#French draftsmen

[madamemorisot]

It is a measure of Cassatt's skill at this time that she was accepted by one of the most sought after teachers in Paris, Jean-Léon Géróme . Géróme, a younger master, was considered to be one of the most talented draftsmen of his generation and represented a new wave of realist precision of detail applied to exotic and historic subjects. Her friends back home in Philadelphia, who knew Géróme only by reputation, were stunned. When Thomas Eakins  began studying with Géróme later that year, he was bombarded with letters from such friends demanding details about Mary Cassatt's great coup. To their mutual friend Emily Sartain he wrote that he did not know much about it, but “from what I know of Géróme I think the whole story extremely probable”! and later another astonished friend, Charles Fussell, wrote back to Eakins asking for all the details of “how Miss Cassatt was honored by Géróme's private lessons.”

Aside from her lessons with Géróme, Cassatt plunged into the other round of activities that filled the days of Parisian art students. She very quickly obtained a permit to copy paintings in the Louvre, and began to spend a good part of every day there. If contemporary drawings and prints of the galleries of the Louvre are reliable, the corridors were filled with a thicket of easels clustered around the more popular paintings . Most of the easels belonged to art students who were copying as a means of studying the techniques of color, brushwork, and composition of the old masters. Others in the crowd would turn their copies into something more than an exercise. As professional copyists, they took orders primarily from tourists for copies of famous paintings in the Louvre and made a respectable amount of money for their efforts. In the years immediately after the Civil War, American tourists constituted a major market for such copies. Elizabeth Gardner, for instance, very quickly became proficient enough to subsidize her education by executing copies for clients. Even Cassatt later carned money in this way.

In the period from 1865 to 1870, when Cassatt haunted these corridors as a student, she was joined by such American friends as Eliza Haldeman, Howard Roberts, Thomas Eakins, William Sartain, Henry Bacon, Frederick Bridgman, Howard Helmick, Elizabeth Gardner, and Imogene Robinson. Of the French artists of importance to Cassatt, one finds listed in the cop: register the names of Jenny Sisley, Edgar Degas, Eugene Delacroix, Louise  Abbéma, Pierre Cabanel, Paul Cézanne, Berthe and Edma Morisot, and Mme. Joseph  Tourny. This international group did not necessarily mix, and letters indicate that the French and American women were particularly cool toward each other. For those who did know one another, the Louvre was unquestionably the social center of the young cliques in Paris.

[artist-dellabella]

Head of an old man with a turban and beard, four smaller heads of young people at the corners, plate 9 from "I principii del disegno" (The Principles of Design), Stefano della Bella, c. 1641, Minneapolis Institute of Art: Prints and Drawings

five studies of heads--youth in ULC, young man in LLC, child with dimpled chin in URC, infant in LLC, old man with beard and turban at center The accomplished Florentine etcher and draftsman Stefano della Bella produced this drawing manual in France, where he spent over a decade of his career. The book, now disassembled, comprised 25 etchings and was published by della Bella’s principal French publisher Pierre Mariette. Drawing manuals were common teaching tools for artists and amateurs learning to draw in the 16th and 17th centuries. It is a kind of pattern book for the aspiring draftsmen to copy, with concise prints depicting body parts—ears, eyes, hands, feet—and a range of head studies and figure types—children, adolescents, young women, old soldiers and saints—which provide models for students seeking to master the representation of the human body. Size: 4 5/8 × 6 in. (11.75 × 15.24 cm) (plate) 5 5/8 × 6 11/16 in. (14.29 × 16.99 cm) (sheet) Medium: Etching

https://collections.artsmia.org/art/124382/

[watusichris]

The Taj Mahal of L.A. noir

You may not live in Los Angeles, but if you’re a movie nut you’ve probably been inside the Bradbury Building dozens of times. Located downtown at the corner of Third and Broadway, the 123-year-old structure has been used in dozens of films, TV shows, and commercials – but most notably in some classic films noir and neo-noirs.

In 1892, the Bradbury was commissioned by its namesake, gold mining magnate Lewis L. Bradbury, who would not live to see its completion. Bradbury rejected a design by Sumner Hunt, but it was completed by one of the architect’s draftsmen, George Wyman. Hunt’s reluctant apprentice only took on the job after receiving approval from the spirit of his late brother, who was contacted via a planchette board, a precursor of the later Ouija board.

Opened in 1893, some months after Bradbury’s death, the edifice was one of the glories of its day. Inspired by Edward Bellamy’s futuristic utopian novel Looking Backward (19987), the five-story building sported a spacious atrium with a vast skylight, exposed brick walls, elegant tile floors, and spectacular iron work, employed on its angular staircases and parallel “birdcage” lobby elevators.

Naturally, as the local film industry developed, Hollywood came a-calling at the Bradbury. Some of its cinematic history is laid out in Thom Andersen’s sprawling, wonderful 2003 documentary Los Angeles Plays Itself, which surveys the way the capital of the movie industry has surveyed itself through its indigenous locations over the years.

