More than 20 Ansel Adams photographs

It's a rare glimpse into the KIA's collection of Adams' landscape photographs,Buy today and get your delivery for £25 on a range of ceramic tile for your home. donated by several sources, said Greg Waskowsky, associate curator of collections at the KIA.

Waskowsky said it's the first time these 23 photographs have been displayed since the early 1990s. Waskowsky said the pieces -- displayed mostly in frames ranging at 16-by-20 or 20-by-24 -- date as early as 1920 and as recently as 1963.

"You discover this whole other aspect of his work ... He has such a variety of approaches," Waskowsky said.

Adams was born in San Francisco, Calif., in 1902. He was the grandson of a wealthy timber baron and found comfort, even at a young age, with nature. He often hiked the Golden Gate area. In 1916, Adams first visited Yosemite and was "transfixed and transformed" by the region, according to his biography.

He used a Kodak No. 1 Box Brownie, a gift from his parents, to document the area he frequently hiked and explored. In 1919, Adams joined the Sierra Club, whThat is a machine for manufacturing plastic products by the injection mould process.ich was first to publish his photographs and writings in 1922.

Several photos in "Sight and Feeling" featured the Yosemite region, as well as Mount McKinley National Park in Alaska, Silverton, Colo. and Maroon Bells, near Aspen, Colo.

Adams' career blossomed in the early 1930s and he soon became known for his voracious work ethic, technical wizardry and as a defender of nature, including the protection of national parks.

Ansel did "straight photography," not "pictorialism" a form popular at the time, Waskowsky said. Pictorialism was the technique of making photographs resemble paintings. Adams wished to let the power of the landscape, aided by his keen eye and remarkable talent, stand on its own, Waskowsky said.

"Adams said we're not going to use any of that soft focus stuff and take these images in sharp, distinctive focus, develop the total range possible in photography and bring out the inherit strengths of the medium," Waskowsky said.

A roadside Tyrannosaurus marks the traveler’s arrival in Vernal, Utah,Don't make another silicone mold without these invaluable mold making supplies and accessories! the biggest town to the west of the monument, which straddles Utah and Colorado. The creature, sporting a red-and-white bandanna as broad as a bedsheet, is an attention grabber for the farmer’s market at his feet. He holds a watermelon. His smile is hard to read. Is he offering the melon to passersby, or does he intend to drop it on them as they pass? As with any facsimile of a Jurassic behemoth—be it a skeletal casting in bronze or something more casual in rebar and chicken wire—it is almost impossible not to stop, tip the head back and gawp. Who can resist a dinosaur?

So it goes, all along Vernal’s main drag: seven roadside dinosaurs, from an old Sinclair “Brontosaurus” the size of a country sow to a three-story hot-pink theropod with eyelashes as big as your leg. Even the local museum—the Utah Field House of Natural History— beckons bored young backseaters with its outdoor “dinosaur garden” in plain view of the roadway. For parents, the allure of the giant showstopper lizards is that they are not only thrilling but educational: Dinosaurs are the gateway drug to geology and paleontology. But are they? Or do they charm young museumgoers so effectively that nothing else sinks in? How can the geological details of the Dinwoody Formation, for example, no matter how engaging the signage, compete with a replica of a five-ton Stegosaurus?

You catch sight of the Diplodocus skeleton in the Vernal museum’s rotunda—so tall that a man strides comfortably beneath its rib cage—and, whomp, everything you learned is obliterated. You’re as kitten-brained as the paleontologist in the Monty Python sketch. Do dinosaurs teach evolution, or do they inspire a simpler train of thought, more along the lines of what I overheard earlier, standing under the Diplodocus: “God was right out of his mind!”

Dinosaur National Monument is effective in its simplicity and its lack of distraction.howo spareparts Here are earth and bones. Geological strata are a language, and you learn to read it. Outside the quarry building is a three-quarter-mile-long Fossil Discovery Trail. You begin amid 163-million-year-old sand dunes. A two-minute walk fast-forwards you 25 million years and now you stand amid the sediment and fossilized shells of a vast inland sea that once covered Utah. Fast-forward again to the famous reptilian relics of a Jurassic Period riverbed, and from there to another great surge of inland sea. You end your walk through time at a petroglyph carved in the rock a mere 1,000 years ago by the earliest human residents of the basin. Whomp. You grasp the staggering age of this planet, of life.

When senior artist Maite Delteil was growing up in France, it was the beauty of the countryside that inspired her to become a painter. “The nature there, the birds and the flowers intrigued me. That is why they often find their way into my paintings,” she confesses. Born in 1933, Maite received her art education at the Ecole Des Beaux-Arts, Academie de la Grand Chaumiere, Academic Julian and National School of Art.

This was followed by a fellowship from the Government of France to study in Spain and Greece. Delteil’s work has been exhibited widely in Europe, America and Japan. She has worked with renowned painter Roger Chapelain-Midy and engraver Robert Cami.Professionals with the job title mold maker are on LinkedIn. In 1956, she met Indian painter Sakti Burman and their love for painting helped them bond. Says Maite, “We were two painters and loved each others’ work. We soon started spending more time with each other and then love happened.” The couple got married in 1963 and have two children, Matthieu and Maya.

The images that comprise Delteil’s recent body of paintings may initially appear to express a preoccupation with the genres of still life and landscape. The paintings, however, are more like experiences that unfold in the borderland between memory and fantasy. “The colours that I use are those that give me happiness. Paintings need to appeal to you visually and using the right colours according to the sentiment of happiness is very important. Besides, my attention to detail is a form of my devotion,” says Maite.

Maite is currently holding her third solo exhibition till February 2 in Mumbai after the highly-acclaimed Gardens of Grace in 2004 and Fruits of Grace in 2007. She is showing in Mumbai after a gap of six years and the exhibition will showcase her recent body of works. In the past, the artist has also held exhibitions in Kolkata, Delhi and Baroda. Has she noticed a change in Indian art? “A lot has changed in India,” she says, adding, “There used to be a time when India’s economy was not very well-developed. Earlier, there used to be hardly any crowd at art exhibitions, forget people buying paintings. However, that has changed and the number of art lovers has grown immensely. I am really happy to see so much of enthusiasm.”