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2. Auflage April 2004 Gartenamt Ingolstadt 2 Inhaltsverzeichnis: Grußwort Seite 4 Einführung Seite 5 Naturräumliche Grundlagen Seite 7 Der Aufbau des Obstlehrgartens Seite 9 Abschnitt A „Beeren“ Seite 10 Abschnitt B „Besondere Obstsorten“ Seite 14 Abschnitt C „Spindelbäume“ Seite 17 Abschnitt D „ Buschbäume“ Seite 19 Abschnitt E „ Halbstämme“ Seite 20 Abschnitt F „Hochstämme“ Seite 20 Wildobst Seite 21 Formobst Seite 21 Zusammenfassung Seite 22 Übersicht nach Obstarten Seite 23 Übersicht nach Standort im Obstlehrgarten Seite 29 Sortenspiegel Äpfel Seite 35 Sortenspiegel Zwetschgen/Pflaumen Seite 91 Sortenspiegel Kirschen Seite 111 Sortenspiegel Birnen/Quitte/Nashi Seite 145 Sortenspiegel Aprikosen/Pfirsiche Seite 171 Sortenspiegel Beeren/Kiwi Seite 179 Übersichtsplan Obstlehrgarten Übersichtsplan Betriebsgelände Gartenamt 3 Grußwort Der Ingolstädter Obstlehrgarten kann nach etwa dreijähriger Entwicklungszeit nunmehr seiner Bestimmung übergeben werden. Dies vor allem auch deshalb, da nach Bereitstellung eines städtischen Grundstückes auf dem Gelände des Gartenamtes, sowohl der Bayerische Landesverband für Gartenbau und Landespflege, als auch der Stadtkreisverband für Gartenbau und Landespflege Ingolstadt, mit seinen 11 Obst- und Gartenbauvereinen (ca. 3.000 eingetragene Mitglieder und ca. 5.000 Familienangehörige), bereit war, die Materialkosten zu tragen. Damit steht nicht nur den Vereinsmitgliedern der Obst- und Gartenbauvereine, der Siedlervereinigung, den Kleingärtnern, der Landwirtschaft, u.a. ein obstbaulicher Fachgarten zur Information zur Verfügung, sondern er dient allen Gartenfreunden der Bevölkerung als Beispiel für die Anzucht unterschiedlicher Kulturformen von Obstgehölzen, alter und neuer Sorten, die für den privaten Garten geeignet sind. Deshalb ist die Eröffnung des Ingolstädter Obstlehrgartens ein gartenbauliches Ereignis, ganz im Sinne jahrzehntelanger gartenkultureller Tradition Ingolstadts. Der bereitwilligen Unter- stützung des Projektes durch die Stadt Ingolstadt gilt mein persönlicher Dank. -
Catalogo Leonardo
LEONARDO DA VINCI OIL PAINTING REPRODUCTION ARTI FIORENTINE FIRENZE ITALY There is no artist more legendary than Leonardo. In the whole History of Art, no other name has created more discussions, debates and studies than the genius born in Vinci in 1452. Self-Portrait, 1515 Red Chalk on paper 33.3 x 21.6 cm. Biblioteca Reale Torino As far as we know, this extraordinary dra- wing is the only surviving self-portrait by the master. The Annunciation, 1474 tempera on panel 98 X 217 cm. Galleria degli Uffizi THE BATTLE OF ANGHIARI The Battle of Anghiari is a lost painting by Leonardo da Vinci. This is the finest known copy of Leonardo’s lost Battle of Anghiari fresco. It was made in the mid-16th century and then extended at the edges in the early 17th century by Rubens. The Benois Madonna, 1478 Oil on canvas 49.5x33 cm Hermitage Museum Originally painted on wood, It was transferred to canvas when It entered the Hermitage, during which time it was severely demaged GOLD LEAF FRAME DETAIL Woman Head, 1470-76 La Scapigliata, 1508 Paper 28 x 20 cm Oil on canvas 24.7 x 21 cm Galleria degli Uffizi Firenze Parma Galleria Nazionale Lady with an ermine, 1489-90 Oil on wood panel 54 x 39 cm Czartoryski Museum The subject of the portrait is identified as Cecilia Gallerani and was probably painted at a time when she was the mi- stress of Lodovico Sforza, Duke of Milan, and Leonardo was in the service of the Duke. Carved gold frame Ritratto di una sforza, 1495 Uomo vitruviano, 1490 Gesso e inchistro su pergamena Matita e inchiostro su carta 34x24 cm. -
3 LEONARDO Di Strinati Tancredi ING.Key
