that I am mocking the use of the train tracks. Having the word in my hands as a physical element says so much more to me than just a word that is photoshopped onto an image.
When you see these images, I want you to agree with me and say, “Selective color really is cheesy!”, or realize that comfortable lounge chairs from your living room in the middle of a random field are not unique (because it is overused and doesn’t makes sense), but actually are really convenient! “Why yes! I would love to sit in this conveniently placed lounge chair in this random field that has possibly fallen from the sky!” If I am being brutally honest, to me, those types of images are plain stupid.
When I see watermarks on images, I see “Hey look, I am a ‘professional’ photographer. I’m a business. Buy my photography.” The mark takes away from the original intent of the art and becomes a marketing technique that has been abused and misused so many times that the process is now seen as almost unprofessional. In my photograph mocking the watermarks, I wanted to make sure the word was big and distracting of what is behind it. I am most irritated by “photographers” who have the equipment but know nothing about how to use it. I presented this idea in the photograph reading “SLR?” I have a friend who owns a dSLR, she knows not what it means, she knows only of the auto setting, and people call her a photographer because she takes pictures with her “fancy” camera. I am sincerely devoted to my work and both being compared as a photographers is insulting. Coming off as superior is the last thing I want to portray with these statements. It is the ignorance of people not knowing what amazing technology they are holding and what they are capable of by using it correctly, yet still calling themselves something that I am not even sure I am comfortable yet calling myself, a photographer.
I want to make a point that may or may not be correct, but it is where I stand. These things that many photographers do actually hurt the viewer’s response rather than help it.