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if i'm not careful, you all are going to think that all i ever do is work or hang out in cool socks.
strobist: um. there were some lights. they seemed to work out pretty well. i'm really too tired to itemize it.
Me wearing a forced smile feeling more and more nervous by the minute. This was my first time on rollercoasters and theme park rides in a very long time. Luckily I was surrounded by good company who were very encouraging, particularly Michael here. :)
this was fun until the end when trying to work on some smaller things the wind started to wail like a hurricane so it was a challenge ...
Took Domo on another adventure, this time Alton Towers, theme park. The little monster loved it, obviously!
Melting Flowers is one of the Finest Floral designers in South India, specializing in Stylish Exclusive and Exceptional Floral Designs. We specialize in Flower & Theme decoration for weddings, Flower decoration for home, Flower & Theme decoration for Corporates, Convention halls, Open gardens, Banquets decoration and all types of parties. We also specialize in Garlands and designer bouquets.
Lego Pirates theme celebrates its 30th anniversary this year.
With this photo series I celebrate my favorite Lego theme.
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Creative Living Design Department, National Yunlin University of Science and Technology 雲林科技大學 創意生活設計系
2011 YODEX (Young Designers' Exhibition), Taipei, Taiwan 新一代設計展
Joseph Stella ( 1877 – 1946 )
Aquatic Life (Goldfish) - circa 1919 - 1922
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Joseph Stella: Visionary Nature
February 24 – May 21, 2023
Italian-born American modernist Joseph Stella (1877–1946) is primarily recognized for his dynamic Futurist-inspired paintings of New York, especially the Brooklyn Bridge and Coney Island. Lesser known, but equally as ambitious, is his work dedicated to the natural world, a theme that served as a lifelong inspiration. Throughout his career, Stella produced an extraordinary number of works—in many formats and in diverse media—that take nature as their subject. These lush and colorful works are filled with flowers, trees, birds, and fish—some of which he encountered on his travels across continents or during his visits to botanical gardens, while others are abstracted and fantastical. Through these pictures, he created a rich and variegated portrait of nature, a sanctuary for a painter in a modern world.
Joseph Stella: Visionary Nature is co-organized by the High and the Brandywine River Museum of Art and is the first major museum exhibition to exclusively examine Stella’s nature-based works. The exhibition features more than one hundred paintings and works on paper that reveal the complexity and spirituality that drove Stella’s nature-based works and the breadth of his artistic vision. Through expanded in-gallery didactics, including a graphic timeline of Stella’s career and a short film, the exhibition digs deeply into the context of the works, exploring their inspirations, meanings, and stylistic influences.
Touring Dates:
Norton Museum of Art, West Palm Beach, Florida (October 15, 2022–January 15, 2023)
Brandywine Museum of Art, Chadds Ford, Pennsylvania (June 17, 2023–September 24, 2023)
www.nytimes.com/2022/11/30/arts/design/joseph-stella-flor...
www.forbes.com/sites/natashagural/2022/12/21/joseph-stell...
www.atlantamagazine.com/news-culture-articles/joseph-stel...
If you know the painter Joseph Stella, it’s probably from his famous urban landscapes like Brooklyn Bridge (1921), a futurist interpretation of New York’s dramatic 20th-century industrialization. But Stella was just as captivated by the botanical world as he was by cityscapes, and today, Atlantans can see that side of the artist in vivid color. Joseph Stella: Visionary Nature, an explosive new exhibit at the High Museum of Art, features dozens of his flower and plant-filled paintings and drawings. In Atlanta through May 21, the exhibit travels chronologically through Stella’s lifelong love-affair with the natural world, from an early study of a piece of bark to the epic, intricate Tree of My Life.
Visionary Nature was a joint effort between the High; the Norton Museum in West Palm Beach, Florida; and the Brandywine Museum in Chadds Ford, Pennsylvania, where it heads next. “They were really focused on [Stella’s] nature works, and we have a great work by Stella here at the High,” said Stephanie Heydt, the museum’s Margaret and Terry Stent Curator of American Art. “It was a great collaboration.”
Stella was born in 1877 in Muro Lucano, a hilly city in southern Italy. He immigrated to New York originally intending to follow his brother into medicine, but after a uninspired stint in medical school, he pivoted to painting. Stella studied briefly under the impressionist painter William Merritt Chase at the New York School of Art and soon developed a reputation as a sensitive interpreter of the urban working class.
