C.G.R.I. REPORT

CGRI 2012-114

Unlimited Release

Printed Nov 2012

 

 

 

AN INTRODUCTION

TO IMAGE CONCEAL TECHNIQUES IN

ALCHEMIST HERMANN AHRENS PAINTINGS

 

 

 

 

Prepared by

C.G.R.I. Laboratories

Simis 15, Nikosia 2044, Cyprus, EU

www.cgri.gr

 

 

 

Konstantinos Stromatias,

Greek Army Brigadier (ret) , Branch of Combat Engineers & Informatics

Microelectronics systems Designer - Inventor Researcher
BSc in Greek Military Academy

MSc in Microelectronics and Computer Engineering

PhD candidate in Geophysics

Editor: "www.kyklotron.com , http://www.cgri.gr , http://www.geoment.e-e-e.gr
info@cgri.gr

 

 

Cyprus Geopathetic Research Institute Laboratories

 

 

NOTICE: This report was prepared as an account of work sponsored by CGRI ltd, Cyprus, EU. Neither the CGRI ltd, nor any agency thereof, nor any of their employees, nor any of their contractors, subcontractors, or their employees, make any warranty, express or implied, or assume any legal liability or responsibility for the accuracy, completeness, or usefulness of any information, apparatus, product, or process disclosed, or represent that its use would not infringe privately owned rights. Reference herein to any specific commercial product, process, or service by trade name, trademark, manufacturer, or otherwise, does not necessarily constitute or imply its endorsement, recommendation, or favoring by the CGRI ltd, any agency thereof, or any of their contractors or subcontractors.

The views and opinions expressed herein do not necessarily state or reflect those of the CGRI ltd, any agency thereof, or any of their contractors.

 

 

 

 

INTRODUCTION

 

This technical report is about the decoding effort of an unknown conceal technique used by the German Alchemist - Painter HERMANN AHRENS, in order to conceal Images, stamps, shapes and other secrets of a mystics Massons Order (Decree) which he founded in New York on about 1860 AD.


The work was most based on the long task - research of the owner of the paintings and who wants to keep his anonymity for the present.


Details on these HERMANN AHRENS paintings are listed in Annex 'A' hereof.


References to these paintings on Internet are on those links :

 http://www.askart.com/askart/a/hermann_ahrens/hermann_ahrens.aspx

Bibliography references (hard copy) : 1999, Falk, Peter Hastings (Editor) Who Was Who in American Art, 156419753 , Volumes 3724

http://www.askart.com/AskART/artists/search/Search_Grid.aspx?searchtype=BOOKS&artist=10000406

  

TABLE OF CONTENTS

 

1. INTRODUCTION
2. INFORMATION ABOUT Alchemist - PAINTER HERMANN AHRENS
3. RESEARCH
     RESEARCH PHASE: 1st The digital photography and the digital process of the research

elements
     RESEARCH PHASE: 2nd The x-ray photography and the digital process of the research

elements

     PHASE RESEARCH: 3rd The Infrared photography and the digital process of the research

elements
4. CONCLUSIONS
5. PROPOSALS

 

APPENDICES

'A' Pictures - appreciation of the paintings
'B' Research results of the first HERMANN AHRENS painting
'C' Research results of the second HERMANN AHRENS painting
'D' Report and assessment for the paintings by the conservator of the Greek Naval art and

tradition museum, Mis Eleni Demopoulos
'E' Report for the paintings from the theoretical works of art & historian Mr. Leontios

Petmezas
'F' Comments for the paintings from the President of the Cyprus Geopathetic Research

Institute

G' Introduction to Paintings Reform technique in Renaissance age
' H' Official Letter - acknowledgment of Valpak S.A. camouflage systems company

I An intuitive tarot card reading for the sketches in the art work of Hermann Ahrens

1822

'J' Researchers & appraisers short Biography note ( participated in this study )

 

 

ABOUT THE LIFE OF ALCHEMIST PAINTER HERMANN AHRENS

 

Hermann Ahrens was born in 1822 in Germany. Engraving on wood painter, lived in New York, USA. He was an engraver of an 'ideological painting'.
In his paintings we discover hidden images as :
Monsters
bizarre forms
sacrifice
symbols of the occult mysticism of alchemy and astrology of
a dark 'group, a secret hidden many years away from the eyes of the world.

 

It is obious now that the secret technique of HERMANNs AHRENS paintings was a similar to <Leonardo da Vinci> paintings reform technique since 1485.

 

That technique known as the first reform paintings technique, used from alchemists in order to conceal secret messages ,images , seals, etc and even communication codes between them.

 

We know today about two basic paintings reform techniques.

The most knowing is the cylinder reform method. They put a cylinder into the painting and they paint the painting reflection on another paint. An other form of the real image. In order to someone seen the real image that painter conceals he ought to look the painting from a specific angle.

 

This particular technique, Hermann Ahrens turned it into something more superior that up now days nobody discovers, in any museum in the world.
There are no reports of this technique that Hermann Ahrens uses on those two paintings.
No other paintings have been known to public using this specific technique form any other painter.
We firmly believe that these two paintings are unique in this kind still and technique..

 

When Hermann Ahrens lived in America, entered in a very dark occult group. Certainly dealt with alchemy and many issues but starting low and ending up having a seat with enough force. Apparently he must created a new Order. We did not find the name of the Order except from only various symbols, perhaps before leaving the mixed battalion was originally. In this Order we assume that there were Illuminati, Rosicrucians, Alchemists, Astrologers, Physicists, Mathematicians, Masons, etc.

All of them, wealthy people of that era.

In this Order except of the Guild events were also big secrets.

 

Hermann Ahrens seems to have used one person from each battalion (order) and specificity and built for the new regiment that he controlled in order, perhaps, the ultimate truth hiding the philosopher's stone of <gold metal chemistry>.

It seems then that things took a different course and all of the pictures we saw on the interpretation of Mrs. Kotsoni (works of art estimator ) the painting of sacrifice, heavy and dark road in their lives, the wealth of knowledge held by the secret meetings and all circumstances existing paintings tells us the painter had given body and soul to the darkness and the light. A light so little that it covers the same full moon monsters demons guards to safeguard their paintings with scary shows how their power over the old ancient magic.

 

That really made the year the battalion hid the apocryphal stories of all those who had made the perfect mysticism and most unique secret evidence and concealment and storage of a fallen flying disc with several entities beside the boat. Perhaps possessing technical knowledge and very advanced (result of examination of the flying disc;) for that time. Leaving a legacy for a tomorrow.

 

Paintings are a chapter of 'lost' in the flow of time.

 

They wanted to hide everything from everyone and there was no cost for what the guild stands for. Was a road that led into strange paths. With armor meteors of death in their footsteps, those of lust and desire, purveyor sacrificial altars, crimson rivers of blood in their hearts forever belonged to the call of the prince of darkness.

 

Hermann himself, was a leader of the guild. He took ideas from the 2 techniques then known reformer and developed something new. The upgrade to 'mirror' with a unique own secret way. Applying the law of 'hallucinations' on a piece of wood. It was this same art of engraving on wood in <woodwork> and <canvas>.

The technique applied in these paintings that were painted before, processed and carved reliefs hidden designs with small chisel and other tools in the first level in the original form of wood. So impressed they wanted to hide so the first layer 'hiding' to identify current technology inverting the colours' (INVERT). Over the carved wood imprinted small secret shows. He made a mixed media, unknown today, adding something weird with his painting.

 

ABOUT THE CONCEAL TECHNIQUES IN PAINTINGS

 

In order to a reader to understand the matter, we refer to some  videos :  

 

http://www.youtube.com/watch?v=07mwTwznoZg&feature=related    Last Supper Reveal!!!!!!! WATCH!!!

http://www.youtube.com/watch?v=FCHZN3wVYsk&feature=related   Da Vinci: Secret of The Last Supper

http://www.youtube.com/watch?v=DjT11RfBh5Y&feature=fvwrel   DaVinci's Shadow Found In Last Supper?

 

http://www.youtube.com/watch?v=JFTSAjZEqPw&feature=related  Mona Lisa -- Da Vinci's Use of Sacred (church architecture and big bang) Geometry

 

http://www.youtube.com/watch?v=51Uy4qnYVDQ&feature=related  El espejo revela que la historia de la biblia hasta Napoleon bonaparte es Mitologica

 

http://www.youtube.com/watch?v=OO-MS0Z5V4o&feature=related OVNIS EN LA ANTIGÜEDAD? - UFOS IN THE ANTIQUITY?

http://www.youtube.com/watch?v=OK-tIt8xSBk&feature=fvwrel  DAVINCI CODE MONA LISA REVEALED AS JESUS!

 

 

 

 

THE RESEARCH

PHASE RESEARCH: 1


Having in our possession the two Hermann Ahrens paintings we submit them originally in digital photography. Using a camera type '.....'
We Photograph the 2 paintings in a professional photographic studio using powerful flash.
Photographs were taken around the painting and each of constant but different heights.
Then digitized and imported photos for editing on a computer using image editing application (image processing).

To decrypt the shapes used the software 'GIMP'.

Initially we used a simple technique to invert colours (select invert computer program command).

This process creates reversing the colours of an image (invert colours).

The results were impressive and are discussed below (Annex 'B' and 'C') faint but distinct incomprehensible forms in old woman dress in the painting.

We used then the option 'reverse value' (Value invert) which reverses the brightness every pixel (invert the brightness of each pixel).

Then appeared in new forms in old womans dress.

Forms with the reversal process colours were not visible. This kind of technique used by HERMANN AHRENS 3 centuries ago, was unprecedented in the world of art today and totally invisible to the naked eye.

 

Early in year 2008, using computer technologies, within the two paintings we noticed the letter <R>, the ancient letter as print and various charts, not sharp.


Then we use 'Numerology' techniques in harmony with the Pythagorean theorem.


We took as a rule that the letter <E> has 4 sides. <E = 1 +2 +3 +4 = 10>. This gave us the 'reversal' of <0 1>, the binary 'language' of modern computers.


We hypothesized that if <.1.> Is the code for occult paintings, then <.0.> Something should be represented in this technique concealment.


We accepted then the <0> represent the negative of the photograph. In computer language we said that is the command 'INVERT'.