THE WORKS OF ART IN THE AGE OF DIGITAL REPRODUCTION THE THEORETICAL BACKGROUND The Impossible Exhibitions project derives from an instance of cultural democracy that has its precursors in Paul Valéry, Walter Benjamin and André Malraux. The project is also born of the awareness that in the age of the digital reproducibility of the work of art, the concepts of safeguarding and (cultural and economic) evaluation of the artistic patrimony inevitably enter not only the work as itself, but also its reproduction: “For a hundred years here, as soon as the history of art has escaped specialists, it has been the history of what can be photographed” (André Malraux). When one artist's work is spread over various museums, churches and private collections in different continents, it becomes almost impossible to mount monograph exhibitions that give a significant overall vision of the great past artist's work. It is even harder to create great exhibitions due to the museum directors’ growing – and understandable – unwillingness to loan the works, as well as the exorbitant costs of insurance and special security measures, which are inevitable for works of incalculable value. Impossible Exhibitions start from these premises. Chicago, Loyola University Museum of Art, 2005 Naples, San Domenico Maggiore, 2013/2014 THE WORKS OF ART IN THE AGE OF DIGITAL REPRODUCTION THE PROJECT In a single exhibition space, Impossible Exhibitions present a painter's entire oeuvre in the form of very high definition reproductions, making use of digital technology permitting reproductions that fully correspond to the original works. Utmost detail resolution, the rigorously 1:1 format (Leonardo's Last Supper reproduction occupies around 45 square meters!), the correct print tone – certified by a renowned art scholar – make these reproductions extraordinarily close to the originals. -
RGC8-S7O03 H. Muranty.Pdf
Analysis of genetic control of fruit size in apple using both multiple, pedigree-related and single full- sib families Hélène MURANTY, François LAURENS, Marco C.A.M. BINK , Eric van de WEG Hélène MURANTY RGC8 21-23 June 2016 Introduction • Fruit size = appearance + yield component • QTL for marker-assisted selection – large population precise location – large diversity consistency across genetic backgrounds Pedigree-based analysis • Bink et al 2002, 2008, 2014 • Rosyara et al 2013 • Fresnedo-Ramírez et al 2015, 2016 • Roach et al 2016 • Allard et al 2016 2 Hélène MURANTY RGC8 21-23 June2 2016 Previous studies reference cross pop fruit trait linkage group size 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 Liebhard et al Discovery × Fiesta 251 weight (2003) X X X X X X X X Kenis et al (2008) Telamon × Braeburn 199 / weight, X X X X X X X 165 diameter, height Royal Gala × 572 Devoghalaere et al Braeburn weight X X X X X X (2012) Starkrimson × 123 Granny Smith Chang et al (2014) Jonathan × Golden 144 / weight, X X X X Delicious 140 diameter, length Fuji × Delearly 86 Fuji × Cripps Pink 73 size, weight, Costa (2015) Golden Delicious × 185 X X X X X X X Scarlet diameter, height Golden Delicious × 75 Braeburn 3 Hélène MURANTY RGC8 21-23 June3 2016 Material Z185 BVIII_34.16 GoldenDel X-4355 X-6820 PRI612-1 F_X-4355 Generos 12_E AntonovkaOB Chantecler Idared Florina X-6681 Delicious PRI672-3 X-6683 26 related F_B8_34.16 X-3177 Baujade PRI14-126 ReiDuMans I_M Clochard PRI14-152 X-6799 TN_R10A8 families X-3259 X-6398 HiDRAS Jonathan Winesap Crandall -
Clivia Miniata. Seed R100 Per Kilogram
1. To coordinate the interests, activities and objectives of constituent Clivia Clubs and associate members; 2. To participate in activities for the protection and conservation of the genus Clivia in its natural habitat, thereby advance the protection of the natural habitats and naturally occurring populations of the genus Clivia in accordance with the laws and practices of conservation 3. To promote the cultivation, conservation and improvement of the genus Clivia by 3.1 the exchange and mutual dissemination of information amongst Constituent Clivia Clubs and associate members; 3.2 where possible, the mutual exchange of plants, seed and pollen amongst Constituent Clivia Clubs and associate members; and 3.3 the mutual distribution of specialised knowledge and expertise amongst Constituent Clivia Clubs and associate members; 4. To promote the progress of and increase in knowledge of the genus Clivia and to advance it by enabling research to be done and by the accumulation of data and dissemination thereof amongst Constituent Clivia Clubs and associate members; 5. To promote interest in and knowledge of the genus Clivia amongst the general public; and 6. To do all such things as may be necessary and appropriate for the promotion of the above mentioned objectives. ▼ CHAIR Johan Spies PO Box 17195, Bainsvlei 9338, South Africa Tel (h) +27 51 451 1886 e-mail: [email protected] ▼ VICE-CHAIR Peter Lambert PO Box 95034, Waterkloof, 0145, South Africa Tel & Fax +27 12 460 5212 e-mail: [email protected] ▼ SECRETARY Lena van der Merwe PO Box 74868, -
