View allAll Photos Tagged Absorption
Suspended time and absorption are central in our performative work. We perform „engrossed in an activity as if in denial of an audience“. We keep still. We move according to a choreographed path. We keep close to each other, we touch each other, we lie on the floor. From one tableau to the next. Holding the image for few minutes. One of us lies on a wooden plank. The whole leg, buttocks and lower back rest on the plank. Only shoulders and head touch the floor. The second figure is already doing a shoulderstand, bending the left knee and simultaneously stretching and leaning the right leg slightly over the head. The stretched leg remains leaning… The piece is inspired by the long scene in the sculpture garden at the Museum of Modern Art in New York from the film „Shadows“ by John Casavettes; Stills from Bob Fosse’s „All that Jazz“; photos of works by Yvonne Rainer and Rudolph von Laban and Kinesiology, physical therapy exercises.
Sonata Class A rated Acoustic panels are used within a wide variety of buildings to reduce reverberation and give a suitable acoustic environment.
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.
Sonata Class A rated Acoustic panels are used within a wide variety of buildings to reduce reverberation and give a suitable acoustic environment.
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.
You can find the 3D model of the chiller and animated absorption cooling cycle diagram which will help you understand the basic principle of an absorption chiller (absorption refrigerator)
Suspended time and absorption are central in our performative work. We perform „engrossed in an activity as if in denial of an audience“. We keep still. We move according to a choreographed path. We keep close to each other, we touch each other, we lie on the floor. From one tableau to the next. Holding the image for few minutes. One of us lies on a wooden plank. The whole leg, buttocks and lower back rest on the plank. Only shoulders and head touch the floor. The second figure is already doing a shoulderstand, bending the left knee and simultaneously stretching and leaning the right leg slightly over the head. The stretched leg remains leaning… The piece is inspired by the long scene in the sculpture garden at the Museum of Modern Art in New York from the film „Shadows“ by John Casavettes; Stills from Bob Fosse’s „All that Jazz“; photos of works by Yvonne Rainer and Rudolph von Laban and Kinesiology, physical therapy exercises.
Products Description:
Item No:JEB8500/JEB8505/JEB8506
Series Name:The First Generation Double Loading
Water Absorption :below 0.15%
Mohs Hardness:8
Glossy Rate: above 55 degree
Flatness :+-0.15%
Size Tolarance:+-0.5mm
Size Available:600*600mm,800*800mm, 1000*1000mm;
Colour:white, beighe , brown, grey, and so on, each color with polished, matt, rustic three finish.
Price and Package:
600*600MM : 4PCS/CARTON,30G/CARTON;
Ex-Work Price:13.50RMB/PCS,37.53RMB/SQM;
800*800MM:
3PCS/CARTON,45KG/CARTON;
Ex-Work Price:327.00RMB/PCS,42.12RMB/SQM;
1000*1000MM:
2PCS/CARTON,60KG/CARTON;
Ex-Work Price:70.00RMB/PCS,70.00RMB/SQM;
NOTE:
1.The price is based on EX-Work which includes the wooden pallets and VAT.
2.The glazed tiles are porcelain glazed tiles ,the water absorption is below 0.5%;
3.If you need to change the cartons ,It will charges you 0.3RMB/PCS(600*600MM) and 0.6RMB/PCS(800*800MM).
4.If load the tiles from Shiwan warehouse,It needs you to pay the freight cost as below:
1RMB/CARTON(600*600MM);1.2RMB/CARTON(800*800MM);1.5RMB/CARTON(1000MM*1000MM)
For the test film of the Jupiter-9 lens I mounted it on the Leningrad camera (see below for detail about the lens and the camera). The lens was fitted with a generic yellow filter (screw-on 49mm) and a generic cylindrical metal shade hood designed for a 50mm lens. By safety, a lens cap fitted on the hood (55mm) was also used to protect the shutter curtains from an accidental sun burning (I forgot twice to remove the cap before shooting...)
I loaded the Leningrad with a Rollei RPX 400 film exposed for 250 ISO to compensate the absorption of the yellow filter. The light metering was done using a Minolta Autometer III with the 10° viewer for selective metering privileging the shadows areas.
The viewer of the Leningrad has build-in frame for the 85mm and is fully compensated for the parallax error.