Then we proceeded to photo the first painting to validate our initial theory.

 

The photographic survey yielded many forms within paintings. Figures strange that we had not seen before in our lives. There were hidden everywhere performances. With great detail that the painter had captured.

The paintings were deciphered to a degree.

In this phase the experienced photographer from taking an oblique angle to the horizontal plane decoded second reformation technique used by alchemists.

If someone turned sideways and noticed the painting forms from a specific angle to the horizontal plane then and only then could understand the conceal shapes into the paintings.

 

Then now had come the fullness of time and the story was sought as and the name of the creator of the paintings. Whereas there was only a monograph on a painting.
Proved after investigation that the monogram belonged to HERMANN AHRENS.
Interpretation was requested and paintings from Mrs Athena Kotsoni Sinetou (Appendix "A").
Requested and was mentioned in the works of the theoretical art historian Mr. Leontios Petmezas (Annex 'D').

At year 2009 we approached DAMKALIDIS <NIKON ELLAS> company in order to check paintings photographs. Although they faced this issue very seriously they could not do anything more.

 

We believed then we approach the solution of a major puzzle and make ​​sure that we had entered an unknown path of mathematics or an unknown area

We visited several museums in Greece, various art restorers, even abroad, but without any result.
We found more than one decryption and levels of concealment technical performances of the artist, including the following :

  • First AHRENS made ​​all the 'secret' levels (layers) in all forms he like sealeds, monograms etc- on the wood.

 

  • Then he paint on the wood surface the painting with the lighthouse and ships figures, and another painting with the house and the old lady.
  • Finally he added, using an unknown technique, upon the existing shapes other hidden items, shapes and other material.

 

The final result is that all those conceal shapes could seen only using modern photography methods ( photos, X-Rays - infrared spectrum).

As an example the old woman face is not a human face. The painter paint on it a form of something like a fish.

  

 

PHASE RESEARCH: 2

Paintings were Radiographed using X-ray technology


The work was done in a professional radiology machine using X-rays technologies, like those used in hospitals.

 

Then using digitizer (scanner) we download digital images in an image editor software of a computer. The image editing application (image processing) is used for decrypt the shapes (software 'GIMP').


Initially we used a simple technique to invert colours (select invert). This process reversing the colours of an image (invert colours). The results were impressive and are discussed below (Appendix 'B' and 'C'). New forms that were hidden in the paintings come to light and are no longer visible. Of course none of us can explain the kind of technique used by HERMANN AHRENS 3 centuries ago and is now visible using ... X-ray machine.

  

 

PHASE RESEARCH: 3

We Photograph the two paintings using infrared spectrum

 

The work was done in a professional machine that records and flashes infrared light, using filters B / W (crystal) black. The infrared spectrum is known not visible by the human eye. The photo shoot was done by a single seat vertically above the paintings. Used very strong flash lighting.


Then using digitization digitizer (scanner) photographs of the infrared spectrum and enter with the form of digital images in image editor computer using image editing application (image processing). To decrypt the shapes used the software 'GIMP'.


The results were in this process dramatically and are discussed below (Annex 'B' and 'C').

New hidden forms appeared before us, different from any other type of treatment. Again we ask for this type of technique used by HERMANN AHRENS 3 centuries ago and is now visible from ... infrared light.

 

 

CONCLUSIONS


1. In partial decoding works of alchemist HERMANN AHRENS paintings used the following modern and non technical decoding methods technologies :
Optical control of the paintings in depth
Photography of the paintings using professional methods. Paintings have been photo around and at various heights relative to the horizontal level.
Photos then are fully Digitized
Then a digitized photograph process in a computer done, using an image editing software application.

 

AT THIS WORK WE FOUND THAT THE CONCEAL SHAPES IN THE PAINTINGS WERE HIDDEN (imprinted) in SUCH A WAY THAT THEY WERE VISIBLE ONLY FROM A SPECIFIC ANGLE OF TO the horizontal LEVEL. This method is so far unknown in the art world. It is part of the process of 'cylinder' used in the Middle Ages mostly. Called 'METHOD OF A NO STRAIGHT LINE', used most for communication purposes between Alchemists.

We also found that by using colour reversal (INVERT COLOURS) other conceal shapes were been visible, shapes that were not visible to the previous applications and methods we used.

Using reverse lighting the pixels of the digital image (invert the brightness of the pixels) and other conceal shapes appeared that that were not visible to the previous applications and methods we used.

Professional radiography of the paintings

Digitizing the photos

We found and other conceal shapes appeared that that were not visible to the previous applications and methods we used up to then.

Professional photography of paintings using INFRARED LIGHT


Digitizing photos


And at this point we realized that new conceal shapes appeared on the paintings that were not visible to all previous methods.


We found unknown alchemist symbols and maybe other symbols on the paintings.


2. The hidden and conceal shapes within the paintings are visible in shots shown in infrared photography (and in some shots blurred vision ).


3. This delay timing technique could possibly be an initial effort for developing a high-tech used for military use camouflage technique.


4. This technology also could be used in proceed for art authentication techniques.


5. Our assessment is that there are many more secrets in those two paintings of alchemist - painter HERMANN AHRENS. We refer to the technology level of conceal methods that the painter used to hide the data and shapes and to the shapes that AHRENS conceal into those paintings.

 

6. The first HERMANN AHRENS painting must hiding the planet Earth history hundred thousand years ago, when Nephilim rule the world (Enoch secret book, Bible).

 

7. The second HERMANN AHRENS painting must hiding the meaning of the Massons Order superiority in knowledge of the truth

8. But there is and another secret meaning in those paintings. The common element of those paintings is the flow of the water in both of them. A dark flow. A passage is in front of the two sceneries. A bridge hole passage at the left painting. The passage of human solves coming to this world, earth. A dark hole (the moon) passage in the right painting. The passage of human solves to Hell, the satans kingdom. Under his guidance, the face technical light of a lighthouse, the Massons symbol.

 

 

PROPOSALS

1. We strongly believe that by the studying and the decoding techniques the artist used in the two paintings a new advanced encryption technology for military use could be developed. A new artificial 'overlap' could developed in specialized research laboratories.


2. It is possible to construct a new 'overlap', not necessarily in the sense of an conventional paint using new application techniques.

 

3. This technology could lead to specific "battle uniforms" development using diverse images, like those found in nature, such as eg in chameleon animal. A simple example of such a technique operation is given here: http://www.geoment.eee.gr/admin/videos/stealth.avi

This system: http://www.geoment.eee.gr/stealthgr.htm already deposited as Patent:
http://worldwide.espacenet.com/publicationDetails/biblio?CC=GR&NR=20040100475&KC=&FT=E&locale=en_EP of the founder and director of CGRI (Research Institute geopathetic Cyprus).


4. The same technology could be applied to personnel (soldiers), and media (tanks, planes, helicopters, ships, artillery, etc.). All those images could be seen only by satellite technology that using a corresponding 'decoding' tech.


5. Using C4ISR system that army that will used this technology could 'see' on a real time digital map (GIS) friendly troops, but for the enemy those images will be essentially 'invisible'.
For what a C4ISR system is, a reference is here: http://www.kyklotron.com/c4isr.htm

  

APPENDICES

'A' Pictures - appreciation of the paintings
'B' Research results of the first HERMANN AHRENS painting
'C' Research results of the second HERMANN AHRENS painting
'D' Report and assessment for the paintings by the conservator of the Greek Naval art and

tradition museum, Mis Eleni Demopoulos
'E' Report for the paintings from the theoretical works of art & historian Mr. Leontios

Petmezas
'F' Comments for the paintings from the President of the Cyprus Geopathetic Research

Institute

G' Introduction to Paintings Reform technique in Renaissance age
' H' Official Letter - acknowledgment of Valpak S.A. camouflage systems company

I An intuitive tarot card reading for the sketches in the art work of Hermann Ahrens

1822

'J' Researchers & appraisers short Biography note ( participated in this study )

 

 

 

APPENDIX 'A' TO AN INTRODUCTION TO IMAGE CONCEAL TECHNIQUE IN ALCHEMIST HERMANN AHRENS PAINTINGS


PICTURES OF THE TWO HERMANN AHRENS PAINTINGS

  

ASSESSMENT OF THE FIRST ART WORK (PAINTING)

The painting with the signature A.H.R.H. dimensions 0,37 * 0,25 cm oil onto plywood <BEECH> about a rustic two-story home with a peasant who takes a sack on her back and keeps walking stick next to a river with bridge in the background trees, belongs to the painter Hermann Ahrens. Amateur painter born in Germany in 1822, lived in America.

 

Other items not found. Doubts about his signature are not existed.

 

The work is characterized technique <naïf>.

 

There have been no other paintings, but the one of two is still unsigned. The work of Hermann it has some singularity and therefore the value of the two paintings can form high prices.


To enlarge the panel found hidden representations of monsters, and a flying saucer.

 

Apparently Hermann had never seen aliens to paint them but in a strange way and painted these paintings and it seems like someone self-suggestion him to paint things that he did not know and saw.


An analysis of the monsters and items will be in the second painting analysis.

ATHNA KOTSONI SINETOU

PAINTER. CONSERVATOR ART WORK ASSESSMENT

GALLERY ATHINA - 2008

(sealed & signed)

  

Grandmother in the countryside

 

ASSESSMENT OF THE SECOND ART WORK (PAINTING)

Painting with signature A.H.R.H dimensions 0.27 * 0.38 cm oil in beech plywood presents a sea in evening twilight hours, 2 lighthouses, sailboat, large and small lights in the background and a port project is unsigned but has the same singularity. In <naïf> technique is enlarged project presented surprisingly different forms. More details on the zoom in of the painting. The painting due to its particularity has an unknown value that will be determined by the interest of collectors. Besides this I have not to make another observation.

 ATHNA KOTSONI SINETOU

PAINTER. CONSERVATOR ART WORK ASSESSMENT

GALLERY ATHINA - 2008

(sealed & signed)

 

 

 

 SEA PIECE

 

  

APPENDIX 'B' TO AN INTRODUCTION TO IMAGE CONCEAL TECHNIQUE IN ALCHEMIST HERMANN AHRENS PAINTINGS

 

1st HERMANN AHRENS PAINTING RESEARCH RESULTS

 

 

Grandmother in the countryside

 

General Comments about pictures and comments

  First a picture presented and then is the comment of the picture. In the paper with lines, conceal shapes that were found in the two paintings

are represented.