The High’s exhibit features of some of these early works, in which the natural world spills out amidst the smokestacks and steel mills of America’s industrial revolution. “This is the Progressive Era at the turn of the twentieth century,” Heydt explained. “And he’s looking at the people in his own community, specifically the Italian immigrants.”
Traveling back in Europe, Stella was inspired by the contemporary artists he saw there: the cubism of Pablo Picasso and early futurism of Umberto Boccioni. He drew on these sources back in the U.S, earning acclaim for his dynamic geometric paintings of the metropolis; several choice selections, including American Landscape (1929), and Smoke Stacks (1921), are on view in this exhibit.
But even as Stella built his career on the towering achievements of urban industry, he yearned for the sunny landscapes of his youth. He frequented havens like the Bronx Botanical Gardens, which opened in 1891 and offered escape from New York’s sooty streets. Walking through Brooklyn one day, he later wrote in an essay, he stumbled across a sapling.
“This little tree is coming up from a crack in the sidewalk, shadowed by a factory, and he sees himself in this tree,” Heydt said. “He says, This is me.”
That encounter inspired Tree of My Life (1919) a florid aria sung to the natural world. A sturdy olive tree—Stella himself—anchors the canvas, surrounded by a vortex of tropical plants, birds, and, in the background, Stella’s native Italian hills. Brandywine Museum Director Thomas Padon envisaged the exhibit after seeing Tree of My Life in a private collection. “I was transfixed,” Padon told the New York Times.
Stella painted Tree of My Life and Brooklyn Bridge within a year of each other, announcing a duality that would define the rest of this career. While he painted flowers throughout his life, it was his moody, futurist treatments of New York that made him an art-world celebrity. European artists fleeing World War I were landing in New York in droves, sparking a new creative fascination with the cutting-edge American city. “(Marcel) Duchamp says the art of Europe is dead, and this century is about America,” explained Heydt. “Stella’s understood to be one of the first American-based painters to figure out . . . how to paint the new modern city.”
But Stella’s love of the natural world—and of Europe—endured. He returned to botanical themes throughout his life, infused with the Old Master styles of the Italian Renaissance. Many works in this exhibit invoke the sun-drenched vistas and towering cathedrals of Italy, overrun by sumptuous flowers that are decidedly not native to the Iberian peninsula. Stella—a native turned immigrant—seems to delight in the contradiction: in Dance of Spring (1924), tropical orchids and calla lilies burst open in a beam of beatific light, like Jesus rising to the heavens in a Raphael. Purissima (1927), part of the High’s own collection, evokes the iconic Renaissance Madonna, here transformed by Stella’s whimsy: the stamens of a lily serve as her celestial crown, while snowy egrets (the Florida kind) grace her sides.
With saturations of color abounding in every room, Visionary Nature enjoys an added depth through words. Stella was a prolific writer, and the exhibit makes canny use of text to explore his passion for the living world. “My devout wish,” reads one such diary segment on view, “That my every working day might begin and end . . . with the light, gay painting of a flower.” In a unique addition to their exhibition, the High created a short video featuring more of Stella’s own thoughts. “We wanted to end with his voice telling us how he felt about various paintings in the show . . . or his ideas about art,” explained Heydt.
Stella, who died in 1946, spent the last years of his life in ill health, largely confined to his studio. He never stopped painting the natural world; a few of those last works, modest trees still full of flair, are on view here. A few years before his death, his friend and fellow artist Charmion von Wiegand paid a visit to his studio. She found Stella amidst a riot of color, studiously painting his favorite subject. “Flower studies of all kinds litter the floor,” wrote von Wiegand, “and turn it into a growing garden.”
THÈME
Habsburg culte des monuments
1800-1938
Héros et héroïnes et fils des muses des Habsbourg - Monuments sur la Ceinture périphérique
Une femme et beaucoup d'hommes: les idoles des Habsbourg tout aussi que ceux de la bourgeoisie ont trouvé sur la Ceinture périphérique leur place.
Comme les bâtiments, sont les monuments érigés sur la Ringstrasse associés à l'idée d'un oeuvre d'art total historiciste, ils aussi montrent la dualité de la dynastie et la bourgeoisie. Monuments comme celle de Marie-Thérèse et des généraux victorieux comme l'archiduc Karl et le prince Eugène sur la place des héros adjacente devraient renforcer et pérenniser le mythe de la dynastie des Habsbourg. La bourgeoisie, cependant, s'immortalisa dans les statues des écrivains et musiciens.
