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Keith Haring (Reading, 4 de maio de 1958 – Nova Iorque, 16 de fevereiro de 1990) foi um artista gráfico e activista estadunidense. Seu trabalho reflecte a cultura nova-iorquina dos anos 1980.
Nascido no estado de Pensilvânia, cedo mostrou interesse pelas artes plásticas. De 1976 até 1978 estudou design gráfico numa escola de arte em Pittsburgh. Antes de acabar o curso, transfere-se para Nova Iorque, onde seria grandemente influenciado pelos graffitis, inscrevendo-se na School of Visual Arts. Homossexual assumido, o seu trabalho reflecte também um conjunto de temas homo-eróticos.
Keith Haring começou a ganhar notoriedade ao desenhar a giz nas estações de metro de Nova Iorque. As suas primeiras exposições formam,michelleis acontele era gayecem a partir de 1980 no Club 57, que se torna um ponto de encontro da elite vanguardista.
Na mesma década, participou em diversas bienais e pintou diversos murais pelo mundo - de Sydney a Amsterdão e mesmo no Muro de Berlim. Amigo pessoal de Grace Jones, foi ele quem lhe pintou o corpo para o videoclip "I'm Not Perfect".
Em 1988, abre um Pop Shop em Tóquio. Na ocasião, afirma:
"Em minha vida fiz muitas coisa, ganhei muito dinheiro e me diverti muito. Mas também vivi em Nova Iorque nos anos do ápice da promiscuidade sexual. Se eu não pegar AIDS, ninguém mais pegará."
Meses depois declara em entrevista à revista Rolling Stone que tem o vírus HIV. Em seguida, cria a Keith Haring Foundation, em favor das crianças vítimas da AIDS.
Em 1989, perto da igreja de Sant'Antonio Abate, em Pisa, Itália, executa a sua última obra pública - o grande mural intitulado Tuttomondo[1], dedicado à paz universal.
Haring morreu aos 31 anos de idade, vítima de complicações de saúde relacionadas a AIDS, tendo sido um forte activista contra a doença, que abordou mais que uma vez em suas pinturas.
...
The Marriage of Heaven and Hell
David Galloway
As curator of the Keith Haring retrospective mounted by New York's Whitney Museum of American Art in 1997, Elisabeth Sussman composed a thoughtful catalogue text in which she tidily divided the artist's career into three "chapters." In the first of these, Sussmann suggested, Haring synthesized a street and club style into a bold form of overall decoration that often employed elements of kitsch. In the middle phase, lasting from approximately 1984 to 1988, when he developed the first symptoms of AIDS, Haring produced paintings that were essentially Pop versions of Neo-Expressionism. In these years he also used his cartoon-like graphic line to execute murals, many of them for (and even together with) children. "Finally," Sussman observed, "in the last years of his life, major works not only summed up his painting ambitions but were socially active and angry responses to his imminent death."1
There can be no doubt that the artist's battle with AIDS had a profound effect on his artistic vision. "To live with a fatal disease," he confided to his biographer John Gruen shortly before his death, "gives you a whole new perspective on life."2 The resulting pain and anguish are eloquently expressed in Haring's two collaborations with William Burroughs: Apocalypse (1988) and The Valley (1989). Sussmann's categories are nonetheless too neat and too emphatic, concealing both the humor that frequently enlivens the late works and the dark side that shadows even the earliest, cartoon-like compositions. And the artist was a social activist from the beginning of his career. At a demonstration in Central Park in 1982, he distributed 20,000 antinuclear posters. His "Anti-Litterpig" campaign was launched in 1984, the famous Crack is Wack mural painted in 1986. The true "horror of AIDS had come to light"3 for Haring in 1985, and he had for some time regarded himself as a prime AIDS "candidate" - even before discovering the first Karposi sarcoma on his leg during a trip to Japan in 1988. Not only numerous intimate acquaintances, including his ex-lover Juan Dubose, had already succumbed to the disease. Rumors of Haring's own infection were rife long before he himself learned that he was HIV-positive. More than a year before the diagnosis, Newsweek had tracked the artist down in Europe to ask if his protracted stay there was a cover-up for his affliction with AIDS.
Yet for all the traumatic implications of the onset of the disease itself, it is a mistake to overemphasize the event as a kind of watershed, as a moment in which the oeuvre itself underwent some seismic change. Such an oversimplification is tempting but ultimately misleading. And it is not unlike that simplistic approach to the work of Andy Warhol which suggests a fundamental shift in theme and point of view following the assassination attempt by Valerie Solanis. In fact, Warhol's own fascination with "Death and Disaster" was well established before the deranged feminist entered the Factory in 1969 with revolver blazing. 129 Die in Jet, the first of the works associated with violent death, dates to 1962. And it was soon followed by garishly tinted studies of suicides, car crashes, race riots and electric chairs.
Keith Haring, too, had explored a darker side of experience long before the dread diagnosis. The earliest works produced in his characteristic graphic style include serpents and monsters, nuclear radiation and falling angels, cannibals, omnivorous worms, bloody daggers and skeletons. The devil himself makes occasional appearances, as does the multi-headed beast of the Apocalypse. One can make out a sinister form that may well represent a virus, and an androgynous figure which wheels a sword-like crucifix over the heads of children, while scissors and chains are employed in sadomasochistic practices which often end in castration. In a Saint Sebastian, produced in 1984 and one of the few titled works by Haring, the martyr's body is pierced not by arrows but by airplanes - one of the numerous examples of the artist's critical view of technology, but also testimony to his deeply felt pacifism.
The figure of a hanged man, perhaps influenced by William Burroughs' Naked Lunch, makes it debut in 1981. So, too, do human figures writhing in the clutch of a nest of serpents. In 1982 a serpent pierces (and thereby joins like so many beads on a string) a row of human figures with holes in their abdomens. Indeed, human figures with holes gouged in their middles are a recurrent pictogram - one inspired, according to the artist himself, by the assassination of John Lennon in December of 1980. Yet even before that event, Haring was sounding the themes of violence and death in the cut-up headlines he posted around New York City, inspired both by his friend Jenny Holzer and by William Burroughs. In typical tabloid fashion, the headlines trumpeted such sensationalist assertions as "POPE KILLED FOR FREED HOSTAGE." "RONALD REAGAN ACCUSED OF TV STAR SEX DEATH; KillED AND ATE lOVER." and "REAGAN'S DEATH COPS HUNT POPE."
When Keith Haring undertook his first cross-country trip in 1977 with his girlfriend Susan, he financed the journey by silkscreening T-shirts and selling them along the way. One model showed Richard Nixon sniffing a kilo of marijuana; the other featured the logo of the Grateful Dead: a skull - the penultimate memento mori that also fascinated Warhol - split by a lightning bolt. One of Haring's early subway drawings includes a skeleton wearing wire-rimmed glasses as an encoded self-portrait. In a diary entry for March 18, 1982, the artist reflected on the significance of "Being born in1958, the first generation of the Space Age, born into a world of television technology and instant gratification, a child of the atomic age. Raised in American during the sixties and learning about war from Life magazines on Viet Nam. Watching riots on television..."4 Like the Beat poets he admired, the young artist was intensely aware of the dangers of nuclear war and the precedent his country had set in Hiroshima and Nagasaki. He was equally aware of the dangers inherent in "peacetime" uses of nuclear energy. The notorious near-meltdown at Three Mile Island in 1979 occurred a short distance from the Haring home in Kutztown, Pennsylvania. Spaceships projecting rays onto earthlings often hover over his works, and his famous "radiant" baby may suggest radioactive contamination as well as spiritual glow.
In short, the first "chapter" in Haring's career was neither so innocent nor so giddily affirmative as it is sometimes made out to be. His media-savvy generation, exposed at an early age to "sex, drugs and rock-'n'-roll," was quickly disabused of childhood's illusions. At the age of 19, he confided to his diary, "Through all the shit shines the small ray of hope that lives in the common sense of the few. The music, dance, theater, and the visual arts: the forms of expression, the arts of hope. This is where I think I fit in."5 Even amid the "shit," there was an element of hope, and the coexistence of these two entities defines the Haring universe. What one witnesses is literally The Marriage of Heaven and Hell, to cite the title of a Roland Petit choreography for the Ballet National de Marseilles, for which Haring created a huge front curtain in 1985. Whether Haring was familiar with William Blake's ironic poem of the same title is uncertain, though the English poet was a favorite of the psychedelic set to which Haring belonged for a time. Furthermore, there are occasional parallels between Haring's graphic style and the illustrations Blake prepared for his own works. The implications of a linked pair of Blake titles - Songs of Innocence and Songs of Experience - have clear relevance for Haring's oeuvre, as well.
The key to Haring's work is not to be found in "chapters" or in oppositions, but precisely in the mingling, the marriage of innocence and experience, good and evil, heaven and hell. This inherent but essential ambiguity is reinforced by an image he created in June of 1989, less than a year before his death. (He was in Paris at the time, executing a monumental painting intended to decorate a dirigible to be flown over the city in commemoration of the 200th anniversary of the French Revolution.) The starting point was a photograph of the artist sitting on a chair from the Vitra Collection, part of a series of celebrity portraits made for the German furniture company. With a felt pen, Haring fitted himself out with wings, floated a halo over his head, bound his feet with shackles and coiled a rope-like or snakelike form around his torso. (In fact, in other works the rope which binds a victim often turns into a snake in the hands of his tormentor). Haring remarked on his own creation: "Whoever understands this photograph understands what my work is all about."6 The essential theme sounded here - man bound into a "mortal coil," anchored to the earth, while his spirit strives to soar into the heavens - is as old as religion itself)
In his journal Haring described the events of June 16th as follows: Friday I had a "press lunch" with the airship people (boring and trivial). Then went to Futura's exhibit and bought a nice new painting. Met David Galloway there. He came to Paris to interview me for the book Hans Mayer is doing on my sculptures. Went with David to see the airship painting again and do photos. We talked a lot and by the same time we got to the hotel the conversation got deeper and continually off the "subject."
Did some photos for a German spaghetti book. (Portrait of me with a drawing made out of spaghetti we ordered from room service.) I talked with David till it was time for dinner at Marcel Fleiss's house with Yoko and Sam. Nice quiet dinner and then returned to hotel with David to talk till 1 :30.7
The "deeper" talk that quickly veered from the topic of sculpture and continued into the early hours of the morning ultimately found its focus in the fat roll of galley proofs resting on the mantelpiece of Haring's suite at the Ritz Hotel. This was the interview by David Scheff that would appear in Rolling Stone on August 10th, and in which Haring talked with painful frankness about his own illness. As a politically engaged artist who helped to organize the first" Art Against AIDS" exhibition and produced several AIDS-related posters, including more than one with the motto "Silence = Death," he felt morally obliged to speak out about his illness. (Later in the year, he would march in protest against New York City's "racist" policy with respect to the disease, which allegedly only afflicted perverts, junkies and Afro-Americans.) Nonetheless, when the time came to approve Sheff's uncompromising interview, the activist experienced a moment of hesitation. Quite simply, he feared he might not be permitted to work with children again, and this was one of his most cherished activities. Despite such misgivings, on June 17 he sent his approval of the text to the editors of Rolling Stone, and when it appeared the artist experienced an immense, deeply gratifying wave of sympathy. The sole sour note was a protest against his having been commissioned (by Princess Caroline) to execute a mural for the maternity ward of the Princess Grace Hospital in Monaco - allegedly a potential danger for future generations.