 

 

UP.  An Infrared photo (use black filter BW)

 

This photo is from an infrared image (not visible to the naked eye). Is used as arts maintenance technique. Technicians observe the paintings for hiding shapes inside the colours, images that can not see a common eye. AHRENS painting with the old woman and the house <The roof up> shows a man's face looks like a skull with armor while the left shows the arm with his fist retracted. In figure 2 there is another form - image.

                            

 

 

ATHNA KOTSONI SINETOU

PAINTER. CONSERVATOR ART WORK ASSESSMENT

GALLERY ATHINA - 2008

(sealed & signed)

 

 

 

 UP.  The 4 arrows pointing the spacecraft.  Just over the bush.

 

 

 

UP.  Look closely of a womans shape - in yellow colour - behind the old lady, that has no face strange monster hanged over old ladys back.

 

                     UP.   The 'ground moter' with no human face

 

ATHNA KOTSONI SINETOU

PAINTER. CONSERVATOR ART WORK ASSESSMENT

GALLERY ATHINA - 2008

(sealed & signed)

 

  

ATHNA KOTSONI SINETOU

PAINTER. CONSERVATOR ART WORK ASSESSMENT

GALLERY ATHINA - 2008

(sealed & signed)

 

 

 

 

 

 

ATHNA KOTSONI SINETOU

PAINTER. CONSERVATOR ART WORK ASSESSMENT

GALLERY ATHINA - 2008

(sealed & signed)

 

 

 

 

 

ATHNA KOTSONI SINETOU

PAINTER. CONSERVATOR ART WORK ASSESSMENT

GALLERY ATHINA - 2008

(sealed & signed)

 

 

ENAES

Multi- plasmatic represent system MUSIS.MS for art monuments

 

Two hidden phrases are in this point of the first painting. Using MUSIS.MS system we could read the one of those phrases . Those are the initial letters <->. Those two letters were be fount at the <invert> process but now is a better view using infrared colour (next picture).

  

 

 

 

 

 

 

APPENDIX 'C' TO AN INTRODUCTION TO IMAGE CONCEAL TECHNIQUE IN ALCHEMIST HERMANN AHRENS PAINTINGS

 

 

2nd HERMANN AHRENS PAINTING RESEARCH RESULTS

 

  

 

 

SEA PIECE 

 

 

 

 

 

 

 

 

ATHNA KOTSONI SINETOU

PAINTER. CONSERVATOR ART WORK ASSESSMENT

GALLERY ATHINA - 2008

(sealed & signed)

 

 

 

 

 

ATHNA KOTSONI SINETOU

PAINTER. CONSERVATOR ART WORK ASSESSMENT

GALLERY ATHINA - 2008

(sealed & signed)

 

 

 

 

 

 

ATHNA KOTSONI SINETOU

PAINTER. CONSERVATOR ART WORK ASSESSMENT

GALLERY ATHINA - 2008

(sealed & signed)

 

 

 

.

 

 

 

 

 

ATHNA KOTSONI SINETOU

PAINTER. CONSERVATOR ART WORK ASSESSMENT

GALLERY ATHINA - 2008

(sealed & signed)

 

 

 

 

 

ATHNA KOTSONI SINETOU

PAINTER. CONSERVATOR ART WORK ASSESSMENT

GALLERY ATHINA - 2008

(sealed & signed)

 

Researchers Comment

Inside the waters there is a very clear shape of an ancient GRIFFIN head. Those monsters (flying lions having a parrots mouth below icons ) existed in all mythologies.

 UP.   On ancient Greek vase representation Persepolis - Persia - Iran

 

 

UP. Picture of the first painting, radiograph technique, using colour and infrared

 

In this x-ray of the first painting in the house, from above, we found hidden shapes (number 1).The same pattern exists in both paintings, is an occult symbol with 2 lines in the middle and the circle just above it. At number 2 a form of animal with horns turn to the right. Another form keeping something like figure (this is a Greek letter, but also the symbol of flow from up to down. The waterfall.) . Right at number 2 exists another strange shape. In 17-1-2011 a hieroglyphics expert analyst check those symbols. He said that they dont belong to the period of Egypt, but it was a strange symbol of that era.

The owner of the paintings

NOTICE

We well know off course that In Egypt ancient period existed Nephilim (Wolf head and bird head) and so many other kinds of them (in Johns Revelation Nephilim are the GOG and MAGOG nations that living under earths ground)

 

UP.  Pictures of Nephilim kinds. Left. A bird head Nephilim In Egypt.

Right. Masravex bird head Nephilim in Babylonia , Iraq.

 

 

UP.   Picture of the second painting (at the top of Lighthouse), radiograph technique, using colour and invert colour

 

At number 2 exists a shape of an armor monster to keep on his left hand a woman. At number 1, the monster puts the lady on an altar while another shape is in Number 4, takes part in the placement of the female form. At No. 3 outside the lighthouse there must be a great form of an animal.

 The owner of the paintings

      

UP.    he same picture of the second painting (at the top of Lighthouse), radiograph technique, using colour (not invert colour)

 

Greek Massons Battalion interpretation

 
We agree to Ms. Athna Kotsoni Sinetou opinion that the girl that appears on the moon and ask for her the old man, is the same girl who appears in the lighthouse. The artist makes the ultimate sacrifice by fire to Satan, and calls of unseen forces, the demons in the form of monsters, while outside the lighthouse showing the stamp in the form of an animal which performs the ceremony and shows that the flesh of the girl belongs to prince of darkness, showing also his faith to him.
New Testimony Luke 10 19, Peter A.5 8.

                                         

 UP.  Picture of the second painting (at the top of Lighthouse), radiograph technique, using colour and invert colour

 

 

At number 1 on the steps of the lighthouse climbs a monster with a long leg and have something back from it. At number 2 shows a female presence in a dress that era.

And right in the figure 3 shows a form of a person.

 The owner of the paintings

                             

 

UP.  he same picture of the second painting (at the top of Lighthouse), radiograph technique, using colour (not invert colour)

 

 In figure 1 we see a death mask. At number 2 a symbol unknown - appears to be a shape of a symbol occultism - 2 lines with a circle in the middle-. The same symbol is also and at the other painting. This is the symbol that will have other paintings of other painters of this group - Alchemists. At number 3 instead of a boat has created a form of an animal, like an Egyptian guard.

 The owner of the paintings

 

 

                           UP.    Picture of the second painting (at the top of Lighthouse), radiograph technique, using colour and invert colour

In figure 1 we see a death mask. At number 2 a symbol unknown -  appears to be a shape of a symbol occultism - 2 lines with a circle in the middle-. The same symbol is also and at the other painting. This is the symbol that will have other paintings of other painters of this group - Alchemists. At number 3 instead of a boat has created a form of an animal, like an Egyptian guard.

 The owner of the paintings

 

 

UP.   he same picture of the second painting (at the top of Lighthouse), radiograph technique, using colour (not invert colour)

 

 

UP.  Here seems the crest of the of Hermanns Order.

 

It's so complicated, painted stamped into 2 parts and glued together microscopy. I believe that this blazon open doors to the many occult, and nobody knows what is represented in radiography. Glitters like gold. In 17-1-2011 a hieroglyphics expert analyst check those symbols. He said that they dont belong to the period of Egypt, but it was a strange symbol of that era.

The owner of the paintings

 

 

 

UP.    A copy of AHRENS painting SEA PIECE

 

What you see in the painting above is a copy of 20th century, of HERMAN AHRENS original painting SEA PIECE .


At the 3 years of my world wide research I found 3 copies of the same matter.


From 12,000 paintings I check since 2008 until today, I have done the same process- research. I find nothing hidden.


It is the only proof that this research is a true research.


This second painting must be just before the American war, the port is real, and there will probably exists today if not destroyed by a war.

 

The owner of the paintings

 

 

 

APPENDIX 'D'  TO AN INTRODUCTION TO IMAGE CONCEAL TECHNIQUE IN ALCHEMIST HERMANN AHRENS PAINTINGS

 

 

REPORT AND ASSESSMENT

FROM MRS ATHNA KOTSONI SINETOU,PAINTER, CONSERVATOR ART WORK ASSESSMENT

CONSERVATOR AT THE GREEK MUSEUM OF NAVAL ART AND TRADITION

 

 

PAINTING HISTORY
TOPIC
1. GRANDMOTHER IN THE COUNTRYSIDE
2. SEA PIECE

DAMAGES OF THE PAINTING
The painting has significant damage to the wood surface and painting

FUTURE WORK
  1. Maintenance and deworming wood surface with mounting solution woodworm fluid, well fix wooden surface with synthetic resin repair damaged sections with wood pulp.
2. Soaking wood surface with a protective lacquer coating for wax and gum sores.
3. Fixing painting surface filled with resin.

4. Cleaning and painting with chemical and mechanical scalpel and coated with natural beeswax.
5. Coating painting surface with neutral polish
LOYKASS RPUHFILM 2322 MATT.

 

ATHNA KOTSONI SINETOU

PAINTER. CONSERVATOR ART WORK ASSESSMENT

CONSERVATOR AT THE GREEK MUSEUM OF NAVAL ART AND TRADITION

(sealed & signed) 23-3-2011

 

CERTIFICATE

Upon investigation I made to the paintings and the <invert> ('reverse' colour), X-ray and infrared from the photos shown in the book 'of the owner of the paintings' I found that there are hidden forms inside the paintings and our estimate is that might be number of projects: 1 and 4 of a collection of the artist HERMANN AHRENS 1860 - 1870.

 

ATHNA KOTSONI SINETOU

PAINTER. CONSERVATOR ART WORK ASSESSMENT

CONSERVATOR AT THE GREEK MUSEUM OF NAVAL ART AND TRADITION

(sealed & signed) 23-3-2011

 

 

 

APPENDIX 'E'  TO AN INTRODUCTION TO IMAGE CONCEAL TECHNIQUE IN ALCHEMIST HERMANN AHRENS PAINTINGS

 

 

PAINTING ASSESSMENT

FOR THE GERMAN PAINTER

HERMANN AHRENS

CERTIFICATE

The research and the study of the military company VALPAK SA specialists in military applications for the two paintings of the artist Hermann Ahrens, property of the owner '.... is absolutely serious and perfect in military data diagnosis. Indeed, the value of the two paintings is too big and reaches undisclosed sum. According to the investigation and discovery of the owner of the presented here, the artistic value of the paintings range from .. to  .. million euros.