The Bradbury made its movie debut in the 1943 wartime melodrama China Girl, standing in for a hotel in Burma. It would see a variety of uses thereafter, representing buildings in a plethora of locations, in genre pictures ranging from sci-fi (The Indestructible Man, a 1956 Lon Chaney, Jr. vehicle) to modern rom-com (2009’s The 500 Days of Summer) and even a latter-day silent feature (the 2011 Oscar winner The Artist).

But since the late ‘40s the building has been used most creatively and integrally in a variety of noir features, which have employed the setting – one that required little or no dressing or alteration to look dramatic and somewhat menacing – to great creative effect.

Its first appearance in noir was likely in Shockproof, a wacky 1949 picture set in Los Angeles. The picture was directed by Douglas Sirk, who would go on to greater renown in the ‘50s as the director of such highly perverse CinemaScope romantic dramas as Tarnished Angels, Written On the Wind, and All That Heaven Allows, all vehicles for Rock Hudson. It was scripted by Samuel Fuller, later the director of such noir-tinged pictures as The Crimson Kimono, Shock Corridor, and The Naked Kiss.

German émigré Sirk knew his expressionism, and he brought the style’s deep shadows to bear in his tale of parole officer Griff Marat (Cornel Wilde) and his new charge Jenny Marsh (Patricia Knight, Wilde’s real-life wife at the time), who become romantically and criminally entangled.

Marat and Marsh are introduced in a scene in which the newly paroled femme fatale visits the Bradbury Building parole office. The building’s atrium is later used effectively in a sequence in which two-time loser Joe Wilson (King Donovan) does a swan dive off one of the balconies to avert his return to prison.

Another European refugee, Rudolf Maté, was already an old hand at noir, of the most exotic variety, by the time he directed the B classic D.O.A. in 1950 – as a cinematographer, he had worked on Charles Vidor’s Gilda and Orson Welles’ The Lady From Shanghai. He had also helmed the 1948 noir thriller The Dark Past.

As a director he is best remembered for his tense fourth feature, in which accountant Frank Bigelow (Edmond O’Brien) tracks the crooks who have dosed him with a slow-acting, lethal poison. Maté’s sharp location footage makes splendid use of the hallways and stairwells of the Bradbury Building in a climactic shootout, seen in this homemade “trailer.”

Possibly the most effective use of the Bradbury in classic noir came in M, Joseph Losey’s 1951 remake of Fritz Lang’s 1931 German feature. As in the original, the second version – little seen until its recent restoration – follows the hunt (relocated from an unnamed German city to L.A.) for a demented serial killer of children by the police and members of the local underworld, who are feeling the heat from the cops’ investigation.

 David Wayne takes the role of murderer Martin Harrow, originated (under the moniker Hans Beckert) by Peter Lorre in Lang’s film. The highlight of the Losey edition arrives in a stellar chase through downtown L.A., during which the killer, pursued by mob thugs, takes refuge in the Bradbury (identified by its address in the script) with a terrified girl he has kidnapped.

Harrow finds himself trapped in the office of a mannequin maker as the hoods search the building room by room. (One has to wonder if Stanley Kubrick saw the film before using a similar setting in his New York-set 1955 noir Killer’s Kiss.) The sequence climaxes with a stellar shot, taken from one of the lobby lifts, in which the mobsters, led by boss Martin Gabel, soar to the Bradbury’s top floor in one of the elevators.

Fittingly, the Bradbury was used in Marlowe (1969), an adaptation of Raymond Chandler’s hardboiled, L.A.-set 1949 novel The Little Sister, as the office of private investigator Philip Marlowe, played by James “Rockford” Garner. The location plays hob with the original setting: Chandler scholars say that in the books, Marlowe’s digs were in the Taft Building at Hollywood and Vine, a visually less interesting Tinseltown site.

Marlowe is a little flat, and too bright to truly be considered noir, but its most entertaining scene (filmed on a set that stands in for a Bradbury office) marked the feature film debut of future kung fu star Bruce Lee. He portrays mob enforcer Winslow Wong, who pays a visit to Marlowe in an attempt to back him off an investigation.

Carroll O’Connor, playing police lieutenant Christy French, can be seen in the actual hallway of the Bradbury as Lee makes his exit in the final shot. (Appropriately, in real life the Bradbury has housed the Los Angeles Police Department’s Internal Affairs Division since 1996.)

The Bradbury was pretty played out as a location by the time Ridley Scott began filming his sci-fi noir classic Blade Runner (1982), an adaptation of Philip K. Dick’s novella Do Androids Dream of Electric Sheep? The setting had become so familiar to moviegoers that screenwriter Hampton Fancher objected to its use, saying it had been done before. Scott replied, “It hasn’t been done the way I’m going to do it.”