In transforming a photographic portrait into a self-portrait with a few brisk strokes, Haring made an emphatic statement about his artistic intentions. At the same time, he revealed the depth of his own religious sentiment. Though not a practicing Christian in the last years of his life, the artist had a profound sense of right and wrong, of good and evil, and he devoted a considerable part of his energy to social causes. Attending Sunday School and church had been a regular part of the Harings' family life, and in summer Keith attended the camp run by the United Church of Christ. As a teenager he joined the Jesus Saves movement, read the Bible voraciously and developed "an obsession with the concept of the Second Coming..."8 Above all, Haring was influenced by "Revelation," which later offered him a veritable storehouse of trenchant visual imagery. Even at the age of 12, according to Haring's mother, "he began making drawings in which there were Jesus symbols and other types of symbols, like a loop with two dots."9 Haring's phase as a "Jesus Freak" was short-lived, and the impact of religion (above all, of organized religion) on his work can be overestimated. Indeed, the artist once complained to his journal that "Most religions are so hopelessly outdated, and suited to fit the particular problems of earlier times, that they have no power to provide liberation and freedom, and no power to give 'meaning' beyond an empty metaphor or moral code."10
When he finally decided, while dancing at New York's Paradise Garage, to depict the Ten Commandments within the arches of Bordeaux's Musee d'Art Contemporain for his show there in 1985, Haring was at a loss to remember all the commandments: "So the minute I get to Bordeaux, I ask for a bible!"11 Yet for all the vagueness surrounding Haring's grasp of biblical fundamentals and his distrust of the church as a moral authority, Christian mythology clearly had a profound impact on his use of angels and devils and madonnas, bleeding hearts and crucifixions and transubstantiations. (Painting an angel along with a mother and child on the coffin of his friend Yves Arman, who died in a car crash, transcended mere decoration to become a ritual act of healing.) Haring's fundamental religiosity, on the other hand, was also influenced by his interest in so-called "primitive" cultures, their myths and rituals and totemic objects - interests that inform the artist's pseudo-African masks, for example. And the Michael Rockefeller Collection of Primitive Art at New York's Metropolitan Museum was one of his favorite haunts.
Haring's use of traditional Christian imagery is particularly explicit in Apocalypse (1988), his first collaboration with William Burroughs. Each composition is a reprise on a collaged image taken from advertising, art history or Catholic theology. In addition to a Christ with a bleeding heart, the series includes an advertisement from the 1950s (significantly, the period of Haring's own infancy) in which a mother tenderly - and, by implication, Madonna-like - leans over her baby to offer him a milk-bottle. The explicitly Catholic allusions continue in Haring's next collaboration with Burroughs - the suite of etchings entitled The Valley. Here the imagery includes the torso of a male figure inserting a knife beneath his ribs to duplicate one of Christ's stigmata. This belated "embrace" of Catholic symbology aligns Haring even more closely with other prominent creative rebels: with Robert Mapplethorpe, Andy Warhol and Haring's street-wise friend and sometime-collaborator Madonna. For those three taboo-breaking artists the Catholic religion offered an especially fertile field for rebellion.
There is a kind of poetic logic in the fact that Haring's collaborations with Burroughs mark the end of his career, since it began with the mock New York Post headlines inspired by the cut-up technique Burroughs employed in Naked Lunch. The artist, furthermore, seems to have felt an intuitive sympathy for a surrealistic juxtaposition of images - partly inspired by his own use of hallucinogenic drugs, but also by his acquaintance with the works of Burroughs and the Beat-generation poets. A sentence from Burroughs' Soft Machine, published in 1962, might almost describe a composition by Haring: "Carl walked a long row of living penis urns whose penis has absorbed the body with vestigial arms and legs breathing through purple fungoid gills..."12 Haring had known Burroughs' work long before the two first met in 1983. In 1986, the artist told an interviewer that the author was "very into a lot of the world I've depicted, especially in the recent things - sex, mutations, weird science fiction situations."13 Erotic grotesquerie mixed with Christian symbolism characterized the works of both men. Timothy Leary, self-proclaimed guru of the acid age, remarked of the first Haring-Burroughs collaboration, Apocalypse, that it was "like Dante and Titian getting together."14 Dante and Hieronymous Bosch, whom Haring greatly admired, might seem the more appropriate parallel for works redolent with a sense of doom.
On March 20, 1987, Haring made the following remark in his journal: "I always knew, since I was young, that I would die young. But I thought it would be fast (an accident, not a disease). In fact, a man-made disease like AIDS. Time will tell that I am not scared. I live everyday as if it were the last. I love life."15 That affirmative note is sounded throughout the artist's work, the numerous interviews he gave, the social activities he sponsored, the texts he composed. Yet in the same journal entry which included the vigorous assertion of his love for life, Haring composed the following reaction to the news that the policemen accused of killing Michael Stewart had all been acquitted:
I hope in their next life they are tortured like they tortured him. They should be birds captured early in life, put in cages, purchased by a fat, smelly, ugly lady who keeps them in a small dirty cage up near the ceiling while all day she cooks bloody sausages and the blood spatters their cage and the frying fat burns their matted feathers and they can never escape the horrible fumes of her burnt meat. One day the cage will fall to the ground and a big fat ugly cat will kick them about, play with them like a toy, and slowly kill them and leave their remains to be accidentally stepped on by the big fat pink lady who can't see her own feet because of her huge sagging tits. An eye for an eye... 16
Like a Bosch-Burroughs vision, the passage indicates the rage Haring could experience when confronted with social and political injustice. For an understanding of the artist's oeuvre as a whole, however, it is important to observe that in the journal entry for a single day, remarks of a tender, Christian-like nature - "I'm sure when I die, I won't really die, because I live in many people,"17 - are followed by fulminations of Old Testament rage. Yet this dichotomy in no sense represents a contradiction; far more, it is symptomatic of the complexity of the artist's vision. It is an underlying duality which make the early works more than naive cartoons, the late ones more than angry odes to man's mortality. Fitted out with the wings necessary to ascend into heaven and the shackles drawing him down into the fire and brimstone of hell, Keith Haring demonstrated an astonishingly precocious grasp of the inherent ambiguities of his generation, of his age. He was the loving, lusting, break-dancing, quintessential American boy, but also an untiring, uncompromising social critic, and he was doomed to die young of a disease that decimated his generation. "Nothing lasts forever," as he noted in one of his final journal entries. "And nobody can escape death."18
Model: Erin Bell.
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Tamara de Lempicka's 1924 still life is a striking example of Art Deco style. The painting showcases her signature use of bold colors, geometric shapes, and a modernist approach to still life.
Łempicka (1894-1980) created still life in the 1920s. In these paintings, she studied light and details with precision, and synthesized them at the same time, by making them shine and giving them a touch of smoothness, as was typical of the art-déco craftsmanship. She seriously began painting still life after she had fled the war-time Europe and arrived in Los Angeles. This artistic choice was partly dictated by a lack of portrait commissions. Her still life refers to works of the Old Masters, especially Dutch painters which she symbolically underlined by placing her name on a piece of paper pinned to the painted wall.
Seen and photographed at the artists first major retrospective exhibition of her works in the US (October, 2024) at the de Young Fine Arts Museum (FAMSF) in San Francisco, California.
From 4,000 feet over Burke County, NC.
Synthesized IRG-->RGB cross-sampled image from a single exposure. Converted camera, #12 filter. Worked up in Pixelbender and Photoshop.
Sagrada Família, Barcelona, España.
El Templo Expiatorio de la Sagrada Familia, conocido simplemente como la Sagrada Familia, es una basílica católica de Barcelona (España), diseñada por el arquitecto Antoni Gaudí. Iniciada en 1882, todavía está en construcción (noviembre de 2016). Es la obra maestra de Gaudí, y el máximo exponente de la arquitectura modernista catalana.
La Sagrada Familia es un reflejo de la plenitud artística de Gaudí: trabajó en ella durante la mayor parte de su carrera profesional, pero especialmente en los últimos años de su carrera, donde llegó a la culminación de su estilo naturalista, haciendo una síntesis de todas las soluciones y estilos probados hasta aquel entonces. Gaudí logró una perfecta armonía en la interrelación entre los elementos estructurales y los ornamentales, entre plástica y estética, entre función y forma, entre contenido y continente, logrando la integración de todas las artes en un todo estructurado y lógico.
La Sagrada Familia tiene planta de cruz latina, de cinco naves centrales y transepto de tres naves, y ábside con siete capillas. Ostenta tres fachadas dedicadas al Nacimiento, Pasión y Gloria de Jesús y, cuando esté concluida, tendrá 18 torres: cuatro en cada portal haciendo un total de doce por los apóstoles, cuatro sobre el crucero invocando a los evangelistas, una sobre el ábside dedicada a la Virgen y la torre-cimborio central en honor a Jesús, que alcanzará los 172,5 metros de altura. El templo dispondrá de dos sacristías junto al ábside, y de tres grandes capillas: la de la Asunción en el ábside y las del Bautismo y la Penitencia junto a la fachada principal; asimismo, estará rodeado de un claustro pensado para las procesiones y para aislar el templo del exterior. Gaudí aplicó a la Sagrada Familia un alto contenido simbólico, tanto en arquitectura como en escultura, dedicando a cada parte del templo un significado religioso.
The Expiatory Church of the Sagrada Familia, known simply as the Sagrada Familia, is a Roman Catholic basilica in Barcelona, Spain, designed by architect Antoni Gaudí. Begun in 1882, it is still under construction (November 2016). It is Gaudí's masterpiece and the greatest exponent of Catalan modernist architecture.
The Sagrada Familia is a reflection of Gaudí's artistic plenitude: he worked on it for most of his professional career, but especially in his later years, where he reached the culmination of his naturalistic style, synthesizing all the solutions and styles he had tried up to that point. Gaudí achieved perfect harmony in the interrelationship between structural and ornamental elements, between plasticity and aesthetics, between function and form, between content and container, achieving the integration of all the arts into a structured and logical whole. The Sagrada Familia has a Latin cross plan, five central naves, a three-aisled transept, and an apse with seven chapels. It boasts three façades dedicated to the Birth, Passion, and Glory of Jesus. When completed, it will have 18 towers: four at each portal, making a total of twelve for the apostles, four over the transept invoking the evangelists, one over the apse dedicated to the Virgin, and the central dome tower in honor of Jesus, which will reach 172.5 meters in height. The temple will have two sacristies next to the apse and three large chapels: the Assumption Chapel in the apse and the Baptism and Penance Chapels next to the main façade. It will also be surrounded by a cloister designed for processions and to isolate the temple from the exterior. Gaudí applied a highly symbolic content to the Sagrada Familia, both in architecture and sculpture, dedicating each part of the temple to a religious significance.