Germplasm Sets and Standardized Phenotyping Protocols for Fruit Quality Traits in Rosbreed
Germplasm Sets and Standardized Phenotyping Protocols for Fruit Quality Traits in RosBREED Jim Luby, Breeding Team Leader Outline of Presentation RosBREED Demonstration Breeding Programs Standardized Phenotyping Protocols Reference Germplasm Sets SNP Detection Panels Crop Reference Set Breeding Pedigree Set RosBREED Demonstration Breeding Programs Clemson U WSU Texas A&M UC Davis U Minn U Arkansas Rosaceae Cornell U WSU MSU MSU Phenotyping Affiliates USDA-ARS Driscolls Corvallis Univ of Florida UNH Standardized Phenotyping Protocols Traits and Standardized Phenotyping Protocols • Identify critical fruit quality traits and other important traits • Develop standardized phenotyping protocols to enable data pooling across locations/institutions • Protocols available at www.RosBREED.org Apple Standardized Phenotyping Firmness, Crispness – Instrumental, Sensory Sweetness, Acidity – Intstrumental, Sensory Color, Appearance, Juiciness, Aroma – Sensory At harvest Cracking, Russet, Sunburn Storage 10w+7d Storage 20w+7d Maturity Fruit size 5 fruit (reps) per evaluation Postharvest disorders Harvest date, Crop, Dropping RosBREED Apple Phenotyping Locations Wenatchee, WA St Paul, MN Geneva, NY • One location for all evaluations would reduce variation among instruments and evaluators • Local evaluations more sustainable and relevant for future efforts at each institution • Conduct standardized phenotyping of Germplasm Sets at respective sites over multiple (2-3) seasons • Collate data in PBA format, conduct quality control, archive Reference -
Leonardo and Sfumato Author(S): Alexander Nagel Source: RES: Anthropology and Aesthetics, No
The President and Fellows of Harvard College Peabody Museum of Archaeology and Ethnology Leonardo and sfumato Author(s): Alexander Nagel Source: RES: Anthropology and Aesthetics, No. 24 (Autumn, 1993), pp. 7-20 Published by: The President and Fellows of Harvard College acting through the Peabody Museum of Archaeology and Ethnology Stable URL: http://www.jstor.org/stable/20166875 . Accessed: 06/12/2014 22:26 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The President and Fellows of Harvard College, Peabody Museum of Archaeology and Ethnology, J. Paul Getty Trust are collaborating with JSTOR to digitize, preserve and extend access to RES: Anthropology and Aesthetics. http://www.jstor.org This content downloaded from 128.95.104.66 on Sat, 6 Dec 2014 22:26:32 PM All use subject to JSTOR Terms and Conditions Leonardo and sfumato ALEXANDERNAGEL Le cas particulier de L?onard de Vinci nous propose une de used, it almost always appears as an adjectival past ces co?ncidences remarquables qui exigent de nous un participle of the verb. Thus, Vasari describes the softer retour sur nos habitudes et comme un r?veil de d'esprit style made possible by oil painting as a "sfumata notre attention au milieu des id?es nous furent qui maniera," the humanist Daniele Barbaro speaks of transmises. -
Florence Florence Can Boast Many Histories – Artistic, Financial, Religious, the Central Point of the City’S Political and Cultural Development
