View allAll Photos Tagged worktable
Dark colours and contemporary knobs ensure that this design remains clean and sharp but keeps its timeless appeal.
I recently went to an Empty Spools Seminar at Asilomar in Pacific Grove, CA and took a class in free motion machine quilting with Jill Schumacher. Great class!
Blogged here: My first attempt at trapunto, learned at a Jill Schumacher class.
Blogged here: www.lemontreetales.com/lemon_tree_tales/2013/03/empty-spo...
Still Life with Carp
Abraham van BEYEREN
The Hague, 1620-21 - Overschie, 1690
H. 0.73 m; W. 0.61 m
Abraham van Beyeren specialized in paintings of fish, notably during his earliest period. This picture is a fine example, painted when Van Beyeren was a young artist, circa 1645-1650, under the influence of Pieter de Putter.
Later in his career, he extended his subject-matter to include sumptuous banqueting-tables, and ornate still-lifes featuring virtuoso depictions of abundant, luxurious foodstuffs and objects.
A massive rustic table, probably a kitchen worktable, supports a deceptively haphazard pile of fish – a pike, lying diagonally across the front of the composition, with its stomach cut open; a bream (or perhaps another carp) with its head sticking out over the left-hand side of the tabletop; three small perch with faint stripes along their backs, and red fins; two roach with orange-colored eyes, and a chub lying on its back, apparently emerging from a sort of net. This pile of freshwater fish has apparently been freshly caught. Their gleaming, silvery scales look disconcertingly alive. The fish are arranged in a clever composition of criss-crossing diagonals, with a subtle, almost monochrome palette of colors. The interplay of delicate tones and fleeting reflections bathes the picture in a strange, almost aquatic light.
www.louvre.fr/en/oeuvre-notices/still-life-carp
"The Musée du Louvre, or officially Grand Louvre — in English, the Louvre Museum or simply the Louvre — is one of the world's largest museums, the most visited art museum in the world and a historic monument. A central landmark of Paris, it is located on the Right Bank of the Seine in the 1st arrondissement (district). Nearly 35,000 objects from prehistory to the 19th century are exhibited over an area of 60,600 square metres (652,300 square feet).
The museum is housed in the Louvre Palace (Palais du Louvre) which began as a fortress built in the late 12th century under Philip II. Remnants of the fortress are still visible. The building was extended many times to form the present Louvre Palace. In 1682, Louis XIV chose the Palace of Versailles for his household, leaving the Louvre primarily as a place to display the royal collection, including, from 1692, a collection of antique sculpture.
The museum opened on 10 August 1793 (the first anniversary of the monarchy's demise) with an exhibition of 537 paintings, the majority of the works being royal and confiscated church property. Because of structural problems with the building, the museum was closed in 1796 until 1801. The size of the collection increased under Napoleon and the museum was renamed the Musée Napoléon. After the defeat of Napoléon at Waterloo, many works seized by his armies were returned to their original owners. The collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and gifts since the Third Republic, except during the two World Wars. As of 2008, the collection is divided among eight curatorial departments: Egyptian Antiquities; Near Eastern Antiquities; Greek, Etruscan, and Roman Antiquities; Islamic Art; Sculpture; Decorative Arts; Paintings; Prints and Drawings.
By 1874, the Louvre Palace had achieved its present form of an almost rectangular structure with the Sully Wing to the east containing the square Cour Carrée and the oldest parts of the Louvre; and two wings which wrap the Cour Napoléon, the Richelieu Wing to the north and the Denon Wing, which borders the Seine to the south. In 1983, French President François Mitterrand proposed the Grand Louvre plan to renovate the building and relocate the Finance Ministry, allowing displays throughout the building. Architect I. M. Pei was awarded the project and proposed a glass pyramid to stand over a new entrance in the main court, the Cour Napoléon. The pyramid and its underground lobby were inaugurated on 15 October 1988. The second phase of the Grand Louvre plan, La Pyramide Inversée (The Inverted Pyramid), was completed in 1993."