© 2007 2025 Photo by Lloyd Thrap Photography for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Blue Ridge Parkway, Transylvania County, NC.
Synthesized IRG-->RGB image from single exposure. Full-spectrum camera, 525LP dichroic filter. Worked up in Pixelbender and Photoshop.
For an ordinary color rendition of this scene, see here.
NASA researchers have helped produce the first map showing what parts of the bottom of the massive Greenland Ice Sheet are thawed – key information in better predicting how the ice sheet will react to a warming climate.
Greenland’s thick ice sheet insulates the bedrock below from the cold temperatures at the surface, so the bottom of the ice is often tens of degrees warmer than at the top, because the ice bottom is slowly warmed by heat coming from the Earth’s depths. Knowing whether Greenland’s ice lies on wet, slippery ground or is anchored to dry, frozen bedrock is essential for predicting how this ice will flow in the future, But scientists have very few direct observations of the thermal conditions beneath the ice sheet, obtained through fewer than two dozen boreholes that have reached the bottom. Now, a new study synthesizes several methods to infer the Greenland Ice Sheet’s basal thermal state –whether the bottom of the ice is melted or not– leading to the first map that identifies frozen and thawed areas across the whole ice sheet.
Map caption: This first-of-a-kind map, showing which parts of the bottom of the Greenland Ice Sheet are likely thawed (red), frozen (blue) or still uncertain (gray), will help scientists better predict how the ice will flow in a warming climate.
Credit: NASA Earth Observatory/Jesse Allen
Read more: go.nasa.gov/2avKgl2
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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Lloyd Thrap's Public Portfolio
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Sagrada Família, Barcelona, España.
El Templo Expiatorio de la Sagrada Familia, conocido simplemente como la Sagrada Familia, es una basílica católica de Barcelona (España), diseñada por el arquitecto Antoni Gaudí. Iniciada en 1882, todavía está en construcción (noviembre de 2016). Es la obra maestra de Gaudí, y el máximo exponente de la arquitectura modernista catalana.
La Sagrada Familia es un reflejo de la plenitud artística de Gaudí: trabajó en ella durante la mayor parte de su carrera profesional, pero especialmente en los últimos años de su carrera, donde llegó a la culminación de su estilo naturalista, haciendo una síntesis de todas las soluciones y estilos probados hasta aquel entonces. Gaudí logró una perfecta armonía en la interrelación entre los elementos estructurales y los ornamentales, entre plástica y estética, entre función y forma, entre contenido y continente, logrando la integración de todas las artes en un todo estructurado y lógico.
La Sagrada Familia tiene planta de cruz latina, de cinco naves centrales y transepto de tres naves, y ábside con siete capillas. Ostenta tres fachadas dedicadas al Nacimiento, Pasión y Gloria de Jesús y, cuando esté concluida, tendrá 18 torres: cuatro en cada portal haciendo un total de doce por los apóstoles, cuatro sobre el crucero invocando a los evangelistas, una sobre el ábside dedicada a la Virgen y la torre-cimborio central en honor a Jesús, que alcanzará los 172,5 metros de altura. El templo dispondrá de dos sacristías junto al ábside, y de tres grandes capillas: la de la Asunción en el ábside y las del Bautismo y la Penitencia junto a la fachada principal; asimismo, estará rodeado de un claustro pensado para las procesiones y para aislar el templo del exterior. Gaudí aplicó a la Sagrada Familia un alto contenido simbólico, tanto en arquitectura como en escultura, dedicando a cada parte del templo un significado religioso.
The Expiatory Church of the Sagrada Familia, known simply as the Sagrada Familia, is a Roman Catholic basilica in Barcelona, Spain, designed by architect Antoni Gaudí. Begun in 1882, it is still under construction (November 2016). It is Gaudí's masterpiece and the greatest exponent of Catalan modernist architecture.
The Sagrada Familia is a reflection of Gaudí's artistic plenitude: he worked on it for most of his professional career, but especially in his later years, where he reached the culmination of his naturalistic style, synthesizing all the solutions and styles he had tried up to that point. Gaudí achieved perfect harmony in the interrelationship between structural and ornamental elements, between plasticity and aesthetics, between function and form, between content and container, achieving the integration of all the arts into a structured and logical whole. The Sagrada Familia has a Latin cross plan, five central naves, a three-aisled transept, and an apse with seven chapels. It boasts three façades dedicated to the Birth, Passion, and Glory of Jesus. When completed, it will have 18 towers: four at each portal, making a total of twelve for the apostles, four over the transept invoking the evangelists, one over the apse dedicated to the Virgin, and the central dome tower in honor of Jesus, which will reach 172.5 meters in height. The temple will have two sacristies next to the apse and three large chapels: the Assumption Chapel in the apse and the Baptism and Penance Chapels next to the main façade. It will also be surrounded by a cloister designed for processions and to isolate the temple from the exterior. Gaudí applied a highly symbolic content to the Sagrada Familia, both in architecture and sculpture, dedicating each part of the temple to a religious significance.
This outcrop is the wall of Solite Quarry's Pit B on the Virginia-North Carolina state line. It's an aggregate quarry that has operated since the 1950s. Good fossils occur at this site - the original finds were on the Virginia side of the border, while the best fossils are on the North Carolina side. The aggregate plant's physical address is in Virginia. The currently active pits are in North Carolina.
The rocks here are tilted, northwest-dipping sedimentary rocks of the Cow Branch Formation (Upper Triassic). The unit is part of the Newark Supergroup, a thick, geographically-widespread stratigraphic unit in eastern America. It is Late Triassic to Early Jurassic in age and represents sediments and some lava flows that filled up old rift valleys roughly paralleling the modern-day Eastern Seaboard of America. The rift basins formed in the Triassic when the ancient Pangaea supercontinent attempted to break apart, but failed. A successful breakup of Pangaea occurred during the Jurassic. Most of the basin-filling rocks are terrestrial redbeds - hematite-rich siliciclastic sedimentary rocks, such as conglomerate, sandstone, siltstone, and shale, deposited in nonmarine environments.
Using Triassic rift basin terminology, this area is in the Danville Basin / Dan River Basin. Cow Branch beds at the Solite Quarry are principally lacustrine in origin - Lake Danville occupied this area during the Triassic. About 270 meters worth of mostly fine-grained siliciclastics are exposed here. Reported lithologies include claystone, silty claystone, dolomitic claystone, carbonaceous siltstone, sandstone, and carbonaceous dolostone.
The succession has cyclicity ("Van Houten Cycles") - ten or more cycles are exposed in the wall of pit B. Each cycle is a transgressive succession of lake sediments. The cyclicity is interpreted as the result of Milankovitch-related climate forcing. Changes in climate and sedimentation can be caused by slight changes in Earth's orbital parameters - e.g., eccentricity (how circular Earth's orbit is around the Sun), obliquity (the angle of Earth's axial tilt), and precession (the direction that Earth's axis points).
A lagerstätte occurs in these beds - a soft-bodied fossil deposit - a fossil occurrence with exceptional preservation. The fossils are principally insects and vertebrates, particularly Tanytrachelos, an aquatic reptile (they're nicknamed "Tanees" in the field). Tanytrachelos with fossil skin impressions are known from here. The long-necked gliding reptile Mecistotrachelos aperos has also been found. Other fossils at the site include conchostracans, a spider, fish, and plants.
Early interpretations concluded that the exceptionally preserved fossils were in a deep-water lacustrine facies. More recent studies have shown it was likely a shallow-water, toxic lacustrine facies.
Thousands of fossil insects from the Solite Quarry have been collected by the Virginia Museum of Natural History. Fifteen to twenty species from six insect orders are present in the lagerstätte horizon and the total insect diversity may be over twice this. Reported insects include thrips, cockroaches, waterbugs, crane flies, etc.
Locality: southwestern wall of Pit B of the Solite Quarry, east-northeast of town of Eden, far-northern Rockingham County, northern North Carolina, USA (36° 32’ 22.87” North latitude, 79° 40’ 22.19” West longitude)
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Some info. synthesized from:
Liutkus et al. (2010) - Use of fine-scale stratigraphy and chemostratigraphy to evaluate conditions of deposition and preservation of a Triassic lagerstätte, south-central Virginia. Journal of Paleolimnology 44: 645-666.
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en.wikipedia.org/wiki/Taxus_baccata
Taxus baccata is a conifer native to western, central and southern Europe, northwest Africa, northern Iran and southwest Asia.[1] It is the tree originally known as yew, though with other related trees becoming known, it may now be known as English yew, or European yew.
Taxonomy and naming
The word yew is from Proto-Germanic *īwa-, possibly originally a loanword from Gaulish *ivos, compare Irish ēo, Welsh ywen, French if (see Eihwaz for a discussion). Baccata is Latin for bearing red berries. The word yew as it was originally used seems to refer to the color brown.[2] The yew (μίλος) was known to Theophrastus, who noted its preference for mountain coolness and shade, its evergreen character and its slow growth.[3]
Most romance languages, with the notable exception of French, kept a version of the Latin word taxus (Italian tasso, Corsican tassu, Occitan teis, Catalan teix, Gasconic tech, Spanish tejo, Portuguese teixo, Galician teixo and Romanian tisă) from the same root as toxic. In Slavic languages, the same root is preserved: Russian tiss (тис), Slovakian tis, Slovenian tisa, Bosnian tisa (тиса). In Albanian it is named tis.
The common yew was one of the many species first described by Linnaeus. It is one of around 30 other conifer species in seven genera in the family Taxaceae, which is placed in the order Pinales.
Description
It is a small to medium-sized evergreen tree, growing 10–20 metres (33–66 ft) (exceptionally up to 28 metres (92 ft)) tall, with a trunk up to 2 metres (6 ft 7 in) (exceptionally 4 metres (13 ft)) diameter. The bark is thin, scaly brown, coming off in small flakes aligned with the stem. The leaves are flat, dark green, 1–4 centimetres (0.39–1.57 in) long and 2–3 millimetres (0.079–0.118 in) broad, arranged spirally on the stem, but with the leaf bases twisted to align the leaves in two flat rows either side of the stem, except on erect leading shoots where the spiral arrangement is more obvious. The leaves are poisonous.[1][4]
The seed cones are modified, each cone containing a single seed, which is 4–7 millimetres (0.16–0.28 in) long, and partly surrounded by a modified scale which develops into a soft, bright red berry-like structure called an aril. The aril is 8–15 millimetres (0.31–0.59 in) long and wide and open at the end. The arils mature 6 to 9 months after pollination, and with the seed contained, are eaten by thrushes, waxwings and other birds, which disperse the hard seeds undamaged in their droppings. Maturation of the arils is spread over 2 to 3 months, increasing the chances of successful seed dispersal. The seeds themselves are poisonous and bitter, but are opened and eaten by some bird species including hawfinches,[5] greenfinches and great tits.[6] The aril is not poisonous, but is gelatinous and very sweet tasting. The male cones are globose, 3–6 millimetres (0.12–0.24 in) diameter, and shed their pollen in early spring. The yew is mostly dioecious, but occasional individuals can be variably monoecious, or change sex with time.[1][4][7]
Longevity
Taxus baccata can reach 400 to 600 years of age. Some specimens live longer but the age of yews is often overestimated.[8] Ten yews in Britain are believed to predate the 10th century.[9] The potential age of yews is impossible to determine accurately and is subject to much dispute. There is rarely any wood as old as the entire tree, while the boughs themselves often become hollow with age, making ring counts impossible. There are claims as high as 5,000–9,500 years,[10] but other evidence based on growth rates and archaeological work of surrounding structures suggests the oldest trees (such as the Fortingall Yew in Perthshire, Scotland) are more likely to be in the range of 2,000 years.[11][12] Even with this lower estimate, Taxus baccata is one of the longest-living plants in Europe. One characteristic contributing to its longevity is that it is able to split under the weight of advanced growth without succumbing to disease in the fracture, as do most other trees. Another is its ability to give rise to new epicormic and basal shoots from cut surfaces and low on its trunk, even at an old age.
