#meere

[windschiefe-worte]

Ich träume in deiner Sprache. Das war dann einfach so. Und nun verstehe ich deine dann und wann verwunderten, ernsten Blicke, die jede andere verwirrt vertrieben hätten. Doch ich wusste, daß du ganz einfach gründelst, in den Tiefen meines Seins. Und mir gefiel es zu sehen, wie du keinen Grund ausmachen konntest. Meine Seele ist ozeantief, das weißt du nun. Ich kann dich in allen Meeren in mir rufen und singen hören.

[kokeethornton]

Gönn dir Zukunft mit Twilight Zone :)

Hier sind ganz viele, einfache Tipps: 77 Klimaschutz-Tipps - NABU Du tust das für dich, deine Familie, für mich, für uns und unsere gemeinsame Zukunft in einer Welt die dank uns dann nicht total zerrockt wird. Ich glaube, wir schaffen gemeinsam eine ganze Menge guter Dinge, die zusammen einen großen Einfluss haben können! Und nein, du musst die Klebeleute nicht toll finden.

Du tust das für dich :)

[n0va27]

A Dreamy House/Trance Vibe I had to share on this fine sunday in December :) Enjoy! P.L.U.R. <3 

[optikes]

Persistence of the classical ideal

1 Myron, Discobolus (Discus Thrower), Roman copy of an ancient Greek bronze from c. 450 B.C.E. http://cciv214fa2012.site.wesleyan.edu/classical-period/exhibit-2/

2 Artist unknown Discobolus motif on an Attic (Ancient Greek) red-figured ceramic cup, circa. 490 BC, is static by comparison.

watch: A succinct explanation of dynamism in sculpture: http://www.youtube.com/watch?v=OhJKDqZgNXg

3 Artist unknown, promotional poster for the Empire Games in Sydney, (1938) colour lithograph

 4 Charles Meere Atlanta’s Eclipse (1938)      

A  Joy Eadie 2012   www.shervingallery.com.au       The S.H. Ervin Gallery collection contains two major paintings by significant artist Charles Meere (1890-1961). The Trust is committed to caring for and sharing these important artworks however conservation is costly.

Many Australian art lovers are familiar with Charles Meere’s iconic Australian Beach Pattern, one of the most popular and frequently-reproduced works in the Art Gallery of New South Wales, but are less familiar with his name.

English-born painter Charles Meere came to Australia after serving in France in World War I, training at the Royal College of Art in London, and living for some years in Brittany. While running a commercial art practice in Sydney, he taught at East Sydney Technical College, exhibited with the Society of Artists, and regularly entered the Archibald, Wynne and Sulman Prize competitions.

He painted landscapes, still life and portraits, and a number of paintings in Art Deco style. These are his crowning achievement, notable for their complexity, their use of allusion and ambiguity, and their sheer beauty. The National Trust is fortunate in holding two of them, Atalanta’s eclipse and Triptych, however they are in a fragile state and in urgent need of restoration.

Atlanta’s Eclipse is a remarkable work. It was awarded the Sulman Prize in 1938. Art historian Edward Lucie-Smith has described it as “surely one of the most elegant and accomplished of all the high-style classical compositions produced by Deco artists...”

With its classical subject, its complex allusions in style, imagery and composition, Meere probably designed it specifically for the 1938 inaugural exhibition of the Australian Academy of Art as the ultimate academic painting, not without an element of parody, in the context of the public debate about the Academy.

It depicts the race between Atalanta and Hippomenes, recounted in the Roman poet Ovid’s Metamorphoses. A light-hearted reworking of Guido Reni’s tense, rather dark version of the myth in the Prado, Meere’s painting plays with styles and images from International Gothic, the Renaissance, and Baroque, to the glamorised figures of 20th century advertising.

The complexity, the richness of visual imagination, and the eclectic use of allusion bring to Meere’s beautifully-executed image sophistication quite different from that of the mainstream Sydney modernists of the day.

