l-9015 fs dixmude mistral class amphibious assault ship lhd french navy marine nationale
EMBARQUEMENT A BORD DU BPC DIXMUDE DE TROUPES, VBCI, VAB ET AUTRES ENGINS LOURD POUR MISSION SERVAL - TCHAD - BAMAKO LA JOURNEE DU DIMANCHE 20 JANVIER 2013
12 janvier : déclenchement de l’alerte Guépard pour les rapaces de la 4ecompagnie qui détenait déjà des VBCI. Durant une semaine, elle a préparé et « collisé » ses matériels. 18 janvier 2013 : 34 fantassins de la 1e compagnie ont perçus des véhicules blindés du combat de l’infanterie (VBCI) du parc d’alerte de la 5ebase de soutien du matériel de Carpiagne (5eBSMAT). 19 janvier : les rapaces sont arrivés, en bus, à Miramas à la zone de regroupement et d’attente armée par le 503erégiment du train (503eRT). Elle a rejoint des unités de l’armée de Terre sur le point d’être projetées. Les blindés de la 4ecompagnie, acheminés via la voie ferrée, ont gagné la base navale de Toulon. Après le déchargement des véhicules, dans la journée, la 4ecompagnie ainsi que d’autres unités en attente ont embarqué avec leurs matériels à bord du bâtiment de projection et de commandement Dixmude. Prochainement, elles poseront le pied sur le sol africain et rejoindront les quelque 2 000 soldats déjà présents. -------------- 92e RI : www.defense.gouv.fr/terre/presentation/organisation-des-f... ------------------ Crédit photo : Sirpa Terre / ADC Guesquière
La paroi de douche fixe est un élément de salle de bains qui permet de créer une cabine de douche dans une pièce où cela n'était pas possible auparavant. Majoritairement en verre, la paroi est montée sur un châssis en aluminium ou en acier inoxydable. Chez Jacob Delafon, trouvez le modèle fait pour vous.
La Marine nationale compte trois porte-hélicoptères amphibies (PHA), les Mistral, Tonnerre et Dixmude. Longs de 199 mètres pour une largeur de 32 mètres et un déplacement de 21.500 tonnes à pleine charge, ces bâtiments, conçus et réalisés en coopération par Naval Group et les Chantiers de l’Atlantique, ont été respectivement mis en service en 2006, 2007 et 2012. Basés tous les trois à Toulon, ils sont armés par 200 marins et peuvent accueillir 450 à 650 personnels supplémentaires.
Dixmude D97
mistral class amphibious assault transport command ship french navy marine nationale tonnere dixmude
La visite de la Rade à Toulon se fait en bateau. Vous verrez le porte-avion Charles de Gaulle, les bâtiments de projection et commandement (BPC) Mistral, Dixmude et Tonnerre ainsi que les sous-marins nucléaires d’attaque. Une sortie originale à faire en famille
23/03/2015 Sources : Marine nationale Port Saïd, point d’entrée nord du canal de Suez pour rejoindre la Mer Rouge puis l’océan Indien. Le BPC Dixmude et la FLF Aconit sont en attente du feu vert des autorités égyptiennes pour débuter le chenalage. Ils...
As of 23 March 2012 the Counter-Piracy force of the European Union (EUNAVFOR) which normally includes between 4 and 7 warships patrolling the Gulf of Aden and Horn of Africa will be joined by two new warships of the French navy; Frigate FS GEORGES LEYGUES and Amphibious Assault Ship FS DIXMUDE. FS GEORGES LEYGUES, named […]
In my model series in 1:1000, the largest airship should not be missing. History: LZ 129 Hindenburg was a large German commercial passenger-carrying rigid airship, the lead ship of the Hindenburg class, the longest class of flying machine and the largest airship by envelope volume. It was designed and built by the Zeppelin Company (Luftschiffbau Zeppelin GmbH) on the shores of Lake Constance in Friedrichshafen and was operated by the German Zeppelin Airline Company .The airship flew from March, 1936 until it was destroyed by fire 14 months later on May 6, 1937 while attempting to land at Lakehurst Naval Air Station in Manchester Township, New Jersey at the end of the first North American transatlantic journey of its second season of service with the loss of 36 lives. This was the last of the great airship disasters; it was preceded by the crashes of the British R38 in 1921 (44 dead), the US airship Roma in 1922 (34 dead), the French Dixmude in 1923 (52 dead), the British R101 in 1930 (48 dead), and the US Akron in 1933 (73 dead). (Source Wikipedia) See what might come next Instagram: https://www.instagram.com/vandragon_de Support me :) Although it is a lot of fun to draw boats and bring them to life, it takes a lot of time to research and draw. Especially the 1:1000 scale models are very time-consuming. So I wanted to see if there are any dear enthusiasts among you who appreciate my work and support me a little bit. Thank you for your help :) patreon - https://www.patreon.com/vandragon_de