Sur la place compris du Forum impériaux entre les Musées de la Cour à Maria Theresia comme une monarque importante un monument par Caspar von Zumbusch fut construit. Il était le monument le plus grand et à un coût de 800.000 florins - huit fois plus que pour une image traditionelle - le plus cher de la Ringstrasse. Payé fut il par le Fonds pour l'expansion de la cité de Vienne. Alors que la plupart des hommes furent mis en scène seul et dans une pose héroïque, Maria Theresia est assis sur un trône élevé. Mais elle n'est pas seul, mais entouré par ses conseillers qui dans les monuments des homologues masculins ne furent pas mis en valeur. Le monument à elle s'apparente à un monument à la gloire de toute l'époque: Aux pieds de l'impératrice se rassemblent 24 hommes, les «supports du trône", des personnalités des domaines de la politique étrangère et intérieure, militaire, gouvernement ainsi que l'art et la science.
Dans la série des monuments pour des héros fidèles à l'empereur de guerre s'ajoute celui du maréchal Schwarzenberg de 1867 qui Ernst Hähnel exécuta au même endroit.
Contrairement à ces représentations des prétentions de puissance impériales, la bourgeoisie libérale a immortalisé son «héros» de la «culture allemande» et l'art «patriotique», comme Johann Wolfgang von Goethe (1900, par Edmund Hellmer), Friedrich Schiller (1876, par Johann Schilling), Franz Schubert (1872, par Karl Kundmann), Ludwig van Beethoven (1880, par Kaspar von Zumbusch) et Wolfgang Amadeus Mozart (1896, par Viktor Tilgner).
THEMA
Habsburgischer Denkmalkult
1800–1938
Habsburgs HeldInnen und Musensöhne – Denkmäler an der Ringstraße
Eine Frau und viele Männer: Habsburgs Idole fanden an der Wiener Ringstraße ebenso ihren Platz wie jene des Bürgertums.
Wie die Bauten sind auch die an der Ringstraße errichteten Denkmäler dem historistischen Gesamtkunstwerksgedanken verbunden, auch sie zeigen den Dualismus von Herrscherhaus und Bürgertum. Denkmäler wie die von Maria Theresia und erfolgreichen Feldherren wie Erzherzog Karl und Prinz Eugen auf dem an die Ringstraße angrenzenden Heldenplatz sollten den Mythos des habsburgischen Herrscherhauses stärken und festschreiben. Das Bürgertum hingegen verewigte sich in Standbildern von Schriftstellern und Musikern.
Auf dem zum Kaiserforum zählenden Platz zwischen den Hofmuseen wurde Maria Theresia als bedeutender Monarchin ein Denkmal von Caspar von Zumbusch errichtet. Es war das größte und mit Kosten von 800.000 Gulden – achtmal so viel wie für ein herkömmliches Standbild – teuerste Denkmal der Ringstraße. Bezahlt wurde es vom Wiener Stadterweiterungsfonds. Während die meisten denkmalwürdigen Männer allein und in heroischer Pose inszeniert wurden, sitzt Maria Theresia erhaben auf einem Thron. Doch sie ist nicht allein, sondern umgeben von ihren Beratern, welche bei den Denkmälern männlicher Pendants nicht ins Blickfeld gerückt werden. Ihr Denkmal gleicht mehr einem Monument zur Verherrlichung der gesamten Epoche: Zu Füßen der Kaiserin scharen sich 24 Männer, die „Stützen des Throns“, Persönlichkeiten aus den Bereichen Außen- und Innenpolitik, Militär, Verwaltung sowie Kunst und Wissenschaft.
In die Reihe der Denkmäler kaisertreuer Kriegshelden fügt sich jenes des Feldmarschalls Schwarzenberg von 1867, das Ernst Hähnel am gleichnamigen Platz ausführte.
Im Gegensatz zu diesen Repräsentationen imperialer Machtansprüche verewigte das liberale Bürgertum seine „Helden“ der „deutschen Kultur“ und „vaterländischen“ Kunst, wie Johann Wolfgang von Goethe (1900, von Edmund Hellmer), Friedrich Schiller (1876, von Johann Schilling), Franz Schubert (1872, von Karl Kundmann), Ludwig van Beethoven (1880, von Caspar von Zumbusch) und Wolfgang Amadeus Mozart (1896, von Viktor Tilgner).
Julia Teresa Friehs
themes.wordpress.net/columns/2-columns/430/out-of-the-blue/
Quoting Luke's post:
"This theme looks a little too much like Allan Reyes’ PixelEden.
This should be credited to him as well."
What do you think?