View Nr. 13 : 1/250s f/9 focusing @ 25m
Les Quais du Rhône, February 17, 2025
Quai Victor Augagneur
69003 Lyon
France
After completion, the film was rewound and processed using 350 mL of Adox Adonal (Agfa Rodinal) developer prepared at the dilution 1+25 for 12min15 at 20°C.
Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) fitted to a Minolta Auto Bellows III with the Minolta slide duplication accessory and Minolta Macro Bellow lens 1:3.5 f=50mm. The diffuse light source was a LED panel CineStill Cine-lite.
The RAW files obtained were inverted within the latest version available of Adobe Lightroom Classic (version 14.2) and edited to the final jpeg pictures without intermediate file. They are presented either as printer files with a frame or the full size JPEG's together with some documentary smartphone color pictures.
About the camera :
After several months, my local repair shop gave up to repair my first exemplary of Leningrad camera. I got that GOMZ Leningrad for less than the price of the lens (50€) a year ago (February 24, 2024, flic.kr/s/aHBqjBftyP) at the monthly collector meeting in Saint-Bonnet-de-Mure, near Lyon, France. I looked then again for a working one.
Leningrad’s are fascinating Russian range-finder 35mm camera’s produced in Leningrad (USSR) / Saint-Petersburg, from 1956 to 1968 at about 76.000 units. It is not really a rare camera but appears only from time-to-time in the classical collector’s networks.
The Leningrad camera project was developed by GOMZ company (ГОМЗ, Государственный оптико-механический завод, Ленинград = Gosularstvennyi Optiko-Mekhanicheskii Zavod =State Optical-Mechanical Factory), Leningrad, USSR. The Leningrad ’s were constructed to a very high degree of precision and likely the most advanced rangefinder ever made at that time in Russia. At the 1958 World Exposition in Brussels, the Leningrad was awarded the "Grand Prix de Bruxelles”. Modified Leningrads were also used in the Soviet space program. In addition to a complex parallax-compensated multi-focal (for 3.5, 5, 8.5 and 13.5cm) collimated system, the camera has a built-in spring-powered mechanical motor for an automated film advance after each view taken. The Leningrad mounts the 39mm Leica-type thread lenses, especially of the Jupiter series of lens derived of classical Carl Zeiss lenses designed for the Contax (Biogon 3.5cm and Sonnar’s 5, 8.5 and 13.5cm).
In 1965, GOMZ became LOMO ( ЛОМО, Ленинградское oптико-механическое oбъединение (Leningradskoïe Optiko-Mekhanitcheskoïe Obiedinienie) that is still existing, producing instrumental optical devices (www.lomo.ru).
On eBay, I focused on a LOMO Leningrad year 1965 in working condition but without the original film plate. I got the camera for 130€ including the leather bag and a standard lens Jupiter-8 1:2 f=5cm. The seller adapted cleanly a different film plate that looked to work, but my idea was to use the camera back of my faulty Leningrad. This film plate may a precision glass plate special designed for optimum film transport and optical planarity. I received my new Leningrad on January 31, 2025 in good condition.
After a very careful inspection and a detailled cleaning, I decided to make a test film using a FOMAPAN 200 black-and-white film. On the Leningrad it is said that there is absolutely no way to check the correct film advance during the shooting session. The rewind should not be up since the mechanical forces induced would be too high for the spring-powered spooling barrel. The film should be also in a quality not too tight film cartridge and should be checked before use. This stressful machine should be manipulated with maximum care when not familiar with it.
About the lens Jupiter-9:
New in my collection in Feb. 2025, this very popular lens Jupiter-9 1:2.8 f=85mm for my Zorki’s and Leningrad camera’s. The lens was produced in 1978 by the LZOS company (Лыткаринский завод Оптического Стекла , Lytkarino Zavod Optychisovo Sticklo) located in Lytkarino (about 100 km Noth to Moscow).
I sourced a clean exemplary in Germany at regular price given the popularity of the Jupiter-9 (170€) with the Leica 39mm thread mount, front and rear caps plus the lens black storage canister. The lens is popular especially among videographers due to its peculiar bokeh and perfectly round shaped diaphragm made of 15 blades.