Triptych is one of several similar works painted in the late 1930s. In a continuous scene spread across three panels, the central panel is given to the Three Graces, personifications of grace, beauty, and festivity, and friends of the Muses. The left panel evokes natural beauty through the putti strewing flowers and the leaping fawns, while in the right panel the gods Hermes with his lyre and Pan with his pipes evoke the Muses.

The Graces, rather sexy and modern, yet have some gravitas; they are elegant, cool and reserved rather than erotic. Triptych presents both classical restraint and charm, giving the kind of delight associated with the Graces themselves.

It is important that these works be restored for the public as exceptional examples of 1930s figurative painting; and to affirm Meere as the creator of a body of work unique in 20th century Australian art. 

5 Douglas Annand Sydney Harbour Bridge Celebrations poster (1932)

6 Charles Meere poster for Sydney Empire Games (1938); 7 commemorative stamp issued at the time.

[politikwatch]

Wenn die Stürme immer heftiger werden, werden #Politiker wohl erst #handeln und Mutter #Natur#ernst nehmen wenn 600-800 Km/h Stürme #Betonäuser wie #Streichhölzer #wegfegen!

Die #Klimaforschung sagt es vorher und es passiert: die Aufheizung der Meere führt zu #heftigeren #Tropenstürmen. #Acapulco in Mexiko ist nun verwüstet und forderte mindestens 27 Tote.

[vegansforfuture]

Wie die NOAA (National Oceanic and Atmospheric Administration) kürzlich mitteilte, haben sich die Ozeane Anfang April auf ein neues Niveau erwärmt. So wurde der bisherige Rekord der Oberflächentemperatur von 21,0°C von 2016 nun um 0,1 Grad überschritten! 😰 Bericht des Guardian dazu: "Die Temperatur der Weltmeere hat seit Beginn der Satellitenaufzeichnungen ein Allzeithoch erreicht (...). Klimawissenschaftler sagten, vorläufige Daten der National Oceanic and Atmospheric Administration (NOAA) zeigten, dass die Durchschnittstemperatur an der Meeresoberfläche seit Anfang April bei 21,1°C liegt – und damit den bisherigen Höchststand von 21°C aus dem Jahr 2016 übertroffen hat. Mehr als 90 % der zusätzlichen Wärme, die durch die Zugabe von Treibhausgasen in die Atmosphäre durch die Verbrennung fossiler Brennstoffe und die Entwaldung entsteht, wurde vom Ozean aufgenommen. Heißere Ozeane liefern mehr Energie für Stürme, gefährden Eisschilde und treiben den globalen Meeresspiegel in die Höhe, da sich das Salzwasser bei Erwärmung ausdehnt. Hitzewellen im Meer können auch verheerende Auswirkungen auf die Meeresfauna haben und Korallenbleiche an tropischen Riffen verursachen. Experimente haben auch gezeigt , dass die Erwärmung der Ozeane das Nahrungsnetz radikal verändern könnte, indem sie das Wachstum von Algen fördert und gleichzeitig die Artenvielfalt verringert, die Menschen essen. Prof. Dietmar Dommenget, Klimawissenschaftler und Modellierer an der Monash University, sagte, das Signal der vom Menschen verursachten globalen Erwärmung sei in den Ozeanen viel klarer.„Offensichtlich befinden wir uns in einem sich schnell erwärmenden Klima und werden ständig neue Rekorde sehen. Viele unserer Prognosen sagen einen El Niño voraus. „Wenn das passiert, werden wir neue Rekorde nicht nur im Meer, sondern auch an Land sehen.“" Quellen: ➡ LINK 1 ➡ LINK 2 CHANGE IS COMING! 😊💚 

[felinefractious]

Kirilee vom Großstadt Meer

🐱 British Shorthair

📸 Natalie Große [vom Großstadt Meer]

🎨 Chocolate Tortoiseshell Bicolor

[dvchvnde]

EXCERPT: JOHN PRICE, WINTER SOLDIER AU.

You're still getting used to the sight of him—bare faced in patches: the beard shorn off into a mere shadow of what it was before; a choice he'd made for himself after scrubbing down in a long shower, refusing any help or medical aid—and he doesn't make it any easier for you in these brief, uncomfortable stages of acclimation you suffer through.