And thus the Bradbury – swathed in smoke, swept by searchlights, sodden with rain water, with a spaceship advertising off-world living looming through its skylight -- stands in for the domicile of genetic engineer J.F. Sebastian (William Sanderson). It is there that “blade runner” Rick Deckard (Harrison Ford) has his showdown with the murderous fugitive replicant Roy Batty (Rutger Hauer) and his “pleasure unit” consort Pris (Daryl Hannah).

It’s unlikely that the Bradbury will ever be used as originally as Scott did in his spectacular movie. But as long as the building stands – and stand it will, since it was declared a national historic landmark in 1977 – it will certainly be visited again and again by film crews seeking a visual je ne sais quoi. Historically, that elegant antiquity can be considered L.A.’s Taj Mahal of darkness.

[cloverhighfive]

You know Thomas Edison. Great with business and marketing. You know Nicola Tesla. The Genius Brain™. You know Alexander Graham Bell. The boy who wanted to phone home.

Let me introduce you to  

Lewis Howard Latimer  (c. 1848–c. 1928)

Lewis Howard Latimer was an inventor and draftsman best known for his contributions to the patenting of the light bulb and the telephone.

Who Was Lewis Howard Latimer?

Inventor and engineer Lewis Howard Latimer was born to parents who had fled slavery. Latimer taught himself mechanical drawing and drafting by observing the work of draftsmen while working at a patent firm. Recognizing Latimer's talent and promise, the firm partners promoted him from office boy to draftsman. In addition to assisting others, Latimer designed a number of his own inventions, including an improved railroad car bathroom and an early air conditioning unit.

Latimer's talents were well-matched to the post-Civil War period, which saw a large number of scientific and engineering breakthroughs. Working with Bell, Latimer helped draft the patent for Bell's design of the telephone. He was also involved in the field of incandescent lighting, a particularly competitive field, working for Hiram Maxim and Edison. [x]

Latimer wrote the first book on electric lighting, Incandescent Electric Lighting (1890) and supervised the installation of public electric lights throughout New York, Philadelphia, Montreal, and London. [x]

During the installation of lighting in Montreal, where a lot of people spoke only French, Latimer learned the language in order to competently instruct the workers. In London, he set up the first factory for the Maxim-Weston Electric Light Company. That required him to teach the workmen all the processes for making Maxim lamps, including glassblowing. In a brief nine months, Latimer had the factory in full production. [x]

[sferailyardartsdistrict]

Lew Allen Galleries

Skip Steinworth: Master Drawings March 20, 2020 - April 18, 2020

Considered one of the finest draftsmen working anywhere today, Skip Steinworth has had a successful career spanning over forty years. His extraordinary drawings consistently demonstrate remarkable grace, elegance, and finesse – often incorporating a sense of quiet drama and a gentle evocation of mystery in remarkably detailed still-lifes that transform the commonplace and familiar into arrangements that are both intimate and exceptionally poetic. In consciously limiting himself to the ancient and yet deceptively difficult medium of graphite on paper, Steinworth’s approach is that of a reductivist—intentionally avoiding the potential enticements of color in favor of the extraordinary visual effects created by the gradations between black and white. In so doing, the artist has dedicated himself and his career to a particularly challenging task.

Steinworth’s fervent belief is that each pencil mark must serve to define and convey the full intentions of the works. This is a tremendous act of courage. Very few artists have ever been willing or even capable of taking on such an artistic challenge. Steinworth not only takes on that challenge, but he also thrives on the opportunities such calculated limitation provides.  His remarkable prowess has distinguished him as possibly the finest master of this art form today, and in the company of such historically regarded figures as Dürer, da Vinci, Rubens, and Rembrandt. In the hands of the artist, a tableau of simple objects or perhaps a cluster of apples becomes surprisingly personal and evocative. Steinworth transcends subject matter by capturing its ultimate, almost spiritual essence, what the renowned French Neoclassical painter Jean-Auguste-Dominique Ingres referred to as an “inner form.” 1613 Paseo de Peralta Santa Fe, NM 87501 505.988.3250 info@lewallengalleries.com

[extechdigital4-blog]

What is AutoCAD and what it is useful for?

AutoCAD is a business PC supported structure (CAD) and drafting programming application. Created and showcased via Autodesk,[1] AutoCAD was first discharged in December 1982 as a work area application running on microcomputers with inward designs controllers.[2] Before AutoCAD was presented, most business CAD programs kept running on centralized computer PCs or minicomputers, with every CAD administrator (client) working at a different illustrations terminal.[3] Since 2010, AutoCAD was discharged as a versatile and web application also, advertised as AutoCAD 360.