The Louvre Pyramid (Pyramide du Louvre) is a large glass and metal pyramid, surrounded by three smaller pyramids, in the main courtyard (Cour Napoléon) of the Louvre Palace (Palais du Louvre) in Paris. The large pyramid serves as the main entrance to the Louvre Museum. Completed in 1989, it has become a landmark of the city of Paris.
Visitors entering through the pyramid descend into the spacious lobby then re-ascend into the main Louvre buildings. The Louvre museum states that the finished pyramid contains 673 glass panes (603 rhombi and 70 triangles)."
Wikipedia
Publication: 1944
Language(s): English
Format: Still image
Subject(s): Laboratories,
Military Personnel,
Schools, Medical
Laboratory Personnel
Genre(s): Pictorial Works
Abstract: Interior view: a room with shelves of equipment and/or specimens, work tables, a desk, and microscopes; one man sits at a desk looking into a microscope, a second man is placing something inside a cage, a third man stands looking on.
Extent: 1 photographic print : 21 x 26 cm.
Technique: black and white
NLM Unique ID: 101394457
NLM Image ID: A02038
Permanent Link: resource.nlm.nih.gov/101394457
aspen, colorado
late 1975
inside nick's "mad lab"
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
Boudoir from the Hôtel de Crillon
•Designer: Pierre-Adrien Paris (French, 1747-1819)
•Date: ca. 1777-1780
•Culture: French, Paris
•Medium: Oak, painted and gilded
•Dimensions:
oOverall: 9 ft. 3½ in. × 15 ft. 5½ in. × 14 ft. 3 in. (283.2 × 471.2 × 435.6 cm)
•Classification: Woodwork
•Credit Line: Gift of Susan Dwight Bliss, 1944
•Accession Number: 44.128
On view at The Met Fifth Avenue in Gallery 546.
[Arabesques] are an inexhaustible source of ways to decorate in a beautiful style the interior and exterior of modern buildings, furniture, and even clothes.
—Charles-Louis Clérisseau, 1779
Delightful arabesques painted in pastel colors on a soft blue ground form the chief decoration of this paneling, which once lined the walls of a boudoir located next to the bedroom of Louis-Marie-Augustin, fifth duc d’Aumont (1709-1782), one of the four First Gentlemen of the King’s Bedchamber. In 1776 he rented an unfinished town house that had been constructed for the builder and entrepreneur Louis-François Trouard (1729-1794). It was one of several private mansions erected behind a facade built in a grand Neoclassical style by Jacques-Ange Gabriel (1698-1782) on the place Louis XV, now the place de la Concorde.
A man of taste as well as a significant art collector, the duc d’Aumont engaged the architect Pierre-Adrien Pâris to design the interior decoration for his new abode. Having studied in Rome, partly at the duke’s expense, Pâris would have been familiar with the early sixteenth-century decorative wall paintings executed by Raphael and his assistants in the Vatican loggias. Raphael’s work clearly served as inspiration for the embellishment of the Museum’s paneling, as it shows similar charming and lighthearted motifs, such as small animals balancing on garlands and rolling acanthus scrolls. The exterior windows of this intimate polyhedral boudoir, which was painted by an unknown artist, gave access to a balcony with views toward the rue des Champs-Élysées (now the rue Boissy d’Anglas). Set into the wall paneling are four mirrors angled to reflect the arabesque decoration. (The mirror inside the niche is a replacement for the original pane of clear glass that allowed light to shine into the stairwell behind the room.) According to the 1782 inventory drawn up after the duke’s death, the boudoir was furnished with four stools, two armchairs, and an ottomane, or comfortable sofa, described as having three backs. Each stool was most likely placed under one of the mirrors, and the ottomane, complete with cushions, pillows, and bolsters, must have stood inside the niche. All the seat furniture was upholstered in blue moiré silk, the same color as that of the gros de Tours (ribbed silk) curtains. Although most of the furnishings and collections of the duc d’Aumont were sold at a celebrated auction that took place in the house in 1782, the woodwork of this room stayed in the building. The hôtel was acquired six years later by François-Félix-Dorothée des Balbes de Berton, comte de Crillon (1748-1820), and it remained the property of his descendants until the early twentieth century.
