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ATCs for a live trade in Milwaukee - the theme is collections and one of my favorite collections is the library.
Palma Vecchio, autour de 1480-1528,
actif à Venise et Bergame
Les Nymphes se baignants, environ 1525-1528
Le thème de la femme nue gisant dans la nature sauvage est depuis Giorgione et le début du Titien à Venise familière. Jamais, cependant, l'accent a été mis tellement sur l'élaboration plastique, sur le contour linéaire des figures féminines, associés les une les autres d'une façon compliquée. Palma ici reprit animation organique des sculptures antiques et il s'appuya sur répertoire de ses contemporains maniéristes tels que Giulio Romano. La sensuelle texture de surface, à Venise habituelle, avait fait place à une fraîcheur porcelaine.
Palma Vecchio, um 1480-1528,
tätig in Venedig und Bergamo
Badende Nymphen, um 1525/28
Das Thema der in freier Natur gelagerten nackten Frau ist seit Giorgione und dem frühen Tizian in Venedig heimisch. Nie lag jedoch der Akzent so deutlich auf dem plastischen Herausarbeiten, auf der linearen Kontur der kompliziert einander zugeordneten weiblichen Figuren. Palma übernahm hier Bewegungsmotive antiker Skulpturen und schöpfte aus dem Repertoire seiner manieristischen Zeitgenossen wie Giulio Romano. Die in Venedig übliche sinnliche Oberflächentextur ist porzellanhafter Kühle gewichen.
Austria Kunsthistorisches Museum
Federal Museum
Logo KHM
Regulatory authority (ies)/organs to the Federal Ministry for Education, Science and Culture
Founded 17 October 1891
Headquartered Castle Ring (Burgring), Vienna 1, Austria
Management Sabine Haag
www.khm.at website
Main building of the Kunsthistorisches Museum at Maria-Theresa-Square
The Kunsthistorisches Museum (KHM abbreviated) is an art museum in Vienna. It is one of the largest and most important museums in the world. It was opened in 1891 and 2012 visited of 1.351.940 million people.
The museum
The Kunsthistorisches Museum is with its opposite sister building, the Natural History Museum (Naturhistorisches Museum), the most important historicist large buildings of the Ringstrasse time. Together they stand around the Maria Theresa square, on which also the Maria Theresa monument stands. This course spans the former glacis between today's ring road and 2-line, and is forming a historical landmark that also belongs to World Heritage Site Historic Centre of Vienna.
History
Archduke Leopold Wilhelm in his Gallery
The Museum came from the collections of the Habsburgs, especially from the portrait and armor collections of Ferdinand of Tyrol, the collection of Emperor Rudolf II (most of which, however scattered) and the art collection of Archduke Leopold Wilhelm into existence. Already In 1833 asked Joseph Arneth, curator (and later director) of the Imperial Coins and Antiquities Cabinet, bringing together all the imperial collections in a single building .
Architectural History
The contract to build the museum in the city had been given in 1858 by Emperor Franz Joseph. Subsequently, many designs were submitted for the ring road zone. Plans by August Sicard von Sicardsburg and Eduard van der Null planned to build two museum buildings in the immediate aftermath of the Imperial Palace on the left and right of the Heroes' Square (Heldenplatz). The architect Ludwig Förster planned museum buildings between the Schwarzenberg Square and the City Park, Martin Ritter von Kink favored buildings at the corner Währingerstraße/ Scots ring (Schottenring), Peter Joseph, the area Bellariastraße, Moritz von Loehr the south side of the opera ring, and Ludwig Zettl the southeast side of the grain market (Getreidemarkt).
From 1867, a competition was announced for the museums, and thereby set their current position - at the request of the Emperor, the museum should not be too close to the Imperial Palace, but arise beyond the ring road. The architect Carl von Hasenauer participated in this competition and was able the at that time in Zürich operating Gottfried Semper to encourage to work together. The two museum buildings should be built here in the sense of the style of the Italian Renaissance. The plans got the benevolence of the imperial family. In April 1869, there was an audience with of Joseph Semper at the Emperor Franz Joseph and an oral contract was concluded, in July 1870 was issued the written order to Semper and Hasenauer.
Crucial for the success of Semper and Hasenauer against the projects of other architects were among others Semper's vision of a large building complex called "Imperial Forum", in which the museums would have been a part of. Not least by the death of Semper in 1879 came the Imperial Forum not as planned for execution, the two museums were built, however.
