View the 1973 Mercedes-Benz 450SL Convertible for sale at Seattle 2014 in , as F210.
We mentioned in an Instagram post a while back that we have a fun little tradition on how we spend a morning in Seattle. It started back in 2014 the day after our wedding and
Etsuko Ichikawa is a multi-media artist working in glass, paper, video, sound, and best known for her abstract and ephemeral pyrographs.
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View the 1973 Mercedes-Benz 450SL Convertible for sale at Seattle 2014 in , as F210.
Dr Timmerman was a speaker at Dental Seminars about Conquer Snoring and Sleep Apnea at the SeaTac Airport Marriott, Seattle, WA.
Exhibition | Akio Takamori, "The Beginning of Everything" at James Harris Gallery, Seattle
One of Pearl P. Pereira's Designs at P3 Designs... This quilt was inspired by Samuel Barber's beautifully sad classical composition, Adagio for Strings. It took seventeen years to create. Cheryl made this quilt to celebrate her husband and his thirty years on the Navy... Made by twin sisters... I love the use of the dotted black fabric along with the solid black fabric...it makes for a nicely textured background for the bright colors... There are actual pieces of sea glass adhered to the surface...on the "sand"... This won third place in the "Wall Quilts Machine Quilted" group... This depicts the French legend of the Lily of the Valley... A round robin quilt that traveled between Florida and Michigan, Canada, and China... This won an honorable mention in the "Wall Quilts Machine Quilted" group... It is fun for me to study them up close as I post them...I hope you are enjoying the show as well... In stitches, Teresa :o)
The diversity of famous people from Seattle is incredible!
JOHN MIRO: THE EXPERIENCE OF SEEING SEATTLE ART MUSEUM February 13, 2014 - May 26, 2014 SEATTLE ART MUSEUM PRESENTS LATE CAREER PAINTINGS AND SCULPTURES BY JOAN MIRÓ MIRO: THE EXPERIENCE OF SEEING February 13, 2014 – May 26, 2014 The first in-depth exhibition of Miró’s late work in the United States, with special attention paid to the artist’s captivating sculptures. The exhibition opens on February 13, 2014 and draws from the rich collection of the Museo Nacional Centro de Arte Reina Sofía, Madrid, the leading museum of modern and contemporary art in Spain. One of the great innovators of 20th-century art in Europe, Miró was briefly aligned with the Surrealists in the late 1920s in Paris and went on to create a striking pictorial and sculptural universe throughout his six-decade career. This unique exhibition brings together some 50 paintings and sculptures made in the period between 1963 and 1981 that testify to the artist’s playful ingenuity and inventiveness, adding entirely new chapters to his artistic legacy. Although Miró had experimented with assemblage in earlier periods, it is only in this later period that he builds sculptures from found objects that are then cast in bronze. On view at SAM through May 26, 2014, visitors will experience a rare glimpse of the artist’s later work. Following its presentation in Seattle, Miró: The Experience of Seeing, will travel to the Nasher Museum of Art at Duke University in North Carolina from September 11, 2014 through February 22, 2015 and the Denver Art Museum March 22 through June 28, 2015. “Our collaboration with the Museo Reina Sofía, one of Europe’s greatest museums of modern art, allows us to share the work of one of the world’s most important artists with Northwest audiences for the very first time,” said Kimerly Rorschach, Illsley Ball Nordstrom Director of SAM. Born in Barcelona in 1893, Miró was from Catalonia, the region in the northeast corner of Spain. In his political views as well as his artistic endeavors, Miró was drawn to his contemporary and fellow Spaniard Pablo Picasso. From 1920 when he makes his first visit to Paris Miró spent time in the capital where he connected with the literary and artistic avant-garde and was drawn into the orbit of the Surrealists. During this time, Miró began to develop an abstract and expressive visual vocabulary that set the stage for his subsequent artistic career. “For me, the essential things are the artistic and poetic occurrences, the associations of forms and ideas.” Miró considered painting a dynamic spark: “It must dazzle like the beauty of a woman or a poem and fertilize the imagination.” After years of political turnoil, Miró’s move to a new studio on the island of Mallorca, Spain, allowed him to bring together and reassess many paintings previously in storage. It triggered a fruitful new phase in the artist’s career. He began to explore new painterly territory, often working in distinctly different styles, and he began to make sculpture. Already in 1941, in the midst of war, the artist developed ideas for working in sculpture: “It is in sculpture that I will create a truly phantasmagoric world of living monsters.” He drew inspiration from found objects, building structures from salvaged wood, discarded hardware or household implements and then casting them in bronze. The dialogue between painting and sculpture is crucial at this time with resonances across media and across decades. It is this push and pull between sculptural and painterly form and articulations of space that this exhibition will explore. Miró: The Experience of Seeing is organized by the Seattle Art Museum and the Museo Nacional Centro de Arte Reina Sofía. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. The Seattle presentation of this exhibition is made possible with critical funding provided by SAM’s Fund for Special Exhibitions. Corporate Sponsor is Christie’s. http://www.seattleartmuseum.org/exhibitions/miro You may visit Joan Miro: Life & Art news which consist of more paintings, textile, ceramics, sculptures and different information from my blog archive to click below link. http://mymagicalattic.blogspot.com.tr/2014/10/john-miro-life-art.html HEAD, BIRD, 1977 ( DETAIL ) HEAD, BIRD, 1977 Indian Ink, Lithographic Ink Tempera And Wax on Paper - 39 3/8 X 27 3/8 in. Museo Nacional Centro de Arte Reina Sofia, © Successio Miró / Artists Rights Society (ARS), New York, ADAGP, Paris, 2014 HEAD, BIRD, 1977 ( DETAIL ) A DIALOG BETWEEN PAINTING AND SCULPTURE Miro’s paintings and sculptures have a shared repertoire of signs and subjects; ample female figures are a link to prehistoric representations of women as symbols of fertility and of earthly existence; the bird, perched or in flight, is a sign of imagination and poetic capability, while cosmic landscapes and constellations introduce ideas of universal fluidity and beauty. Miro had created a number of assemblage objects that expanded on painterly ideas in the context of Surrealism, but it was only during and after World War II that he rigorously explored new ideas and processes. In the early 1940’s, he made notes for future sculptures and envisioned a ‘’ phantasmagoric World of living monsters. ‘’ He outlined a process that would take found objects as a starting point – integrating and expanding on them just as he had used stains on paper and imperfections in canvases. Casting the finished assemblage in bronze would maket the individual objects disappear and emphasize the whole. Miro began to realize these ideas after moving into his new studio in 1956. http://www.seattleartmuseum.org/exhibitions/miro ‘’ I try to apply colors like words that shape poems, like notes that shape music. ‘’ MIRÓ WOMAN VI 1969 ( DETAIL ) WOMAN VI 1969 Oil on Canvas 28 ¾ * 36 ¼ Museo Nacional Centro de Arte Reina Sofia, © Successio Miró / Artists Rights Society (ARS), New York, ADAGP, Paris, 2014 WOMAN VI 1969 ( DETAIL ) FIGURE & BIRD 1968 ( DETAIL ) FIGURE & BIRD 1968 ( DETAIL ) FIGURE & BIRD 1968 Joan Miró, Spanish, 1893-1983, Lost-wax Casting, Patinated Bronze, 40 9/16 x 23 5/8 x 8 7/16 in., Nacional Centro de Arte Reina Sofía. © Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2014 FIGURE & BIRD 1968 ( DETAIL ) FIGURES, BIRDS, CONSTELLATIONS 1976, Joan Miró, Spanish, 1893-1983, Oil on Canvas, 51 x 76 9/16 in., Museo Nacional Centro de Arte Reina Sofía. © Successió Miró Artists Rights Society (ARS), New York / ADAGP, Paris 2014 SPATIAL CONCEPTS The paintings with white backrounds achieve maximum intensity with a minimum of means. They are animated by light touches of color or minimal fluid brushstrokes that become signs in expansive spaces. Miro thought of his paintings in terms of immobility, defining not only an infinite movement of space but a landscape in which the human being is implied. Immobility makes me think of vast spaces that contain movements that do not stop, movements that have no end. As ( The philosopher Immanuel ) Kant said, ‘ It is a sudden irruption ( eruption ) of the infinite into the finite. ‘ A pebble, which is a finite and immobile object, suggests not only movement to me but movement that has no end. What I look for, in fact, is an immobile movement, something that would be the equivalent of what we call the eloquence of silence or what Saint John of the Cross called, I believe, soundless music. MIRO 1959 http://www.seattleartmuseum.org/exhibitions/miro SEATTLE ART MUSEUM USA SEATTLE ART MUSEUM USA FIGURE, 1969, Lost –Wax Casting, Patinated Bronze, 55 7/8 X 16 3/4 X 16 5/16 in. Base: 16 9/16 X 12 13/16 X 12 3/16 IN. Museo Nacional Centro de Arte Reina Sofia, © Successio Miró / Artists Rights Society (ARS), New York, ADAGP, Paris, 2014 BIRD & WOMAN ( DETAIL ) BIRD & WOMAN Museo Nacional Centro de Arte Reina Sofia, © Successio Miró / Artists Rights Society (ARS), New York, ADAGP, Paris, 2014 BIRD & WOMAN ( DETAIL ) YOUNG WOMAN DREAMING OF EVASION, 1969 Lost - Wax Casting, Patinated Bronze - 39 X 8 7/8 X 6 7/8 in. Museo Nacional Centro de Arte Reina Sofia, © Successio Miró / Artists Rights Society (ARS), New York, ADAGP, Paris, 2014 FIGURE, BIRDS 1974 Joan Miró, Spanish, 1893-1983, Oil on Canvas, 45 11/16 x 34 5/8 in., Museo Nacional Centro de Arte Reina Sofía. © Successió Miró Artists Rights Society (ARS), New York / ADAGP, Paris 2014 HEAD & BIRD 1981 - 83 ( DETAIL ) HEAD & BIRD 1981 - 83 Joan Miró, Spanish, 1893-1983, Lost-wax Casting, Patinated Bronze, 25 9/16 x 16 9/16 x 7 5/16 in., Base: 2 3/4 x 9 13/16 x 7 5/16 in., Nacional Centro de Arte Reina Sofía. © Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2014 HEAD & BIRD 1981 - 83 ( DETAIL ) WOMEN & BIRD IN THE NIGHT 1974 ( DETAIL ) WOMEN & BIRD IN THE NIGHT 1974 Joan Miró, Spanish, 1893-1983, Oil, Acrylic, and Charcoal Pencil on Canvas, 102 3/8 x 72 13/16 in., Museo Nacional Centro de Arte Reina Sofía. © Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2014 YOUNG WOMAN 1967 ( DETAIL ) YOUNG WOMAN 1967 Joan Miró, Spanish, 1893- 1983, Lost-wax Casting, Patinated Bronze, 13 x 14 3/16 x 2 3/4 in., Museo Nacional Centro de Arte Reina Sofía. © Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2014 YOUNG WOMAN 1967 ( DETAIL ) HEAD IN THE NIGHT 1968 Joan Miró, Spanish, 1893-1983, Lost-wax Casting, Patinated Bronze, 28 1/8 x 14 3/16 x 12 3/16 in., base: 1 9/16 x 14 3/16 x 12 3/16 in., Nacional Centro de Arte Reina Sofía. © Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2014 WOMAN AT THE SQUARE IN A CEMETERY, 1981 Lost - Wax Casting, Patinated Bronze - 23 13/16 X 23 1/16 X 20 1/16 in. Museo Nacional Centro de Arte Reina Sofia, © Successio Miró / Artists Rights Society (ARS), New York, ADAGP, Paris, 2014 THE WARRIOR KING 1981 Lost – Wax Casting Patinated Bronze 48 5/8 * 24 3/16*15 9/16 Museo Nacional Centro de Arte Reina Sofia, © Successio Miró / Artists Rights Society (ARS), New York, ADAGP, Paris, 2014 WOMAN ENTRANCED BY THE ESCAPE OF SHOOTING STARS, 1969, Acrylic on Canvas - 76 3/4 X 51 3/16 IN. Museo Nacional Centro de Arte Reina Sofia, © Successio Miró / Artists Rights Society (ARS), New York, ADAGP, Paris, 2014 WOMAN WITH BEAUTIFUL BREASTS 1969 Joan Miró, Spanish, 1893-1983, Lost-wax Casting, Patinated Bronze, 18 1/2 x 5 1/8 x 3 15/16 in., Base: 2 3/8 x 3 15/16 x 3 1/8 in., Nacional Centro de Arte Reina Sofía. © Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2014 MIRO’S ‘’ LIVING MONSTERS ‘’ The painting in ochre tones, like Bird Woman II, which were painted during the summer of 1977, are full of gestural energy despite the artist’s advanced age. In these paintings, Miro created potent hybrid figures that range from the phantasmagoric to the grotecque. The ochre, black and reddish tones capture a dramatic intensity and the figurative paintings have a tactile quality similar to his sculptures from this period. Miro remarked that his painting ‘’ can be considered humorous ‘’ but that he thought of his inclination as ‘’ tragic, rather than lighthearted. ‘’ http://www.seattleartmuseum.org/exhibitions/miro LATE SCULPTURES The sculptures in this gallery were made in 1981, just two years before Miro’s death. Two intriguing landscapes and a cluster of quietly insistent figures are contrasted here with several drawings from the late 1970’s, which are full of expressive energy. Within this group of works, there is a compelling interplay between the individual figures – male and female – which conveys both fragility and strength. Their silent gestures resonate in the surrounding space. For the sculptures with an allusion to lanscape, Miro created an actual framework, establishing a scale and stage for the figures and objects that populate these spaces. Miro drew comparisons between silence and noise as interdependent – in the midst of silence, he noted, ‘’ the smallest sound is magnified. ‘’ His work process was similary dialectic as he described searching for the noise hidden in silence, the movement in immobility, life in inanimate things, and the infinite in the finite. http://www.seattleartmuseum.org/exhibitions/miro JOHN MIRO: THE EXPERIENCE OF SEEING SEATTLE ART MUSEUM February 13, 2014 - May 26, 2014 JOHN MIRO AT HOME IN HIS STUDIO IN PALMA DE MALLORCA C. 1977 Photo © Christian Simonpietri / Sygma / Corbis Museo Nacional Centro de Arte Reina Sofia, © Successio Miró / Artists Rights Society (ARS), New York, ADAGP, Paris, 2014 WOMAN, BIRD & STAR ( HOMAGE TO PICASSO ) 1966 - 1973 Joan Miró, Spanish, 1893-1983, Oil on Canvas, 96 7/16 x 66 15/16 in., Museo Nacional Centro de Arte Reina Sofía. © Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris 2014
When we first bought the house we knew that there were hardwood tongue and groove (T&G) floorboards, however, they were covered by layers of vinyl and carpet (including vinyl tacted over carpet) so it was hard to gauge what condition the timber floorboards were in. The only way to gauge the condition and type of timber was looking at the floorboards from beneath the house. While the timber looked to be in a relatively good condition it was near impossible to tell what species of timber they were until the floor coverings were lifted and samples were taken up, planed and taken to a timber supplier for identification. While we suspected the floors were Queensland Spotted Gum, it turned out that they were actually a mix of hardwoods - Spotted Gum, Black Butt and Ironbark. Interestingly, two of the rooms had Ironbark floorboards only, while the rest of the house was a blend of the three. Clearly the floorboards were intended to be covered and it was lovely that we would be the first owners in some eighty plus years to see them sanded and polished. The floorboards were not without issues however. There were quite a few damaged boards in the old kitchen and the old verandah boards were a different width, direction and height to the T&G floorboards in the main house. While trying to preserve as much as possible, we had to be practical. Particularly as the Master bedroom was now half the old verandah and half the main house so boards on differing levels was not going to work. We therefore lifted up the salvageable boards from the kitchen and used this to finish the master bedroom, dressing room and hallway entry (which had also been part of the original verandah) so that the boards all flowed in one direction and were all the same height. We ran short of a few boards in the master bedroom but rather than use new boards for the whole room, we found a local reclamation supplier (Keber's in Murwillumbah) who were able to supply matching second hand boards to finish off the room. Now that we had an open plan living, kitchen and dining area, we also had to decide where the old and new boards would meet keeping in mind that new in stock timbers, are a different width to the old timbers (slightly narrower) and that the old boards have shrunk and warped a little which meant wider gaps. The logical place was to keep the old boards in the kitchen and pantry and start the new boards at the entry to the kitchen (the join is under the kitchen) bench and the end of the hallway. On the advice of the builder and timber supplier we go new Qld Spotted Gum floorboards which had enough variation to best match the original floors, whilst also matching the Qld Spotted Gum decking boards. We got raw samples, put water on them to try to replicate the darkening of the timber during the polishing stage, and hoped for the best. Picking a floorboard based on one sample is not ideal as the variation in colour and grain between batches can be significant. Our timber supplier had done a great job with the decking boards, however, so we were relatively confident it would all work out! The floor sander came and spent a few days cleaning the boards up, punching nail holes and getting the boards ready for several coats of polish before having to dash of to his wedding and honeymoon! Alas, he didn't get time to finish the boards before his wedding, so we're waiting upon his return and the installation of the cabinetry before we can finish off the boards. Final photos are still to come. The transition from the main house to the decking boards Raw timber samples Raw timber samples (wet) to mimic the effect of polishing New Spotted Gum boards The old meet the new boards Old boards in the kitchen run under the kitchen bench (to be installed) Reclaimed / second hand boards were used in the dressing room to make sure we had enough timber Downstairs hallway - new boards being laid Old meets new at the end of the upstairs hallway Final matte finish complete. The old meets the new and blends very nicely The only room that wasn't mixed hardwood. This is polished ironbark and looks lovely... The reclaimed board in the dressing room (top of photo) are a great match to the original bedroom floors. Just a fraction narrower. The old boards came up a treat in the master bedroom.
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