Hands lashing out into dead air. Fingers catching, unyielding and firm, on your skin. Nails—split and jagged; regrown in patches after being ripped off over and over again (for hree years, is the mocking whisper snaking along the nausea when you look at the pinked-tinged beds)—burrowing into your flesh. Anchoring you in place as he bends down, moulds his frame around you. Malleable shadow eating you whole.

Indomitable.

John Price was always an intimidating man.

Towering. Broad. Gruff. Surly. Mean old man was often thrown around amongst the new recruits, ones too scared to voice what they really thought:

Miserable fucking bastard.

His weight thrown around like an extension of himself—all raw, barely contained anger trembling out through the cracks. Lashing thick, brutal lines across his forehead. In the sharp, downward tug of his mouth tucked behind a bed of brunt umbre hair.

He was difficult to deal with on a good day, even when he'd offer that mocking smile of his. A parody of geniality—lips split upwards like a crocodiles maw.

(come, come, put your hand inside this beasts jaws; he won't bite—)

As fucking if.

You've only known him in pieces. Patches. Barely enough to make a whole picture, but you could still fill in the empty spaces with that grizzled anger of his that seemed to roll off of him in waves.

(no wonder he burns so hot—it's all that fury.)

Mostly, he'd come to dress you down in front of everyone watching. Snapping at the sight of your desk—organised chaos a true oxymoron (and for the most part, that seemed to be what he thought of you: a moron)—and how you handled files, and how you waltzed around like you owned the place—

and do you, sweetheart? do you own this place, mm? is that why you never listen to a goddamn thing i tell you?

All-in-all: a miserable fucking man.

And one made of sharp, brutal contradictions. Paradoxes layered over each other. Sealed with fury—of the righteous, pragmatic kind—and reinforced with an utilitarian core. Forlorn hope in the distinct shape of a man, one always readying himself for a pyrrhic victory (but a victory, nevertheless).

Easy, in hindsight, to deal with when you knew how to navigate the frothing gyre of anger and juxtapositions that made up the man who brute force, physicality, to get what he wanted.

By sharp contrast, the version of him who stands before is more enigmatic than the mangled mess of savagery and labyrinthine defenses. Almost unknowable. Unfathomable.

Even more so when he lifts his hand—scarred up, still blistered and bruised from fighting his way through fire and kin to get to you—and presses those mangled knuckles to the swell of your cheek, as tender as a man like him could ever allow himself to be, and runs a soft, shallow line down the side of your face. Eyes—still that same, dizzying blue—darken into liquid sapphire as he stares at you. Inexplicably soft. Lids crested. Half-mast in pleasure as if staring at your face was relaxing. Comforting.

Something swirls in those deep, endless lagoons. Some implacable emotion—all at once too much; too heavy—frissoning over his feature. A paroxysm. You can't catch it. Can't define it.

It's unquantifiable. Unknowable. And yet—

You know, instantly, that John Price would never look at you with something this archaic, this intense, brimming up like geysers in the endless spill of blue that can't seem to look away from you.

This man is not John Price.

But when he pulls you into a kiss—one softer and sweeter than you'd ever imagined the infamous captain could ever be capable of—you let him.

In fact, you kiss back.

And you'd really rather not think about what that says about you.

[stigmatam4rtyr]

Anatomy Lesson of Dr. Willem van der Meer (1617, oil on canvas) | Michiel Jansz. van Mierevelt

[artharakka]

🩸 XXI Mermaid 🌊

[hattersarts]

tildoy my beloved

[sunnisfetishworld]

Es war so schön im Urlaub am abend das Meer so zu genießen 🥰🩵🌊

[horizon-forbidden-memes]

Sorry, Tilda! At a thousand years old, you're definitely too old to play with Lego Aloy!

[meerlichtz]

Btw here’s the Good Omens S3 Bingo me and @pissmanredacted created based on popular theories as well as things we find funny. See you all in like 4 years

[politikwatch]

#Plastik in #Meeren und #Flüssen ❗😡 #Lebensmittelhändler zu Plastik #alternativen #zwingen, jetzt ❗🤬