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mandy-m-andersen.bsky.social
@mandy-m-andersen.bsky.social
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International nomad. Travel, collecting museums, photography, volunteering, writing, and researching family history. 🇨🇦🇬🇧 Happily married to the same man for 37 years. All photos are my own unless otherwise indicated (eg. reposts), and copyrighted.
![On the last evening of a recent 3-month stay across the street from the Dresden Zwinger, I stopped procrastinating and popped over for some evening shots.
The Zwinger is a former royal palace surrounding an open area that once hosted grand parades and celebrations, but very recently was restored to an orangery, as it had also been in former times.
The Zwinger museums house world-class collections of porcelain, fine art, and mathematical and physical [science] instruments.
A bit underexposed, this tight image is of the Cabinet–as they’re called–of the latter.
The orangery includes four fountains which - when turned off in the evening - become marvelous reflecting pools. This image was captured across one of them.
This building is a grand Baroque structure on four levels. The lowest bears a veranda, lined by an open, pillared stone balustrade, that runs the length of the building, and leads to a majestic staircase down into the orangery with the fountains (the pool of only one of which is partially viewable in the whole lower half of this image). On the veranda balustrade there are sculptural pedestals and putti [cherubs].
The second level [which extends longer than the third level] and the third, are walls of multi-paned ground to ceiling arched windows between colonnades.
On the uppermost floor is the Bogengalarie exhibition space within the curved ramparts.
Before full sunset, there are luminous highlights to the scattered small white clouds in a pale blue-grey sky. Sky and palace building are almost perfectly reflected in the pool below.
At midline of the image, a groomed lawn follows the concrete geometric edge of the pool, and along which 6 of the new citrus trees in black and white striped planters, can be seen.
For more info, these links are useful:
https://www.conservatoryheritage.org/historic-conservatories-library/17-18-century/zwinger-palace-orangery
https://mathematisch-physikalischer-salon.skd.museum/en/exhibitions/permanent-exhibition/](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:2fvuyiwxi7cu2eytxybnshxn/bafkreiglksdpvodgyzpscku4p4uvzqiictp7zx6t24f2kkkux54moxxmvu)
![Perhaps not taken on the same day as the baked and cracked image posted before this photo, but also not many streets or days away, either.
Split horizontally, almost in half, this late evening photo in La Paz, BCS, Mexico looks deceptively cooler [temperature] than it was.
The lower half is almost completely dark, although on the right, the hospitable glow of light is discernible through a decorative breeze-block wall: a neighbor’s backyard space - popular for all-night festivities and mariachi celebrations. To the right of it, and just above, a glowing window picks out a point of light in another house near the edge of the photo.
Above the nigh-shadowed mass of neighbors’ homes and walls, is a sharp skyline of flat rooftops and palm trees. Here and there, a lighted window, or street lamp glows.
However, it’s the sky above that makes this photo what it is: the remnants of sunset glow cream-to-sand-to-orange from the left of the image to where it meets the swirling darkness of the night sky clouds in the deeper duskier slate blue of the sky on the right.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:2fvuyiwxi7cu2eytxybnshxn/bafkreidqixtj5i2uj4gjarxdbkrdeofqhqssa462iagmvd4itsxl5y4zjq)
![This black and white view from a trip between Germany and the Netherlands captures a frozen landscape.
In the lower quarter (nearest the viewer) is the dark shadow of the moving train through the landscape.
Next beyond the shadow we see hoar-frosted grass leading away towards glowing white frozen woods. All the ice-encrusted branches and twigs contrast against the dark vertical trunks.
The upper third of the image is of a bright-but-with-clouds sky. [The color version is a piercing bright day!]
