The orange-bellied parrot (Neophema chrysogaster) is a small broad-tailed parrot endemic to southern Australia, and one of only three species of parrot that migrate.The orange-bellied parrot is a small parrot around 20 cm (8 in) long; the adult male has bright green upper parts, and yellow below, a green-blue upper tail with yellow sides, and an orange patch on its belly. It has a prominent, two-toned blue frontal band, with a lighter blue border both above and below the horizontal dark blue band. The under wing-coverts and flight feathers are dark blue, with paler blue median wing-coverts. Its iris and beak is dark brown while the feet are a greyish colour. The adult female is a duller green with a paler blue frontal band. The female facing right is by JJ Harrison (email@example.com) and the male facing left also by
This image represents a flight through Space and Time. We start (from top to bottom) at the most distant Galaxies seen when the Universe was very young (Hubble Deep Field), then an interacting pair of Galaxies, the Magellanic Cloud, a Star Cluster, two Planetary Nebulae (Helix and Cat’s Eye) and finally at the bottom a Human Eye. Polar mapping is used in order to ‘unwrap’ Spherical objects into a horizontal band. Each pair of objects is joined together by a similar Structure represented as a bright horizontal band. The three bands then correspond to the Galactic Center of a Galaxy in the Hubble Field and the Interacting Galaxy, the Center of a Bright Star in the Magellanic Cloud and a Star Cluster and the last band corresponds to the White Dwarf in the Helix and Cat’s Eye Nebulae.
Charles Marville, photograph of the Rue Mondétour taken from the Rue Rambuteau (former Rue de la Chanverrerie), circa 1865. Another “about as close as we’re gonna get” image of the site of Hugo’s barricade. I think the high-res version has done the rounds on Tumblr before, but damn if I can find it, so here it is again.
Note the lighter horizontal band in the lower half of the picture–that’s not a crease or any other kind of damage. It’s a ghost… or more likely several ghosts. The widened Rue Rambuteau became a busy thoroughfare, and due to the long exposure time on the photograph, any passerby would’ve been reduced to a faint blur at head height.
Maison Martin Margiela, coat, 157% enlarged, spring—summer 2001.
Presentation: Le Nef of L’Union Centrale des Arts Décoratifs, the vast central hall of a museum dedicated to the applied arts within the Palais du Louvre, in the 1st arrondissement of Paris. The museum is closed to the public for refurbishment. For the show the areas of the space that usually act as backstage for conservatories shows host the invited public. The existing formation of the space lends itself to the creation of eleven intimate ‘salons’. Each salon is host to eighty invited guests. Forty-four white chairs form a U shape around a circle of white rose petals within each salon. Other invitees stand along the walls to look on. A cotton curtain hangs across the entrance of each salon. Twenty-four women, their eyes obscured by horizontal band of opaque black or red plastic, each wear an outfit of the collection. The women pass quickly, one by one, from behind the curtain of each salon to stand on the circle of rose petals and turn before all of the invited guests. The show lights fall on the departure of each woman from the salons to be re-lit on the entry of the next model. A soundtrack of Julie London singing hits popular in the 1950’s is played loud during the show.
Collection: A colour scheme for knit and woven garments of stark white, electric red, blacks with traditional man’s suiting fabrics in light grey and brown Prince of Wales check as well as blue and dark grey pinstripe.
Oversized Men’s garments to be worn by women: This season many garments are of Men’s Italian size 78 and 80. There are two main themes of these garments: those with a ‘Double inside’ whose exterior, in light weight suiting wool and cottons, mirrors the construct of their interior, and these same garments who’s fronts have been either folded back and stitched flat into their inside or onto their outside. This series includes a coat, trench coat, caban, sleeveless leather biker jacket, and tailored jacket.
Various enlarged skirts, all in one size, 78, are presented in their actual size and held up by the model’s arms within the waistband of each skirt. When worn in day-to-day life these garments are sized down to fit women of varying sizes by a system of folding and tacking their waistband. Other garments, skirts, dresses and trousers are formed of either identical fronts or backs. Enlarged men’s sweaters and cardigan’s in extra fine cotton knit are in white, bright red and black.
Within the ‘Artisan’ production, sections of vintage pleated skirts, of various materials and pleat widths, are reassembled into long dresses, skirts and tops. Old leather gloves or new cotton gloves are patched together to form back less tops. The detached brand labels of used garments are sewn together to form the fabric of waistcoats and halter-tops.
Accessories are vintage sterling silver and plate forks moulded into bracelets and black or beige cotton Tulle scarves and collars applied heavy metal sequins. ‘Tabi’ boots in two heel heights in beige and black leather. The ‘Aids’ benefit T-shirt this season is in white cotton with white text.
I wanted to share some work in progress shots from one of my paintings (sorry for terrible cell phone quality). This is ‘View from the High Line - 26th Street’, completed late last year.
