
very unique appearing bike rack. Took a little effort to put together, but is holding 5 kids bikes very nicely in the garage, freeing up floor space. Also, the baskets are very handy storage spots for helmets, balls, etc. It is a little difficult for the younger kids to get their bikes off and on the utilty hooks, but all in all a nice storage piece.
Translate this without google translate or at least fix the google translation. I’m told it changes things?
One of the most influential art movements (1907-1914) of the twentieth century, Cubism was begun by Pablo Picasso (Spanish, 1882-1973) and Georges Braque (French, 1882-1963) in 1907. They were greatly inspired by African sculpture, by painters Paul Cézanne (French, 1839-1906) and Georges Seurat (French, 1859-1891), and by the Fauves.In Cubism the subject matter is broken up, analyzed, and reassembled in an abstracted form. Picasso and Braque initiated the movement when they followed the advice of Paul Cézanne, who in 1904 said artists should treat nature “in terms of the cylinder, the sphere and the cone.”There were three phases in the development of Cubism: Facet Cubism, Analytic Cubism, and Synthetic Cubism.After fauvist beginnings, Braque went with Raoul Dufy in 1908 on a trip to l’Estaque, a place often painted by Cézanne. They produced a series of landscapes with simplified forms and a limited variety of colors. The controversy Cezanne picasso Braque surrounding their exhibition at the Daniel-Henry Kahnweiler Gallery brought Cubism its name. In effect, the art critic Louis Vauxcelles described the works in this way: “M. Braque scorns form and reduces everything, sites, figures and houses, to geometric schemas and cubes.”The break with homogeneous form was completed the following year. Braque and Picasso’s similar compositions are broken into planes with open edges, sliding into each other while denying all depth. Color is reduced to a gray-tan cameo, applied uniformly in small brushstrokes creating vibrations of light. The interpenetration of the forms lends these paintings a previously unknown aspect of continuity and density. Withdrawing before the abstract and hermetic character of this new space, Braque and Picasso brought recognizable illusionistic features back into their paintings during their stay in Céret, from 1911 to 1913. They used letters, fragments of words, musical notes, then significant material elements: sand or sawdust which create relief, and tend to make the picture more physically an object.Color returned in force in 1912, in parallel to the creation of the “papiers collés” — collages. Creating a simple geometric armature and pieces of glued paper with trompe l’oeil patterns imitating wood, marble or newsprint, then introducing “already made” elements (musical scores, tobacco packets or playing cards), the “papiers collés” definitively dissociate color and form. Picasso, then Henri Laurens would create construction pieces from ordinary materials, cut out and assembled into colored geometric planes, where empty and full spaces combine to sketch out the forms.Although the war of 1914-19 ended Picasso and Braque’s collaboration, the cubist core group remained active until the 1920s, through the explorations of Braque, Matisse, Laurens, Lipchitz and Fernand Léger, whose geometric world and abstractly organized canvases with their contrasting, dynamic forms owe almost everything to the pioneering breakthroughs of Cézanne, Braque and Picasso.Translate to spanish please.I would like it to be in Spanish.
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One of the most influential art movements (1907-1914) of the twentieth century, Cubism was begun by Pablo Picasso (Spanish, 1882-1973) and Georges Braque (French, 1882-1963) in 1907. They were greatly inspired by African sculpture, by painters Paul Cézanne (French, 1839-1906) and Georges Seurat (French, 1859-1891), and by the Fauves.In Cubism the subject matter is broken up, analyzed, and reassembled in an abstracted form. Picasso and Braque initiated the movement when they followed the advice of Paul Cézanne, who in 1904 said artists should treat nature “in terms of the cylinder, the sphere and the cone.”There were three phases in the development of Cubism: Facet Cubism, Analytic Cubism, and Synthetic Cubism.After fauvist beginnings, Braque went with Raoul Dufy in 1908 on a trip to l’Estaque, a place often painted by Cézanne. They produced a series of landscapes with simplified forms and a limited variety of colors. The controversy Cezanne picasso Braque surrounding their exhibition at the Daniel-Henry Kahnweiler Gallery brought Cubism its name. In effect, the art critic Louis Vauxcelles described the works in this way: “M. Braque scorns form and reduces everything, sites, figures and houses, to geometric schemas and cubes.”The break with homogeneous form was completed the following year. Braque and Picasso’s similar compositions are broken into planes with open edges, sliding into each other while denying all depth. Color is reduced to a gray-tan cameo, applied uniformly in small brushstrokes creating vibrations of light. The interpenetration of the forms lends these paintings a previously unknown aspect of continuity and density. Withdrawing before the abstract and hermetic character of this new space, Braque and Picasso brought recognizable illusionistic features back into their paintings during their stay in Céret, from 1911 to 1913. They used letters, fragments of words, musical notes, then significant material elements: sand or sawdust which create relief, and tend to make the picture more physically an object.Color returned in force in 1912, in parallel to the creation of the “papiers collés” — collages. Creating a simple geometric armature and pieces of glued paper with trompe l’oeil patterns imitating wood, marble or newsprint, then introducing “already made” elements (musical scores, tobacco packets or playing cards), the “papiers collés” definitively dissociate color and form. Picasso, then Henri Laurens would create construction pieces from ordinary materials, cut out and assembled into colored geometric planes, where empty and full spaces combine to sketch out the forms.Although the war of 1914-19 ended Picasso and Braque’s collaboration, the cubist core group remained active until the 1920s, through the explorations of Braque, Matisse, Laurens, Lipchitz and Fernand Léger, whose geometric world and abstractly organized canvases with their contrasting, dynamic forms owe almost everything to the pioneering breakthroughs of Cézanne, Braque and Picasso.Translate to spanish please.I would like it to be in Spanish.
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This storage rack allows for four bikes easily, with skates, shoes, skis, and a few odds and ends to boot. It has consolidated our garage sporting goods, and has served well as a place to keep things throughout the winter. It is a little bulky, so it takes up more room in the garage than I anticipated, but the benefit substantially outweighs this nominal inconvenience.
OK, let me first start by saying on the surface (and in practice) this is a nice rack…Now to the “beware” portion…I bought this new, on sale, at Amazon…product arrived and had obviously been opened/put together before. The zip-ties were cut and laying loose in the box, Some of the components were already partially assembled, The baskets/trays were bent, poles had paint scratched off, and one piece was wedged inside a pole forcing me to use vice-grips to get it out (likely why the previous person returned it)…So, aside from those annoyances, I wanted the rack and didn’t want to wait for a replacement/deal w/ the hassle of boxing it up again/etc. (and the things gonna get scratched/bent anyway)…so assembly was fairly straight-forward…As long as you follow the one part of the instructions that state to not tighten anything until you’ve gotten it fully assembled…I surmise this is because the person/team who designed this likely slept through the part of mechanical design class where they teach the concept and importance of stack up tolerances…nothing lines up w/o some finessing (minimal at first, much more towards the end)…and the hole for the top cross bar was off by a good 1/2″…which leaves a nice rotational aspect to the overall stand when you finally get to tighten everything up…Additionally, the unit I received differed from the unit pictured (hooks were different in style and the manner in which they are attached/installed, and resulted in my having to take a portion of the rack apart to put them on (not the ones for the bikes, but the other, smaller ones for hanging other items), as they must go on as you build it up, not after the fact (I’ll take the blame on that one, as I should have known better))…also, specs on the site state dimensions are 19″ x 27″ x 82″….In reality, it is actually 22″ x 29 1/2″ x 88 1/2″, making it too tall for the place I had originally planned for it to go (the width and depth dimensions are taken at the base, where the legs flare out…if you take them further up, they may be the same as listed in the specs)…Another nit is that the bikes go onto the narrow side of the rack…unfortunately, w/ today’s full suspension bikes and other creative geometries, the uprights where the hooks are located are spaced too wide to fit some bike frames and you’re left w/ finding creative approaches for the hooks (even rotating them inwards doesn’t do the job on some bikes)…two bikes have the hook under the front of the saddle as opposed to the frame, which isn’t the best place for long term storage…a better design would have been to make the stand slightly narrower allowing for better frame placement, but understandably it might make the overall unit “tippy” when adding/removing bikes…In “concept” I give the rack a 5…in “reality” I give it a 1 (due to the condition upon arrival, differences between what is pictured, poor design tolerances, and grossly inaccurate dimensions)…averaging out to my 3 star rating, as it will still prove to be a somewhat convenient method of getting the bikes out of the way…There are likely better options out there, but this seemed the most compact w/ greatest capacity for my 4 bikes and my wifes 2…
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