LEONTIOS PETMEZAS 27-11-2011

Academic Art Historian

Exhibitions Consultant

(sealed & signed)

 

ART HISTORIAN CERTIFICATE

 

The overall registration and survey conducted on the two paintings of << AHRH >> <HERMANN AHRENS> by the painter and conservator art appraiser Mrs ATHNa KOTSONI SINETOU finds me perfectly consistent with the findings presented are based on descriptions provided in the two paintings.

 

LEONTIOS PETMEZAS 28-9-2008

Academic Art Historian

Exhibitions Consultant

(sealed & signed)

 

ART HISTORIAN CERTIFICATE

 

I confirm that the two paintings of German artist HERMANN AHRENS belonging to the private collection of mr . (collector and 'Seller') because of the great artistic and economic value as the calling artwork, must undoubtedly be exposed to space-level museum or gallery to ensure the absolute safety of course the most direct access to the viewing of art lovers. This certificate is provided solely to the owner of these works of art, and can be used by it for any lawful use.

 

LEONTIOS PETMEZAS 29-10-2008

Academic Art Historian

Exhibitions Consultant

(sealed & signed)

 

 

COMMENTS OF THE TWO AHRENN HERMAN PAINTINGS

 

Theoretical Approach Review in of the Art of HERMAN AHRENS

 

For my present analysis and the extensive report in the two painting of Herman Ahrens, I was based on the extensive research that the owner of these works of art, . , carried out and in whose collection these works of art belong to and in the thorough analysis and identification of the findings that Athna Kotsoni-Sinetou, painter and curator of work of arts, carried out. According to their descriptions, in the paintings there are sub-units and topics that reveal facts of the life of the painter.

Herman was obviously an amateur painter, born in Germany in 1822 and lived in New York. There is no other known information for him. His work belongs to the naïf technique.

The first painting, bearing the signature A R .h, with dimensions of 37 x 28cm, oil on beech plywood has as a theme a two-storey country house with a village woman that carries a sack in her back, holding a stick, next to a river with a small bridge and at the background there are trees. When enlarged, we discover hidden depictions: in the window there is a dark-skinned woman, on the tiles there is a couple dressed in contemporary of the time clothes, hidden in the leaves of the trees there are two figures that appear to be meeting secretly, in the left-hand side of the painting, above the tiled roof there are four figures bearded faces, monster-like taking part in horse racing, where two horses can be seen. Apart from these, there are more, small scattered figures and in the left hand side there is a flying saucer with lights, a ladder with two odd figures sitting at the top of the flying saucer watching the rest of the spirit-like figures.

The painter is sure not to have seen aliens, as these things appear many years after his biological existence and maybe he painted them because of autosuggestion that someone may have imposed on him.

Other findings on the painting are the presence of a young man, could probably be the painter himself, about 37-38 years old with receding hair, moustache, having a pipe in his mouth and he seems to be conversing with a bird. It is about an infernal person that possibly sends threatening letters. Further down in the painting, the bird delivers the message that it carries, which has two aerials, signifying the two-fold meaning of the message. The bird is standing in front of a big house palace that is guarded by big dogs. In connection with the rest of the drawings, he is possibly sending a message to a married woman living in the manor. In the painting, we can also discern one more monster-like figure, wearing a helmet, while the woman is armed, having military machines at her back.

The hands, the ear and the eyes of this creature do not appear to be of a human, but of a bizarre creature. She is holding a skull, and under her hands there are strange shapes. We also notice death holding the reaping hook, being ready to take the life off some people, who probably are relatives of the painter: an old-man, a beautiful and rich woman and some other people that seem to have already been dead.

At a first theoretical approach of the painting we can ascertain that:

The work masterfully becomes the mediator of prolific drawing that transfers to the spectator the maturity of authentic talent and the elaborate solution of a meaningful artist that expressed not partially and one-sided in the wider figurative arts field and environment, although he had limited knowledge of painting.

By creating, however, he brought short doses of his mental outlook that are depicted following sensitive lines.

Touching upon what thickened, each shade between dreams, fantasy with the realistic output of bodies and elements. It is about a designing activity that made him mold comprehensive and multidimensional surfaces in a way that all coexist.

With remarkable technical mastery he knew how to purify each personalised notional conception. The mixed changes of mood disposals of his psychodynamic, conscious characteristics in his style approached the absorption, the reformation and the permanently emerging attraction of pictorial, stylistic and ideological arguments in the categories in which he finally classified them.

The second painting bares no signature, dimensions 27 x 38, oil on beech plywood and presents a seascape in the evening hours, with two lighthouses, two sailors, two sailing boats, one big and one small and in the background there are lights and a harbour. In the enlargement of the picture, various figures are presented. An angel with big feathers and a luminous wand in the left hand grabs violently the daughter of a woman.

With his feet he steps on the woman who begs for her daughter who has been seized, because the old man who appears at the other end of the heart is in love with her and he has even more girls that he has abducted or continues to sexually harass.

At another point at the bottom of the lighthouse Hermans dark life is evident.

We distinguish an altar and on it a body that is being sacrificed. The painter is sending messages to rich sovereigns in order to attend the ceremony. The sketch matches the girls that he has abducted and they are found in the moon. The light means that human sacrifices take place at nights with full moon. Also, in the sea waters there are monstrous figures like a bizarre hurt animal.

At a first review of the second painting we can discern the following:

Envisagement that coexists with the psychoactive data is constituted from singular, legitimate and individual moments of inspiration that are interpreted differently and are offered for multiple approaches. The thematic discoveries appear to be provocative and impressive. With mostly transcendental shapes, which become compelling, as they seem to take part in a type of movement, in a rhythm of ecstasy.

Delimiting a perfect innovatory area that easily refers to the varying and much debated shift of figurative reflection; they set the integration of thoughts and sentiments that are caused by the expressive means. It is also important how the conception of the idea of the painter is realised, allowing space for taking part in the absolute that he sufficiently transubstantiates.

Examining more meticulously the figurative and constructive work of the painter, we discover that with excellent education and meaningful interconnection, he independently composed, filled with eccentricity compositions that possess the ethereal eternal sparkling of cosmologic teleology and cosmogony.

In the background of the two painting by Herman Ahrens, which we report in the present review, the stories are isolated and revealed at the level of reading these, filled with allusions to his personal wandering that looks at individual aspects in rigorous reports and causality.

In a deeper analysis, we can notice some more facts. We see a military chariot in the form of an insect with the head of an ant, having two big aerials, with legs and a tail, being landed in the banks of the river. From the orifice of the chariot missiles come out. There is a man wearing a heavy military uniform and a helmet, also wearing dark glasses to protect him from the celestial radiation and he is holding martial devices and equipment. He is wearing thick boots and he is moving away from the vehicle. In his right hand he is holding a glowing object that is possibly related to the armament he is carrying.

Here, the wider constructional space of Herman Ahrens is allocated with homogeneity and precision, structurally and minimally in topics, while he distinctively balances in a standardised way of expressing his ideas. He purposefully includes the optical engagement of the shapes and the signals that coexist integrated and according to the laws of time and space, with dynamic origins.

He is based on various experiences that show nostalgia for the familiarity, and the assimilation that gives birth to the sensual mentality. His conscience is based on the starting line of faith, in the fundamental source, in the borders of retrospection and in the bidirectional natural course of passage. He introduces us, as spectators, in a sensitive strategy that bears a fault, which often becomes the subject and the result of a battle, while his figurative reasoning remains complex, dense, a voice fighting with quantitative growth towards the complex forms.

Besides, his inherent realism as idea and attitude is also underlined in another area of the painting, creating a decisive connection that is located in time while he impersonates shades of colour with style, increases and refers indirectly to existential distresses. The end of the mysterious and curious person of the painter Herman Ahrens is revealed.

A dark person that he was likely a type of Rasputin of his era. His death is clear that is sealed by his signature and signifies his end. We see that from a small lodge that he owned at the beginning, afterwards he owns a tower that is being burned down, while inside it life finishes in a horrible way. His face lies horizontally, having a stain next to him.

And here, we realize with special interest that by continuing his steps he impresses us while he develops every aspect from previous patterns. He combines them with unanticipated ease, giving continuity in each direction. Greater importance in this game has the precise exploitation of the intense ornamentation and the possibility of multiple placements of individual parts of the explosive total that leads in linings with separate charm and grace, as a result of a distant route and insistence that it is reflected from his technique, his experiences and thoughts, while it coexists in accordance with the basis of thorough knowledge.

It is about a declaration that through the eons the expertise that shows is based on the existence of internal freedom that is based effortlessly on the temperament of intentions. All the individual snapshots that we see in the two paintings of Herman Ahrens present the greatness of power in the imprinting that is created and incarnated progressively and gradually. Vindicating with discretion the plasticity in the lines, the artist faces with discretion the softness of the formatted texture, lending it a face-like reformation.

What makes a strong impression and raises questions to the spectator is the game with the shades. The miraculous fruits that he acquires emit a perfectly innate and insuperable style. The painter, understanding with great technique and knowledge the substance of those things they surrounded him, he perceived the data from his own viewpoint and he knew how to reproduce them, opening passages in what demands the unprecedented. He also combines in his accounts the poetic with the figurative element. He skillfully turns to deeper mental situations, rather than simply in current and superficial ones.

In sometimes incomprehensible combinations of lines, colours, and shades, in mannerisms and pictures comprehensive but with great details that transport a mnemonic disposal in fragmentary series. His art accounts the human personal adventures and expressions that could have, in some way, attracted him, moving him, puzzling him influencing him so as to attribute appositions and associations from a wide spectrum of convertibility and never-ending transformations.

The regular development of the intensity of his tones declare with allegory the movement of time, the continuous changes but also the stability that emerges insistently and with imagination towards balance. Progressively re-making the unexpected, he was often transferred to the sphere of exaggeration and with his own will, he managed to overcome the universal laws of metaphysical reality.

