Read Ebook {PDF EPUB} The Lions Of Los Angeles by Lilly Pink L.A. Zoo Mourns 'Inseparable' Lion Couple's Death: We're 'Touched by Their Loyal Companionship' A loving pair of zoo lions were both euthanized due to declining health. On Thursday, the Los Angeles Zoo announced that its team made the "difficult decision" to humanely euthanize two African lions, named Hubert and Kalisa, because of "age-related illnesses that diminished their quality of life." The 21-year-old animals lived at the zoo for the last six years of their lives. "Hubert and Kalisa are an iconic part of the L.A. Zoo experience, and our staff and guests have been touched by their loyal companionship," Denise Verret, CEO and zoo director of the L.A. Zoo, said in a press release. "Their longevity is truly a testament to the level of expert care our veterinary and animal care teams provide for our elderly animals." "These lions will remain a positive part of our history, and they will be greatly missed," Verret added. Hubert was born in February 1999 at the Lincoln Park Zoo, and he has since fathered 10 cubs. Kalisa, his long-time companion, was born in December 1998, and the two were moved from the Woodland Park Zoo to Los Angeles in 2014. Though Hubert and Kalisa were long-time companions, they never had cubs together. Never miss a story — sign up for PEOPLE's free daily newsletter to stay up-to-date on the best of what PEOPLE has to offer, from juicy celebrity news to compelling human interest stories. "This is a very hard loss for our Zoo community," Alisa Behar, curator of mammals at the L.A. Zoo, said in a press release. "In the early mornings, staff would routinely hear Hubert’s waking roars, and I will personally miss hearing them on my walks around the grounds." Behar said Hubert and Kalisa were inseparable, noting that the couple lived longer than most lions do in human care and in the wild. In zoos, the average life expectancy of an African lion is about 17 years, and in the wild, they live to their mid-teens. RELATED VIDEO: San Diego Zoo Welcomes Endangered Ring-Tailed Lemur Twins. On Instagram, the zoo asked followers to share memories of the two animals in their honor. One commenter wrote, "I remember being so excited when they were vocal on member’s morning. I’ll miss hearing that so much. ." Another zoo-goer commented, "They were always together & now they can continue to be together forever," while another added: "My heart is broken I'm so thankful I got the chance to see these two every time I visited the LA Zoo and to see how much they cared for another ❤ they will truly be missed ." The Lions Of Los Angeles by Lilly Pink. 100's of new markdowns up to 50% off - shop now! Our new Under the Sun collection is live - shop now! Red, white, and NEW - get your July 4th look now! Shop Swimwear. Love from our customers. Perfect! "Every piece I've ordered has been incredibly cute & comfortable! Highly Recommend!" Lily is my all “Pink lily is my all time favorite boutique they have the cutest clothes and the quality is great” Worth it!! “fast shipping. great quality products. looks good. fits good. my sales rep was amazing and gave me a code to save money” How Buddhism inspired Monet’s masterpieces.

Claude Monet, Water Lilies (Nymphéas). 1907. Oil on canvas Museum of Fine Arts, Houston Gift of Mrs. Harry C. Hanszen. Courtesy of Bridgeman Images. Claude Monet, the founder of French Impressionist painting, spent hours upon hours of contemplation in his Japanese water garden, observing the impermanence of nature, and carefully examining his hybridized water lilies — the closest one could get to a Japanese lotus in nineteenth-century France. With all of this in mind, the curator of a new exhibition at the Art Gallery of Ontario (AGO), “Mystical Landscapes: Masterpieces from Monet, van Gogh, and More,” has come to regard the allegedly atheist Monet as Zen Buddhist — albeit informally, but certainly in spirit. “Mystical Landscapes” traces the intersections of mysticism, nature, and art in famous works from many beloved artists, and intuits the spiritual tradition the work of each was likely informed by. In the case of Monet, whose work has long been looked at from a strictly secular perspective, research into his Eastern influences and a fresh look at the symbolism within his most famed landscapes led the exhibition’s curator, Katharine Lochnan, to believe his life’s work was strongly informed by Buddhist practice. Claude Monet in his garden. Photo by Étienne Clémentel (1864-1936) [Public domain], via Wikimedia Commons. While visiting the Metropolitan Museum of Art in New York, Lochnan woke up to a new meaning within the works of Vincent van Gogh, Paul Gauguin, and Monet. With the lens of theology added to her art-historian background, she could see mystical origins in the famous landscapes before her. Her plans to retire were pushed aside by a whole five years as she worked alongside six other art historians, and ten theologians to make “Mystical Landscapes” a