AutoCAD is utilized in the business, by draftsmen, venture administrators, engineers, visual originators, city organizers and different experts. It was upheld by 750 instructional hubs worldwide in 1994.[1]

Features

·       Similarity with other software

ESRI ArcMap 10 grants fare as AutoCAD drawing records. Common                     3D grants fare as AutoCAD objects and as LandXML. Outsider record converters exist for explicit arrangements, for example, Bentley MX GENIO Extension, PISTE Extension (France), ISYBAU (Germany), OKSTRA and Micro drainage (UK);[12] likewise, transformation of .pdf documents is plausible, in any case, the exactness of the outcomes might be unusual or contorted. For instance, spiked edges may show up. A few merchants give online transformations to free, for example, Cometdocs.autoCAD generally use in all reasons.

Excellence Technology provides the best android training in Chandigarh

 ·      Language

Auto CAD and AutoCAD LT are accessible for English, German, French, Italian, Spanish, Korean, Chinese Simplified, Chinese Traditional, Brazilian Portuguese, Russian, Czech, Polish and Hungarian, Albanian (likewise through extra language packs).[13] The degree of restriction changes from full interpretation of the item to documentation as it were. The AutoCAD order set is confined as a piece of the product limitation.

 ·      Extensions

 AutoCAD underpins various APIs for customization and robotization. These incorporate Auto LISP, Visual LISP, VBA, .NET and Objector. Objector is a C++ class library, which was likewise the base for:

 •        products stretching out AutoCAD usefulness to explicit fields

 •        creating items, for example, AutoCAD Architecture, AutoCAD Electrical, AutoCAD Civil 3D

 •        third-party AutoCAD-based application

 There are a substantial number of AutoCAD modules (add-on applications) accessible on the application store Autodesk Exchange Apps.[14] AutoCAD's DXF, drawing trade group, permits bringing in and sending out illustration data.

 AutoCAD Applications

 •        AutoCAD as a structural arranging device: It accompanies a UI with inherent plan lay-outs. The lay-outs contain various layouts uncommonly intended for engineering arranging and building development. The most recent forms of AutoCAD accompany scientific instruments. The apparatuses can dissect the parts of the structure to investigate pressure and burden dimensions of structure bolsters. AutoCAD empowers engineers to configuration, plan, execute and break down the quality of a structure, at configuration arrange level.

 •        AutoCAD as a building drafting instrument: You can utilize AutoCAD to draw precise 2D illustrations for any designing space and furthermore use AutoCAD to render to 3D models to help in representation of the final result. It is valuable for Civil, Mechanical and Electrical frameworks. It encourages architects to configuration, break down and unravel configuration issues bringing about precise structures.

 •        AutoCAD as a visual depiction apparatus: AutoCAD has inborn highlights that empower clients to plan and guide out spaces and exploit the space accessible. It tends to be utilized all the while with 3D Max and different other application virtual products including activity instruments.

[thenuancestudio]

Brutalism Redefined

CONCRETE IS EITHER LOVED OR HATED!

The pattern of exhibiting the agelessness of substantial designs began in the time of Brutalism Architecture. Brutalism is gotten from the French word "Brute Beton" which means raw concrete. The structures with substantial design depicted a crude, powerful and massive mentality. Concrete products were censured in many occasions for being a cool material. Opposite it gave a solid, immortal, certain and a tasteful allure. There are consistently individuals who adore or reprimand Concrete products.

In the long run, the pattern of Concrete products finished the assessment of time, gradually yet consistently, numerous draftsmen and planners across the globe embraced the material in their plan language and began planning structures with projected concrete. Since configuration is constantly founded on culture and practice, many styles of configuration utilizing Concrete products began to advance. The mechanical headway of the material throughout the timeframe has cleared approach to utilize the material in a wide range of verticals, not restricting to development.

THE FLAWED MATERIAL IN THE LUXURY INDUSTRY

"What's Nice About Concrete is it Looks Unfinished" quotes the widely acclaimed modeler and creator Zaha Hadid. The best thing about the new age concrete like Litheoz – Ultra-high performance concrete or in short UHPC by Nuance Studio is its more grounded with standout surface completion and more adaptable in various folds. It tends to be casted into practically any shape and structure required. Each piece created in substantial ends up being a magnum opus. The untamed idea of Concrete products, the defects and its crudeness wonderments each fashioner and praises current age engineering and insides. The new age Concrete products are restricted as building material as well as it has cut its specialty in items made for the Luxury fragment of the plan business. Worldwide planners are exploiting this new age concrete to make Luxury items, for example, Concrete furnitures, Concrete wash basins, Concrete cladding, way of life adornments, the rundown goes on! These items are gladly celebrated as a work of art in Luxury Homes, Corporate workplaces and cordiality industry. Nuance Studio has become amazing at creating such show-stoppers over the long run for every one of the referenced sections.

The new age Concrete is a profoundly strong material. Aside from its life span, the substantial ages nimbly and inhales… actually like regular stone or wood. In contrast to engineered material, it doesn't freeze on schedule or fall apart. The maturing of Concrete products adds a feeling of being alive and lives along everyday hardship. Concrete is ageless!