Significant trees
The Fortingall Yew in Perthshire, Scotland, has the largest recorded trunk girth in Britain and experts estimate it to be 2,000 to 3,000 years old, although it may be a remnant of a post-Roman Christian site and around 1,500 years old.[13] The Llangernyw Yew in Clwyd, Wales, can be found at an early saint site and is about 1,500 years old.[14] Other well known yews include the Ankerwycke Yew, the Balderschwang Yew, the Caesarsboom, the Florencecourt Yew, and the Borrowdale Fraternal Four, of which poet William Wordsworth wrote. The Kingley Vale National Nature Reserve in West Sussex has one of Europe's largest yew woodlands.
The oldest specimen in Spain is located in Bermiego, Asturias. It is known as Teixu l'Iglesia in the Asturian language. It stands 15 m (49 ft) tall with a trunk diameter of 6.82 m (22.4 ft) and a crown diameter of 15 m. It was declared a Natural Monument on April 27, 1995 by the Asturian Government and is protected by the Plan of Natural Resources.[15]
A unique forest formed by Taxus baccata and European box (Buxus sempervirens) lies within the city of Sochi, in the Western Caucasus.
Allergenic potential
Yews in this genus are primarily separate-sexed, and males are extremely allergenic, with an OPALS allergy scale rating of 10 out of 10. Completely female yews have an OPALS rating of 1, and are considered "allergy-fighting".[16] Male yews bloom and release abundant amounts of pollen in the spring; completely female yews only trap pollen while producing none.[16]
Toxicity
All parts of a yew plant are toxic to humans with the exception of the yew berries (however, their seeds are toxic); additionally, male and monoecious yews in this genus release cytotoxic pollen, which can cause headaches, lethargy, aching joints, itching, and skin rashes; it is also a trigger for asthma.[17][16] These pollen granules are extremely small, and can easily pass through window screens.[16]
The foliage itself remains toxic even when wilted, and toxicity increases in potency when dried.[18] Ingestion and subsequent excretion by birds whose beaks and digestive systems do not break down the seed's coating are the primary means of yew dispersal.[19] The major toxin within the yew is the alkaloid taxine.[20] Horses have a relatively low tolerance to taxine, with a lethal dose of 200–400 mg/kg body weight; cattle, pigs, and other livestock are only slightly less vulnerable.[21] Several studies[22] have found taxine LD50 values under 20 mg/kg in mice and rats.
Symptoms of yew poisoning include an accelerated heart rate, muscle tremors, convulsions, collapse, difficulty breathing, circulation impairment and eventually cardiac arrest. However, there may be no symptoms, and if poisoning remains undetected death may occur within hours.[23] Fatal poisoning in humans is very rare, usually occurring after consuming yew foliage. The leaves are more toxic than the seed.[20]
Uses and traditions
One of the world's oldest surviving wooden artifacts is a Clactonian yew[24] spear head, found in 1911 at Clacton-on-Sea, in Essex, UK. It is estimated to be about 450,000 years old.[25]
In the ancient Celtic world, the yew tree (*eburos) had extraordinary importance; a passage by Caesar narrates that Catuvolcus, chief of the Eburones poisoned himself with yew rather than submit to Rome (Gallic Wars 6: 31). Similarly, Florus notes that when the Cantabrians were under siege by the legate Gaius Furnius in 22 BC, most of them took their lives either by the sword, by fire, or by a poison extracted ex arboribus taxeis, that is, from the yew tree (2: 33, 50–51). In a similar way, Orosius notes that when the Astures were besieged at Mons Medullius, they preferred to die by their own swords or by the yew tree poison rather than surrender (6, 21, 1).
Religion
The yew is often found in churchyards in England, Wales, Scotland, Ireland, France and northern areas of Spain. In France, the oldest yew trees are almost all located in church yards of Normandy and a chapel was very often laid out in the hollow trunk. Some examples can be found in La Haye-de-Routot or La Lande-Patry. It is said that up to 40 people could stand inside one of the La-Haye-de-Routot yew trees and the Le Ménil-Ciboult yew is probably the largest one (13 m diameter[26]). Indeed, some of these trees are exceptionally large (over 5 m diameter) and may be over 2,000 years old. Sometimes monks planted yews in the middle of their cloister, as at Muckross Abbey (Ireland) or abbaye de Jumièges (France). Some ancient yew trees are located at St Mary the Virgin Church, Overton-on-Dee in Wales.
In Asturian tradition and culture the yew tree has had a real link with the land, the people, the ancestors and the ancient religion. It was tradition on All Saints Day to bring a branch of a yew tree to the tombs of those who had died recently so they will find the guide in their return to the Land of Shadows. The yew tree has been found near chapels, churches and cemeteries since ancient times[citation needed] as a symbol of the transcendence of death, and is usually found in the main squares of the villages where people celebrated the open councils that served as a way of general assembly to rule the village affairs.
It has been suggested that the Sacred Tree at the Temple at Uppsala was an ancient yew tree.[27][28] The Christian church commonly found it expedient to take over existing pre-Christian sacred sites for churches. It has also been suggested that yews were planted at religious sites as their long life was suggestive of eternity, or because being toxic they were seen as trees of death.[29] Another suggested explanation is that yews were planted to discourage farmers and drovers from letting animals wander onto the burial grounds, the poisonous foliage being the disincentive. A further possible reason is that fronds and branches of yew were often used as a substitute for palms on Palm Sunday.[29][30][31]
In traditional Germanic paganism, Yggdrasill was often seen as a giant ash tree.[citation needed] Many scholars now agree that in the past an error has been made in the interpretation of the ancient writings, and that the tree is most likely a European yew (Taxus baccata). This mistake would find its origin in an alternative word for the yew tree in the Old Norse, namely needle ash (barraskr). In addition, ancient sources, including the Eddas, speak about a vetgrønster vida which means "evergreen tree". An ash sheds its leaves in the winter, while yew trees retain their needles.
Conifers were in the past often seen as sacred, because they never lose their green. In addition, the tree of life was not only an object from the stories, but also believers often gathered around an existing tree. The yew releases gaseous toxins (taxine) on hot days. Taxine is in some instances capable of causing hallucinations. This has some similarities with the story that Odin had a revelation (the wisdom of the runes) after having been hanging from the tree for nine days.[citation needed]
Medicines
In 1021, Avicenna introduced the medicinal use of T. baccata for phytotherapy in The Canon of Medicine. He named this herbal drug "Zarnab" and used it as a cardiac remedy. This was the first known use of a calcium channel blocker drug, which were not in wide use in the Western world until the 1960s.[32]
Certain compounds found in the bark of yew trees were discovered by Wall and Wani in 1967 to have efficacy as anti-cancer agents. The precursors of the chemotherapy drug paclitaxel (taxol) can be synthesized easily from the extracts of the leaves of European yew,[33] which is a more renewable source than the bark of the Pacific yew (Taxus brevifolia). This ended a point of conflict in the early 1990s; many environmentalists, including Al Gore, had opposed the harvesting of yew for paclitaxel cancer treatments. Docetaxel can then be obtained by semi-synthetic conversion from the precursors.
In the Central Himalayas, the plant is used as a treatment for breast and ovarian cancer.[34]
Woodworking and longbows
Wood from the yew is classified as a closed-pore softwood, similar to cedar and pine. Easy to work, yew is among the hardest of the softwoods; yet it possesses a remarkable elasticity, making it ideal for products that require springiness, such as bows.[35]
Yew is also associated with Wales and England because of the longbow, an early weapon of war developed in northern Europe, and as the English longbow the basis for a medieval tactical system. The oldest surviving yew longbow was found at Rotten Bottom in Dumfries and Galloway, Scotland. It has been given a calibrated radiocarbon date of 4040 BC to 3640 BC and is on display in the National Museum of Scotland. Yew is the wood of choice for longbow making; the heartwood is always on the inside of the bow with the sapwood on the outside. This makes most efficient use of their properties as heartwood is best in compression whilst sapwood is superior in tension. However, much yew is knotty and twisted, and therefore unsuitable for bowmaking; most trunks do not give good staves and even in a good trunk much wood has to be discarded.
The trade of yew wood to England for longbows was so robust that it depleted the stocks of good-quality, mature yew over a vast area. The first documented import of yew bowstaves to England was in 1294. In 1350 there was a serious shortage, and Henry IV of England ordered his royal bowyer to enter private land and cut yew and other woods. In 1423 the Polish king commanded protection of yews in order to cut exports, facing nearly complete destruction of local yew stock.[36] In 1470 compulsory archery practice was renewed, and hazel, ash, and laburnum were specifically allowed for practice bows. Supplies still proved insufficient, until by the Statute of Westminster in 1472, every ship coming to an English port had to bring four bowstaves for every tun.[37] Richard III of England increased this to ten for every tun. This stimulated a vast network of extraction and supply, which formed part of royal monopolies in southern Germany and Austria. In 1483, the price of bowstaves rose from two to eight pounds per hundred, and in 1510 the Venetians would only sell a hundred for sixteen pounds. In 1507 the Holy Roman Emperor asked the Duke of Bavaria to stop cutting yew, but the trade was profitable, and in 1532 the royal monopoly was granted for the usual quantity "if there are that many." In 1562, the Bavarian government sent a long plea to the Holy Roman Emperor asking him to stop the cutting of yew, and outlining the damage done to the forests by its selective extraction, which broke the canopy and allowed wind to destroy neighbouring trees. In 1568, despite a request from Saxony, no royal monopoly was granted because there was no yew to cut, and the next year Bavaria and Austria similarly failed to produce enough yew to justify a royal monopoly. Forestry records in this area in the 17th century do not mention yew, and it seems that no mature trees were to be had. The English tried to obtain supplies from the Baltic, but at this period bows were being replaced by guns in any case.[38]
Horticulture
Today European yew is widely used in landscaping and ornamental horticulture. Due to its dense, dark green, mature foliage, and its tolerance of even very severe pruning, it is used especially for formal hedges and topiary. Its relatively slow growth rate means that in such situations it needs to be clipped only once per year (in late summer).