Construction of the two museums began without ceremony on 27 November 1871 instead. Semper moved to Vienna in the sequence. From the beginning, there were considerable personal differences between him and Hasenauer, who finally in 1877 took over sole construction management. 1874, the scaffolds were placed up to the attic and the first floor completed, built in 1878, the first windows installed in 1879, the Attica and the balustrade from 1880 to 1881 and built the dome and the Tabernacle. The dome is topped with a bronze statue of Pallas Athena by Johannes Benk.
The lighting and air conditioning concept with double glazing of the ceilings made the renunciation of artificial light (especially at that time, as gas light) possible, but this resulted due to seasonal variations depending on daylight to different opening times .
Kuppelhalle
Entrance (by clicking the link at the end of the side you can see all the pictures here indicated!)
Grand staircase
Hall
Empire
The Kunsthistorisches Museum was on 17 October 1891 officially opened by Emperor Franz Joseph I. Since 22 October 1891 , the museum is accessible to the public. Two years earlier, on 3 November 1889, the collection of arms, Arms and Armour today, had their doors open. On 1 January 1890 the library service resumed its operations. The merger and listing of other collections of the Highest Imperial Family from the Upper and Lower Belvedere, the Hofburg Palace and Ambras in Tyrol will need another two years.
189, the farm museum was organized in seven collections with three directorates:
Directorate of coins, medals and antiquities collection
The Egyptian Collection
The Antique Collection
The coins and medals collection
Management of the collection of weapons, art and industrial objects
Weapons collection
Collection of industrial art objects
Directorate of Art Gallery and Restaurieranstalt (Restoration Office)
Collection of watercolors, drawings, sketches, etc.
Restoration Office
Library
Very soon the room the Court Museum (Hofmuseum) for the imperial collections was offering became too narrow. To provide temporary help, an exhibition of ancient artifacts from Ephesus in the Theseus Temple was designed. However, additional space had to be rented in the Lower Belvedere.
1914, after the assassination of Franz Ferdinand, heir to the throne, his " Estonian Forensic Collection " passed to the administration of the Court Museum. This collection, which emerged from the art collection of the house of d' Este and world travel collection of Franz Ferdinand, was placed in the New Imperial Palace since 1908. For these stocks, the present collection of old musical instruments and the Museum of Ethnology emerged.
The First World War went by, apart from the oppressive economic situation without loss. The farm museum remained during the five years of war regularly open to the public.
Until 1919 the K.K. Art Historical Court Museum was under the authority of the Oberstkämmereramt (head chamberlain office) and belonged to the House of Habsburg-Lorraine. The officials and employees were part of the royal household.
First Republic
The transition from monarchy to republic, in the museum took place in complete tranquility. On 19 November 1918 the two imperial museums on Maria Theresa Square were placed under the state protection of the young Republic of German Austria. Threatening to the stocks of the museum were the claims raised in the following weeks and months of the "successor states" of the monarchy as well as Italy and Belgium on Austrian art collection. In fact, it came on 12th February 1919 to the violent removal of 62 paintings by armed Italian units. This "art theft" left a long time trauma among curators and art historians.
It was not until the Treaty of Saint-Germain of 10 September 1919, providing in Article 195 and 196 the settlement of rights in the cultural field by negotiations. The claims of Belgium, Czechoslovakia, and Italy again could mostly being averted in this way. Only Hungary, which presented the greatest demands by far, was met by more than ten years of negotiation in 147 cases.
On 3 April 1919 was the expropriation of the House of Habsburg-Lorraine by law and the acquisition of its property, including the "Collections of the Imperial House" , by the Republic. Of 18 June 1920 the then provisional administration of the former imperial museums and collections of Este and the secular and clergy treasury passed to the State Office of Internal Affairs and Education, since 10 November 1920, the Federal Ministry of the Interior and Education. A few days later it was renamed the Art History Court Museum in the "Kunsthistorisches Museum, Vienna State", 1921 "Kunsthistorisches Museum" . Of 1st January 1921 the employees of the museum staff passed to the state of the Republic.
Through the acquisition of the former imperial collections owned by the state, the museum found itself in a complete new situation. In order to meet the changed circumstances in the museum area, designed Hans Tietze in 1919 the "Vienna Museum program". It provided a close cooperation between the individual museums to focus at different houses on main collections. So dominated exchange, sales and equalizing the acquisition policy in the interwar period. Thus resulting until today still valid collection trends. Also pointing the way was the relocation of the weapons collection from 1934 in its present premises in the New Castle, where since 1916 the collection of ancient musical instruments was placed.