What are some approaches to using colour for portraying form? There is a long tradition in drawing extending back at least to the sixteenth century with artists like Jean Clouet (c.1475/85–1540) of using black and sanguine chalks on a buff coloured ground, as can be seen in Clouet’s study, Portrait of a Woman [Queen Marguerite of Navarre?] (shown below). Here, Clouet’s refinement of using a touch of colour to this otherwise grey drawing adds colour warmth and full-blooded life to the portrait. Colouet’s subtle use of colour is also matched by his sensitivity in applying the chalk, as Perrin Stein (curator of the 2005 exhibition at the British Museum, French Drawings: Clouet to Seurat) insightfully explains: Clouet's style is characterized by a delicate handling of the chalk; the planes of the face are typically modelled in soft diagonal hatching, from upper right to lower left, blending black and red to produce naturalistic flesh tones, effects that have been compared to the sfumato of Leonardo. In addition, the British Museum drawing uses graining—a manner of shading with chalk that exploits the texture of the paper to create a half-tone—for the shadows beneath the jawline, the nostrils and the lips. (http://www.britishmuseum.org/system_pages/beta_collection_introduction/beta_collection_object_details.aspx?objectId=721984&partId=1&searchText=1908,0714.46 [viewed 30 March 2013]) 1908,0714.46 © The Trustees of the British Museum Jean Clouet (c.1475/85–1540) Portrait of a Woman [Queen Marguerite of Navarre?], 1486–1540 Black and red chalk 18.9 x 19.6 cm (http://www.britishmuseum.org/system_pages/beta_collection_ introduction/beta_collection_object_details.aspx?objectId=721984&partId =1&searchText=1908,0714.46 [viewed 30 March 2013]) In the eighteenth century, artists such as Antoine Watteau (1684–1721) applied the use of three differently coloured chalks—usually white, black and sanguine—on a mid-toned and often coloured sheet of paper to render their chosen subjects in an approach termed, aux trois crayons (French translation for “with three pencils/crayons/chalks”). The principle behind this approach is that the toned support sheet for the drawing acts as a mid-tone while the white and black chalks allow for the extremes of a tonal range from white to black in a drawing. Augmenting this tonal spectrum is the use sanguine chalk—a blood red colour—designed to add a touch of colour and to anoint the portrayed subject with the suggestion of life. Watteau’s use of the aux trois crayons approach may be seen very clearly in his drawing, Five Studies of a Woman's Head (shown below). AN244844001 © The Trustees of the British Museum Antoine Watteau (1684–1721) Five studies of a woman's head, one lightly sketched, c.1716–17 Two shades of red, black and white chalk, on buff paper 33.1 x 23.8 cms (http://www.britishmuseum.org/research/search_the_collection_ database/search_object_details.aspxobjectId=720996&partId= 1&searchText=Antoine+Watteau&fromADBC=ad&toADBC= ad&orig=%2fresearch%2fsearch_the_collection_database.aspx &images=on&numpages=10¤tPage=18 [Viewed 30 March 2013]) The evocation of a full range of colours that a viewer may perceive when looking at a drawing executed with the extremely limited palette of the aux trios crayons approach can be explained with reference to the fascinating phenomenon termed the “Land Effect” (see earlier post, Colour and spatial depth). Nevertheless, even a drawing executed in sanguine chalk alone can connote a wide range of colours for a receptive viewer. For example, some sensitive folk may perceive a range of mind-generated colours when looking at the effect of the single colour, sanguine, in Watteau’s drawing of an engraver at work (shown below). This capacity of the mind’s eye to manufacture colours beyond what is provided by the artist is assisted even more when a neutral tone especially the mid-tone of grey is added to an artwork executed in a single colour. This capacity can be tested by looking at the somewhat muddy drawing, View of a North Italian Town, attributed to either Watteau or Nicolas Vleughels shown further below). With this facility of the mind’s eye to see “more” colours than what is offered physically by an artist in an artwork, the motivation for artists to employ the aux trios crayons approach is not surprising. After all, theories that are proven to work in practice are very attractive. AN244844001 © The Trustees of the British Museum Antoine Watteau (1684–1721) An engraver working at his table [M. Baron or Nicolas Dorigny?], c.1717 (?) Red chalk 23.5 x 30.4 cms (http://www.britishmuseum.org/research/search_the_collection_database/ search_object_details.aspx?objectid=720951&partid=1&searchText= Antoine+Watteau&fromADBC=ad&toADBC=ad&numpages=10&images= on&orig=%2fresearch%2fsearch_the_collection_database.aspx¤t Page=12 [Viewed 30 March 2013]) AN245790001 © The Trustees of the British Museum Attributed to Antoine Watteau (1684–1721) also attributed to Nicolas Vleughels (1668–1737) View of a north Italian town, with a campanile and distant mountains; bell tower and various buildings within the town walls, boats on water in the foreground and mid-distance, mountains behind, tree at left foreground, c. 1684–1721 Red chalk, and grey wash 14.3 x 21 cms (http://www.britishmuseum.org/research/search_the_collection_database /search_object_details.aspx?objectId=720937&partId=1&searchText= Antoine+Watteau&fromADBC=ad&toADBC=ad&orig=%2fresearch% 2fsearch_the_collection_database.aspx&images=on&numpages=10& currentPage=15 [Viewed 30 March 2013]) The colour of the ground (i.e. the colour of the paper) also plays a significant role in how an image is perceived. This is especially true for artworks executed using the aux deux crayons (French translation for “with two pencils/crayons/chalks”) approach. For example, the warm neutral tint of the paper in Bernard-Romain Julien’s (1802–71) exquisite renderings, Etude aux deux crayons N°13 after Perignon, Etude aux deux crayons N°60 after Brune and Etude aux deux crayons N°78 after Rougel (shown below, see also the equally fine rendering of a child discussed in the earlier post, Five key responses to art) makes a significant contribution to the meanings that these prints project. Bernard-Romain Julien (1802–71) Etude aux deux crayons N°13 (after Perignon) Lithograph on cream wove paper (vellum) 45.5 x 30.8 cm Condition: strong impression with light surface soiling and signs of use (two pin holes on the far left that are probably binding marks). I am selling this print for a total cost of [deleted] including postage and handling to anywhere in the world. This is a large print and will be posted in a tube. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below. This print is no longer available Detail of Julien’s Etude aux deux crayons N°13 (after Perignon) Detail of Julien’s Etude aux deux crayons N°13 (after Perignon) Bernard-Romain Julien (1802–71) Etude aux deux crayons N°60 (after Brune) Lithograph on cream wove paper (vellum) 48.5 x 31.3 cm Condition: strong impression with light surface soiling and signs of use (pin holes in top corners and abrasion under centre text lines. I am selling this print for a total cost of [deleted] including postage and handling to anywhere in the world. This is a large print and will be posted in a tube. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below. This print is no longer available Detail of Julien’s Etude aux deux crayons N°60 (after Brune) Detail of Julien’s Etude aux deux crayons N°60 (after Brune) Bernard-Romain Julien (1802–71) Etude aux deux crayons N°78 (after Rougel) Lithograph on cream wove paper (vellum) 47.7 x 31.3 cm Condition: strong impression with light surface soiling and signs of use. I am selling this print for a total cost of $178 AUD including postage and handling to anywhere in the world. This is a large print and will be posted in a tube. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below. This print has been sold Detail of Julien’s Etude aux deux crayons N°78 (after Rougel) Detail of Julien’s Etude aux deux crayons N°78 (after Rougel) Essentially, the ground colour lends the suggestion that the portrayed subject is a living entity in the same way that the colour, sanguine, projects a sense of life in aux trios crayons images. Compare, for example, how the projected meaning changes significantly in Etude aux deux crayons N°13 when the original colour of the ground (shown in the detail below) is cooled to a dull green-blue by digital modification (as shown in the detail further below). From a personal reading of the same print on a cool ground, the meaning is now about a non-living entity, such as a detail of a stone mortuary statue. (above) detail of Julien’s Etude aux deux crayons N°13 (after Perignon) (below) digital alteration of the original warm ground colour to a cool colour Beyond the colour of the ground, a fascinating field for study is the effect that the tone of the ground (i.e. the shade of the sheet of paper/drawing support) can have on projected meanings. For instance, to appreciate a common—but important—phenomenon regarding the effect of background tone on colour, see the photograph below showing the smoke from a lit stick of incense in front of a white and black sculpture. The grey smoke in front of the white sculpture—a plaster cast of Rodin’s Head of Balzac—appears dark in tone and takes on a warm colour cast (i.e. the smoke looks pinkish) whereas in from of the black sculpture—a bronze bust by an unknown sculptor of Euclid or perhaps Plato—the smoke appears to be light in tone and takes on a cool colour cast (i.e. it looks bluish). By extension of such an everyday observation, a colour drawing on a white background will appear to be darker and warmer in colour bias than the same drawing on a black background. Just as interesting, but harder to explain in a definitive way, on a white ground the “humidity” of the colour is dry whereas on a black ground the colour is wet. Sadly, few theorists recognise or discuss this variable that I have called “humidity,” even though I suspect that I am not alone in seeing this mercurial attribute that seems to be an amalgam of effects (e.g. saturation of hue, opacity of the colour, sheen of the colour layer and viscosity of the colour stroke). Effects of dark and light-toned backgrounds Another equally problematic effect arising from the tone of the ground colour is the curious attribute of spatial depth. This effect is noticeable when looking at black text on a white ground compared to looking at the same text displayed as white on