Mrs. Dr. Vandertramp Graphic

Scenic Painter (Historical Dictionary of Cultural and Queyras)

The picturesque is not only the alliance of wood, rocks and water, as defined by Henri Ferrand is also and above all, as indicated by the etymology (word, borrowed from Italian, is formed on a verb, meaning "paint"), the spectacle of nature before our eyes on us and makes a strong impression that we feel the urge to paint, to represent, reproduce, either by drawing, either by painting or by photographing. In fact, the main sites of Queyras, at least those who were considered quaint, have often been represented since the early nineteenth-s, has developed a taste for traveling and hiking tours. These sites are the Combe, the hamlet of Chapelue located at the entrance to the parade Crupies, Fort Queyras built on a rock, and, of course, the village of Saint-Veran.

analyze these charts, known to all Queyrassins, dating from the early nineteenth century and representing the Fort-Queyras. The authors first two (Sabatier and Cassian, reproduced in Fort-Queyras, A and O Golaz, p 13 and p 51) were placed beyond the village of Chateau-Queyras, upstream from Fort, towards Old Town. They are lower than the rocky outcrop that they draw, in cons-diving, we say if we analyzed the terms of a film, so that the peak and the fortress stand out against a background of high mountains , one form of the tooth Ratier Furfande and needles, also called because of their serrations, saws Furfande. Thus, the elevation of the site is marked and, in the tables, it seems much higher than it is in reality. The peak and Fortress, located at 1300 m altitude, stand upright, almost at the height of the tooth Ratier which culminates at 2400 m. The effect is stunning, the terrain is forced, the impression of verticality is emphasized steep. The horizon is relegated to the top of the table: it is a dark sky, gray, loaded with heavy clouds threatening. Paradoxically, the horizon is vertical. The fortress rises towards the sky, it almost seems to reach.
In these tables, the picturesque is not reducible to one accident. It is the extreme of extremes. The horizon blocked in the vertical scale, as in this description of a traveler: "Here, the smallest crevices of the walls gave the roots of jack pine, and here the white wall rises to heaven."

look at these other prints of the fortress (Fort-Queyras, A and O Golaz, p 41 and p 65, Lord Monson and Louis Haghe, in Travels in the Alps in 1838, reproduced on the cover of the book of General Guillaume) . The designers are held below the village on the banks of the Guil. Again, the horizon has been relegated to the top of the drawing. The space is occupied by three quarters the hill, huge vertical cliff at the foot of which flow the waters of Guil. The topography appears steeper than it is, through the accentuation of the effect of Angle cons. One wonders how they managed to reach the summit to build the fortress, which appears as a challenge to the skies nearby. Nature is dark, wild, wild colors are almost black, the sky, covered with heavy gray clouds. It was almost dark. Queyras is shown dark, without light, cold and naked in his savage isolation: the picturesque paroxysmal.

a few decades, the picturesque and romantic dark Queyras designers French or English, Cassian, Sabatier, Bartlett, Monson, Haghe, etc.. has changed, more accurately, it sold its place in what I call the color photogenic as the contemporary photographers have exploited, J Lapeyre and P. Putelat in their albums or their postcards. Queyras is the hikers, lovers of physical exertion at high altitudes. Another Queyras arises, the holiday, sun, bright light, a bright and serene Queyras, a Mediterranean Queyras, green and welcoming. It is over the picturesque dark and tragic, wild and rough, gorges, defiles, ravines, craggy rocks. What are modern tourists, are the alpine meadows, passes, trails winding through meadows, beautiful colors Nature, larch forests, villages laughing that exhibit their fountains, sundials, their beautiful stones, their chapels and churches, their crosses. A burning was succeeded by the dark color photo taken on glossy paper, and the nature fierce, dark, disturbing, pure light, which breaks out, who sings happiness, a light without shadows, a light blue sky, vacation , reckless.

In a century and a half, the Queyras has led to two sets of images, if not almost contradictory, at least located opposite one another, and successive in time, never overlap from the misery to happiness index probably economic and social changes that have affected the Queyras depth.

Unhandled Exception в Vice City

African movement of the white crane

Posture - In an instant, without warning, the white crane spreads its wings. For now she waits below the target patient Marie Corinne Devilliers lost in the near Cameroon.

Movement subtle "white crane spreads its wings" who did nothing but air ... work flow, flexibility of the spine and connections body.