The painting is based on photos I took from the High Line park, which is a repurposed elevated railroad track that runs through parts of the Meatpacking District and Chelsea on the west side of Manhattan. I love the High Line because it is covered in lots of interesting plants, but the views are pretty great as well. From this vantage point, you can see the Hudson River and Jersey City at the end of the street in the far distance. The large building at the end of the street with the horizontal bands of windows is the Starrett-Lehigh Building. Built 1930-31, it is an interesting early example of International-Style Modern architecture in an industrial building. This was historically a very industrial area, but it is now the heart of the Chelsea gallery district. The buildings on the left and right foreground, along with most of this block, are home to several high-end galleries.
For the painting, I worked on Arches Hot Press 300lb watercolor paper. The size of the art is roughly
18 x 26 inches. I start with a detailed perspective drawing of the entire scene in pencil. As you can see from the progress photos, I worked from left to right, nearly finishing each section of the painting as I go - but always going back and polishing previous sections as needed. This strategy of moving across the painting helps me keep track of how much progress I have made, but i do not focus in on each little section and mechanically copy inch by inch from the photo. As with all watercolor, the painting generally starts light and the darkest colors and finest details are added last by necessity. I use a mix of watercolor tubes, most of which are Winsor Newton brand. I didn’t use any gouache or opaque white. I usually use a small amount of masking fluid and masking tape but I don’t think I needed much for this painting.
From start of the drawing to finish, this painting took about one month to complete - working on average a few hours a day.
I approach the overall process of a painting like this as if it were a traditional landscape painting. I am most concerned with balancing lights and darks, color vibrancy, warm/cool, etc. throughout the whole painting so that the final product is harmonious and compostionally pleasing. Balance was incredibly important in a composition like this one, which is so dramatically split down the middle.
Sorry for rambling on, hopefully someone finds this interesting!
“Vincent van Gogh has represented an expanse of factories bellowing smoke into the air in the gritty, industrial suburb of Clichy to the northwest of Paris. The scene is divided into three horizontal bands of fields, factories, and sky, while in the middle distance, two tiny figures (perhaps lovers) are visible in the field. Van Gogh’s ordered system of repetitive brushwork reflects his awareness of the recent “pointillist” experiments of Seurat.” - St. Louis Art Museum
These balls of quartzy rock record the shape of bubbles in long frozen basaltic lava. They were deposited after the flow had cooled by silica rich waters, possibly driven in a convection cell by the heat of cooling lava. What I love about them is the element of surprise; no one knows what marvellous landscapes hide within until the diamond tipped saw is sent a whirring. In the lovely example in the photo (sorry no scale available) layers of agate started to fill the ex bubble from the outside in. A layer of jelly like colloidal silica probably precipitated to create the horizontal banding, while crystals of lovely pink chalcedony (coloured by traces of iron oxide or manganese) and drusy points of water clear quartz grew inwards into the cavity.
Egyptian Faience Sistrum of the Goddess Hathor, Late 26th Dynasty c. 600-525 BC
In the form of a Hathor-head capital wearing a broad collar and striated wig bound in horizontal bands, uraei on her shoulders, the rattle above in the form of a naos supported on a cavetto cornice and containing on both sides a uraeus above a frieze of smaller uraei, the faces of Hathor each with finely delineated eyebrows and cosmetic line.
A sistrum is a percussive musical instrument that was played in ancient Iraq and Egypt. They were usually made of bronze and had a U-shaped frame with a few crossbars that had small metal rings on them. When shaken the small rings of thin metal on its movable crossbars produce a sound that can be from a soft clank to a loud jangling.
Hathor was an Ancient Egyptian goddess who personified the principles of joy, feminine love, and motherhood. She was one of the most important and popular deities throughout the history of Ancient Egypt. She was worshiped by Royalty and common people alike in whose tombs she is depicted as “Mistress of the West” welcoming the dead into the next life. In other roles she was a goddess of music, dance, foreign lands and fertility who helped women in childbirth, as well as the patron goddess of miners. She is commonly depicted as a cow goddess with horns in which is set a sun disk with a uraeus. Twin feathers are also sometimes shown in later periods as well as a menat necklace.
The son and successor of Artaxerxes, Shapur I, built a great palace at Ctesiphon, the capital his father had established near modern day Baghdad in Iraq. The central feature of Shapur’s palace was the monumental iwan, or brick audience hall, covered by a vault (here, a deep arch over an oblong space) that came almost to a point of more than 100 feet above the ground. A series of horizontal bands made up of blind arcades (a series of arches without openings, applied as wall decoration) divide the facade to the left and right of the iwan.
The New Persian empire (Sasanian) endured more than 400 years, until the Arabs drove the Sasanians out of Mesopotamia in 636 CE, just four years after the death of Muhammad. But the prestige of Sasanian art and architecture outlasted the empire. A thousand years after Shapur built his palace at Ctesiphon, Islamic architects still considered its soaring iwan as the standing for judging their own engineering feats.