Well over 200 cultivars of T. baccata have been named. The most popular of these are the Irish yew (T. baccata 'Fastigiata'), a fastigiate cultivar of the European yew selected from two trees found growing in Ireland, and the several cultivars with yellow leaves, collectively known as "golden yew".[4][7] In some locations, e.g. when hemmed in by buildings or other trees, an Irish yew can reach 20 feet in height without exceeding 2 feet in diameter at its thickest point, although with age many Irish yews assume a fat cigar shape rather than being truly columnar.
The following cultivars have gained the Royal Horticultural Society's Award of Garden Merit:-
T. baccata
'Fastigiata'
'Fastigiata Aureomarginata'
'Repandens'
'Repens Aurea'
'Semperaurea'
'Standishii'
European yew will tolerate growing in a wide range of soils and situations, including shallow chalk soils and shade,[46] although in deep shade its foliage may be less dense. However it cannot tolerate waterlogging, and in poorly-draining situations is liable to succumb to the root-rotting pathogen Phytophthora cinnamomi.
In Europe, Taxus baccata grows naturally north to Molde in southern Norway, but it is used in gardens further north. It is also popular as a bonsai in many parts of Europe and makes a handsome small to large sized bonsai.[47]
Musical instruments
The late Robert Lundberg, a noted luthier who performed extensive research on historical lute-making methodology, states in his 2002 book Historical Lute Construction that yew was historically a prized wood for lute construction. European legislation establishing use limits and requirements for yew limited supplies available to luthiers, but it was apparently as prized among medieval, renaissance, and baroque lute builders as Brazilian rosewood is among contemporary guitar-makers for its quality of sound and beauty.
Conservation
Clippings from ancient specimens in the UK, including the Fortingall Yew, were taken to the Royal Botanic Gardens in Edinburgh to form a mile-long hedge. The purpose of this "Yew Conservation Hedge Project" is to maintain the DNA of Taxus baccata. The species is threatened by felling, partly due to rising demand from pharmaceutical companies, and disease.[48]
Sagrada Família, Barcelona, España.
El Templo Expiatorio de la Sagrada Familia, conocido simplemente como la Sagrada Familia, es una basílica católica de Barcelona (España), diseñada por el arquitecto Antoni Gaudí. Iniciada en 1882, todavía está en construcción (noviembre de 2016). Es la obra maestra de Gaudí, y el máximo exponente de la arquitectura modernista catalana.
La Sagrada Familia es un reflejo de la plenitud artística de Gaudí: trabajó en ella durante la mayor parte de su carrera profesional, pero especialmente en los últimos años de su carrera, donde llegó a la culminación de su estilo naturalista, haciendo una síntesis de todas las soluciones y estilos probados hasta aquel entonces. Gaudí logró una perfecta armonía en la interrelación entre los elementos estructurales y los ornamentales, entre plástica y estética, entre función y forma, entre contenido y continente, logrando la integración de todas las artes en un todo estructurado y lógico.
La Sagrada Familia tiene planta de cruz latina, de cinco naves centrales y transepto de tres naves, y ábside con siete capillas. Ostenta tres fachadas dedicadas al Nacimiento, Pasión y Gloria de Jesús y, cuando esté concluida, tendrá 18 torres: cuatro en cada portal haciendo un total de doce por los apóstoles, cuatro sobre el crucero invocando a los evangelistas, una sobre el ábside dedicada a la Virgen y la torre-cimborio central en honor a Jesús, que alcanzará los 172,5 metros de altura. El templo dispondrá de dos sacristías junto al ábside, y de tres grandes capillas: la de la Asunción en el ábside y las del Bautismo y la Penitencia junto a la fachada principal; asimismo, estará rodeado de un claustro pensado para las procesiones y para aislar el templo del exterior. Gaudí aplicó a la Sagrada Familia un alto contenido simbólico, tanto en arquitectura como en escultura, dedicando a cada parte del templo un significado religioso.
The Expiatory Church of the Sagrada Familia, known simply as the Sagrada Familia, is a Roman Catholic basilica in Barcelona, Spain, designed by architect Antoni Gaudí. Begun in 1882, it is still under construction (November 2016). It is Gaudí's masterpiece and the greatest exponent of Catalan modernist architecture.
The Sagrada Familia is a reflection of Gaudí's artistic plenitude: he worked on it for most of his professional career, but especially in his later years, where he reached the culmination of his naturalistic style, synthesizing all the solutions and styles he had tried up to that point. Gaudí achieved perfect harmony in the interrelationship between structural and ornamental elements, between plasticity and aesthetics, between function and form, between content and container, achieving the integration of all the arts into a structured and logical whole. The Sagrada Familia has a Latin cross plan, five central naves, a three-aisled transept, and an apse with seven chapels. It boasts three façades dedicated to the Birth, Passion, and Glory of Jesus. When completed, it will have 18 towers: four at each portal, making a total of twelve for the apostles, four over the transept invoking the evangelists, one over the apse dedicated to the Virgin, and the central dome tower in honor of Jesus, which will reach 172.5 meters in height. The temple will have two sacristies next to the apse and three large chapels: the Assumption Chapel in the apse and the Baptism and Penance Chapels next to the main façade. It will also be surrounded by a cloister designed for processions and to isolate the temple from the exterior. Gaudí applied a highly symbolic content to the Sagrada Familia, both in architecture and sculpture, dedicating each part of the temple to a religious significance.
Blue Mosque, Istanbul. Turkey
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The Sultan Ahmed Mosque (Turkish: Sultanahmet Camii) is the national mosque of Turkey, and is a historical mosque in Istanbul, the largest city in Turkey and the capital of the Ottoman Empire (from 1453 to 1923). The mosque is one of several mosques known as the Blue Mosque for the blue tiles adorning the walls of its interior. It was built between 1609 and 1616, during the rule of Ahmed I. Like many other mosques, it also comprises a tomb of the founder, a madrasah and a hospice.
After the Peace of Zsitvatorok and the unfavourable result of the wars with Persia, Sultan Ahmed I decided to build a large mosque in Istanbul to placate Allah. This would be the first imperial mosque in more than fourty years. Whereas his predecessors had paid for their mosques with their war booty, Sultan Ahmed I had to withdraw the funds from the treasury, because he had not won any notable victories. This provoked the anger of the ulema, the Muslim legal scholars.
The mosque was to be built on the site of the palace of the Byzantine emperors, facing the Hagia Sophia (at that time the most venerated mosque in Istanbul) and the hippodrome, a site of great symbolic significance. Large parts of the southern side of the mosque rest on the foundations, the vaults and the undercrofts of the Great Palace. Several palaces, already built on the same spot, had to be bought (at considerable price) and pulled down, especially the palace of Sokollu Mehmet Paşa, and large parts of the Sphendone (curved tribune with U-shaped structure of the hippodrome).
Construction of the mosque started in August 1609 when the sultan himself came to break the first sod. It was his intention that this would become the first mosque of his empire. He appointed his royal architect Sedefhar Mehmet Ağa, a pupil and senior assistant of the famous architect Sinan as the architect in charge of the construction. The organization of the work was described in meticulous detail in eight volumes, now in the library of the Topkapı Palace. The opening ceremonies were held in 1617 (although the gate of the mosque records 1616) and the sultan was able to pray in the royal box (hünkâr mahfil). The building was not yet finished in this last year of his reign, as the last accounts were signed by his successor Mustafa I. Known as the Blue Mosque, Sultan Ahmet Mosque is one of the most impressive monuments in the world. It is one of the elements included in the complex built by Ahmed I to compete with Ayasofya.
The design of the Sultan Ahmed Mosque is the culmination of two centuries of both Ottoman mosque and Byzantine church development. It incorporates some Byzantine elements of the neighboring Hagia Sophia with traditional Islamic architecture and is considered to be the last great mosque of the classical period. The architect has ably synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendour, but the interior lacks his creative thinking. During the rule of Ahmed I, Sultan Ahmet mosque was built between 1609 and 1616 CE. Designed by architect Sedefkar Mehmet Aga, the Sultan Ahmet Mosque is considered to be the last example of classical Ottoman architecture.
Dia de los Muertos
2013 2025 Photo by Lloyd Thrap Photography
for Halo Media Group
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No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
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It is in the municipal area of El Port de la Selva in the province of Girona, Catalonia. It has been constructed in the side of the Verdera mountain below the ruins of the castle of Sant de Verdera that had provided protection for the monastery. It offers an exceptional views over the bay of Llançà, to the north of Cap de Creus. Near the monastery Santa Creu de Rodes is the ruins of a medieval town, of which its preRomanesque style church is the only remains dedicated to Saint Helena.
The true origin of the monastery is not known, which has given rise to speculation and legend; such as its foundation by monks who disembarked in the area with the remains of Saint Peter and other saints, to save them from the Barbarian hordes that had fallen on Rome. Once the danger had passed the Pope Boniface IV commanded them to construct a monastery.The first documentation of the existence of the monastery dates 878, it being mentioned as a simple monastery cell consecrated to Saint Peter, but it is not until 945 when an independent Benedictine monastery was founded, prevailed over by an abbot. Bound to the County of Empúries it reached its maximum splendor between the XI and XII centuries until its final decay in 17th century. Its increasing importance is reflected in its status as a point of pilgrimage.
In the 17th Century XVII it was sacked in several occasions and in 1793 was deserted by the benedictine community which was transferred to Vila-sacred and finally settled in Figueres in 1809 until it was dissolved.The monastery was declared a national monument in 1930. In 1935 the Generalitat of Catalonia initiated the first restoration work. The buildings are constructed in terraces, given its location. Cloisters of XII century form the central part of the complex. Around them the rest of constructions are distributed. The Church, consecrated in the year 1022, is the best exponent of the Romanesque style and without comparison with others of its time. Detailing features plants with three bays and a vault. These are bordered by a double column with capitals influenced by the Carolingian Style. The double column support arches separating the bays. The columns and pillars have been taken from a former Roman building. The bay is splendid with large dimensions with an arch in the apse, this is continued in the two lateral bays. Under the apse is a crypt. The church synthesizes a number of original styles including Carolingian, Romanesque and Roman. The monastery is considered one of the best examples of Romanesque architecture in Catalonia. In the western facade of the monastery is a XII Century bell tower, a square shape it is influenced by the lombards from the previous century. To the side is a defensive tower, that was probably began in the X Century but finished later after several modifications.
The stone apartment building with shops of Art Nouveau style is designed by architect Nikolay Yakovlev, built in 1911. In the elegant composition of the façade, the architectural decoration of neoclassicism is synthesized in the artistic expression of the “upright Art Nouveau”.
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A blue-tinted monochrome version of a shot looking up from the Caruso St John basement of Tate Britain. I think for me the colour version has the edge but I'm willing to be persuaded........