With the change of the imperial collections in the ownership of the Republic the reorganization of the internal organization went hand in hand, too. Thus the museum was divided in 1919 into the
Egyptian and Near Eastern Collection (with the Oriental coins)
Collection of Classical Antiquities
Collection of ancient coins
Collection of modern coins and medals
Weapons collection
Collection of sculptures and crafts with the Collection of Ancient Musical Instruments
Picture Gallery
The Museum 1938-1945
Count Philipp Ludwig Wenzel Sinzendorf according to Rigaud. Clarisse 1948 by Baroness de Rothschildt "dedicated" to the memory of Baron Alphonse de Rothschildt; restituted to the Rothschilds in 1999, and in 1999 donated by Bettina Looram Rothschild, the last Austrian heiress.
With the "Anschluss" of Austria to the German Reich all Jewish art collections such as the Rothschilds were forcibly "Aryanised". Collections were either "paid" or simply distributed by the Gestapo at the museums. This resulted in a significant increase in stocks. But the KHM was not the only museum that benefited from the linearization. Systematically looted Jewish property was sold to museums, collections or in pawnshops throughout the empire.
After the war, the museum struggled to reimburse the "Aryanised" art to the owners or their heirs. They forced the Rothschild family to leave the most important part of their own collection to the museum and called this "dedications", or "donations". As a reason, was the export law stated, which does not allow owners to perform certain works of art out of the country. Similar methods were used with other former owners. Only on the basis of international diplomatic and media pressure, to a large extent from the United States, the Austrian government decided to make a change in the law (Art Restitution Act of 1998, the so-called Lex Rothschild). The art objects were the Rothschild family refunded only in the 1990s.
The Kunsthistorisches Museum operates on the basis of the federal law on the restitution of art objects from the 4th December 1998 (Federal Law Gazette I, 181 /1998) extensive provenance research. Even before this decree was carried out in-house provenance research at the initiative of the then archive director Herbert Haupt. This was submitted in 1998 by him in collaboration with Lydia Grobl a comprehensive presentation of the facts about the changes in the inventory levels of the Kunsthistorisches Museum during the Nazi era and in the years leading up to the State Treaty of 1955, an important basis for further research provenance.
The two historians Susanne Hehenberger and Monika Löscher are since 1st April 2009 as provenance researchers at the Kunsthistorisches Museum on behalf of the Commission for Provenance Research operating and they deal with the investigation period from 1933 to the recent past.
The museum today
Today the museum is as a federal museum, with 1st January 1999 released to the full legal capacity - it was thus the first of the state museums of Austria, implementing the far-reaching self-financing. It is by far the most visited museum in Austria with 1.3 million visitors (2007).
The Kunsthistorisches Museum is under the name Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum with company number 182081t since 11 June 1999 as a research institution under public law of the Federal virtue of the Federal Museums Act, Federal Law Gazette I/115/1998 and the Museum of Procedure of the Kunsthistorisches Museum and Museum of Ethnology and the Austrian Theatre Museum, 3 January 2001, BGBl II 2/ 2001, in force since 1 January 2001, registered.
In fiscal 2008, the turnover was 37.185 million EUR and total assets amounted to EUR 22.204 million. In 2008 an average of 410 workers were employed.
Management
1919-1923: Gustav Glück as the first chairman of the College of science officials
1924-1933: Hermann Julius Hermann 1924-1925 as the first chairman of the College of the scientific officers in 1925 as first director
1933: Arpad Weixlgärtner first director
1934-1938: Alfred Stix first director
1938-1945: Fritz Dworschak 1938 as acting head, from 1938 as a chief in 1941 as first director
1945-1949: August von Loehr 1945-1948 as executive director of the State Art Collections in 1949 as general director of the historical collections of the Federation
1945-1949: Alfred Stix 1945-1948 as executive director of the State Art Collections in 1949 as general director of art historical collections of the Federation
1949-1950: Hans Demel as administrative director
1950: Karl Wisoko-Meytsky as general director of art and historical collections of the Federation
1951-1952: Fritz Eichler as administrative director
1953-1954: Ernst H. Buschbeck as administrative director
1955-1966: Vincent Oberhammer 1955-1959 as administrative director, from 1959 as first director
1967: Edward Holzmair as managing director
1968-1972: Erwin Auer first director
1973-1981: Friderike Klauner first director
1982-1990: Hermann Fillitz first director
1990: George Kugler as interim first director
1990-2008: Wilfried Seipel as general director
Since 2009: Sabine Haag as general director
Collections
To the Kunsthistorisches Museum are also belonging the collections of the New Castle, the Austrian Theatre Museum in Palais Lobkowitz, the Museum of Ethnology and the Wagenburg (wagon fortress) in an outbuilding of Schönbrunn Palace. A branch office is also Ambras in Innsbruck.