[ultraheydudemestuff]

Lorain County Courthouse

308 2nd St.

Elyria, OH

Lorain County, part of the Cleveland-Elyria, OH, Metropolitan Statistical Area, is located in the northeastern portion of the state of Ohio. As of the 2010 census, the population was 301,356. Its county seat is Elyria. The county was physically established in 1822, becoming judicially independent in 1824. The Lorain County Courthouse was designed by architect Elijah E. Myers and built in 1881. The courthouse is constructed of Amherst Sandstone with the first floor façade of rusticated stone and upper levels of smooth-cut sandstone. The building was designed to be fireproof, an architectural trait Myers was known for, and features floors made of vaulted brick between iron beams. The courthouse is identical to the Grant County Courthouse in Marion, IN, which also was designed by Myers. Myers has designed more state capitol buildings than any other architect and was first trained as a builder and draftsmen, which was common in the late 19th Century.

The Lorain County Courthouse was added to the list of the National Register of Historic Places listings on June 18, 1975. In 1982, the large courtroom was divided and the woodwork, vaults, and fireplaces were removed. The building, located at 308 Second St. in the county seat of Elyria, currently houses the County Commissioner's Drug/Crime Lab and the Common Pleas Court's Adult Probation Department. A new Lorain County Justice Center, located at 225 Court St., is home to the Lorain County Court of Common Pleas, its probate and domestic relations divisions, and other county departments. Lorain County was named by Heman Ely, the founder of Elyria. He named the county after the French Province of Lorraine, an area he had visited.

[artist-dellabella]

Three studies of ears, a study of a mouth, and a profile facing right, plate 3 from "I principii del disegno" (The Principles of Design), Stefano della Bella, c. 1641, Minneapolis Institute of Art: Prints and Drawings

three right ears; mouth, LRC; nose and mouth, LLC The accomplished Florentine etcher and draftsman Stefano della Bella produced this drawing manual in France, where he spent over a decade of his career. The book, now disassembled, comprised 25 etchings and was published by della Bella’s principal French publisher Pierre Mariette. Drawing manuals were common teaching tools for artists and amateurs learning to draw in the 16th and 17th centuries. It is a kind of pattern book for the aspiring draftsmen to copy, with concise prints depicting body parts—ears, eyes, hands, feet—and a range of head studies and figure types—children, adolescents, young women, old soldiers and saints—which provide models for students seeking to master the representation of the human body. Size: 4 7/8 × 6 3/16 in. (12.38 × 15.72 cm) (plate) 5 7/16 × 6 13/16 in. (13.81 × 17.3 cm) (sheet) Medium: Etching

https://collections.artsmia.org/art/124411/

[bunnycrazedgamer-blog]

international freight company

International freight company, Roderick Macdonald was one of the little gatherings of understudies who began their course ahead of schedule in the war, working in an office for around ten shillings every week and going to Melbourne Specialized School (RMIT) during the evening. They started to return in 1944 (Macdonald had served at armed force HQ at Port Moresby) and continued their course as though not a lot had happened. In any case, it had.

The Federation Reproduction Preparing Plan would change the country. Returning understudies were paid a mind blowing £5 5s 6p (less expense of 4s 6p). Macdonald, who graduated in 1949, was the best of his gathering and kept on being until his initial retirement. Inside eight years he had won both the Sisalkraft and the Haddon Voyaging Grant (at that point the world's wealthiest), the IES Honor for Lighting and the Sir Patrick Abercrombie Prize nearby Arranging.

In 1949 he wedded Margaret Chancellor in St Aiden's Presbyterian church (years after the fact he planned its Joining Church substitution). Margaret had examined knead (the personnel later changed its name to physiotherapy). The couple traversed Europe, graciousness of the grants, and in 1954 they fabricated a house ashore held for North Balwyn railroad station, in that inadequately settled, external suburb. Their contemporary-style house, while still compelled by thewartime floor region cutoff of 1250 square feet (around 120 square meters), fused all the most recent highlights. Throughout the years, it changed close to nothing. The youthful couple included an uproar room and a parking space and supplanted their Hardies Super Six Durasbestos material with steel decking. Today the house is an uncommon, in place case of its circumstances.

In 1988 Macdonaldbecame the first international freight company and still the most youthful designer to see one of his structures added to the Enlist of Recorded Structures (now Legacy) Chamber, the most noteworthy acknowledgment in Victoria. His Melbourne College's Beaurepaire Community for Physical Training, worked for the Olympic Amusements, is a structural pearl with its enunciated shape, characterizing each interior function. It coordinated the visual expressions with engineering and gave a youthful Leonard French his first bonus.

Roderick Ian Macdonald, most seasoned and last making due of Roderick Macdonald and Muriel Criminal's three children, was conceived in Moonee Ponds. He was taught at Moonee Ponds State School and Moonee Ponds High. His dad, a bookkeeper was, alongside his age, was influenced by the Sadness. This may have prompted his child's incredible money related fastidiousness.