a black background. From personal experience, of writing with black marker pens on a whiteboard in the classroom, the relationship of the black text on the white ground is within a very shallow notion of space. By this I mean that a viewer understands (and sees clearly) that the black marker pen strokes are drawn on top of the white board and, accordingly, there is very little room for the suggestion of spatial depth between the black text and the white board. By contrast, and again from personal experience, white chalk marks on a blackboard are spatially ambiguous as the viewer is less able to understand the spatial relationship between the chalk marks and the perceptual conundrum of a spatial void created by the black background. The observation also extends to PowerPoint presentations where white text on a black background appears to “float” whereas back text on a white background is spatially flat. With regard to the effect of this phenomenon in imagery, a coloured drawing made on a white ground is usually viewed with a clear understanding of the spatial relationship between a portrayed subject and the white ground. The same portrayed subject on a black ground, however, may be perceived as spatially ambiguous. As an illustration of both effects, compare Zeyang Jiang’s study on white paper of Rodin’s plaster Head of Balzac (shown below) with the same drawing digitally modified so that it is displayed on a black ground (shown further below). From my standpoint, Zeyang Jiang’s original drawing is far easier to understand in term of the portrayed form than the digitally modified black background version. Zeyang Jiang Study of Rodin’s Head of Balzac, 2012 Pen and ink with watercolour 25 x 20 cm Zeyang Jiang’s Study of Rodin’s Head of Balzac with digitally blackened ground Of course, the colour of the ground is usually an integral colour component in two and three-colour images. But when artists incorporate the ground colour as part of their palette of colours, they tend to use the colour of the ground sparingly so that its relationship to the other colours is meaningful. For example, in the two lithographs by an unidentified nineteenth-century artist shown below, the white paper is used with restrained precision to portray only those elements in the architecture where light is at its strongest. Unidentified artist Le Jubé de St. Pierre à Louvain [The rood screen of St. Peter at Louvain], c.1850 Colour lithograph on heavy wove paper Inscribed above the image (top right corner): “No 4” the image (top right corner) Inscribed below the image (centre): “LE JUBE DE ST. PIERRE A LOUVAIN” 28.2 x 38.6 cm (image); 36.8 x 55.1 cm (sheet) Condition: strong impression with minor signs of use. I am selling this print and the print below—Le Jubé de L’Église Dixmude—(i.e. two lithographs) for a total cost of $147 AUD including postage and handling to anywhere in the world. These are large prints and will be posted in a tube. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below. These prints have been sold Detail of Le Jubé de St. Pierre à Louvain Unidentified artist Le Jubé de L’Église Dixmude [The loft of the Church of Dixmude], c.1850 Colour lithograph on heavy wove paper Inscribed above the image (top right corner): “No 15” (crossed in pencil) Inscribed below the image (centre): “LE JUBE DE L’ÉGLISE DIXMUDE” 38.7 x 27.1 cm (image); 54.4 x 36.8 cm (sheet) Condition: strong impression with minor signs of use. I am selling this print and the print above— Le Jubé de St. Pierre à Louvain —(i.e. two lithographs) for a total cost of $147 AUD including postage and handling to anywhere in the world. These are large prints and will be posted in a tube. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button above. Detail of Le Jubé de L’Église Dixmude As a final example of using the ground as an integral additional colour and tone in an two-colour image I wish to draw attention to the highly refined use of ground colour in Julien’s Grande etude aux deux crayons, No. 15 (shown below). Of special interest, note the subtle gradation of tone in the foreground figure’s shoulder and how the ground colour is seamlessly integrated into the neutral tones rendering the shoulder’s contours. Bernard-Romain Julien (1802–71) La Lecon Mutuelle [The Mutual Lesson] Grande etude aux deux crayons N°15 (after de Rudder) Lithograph in two colours on wove paper 58 x 44.3 cm Condition: this is a beautiful impression but there are signs of handling and light surface soiling. There are repaired tears to the bottom edge of the sheet and chipping to the top edge of the sheet. There is a repaired tear on the right side of the sheet and the lower right corner is restored. I am selling this print for a total cost of $188 AUD including postage and handling to anywhere in the world. This is a large print and will be posted in a tube. Please contact me using the email link at the top of the page if you have any queries or click the “Buy Now” button below. This print has been sold Detail of Julien’s La Lecon Mutuelle Detail of Julien’s La Lecon Mutuelle