Kunsthistorisches Museum (main building)
Picture Gallery
Egyptian and Near Eastern Collection
Collection of Classical Antiquities
Vienna Chamber of Art
Numismatic Collection
Library
New Castle
Ephesus Museum
Collection of Ancient Musical Instruments
Arms and Armour
Archive
Hofburg
The imperial crown in the Treasury
Imperial Treasury of Vienna
Insignia of the Austrian Hereditary Homage
Insignia of imperial Austria
Insignia of the Holy Roman Empire
Burgundian Inheritance and the Order of the Golden Fleece
Habsburg-Lorraine Household Treasure
Ecclesiastical Treasury
Schönbrunn Palace
Imperial Carriage Museum Vienna
Armory in Ambras Castle
Ambras Castle
Collections of Ambras Castle
Major exhibits
Among the most important exhibits of the Art Gallery rank inter alia:
Jan van Eyck: Cardinal Niccolò Albergati, 1438
Martin Schongauer: Holy Family, 1475-80
Albrecht Dürer : Trinity Altar, 1509-16
Portrait Johann Kleeberger, 1526
Parmigianino: Self Portrait in Convex Mirror, 1523/24
Giuseppe Arcimboldo: Summer 1563
Michelangelo Merisi da Caravaggio: Madonna of the Rosary 1606/ 07
Caravaggio: Madonna of the Rosary (1606-1607)
Titian: Nymph and Shepherd to 1570-75
Portrait of Jacopo de Strada, 1567/68
Raffaello Santi: Madonna of the Meadow, 1505 /06
Lorenzo Lotto: Portrait of a young man against white curtain, 1508
Peter Paul Rubens: The altar of St. Ildefonso, 1630-32
The Little Fur, about 1638
Jan Vermeer: The Art of Painting, 1665/66
Pieter Bruegel the Elder: Fight between Carnival and Lent, 1559
Kids, 1560
Tower of Babel, 1563
Christ Carrying the Cross, 1564
Gloomy Day (Early Spring), 1565
Return of the Herd (Autumn), 1565
Hunters in the Snow (Winter) 1565
Bauer and bird thief, 1568
Peasant Wedding, 1568/69
Peasant Dance, 1568/69
Paul's conversion (Conversion of St Paul), 1567
Cabinet of Curiosities:
Saliera from Benvenuto Cellini 1539-1543
Egyptian-Oriental Collection:
Mastaba of Ka Ni Nisut
Collection of Classical Antiquities:
Gemma Augustea
Treasure of Nagyszentmiklós
Gallery: Major exhibits
“The lotus is the most beautiful flower, whose petals open one by one. But it will only grow in the mud. In order to grow and gain wisdom, first you must have the mud --- the obstacles of life and its suffering. ... The mud speaks of the common ground that humans share, no matter what our stations in life. ... Whether we have it all or we have nothing, we are all faced with the same obstacles: sadness, loss, illness, dying and death. If we are to strive as human beings to gain more wisdom, more kindness and more compassion, we must have the intention to grow as a lotus and open each petal one by one. ”
― Goldie Hawn
I don't have a shot of a lotus so used one of my roses! This one looks the most like a lotus bloom.
I made these Pirate Theme Cake & Cupcakes for a Theme party (pictures to be uploaded later) that I design.
The ship took me almost 10 hrs but im v.pleased with the result. It was inspired by studio cake (thank you for inspiring me, your work is excellent!!).
For more pics, pls go to my blog: www.thecupcakelicious.blogspot.com
Halloween Theme Wife-Beater Shirt Party 2010 with www.Download-Dj.com and Dj Hashbrown for Jessies Bday at the famous Texas Holdem Poker house in Alta Loma California.
Visit my Blog at: www.TheCakingGirl.ca :)
My Facebook Page: www.facebook.com/TheCakingGirl
Instagram: @TheCakingGirl
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I went out for a walk this afternoon as I had forgotten to get my wife a Christmas Card ... silly me!! Lucky for me and before it started to rain again I caught this reflection on the paving!!
Flickr Lounge ~ Weekly Theme (Week 52) ~ Reflection ...
Merry Christmas to all my Flickr friends!!
Stay Safe and Healthy Everyone!
Thanks to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... Thanks to you all!
In the fall of 1969 my friend Chris and I decided to open a retail store selling "Chopper parts". We had built and sold 4 custom bikes that year www.flickr.com/photos/45519093@N00/124039311/in/set-1385107 and all our friends were asking how to buy the parts mail order. Ed Roth published "Choppers" magazine which contained ads including one for AEE Choppers of southern California. We had purchased parts from them for my first panhead chopper that same year. Deciding on the name " CJ custom cycle parts" we made a business plan and went to the bank for a start up loan. To say the bankers laughed at us would be exaggeration but they declined our request. I complained of their shortsightedness to my co-workers at the newspaper and Fran Walling, a fellow artist in the display advertising department, offered to loan me the money from part of her husbands life insurance settlement. We agreed to pay her 1% more than bank rate on a two year repayment plan. And so with $5,000 in the bank we rented a small store front and made plans for a January 1970 opening.
The plan was for Chris to man the retail store on the weekdays while I worked full time at the newspaper, then on Saturdays I would be behind the counter. We really had no clue how the profit margin of a retail parts business should have worked, both of us had only high school educations and in 1969 I was 23, married with an infant daughter and Chris was 19 and two years out of school. To say we were more lucky than smart is an understatement. Further complicating our business plan was the fact that AEE Choppers was both underfunded and had no desire or incentive to sell on the traditional manufacturer/distributor/retailer automotive model. Read the true and remarkable story of Tom and Rose McMullen's business here: www.streetchopperweb.com/features/0910_stcp_street_choppe... Nevertheless, we travelled to socal in a borrowed truck and purchased parts from AEE and several other manufacturers who had placed ads in Ed Roth's magazine. Keep in mind there were no other magazines publishing in 1969, Street Chopper appeared in March 1970 and Easyriders first issue came out in 1971. We opened our chopper shop for business January 10,1970. Harley-Davidson dealers were not interested in modifying motorcycles or the people who were, if you couldn't make your own parts you rode a stock bike.
Chris had learned to lace and true wheels as part of his training at the HD dealership in his two years working there after graduating high school. He was the first in our area to make spokes to adapt a 16 inch HD rim to a Triumph rear hub and had a small business in his garage building wheels for our mutual friends. I had started painting bikes in my garage in 1968. Combining our two skill sets we expected to gain the benefit of making a profit on the parts our fellow riders and friends needed to customize their motorcycles. We soon learned there was not enough profit selling AEE parts so we searched for other sources. Fortunately for us there were plenty of people eager to accommodate us and in the end AEE went out of business in 1975.
This photograph of Julie, our theme girl, wearing our logo t-shirt was taken on January 10,1974 by John Reddick. Exactly four years to the day after we had opened our first store and at the height of our business success. Scanned from a 35 year old 35mm negative.
Weekly Theme: Contrast
Week 17
Taken April 29, 2017
Title: Black with White Stripes or White with Black Stripes?
Notes: While I am not generally a fan of captive animals of any kind, I have a weak spot for some Zoos and being able to see some of these amazing animals, even if in a contrived environment. It was a good day and our subjects were often lively and seemed in good spirits. Everyone had a nice day in spite of the threat of rain and thunder. My favorite pic for the theme is of this Zebra...the title a nod to the movie Madagascar ;-).
Circus themed, triple layer vanilla for Logans 2nd birthday. Orig design by bakingarts few adjustments made. www.yummylittlecakes.co.uk
Twitter yummlittlecakes
Face book Yummy Little Cakes
The tennis net reflected in a puddle can be seen as horizontal, like the puddle or as vertical, like the tennis net in reality. I add this image to the theme truth versus illusion (or real versus virtual), which is a sub theme of opposites since vertical and horizontal are opposites. It also belongs to the subject of reflections, but reflections are always an illusion that relates to reality.
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Tennis Net - Reflection B&W
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רשת טניס שמשתקפת בשלולית
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את רשת הטניס שמשתקפת בשלולית אפשר לראות כמאוזנת, כמו השלולית, או כמאונכת, כמו רשת הטניס שבמציאות. תמונה זו שייכת אצלי לנושא של אמת ואשליה או מציאות מול וירטואליות, שהוא תת נושא של ניגודים, כי מאוזן ומאונך הם ניגודים. היא גם שייכת לנושא של השתקפויות, אבל השתקפויות הן תמיד אשלייה שמתייחסת למציאות
A mid century modern German porcelain platter in with pink and gray leaves that is just oozing 1950s cool. This pattern, Spring Theme, was manufactured by Eschenbach in Bavaria, Germany.
🇬🇧 The theme of the Dakar Rally holds me tight. This time I was inspired by the buggy of the Argentine racer Sebastián Halpern Dakar from the German X-raid Team. In some ways, I differed from the original to make creation fun for me, but the result is a beautiful essence. What do you think?
I really enjoy building economically and quickly. Some passages were really challenging. When I finished the inner tubular frame and found that a third spare wheel would fit in the space above the engine, I was completely excited. The buggy is very compact and packed with details that provide a really beautiful space on this scale.
Enjoy the Dakar Rally 2022!
🇨🇿 Téma Dakarské Rally se mne pevně drží. Tentokrát jsem se inspiroval buggynou argentického závodníka Sebastiana Halperna z německého týmu X-raid. V určitých ohledech jsem se od předlohy odlišil, aby pro mne bylo tvoření zábavou, ale výsledek je krásnou esencí. Co myslíte?
Moc mě baví stavět úsporně a svižně. Některé pasáže byly opravdu náročné. Když jsem dodělal vnitřní trubkový rám a zjistil, že se do prostoru nad motorem vleze ještě třetí náhrandí kolo, úplně jsem zajásal. Buggy je velmi kompaktní a nacpaná detaily, které v tomto měřítku poskytují opravdu krásný prostor.
Užijte si Rally Dakar 2022!
LEGOLAND Windsor a theme park dedicated to children aged 3-12 years old and of course big kid adults.
An inspirational land where the kids are the hero and adults relive their childhood.
The fun never stops and imagination knows no bounds, a family attraction like no other.
Set in 150 acres of beautiful parkland, LEGOLAND Windsor is a unique family theme park with over 55 interactive rides, live shows, building workshops, driving schools and attractions.
It's amazing what can be built with LEGO bricks - nearly 55 million of them!
From comical camels to fearsome fire-breathing dragons, world landmarks to musical pirates, young and old alike will be fascinated by the incredible LEGO models throughout the park.
Fun Facts about LEGOLAND Windsor
There are 34 LEGO pieces in an average Miniland figure.
The largest model in Miniland is the Canary Wharf Tower which is 5.2 metres tall and took 3 model makers 850 hours to complete using 200,000 LEGO Bricks!
The smallest models are the pigeons in Trafalgar Square which contain 5 LEGO bricks each
New in 2011 - Atlantis Submarine Voyage
Take a deep breath and submerge yourself in an underwater adventure.
Plunge into the depths with this world-first LEGO® submarine ride and immerse yourself in a magical underwater adventure.
So what’s New in 2012
STAR WARS MINILAND EXPERIENCE - The Force has arrived at LEGOLAND
Take a trip to a galaxy far, far away at the UK’s only indoor LEGO® Star Wars™ Miniland Experience at the LEGOLAND®Windsor Resort. Enjoy seven of the most famous scenes from the six live-action Star Wars movies, as well as a scene from the animated series Star Wars: The Clone Wars™ all made out of 1.5 million LEGO® bricks built in 1:20 scale. Follow the chronological path through the Star Wars timeline and retrace the major events of the beloved Saga featuring 2,000 LEGO® models, authentic sounds and lighting effects in the ultimate LEGO®Star Wars experience.
LEGOLAND WINDSOR RESORT HOTEL - Now open
An exciting LEGO adventure awaits you, as the amazing 150 room, fully themed LEGOLAND Hotel opens at LEGOLAND Windsor RESORT!
Staying overnight at the new LEGOLAND Windsor Resort Hotel is a must for all LEGO fans. From the spectacular dragon-guarded entrance and interactive LEGO features through to the brightly coloured pirate splash pool and fully themed bedrooms, the new hotel will inspire imaginations and create laugh-out loud memories. With dedicated indoor play areas, entertainment and a buffet-style restaurant serving child-friendly meals, it’s the perfect family treat.