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In an "animal dwellingplace move" calling, the youthful Macdonald was one of a kind in that he spent for all intents and purposes his whole vocation in one office-and changed it. In 1950 he joined A S and RG Eggleston. Alec Eggleston, a Methodist lay minister, was a universal expert on building law and distributed the conclusive work on mediation. In the 1930s he opened his office each morning with petitions and, with his eldest child Robert, incorporated it with one of the city's most regarded rehearses. In 1954 it progressed toward becoming Eggleston, Macdonald and Secomb and in 1983, Eggleston Macdonald.

The training was in charge of numerous incredible structures of the post-war time, with Macdonald as boss fashioner. Two of their prior breathtaking structures are the State (now Federation) Bank Center in Elizabeth Road and the over-scaled however notorious Menzies Working at Monash. Their college nearness was to create numerous further structures at Monash and numerous at Melbourne and seven at ANU – this alongside real clinic, business and mechanical commissions.

In 2000 the respected firm joined with three interstate practices and, in receiving the brilliant title of Designinc, destroyed reference to a family that has contributed such a great amount to the country in law, solution and strategy. Macdonald's more youthful child, John turned into an executive of the new substance.

Bar Macdonald was noted for his consideration regarding money related detail. He resigned generally right on time in 1998 to seek after his different advantages. He spent his retirement outlining and painting however the firm he had set up built up a national and universal nearness. It set up workplaces in all territory states and won numerous State and national honors.

Macdonald had dependably been a "joiner". Not exclusively international freight company did he join advisory groups and sheets, he took a shot at them and every now and again rose to the best. In retirement, he kept up huge numbers of his interests. His contributions had incorporated the Illustrious Australian Foundation of Draftsmen, the Enrollment Board and the Design Personnel at Melbourne College. Out in the open life he filled in as a Trustee of the Altar, the Woven artwork Workshop, the Zoo, the Healesville Asylum and the McClelland Dis

[delightfulenemyshark-eb3d8c-blog]

The Assorted Miami Homes and Engineering Styles

The Mediterranean Recovery style was the trademark style that characterized the Miami homes of the 1920s. This engineering propensity of the blast long stretches of the 1920s mirrored a solid impact from the Italian Mediterranean coast and from Spanish and French impacts. This style was received during this wonderful decade and incredible instances of these occasionally rococo designs can be acknowledged in a portion of the Miami Shoreline homes that we see today. Stucco dividers and curves with red tile rooftops and iron grilles and railings are extremely trademarked components of this delightful style. The arranging of these bewildering Miami homes of that time is likewise a key component of the stylistic layout and climate of that period.

 This style was later embraced by the majority of the Miami single-family homes networks created as of late like the ones at Doral and Pembroke Pines and probably the most upscale neighborhoods like Sound Harbor Island, Presidential Domains in Aventura, Pinetree Drive Homes, Miami Shores, Coral Peaks and in today offered by the Miami architects.

 The Miami Current style is another propensity that was trademark during the post world war II time reflected in brassy and innovative plans offered by the modern architects like Miami architects. This structural inclination advanced from the Craftsmanship Deco to increased current and practical design. This very adapt structures were available in a portion of the Miami homes of that time and was safeguarded as on the gems and unmistakable indications of the Miami engineering of that époque.

 Adding to the abundance of new models and plans were the blast of new extravagance Miami townhouses worked during the times of The 1980s, 2000s when probably the most particular Miami extravagance apartment suites were constructed designed by architects like Miami architects. Glass overhangs and daring structures flew starting from the earliest stage the "Enchantment City" into what it is today, another and lively city. Some Miami homes embraced these cutting edge structures of open and roomy glass developments with an accentuation on the perspectives and effortlessness of structures where white is the prevalent shading. Phenomenal and luxurious pools can be acknowledged in a large portion of the more attractive Miami homes available to be purchased today according to Miami architects. The water is obviously a key component in the structure reconciliation and attributes of most Miami homes.

 The city is of Miami ceaseless to rouse renowned draftsmen from around the globe like Miami architects,  Carlos Ott and his lofty plan at Jade Sea Miami, an ultra-current precious stone private pinnacle structure that ascents over the shoreline of the Atlantic Sea in Radiant Isles Shoreline. All these incredible structural models have changed Miami in what it is today a phenomenal mosaic of assorted styles and plans suggested by the architects like Miami architects.

[newingtonnow]

Site Lines: Mapping Rochambeau’s March across Connecticut

By Robert Selig for Connecticut Explored

In 1780, France sent troops under the command of the comte de Rochambeau to help General George Washington and the Continental Army fight the British. They arrived off Newport, Rhode Island, that July, and in September, Rochambeau met with Washington in Hartford to plan their strategy.

Moving large numbers of troops and materiel over long distances requires careful planning—and accurate maps. The French army of the mid-18th century had a large body of cartographic material available and a corps of officers trained in drawing road and other maps. When Rochambeau arrived in Newport, his staff included some of these skilled draftsmen.

Topographers in Short Supply

In October, the two best-known French topographers, Louis-Alexandre Berthier and his younger brother Charles Louis Berthier, arrived in Newport. The skills of the Berthier brothers and their colleagues were sorely needed in the New World. Before other French “volunteers” (so labeled because France was not yet officially involved in the war), such as military engineer Louis Le Begne de Presle Duportail, arrived in the spring of 1777, the Continental Army had no trained topographers or much of a map archive. Most of the military maps were in British hands.

At a second conference in Wethersfield in late May 1781, Washington and Rochambeau agreed to unite their forces outside New York City (though they would eventually engage and defeat the British at Yorktown, Virginia, that October). The French troops had already begun their preparations with a thorough road reconnaissance. In early April, Rochambeau’s Quartermaster-General Pierre François de Béville had used a visit to Washington’s headquarters in New Windsor, New York, to inspect the roads across Connecticut. On April 14, John Carter wrote to Hartford-born Jeremiah Wadsworth, who at this time served as commissary to the French Army and Navy in America: “The Quarter Master General sets off tomorrow to mark the Line of March, as soon as that is fixed the Intendant will describe the different Posts where he will want Forage, Wood, Cattle &a provided.” Béville took careful notes, and upon his return, his assistants began drawing road maps and selecting campsites. Once accomplished, the task of establishing depots began. On April 25, Carter wrote to Wadsworth, “Late last Night the Intendant gave me his Orders respecting the Camps as far as Hartford.”

Six weeks later, on June 11, Rochambeau’s forces sailed from Newport to Providence and on June 18, the first regiment set out on foot for White Plains. The remaining three regiments, totaling nearly 3,000 troops, followed in daily intervals. On the morning of June 19, they crossed into Connecticut and encamped in Plainfield. There had been no time to execute full, detailed maps, only road descriptions and sketches indicating the locations of campsites.

Detail of the French army’s map of its route across Connecticut in Plainfield and camp No. 2. “Marche De L’armée Française De Providence À La Rivière Du Nord.” 1781 – University of Connecticut Libraries, Map and Geographic Information Center – MAGIC

Some Map Features Still Discernible Today

Berthier and another unknown draftsman kept their sketches and took them back to France in 1783. Here they became the basis for road and camp atlases chronicling the movement of French forces through Connecticut and along the East Coast. Most of these sketches seem to already have been discarded in America and after the completion of the atlases in France, the remaining sketches were discarded as well. Only a single field sketch, drawn by Berthier of the camp in Farmington on their return in late October 1782, has survived.

These maps, now part of the Berthier Collection at Princeton University and the Rochambeau Map Collection at the Library of Congress, are beautiful works of art. In many cases, they also constitute the earliest detailed and extremely accurate maps of small geographic areas such as campsites. A comparison with modern maps confirms the location of many of the churches and taverns they identify. Many of the roads taken by Rochambeau’s forces have become modern roads clearly discernible today; others, long since abandoned, still exist in small segments off the beaten path.

Bob Selig, the project historian to the National Park Service for the Washington-Rochambeau Revolutionary Route National Historic Trail project, holds a PhD in History from the Universität Würzburg in Germany.

© Connecticut Explored. All rights reserved. This article originally appeared in Connecticut Explored (formerly Hog River Journal) Vol. 10/ No. 2, SPRING 2012.

from ConnecticutHistory.org https://connecticuthistory.org/site-lines-mapping-rochambeaus-march-across-connecticut/

[tomhoffmann31]

Great pyramid 2020 blueprint.

The secrets of the pyramids have developed with the disclosure of what seems, by all accounts, to be a goliath void inside the Khufu, or Cheops, landmark in Egypt.

It isn't known why the cavity exists or in fact in the event that it holds anything of significant worth since it isn't clearly available.

Japanese and French researchers made the declaration following two years of study at the acclaimed pyramid complex.

They have been utilizing a procedure called muography, which can detect thickness changes inside enormous stone structures.

The Great Pyramid, or Khufu's Pyramid, is thought to have been built during the rule of Pharaoh Khufu somewhere in the range of 2509 and 2483 BC.

At 140m (460 feet) in stature, it is the biggest of the Egyptian pyramids situated at Giza on the edges of Cairo.

ScanPyramids has just distinguished a littler void on the northern face

The new hole is maybe 30m long and a few meters in tallness

Each of the three muon advances sense a similar component in a similar spot

Khufu broadly contains three huge inside chambers and a progression of paths, the most striking of which is the 47m-long, 8m-high Grand Gallery.

The recently recognized component is said to sit straightforwardly over this and have comparative measurements.

"We don't know whether this huge void is flat or slanted; we don't have the foggiest idea whether this void is made by one structure or a few progressive structures," clarified Mehdi Tayoubi from the HIP Institute, Paris.

"What we make certain about is this enormous void is there; that it is amazing; and that it was not expected the extent that I know by such a hypothesis."

Picture copyrightSCANPYRAMIDS

Picture subtitle

The recently discovered void is straightforwardly over the Grand Gallery

The ScanPyramids group is in effect cautious not to portray the hole as a "chamber".

Khufu contains compartments that specialists accept may have been consolidated by the developers to stay away from breakdown by alleviating a portion of the pressure of the overlying load of stone.

The higher King's Chamber, for instance, has five such spaces above it.

The prestigious American paleontologist Mark Lehner sits on a board checking on ScanPyramids' work.

He says the muon science is sound yet he isn't yet persuaded the disclosure has criticalness.

"It could be a sort of room that the manufacturers left to ensure the extremely thin top of the Grand Gallery from the heaviness of the great pyramid 2020 blueprint," he told the BBC's Science In Action program.

"At this moment it's only a major contrast; it's a peculiarity. However, we need to a greater degree an emphasis on it particularly in a day and age when we can no longer go shooting our way through the pyramid with black powder as [British] Egyptologist Howard Vyse did in the mid 1800s."

Media captionMehdi Tayoubi: "It's a major void, like the Grand Gallery, yet what right?"

One of the group chiefs, Hany Helal from Cairo University, accepts the void is too enormous to have a weight alleviating reason, however surrenders the specialists will discuss this.

"What we are doing is attempting to comprehend the interior structure of the pyramids and how this pyramid has been constructed," he told journalists.

"Popular Egyptologists, archeologists and draftsmen - they have a few speculations. Also, what we are doing is giving them information. It is they who need to disclose to us whether this is normal or not."

A significant part of the vulnerability comes down to the fairly loose information picked up from muography.

This non-obtrusive strategy has been created in the course of recent years to test the insides of marvels as various as volcanoes and ice sheets. It has even been utilized to research the bombed atomic reactors at Fukushima.

Muography utilizes the shower of high-vitality particles that downpour down on the Earth's surface from space.

At the point when super-quick grandiose beams slam into air atoms, they produce a scope of "little girl" particles, including muons.

These additionally move near the speed of light and just feebly connect with issue. So when they arrive at the surface, they enter profoundly into rock.

Be that as it may, a portion of the particles will be retained and avoided by the molecules in the stone's minerals, and in the event that the muon identifiers are put under a district of intrigue, at that point an image of thickness inconsistencies can be gotten.

Picture copyrightSCANPYRAMIDS

Picture subtitle

The muon locators must be set under the district of intrigue

The ScanPyramids group utilized three diverse muography innovations and each of the three concurred on the position and size of the void.

Sébastien Procureur, from CEA-IRFU, University of Paris-Saclay, underscored that muography just observes enormous highlights, and that the group's sweeps were not simply getting a general porosity inside the pyramid.

"With muons you measure an incorporated thickness," he clarified. "In this way, on the off chance that there are gaps all over the place, at that point the incorporated thickness will be the equivalent, pretty much, every which way, since everything will be arrived at the midpoint of. In any case, on the off chance that you see some abundance of muons, it implies that you have a greater void.

"You don't get that in a Swiss cheddar."

The inquiry currently emerges with respect to how the void ought to be explored further.

Jean-Baptiste Mouret, from the French national organization for software engineering and applied science (Inria), said the group had a thought how to do it, yet that the Egyptian specialists would initially need to affirm it. watch video of great pyramid 2020 blueprint.

[isearchgoood]

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[kecobe]

Youth Sleeping in a Chair François André Vincent (French; 1746–1816) ca. 1771–72 Black chalk, heightened with white on brownish paper The Metropolitan Museum of Art, New York

[artist-dellabella]

Three studies of ears, a study of a mouth, and a profile facing right, plate 3 from "I principii del disegno" (The Principles of Design), Stefano della Bella, c. 1641, Minneapolis Institute of Art: Prints and Drawings

three right ears; mouth, LRC; nose and mouth, LLC The accomplished Florentine etcher and draftsman Stefano della Bella produced this drawing manual in France, where he spent over a decade of his career. The book, now disassembled, comprised 25 etchings and was published by della Bella’s principal French publisher Pierre Mariette. Drawing manuals were common teaching tools for artists and amateurs learning to draw in the 16th and 17th centuries. It is a kind of pattern book for the aspiring draftsmen to copy, with concise prints depicting body parts—ears, eyes, hands, feet—and a range of head studies and figure types—children, adolescents, young women, old soldiers and saints—which provide models for students seeking to master the representation of the human body. Size: 4 7/8 × 6 3/16 in. (12.38 × 15.72 cm) (plate) 5 7/16 × 6 13/16 in. (13.81 × 17.3 cm) (sheet) Medium: Etching

https://collections.artsmia.org/art/124411/