The order of his two paintings, without the addition of other materials, beyond every realistic base, is plainly formed so that it comprises eclectic compositions that grow scattered and lead to fully comprehensive results. The marginal forms of his work are connected to each other, referring very impressively to the vivifying rhythmical strength of the transmission of the message, in the analysis of it and in the emersion of the gradation of the entity.

His revelations are contrasted with an expressionistic phototropism of the environment that transports three-dimensional rhythmical reductions in the insightful play-writing and in the surface of viewing. His poetic deepening of his art becomes the image and the mirror of one united intensity that is identified with undulations in the inner forms of the paintings.

The sections that show swirls, falls back, cubist procession and symbolic recycling allow him to end up, while he still works in the layout of the paintings, to stunningly end each complex pre-design. The paintings reveal an original frame that shows the truth that is not based in theoretical phenomenology, but radiates as an independent process of detection that he does not suggest the insightful tinge but he characterizes it with semiotic notions.

The artists conceptions range between the ideograms and in the clusters of bodily depictions. They personalize the undisciplined patterns of the natural variability of a human thought that understands the existing laws of bodily gravity, of stoicism and of intensity. They present combinations of figurative negotiation that direct and signal harmoniously the insightful landscapes towards the expected conceptions of the reflections.

The discreet proposal for adventure and the ideological use of it constantly characterizes the total figurative inspiration of the painter. His skilful painting technique with absolutely satisfactory selection of colours, is not involved comparatively but is differentiated by the sense of territoriality. He indelibly marks this point of view with the concept of integration.

At some time, he proposes the way to the freedom of soul that exceeds the current plain reality and moves on to other characteristic traits that create, as structure and constitution of materials are concerned, a new way to the freedom of the soul. What is important in his accounts is that the clusters that play the leading role in the phases of attitudes and express behaviors that they do not mark each other as void but coexist within the context of the collective dimension.

The ascertainment is more consistent with the clarification up to the extent that gives the intellects in the phenomenon. The contradistinction of figurative art of Herman Ahrens signifies the borders of it with clarity. Connotatively, the aesthetics of objection has its optimistic source that achieves to give shape to representations of the subconscious that lead to the extent of being characterized as epic.

Concluding, I would say that by studying the subjects of the two paintings, the analyst of the figurative work of the artist can observe and point out the emphatic formulation that adamantly and substantially penetrates in the crypts of his mental outlook. The artist was obviously prisoner of a kind of enthusiasm that made him not to pretend.

The directness that he had selected with narrative style, predisposes the commitment and reference to the reformations. Each of his pictures of action connects unbreakably and indirectly the historicity with the complete coverage of symbols of regulation. His sketched-out reality refers to a past that presents and depicts images, while it meticulously determines the direct codes of meaning, with components of a subconscious mind that is addressed, with unique intentions, to an infinite spectrum of stimuli.

The atmosphere of the environment that he used to create his work, covered with mobility and dynamism anything that gave to the shades of the movements an impressive reflection. A negotiation that constituted the transmitter and the recipient of a modern ideographic sense. He exposed values as the drawing and the colour by using pictures that with greatness classified his art in the recognition of imaginary.

With his paintings delivering a firmly, well-structured picture with incomparable elegance, he was narrating using the paint-brush with abundant charm filtering it with ever-ending light. The constructional truth of Herman also consists of stylistic dimensions and provisions that show a variety of materials with inventiveness.

He describes mirages and generous associations of ideas, while he points out fables and legends. With superb charm he constitutes a case for all this deep analysis and insightful study that was realized in the present review. The two works, because of the peculiarities that I theoretically mentioned above, can reach rather high prices.

 

LEONTIOS PETMEZAS

Academic Art Historian

Exhibitions Consultant

(sealed & signed)

 

 

 

APPENDIX 'F' TO AN INTRODUCTION TO IMAGE CONCEAL TECHNIQUE IN ALCHEMIST HERMANN AHRENS PAINTINGS

 

 

COMMENTS OF THE RESEARCHER and PRESIDENT OF THE CYPRUS GEOPATHETIC RESEARCH INSTITUTE (C.G.R.I.)

 

About the conceal techniques used by the German Alchemist - Painter HERMANN AHRENS we think that enough already reported.

On how to use this analysis and all the results of those techniques concealment performances, we believe that must begin a new research plan, that already commissioned by the owner of the paintings to the Laboratory research group of the Cyprus Geopathetic Research Institute.

This scientific group has already established and studying all research results.

It consists of a postdoctoral researcher, two PhD (Candidate) researchers, the owner of the paintings, a graduate of University in Informatics and other ancillary staff as appropriate.

We will now mention of what trys to hide the head of the Masson Order a mystical Order - which seems to be founded in New York U.S. around 1860 AD.

What, from my point of view, is the true mystical point of the two sceneries - paintings.

 

UP.  Lilith or Astarte. Sumerian sculpture. Her symbol at right.


It for sure that Alchemist HERMANN AHRENS was not an engraver of any 'ideological painting' group or school or something else.

 Through his paintings he hid the secret knowledge of the Alchemists and the Masonic Order - battalion. At the one painting. That painting that the estimator called as 'the old lady in the countryside'.

 And of course Alchemists, Massons, Illuminati and all those people never been involved with grand mothers and lugs. They knew or thought they knew the history of this planet and the many different settlers and residents of this planet.

 The history of this planet is not all written somewhere. Not at least in public.

 The writer of this comment have been done years of research on this subject which he has exhibited at his personal website, at this link:

http://www.geoment.e-e-e.gr (geoment = mentor of geo = mentor of earth)

We estimate that the first central figure in the planets history is the first 'resident' of this 'planet' that. The first female man (Bible, Genesis, chapter 1st) was the Whore of Babylon for Christians, or by the name Lil or Lille for Muslims, or Lilith for Jewish or Aphrodite in ancient Greece or Astarte of Sumerians Babylonians, etc.

 

UP. The first of two paintings of HERMANN AHRENS - Meaning the planet earth history hundred thousand years ago, when Nephilim rule the world (Enoch secret book, Bible). DOWN. The same painting in inverting colours

Personally I think it is the same person (an IDOL) behind all 'female' 'deities' of non-Greek mythology. Its symbol is a part of the moon. I really never understood why the semi moon ? and there is a semi = half the symbol. If this symbol carefully looked corresponds to 1/11 of the entire circular moon ... And probably symbolizes one of the 11 battalions of angels (the demons) that deducted voluntarily in the material world, led by the former) Archangel Lucifer or devil or satan.

Lilith because sucking every entity energy in Heaven, pushed out of Heaven (Paradise) and fall in the material world, to planet Earth. And became a demon (book Gerontikon of Holy Mount Athos, Greece ) on earth. She is the enemy of the man kind. She hates babies and humans.

Some people believe that this represents the so-called 'Statue of Liberty' that French massons erected as a gift - in her new world. This same statue located on top of the White House, the symbol of power of the new world, forerunner of the New Age.

This creature will become the cause of Istanbul destruction at latest earths times (Johns Revelation) and of this planet (St. Andrew the Fool for Christ).

They said that this creature, Lilith had Nephilim (the Clear one) the genus of Bachomech (vampires) and is also the creator and leader of the White Brotherhood (D. Liakopoulos ' Those ho live among us ) or Scalp and Bones brotherhood, whose members are many well known people.

 

 

UP.    On this picture. Nephilim vampires (bachomech kind) on gold leave found at Delpi Greece.

At the right picture a Nephilim is represented with wings on the second coin upside. From ancient Greek coins.

 

Other Nephilim are the offspring of angels called 'Elohim' or EL (or 'Egrigoros' or fast moving creatures in Old Testimony Book of Enoch Profit ) who mixed with mortal women (Muses or fairies). They are listed in the apocryphal book 'Enoch' (Bible) of which I quote here: http://www.geoment.eee.gr/enox.htm

More details here: http://www.geoment.eee.gr/nefelim.htm

 

* Female> Old Testimony, Genesis, 1st Chapter "... Male and Female let us make them ... ' Said the GOD

 

* BABYLON = BABY + LU (Lucifer) = great gate (Assyrian) = the gateway to the spiritual world (heaven) and lead to the material world (Earth). The left portal of Orthodox churches temples, guarded by Archangel.

 

 All these monsters that represented in the two paintings of German Alchemist - Painter HERMANN AHRENS, are Nephilim figures, might be Elohim so and other generations which afflict the material and spiritual man throughout the ages.
But HERMANN AHRENS was not the first who 'pioneered' in the representation of those forms. Predate and others. Indeed his countryman, HIERONYMUS BOSCH (14501516) leading to such representations.

Below are images of works from the GARDEN OF EARTHLY DELIGHTS OUTER WINGS. "CREATION OF THE WORLD" Details are here:

http://digilander.libero.it/debibliotheca/Arte/BOSCH2_file/page_01.htm

 

 

 

  

 

So the shape of the spaceship refers to an advanced technology, a tech that existed before hundred of thousand years on this planet.

Here I report and I decode some data

http://www.geoment.eee.gr/myuologiasapokodikopiisi.html

 

Of course the bridge is a hidden representation of the passage of Liliths, from the spiritual to the material world through the waters (Genesis first chapter. The WATERS). Carries on her back A reptilian creature ( 'brood vipers' as Jesus Christ called them at the New Testimony).


GRAND MUM HAS NOT A FACE IN THE PAINTING, BECAUSE IS NOT A HUMAN ENTITY.


She has 3 colours on her. Red, the colour of the soul, blue, the colour of the material world - the sky, as human solve felt down fro Heaven) and the white, the colour of NOAH, the GOD, the Paradise...


The old house in the painting must symbolizes Liliths house on earth in addiction of her house at Heaven (the painting has no light on it, even it is a day light)


No light anywhere, although all are white. This demon does not like light and Heaven, but wants her remembrance on earth. As Olympian 'gods' besides wanted the Heavens remembrance, finding on the white marble.

 

Grandmother has a support (stick) down here on earth and this stick probably is the devil himself. Not necessary going to further explanations of the sceneries And I have a very different view from estimators of the paintings view

As regards the second project painting, I think it is so obvious the basic VISIBLE message.
What represents the 'lighthouse' in Freemasonry; Lighthouse is on each massons lodge (eg massons lodge 'Philipos', in Thessaloniki Greece. A lighthouse not in the harbor - is made
​​in the courtyard of the local lodge there.

