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Main Street, Gloucester - 1917
John Sloan (American, 1871 - 1951)
Sloan spent each summer from 1914 to 1918 in the small Cape Ann, Massachusetts, town of Gloucester. This work, executed during the fourth summer, reveals an aesthetic sophistication stimulated by the artist's absorption of the 1913 Armory Show's provocative presentation of avant-garde and modernist art. That landmark exhibition, coupled with those he helped to organize for The Eight in 1908 and the Exhibition of Independent Artists in 1910, inspired Sloan to explore a constellation of new ideas and methods. The body of work he created during the Gloucester years speaks of a renewed rigor as well as an intrepid and vigorous spirit of experimentation that would endure throughout his career.(1)
Initially, “Main Street, Gloucester” captivates as one of Sloan's distinctive "city-life" pictures, for which he garnered an enormous reputation. In the decade and a half preceding this painting's creation, his keen powers of observation, selection, and rendering were honed through his work as an illustrator, etcher, and painter of the urban scene. Yet his production during the Gloucester period represented a fundamental shift in his methods of conception and execution.
I had been dependent on waiting for the inspiration to paint a picture because I had so little leisure time to work for myself. So I decided to save up enough money to take off for a few months, go to the country and work from nature to get fresh ideas about plastic design and color rhythms.(2)
Thus issues of pure painting, rather than subject, motivated his work at this time.
This redirection toward plasticity, design, and color resulted from Sloan's thoughtful analysis of the work of what he called the "ultra-moderns" at the Armory Show. Sloan recalled the impact of that landmark exhibition: "It was exciting, it pointed many ways to freedom of expression, color, texture, most of all “graphics”. It pointed the way back to mental rather than visual thinking."(3) He credited the works of Cézanne, Matisse, and Van Gogh, among others, as powerful antidotes for the disease of "clever eyesight painting," the scourge of art production and consumption since the advent of photography.(4) He wrote: "Many intelligent people have accepted the false idea that accuracy in representing visual facts is a sign of progress in art. Such imitation of superficial effects has nothing to do with art, which is and always has been the making of mental concepts."(5)
Sloan's summers in Gloucester precipitated the auspicious convergence of several paths of inquiry in his own work. Using color as a constructive, expressive element in painting had been one of his preoccupations since 1909, when Robert Henri introduced him to Hardesty Maratta's experimental color system. Through it, Sloan had moved away from a dark tonal palette by increasing the presence of bright vivid colors. Maratta's system was predicated on the analogous relationship of the twelve colors in the chromatic wheel to notes in an octave of music.(6) The careful, precise orchestration of notes, chords, and harmonies was facilitated through the use of a set palette of premixed colors. With this palette, Sloan was confident that he could maintain the continuity of a painting's colors as he worked on it over time:
These Maratta colors opened up the palette for me. I had been analyzing the color of the city streets and the few things I painted from the model, in terms of color changes away from a basic raw umber note. With the Maratta colors I had six, twelve color-hues to work with, and from there could think of branching up into notes of higher intensity.(7)
His use of the Maratta system was given fresh impetus when he coupled it with plein-air techniques. The genre of landscape provided a comfortable arena in which to experiment with color that was often somewhat antinaturalistic. "After selecting the subject I would take half an hour to set my palette. Then I would pick up those set tones and draw with paint. Instead of imitating the colors in nature, I decided on some quality of color that interested me and set a limited palette."(8) His deep sympathy for humanity prevented his taking too many liberties with human subjects. "There is no better subject [than landscape] to free one of color habits. The variety in nature offers new color combinations, new ideas. You also feel more free to take liberties with color in nature than when painting from the figure."(9)
In “Main Street, Gloucester” Sloan effectively merged plein-air techniques with his exploration of color rhythms and plastic design. Through the skilled massing and organization of form, volume, and color, he devised a composition that is at once stable and balanced yet highly animated. By the artist's criteria for a successful composition, “Main Street, Gloucester” is a successful work. "A good design has stability. It is at rest with itself. Sense the opposition of horizontal and vertical rhythms to the dynamic movement of diagonal curves. Feel the weight of tones and colors, balance and counterbalance them against line and mass."
Born in Lock Haven, Pennsylvania, John Sloan was the first child and only surviving son of Henrietta Ireland, a former school teacher, and James Dixon Sloan, who repaired bicycles and worked as a photographer after the decline of his family's cabinetry business. Sloan's childhood was spent reading, sketching, and pouring over illustrated books. He attended Philadelphia's prestigious collegiate Central High School with fellow students William Glackens and Albert Barnes. In 1888 Sloan left school just six months shy of graduation, to become the family's primary breadwinner.
Sloan took a job as a cashier at Porter and Coates' bookstore and continued his education by reading and studying prints. He taught himself to etch using Philip Hamerton's “Etcher's Handbook” (1881), a popular "how-to" manual, and supplemented his income by selling prints at the bookshop. When A. Edward Newton, one of his co-workers, left to open his own store, he hired Sloan to etch giftbooks and pamphlets. At this time, Sloan made his first oil painting, “Self-Portrait” (1890; Delaware Art Museum, Wilmington), using another "how-to" book, John Collier's “Manual of Oil Painting” (1886), and painting on a piece of window shade his father gave him.
During the 1890s Sloan worked as an illustrator for the “Philadelphia Inquirer” and the “Philadelphia Press”, honing his skills as an astute "spectator of life." Fellow illustrators Glackens, George Luks, and Everett Shinn introduced him to a circle of artists, including Robert Henri, who soon became his close friend and mentor. Their shared aspirations to infuse American art with vitality and release it from the tyranny of the conservative academic system of juried exhibitions and prizes led them to form the group known as The Eight. Their landmark exhibition of 1908 established Sloan's career as an artist, exhibition organizer, and forward-thinking modernist.
Sloan's earliest paintings, many executed in a limited palette, are indebted to the figurative traditions of James McNeill Whistler, Thomas Eakins, and Thomas P. Anshutz. Sloan moved to New York in 1904 and took up the city-life subjects that distinguished his ensuing career. His spirit of artistic exploration, fed by the 1913 Armory Show and summer sojourns to the art colonies of Gloucester (1914-18) and Santa Fe (1919-50), led him to experiment with color, glazing, and a graphic painting technique that he called "linework."
From 1900 until his death, Sloan's paintings, etchings, and drawings were exhibited in nearly nine hundred exhibitions, including those at the Pennsylvania Academy of the Fine Arts, Carnegie Institute, Art Institute of Chicago, Corcoran Gallery of Art, Whitney Studio Club and C. W. Kraushaar Art Galleries. “The Gist of Art” (1939), written with his student Helen Farr (later, Mrs. John Sloan), stands as a thoughtful and eminently readable compendium of his ideas and practices. Happily, Sloan's numerous contributions to the arts and to art education were recognized and celebrated in the decade before his death.
_________________________________
"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
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Baker Street frontage
Baker Street: The World's First Underground
..the origins of the world’s first Underground network.
Opened on 10 January 1863 as part of the Metropolitan Railway, Baker Street was home to the launch of a revolutionary idea – carrying passengers beneath Victorian London’s congested streets. Cutting a 90-minute journey to just 20 minutes, the ‘Met’ revolutionised travel in the city and provided the foundation for Metro systems across the world.
Explore closed-off parts of the station including original platforms, disused lift shafts and corridors that are hidden in plain sight - some of which were last accessed by the public over 75 years ago in 1945. Learn about the station’s history as the Operational Headquarters for London Underground, and hear first-hand accounts from those who worked (and played) there over the years.
This tour will take you on a historical journey through the 160 years of the station, starting with the early days of Victorian underground steam travel and ending in the busy station of 10 platforms and five Underground lines that it is today.
Along the way, you’ll hear what the very first passengers thought of underground travel in 1863, how the Underground grew and expanded over the next 16 decades, and how Baker Street served not only passengers, but also London Underground staff..
[*London Transport Museum]
HISTORY: In 1854 an Act of Parliament was passed enabling the Metropolitan Railway to construct an underground railway between Paddington and the City, as part of an envisaged 'Inner Circle' linking the mainline stations, to be completed in conjunction with the MR's collaborator, later arch-rival: the Metropolitan District Railway (MDR), inaugurated in 1864. This - the world's first underground railway - was constructed 1860-3 under the supervision of (Sir) John Fowler, the MR's Engineer in Chief, from Paddington, Bishop's Road (now Paddington), and Farringdon Street (Farringdon), with intermediate stations at Edgware Road, Baker Street, Portland Road (Great Portland Street), Gower Street (Euston Square) and King's Cross. The railway was constructed on the 'cut-and-cover' system whereby a trench is excavated and roofed over, a method employed until the 1890s when it was superseded by the deep tube system for electrified trains. Both broad and standard-gauge track were laid.
The original MR station surface buildings were relatively modest, single-storey Italianate buildings in brick and stucco and none survives other than as fragmentary remains. Of the seven, Paddington, Edgware Road, Kings Cross and Farringdon had platforms in open cuttings flanked by brick retaining walls covered by conventional iron-and-glass roofs, while Gower Street, Great Portland Street and Baker Street had sub-surface platforms covered by a brick barrel vault, lit by globe gaslights; these latter stations were thus the first true 'underground' stations. At Baker Street and Gower Street, which were virtually identical, lighting was supplemented by a series of deep lunettes pierced through the vault, lined with white glazed tiles, each of which had a thick glass cover at surface level with ventilation apertures, enclosed by railings. No more of these sub-surface platforms were built due to the noxious atmosphere from steam and gases.
Baker Street station opened on 10 January 1863, comprising a pair of one-storey buildings on the north and south corners of Marylebone Road and Baker Street, each containing a booking office and stairs down to the west end of the platforms. In 1868, two surface-level platforms opened on the north side to serve an extension to Swiss Cottage, later extended to four, with a link to the existing line. From here the line - known as the 'Metropolitan Extension' - was incrementally extended north-westwards into Middlesex, Buckinghamshire and Hertfordshire, reaching Aylesbury and Verney Junction in 1892, some 50 miles from central London. Branch lines were opened from Harrow to Uxbridge (1904), Moor Park to Watford (1925) and finally Wembley Park to Stanmore (1932). The MR absorbed the Hammersmith & City Railway in 1867, and opened a new branch from Edgware Road to South Kensington in 1868. The MR also operated trains on the London and South Western Railway line to Richmond by 1877. The original line was extended to Moorgate in 1865; Bishopsgate (Liverpool Street) in 1875 and Aldgate in 1876. Meanwhile, the remainder of the Inner Circle was constructed by the MDR, from South Kensington (1868) to Tower Hill (1884). The Baker Street & Waterloo Railway (later the Bakerloo Line) opened its station at Baker Street on 10 March 1906.which stood to the northwest of the MR station, interlinked to it by a subway. It was demolished in the 1960s.
The MR deliberately cultivated the image of a mainline company (which in effect it was). The line was electrified by 1907, and in 1911 the MR embarked on a comprehensive rebuilding programme in which Baker Street was to be its new company headquarters and flagship station. This was prompted not only by increasing congestion, but also the drive to exploit suburban expansion to the northwest. Here, the MR enjoyed a uniquely privileged position whereby it was legally enabled to retain surplus land it had acquired for railway development in the late C19. Thus was born 'Metro-land', the term coined by the MR's publicity department in 1915 and used henceforth in MR marketing, and which rapidly entered common parlance as an idealised evocation of northwest London commuterland. Baker Street Station was the 'Gateway to Metro-land'.
The new station was designed by Charles Walter Clark (1885-1972), appointed Chief Architectural Assistant to the Engineer of the MR in 1910 and Architect in 1921. It was intended to form part of the ground floor of a large five-storey, 15-bay hotel carried on a tall rusticated-arcaded ground floor, approached by a long ramp. The station comprised a grand booking hall and concourse at basement level with a ladies' room, buffet, lost property office and WH Smith bookstall among the facilities, providing a modern service comparable to that of a main-line station. To the east were offices, a parcels office and a goods entrance. The MR Extension platforms were remodelled, and to the northeast in Allsop Place an imposing new MR headquarters was built to Clark's design. Building ceased on the outbreak of WWI, and the hotel proposal was superseded by a scheme for mansion flats, named Chiltern Court, designed by Clark in 1927 and completed in 1929.
The MR remained fiercely independent until 1932, having resisted absorption into 'the Combine' which dominated underground railway construction in London until the 1930s. In 1933 the Combine, the MR and all bus and tram networks, were merged into the London Passenger Transport Board, an unsubsidised public corporation, and the MR network became the Metropolitan Line. In 1939, Bakerloo trains took over the ML service to Stanmore. Another entrance was formed further to the west in Chiltern House c1939, linked to the ML booking hall by a corridor. In 1979 the new Jubilee Line took over the Baker Street to Stanmore branch of the Bakerloo line and added an extra northbound platform. In 1990 the section of the ML from Baker Street to Hammersmith became part of the newly-created (or recreated) Hammersmith & City Line.
[Historic England]
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Main Street, Gloucester - 1917
John Sloan (American, 1871 - 1951)
Sloan spent each summer from 1914 to 1918 in the small Cape Ann, Massachusetts, town of Gloucester. This work, executed during the fourth summer, reveals an aesthetic sophistication stimulated by the artist's absorption of the 1913 Armory Show's provocative presentation of avant-garde and modernist art. That landmark exhibition, coupled with those he helped to organize for The Eight in 1908 and the Exhibition of Independent Artists in 1910, inspired Sloan to explore a constellation of new ideas and methods. The body of work he created during the Gloucester years speaks of a renewed rigor as well as an intrepid and vigorous spirit of experimentation that would endure throughout his career.(1)
Initially, “Main Street, Gloucester” captivates as one of Sloan's distinctive "city-life" pictures, for which he garnered an enormous reputation. In the decade and a half preceding this painting's creation, his keen powers of observation, selection, and rendering were honed through his work as an illustrator, etcher, and painter of the urban scene. Yet his production during the Gloucester period represented a fundamental shift in his methods of conception and execution.
I had been dependent on waiting for the inspiration to paint a picture because I had so little leisure time to work for myself. So I decided to save up enough money to take off for a few months, go to the country and work from nature to get fresh ideas about plastic design and color rhythms.(2)
Thus issues of pure painting, rather than subject, motivated his work at this time.
This redirection toward plasticity, design, and color resulted from Sloan's thoughtful analysis of the work of what he called the "ultra-moderns" at the Armory Show. Sloan recalled the impact of that landmark exhibition: "It was exciting, it pointed many ways to freedom of expression, color, texture, most of all “graphics”. It pointed the way back to mental rather than visual thinking."(3) He credited the works of Cézanne, Matisse, and Van Gogh, among others, as powerful antidotes for the disease of "clever eyesight painting," the scourge of art production and consumption since the advent of photography.(4) He wrote: "Many intelligent people have accepted the false idea that accuracy in representing visual facts is a sign of progress in art. Such imitation of superficial effects has nothing to do with art, which is and always has been the making of mental concepts."(5)
Sloan's summers in Gloucester precipitated the auspicious convergence of several paths of inquiry in his own work. Using color as a constructive, expressive element in painting had been one of his preoccupations since 1909, when Robert Henri introduced him to Hardesty Maratta's experimental color system. Through it, Sloan had moved away from a dark tonal palette by increasing the presence of bright vivid colors. Maratta's system was predicated on the analogous relationship of the twelve colors in the chromatic wheel to notes in an octave of music.(6) The careful, precise orchestration of notes, chords, and harmonies was facilitated through the use of a set palette of premixed colors. With this palette, Sloan was confident that he could maintain the continuity of a painting's colors as he worked on it over time:
These Maratta colors opened up the palette for me. I had been analyzing the color of the city streets and the few things I painted from the model, in terms of color changes away from a basic raw umber note. With the Maratta colors I had six, twelve color-hues to work with, and from there could think of branching up into notes of higher intensity.(7)
His use of the Maratta system was given fresh impetus when he coupled it with plein-air techniques. The genre of landscape provided a comfortable arena in which to experiment with color that was often somewhat antinaturalistic. "After selecting the subject I would take half an hour to set my palette. Then I would pick up those set tones and draw with paint. Instead of imitating the colors in nature, I decided on some quality of color that interested me and set a limited palette."(8) His deep sympathy for humanity prevented his taking too many liberties with human subjects. "There is no better subject [than landscape] to free one of color habits. The variety in nature offers new color combinations, new ideas. You also feel more free to take liberties with color in nature than when painting from the figure."(9)
In “Main Street, Gloucester” Sloan effectively merged plein-air techniques with his exploration of color rhythms and plastic design. Through the skilled massing and organization of form, volume, and color, he devised a composition that is at once stable and balanced yet highly animated. By the artist's criteria for a successful composition, “Main Street, Gloucester” is a successful work. "A good design has stability. It is at rest with itself. Sense the opposition of horizontal and vertical rhythms to the dynamic movement of diagonal curves. Feel the weight of tones and colors, balance and counterbalance them against line and mass."
Born in Lock Haven, Pennsylvania, John Sloan was the first child and only surviving son of Henrietta Ireland, a former school teacher, and James Dixon Sloan, who repaired bicycles and worked as a photographer after the decline of his family's cabinetry business. Sloan's childhood was spent reading, sketching, and pouring over illustrated books. He attended Philadelphia's prestigious collegiate Central High School with fellow students William Glackens and Albert Barnes. In 1888 Sloan left school just six months shy of graduation, to become the family's primary breadwinner.
Sloan took a job as a cashier at Porter and Coates' bookstore and continued his education by reading and studying prints. He taught himself to etch using Philip Hamerton's “Etcher's Handbook” (1881), a popular "how-to" manual, and supplemented his income by selling prints at the bookshop. When A. Edward Newton, one of his co-workers, left to open his own store, he hired Sloan to etch giftbooks and pamphlets. At this time, Sloan made his first oil painting, “Self-Portrait” (1890; Delaware Art Museum, Wilmington), using another "how-to" book, John Collier's “Manual of Oil Painting” (1886), and painting on a piece of window shade his father gave him.
During the 1890s Sloan worked as an illustrator for the “Philadelphia Inquirer” and the “Philadelphia Press”, honing his skills as an astute "spectator of life." Fellow illustrators Glackens, George Luks, and Everett Shinn introduced him to a circle of artists, including Robert Henri, who soon became his close friend and mentor. Their shared aspirations to infuse American art with vitality and release it from the tyranny of the conservative academic system of juried exhibitions and prizes led them to form the group known as The Eight. Their landmark exhibition of 1908 established Sloan's career as an artist, exhibition organizer, and forward-thinking modernist.
Sloan's earliest paintings, many executed in a limited palette, are indebted to the figurative traditions of James McNeill Whistler, Thomas Eakins, and Thomas P. Anshutz. Sloan moved to New York in 1904 and took up the city-life subjects that distinguished his ensuing career. His spirit of artistic exploration, fed by the 1913 Armory Show and summer sojourns to the art colonies of Gloucester (1914-18) and Santa Fe (1919-50), led him to experiment with color, glazing, and a graphic painting technique that he called "linework."
From 1900 until his death, Sloan's paintings, etchings, and drawings were exhibited in nearly nine hundred exhibitions, including those at the Pennsylvania Academy of the Fine Arts, Carnegie Institute, Art Institute of Chicago, Corcoran Gallery of Art, Whitney Studio Club and C. W. Kraushaar Art Galleries. “The Gist of Art” (1939), written with his student Helen Farr (later, Mrs. John Sloan), stands as a thoughtful and eminently readable compendium of his ideas and practices. Happily, Sloan's numerous contributions to the arts and to art education were recognized and celebrated in the decade before his death.
_________________________________
"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
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* Outstanding fire resistant properties
Applications:
Cinema, Theatre, Music hall, Studio, Hall, Hotel, Meeting room, Library, Lab, Night club, Gymnasium, Church, School, Kindergarten, Bowling building, workshop, and any other places with sound absorption or noise treatment requirements.
Product Picture:
Product Details:
Nike Air Max 1 GS Mars Stone, Size 6Y, Sail, Vintage Coral, 807602-103, UPC 00886736616735, Release Year 2018, Breathable textile mesh upper with leather overlays, Round toe and secure lace up closure, Textile lining with cushioned footbed for comfort, Air Max unit in heel for maximum impact protection, Rubber outsole with modified waffle pattern for traction, Visible Air-Sole unit in the heel for impact protection and comfort, Visible air sole unit, mesh and suede upper, debut in 1987, Air-Sole unit, Air Max technology, impact absorption, runners,
A magnificent opportunity awaits for you to take a pause and revive in the mind, body, and spirit, in the indeed godly Himalayan land of Nepal on this advanced yogic learning experience. In a seamless flow, the curriculum of the 500 hour yoga teacher training in Nepal. The absorption and internalization of wholesome habits, sattvic values, and a detoxified mind-body constitution, is naturalized over this lengthy period of thorough discipline.
Nike Air Max 1, ND, Have A Nike Day, GS, Size 7Y, Space Purple, Black, Bleached Coral, AT8131-001, UPC 00888409493087, Release Year 2018, tongue features "Have A Nike Day" textile eyelets, embroidered smiley face, mesh base, multi-color sole, White midsole, Woven tongue label, black Nike “Swoosh”, smiley face metal lace dubrae, smiley face logo on the heels, pastel-translucent outsole, Black overlays on the Swoosh and mudguard, Visible air sole unit, mesh and suede upper, pastel tones and smiley face logos, debut in 1987, Air-Sole unit, Air Max technology, impact absorption, runners
Nike Air Force 1 High Flax, GS, Size 5Y, Wheat, Gum, 922066-203, Outdoor Green, Gum, UPC 00883212095992, ‘Flax’ collection, outdoor green accents, tonal flax Gum outsole, Flax nubuck upper, Gum Out Sole, Perforated detailing on the toe box, Perforations for breathability, Nike Swoosh on the sides, Ankle strap for security, Nubuck tongue with Nike Air branding, Midsole Air-sole for impact absorption, Nike Air branding on the heel, Red Deals Online eBay store
Nike Air Force 1 Mid 07, Obsidian, Denim, Sail, Gum, Light Brown, 315123-408, Men’s, Size 10.5, Off White, leather and textile upper, padded ankle collar, provides a comfortable fit, VELCRO closure across the ankle adds stability and support, Full-length Phylon midsole with heel Air-Sole unit provides added shock absorption, Rubber outsole supplies durable traction, Basketball, Classic/Retro, Mid-Top, Bruce Kilgore, Release Year 2015, AF1, Uptowns, Basketball, Classic/Retro, Mid-Top
Timberland 6” Premium Waterproof Boots, Men’s Size 11, Black, Nubuck, 10073, TB010073 Premium waterproof Nubuck leather upper, Seam-sealed waterproof construction, Direct-attach construction for durability, Leather lining for comfort and durability, Rustproof hardware, Classic nylon boot laces, 200 grams of PrimaLoft® insulation, Padded collar for a comfortable fit around the ankle, Anti-fatigue midsole and removable footbed for all-day comfort, lightweight cushioning and shock absorption, Rubber lug outsole is made with 10% plant-based materials, padded collar,
Seng demonstrates how to absorb light from a subject's face by using any old dark object.. Its all about the light people.
Copper is found in all body tissues, plays a role in making red blood cells with iron & maintaining nerve cells, the immune system, formation of collagen, plays a role in energy production, aids in iron absorption, helps carry oxygen to your brain. Most copper in the body is found in the liver, brain, heart, kidneys, skeletal muscle & regulating stress response.
Body needs copper to produce specific enzymes responsible for making the connective tissue in our ligaments, tendons & heart. These enzymes are also involved with maintaining strong blood vessel structure & support bone formation. Copper plays an important role in melanin formation. Copper peptides possibly stimulates hair follicles, so they receive adequate oxygen & nutrients to produce new hair growth.
Normal copper level in blood is 70-140 microgram/dL for males & 80-155 microgram/dL.
Copper deficiency can lead to problems with connective tissue, muscle weakness, anemia, low white blood cell count, neurological problems, paleness. As an antioxidant, it binds with free radicals in our body, preventing them from harming our cells. Excessive free radicals, in long run, can cause chronic diseases like diabetes, arthritis & heart disease.
Besides, copper deficiency causes low body temperature, bone fractures and osteoporosis, low white blood cell count, irregular heartbeat, loss of pigment from the skin, thyroid problems.
Copper poisoning occurs from prolonged use of copper dietary supplements or from drinking contaminated water. Poisoning cause feeling of anxiety, irritability, non-attention, overexcited, sad, mood changes with other common symptoms abdominal cramps, nausea, jaundice etc.
Main reason for copper deficiency is malabsorption due to bariatric surgery. Ascorbic acid is known to inhibit the absorption of copper. Rich dietary copper sources include shellfish, seeds, nuts, organ meats, wheat-bran cereals, whole-grain products, chocolate, potatoes. Sweet potatoes are rich in beta carotene (vitamin A), copper, potassium, manganese, Vit B6, B5, Vit E.
Copper supplements like copper gluconate, copper sulfate, copper chloride are prescribed for copper deficiency as medication.
TAILPIECE: Copper is a micro-nutrient, eating or drinking out of copper vessels healthy as it is great for the immune system, digestion. Water stored in a copper vessel is alkaline and better for your health. However, avoid preparation of acidic foods in copper vessels since the acids react with copper.
Agappe, your best partner in diagnostics, offers Copper reagent in semi auto clinical chemistry analyzer platform.
My first stacked image of the Milky Way galactic center. The framing is a little off, but with some artistic insight you can appreciate the dark absorption nebula of the milky way encroaching on the rest of interstellar space.
Around 1000 frames untracked at 3 seconds each, f/1.8 ISO 1600 on a Canon Rebel T3i with calibration frames flats, darks and bias stacked with DSS and processed in photoshop.
Nike Air Force 1 High, Menâs Size 11.5, Black, Iridescent, UPC: 00886691908005, 2016, Padded high-cut collar, Full-length Nike Air unit, Ankle strap, Iridescent accents, leather upper, Black rubber midsole and outsole, Nike AIR printed on heel, Nike Swoosh on the sides, Ankle strap for security, tongue with Nike Air branding, Midsole Air-sole for impact absorption, Rubber outsole, Air-Sole cushioning unit, reddealsonline, redd3413
All Weather Sound Panels block and absorb sound from one direction. This is the front side where the sound is prevented from encroaching on an adjacent neighborhood.
Class A Sonata acoustic absorption panels used to reduce reverberation within School, Village and Church Halls
Class A Sonata acoustic absorption panels used to reduce reverberation within School, Village and Church Halls
Nike Air Force 1 High Flax, GS, Size 5Y, Wheat, Gum, 922066-203, Outdoor Green, Gum, UPC 00883212095992, ‘Flax’ collection, outdoor green accents, tonal flax Gum outsole, Flax nubuck upper, Gum Out Sole, Perforated detailing on the toe box, Perforations for breathability, Nike Swoosh on the sides, Ankle strap for security, Nubuck tongue with Nike Air branding, Midsole Air-sole for impact absorption, Nike Air branding on the heel, Red Deals Online eBay store
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Sound panels reduce sound and enhance the experience and comfort in any given space. Sound absorption creates a great atmosphere by filtering out unwanted sounds from outside the room and from sounds bouncing around inside the room.
But the question of how many sound panels do I need is not always an easy question to answer. Multiple factors influence the number of panels you need.
In this article, we’ll explore a few of the factors you need to consider before choosing the number of sound panels for your room.
Shape & Size Of The Room
It probably comes as no surprise that the larger the room size, the more panels you’ll need for optimal sound absorption. Larger rooms produce more echo and more reverberation, requiring a higher level of protection to prevent sound from bouncing around the room and onto other surfaces.
The shape of a room will also affect how sound travels in and around it. A high ceiling will completely change the acoustics of a similar-sized room with lower ceilings. More height = and more space = more reverberation.
Rooms with straight, square, or rectangular walls are pretty straightforward by placing sound panels around the perimeter. But spaces with high-ceiling can benefit from sound panels on the ceiling to reduce the reverberation. Longer rooms have different problems to solve.
So before you decide on the number of panels you need, it’s important to take into consideration the size and shape of the room.
Materials In The Room
The contents of the room are important to how sound travels and is absorbed. Does your space have carpet or hardwood floors? Are the walls drywall, concrete, or wood? Is it heavily furnished or sparse? Questions like these are critical to determining the type and number of acoustical panels are needed for any given room.
Remember that hard surfaces reflect more sound than soft surfaces. Ceramic tile floors will reflect a lot more sound than carpet for example. A room full of plush couches will reflect less sound than a room full of metal chairs.
The Purpose Of The Room
The purpose of the room won’t directly affect the sound levels but is more so used to determine what is an acceptable level of noise and sound reverberation. Is your room a theater? An office? A home recording studio?
All of these rooms require different levels of noise reduction to suit their unique needs. There is no one-size-fits-all when it comes to the acoustics of a room.
For many spaces, it’s not just the amount of sound that needs consideration, but the frequency as well. Different panels will absorb different frequencies, and in general, a thinner panel will absorb higher frequencies, while a thicker panel will absorb lower frequencies.
Different materials inside the panel and the outer wrapping will affect how the panel reduces noise, and which frequencies it takes out the most.
Just like using too few panels will not reduce the sound enough, using too many panels can deaden the sound too much and produce an unnatural and undesirable effect. Reverberation is natural, and important for many rooms. Too many panels in the wrong space results in a room sounding “dead”, which is not what you want unless you’re in a recording studio or similar space.
Positioning Of The Sound Panels
The position of the sound panels plays an important role in how sound is absorbed and reflected. In general, you want to place sound panels at the first reflection points, which is the first area sound would otherwise bounce in a space.
It is recommended to place panels on the sidewalls, ceilings, corners, or the back wall to deal with the first reflections. The size, and shape of the room as well as sound source and type will all play a part in determining the best place to put the panels.
How Many Do I Need?
The short answer to this question is in general you want to have 10-30% of the area covered. However, as we explained above, several factors will determine the exact number and type. You can also use this formula as a rough guide.
Cubic Volume of the room x 3% = square footage of product
Height x Width x Depth x 0.03 = Sq/Ft
These calculations and estimates are just guides, however. If you want your room to have the best soundproofing and absorption possible, it’s best to contact an expert to help you make the right decision.
Each room is different and unique. Call Specialty Interiors and speak to one of our trained sound panel specialists who will answer all your questions and help you choose the best panels for your room.
The post How Many Sound Panels Do I Need? first appeared on Winnipeg's Leader in Flooring & Ceiling Tiles. specialtyinteriors.ca/2021/11/how-many-sound-panels-do-i-...
100%PP Grey Universal Oil Absorbent Pads:
* Oil absorption quantity of 10-20 times
* Economical and effective
* 100% PP construction
Feature:
* One sided spun bond gives extra strength as well as lower lint.
* Chemically inert : product does not degrade or cause a dangerous chemical reaction with the adsorbed liquid.
* Green colour alerts workers that the product is being used for hazardous liquids.
* Green colour also allows the user to identify and separate hazardous waste for disposal, resulting in lower disposal costs.
* Perforated for flexibility : use only what you need and minimize waste.
Nike Air Force 1 High Flax, GS, Size 5Y, Wheat, Gum, 922066-203, Outdoor Green, Gum, UPC 00883212095992, ‘Flax’ collection, outdoor green accents, tonal flax Gum outsole, Flax nubuck upper, Gum Out Sole, Perforated detailing on the toe box, Perforations for breathability, Nike Swoosh on the sides, Ankle strap for security, Nubuck tongue with Nike Air branding, Midsole Air-sole for impact absorption, Nike Air branding on the heel, Red Deals Online eBay store
Originally, we thought the only rugs in stock were Orange and Blue, so we kept that in mind for the mock-up.