Master Fu Zhongwen (one of the assistants Yang Chengfu) described the movement thus: "The left foot rises a little and landed on the tip before the right foot (east), the left leg bent, the body turns slightly to the left. During this process, the right hand stands forward and makes the arm rotated inward to direct the palm outward. At the same time the left hand drops in an arc of a circle to stop coming off the left hip. The next first follows the rise of the right hand and then remains horizontal wanting forward. Both hands should be in the field of vision ".

Sticky combine the elevation movement of the hands with the lowering of the basin, feeling is that just whole body is growing. The energy (jin) when it is guided to the top of the skull stimulates the mind.

checks on arrival:

the tip of the left foot touches the ground

the supporting leg is bent right

belly is back

body remains in the right axis

hips relaxed

both arms are rounded

the right hand is up to the front right shoulder

remains flexed right elbow

is dropped

right wrist flexed

extract Mastering Yang Style Taiji Quan by Fu Zhongwen Treasures collection of martial arts, mail the book, translated from English by Jose Carmona. The book's original Zu Zhongwen was published in 1963 (Yangshi Taiji Quan).

Calories In Tooth Paste

Picturesque literary (historical and cultural dictionary Queyras)

the nineteenth century, the Alps are in vogue. The English aristocrats and the bourgeois Europe are to become disciples of Rousseau mountaineers, was it time for a trip, less for fresh air, healthy, invigorating nature of which has not yet been affected by the progress to enjoy the entertainment offered by the impressive mountains. They admire accidents terrain, gorges to unfathomable depths, the high cliffs that seem to touch the heavens, bubbling mountain streams and thundering. In a word, they look the picturesque, as only the high mountain and wilderness can bring. Queyras travelers of the nineteenth century and the first tourists, the peaks and chasms, parades and rocks terrifying, dark, fierce, arouse in the minds of citizens posed of terrified amazement. Here
as Henri Ferrand, traveler, photographer and writer in his spare time, the analysis in 1909 quaint Combe Guil:
"The picturesque is a happy combination of three elements of beauty: the woods, rocks and water, and it is because it combines the most varied that evokes a Combe if printing high degree picturesque. "

Where travelers nineteenth and twentieth s, eager for thrills, see only "elements of beauty," the citizen Bonnaire, who was prefect of the Hautes-Alpes and presenting himself as an enlightened man anxious to improve the living standards of mountain, saw in 1801 (before the writers are not romantic fashion journey in the Alps) mountains that frightened him: "The department of Hautes-Alpes, bristling with rocks, glaciers, cut by a multitude of torrents and precipices, the eye does nothing repulsive: it is difficult to conceive that men could be determined to fix their homes in these deep valleys and narrow that the sun seemed to illuminate and regret that, subject to all the rigors of a harsh climate and varying hardly compensate the farmer for his advances and his sweat. "

What differences between these two visions of the mountain! Even the authors do not always Queyrassins to steer clear of fads or too dominant and succumb to the excitement of the wild beauty of their mountains, making their own quaint and frightening vision which is transmitted by travelers. Gen. William yields to magnificent picturesque: "When the traveler goes back Gorges du Guil, he defends himself against a hard chest tightness, anxiety even, between gigantic cliffs that dominate both sides and seem ready to 1'écraser their mass. Even Tivollier
Jean, born in Fontgillarde, succumbs to this picturesque: "We follow the curves of the cove where the rocks Guil runs a dizzy depth; one can not repress a shudder when we look at the abyss" . Or: "A striking impression you hugged in front of such grand and primitive one feels overwhelmed by these walls titanic echo with the sound of the Guil awakens in solitude; vies with admiration and fear this show is an unforgettable character. " Or: "The ravines become angry dragons cut the road and intercepted by heaps of earth, stones and rocks."

Queyras, these lovers of the picturesque do not see or do not know see the pastures, meadows mown, smiling landscapes shaped by human hands. They do not see what belongs to an ancient culture, they see the rocks, waterfalls, cliffs, peaks, precipices, anything which raises strong feelings, all that impressive, but what makes exclaim and marvel, all that frightening. Not seeing them, they do not admire the beauty. Yet it is these landscapes that are the specifics of Queyras, these mountains cultivated, irrigated, shaped over millennia by the work of people, landscapes that are little quaint, but oh so poignant, especially as the slow disappearance of 'agro-pastoral economy could make them forever to nature.