Epigraph. Quoted in Hautecoeur 1912, p. 46.
Provenance
Hôtel de Crillon, 10, Place de la Concorde, Paris, France; Louis Trouard (by 1776); Félix François Dorothée Berton des Balbes, Comte de Crillon (1788-d. 1827); Marie Louise Amélie Berton des Balbes (duchesse de Polignac) (until d. 1904); Duc(s) de Polignac (until 1906; sold to Bliss, through Mme Gaëton Désache (née Flandin), January 13, 1906); Mrs. George T. Bliss (from 1906); Susan Dwight Bliss , New York (until 1944; to MMA)
Timeline of Art History
•Timelines
oFrance, 1600-1800 A.D.
MetPublications
•The Wrightsman Galleries for French Decorative Arts, The Metropolitan Museum of Art
•Period Rooms in The Metropolitan Museum of Art
•Dangerous Liaisons: Fashion and Furniture in the Eighteenth Century
Candelstand and Worktable (Table à Ouvrage en Guéridon)
•Maker: Attributed to Roger Vandercruse, called Lacroix (French, 1727-1799)
•Factory: Porcelain plaques by Sèvres Manufactory (French, 1740-Present)
•Decorator: Porcelain plaques decorated by Charles Vandé (French, active 1785-91)
•Date: ca. 1785
•Culture: French, Sèvres
•Medium: Oak veneered with tulipwood, boxwood, holly and ebonized holly, sycamore, and other woods; soft-paste porcelain, gilt bronze, silk
•Dimensions:
oHeight: 31⅛ in. (79.1 cm)
oDiameter of Top: 14⅝ in. (37.1 cm)
•Classification: Woodwork-Furniture
•Credit Line: Gift of Mr. and Mrs. Charles Wrightsman, 1976
•Accession Number: 1976.155.106
On view at The Met Fifth Avenue in Gallery 546.
The top of this elegant worktable was meant to be used as a guéridon, to support a candelstick offering light when the owner, most likely an aristocratic woman, was working on her needlepoint or sewing at night.
Signatures, Inscriptions, and Markings
•Marking:
oGlazed on Back of Plaque and Painted in Gold: interlaced Ls enclosing GG with letter V below [Sèvres factory mark with date-letters for 1784]
Provenance
The Lords Hillingdon, London; Edith Chester Beatty, London; Mr. and Mrs. Charles Wrightsman, New York (until 1976; to MMA)
Timeline of Art History
•Timelines
oFrance, 1600-1800 A.D.
MetPublications
•The Wrightsman Collection. Vols. 1 and 2, Furniture, Gilt Bronze and Mounted Porcelain, Carpets
Up at our Harrogate showroom some images of the recently revamped displays – the combination of new furniture and new finishes from the Chalon colour palette look great:
Public Domain image from The Rijksmuseum. Digitally enhanced by rawpixel.
Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.
Higher resolutions with no attribution required can be downloaded: www.rawpixel.com/category/53/public-domain
Benchmarx 72W x 30D x 30H with overhead light, power strip, light/magnifier combo, drawer and cabinet storage
Welcome to our second set - "Building a Mill Creek 16.5". After finishing two Chesapeake 16 kayaks for the kids, Mom and I decided we wanted a double kayak that we could also sail. The Chesapeake Light Craft Mill Creek 16.5 design seems to have what we were looking for. We reassembled the worktable, ordered the plans and started construction on January 20, 2007.
The central worktable in this design cleverly links the functional areas of food storage wet preparation and cooking together.
We had so much fun with this shoot in client 'Ws' home, that we also dressed and shot for our Christmas card!
We decided to make this worktable available at a special promotional price because it was so popular
details on the online shop on the web site
The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.
These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.
I implemented my pattern sheets on earrings & beads.