AGENZIA PER IL TURISMO FIRENZE florence Florence can boast many histories – artistic, financial, religious, the central point of the city’s political and cultural development. cultural, political. These are so rich that it is impossible to sum By virtue of its geographic position and social climate, Florence them up in a few short lines. One word, however, has always dis- exercised a function of equilibrium in the history and art of the pe- tinguished the city in the eyes of the world: the Renaissance. riod known as the Renaissance. After various vicissitudes involving the Florentine Republic and history Medici restorations, another historic era started for Florence in a brief 1530 with the establishment of the Grand Duchy of Tuscany. The The early Etruscan settlements sprang up on the hill of Fiesole, power of the city grew, reaching a peak with the defeat of arch-ri- while the Romans established themselves (in 59 BC) on the plain val Siena in 1555. The House of the Medici died out in the 18th around the Arno. The Forum of Roman Florentia was situated where century, giving way to the rule of the Habsburg-Lorraine, under Piazza della Republica stands today, and the inner circle of walls whom Florence also conquered Lucca (1847). Finally, the Duchy ran along today’s Via Tornabuoni, Via Cerretani and Via del Pro- entered the Kingdom of Italy in 1859 following a plebiscite. consolo. Florence was the capital of unified Italy from 1865 to 1870, dur- Miniato and Reparata were the first patron saints of Florence, ing which time Giuseppe Poggi produced an urban planning proj- which became an episcopal see in the 4th century. -
Mona Lisa's Smiles in Leonardo's Drawings
Mona Lisa's smiles in Leonardo's drawings SORANZO, Alessandro <http://orcid.org/0000-0002-4445-1968>, DANYEKO, Olga and ZAVAGNO, Daniele Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/17314/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version SORANZO, Alessandro, DANYEKO, Olga and ZAVAGNO, Daniele (2017). Mona Lisa's smiles in Leonardo's drawings. Art and Perception, 5 (5), p. 410. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Mona Lisa's smiles in Leonardo's drawings Soranzo, A., Danyeko O. and Zavago D.– – [email protected] INTRODUCTION EXPERIMENT RESULTS AND DISCUSSION 7 Emotions play a fundamental role in everyday life; every thought, attitude or action has an emotional The perceptual change of expression in both Mona Lisa and Bella Principessa might arise from a counterpart. This project investigates the emotions expressed in Leonardo da Vinci (1452-1519)'s work. masterly use of the sfumato technique. Sfumato can be described in terms of smoothly graded The adherence to visual realism expressed by Renaissance and post-Renaissance artists is an asset to passages from one colour to another, from one tonality to another, from one brightness to another, or 6 the study of emotional expression. Visual arts, in general, are an ideal archive where every aspect of even the combination of the aforementioned cases. Leonardo himself defined sfumato as “without the visual world has been represented. -
GENEALOGY of SOURCE MATERIAL for ITS USE in APPLE BREEDING in SOUTHERN RUSSIA Irina Dubravina1#, Igor Vasilenko1, Irina Chepinoga2, and Sergey Gorlov1
PROCEEDINGS OF THE LATVIAN ACADEMY OF SCIENCES. Section B, Vol. 71 (2017), No. 3 (708), pp. 150–155. DOI: 10.1515/prolas-2017-0026 GENEALOGY OF SOURCE MATERIAL FOR ITS USE IN APPLE BREEDING IN SOUTHERN RUSSIA Irina Dubravina1#, Igor Vasilenko1, Irina Chepinoga2, and Sergey Gorlov1 1 Kuban State Agrarian University named after I.T. Trubilin, Kalinina 13, Krasnodar, 350044, RUSSIAN FEDERATION; [email protected]; [email protected]; [email protected] 2 Krymsk Experimental Breeding Station, 353384, Krymsk-4, Krasnodar Region, RUSSIAN FEDERATION; [email protected] # Corresponding author Communicated by Edîte Kaufmane Prebreeding research on Malus domestica Borkh. specimens was conducted to broaden the ge- netic diversity of cross breeding components for faster creation of cultivars of adaptive and tech- nological orientation. Genealogical analysis has practical value in the study of the apple trees gene pool for accelerated development of cultivars with desired properties. Genealogical analysis of 55 apple cultivars from the gene pool of branch of the Department of Horticulture of Kuban State Agrarian University — Krymsk Experimental breeding station (Krymsk), complex donors were selected by traits of immunity to scab and high quality of fruits — ‘Gold Rush’, ‘Pristine’, ‘Enterprise’. Cultivar ‘Golden Delicious’ was selected as a “hidden” donor by the trait of medium (autumn) ripening time. Key words: apple, genealogy, new source material, valuable traits donors, cultivation technology. INTRODUCTION Many analogues of the hybridological method have been developed, in particular, the genealogical analysis of pedi- Modern breeding programmes for horticultural crops are grees. aiming at accelerating the development of new cultivars, which, if possible, should fully meet the requirements of The use of genetic testing by genealogical method allows cultivation technology, while maintaining a high adaptabil- selecting not only the valuable features well transmitted ity of the cultivar and quality of the fruit. -
Episode 9999 Story 2: Leonardo Da Vinci, Vittima Illustre Di Una Crisi
Episode 9999 Story 2: Leonardo da Vinci, vittima illustre di una crisi diplomatica Pittore, scultore, musicista, inventore, scienziato… Leonardo da Vinci è stato un vero genio rinascimentale. Un uomo che amava conoscere il mondo e viaggiare. E che decise di passare gli ultimi anni della sua vita in Francia, su invito di re Francesco I, che gli mise a disposizione un castello nella valle della Loira. Ora, pensare che persino un artista del calibro di Leonardo venga trascinato nel vortice di tensione e dispetti diplomatici che oggi vede contrapposte Francia e Italia mi preoccupa e mi rattrista profondamente. Ma, soprattutto, mi fa sentire un brivido di imbarazzo. Com’è possibile, mi chiedo, che il governo italiano sia caduto così in basso? Ma andiamo per ordine. E vediamo quali sono state le principali tappe di quest’assurda vicenda. Nel 2017, l’Italia —nella persona dell’allora ministro della Cultura, Dario Franceschini— ha stipulato un accordo con il Louvre, in vista, appunto, del cinquecentenario della morte di Leonardo. Da tempo, il prestigioso museo parigino —che già possiede alcuni capolavori del maestro, tra cui la Gioconda— sta preparando una grande monografica dedicata al genio toscano. Per la realizzazione della mostra, prevista per l’autunno, il Louvre ha firmato un contratto per il prestito dei principali dipinti e disegni leonardeschi custoditi nelle collezioni pubbliche italiane. Qualche esempio: il San Girolamo della Pinacoteca vaticana, l’Uomo vitruviano e gli studi per la Battaglia di Anghiari delle Gallerie dell’Accademia di Venezia, la Scapigliata della Galleria nazionale di Parma, il Ritratto di musico della Biblioteca ambrosiana di Milano e l’Annunciazione, uno splendido dipinto a olio e tempera conservato alla Galleria degli Uffizi, a Firenze. -
Bibliotheca Cusana
bibliotheca cusana n. 10 Collana diretta da Gianluca Cuozzo Comitato scientifico: João Maria André Claudia D’Amico Walter Andreas Euler Elena Filippi José González Ríos Thomas Leinkauf Jorge Mario Machetta Sandro Mancini Maurizio Merlo Francesco Piro Klaus Reinhardt† Harald Schwaetzer Jean Seidengart Hans Gerhard Senger Kazuhiko Yamaki I saggi pubblicati nel presente volume sono stati sottoposti a un processo di peer-review Gianluca Cuozzo Thomas Leinkauf DIALETTICHE DEL RINASCIMENTO Natura, mente e arte da Nicola Cusano a Leonardo da Vinci A cura di Antonio Dall’Igna Revisione di Valentina Maurella MIMESIS MIMESIS EDIZIONI (Milano – Udine) www.mimesisedizioni.it [email protected] Collana: Bibliotheca Cusana n. 10 Isbn: 9788857576589 © 2021 – MIM EDIZIONI SRL Via Monfalcone, 17/19 – 20099 Sesto San Giovanni (MI) Phone: +39 02 24861657 / 24416383 INDICE Antonio Dall’Igna Introduzione 7 Gianluca Cuozzo Cusano, Ficino, Giorgione e Leonardo 11 Thomas Leinkauf Nicolas of Cusa. Mind or intellect, unfolding divine Trinity and created triads. Aspects of Cusanus’ theory of mind 57 Gianluca Cuozzo Leonardo da Vinci e la filosofia della natura 91 Thomas Leinkauf Cusanus‘ Natur-Begriff. Eine Analyse im Ausgang von De venatione sapientiae 125 Antonio Dall’Igna INTRODUZIONE Se dovessimo indicare una dimensione concettuale che incardina su di sé i saggi qui raccolti, essa potrebbe addensarsi intorno alla nozione di li- mite vivente. Questa formula, infatti, può essere utilizzata al fine di rap- presentare le scansioni della realtà, i differenti