reality. Claude Monet, Poplars (Peupliers), 1891. Oil on canvas. Philadelphia Museum of Art: The Chester Dale Collection, 1951. Courtesy of the Philadelphia Museum of Art. Looking at the work of Monet, Lochnan began wondering if his famed grainstacks, cathedrals, poplars, and water lilies had a spiritual subtext to them. While Monet was baptized Catholic and lived in a Catholic country, he became anticlerical in his adulthood, says Lochnan, and is widely seen as atheist by art historians. Monet spent hours seated in Zen-like meditation in his water garden, which was bursting with hybridized water lilies — created to mimic the pink hues of the Japanese lotus, a well-known symbol in Buddhism. To Monet, the water lilies were indeed symbolic of peace. But Lochnan learned that Monet spent hours seated in Zen-like meditation in his water garden, which was bursting with hybridized water lilies — created to mimic the pink hues of the Japanese lotus, a well-known symbol in Buddhism. To Monet, the water lilies were indeed symbolic of peace. Through the First World War, Monet sequestered himself in his garden in Giverny, France, refusing to leave as the German army advanced in his direction. He painted the water lilies then, as his son served on the front lines, and later gave a series of eight water lily canvases to the French state at the end of the war following the signing of the armistice as a monument to peace. Claude Monet, Nympheas, 1897-1898. Oil on canvas. Courtesy of the Los Angeles County Museum of Art. The link between Monet’s famed water lilies and Buddhist thought was noted, too, by his own friend, art historian and author of Trois variations sur Claude Monet (Three Variations on Claude Monet), Louis Gillet, who wrote of them as: SIGN UP FOR LION’S ROAR NEWSLETTERS. Get even more Buddhist wisdom delivered straight to your inbox! Sign up for Lion’s Roar free email newsletters. The sole European work which is truly related to Chinese thought, to the vague hymns of the Far East on the waters and the mists and the passing of things, on detachment, on nirvana. On the religion of the Lotus. In Ross King’s recently published biography of Monet, Mad Enchantment: Claude Monet and the Painting of the Water Lilies , he reveals that Monet’s “obsession with water lilies” began when the painter glimpsed Latour-Marliac’s pink hybrids of the flower at the 1889 Exposition Universelle. By that time, writes King, “the plant and its flowers went beyond horticulture and botany, inhabiting the realms of art, myth, literature and religion.” Claude Monet, Wheatstacks, Snow Effect, Morning (top). 1891. Oil on canvas. Courtesy of The J. Paul Getty Museum. Katsushika Hokusai, South Wind, Clear Dawn (bottom), from a series of Thirty-six views of Mt. Fuji. 1830-1831. Color woodblock print. Courtesy of the Los Angeles County Museum of Art. Lochnan believes Monet’s interest in Buddhism began with his love of Japanese woodblock prints. He likely heard about Buddhism through his friend and Japanese art dealer, Tadmasa Hayashi, through whom he acquired quite a collection of woodblock prints from Japanese artists, including the well-known Hokusai. He looked to these woodblock prints for inspiration for the structure and composition of his own artwork. The conical forms in Monet’s grain stacks series may have been inspired by Hokusai’s views of Mount Fuji, says Lochnan. Monet was not shy about his love of Japanese art and culture. As he told the art critic Roger Marx: I identify with the Japanese old masters: I have always taken pleasure in the refinement of their taste and I endorse their aesthetic of suggestion that evokes presence by means of a shadow, and the whole by means of the part. His dear friend, the Prime Minister of France, Georges Clémenceau, was also a member of a group of intellectuals in Paris who were drawn to Buddhism. Lochnan believes the two spoke of Buddhist thought often. It was Clémenceau who observed Monet seated in contemplation of his water garden, which Monet expressed to Marx “awakens in you a sense of infinity.” The garden housed a Japanese bridge, untraditionally painted green, along with stalks of bamboo, and Japanese cherry and apple trees planted by Monet. “Monet himself said that he would become one with the subject, and that it was like entering into a state of hypnosis,” says Lochnan, referring to Monet’s own words on how he painted his Nymphéas (Water Lilies) series: I painted them the way monks illuminated their manuscripts in times gone by; they needed nothing but the confluence of solitude and silence, nothing but the fervent and exclusive concentration which comes close to a hypnotic state. Looking at these paintings with a mystical eye, says Lochnan, we’re able to see they are filled with metaphors — from the most personal (“This is my water garden”) to the most universal (“This is about the journey from ignorance to enlightenment.”) “Rouen Cathedral, West Façade, Sunlight” (left) and “Rouen Cathedral, West