The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –
Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.
This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.
20 patterns came out of my personal laboratory, but the combinations are infinite!
www.polypediaonlineexpress.com/product/complete-inkredibl...
If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -
www.polypediaonlineexpress.com/inkredible2-inkredible-mac...
Akseli Gallen-Kallelan työhuone ja ateljee Kalelassa Ruovedellä.
Kalela on Akseli Gallen-Kallelan entinen erämaa-ateljee ja oman perheen koti. Kalela on taitelijan itse-suunnittelema kelohonkarakennus.
Kuvauspaikka: Kalela, Ruovesi
ajoitus:
kuvaaja: luultavasti Akseli Gallen-Kallela
mitat: 120 x 87 mm
tekniikka: valokuvavedos
merkintöjä: omist: Gallen-Kallela
inventointinumero: kot. 6/51
kokoelma: Akseli Gallen-Kallelan valokuvakokoelma
tutki lisää / explore further:
Tiedätkö lisää tästä kuvasta? Kerro meille!
Do you have information on this photo? Let us know
The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.
These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.
I implemented my pattern sheets on earrings & beads.
The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –
Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.
This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.
20 patterns came out of my personal laboratory, but the combinations are infinite!
www.polypediaonlineexpress.com/product/complete-inkredibl...
If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -
www.polypediaonlineexpress.com/inkredible2-inkredible-mac...
I repeat...NEVER think that even the super heavy plastic shelving is strong enough. I keep piling things on them. so far, so good. I "should" have attached them to the walls though as the instructions advised. :-0
These are only 1 year old! I wonder if any structural engineers could advise me...
Alberto Giacometti 1901-1966
Born Switzerland, worked Switzerland and France
Oil paint on canvas
In this painting, Giacometti depicts a corner of his studio that he used for forty years: a small, damp and unheated ground-floor room, in a working-class area of southern Paris. Several of his sculptures of standing or walking figures are on the worktable, while some busts rest on the floor. Like his portrait paintings, Giacometti renders this familiar scene as if dissected by his eye, quickly reconstructed on the canvas through bundles of energetic lines. He said: 'Figures were never for me a compact mass but like a transparent construction."
Tate Modern
Bankside, London SE1 9TG
DSCF0430-01-B
No art work made today - just work on the space itself. Brought over the newly painted cubbies. The rest of the place is very sparse. But this anchor in the corner makes me feel good. And the blue chair is where I eat breakfast and take my lake pictures.
You can hit all sizes and read the titles on my shelf.
Which I really need to move somewhere closer to me... but for the moment, it's free of ambient sunlight and over by my worktable where I need to be doing more stuff anyways (like Lilia's tattoos and blushinnnng.)
Dolls left to right: little Aster (Bobobie Elfkin), Michael (DZ 72cm Cosmo), Aiden (MNF Luka / DZ hybrid), Lilia (Soom Trachy surprised head / Bobobie Isabella body hybrid), Alice (Bobobie Isabella)
Foreground: WorkBar seats up to 10 people
Background (right): Lounge seats apps 15 people casually
Background (left): 8 open WorkTables with mobile pedestals
Background (far left): meeting room for 3-4 people, flanked by private offices
Dennis will return to Kenya in a week or so. Here I am
sitting with Dennis at Josephine & Caroline's worktable.
Photo taken by Irene.
Worktable, made from Ikea countertop and bottom kitchen cabinet. Holds all my notions, purse making hardware, button making supplies, photography light box and finished inventory. Shelving towers hold other tools and supplies and fabric stash. Blogged
Utrecht University Library – Wiel Arets Architects
Size: 36.250 m2 - Design: 1997-2001 - Completion: 2004
The library, which houses 4.2 million books, was intended, in addition to being a place where people could work in a concentrated manner, to also become the intellectual social center for the suburban university campus, where students and others can come to study and meet at all times of the day. The 40 meter tall library and the adjacent, lower parking garage, both clad in glass and concrete imprinted with the same silk-screened figurative pattern, are sited on the major road and pedestrian pathway across the campus. The simple rectangular massing of the library and the repetitive rhythm of its concrete cladding and glazing, which is subtly modulated by the projecting operable sections, stands in stark contrast to the rich, plastic spatial complexity of the interior spaces.