This is one of my favourite interior spaces in London for the way it beautifully synthesizes the traditional and contemporary.
More Museums and Galleries from around the world :
www.flickr.com/photos/darrellg/albums/72157608768742010
From Wikipedia : "In 2012, Tate Britain announced that it had raised the £45 million required to complete a major renovation, largely thanks to a £4.9 million grant from the Heritage Lottery Fund and £1 million given by Tate Members. The museum stayed open throughout the three phases of renovation.
Completed in 2013, the newly designed sections were conceived by the architects Caruso St John and included a total of nine new galleries, with reinforced flooring to accommodate heavy sculptures. A second part was unveiled later that year, the centrepiece being the reopening of the building's Thames-facing entrance as well as a new spiral staircase beneath its rotunda. The circular balcony of the rotunda's domed atrium, closed to visitors since the 1920s, was reopened. The gallery also now has a dedicated schools' entrance and reception beneath its entrance steps on Millbank and a new archive gallery for the presentation of temporary displays."
© D.Godliman
From 2,500 feet over Burke County, NC.
Synthesized IRG-->RGB cross-sampled image from a single exposure. Converted camera, Tiffen #12 filter. Worked up in Pixelbender and Photoshop.
HDRtist Pro Rendering - www.ohanaware.com/hdrtistpro/
The Italianate style of architecture was a distinct 19th-century phase in the history of Classical architecture. In the Italianate style, the models and architectural vocabulary of 16th-century Italian Renaissance architecture, which had served as inspiration for both Palladianism and Neoclassicism, were synthesized with picturesque aesthetics. The style of architecture that was thus created, though also characterized as "Neo-Renaissance", was essentially of its own time. "The backward look transforms its object," Siegfried Giedion wrote of historicist architectural styles; "every spectator at every period—at every moment, indeed—inevitably transforms the past according to his own nature."
Main Street Historic District
Orleans County - #9500021
Here in the following a huge assembling using DSS2 (red/blue) plates.
The green channel has been synthesized as 0.5(R+B).
Red panels: 48
Blue panels: 48
Copyright: R. Colombari / Caltech / NASA / StScI
Thank you so much for your visits and favs
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It is in the municipal area of El Port de la Selva in the province of Girona, Catalonia. It has been constructed in the side of the Verdera mountain below the ruins of the castle of Sant de Verdera that had provided protection for the monastery. It offers an exceptional views over the bay of Llançà, to the north of Cap de Creus. Near the monastery Santa Creu de Rodes is the ruins of a medieval town, of which its preRomanesque style church is the only remains dedicated to Saint Helena.
The true origin of the monastery is not known, which has given rise to speculation and legend; such as its foundation by monks who disembarked in the area with the remains of Saint Peter and other saints, to save them from the Barbarian hordes that had fallen on Rome. Once the danger had passed the Pope Boniface IV commanded them to construct a monastery.The first documentation of the existence of the monastery dates 878, it being mentioned as a simple monastery cell consecrated to Saint Peter, but it is not until 945 when an independent Benedictine monastery was founded, prevailed over by an abbot. Bound to the County of Empúries it reached its maximum splendor between the XI and XII centuries until its final decay in 17th century. Its increasing importance is reflected in its status as a point of pilgrimage.
In the 17th Century XVII it was sacked in several occasions and in 1793 was deserted by the benedictine community which was transferred to Vila-sacred and finally settled in Figueres in 1809 until it was dissolved.The monastery was declared a national monument in 1930. In 1935 the Generalitat of Catalonia initiated the first restoration work. The buildings are constructed in terraces, given its location. Cloisters of XII century form the central part of the complex. Around them the rest of constructions are distributed. The Church, consecrated in the year 1022, is the best exponent of the Romanesque style and without comparison with others of its time. Detailing features plants with three bays and a vault. These are bordered by a double column with capitals influenced by the Carolingian Style. The double column support arches separating the bays. The columns and pillars have been taken from a former Roman building. The bay is splendid with large dimensions with an arch in the apse, this is continued in the two lateral bays. Under the apse is a crypt. The church synthesizes a number of original styles including Carolingian, Romanesque and Roman. The monastery is considered one of the best examples of Romanesque architecture in Catalonia. In the western facade of the monastery is a XII Century bell tower, a square shape it is influenced by the lombards from the previous century. To the side is a defensive tower, that was probably began in the X Century but finished later after several modifications.
No matter how many times we #experience ordinary #natural phenomena, we'll always be #amazed . We need neither the virtual nor the modified to #live an #enjoyable and #meaningful #life . The necessity for perpetual improvement is an illusion. We don't need your synthesized #world. A #real #sunset will suffice.
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It is in the municipal area of El Port de la Selva in the province of Girona, Catalonia. It has been constructed in the side of the Verdera mountain below the ruins of the castle of Sant de Verdera that had provided protection for the monastery. It offers an exceptional views over the bay of Llançà, to the north of Cap de Creus. Near the monastery Santa Creu de Rodes is the ruins of a medieval town, of which its preRomanesque style church is the only remains dedicated to Saint Helena.
The true origin of the monastery is not known, which has given rise to speculation and legend; such as its foundation by monks who disembarked in the area with the remains of Saint Peter and other saints, to save them from the Barbarian hordes that had fallen on Rome. Once the danger had passed the Pope Boniface IV commanded them to construct a monastery.The first documentation of the existence of the monastery dates 878, it being mentioned as a simple monastery cell consecrated to Saint Peter, but it is not until 945 when an independent Benedictine monastery was founded, prevailed over by an abbot. Bound to the County of Empúries it reached its maximum splendor between the XI and XII centuries until its final decay in 17th century. Its increasing importance is reflected in its status as a point of pilgrimage.
In the 17th Century XVII it was sacked in several occasions and in 1793 was deserted by the benedictine community which was transferred to Vila-sacred and finally settled in Figueres in 1809 until it was dissolved.The monastery was declared a national monument in 1930. In 1935 the Generalitat of Catalonia initiated the first restoration work. The buildings are constructed in terraces, given its location. Cloisters of XII century form the central part of the complex. Around them the rest of constructions are distributed. The Church, consecrated in the year 1022, is the best exponent of the Romanesque style and without comparison with others of its time. Detailing features plants with three bays and a vault. These are bordered by a double column with capitals influenced by the Carolingian Style. The double column support arches separating the bays. The columns and pillars have been taken from a former Roman building. The bay is splendid with large dimensions with an arch in the apse, this is continued in the two lateral bays. Under the apse is a crypt. The church synthesizes a number of original styles including Carolingian, Romanesque and Roman. The monastery is considered one of the best examples of Romanesque architecture in Catalonia. In the western facade of the monastery is a XII Century bell tower, a square shape it is influenced by the lombards from the previous century. To the side is a defensive tower, that was probably began in the X Century but finished later after several modifications.
I was in a discussion with somebody the other day, (person will rename nameless) and I said that being able to understand the cultural significance, the fashionable trends, to spread your cultural net widely and synthesize results, to be able to place your work in context at the edge of the mainstream was an important element in the production of good art. Now I see many holes in this statement, that I’m sure will be ripped open, but my main point was that a person who hasn’t had much in-depth exposure, a person who hasn’t trained themselves to look, has the potential to follow a well-worn path thinking its virgin territory. Said person berated this statement claiming its arrogance, ‘everybody can be an artist, and it’s only a matter of personal taste’. ‘Well’, I said, wondering if I should change the subject as we had already had a few glasses of wine, ‘I’m not sure I fully agree’. ‘I see photographers all the time that fall into common clichés, they think they are original, but they are still learning’, deep breath, ‘there is nothing wrong with this, everybody has to learn their visual craft, but it takes many years of in-depth looking that one can draw on, that adds depth to any art’.
Oh by the way, this discussion was started by showing them my image in the Landscape Photographer of the Year book. I was trying to explain some of the images in the book fell into common clichés and they were the images that said person liked! I was trying to unsuccessfully convince them that years of actively looking, counted for something. Anyway my brother wasn’t convinced... (Don’t worry he won’t read this far down). His logical scientific training told him that it wasn’t possible for me to be correct, and those old art verses science debate we have bashed out over the years wasn’t about to be resolved. I changed the subject, but deep down I wanted to thrash it out… I must learn that some debates are unresolvable!
Minimalismo y Abstracción
Eliminar lo superfluo, sintetizar lo esencial, poner de manifiesto lo que es relevante en una imagen: sencillez, color, geometria, dinamismo en suma. Reflejar un estado de animo, configurar un espacio dinamico en color o blanco y negro.
La busqueda permanente del "menos es más"
Minimalism and Abstraction
Eliminate the superfluous, synthesize the essentials, highlight what is relevant in an image: simplicity, color, geometry, dynamism in sum. Reflect a state of mind, configure a dynamic space in color or black and white.
The permanent search for "less is more"
location : Tofuku-ji Komyo-in temple ,Kyoto city,Kyoto prefecture,Japan
Hashin-tei garden 波心庭
created by Mirei SHIGEMORI重森三玲
The stone placement represents the emitted lights ,and it comes from the name of this temple 光明院 光(Kou)means "lights" 明(myou)means "bright",so 光明means bright lights,in other words, the beams of light coming from the Buddha's body.
For more information...
This temple was founded by Kinzan Myosho in 1391 and the garden was designed by modern landscape architect Mirei Shigemori in 1939 and called "the garden of Hashin"
The significant feature of the garden is its strong stone foundation and modern style allotment of land by moss ,especially the placement of stones attracts attention and has some meanings
We can see the triad stone arrangement at the rear of the garden ,in which the central stone symbolizes Buddhist Mount Meru,
It is so- called "Sanzon-seki "三尊石 in Japanese and in this case selectively placed on artificial moss hill and regarded as a kind of the light source from which the lights are radiating.
And the other stones represent the radiated lights itself from the Sanzon-seki stones.
So in other words ,the garden depicts the lights source and lights beams by using 75 stones, that is based on the Buddhist thought and connected with the name of the temple "Komyo" 光明[Kou or Ko 光 means the lights ,Myo 明 means bright.
Thank you for your interest and seeing my photo.
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Mirei Shigemori (重森三玲 Shigemori Mirei, 1896–1975) was a notable modern Japanese landscape architect and historian of Japanese gardens.
Mirei Shigemori was a garden designer who actively participated in many areas of Japanese art and design. Shigemori was born in Kayō, Jōbō District, Okayama Prefecture, and in his youth was exposed to lessons in traditional tea ceremony and flower arrangement, as well as landscape ink and wash painting. In 1917, he entered the Tokyo Fine Arts School to study nihonga, or Japanese painting, and later completed a graduate degree from the Department of Research. In the early 1920s, he tried extensively to found a school of Japanese Culture, Bunka Daigakuin to synthesize the teaching of culture, but was foiled by the 1923 Great Kantō earthquake, which forced him to move back to his hometown near Kyoto.