In the distance–directly opposite the viewer–on the horizon behind the landscape, is a gigantic, white, branching electricity pylon - an echo of the frozen trees between it and the viewer. The pylon's dark power lines reach above and over the woods and the train, connecting the viewer to the horizon.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:2fvuyiwxi7cu2eytxybnshxn/bafkreicpllakkazs3rpsele5cdfk5gpnv7d6de54oyirqa5cwyx4jfk66y)
!["NOT FORGOTTEN"
- Maxine Noel
"Our mothers and daughters, our sisters and aunties and grandmothers. Our women are our heart and our spirit, always honoured, never forgotten. I am Dakota Sioux, a woman and mother, and an artist. These are inseparable facets of who I am and how I live in the world. That world, the world we all live and move in, is a place of great and terrible beauty, of wonder, and of tragedy. In this painting I speak to that wonder and beauty and tragedy.
To capture both the wonders and the tragedy, I wanted to include motifs which connect with all the places our people live. Turning first to the West Coast peoples, I am honoured to have been allowed to include the moon image of my friend, artist and visionary Roy Henry Vickers [..] From the North, I incorporated the image of Sedna, the source of all the creatures of the sea. I have always been drawn to the shell and bead work of the Maliseet and other East Coast peoples and in this painting have echoed the fluidity and grace of their compelling designs. And then, the two feathers, acknowledging the Metis, and the peoples of the grasslands and woodlands, of the plains and the forests. Finally, the floating figures throughout the painting are the spirits and the presence of the missing and murdered women.
Missing but never lost.
Always present, always remembered" - Maxine Noel
Partial proceeds from the sale of this image are donated to the Native Women's Association of Canada and their "Sisters In Spirit" Project. For more information visit www.nwac.ca
Maxine was born in Manitoba of Santee Oglala Sioux parents. She spent her early childhood on her mother’s reserve but at the age of six she left to attend an Indian residential school. Maxine’s early career as a legal secretary was soon overshadowed by her preoccupation with painting and drawing.
Maxine Noel signs her artwork with her Sioux name IOYAN MANI, which translates as “Walk Beyond”.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:56xoilmybfpjctxkkdsmfuo7/bafkreihwwqx4ufpgy5w4t2miwfi6tcyvvaiax4rjxvqhv7dku4udymujl4)
![The POV looks across at the corner where an entrance of Royal Arcade meets the commercial Castle Street.
It’s early evening, and the upper third is of a blue ombre sky behind the buildings - from high cloudless sky-blue down to the palest shade glowing behind the brick and tile roofline.
Two buildings butting up at a sharp right angle to each other, is softened by a convex two-storey integral section inside that corner. There is also a narrow, two-storey bowed-window, projecting above the lamp-lit alley on the left.
The arched and vaulted entrance to the arcade takes up the right vertical two thirds.
The purpose-built shopping arcade, designed by George Skipper and opened in 1899, bears his exotic hallmark of Art Nouveau influence.
The bank of upper windows across the front of the building on the left and wrapping around the projecting bow-window, consist of serried narrow frames, containing small leaded lights in five rows of two panes each, above which is a stained glass narrow transom light - each bearing a shield or coat of arms. A warm amber light glows from within.
The Art Nouveau decoration on this building includes repeating horizontal bands of floral and leaf motifs accenting horizontal
In the entrance of the arcade we see hints of enticing golden windows and doorways [to galleries, eateries, and boutique craftworks and gift shops.]
On the arcade facade - a forest green marquee proclaiming: ‘ROYAL ARCADE’ in gold letters; small golden lights among greenery, surround plinths of three forest green pillars supporting a grand, arched and stained glass window depicting four floral trees, with petals picked out in greens and yellows.
Alternating green and sand-coloured brickwork surrounding the arched window continues the Art Nouveau influence with a cartouche bearing curling leaves and stems and a sculpted classical lady’s face atop a torch surrounded by symmetrically ascending flames - all in matching stonework against dark blue tile.](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:2fvuyiwxi7cu2eytxybnshxn/bafkreidzcx7otgewteajrzvsiafnhrupci6by7gxejk3fswfhvneq24wpq)