The books are stored in two primary volumes that seem to float up towards the ceiling. The massive, lifted book stack volumes are made of black-painted cast concrete, and the walls have a three-dimensional figural pattern cast into them which matches the two-dimensional pattern imprinted on the exterior glazing. While the black pattern on the glazing filters the natural light entering the building, the pattern embossed in the black-colored concrete walls acts to diffuse and bounce the light deeper into the interior spaces. At the center of the building, a vertical space, running from the ground to the roof, is opened between the two book stack volumes, which are interconnected by a series of stairs and sloping ramps. This central vertical space forms the experiential hinge of the building, interweaving the lines of movement, the spatial layers, and the internal views.
The walls and ceilings of the interior are black and matt, while the floors are white and shiny. The bookshelves are black, while the worktables are white. The predominant black color characterizing the interior is critical to creating the atmosphere of concentration, security, and silent communication essential to the function of the library. The black interior creates a feeling of local enclosure, allowing the inhabitants to conduct the private activity of concentrated study in a public place of collective identity. The only exceptions to this color scheme are the red rubber surfaces used in the book checkout area, the information desks, the auditorium, the bar, and the lounge, all of which are related to the itinerary of public movement through the building.
The individual workspaces are organized in a wide variety of locations and arrangements within the interior, some quite intimate and isolated, and some quite extended and exposed. The individual user can make a choice of where to work, and thus to determine both their ability to be absorbed in their work, and the amount of communication they wish to have with others in the library. Because of the remarkably rich range of sizes and shapes of the workplaces, and the complexly layered sections and the endlessly unfolding spatial intersections within the building, it is possible to recognize and communicate visually with people across the interior, and even from floor to floor, while at the same time being undisturbed by those sitting nearby.
Basix 66W x 36D x 36H with phenolic resin work surface, 2 x 2 tubular steel frame, 3 custom placed grommet holes, leveling casters
The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.
These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.
I implemented my pattern sheets on earrings & beads.
The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –
Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.
This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.
20 patterns came out of my personal laboratory, but the combinations are infinite!
www.polypediaonlineexpress.com/product/complete-inkredibl...
If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -
www.polypediaonlineexpress.com/inkredible2-inkredible-mac...
The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.
These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.
I implemented my pattern sheets on earrings & beads.
The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –
Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.
This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.
20 patterns came out of my personal laboratory, but the combinations are infinite!
www.polypediaonlineexpress.com/product/complete-inkredibl...
If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -
www.polypediaonlineexpress.com/inkredible2-inkredible-mac...
Finally finished the fabric drops to hide all the storage. It holds a ton of stuff under there....including sleeping kittens.
So, from the sublime to the ridiculous--whilst I was slaving away to get authentic looking faux opal in polymer, I cast my eye upon some glass cabs lying on my worktable...and thought, I'll bet there's a fast and easy way for my students to make opal--who says you can't teach an old chandelier new tricks?:)
boston, massachusetts
january 1971
metalsmith / jewelry maker
meeting house gallery, beacon hill
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.
These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.
I implemented my pattern sheets on earrings & beads.
The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –
Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.
This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.
20 patterns came out of my personal laboratory, but the combinations are infinite!
www.polypediaonlineexpress.com/product/complete-inkredibl...
If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -
www.polypediaonlineexpress.com/inkredible2-inkredible-mac...
Building the Aga and bespoke furniture into a niche helped to create the width taht this long narrow kitchen required.
The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.
These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.
I implemented my pattern sheets on earrings & beads.
The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –
Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.
This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.
20 patterns came out of my personal laboratory, but the combinations are infinite!
www.polypediaonlineexpress.com/product/complete-inkredibl...
If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -
www.polypediaonlineexpress.com/inkredible2-inkredible-mac...