Façade” (right) by Claude Monet, 1894. Courtesy of the National Gallery of Art, Washington, D.C. Monet was similarly fascinated with questions of impermanence, and of the basis of reality, famously painting the same scene over and over again to observe each subtle change in light in his “series paintings.” He began contemplating various motifs within the vicinity of his home in Giverny in the late 1880’s, painting twenty-five versions of grain stacks and over thirty paintings of the Rouen Cathedral. Monet’s series work documents these motifs through their infinite changes — from the tiniest changes in light to more dramatic seasonal transformations. Many art historians have seen the meaning of his series works as a simple interest in the changes of light, but Lochnan believes it goes much deeper than that. “I think certainly he was interested in changing light and color, but impermanence and the nature of reality were undoubtedly questions that fascinated him,” she says. The French journalist and friend of Monet, Gustave Geffroy, writes of Monet’s fascinations with light and nature in his biography of Monet: He discovered and demonstrated that everything is everywhere, and that after having wandered the world worshiping the light that enlightened him, he knew that this light was reflected with all its splendor and mysteries in the magic hollow surrounded by foliage of Saides and bamboos, flowers of irises and rosebushes, through the mirror of the water from which spring the strange flowers which seem more silent and more hermetic than all the other flowers. It’s hard to deny that Monet certainly held an interest in impermanence, and his clear practice of contemplation of the subtle changes in nature and the impermanence of reality certainly aligns with Buddhist thought. “Waterloo Bridge, London, at Dusk” (left) and “Waterloo Bridge, London, at Sunset” (right), by Claude Money, 1904. Courtesy of the National Gallery of Art, Washington, D.C. In creating “Mystical Landscapes,” Lochnan often wondered if she was going out on a limb, particularly with asserting Monet’s interest in Buddhism. But her research findings emboldened her, and through reading comments from his contemporaries, and the works of other art historians, she found she was not alone in coming to her conclusions. “You just can’t get away from it, that Buddhism was a factor in Monet’s thought and practice,” says Lochnan. In the exhibition’s catalogue, again the friend of Monet, Gustave Geffroy, is quoted outlining the importance of Monet’s work with these words: This is the supreme significance of Monet’s art: his adoration of the universe, ending in pantheistic and Buddhist contemplation … pursuing his dream of form and color almost to the annihilation of his individuality in the eternal nirvana of things at once changing and immutable. “Mystical Landscapes” will travel to its second and final destination at the Musée d’Orsay in France, following its final day at the AGO on February 12, bringing the mystical elements of the impressive collection of well-known art to a French audience, including Monet’s Buddhist undertones. THANK YOU FOR READING LION’S ROAR. CAN WE ASK FOR YOUR HELP? At Lion’s Roar, our mission is to communicate Buddhist wisdom in today’s world. The connections we share with you — our readers — are what drive us to fulfill this mission. Today, we’re asking you to make a further connection with Lion’s Roar. Can you help us with a donation today? As an independent nonprofit committed to sharing Buddhist wisdom in all its diversity and breadth, Lion’s Roar depends on the support of readers like you. If you have felt the benefit of Buddhist practice and wisdom in your own life, please support our work so that many others can benefit, too. Please donate today — your support makes all the difference. Lion’s Roar is a registered charity in the US and Canada. All US & Canadian donations are tax deductible to the full extent allowed by law. Sidney Pink, 86; Pioneer of 3-D Genre Produced More Than 50 Movies. Sidney Pink, a movie producer who helped pry filmgoers away from their television sets in the early 1950s with the first 3-D feature-length movie, “Bwana Devil,” has died. He was 86. Pink, who produced more than 50 films, including the science fiction cult movie “The Angry Red Planet” in the years after “Bwana Devil,” died Saturday at his home in Pompano Beach, Fla., after a long illness. “A lion in your lap.” “A lover in your arms!” Those were the promotional tag lines for “Bwana Devil,” the groundbreaking 1952 film on which Pink served as associate producer with Arch Oboler, the movie’s producer, writer and director. The story of British railway workers in Kenya falling prey to two man-eating lions, “Bwana Devil” starred Robert Stack as Bob Hayward, the head engineer bent on killing the lions before they feast on his entire crew. “He wasn’t very happy with the results of the film itself, but it was not too bad considering, and the story was good,” Pink’s wife, Marian, told The Times on Wednesday. She said that the box office for the movie, which required audience members to wear cardboard 3-D glasses, “was very good.” “Lions were jumping into your laps, spears were flying and people were coming toward you in hordes,” she said. She said her husband was proud to be connected with the first 3-D movie. Stack also takes pride in having starred in the pioneer 3-D production, which was shot in Hollywood with two monstrous cameras with polarized lenses, one for the left eye and one for the right. “There was a line 6 feet from both cameras which you were not supposed to cross,” Stack recalled Wednesday. “Otherwise, you’d wind up with that portion of your anatomy projected over the first 10 rows of the audience.” Stack said no one involved with the film knew how audiences would react to the 3-D technique. “Sidney Pink and Arch Oboler and all of us poor innocents were involved in something that we didn’t even know worked or not,” Stack said. “It was a very expensive process, and it took a lot of guts to even do it.” Stack recalled that everyone had their fingers crossed at the first preview. “Over the titles, they had a train that made a long, circling turn and then came directly to the camera,” he said. “Well, when it came directly to the camera, people began to scream and jumped out of their seats and ran out of the theater. I remember one of the guys saying, ‘Son of a [gun], it really works.’ ” Stack said “Bwana Devil” was “enough of an eye catcher” to prompt Jack Warner to come out with his own 3-D production at Warner Bros. in 1953, “The House of Wax,” starring Vincent Price. “He felt this was the coming thing,” said Stack. “Of course, he was not exactly a rocket scientist, and it wasn’t the coming thing.” Born in Pittsburgh in 1916, Pink graduated from the University of Pittsburgh with a bachelor’s degree in business administration. He began his film career as a projectionist in a theater owned by his wife’s family. Moving to Hollywood in 1937, Pink was hired as production budget manager for Grand National Pictures, where he worked on the Tex Ritter musical western series. He later moved to Columbia and worked as a budget manager on “Lost Horizon” and the Jack Holt action films. After a disagreement with volatile Columbia chief Harry Cohn, Pink returned to the theater side of the business as the owner of a circuit of theaters in Los Angeles. During World War II, he served in the Army Transportation Corps and Special Services. After the war, he imported foreign films and produced burlesque shows in downtown Los Angeles with Lili St. Cyr, Joe De Rita and other performers. He then linked up with Oboler for the production of two films, “Five” and “The Twonky,” before they made movie history with “Bwana Devil.” In 1959, Pink co-wrote and produced “The Angry Red Planet,” the tale of the first expedition to Mars. The sci-fi movie was filmed in what was advertised as a “revolutionary” process called “Cinemagic,” a printing-process technique that gave the Mars scenes a pink glow. The same year, Pink moved his operation to Denmark. “At the time it was very difficult to work in any of the [Hollywood] studios because they had union problems and would not accept an independent producer,” Marian Pink said. “At that time, they were called ‘the runaway producers.’ ” While in Denmark, Pink produced and directed “Reptilicus,” a 1962 movie deemed “cliche-ridden” by the critics, about a pre-historic monster that comes back to life. Pink then moved to Madrid, where he produced films throughout the remainder of the ‘60s in Spain, Italy, Germany and other countries in English and other languages, including “The Castilian,” starring Cesar Romero; and one of the earliest spaghetti westerns, “Finger on the Trigger,” starring Rory Calhoun. Pink, who discovered Dustin Hoffman in an off-Broadway production, cast him in “Madigan’s Millions” as a U.S. Treasury agent sent to Italy to recover money that had been stolen by a murdered gangster played by Cesar Romero. Pink was based in Puerto Rico in the early 1970s and, after returning to the United States in 1974, he owned movie theaters in Puerto Rico and Florida. In addition to his wife, Pink is survived by a son, Philip, of Niceville, Fla.; a daughter, Helene Desloge of Fort Lauderdale, Fla.; and four grandchildren. Die größten Hörerlebnisse nur bei Audible. Erlebe Audible auf dem Smartphone, Tablet, am Computer oder deinem Amazon Echo. Auch offline. Die größten Hörerlebnisse. Entdecke genau das, was du hören willst: Wähle aus 200.000 Titeln und inspirierenden Audible Original Podcasts. Natürlich werbefrei. Genieße dein Hörerlebnis ohne Unterbrechung. Einfach ausprobieren. Teste Audible 30 Tage kostenlos. Du kannst jederzeit kündigen. Hör die Welt mit anderen Augen. Mit Audible Originals und exklusiven Geschichten. Wir können dich kaum erwarten! Entdecke Audible einen Monat lang völlig kostenlos. 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