He also intended to create a new style of ikebana,or flower arrangement, and produced art criticism and history writings, including the Complete Works of Japanese Flower Arrangement Art published in 1930, and the New Ikebana Declaration written with Sofu Teshigahara and Bunpo Nakayama in 1933. Throughout his later gardening career, he maintained a voice in avant garde criticism of ikebana through publishing Ikebana Geijutsu magazine beginning in 1950, and through the founding of an ikebana study group called Byakutosha in 1949.
At the same time, he cultivated an interest and knowledge in traditional Japanese gardens. He co-founded the Kyoto Rinsen Kyokai with others in 1932. After the destruction caused by the Muroto typhoon in 1934, he began a survey of significant gardens in Japan. In 1938, he finished publishing the 26-volume Illustrated Book on the History of the Japanese Garden, an unprecedented and meticulous documentation of major gardens in the country which he revised in 1971, shortly before his death.
He began practicing as a garden designer in 1914 with a garden and tea room on his family’s property. His first major work was a design for the garden at Tofuku-ji Temple in 1939. He designed 240 gardens, and worked mostly in karesansui, or dry landscape gardens. Many of his gardens are on existing religious sites, but a few of his works are in cultural or commercial settings. He also collaborated with Isamu Noguchi in choosing stones for the UNESCO Garden in Paris.
- wikipedia
Canon EOS M5/ EF-M18-150mm f/3.5-6.3 IS STM/
ƒ/7.1 18.0 mm 1/100 sec ISO250 /all manual / no crop
Panasonic Lumix DMC-GX8 w/Lumix G 14-42mm II kit lens
Crossed-eyes 3D (stereoscopic) viewing: View the two photos cross-eyed until a third image appears in the middle, which will be in stereo 3D. The brain nicely synthesizes a composite image with realistic depth and sharpness. Then put your two hands in front of your face to cover the photos on the left and right so only the middle one remains in your sight.
The Chagall windows at Tudeley were commissioned by Sir Henry and Lady d'Avigdor-Goldsmid in memory of Sarah d'Avigdor-Goldsmid, their daughter who died in 1963 at the tragically early age of 21, in a sailing accident off Rye. Sarah d'Avigdor-Goldsmid and her mother had visited the 1961 Louvre exhibition of Chagall's work. The centrepiece of the exhibition were the windows designed for the synagogue of the Hadassah Medical Centre in Jerusalem, depicting the Twelve Tribes of Israel. It was the memory of her daughter's love of these windows that led Sir Henry and Lady d'Avigdor-Goldsmid to commission Chagall to design windows for All Saints Tudeley.
Detailed information on the subject of each window is available at: www.tudeley.org/allsaintstudeley.htm
‘Will God or someone give me the power to breathe my sigh into my canvases, the sigh of prayer and sadness, the prayer of salvation, of rebirth?’– Marc Chagall
Russian born in modern day Belarus, Marc Chagall (1887-1985, French) was a pioneer of modernism and is considered to be one of the greatest figurative artists of the 20th century. Over the course of a long career Chagall’s unique personal style was informed by his experience and memories of Eastern European Jewish folk culture. In Paris as part of the Montparnasse circle ‘he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism.’ Yet throughout these phases of his style ‘he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk.’ During his career Chagall did accept many non-Jewish commissions, including stained glass windows for the cathedrals of Reims and Metz, the Dag Hammarskjold memorial at the United Nations, the great ceiling mural in the Paris Opera and the ceiling of the Metropolitan Opera House in New York City.
Lewis, Michael J. “Whatever Happened to Marc Chagall?” Commentary, October, 2008 pgs. 36-37
Official website: www.chagallpaintings.org
20250612 NjiviceJezero_126 11565 FaVretenca
www.inaturalist.org/observations/288987689
The Southern Darter (Sympetrum meridionale) is a species of dragonfly in the family Libellulidae, found primarily in southern and central Europe, as well as parts of North Africa and western Asia. Below are its main characteristics:
Taxonomy
Family: Libellulidae
Genus: Sympetrum
Species: S. meridionale
Common Name: Southern Darter
🔍 Identification
Size
Body length: ~33–38 mm
Wingspan: ~50–60 mm
Male Characteristics
Color: Mostly yellowish-red to reddish, including the face (unlike some similar species).
Thorax: Often has a yellowish-brown tone without dark side markings.
Abdomen: Slim and slightly club-shaped at the end, red or reddish-orange.
Legs: Yellow, which helps distinguish it from other Sympetrum species that have black or partly black legs.
Female Characteristics
Color: Yellowish or ochre, becoming more reddish with age.
Similar markings to males, but generally duller in color.
Eyes
Bicolored: reddish above, greenish or blue-gray below.
🌍 Habitat
Prefers warm, sunny, lowland areas.
Found near still or slow-moving water bodies like ponds, lakes, and canals.
Tolerates temporary and brackish waters.
📅 Flight Period
June to October, peaking in late summer.
🔎 Similar Species
Sympetrum sanguineum (Ruddy Darter): has black legs.
Sympetrum vulgatum (Vagrant Darter): darker thoracic markings and different face coloration.
📌 Key Identification Tips
Yellow legs (important for separation from many other Sympetrum species).
Unmarked thorax sides.
Reddish face in males.
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The explanation I provided about the Southern Darter (Sympetrum meridionale) is synthesized from reliable entomological field guides, scientific literature, and naturalist databases. Specifically, the main sources of such information typically include:
📚 Primary Sources Used in Summarization
Field Guides & Identification Books
Dijkstra, K.-D.B. & Lewington, R. Field Guide to the Dragonflies of Britain and Europe → One of the most authoritative European guides, includes detailed species descriptions, distribution, and identification keys.
Scientific Journals and Taxonomic References
Research articles in journals like Odonatologica and International Journal of Odonatology, which provide morphological and ecological details of European dragonflies.
Online Biodiversity Databases
Fauna Europaea: Taxonomic database of European terrestrial and freshwater animals.
iNaturalist & GBIF (Global Biodiversity Information Facility): Citizen science and species occurrence records.
British Dragonfly Society (BDS) and European Odonata websites: Offer identification aids, species profiles, and photographic comparisons.
Specialist Odonata Websites
DragonflyPix.com
Odonata Central
Sympetrum.info (focused specifically on the genus)
#modelshopstudio™ with Lloyd Thrap Creative Photography, modelshopstudio™ #Photography, #Model, #ModelMayhem, #GetOlympus, OLYMPUS DIGITAL CAMERA
© 2012 2022 Photo by Lloyd Thrap Photography
for Halo Media Group and modelshopstudio™
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Lloyd Thrap's Public Portfolio
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The California newt has warty, slate-gray skin on its back and bright orange-yellow skin underneath. Like other genus Taricha members, the glands in the skin of Taricha torosa secrete the potent neurotoxin tetrodotoxin, which is hundreds of times more toxic than cyanide. This is the same toxin found in pufferfish and harlequin frogs. Researchers believe bacteria synthesize tetrodotoxin, and the animals that employ the neurotoxin acquire it through consumption of these bacteria. This neurotoxin is strong enough to kill most vertebrates, including humans.
Due to their toxicity, California newts have few natural predators. Garter snakes are the most common, and some species have developed a genetic resistance to tetrodotoxin. The mutations in the snake's genes that conferred resistance to the toxin have resulted in a selective pressure that favors newts that produce more potent levels of toxin. Increases in newt toxicity then apply a selective pressure favoring snakes with mutations conferring even greater resistance. This evolutionary arms race has resulted in the newts producing levels of toxin far in excess of what is needed to kill any other conceivable predator.
They eat earthworms, snails, slugs, woodlice, bloodworms, mosquito larvae, crickets and other small bugs.
I took a picture of this fella at Sykes campsite on the Pine Ridge Trail in Big Sur.
This composite NASA Hubble Space Telescope Image captures the positions of comet Siding Spring and Mars in a never-before-seen close passage of a comet by the Red Planet, which happened at 2:28 p.m. EDT October 19, 2014. The comet passed by Mars at approximately 87,000 miles (about one-third of the distance between Earth and the Moon). At that time, the comet and Mars were approximately 149 million miles from Earth.
The comet image shown here is a composite of Hubble exposures taken between Oct. 18, 8:06 a.m. EDT to Oct. 19, 11:17 p.m. EDT. Hubble took a separate photograph of Mars at 10:37 p.m. EDT on Oct. 18.
The Mars and comet images have been added together to create a single picture to illustrate the angular separation, or distance, between the comet and Mars at closest approach. The separation is approximately 1.5 arc minutes, or one-twentieth of the angular diameter of the full Moon. The background starfield in this composite image is synthesized from ground-based telescope data provided by the Palomar Digital Sky Survey, which has been reprocessed to approximate Hubble’s resolution. The solid icy comet nucleus is too small to be resolved in the Hubble picture. The comet’s bright coma, a diffuse cloud of dust enshrouding the nucleus, and a dusty tail, are clearly visible.
This is a composite image because a single exposure of the stellar background, comet Siding Spring, and Mars would be problematic. Mars is actually 10,000 times brighter than the comet, and so could not be properly exposed to show detail in the Red Planet. The comet and Mars were also moving with respect to each other and so could not be imaged simultaneously in one exposure without one of the objects being motion blurred. Hubble had to be programmed to track on the comet and Mars separately in two different observations.
The images were taken with Hubble’s Wide Field Camera 3.
Credit: NASA, ESA, PSI, JHU/APL, STScI/AURA
Credit: NASA, ESA, PSI, JHU/APL, STScI/AURA
Seen in Albuquerque. #potd Photo by: Lloyd Thrap Creative Photography — with Theater Southwest and Musical Theater southwest at Musical Theatre Southwest.
© 2018 Photo by Lloyd Thrap Photography
for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
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Albuquerque photographers. Artist and good guy. DIGITAL CAMERA
Washington, DC-based singer/songwriter Jessica Sands.
Shot on Location at Old Town Farms, Albuquerque, New Mexico. USA
Hair and Make-up by: Ji Cha.
OLYMPUS DIGITAL CAMERA
© 2012 2023 Photo by Lloyd Thrap Photography
for Halo Media Group and modelshopstudio™
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Lloyd Thrap's Public Portfolio
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Albuquerque photographers and artists
Sunset at Lake Lhanquihue, at Puerto Varas, Chile.
Its figure ideally synthesizes what a volcano is. Its unique colors, as well as its slopes and a summit that remains covered with white, unspoilt snow almost 365 days a year.
Standing almost 60 kilometers to the Northwest of Puerto Varas, it reaches a height of 2,661 meters above sea level. Its great height makes it visible from every point in the district of Osorno, even in some places on Chiloé Island. Therefore, it represents an impressive and typical postcard of the region. With its classical blackish dark green color and ornamented with arms of eternal snow, its presence attracts the thousands of tourists who visit it every year. Looking at its summit is mesmerizing and it is the destination for various climbing excursions.
The volcano may be ascended from Puerto Kloker, Ensenada and Petrohué. Ascents take approximately 6 hours and, in most cases, groups are organized to climb in the company of a local guide. It is advisable to wear thermic clothes, sunglasses, sun protection, water and, of course, comfortable climbing footwear.