Originally, the Jupiter 9 is based on the design of the Carl Zeiss Sonnar designed for the Zeiss Ikon Contax in the years 1930’s. Production began in USSR in 1948, when the lens was initially called the ЗК-85 (Sonnar Kransogorsk) and it was assembled using mostly German parts in Contax/Kiev mount. The lens was also adapted to Zorki (M39) mount to fit the Zorki cameras early in production It appears, for both Zorki and Kiev mount, in a 1949 catalogue. By 1951 the name changes to Jupiter 9 (Юпитер-9). The lens has seven glass elements in three groups; a single glass at the front, and two cemented groups of three. All versions of the lens are coated. It was made by the KMZ (Красногорский механический завод, Krasnogorski Mekhanicheskii Zavod) and LZOS factories, in Leica 39 mm thread mount for Fed and Zorki rangefinders, but originally it was a Contax bayonet used in Kiev cameras. Jupiter-9 lenses were also made at the Arsenal factory in Ukraine, for Kiev rangefinders,but initially released as KMZ. It was later adapted for M42-mount Zenit SLR cameras, with an M24×1 thread mount.
A risotto style method of cooking pasta that is simple and yummy. Recipe at www.theculinarypassport.com
Products Description:
Item No:JPB8D00/ JPB8D01/ JPB8D02/ JPB8D03(Light Colour)
Series Name:PULATI
Water Absorption :below 0.15%
Mohs Hardness:8
Glossy Rate: above 55 degree
Flatness :+-0.15%
Size Tolarance:+-0.5mm
Size Available:600*600mm,800*800mm, 1000*1000mm;
Colour:white, beighe , brown, grey, and so on, each color with polished, matt, rustic three finish.
Price and Package:
600*600MM : 4PCS/CARTON,30G/CARTON;
Ex-Work Price:17.5RMB/PCS,48.65RMB/SQM;
800*800MM:
3PCS/CARTON,45KG/CARTON;
Ex-Work Price:36.00RMB/PCS,56.16RMB/SQM;
1000*1000MM:
2PCS/CARTON,60KG/CARTON;
Ex-Work Price:80.00RMB/PCS,80.00RMB/SQM;
NOTE:
1.The price is based on EX-Work which includes the wooden pallets and VAT.
2.The glazed tiles are porcelain glazed tiles ,the water absorption is below 0.5%;
3.If you need to change the cartons ,It will charges you 0.3RMB/PCS(600*600MM) and 0.6RMB/PCS(800*800MM).
4.If load the tiles from Shiwan warehouse,It needs you to pay the freight cost as below:
1RMB/CARTON(600*600MM);1.2RMB/CARTON(800*800MM);1.5RMB/CARTON(1000MM*1000MM)
The absorption of light and colour in search of tone and texture is the pursuit of photography where painting with light often leads us into darkness. These pictures were created as I tested a new camera. When I first got my Canon 550D I thought that it was so light and well fitting in the hand that I could capture any lighting conditions. True there are some leaps and bounds for technology yet to perform to allow my unsteady hands to capture the lowest light conditions in sparkling clarity. I am sure that some of these technological leaps and bounds are occurring even as I type. It makes my hands tremble with anticipation to think of testing the next stable releases of stabilizing cameras with even lower light sensitive sensors.
Class A Sonata acoustic absorption panels used to reduce reverberation within School, Village and Church Halls
A film to study the effect of the FOCA green filter x3.5 during a photo walk at the Parc Tête d'Or, Lyon, France, on November 7, 2023.
I used my Zorki 1 D (year 1955) camera loaded with a 36-exposure Svema FOTO 400 , with its leader trimmed for old Leica's. The Industar-22 lens was equipped with a 36mm push-on FOCA (France) green filter with a given coefficient of x3.5 plus a generic metal cylindric shade hood.
Svema Foto 400 was exposed for 160 ISO to compensate the filter absorption. Svema Foto 400 is a superpanchromatic film sensitized in the red to 780 nm and coated on a very thin maskless PET base. The anti-halation is provided by water-soluble black and blue pigments coated on the back and similar to one used for Rollei Retro 400S (Agfa Aviphot 400).
Expositions were determined using a Minolta Autometer III with a 10° finder for selective measurements privileging the shadow areas.
Parc de la Tête d'Or November 7, 2023
69006 Lyon
France
After exposure, the film was processed using Adox Adonal (= Agfa Rodinal) developer at dilution 1+25, 20°C for 10min30.
The film was then digitalized using a Sony A7 body adapted to a Minolta Auto Bellows III and a Minolta Slide Duplicator using a lens Minolta Bellow Macro Rokkor 50mm f/3.5 at a reproduction ratio of 1:1. The reproduced RAW files obtained were processed in LR prior the the final JPEG editions.
The use FOCA green filter with the Svema FOTO 400 film resulted in mostly quite a bit under exposed views. Exposing the film for 80 ISO and/or bracketing [-1,0,+1EV] would have been likely better.
All views of the film are presented in the dedicated album either in the printed framed versions and unframed full-size jpeg accompanied by some documentary smartphone Vivio Y76 color pictures.
About the camera and the lens:
This camera is a practically mint sample of Zorki 1 arrived to me in Lyon, France, January 10, 2023.
The camera looks brand-new straight from the KMZ factory in USSR almost 70 years later spent in a time capsule ... with almost no traces of use. According to a custom receipt of July 28, 1955, signed in Vienna, Austria, the camera body and lens are the original matched ones. As for the original FED, FED-Zorki and Zorki's ("ФЭД", "ФЭД-Зоркий", „Зоркий“), the Zorki 1 was a straight legal copy of the Oskar Barnack Leica II after the cancelation of German camera patents following the end of WWII.
This Zorki 1 is a type D model PM1115 (year 1955 according sovietcams.com/index7584.html). Type D Zorki's were produced from 1953 to 1955 in about 250.000 units with serial numbers ranging from #470.000 to (in 1955) #55 45.000. The original lens of this Zorki units is an collapsible lens Industar-22 1:3.5 f=5cm.
In the rear pocket of the ever-ready leather bag was deposited the custom receipt and a film label of Agfa negative-color CN17 likely from the 60's.
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Impervious graphite annular groove isothermal absorbers are adapted to the absorption of ultra-corrosive gases such as hydrochloric, bromhydric or hydrofluoric acids. GAB Neumann's impervious graphite annular groove isothermal absorber has a unique design. The equipment works as a number of water cooled-wall tiny columns in parallel. Each tiny column is provided with a liquid distribution system on top to ensure the uniform distribution of both liquid and gas and also form a thin liquid film at the surface of the column. More... www.gab-neumann.com/Annular-groove-Isothermal-absorbers
Suspended time and absorption are central in our performative work. We perform „engrossed in an activity as if in denial of an audience“. We keep still. We move according to a choreographed path. We keep close to each other, we touch each other, we lie on the floor. From one tableau to the next. Holding the image for few minutes. One of us lies on a wooden plank. The whole leg, buttocks and lower back rest on the plank. Only shoulders and head touch the floor. The second figure is already doing a shoulderstand, bending the left knee and simultaneously stretching and leaning the right leg slightly over the head. The stretched leg remains leaning… The piece is inspired by the long scene in the sculpture garden at the Museum of Modern Art in New York from the film „Shadows“ by John Casavettes; Stills from Bob Fosse’s „All that Jazz“; photos of works by Yvonne Rainer and Rudolph von Laban and Kinesiology, physical therapy exercises.
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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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.
Class A Sonata acoustic absorption panels used to reduce reverberation within School, Village and Church Halls
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RYMAX Woodfiber Acoustic Panel | Soundproof Board
RYMAX Woodfiber Acoustic Panel is a kind of multi-functional decorative sound absorption material made by pure wooden fabric, no cement, nor any harmful components and organic volatile gases, it's completely fit the requirements of environment friendly and energy saving.
Elegant texture and unique taste can be shown on its filamentous texture surface, creativities and ideas of designers can be achieved. Though the density of RYMAX Woodfiber Acoustic Panel is about 1/2 of the traditional wooden board, it's strong as cement and meanwhile it carries the features of sound absorption, impact resistance, fireproof, waterproof, moisture proof, etc. It's suitable for all decorations indoor and outdoor.
RYMAX Woodfiber Acoustic panel is a kind of multi-functional decorative sound absorption board combined the effects of acoustic and aesthetic, extraordinary space and unique decoration effects can be achieved.
Features:
* Free of Formaldehyde;
* Excellent Acoustic Properties;
* Lightweight and Safe;
* Strong impact resistance;
* Easy cutting, simple installation;
* Nice decorative effects;
* 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,
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