Lighthouse produces ARTIFICIAL LIGHT. This is an opposite meaning of the NATURAL LIGHT, the LIGHT OF GOD. Every technical' work that exists in this material world, is contrary to the Spirit of God. Is well known that the 'Lighthouse' represents the light of Lucifer or Satan who wants to grab people's souls.

The image of the Devil - Lucifer's stands inside the light (head) of the lighthouse.

And here there is complete darkness. The abyss VS uranium. Light exists only by the moon, which, as mentioned above symbolizes the mother of the Nephilim clean.

UP.   The second HERMANN AHRENS painting Meaning the Massons superiority in knowledge of the truth

 

 

UP.     An invert colour AHRENS second painting. Hell colours with a hole in the middle

 

The ships are a kind of transition. Is moving from the spiritual to the material world.

The ship to Orthodox Christianity, symbolizes the human soul.

The port to Orthodox Christianity, symbolizes Jesus Christ who bought with His Blood all human souls from devil. The harbor (port) in this painting is the devil himself, trying to euchre and disorientate humans solves and to collect them to his port, at Hell

Besides, no one even experts made the assessments neither the owner of the paintings or somebody other - mentioned the 'visible' shapes on this painting. The two clouds forms of a 'dragon' below and a 'horse' above. The dragon is the one that eats souls (present in every Christian orthodox church) and the horse is the symbol of the transition of souls ...

There is also a clear dragon head (left under the lamp, the part of land into the sea) at the entrance of the port, that seems to be ready to devour every human soul.

I left for the end, the supposed guild crest of Hermann (picture below).  

 

 

UP.    the supposed guild crest of Hermann

 

My interpretation is relatively so simple. (Look carefully at the next picture)

In the center of the crest there is a Gorgonio (mermaid in mythology) image (1).

We see its head (2) at the right side of the guild crest.

At the left side there is a curved tail (3) , within the frame. We do not know what were the Gorgonia exactly.

 They say that they have been interbreeding with humans and Draconians.

A draconian head is just over the crest (12). His eye is very clear to me.

Another view is that it originated from genital Experiments of the Atlantians.

They do not reproduce like humans.

In ancient Greece it was rather the KEKROPIDI. Their king, KEKROPAS was living at Athens, but Athina, one of the Olympus gods, drove him out of Athens, in Evoia island.

So its people expelled from the area of ​​current ATHENS of the Olympians (Elohim ? of Enoch Book in Bible) in winning the battle of Athena and Poseidon. Moved to North Evia, in the broad area of ​​the plateau of Lichas.

 Traces of those generations exist today in Tanajib, Arab Gulf (reference is here: http://www.geoment.eee.gr/nefelim.htm ) and pictures below.

 

UP. The shape or crest if you wish, with explanation numbers. At the right, down of the crest is well seen the symbol of the semi moon as they said it.

 

Below the gorgonio (1) we can clearly see a dragon (7) with a wing (8) to be very clear. From his mouth flame (10) is bursting (yellow colour) all over (11). Unequivocal is his eye (9).

Under the head of gorgoniou's, a sword (4) of that era (1870 - 80) exists. Unequivocal is the handle (5) also. The sword is the symbol of power, power over humans lives.

Over and left of the sword exists a big gaff (6). The symbol of solicitation naive souls of people from the Massonic Order, or from Satan thereby.

Below - a conspicuous point - there is the sign of the semi-moon or crescent. Seemingly cut off from the rest imminent. Proof that the battalion belongs to the 'White Brotherhood'.

The position of the semi-moon indicates the sign of the Founder.

Over the whole scene is rather Draconian head (12), with the eye clearly distinguishable.

Personally I have no doubt about the expression of JESUS ​​CHRIST to the Jewish Pharisees , the power people of this nation : 'brood vipers, you can not go to Paridise and do not let others to do so ...'

These brood of snakes (Draconian) seems to predate the people on the planet, hence the 'other' that Christ Said. We, humans are NOT the 'other'.

 

Left. Draconian sculptures images. Found at Equador, 50 meter under the soil. 17000 years before Christ. More here :

http://projectavalon.net/lang/el/klaus_dona_2_interview_transcript_el.html

Right. KEKROPIDI or man snakes creatures in Tanajib area, Arab gulf.

 

In conclusion:

The first painting conceals the history of the planet with the Draconians to preexist Humans and their obvious hate for Humans.

Obvious course is to try to show that HERMANNS AHRENS Masson Order has the knowledge - or part - of ancient high technology.

The second painting shows the purpose of the Order. The solicitation of innocent souls to the devil.

My opinion is that there are no other paintings. These two sets include all those that HERMANN AHRENS wanted to capture to the paintings and to show to others.

Knowledge and purpose of the HERMANNS AHRENS Massons Order.

 

UP.  Take a careful look of the invert colours of the two paintings. The common element is the flow of the water in both of them.

A dark flow.

A passage is in front of the two sceneries.

A bridge hole passage at the left painting

The passage of human solves coming to this world, earth from Heaven.

A dark hole (the moon) passage in the right painting.

The passage of human solves to Hell, the satans kingdom. Under his guidance, the face technical light of a lighthouse, the primitive Massons symbol.

 

Konstantinos Stromatias,

Greek Army Brigadier (ret) , Branch of Combat Engineers & Informatics

Microelectronics systems Designer - Inventor Researcher
BSc in Greek Military Academy (1980)

MSc in Microelectronics and Computer Engineering

PhD candidate in Geophysics, Patras University

Editor: "www.kyklotron.com , http://www.cgri.gr , http://www.geoment.e-e-e.gr
info@cgri.gr

 

 

 

APPENDIX 'G'  TO AN INTRODUCTION TO IMAGE CONCEAL TECHNIQUE IN ALCHEMIST HERMANN AHRENS PAINTINGS

 

 

PAINTINGS RECREATION TECHNIQUE IN RESURRECTION

 

There are two known recreation types well known to us today.

 

Prospect (italic) and


Mirror (mirror).

 

The anamorphic art is the process for the significant distortion of an image, or from one point or from a mirror surface.

 

A cylindrical mirror is the most common form, but have also used reflective cones and pyramids.

 

 Was Leonardo Da Vinci who had first experimented with anamorphic perspective, and the first known example of an anamorphic project is an eye made in 1485.

 

 During the Renaissance, artists who experimented with perspective have made great progress and have perfected the techniques of stretching <stretching> and distort the images in several ways using the geometry.

 

In the 16th, 17th and 18th century, the anamorphic picture became extremely popular, and ideal means concealing dangerous political statements, the heretical ideas, even erotic images.

 

 The anamorphic picture was well known, and in a more permanent form adorned the walls of monasteries. The Hans Holbein (1497 1543), the great court painter to Henry VIII and created the most famous and impressive example of a hidden overhaul recreation.

 

This technique, also became popular in the East during the 17th and 18th centuries. In the 19th century, when most color printing was inexpensive, this technique flourished again as a popular game with other visual tricks used by painters at the time.

  

 

APPENDIX 'H' TO AN INTRODUCTION TO IMAGE CONCEAL TECHNIQUE IN ALCHEMIST HERMANN AHRENS PAINTINGS

  

LETTER - NOTICE OF VALPAK S.A. CAMOUFLAGE SYSTEMS COMPANY
    

  
                     VALPAK. S.A CAMOUFLAGE SYSTEMS


Mr '.......... Owner of the paintings submitted to our company this work on the technique of hiding various performances in existing paintings, in order to examine the applicability of this technique in deception techniques used for military purposes, <camouflage> after examination of topic from our company we can make the following conclusions.


This technique concealment data from the visible spectrum <sight \ eye> is very likely can find new fields of application mainly in the field of formulation of disruptive projects <PATTERNS> and the color coordinates <X, Y, Z> that used to hide military specifications-variant <camouflage> to achieve this is perfectly possible outcome of research and development, <R & D> through specialized laboratories abroad.


<Holland - USA> mainly


Regarding possible application of relevant theory to hide variant of modern high recognition sensors range radar and thermal cameras, our estimate is that there is no scope as they are completely different rules operating in the visible spectrum than the near-infrared and thermal.


The commercial result <gain> could be passed if successful application of this theory to military specifications, certainly would be high, especially if you were adopted from countries with large numbers of systems such as camouflage <U.S.>.

 VALPAK. S.A. 11-11-2011

LS LDIS

 

 

 

APPENDIX 'I'   TO AN INTRODUCTION TO IMAGE CONCEAL TECHNIQUE IN ALCHEMIST HERMANN AHRENS PAINTINGS

 

AN INTUITIVE TAROT CARD READING FOR THE SKETCHES IN THE ART WORK OF HERMANN AHRENS 1822

  

The following is an intuitive Tarot card reading for the sketches in the Art work of Hermann AHRENS 1822

 

In the first set of drawings of the flying saucer with spirits and a death figure, the cards I have drawn to interpret these sketches is of The Hierophant, The Star, Strength, Judgment and Death. The following is my personal interpretation of these sketches.

The first sketch is where we see some 16 spirit figures being drawn or moving toward the flying saucer for their last journey . They appear to have been judged and are now ready to go on the next part of their journey to attain higher knowledge. There are two figures on top of the flying saucer watching and waiting for the souls, which relates to a higher energy or being.

Two in the Tarot is about the choices that become available, and action then begins. The artist may have felt divided and in conflict that challenged his self-beliefs. There is a need for balance in his life. He recognized the polarities in both outer and inner worlds, yet had not yet begun to seriously consider bring these two opposites together. Here he begins to develop wisdom and the careful balance of certain elements in his life. Perhaps by creating new partnerships he may have found this balance. But here he begins to develop wisdom and insight about the complexities of his life and his work.

The 16 souls that are moving forward towards the flying saucer have been judged by this higher energy or being. So, in the card of Judgement( card number 20), we find a link to the High Priestess (card number 2), which is about personal and inner truths. Numerologically the card Judgement is numbered as 20, which reduces to the number two, which is the High Priestess. So this artist could be trying to convey that with the proper combination of personal or inner truth as well as social or community truth, they are different for each soul and will have to be weighed accordingly. This card or artist asks us to see what is that within us which sounds like a trumpet ( a calling ) and all that is lower in our nature to rise in response. In the Judgement card of Rider Waite the angel is identified as either Gabriel, the angel of completion, or Michael, the leader of the forces of light and the angel of fire . The sound that comes from the trumpet is the sound that cause the final transformation, that awakens the higher self. The angel emits seven sounds waves (vibrations) stimulating the seven chakras. It could be these two figures on top of the flying saucer calling

The reason the Star comes to my mind is that the number of souls on the journey to the flying saucer is 17 which adds up to 8 . As an eight (17=1+7=8), The Star is linked with Strength, reflecting the strength that occurs with spiritual regeneration. As the sign of infinity, eight also links the Star to the Magician. This is about having worked through our inner trials with a sense of confidence based on trust and inner guidance or an awareness of high spiritual centers. The artist may be saying that it is time to come home to himself and to be who he really wants to be. This card reflects the hidden spiritual world he may have seen through his art work. This number 17 on the Star card possibly represents for the artist the beginning of an initiation the unmasked truth which is seen in other tarot cards such as The Moon, The Sun, Judgement, and the World. The artist was possibly at the beginning of a vision that had not been fully recognized, but urged him on to follow his own Star.

A little further over we see the Death figure blocking the path to the flying saucer to what appears to be five other spirits as these spirits have not yet been judged.

Death in a tarot card reading reminds us of the archetypal experience of death, and that traditionally in Tarot represents imminent change, or a mystical, or initiatory, death like experience. It could symbolizes for the artist the end of one phase of esoteric understanding, before entering the next one. It may be that this artist has had new revelations experiences by the Hanged Man which we see in other images such as the secret encounter in the trees. The Hanged Man and Death combined with Judgementcard , comprise the archetypal death rebirth theme. Behind Death lies the whole world of ascent in the spirit. Death is blocking the path of the other souls for ascent as they are no longer useful. Death is related to the archetypal theme of forgetfulness, the curse of ignorance the human condition in which we lack awareness of our true Self. As the Death card also has to do with forgiveness, the artist has depicted Death blocking the path to ascent because he may need to let go of anger and negativity, the artist may be symbolically holding on the past, so he needed to release energy old demons- and change his consciousness before transition ( and transformation, and his (Judgement).

The number 5 (the blocked 5 spirits) in the Tarot card of the Major Arcana is the Hierophant or sometimes called the Pope. The number five can be equated with the five senses but traditionally it is associated with Hermes/Mercury. In medieval alchemy, five is included with the philosophers stone, the ultimate goal, not as the 5th element but rather as the representation of the realized unity of the first four numbers, and the potential for growth. Fives in the Minor Arcana often represent a crisis or a challenge, possibly the destruction of one aspect of our world in favor of a different one. As the Devil Is blocking their path to unity , he is challenging them. The artist may be trying to convey that we all carry the impetus for change or transition from the solid, fixed rigid past or from stagnation and inactivity of the fours into new possibilities. The artist is challenging himself perhaps to transform old ways of painting into new patterns of being. Things are not as secure as he once thought, so the unrest of the fives here suggests a crisis of creativity. I believe this artist was living with anxiety of having to live with the unknown and in the end is being force to make a choice. The cards preceding fives depict experiences that allow us to develop our personalities according to the cards qualities and to feel successful at it. Jungian psychologist s call it inflation of the ego, if carried to extreme.

Perhaps this artist was experiencing an end to ego envisioned glamour of himself or his work?

In the next set of images we see we see four faces. Personally I disagree that these faces show agony, for me they appear to be happy or just waiting for what appears to be two creatures that are about to race. One of the figures watching is definitely a man as he has a beard. The Tarot card image that jumped out in my mind is of Strength. The figures here represent for me the male and feminine qualities that is within us. Since the time of the ancients, the number 4 has been a sacred number with magic properties. If you add the first four digits (1+2+3+4), you get the number ten; reduce it, and you are back to one. Four marks the end of a cycle and gives the impetus for the next. It represents a time of stabilization, in which some sort of foundation has been laid. Four is associated with wholeness (the four elements, the four cardinal points, the four rivers of paradise, the four Gospels, the four Evangelist, the four cardinal virtues). This, therefore could for the Artist ,have represented a time in his personal development when there was a stalemate, when the artist may have gone through a period of unacknowledged emotions or dilemmas which was necessary to experience them in order to grow and heal. But , the horse like or Lion like figures could represent Strength in the Tarot which is about balancing opposites such as masculine-feminine, logic versus love. It is about inner strength and acknowledging both our mental, spiritual and physical aspects of ourselves. It is a card of moral strength, spiritual power, energy and conviction that goes on for eternity. This could represent to the artist a period of self-mastery and a time to use gentle force and bring into balance his strength and courage.

The figure of a woman in a window could represent for the artist his feminine side and the way he looked out on the world. Windows can represent receptivity to spirit and , therefore a change in consciousness. They can symbolize a way of looking in to see inner enlightenment or to see the inner truth. The square shape of the window indicates this artist was receptive to worldly information and wisdom(four-sided). The colour blue on her face can refer to the overseeing spirit or heaven. It represents a two-way connection with the divine, and is the colour of the fifth (throat)chakra of communication.

In the next image of a couple in a tile and brings to my mind the Lovers which is Tarot card number six. Again we see a pattern of the feminine and masculine (yin/yang; anima/animus which is within each of us and speaks of attempts to keep these separate, or to acknowledge and reconcile them in order to become whole. It is possible that the artist was trying to communicate that we are challenged to connect our spiritual life with our emotional one to achieve new harmony and inner healing. These figures are close together and indicate commitment and the concept of becoming whole and open through a relationship. It has been written that the Jungian concept of the Self, which while appearing as opposites are united. In numerology, six is the only number that is considered both masculine and feminine, which further suggests this card as one representing the joining of the opposites for healing and that the rich garden of inner balance would follow. For a man or even this artist , it could represent the sacred marriage where a man and his own feminine nature join together, preferably before he chooses a wife.

The next image is one of two figures secretly meeting amongst the branches of a tree. This came to me as The Hanged Man and also with a connection to the Lovers . In this image we see a tree which represents the world axis, the source and framework of the world. It also symbolizes the inexhaustible life process. In the Lovers, the tree is one of knowledge of good and evil. It symbolizes the stage of consciousness in the evolution of humankind and in the individual personality development. But here, in the branches we have two figures hanging. Unfortunately, it doesnt show what type of tree this could be. It may be that the artist had a secret that he whispered to the trees.

The hanged Man was once called Prudence, and was considered one of the cardinal virtues missing from the Tarot deck, the other three being Temperance, Strength and Justice or (fortitude). The myth often associated with this card is that of the Norse God Odin. He was wounded in the genitals and hung from the World tree for 9 days and nights in order to retrieve the magical runes of power and poetry from Niflheim, the realm of eternal mist and darkness. On the other hand this could symbolize hanging above an abyss between the past and the future, sacrificing old hurtful, painful experiences that keep us feeling victimized. Perhaps this artist was trying to convey that we have to be willing to give up beliefs or attitudes in which we are stuck, or which we have carried in our psyches for a long time. It is a representation of the crucifixion of the ego so that we might be resurrected into the higher or divine self.

I feel that this artist was going through a period of change in his life in which the symbolism was hidden in his art work. This card can be connected to the experiences an initiate might have during a shamanistic journey or mystic initiation, where isolation and the balancing of the self in which he re-emerges with a new sense of inner strength. I wonder what this artist felt he had to sacrifice?

In the next image of a human like figure, two cards comes to mind immediately and that is of the Fool and the Hermit. The Fool, here is depicted as someone beginning his journey to self-knowledge. He is on a quest . The Fool is an androgynous figure, but for now we will refer to the figure as he. Sometimes he may appear to be naïve and doesnt know what he doesnt know. He has no illusions , but possess a freedom. This figure is facing the left, or north -west which is the feminine or yin side, and the direction of unconscious. He looks straight ahead on his path. The fool is one of the most important cards of the Major Arcana. The Fool is at the beginning of the zodiac, Aries, the first day of spring. This is a highly potent time, the start of a new cycle, the fertilized seed, the birth of a new year; and with each beginning anything and everything is possible. He represents each one of us at every stage of lifes journey. No matter how old we are, life continues to throw up new situations in which we find ourselves feeling vulnerable, and uncertain, we must follow our own path no matter the obstacles. The Fool usually is accompanied by an animal, but in this image we only see a skull or head like shape on his wrist. This could symbolize or be identified as a spirit guide, or instinctual energies, or the intellect giving warning or suggesting urgency. The Fool represents the spirit on an inner journey and is related to the archetypal wanderer, and may symbolize that this artist discards the status quo of society in an attempt to find out who he truly is or what he truly desires. The stick or wand he holds is a magic wand which depicts his directed will through which he initiates his course of action. This wand is also a measuring tool, and suggests hidden forces. When we take on the right measurements of any given situation or any particular form, these hidden forces are released, providing us with greater control over portions of ourselves and of our environment. The pack on his back is a symbol of the collective unconscious, the memorial storehouse of all our past, present and future experiences. Another interpretation is that the pack contains four magic symbols which he will have to learn to use. But if we also can consider that he also looks like the Hermit in the Tarot cards, the artist may have been trying to convey another aspect of himself. The Hermit is referred to as the wise old man archetype and considered to represent the inner spirit and the notion that spiritual wisdom takes experience and effort and does not come about easily. He could be Father Time which symbolizes the harvest ending and beginning. The Hermit represents the contemplative silence that occurs before creation. Its number is nine, that of the Greek muses of inspiration. I believe that this artist was reclusive when creating and almost in a meditative state, connecting to his higher self for guidance and inspiration. He holds a light (the skull), representing both the light in the darkness and his own inner light at the level of his heart chakra, the powerhouse of the human energy system. It is the chakras of compassion and forgiveness, making the Hermit card , one of inner or self- healing. This artist may have reached , at times the pinnacle of inspiration or enlightenment or insight that inspired him further.

The next set of images is that of death holding the reaping hook, ready to take life off some people, who are probably relatives of the painter There is an old man, beautiful and rich women and other figures. This card for me is definitely connected to the tarot Death card.

Death is the card of natural change, that has the most evil, yet undeserved, reputation. Death is merely a reflection of an inner state that already exists, but which is being ignored or resisted. So, the artist here may be symbolizing that the Fool, through the sacrifice made in the Hanged Man either for himself or his father, comes rebirth, regeneration and renewal, the second birth into redemption and immortality. I believe that this artist was symbolizing and reminding us of the archetypal experience of death, is represented by imminent change or a mystical, or initiatory, death-like experience. Old traditions and ways of thinking must die and be discarded. Perhaps he wanted to try something new in his artists career. A symbolic death, is the end of one phase and beginning of another. Death is the harvest reaper who winnows out that which s no longer useful, or prevents new growth, so that new shoots of inspiration can flourish. What was this artist trying to accomplish ? The death card has to do with forgiveness, so perhaps this again is the artists way of letting go of anger or negative aspects of certain relationships, and to develop an entirely new perspective. This card is one of transformation and cutting through illusion, it represents rejuvenation and transcending duality. This artist may have explored principles and ideas to their true depth and released outgrown ideas or attitudes, bring him back to a more spiritual life.

The last images is one of a man with a pipe and moustache conversing with a bird. There also appears to be a blackbird, dog guardians, a mansion and message delivery with a bird which could be a dove. These images I had difficulty with. I didnt feel that there was a connection to any particular Tarot card, but there seems to be a connection with Egyptian symbology perhaps. In my opinion, all these things are just probabilities and personal interpretations. The head certainly could be the painter at an earlier age sending a message through the blackbird. Birds are mythological associated with the golden-haired, blue eyed Norse goddess Freya, who sometimes traveled in the guise of a bird. Because of their ability to fly, birds have long been considered messengers or mediators between heaven and earth, and to also symbolize higher consciousness, and spirit itself. They can represent freedom from restriction or the wish of such freedom. As such, and as spiritual guides , birds can represent the heights to which imagination can soar. In the drawing of the message delivery, it could be a dove that is sending the message. In mythology doves drew the chariot of Aphrodite/Venus, and were considered her messengers. In Gnostic legend, the dove represents Sophia. Some say it was a dove that Noah sent forth during the flood to find land. In Christian legend, the Holy Ghost came to the Virgin Mary in the form of a dove, and ultimately the Dove also came to represent her. All of these stories represent that the dove is a messenger that brings new possibilities. Another bird found in Tarot symbolism is the Ibis bird. Legend says that Thoth, Egyptian God of wisdom, took this birds form to hover over, and teach occult arts to, the Egyptian people; hence, it is a symbol not only of Thoth, but of the transmission of the Hermetic wisdom and of communication in general. Hermes, himself, hid as an ibis when the giant Typhon chased the gods from Olympus, and thus it also became associated with scholars and communicators. In the tarot card the Star, there is an ibis sitting in the tree, it oversees the transformation of unconscious material into consciousness. The dog guardian is associated with watchfulness and fidelity, the dog is often considered a guardian of the home, and the helper and protector of women and children. In antiquity dogs were considered to be guarantors of eternal life. The dog was a favorite animal of Artemis/Diana, goddess of the Moon. In ancient Greece, the dog also belongs to Asclepius, god of healing; so symbolically a dog is considered a guardian and guide, a protective force on which we can draw.

Perhaps the artist was trying to convey that he wanted to send a message to a woman who lived in the mansion, but had to do this secretly, as she was being guarded . Perhaps we will never know, but it has been interesting trying to interpret these child-like sketches through Tarot symbols. I hope you have enjoyed this Tarot journey.

If you are interested in learning more about Tarot or Astrology symbolism in your own personal chart please contact : Teresa Usher-Tsamis, Tarotist and Astrologer in Piraeus, Greece. Tel: 210-4520094 . I can also be found on Face book and my blog is called www.Tarot in Gre.

TERESAASHER

 

 

APPENDIX 'J'  TO  AN INTRODUCTION TO IMAGE CONCEAL TECHNIQUE IN ALCHEMIST HERMANN AHRENS PAINTINGS

 

RESEARCHERS & APPRAISERS SHORT BIOGRAPHY NOTE (PARTICIPATED IN THIS STUDY )

 

 

HERMANN AHRENS.

Born in Germany in 1822, lived in the mid-season in America in New York, painter, craftsman of graphic art engraving on wood pattern. Battalion Chief (Massonic Order) with the highest level initially <HA> illouminaton. Master of alchemy, mysticism, astrology, mathematics, chemistry, the philosopher's stone. Mason occult art painting. Other paintings unknown, other information unknown, date of death unknown place.

 

 

ATHNA KOTSONI SINETOU

 PAINTER. CONSERVATOR ART WORK ASSESSMENT

CONSERVATOR AT THE GREEK MUSEUM OF NAVAL ART AND TRADITION


Born in Athens. From an early age had paint praise and awards in competitions, with numerous exhibitions in GREECE specialist in Seascape and other forms of performance. Is an art appraiser, also studied art restoration in IEK Petra. At 2010 was a student at the Open University Art History Professor with Mr. Manos Stefanidis. source www.galleryathene.gr tel. 2104223733 210 3233999 6974957140 6942710181 athene@otenet.gr


TERESAASHER

 Born in England worked professionally with astrology and tarot cards and as her hobby is the artistic painting.

 LEONTIOS PETMEZAS

Academic Art Historian

Exhibitions Consultant

 

Born in Kavala in 1965. Brother is the distinguished economist George Petmeza. Comes from a family of chieftains in 1821, Macedonian, activists of the Resistance, and benefactors of the nation. He studied Political Science, Public Administration and Art History at the University. Did his doctoral thesis on the media. He studied acting and music at the National Conservatory. Also Theory, Art History and Painting in Europe and America and to Journalism school and ANTENA Botsis Foundation. He worked as a consultant and communications specialist cultural relations in cultural institutions, as a research associate and communications consultant in International Institutions and office policies.

He works as an art critic and book reviews in print and electronic media. Curates exhibitions and foreword by distinguished authors and artists presenting new talents. Organizes cultural events, symposia, conferences, meetings and art festival in collaboration with ministries, municipalities, regions, embassies, foundations, institutes, museums, cultural institutions and art galleries in Greece and abroad. From 2004 to 2011 he was Artistic Director and Scientific Advisor of the art institution "Art Flame" of the Ministry of Culture. An expert appraiser of fine art. Teaches art history. Consider international art historian. Has contributed to movements in the art world. Activities attended the official and personalities of Greece and other countries and have been recorded by the media as the most important cultural events of the last year. He has written 7 books and 18 plays.

Is a member of the Committee for Technical and speaker at conferences. Collaborates with groups of Unesco, Scientific and Educational Institutions. He has been honored for his contribution and appreciated by eminent intellectuals. He is a member of other associations between ESPIT, associations, companies and associations which have developed strong political cultural, social and trade union action. Paintings adorn known collections and much of went to charity ..

00302110172101 , 00306938066422

leontiospetmezas@gmail.com

Helen Dimopoulou

Born in Athens. Works in Agia Paraskevi.

She studied at the YMCA with teachers Virtue Floka hagiography George Barouni the mural and Dimitri Stravolemos in art restoration. Teaches the art of Mural Painting in the Metropolis of Attica and the outreach part of West Attica Prefecture.
Is art conservator at the Museum of Naval Tradition since 2000, the halls of which adorn some of her works. He collaborated with the European Institute of Maritime Studies and Research from 1998 to 2002 in the art conservation. Preserved frescoes and icons of the Church of Saints Constantine and Helen in the Agious Anargirous.

gia Paraskeui ,Chiou 46, Athens, Greece

el +30 210 6005653 Mob +30 6945 428879 email : info@eldi.gr

 

 

VALPAK S.A.

Since 1985 the Valpak supplies the global market with innovative, specialized products that perfectly meet the needs for protection in three business segments Military, providing multispectral camouflage products and services to protect against all sensors recognisance <CCD>, covering the entire range of the electromagnetic spectrum (UV VIS NIR Thermal IR RADAR). Moreover, VALPAK represents the biggest foreign equipment Night vision, thermal and sanitary products. Aquaculture, especially Antifouling products <Reduction of impurities, protect your nets> Interactive media, our core expertise is associated with areas of Flash and 3D animation, web design and visualization of communication problems.

 7 Paleon Patron Germanou str.,105 61, Athens - Greece 105 61, Athens, Greece

Tel.: 0030 210 32.32.538el: 0030 210 32.32.538 Fax: 0030 210 32.52.153 Fax: 0030 210 32.52.153

www.valpak.gr

  

KONSTANTINOS E STROMATIAS

 Konstantinos Stromatias is a real time systems Designer. Postgraduate diploma Engineer & Computer Engineering Technical University of Crete and now a PhD candidate at the University of Patras (Geophysical section).

At 1980 graduate from Greek Military Academy as a second Lieutenant of the Battle Engineers corp. At 1987 served to the new Informatics and research Greek Army corp. He retired in 2009 as a Brigadier.

He occupies 20 years experience in computer science (developing multi-sensory systems of command and control C4ISR http://www.kyklotron.com/c4isr.htm ).

He has taught in universities (Support operations Military school for officers - SSAS), Colleges (New York College), IEK, etc.

He was a Director of the Informatics at National Guard of Cyprus, EU.

He is an inventor, holding 17 patents ( http://www.cgri.gr/patents.htm ) including his own WMTS technology (Waveshooting Magnetic Tuned Systems)

( http://www.kyklotron.com/wtmspres.htm ), in implementing of which has developed and exclusively marketed by his company manufactured the Early Warning System DRAMS (http://www.kyklotron.com ) .

He is the president & founder of the Cyprus Geopathetic Research Institute http://www.cgri.gr and an active researcher of energy earth fluids by using microelectronics technology of his own invention http://www.cgri.gr/geopatheticgeo.htm subject to the conducting relevant research in the PhD thesis at the Geophysical Department of the University of Patras.

Is the founder of the websites: http://www.kyklotron.com , http://www.cgri.gr and http://www.geoment.e-e-e.gr  , where there are elements of his work and the technologies it has developed. His full CV is at link http://www.geoment.e-e-e.gr/ktitior6.htm

 

 

Cyprus Geopathetic Research Institute Laboratories