Thanks for visiting, kind comments and favorites and Have a great week ahead, my friends! BEST ON BLACK
PLEASE, DO NOT INVITATION TO GROUPS
There are several species known as cotton tree in Brazil, almost all belonging to the genus Ceiba (formerly Chorisia family Malvaceae (previously Bombacaceae)In all, the best known species is the cotton tree Ceiba speciosa (St.-Hill.) Ravenna, native forests of Brazil and Bolivia, initially described as Chorisia speciosa St. Hilaire 1828.FEATURES: -It is a tree with up to twenty feet tall, gray-green stem with grooves and photosynthetic strong blunt spines, very sharp in the younger branches.The trunk of Painswick has a good ability to synthesize chlorophyll (photosynthesis) and greenish to have when you have a good size, that helps growth even when the tree is bare of leaves, is also common Paineiras present a kind of enlargement on base of the stem, hence the nickname "paunchy". Detail of the trunk, with photosynthetic tissues (photographed in Portugal)The leaves are composed slaps and fall during flowering. The flowers are large, with five pink petals with red spots and white edges. There are a variety of less common, with white flowers. Paineira-white, less common variety, with white flowers in the park Ceret, in Sao Paulo, Brazil Their reproductive organs are united in a long androginóforo.The fruits are green capsules which, when ripe, burst (dehiscent), exposing the seeds wrapped in fine white fibers that aid in flotation and which are called kapok. From twenty years old, approximately (southeastern Brazil), the spines usually start to fall in the lower stem and gradually also fall in the higher parts of the tree, with thickening of the shell. It is said, in Brazil, this allows the tree to get birds' nests, which would be impossible to happen when it had long, sharp thorns, so flowers and fruits are no longer present, but the tree continues to give its contribution to Nature hosting the birds. This is not a rule for all Painswick, Painswick some with more than twenty meters, for example, still have very large thorns on the lower, probably as a defense of the local insects.
Há várias espécies conhecidas como paineira no Brasil, quase todas pertencendo ao gênero Ceiba (antes, Chorisia da família Malvaceae (antes, Bombacaceae)
De todas, a mais conhecida é a paineira da espécie Ceiba speciosa (St.-Hill.) Ravenna, nativa das florestas brasileiras e da Bolívia, inicialmente descrita como Chorisia speciosa St. Hilaire 1828.
CARACTERÍSTICAS:-
É uma árvore com até vinte metros de altura, tronco cinzento-esverdeado com estrias fotossintéticas e fortes acúleos rombudos, muito afiados nos ramos mais jovens.
O tronco das paineiras tem boa capacidade de sintetizar clorofila (fazer fotossíntese) e tem coloração esverdeada até quando tem um bom porte; isto auxilia o crescimento mesmo quando a árvore está despida de folhas; é comum, também, paineiras apresentarem uma espécie de alargamento na base do caule, daí o apelido "barriguda".
Detalhe do tronco, com tecidos fotossintéticos (fotografada em Portugal)
As folhas são compostas palmadas e caem na época da floração. As flores são grandes, com cinco pétalas rosadas com pintas vermelhas e bordas brancas. Há uma variedade menos comum, com flores brancas.
Paineira-branca, variedade menos comum, com flores brancas, no parque Ceret, em São Paulo, no Brasil
Seus órgãos reprodutivos encontram-se unidos em um longo androginóforo.
Os frutos são cápsulas verdes, que, quando maduras, rebentam (deiscentes), expondo as sementes envoltas em fibras finas e brancas que auxiliam na flutuação e que são chamadas paina.
A partir dos vinte anos de idade, aproximadamente (sudeste brasileiro), os espinhos costumam começar a cair na parte baixa do caule e, gradualmente, também caem nas partes mais altas da árvore, com o engrossamento da casca. Diz-se, no Brasil, que isto permite à árvore receber ninhos de pássaros, o que seria impossível de acontecer quando esta tinha espinhos longos e pontiagudos; assim, flores e frutos já não estão presentes, mas a árvore continua a dar sua contribuição à natureza hospedando os passarinhos. Esta não é uma regra para todas as paineiras; algumas paineiras com mais de vinte metros, por exemplo, continuam com espinhos muito grandes na parte baixa, provavelmente como defesa de insetos do local.
Sagrada Família, Barcelona, España.
El Templo Expiatorio de la Sagrada Familia, conocido simplemente como la Sagrada Familia, es una basílica católica de Barcelona (España), diseñada por el arquitecto Antoni Gaudí. Iniciada en 1882, todavía está en construcción (noviembre de 2016). Es la obra maestra de Gaudí, y el máximo exponente de la arquitectura modernista catalana.
La Sagrada Familia es un reflejo de la plenitud artística de Gaudí: trabajó en ella durante la mayor parte de su carrera profesional, pero especialmente en los últimos años de su carrera, donde llegó a la culminación de su estilo naturalista, haciendo una síntesis de todas las soluciones y estilos probados hasta aquel entonces. Gaudí logró una perfecta armonía en la interrelación entre los elementos estructurales y los ornamentales, entre plástica y estética, entre función y forma, entre contenido y continente, logrando la integración de todas las artes en un todo estructurado y lógico.
La Sagrada Familia tiene planta de cruz latina, de cinco naves centrales y transepto de tres naves, y ábside con siete capillas. Ostenta tres fachadas dedicadas al Nacimiento, Pasión y Gloria de Jesús y, cuando esté concluida, tendrá 18 torres: cuatro en cada portal haciendo un total de doce por los apóstoles, cuatro sobre el crucero invocando a los evangelistas, una sobre el ábside dedicada a la Virgen y la torre-cimborio central en honor a Jesús, que alcanzará los 172,5 metros de altura. El templo dispondrá de dos sacristías junto al ábside, y de tres grandes capillas: la de la Asunción en el ábside y las del Bautismo y la Penitencia junto a la fachada principal; asimismo, estará rodeado de un claustro pensado para las procesiones y para aislar el templo del exterior. Gaudí aplicó a la Sagrada Familia un alto contenido simbólico, tanto en arquitectura como en escultura, dedicando a cada parte del templo un significado religioso.
The Expiatory Church of the Sagrada Familia, known simply as the Sagrada Familia, is a Roman Catholic basilica in Barcelona, Spain, designed by architect Antoni Gaudí. Begun in 1882, it is still under construction (November 2016). It is Gaudí's masterpiece and the greatest exponent of Catalan modernist architecture.
The Sagrada Familia is a reflection of Gaudí's artistic plenitude: he worked on it for most of his professional career, but especially in his later years, where he reached the culmination of his naturalistic style, synthesizing all the solutions and styles he had tried up to that point. Gaudí achieved perfect harmony in the interrelationship between structural and ornamental elements, between plasticity and aesthetics, between function and form, between content and container, achieving the integration of all the arts into a structured and logical whole. The Sagrada Familia has a Latin cross plan, five central naves, a three-aisled transept, and an apse with seven chapels. It boasts three façades dedicated to the Birth, Passion, and Glory of Jesus. When completed, it will have 18 towers: four at each portal, making a total of twelve for the apostles, four over the transept invoking the evangelists, one over the apse dedicated to the Virgin, and the central dome tower in honor of Jesus, which will reach 172.5 meters in height. The temple will have two sacristies next to the apse and three large chapels: the Assumption Chapel in the apse and the Baptism and Penance Chapels next to the main façade. It will also be surrounded by a cloister designed for processions and to isolate the temple from the exterior. Gaudí applied a highly symbolic content to the Sagrada Familia, both in architecture and sculpture, dedicating each part of the temple to a religious significance.
A view at Master of the Nets Garden, Suzhou, Jiangsu Province, China
The Master of the Nets Garden is among the finest gardens in China. It is recognized with other classical Suzhou gardens as a UNESCO World Heritage Site. The garden demonstrates Chinese garden designers' adept skills for synthesizing art, nature, and architecture to create unique metaphysical masterpieces. The Master of the Nets is particularly regarded among garden connoisseurs for its mastering the techniques of relative dimension, contrast, foil, sequence and depth, and borrowed scenery.
In 1998, Paperhand Puppet Intervention’s directors Donovan Zimmerman and Jan Burger met and began a collaboration of epic proportions. Since then, 25 years ago, they have been using papier-mâché, cardboard, bamboo, your old house paints, cloth, and other assorted junk (treasure to us!) to create incredible giant puppets, masks, shadow plays and spectacle performances for all ages.
Paperhand Puppet Intervention’s mission is to use diverse styles of puppetry and artistic expression to create works that inspire, promote social change and are deeply rewarding for all involved. These styles include: giant puppets, rod puppets, shadow puppetry, masks, stilt dancing and anything under the sky that strikes our fancy.
Our vision is inspired by our love for the earth and its creatures (including humans). We will synthesize many art forms including, but never limited to, sculpting, painting, dance, music, improvisation, costume design, set design and theater. We are committed to creating multi-scaled and multi-disciplinary puppet performances that support this vision.
They perform at various venues throughout North Carolina from August till late September.
Explored - Highest position: 424 on Friday, July 12, 2024. Thanks for all the views, comments and FAVs.
The Blue Mosque, or Sultan Ahmet Mosque, is an historic mosque located in Istanbul. The mosque was constructed between 1609 and 1616 during the rule of Ahmed I. It is included in the UNESCO World Heritage list as part of the Istanbul historic core.
Its Külliye contains Ahmed's tomb, a madrasah and a hospice. Magnificent hand-painted blue tiles adorn the mosque’s interior walls, and at night the mosque is bathed in blue as lights frame the mosque’s five main domes, six minarets and eight secondary domes.
After the Peace of Zsitvatorok and the crushing loss in the 1603–1618 war with Persia, Sultan Ahmet I decided to build a large mosque in Istanbul to reassert Ottoman power. It would be the first imperial mosque for more than forty years. While his predecessors had paid for their mosques with the spoils of war, Ahmet I procured funds from the Treasury, because he had not gained remarkable victories.
It caused the anger of the ulema, the Muslim jurists. The mosque was built on the site of the palace of the Byzantine emperors, in front of the basilica Hagia Sophia (at that time, the primary imperial mosque in Istanbul) and the hippodrome, a site of significant symbolic meaning as it dominated the city skyline from the south. Big parts of the south shore of the mosque rest on the foundations, the vaults of the old Grand Palace.
The Sultan Ahmed Mosque has five main domes, six minarets, and eight secondary domes. The design is the culmination of two centuries of Ottoman mosque development. It incorporates some Byzantine Christian elements of the neighboring Hagia Sophia with traditional Islamic architecture and is considered to be the last great mosque of the classical period. The architect, Sedefkâr Mehmed Ağa, synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendour.
This was shot from the second floor of the ayasofia....
The Sultan Ahmed Mosque has one main dome, six minarets, and eight secondary domes. The design is the culmination of two centuries of Ottoman mosque development. It incorporates some Byzantine Christian elements of the neighboring Hagia Sophia with traditional Islamic architecture and is considered to be the last great mosque of the classical period. The architect, Sedefkar Mehmed Aga, synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendour.