Nothing marks the true onset of summer like a dip in the
pool even better if it s one that’s part of a historic castle, villa, mansion, or the like. And, even if you have to travel far and wide to find a
pool to cool off in, it’s well worth it if that means escaping the dreadful summer heat. Naturally, with temperatures rising in lead up to the official start of summer next month, it’s the perfect time to take a look at our list of the best
pools to visit at historic houses across the country, including ones at the Versace Mansion, Old Westbury Gardens, the Getty Villa, and more. Don t forget the sunscreen!
This post is an advertorial written by a company that serves the museum field. The views, opinions, and positions expressed by the authors and those providing comments are theirs alone and do not necessarily reflect the views, opinions, or positions of AAM or its employees.
As the museum industry gradually emerges from the difficult challenges of the past year, Frank Europe GmbH (Frankeurope.com) is making a commitment to the vibrancy and resilience of the US cultural community with the establishment of Frank America.
The Met Cloisters,
The Case for Optimism
According to Philippe Plessers, who recently assumed executive leadership as Managing Director of the Germany-based organization along with Thomas Kurz, CFO: “We believe the current moment is the right time to put in place an American company. We want to be there to support the projects that are moving to the front and to serve the pent-up demand we anticipate in the world’s most dynamic cultural market.”
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Tortured by their relentless work ethic, the editors of the Oxford English Dictionary define an
amusement as an idle, time-wasting diversion or entertainment. When the term was applied to the practice of trick photography in the late nineteenth century, the trend’s supporters were quick to point out that “photographic amusements” were not just entertaining but also educational. Making a photograph of a ghost or creating a self-portrait inside a glass bottle taught novices about accidental double exposures. Photographers learned the medium by pushing it to its limits.
Despite its educative potential, the genre was largely disavowed by the photographic establishment, as well as later histories of the medium. In their bid for respectability, nineteenth-century photographic commentators leaned heavily on the medium’s association with truth and objectivity. They staked photography’s fortune on faithful likenesses and accurate documentation. That trick pictures, such as the ha