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Bill T. Russell HPS List Completion on Mount Lukens, November 1976. L to R: Dick Akawie (foreground), Phil Bruce, unidentified woman, R.S. “Sam” Fink, unidentified woman, Bill T. Russell (holding white sign-in sheet), Jack Russell (no relation).
Photographer: Dick Worsfold
Donor: Jetje Worsfold
Original: 35 mm slide in holdings of Angeles Chapter
Credit: Photo by Dick Worsfold, Dick Worsfold Collection, Sierra Club-Angeles Chapter Archives
Image ID (file name): Worsfold 272
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The New Mosque (Yeni Cami), originally named the Valide Sultan Mosque, (Valide Sultan Camii) and later New Valide Sultan Mosque (Yeni Valide Sultan Camii) after its partial reconstruction and completion between 1660 and 1665, is an Ottoman imperial mosque located in the Eminönü quarter of Istanbul, Turkey. It is situated on the Golden Horn, at the southern end of the Galata Bridge, and is a notable Istanbul landmark marking the crossing from the old historic core of the city to the Beyoğlu (Pera) district. The mosque is a notable example of the Sultanate of Women period in Ottoman Empire. Valide Sultan Mosque The construction of the mosque began in 1597. It was ordered by Safiye Sultan, who was the wife of Sultan Murad III and later Valide Sultan (Queen Mother) of Sultan Mehmed III. She ordered the mosque in her capacity as Valide Sultan, two years after Mehmed III's ascension to the Ottoman throne in 1595, hence the original formal name "Valide Sultan Mosque". The original architect was Davut Ağa, an apprentice to the great Mimar Sinan. However, Davut Ağa died in 1599 and was replaced by Dalgıç Ahmed Çavuş. The construction took more than half a century and was completed by another Valide Sultan, Turhan Sultan, mother of Sultan Mehmed IV. The project was hampered by political disconnect, and its location and monetary implications created dissent in the court. The Eminönü neighborhood was the city's foremost commercial center, and home to a predominantly Jewish population. In situating the mosque there, Safiye Sultan hoped to extend the sphere of Islamic influence within the city, capitalizing on the growing discontent of local and foreign merchants caused by the growing power and influence of their Jewish counterparts, which gave the Sultan an easy justification for confiscating their property. However, the vast monetary outlay drew sharp criticism. In particular, the Janissaries resented the growing political power of the Valide sultan, and believed the mosque to be an unnecessary expenditure. Safiye was forced to abandon the project upon Mehmed III's death in 1603. The new Sultan, Ahmed I, had no interest in pursuing the project after Safiye was relegated to the harem and the construction was abandoned. New Valide Sultan Mosque (New Mosque) After 1603, the partially constructed structure gradually fell into ruins; and was severely damaged during the Great Fire of 1660 which destroyed many neighborhoods in the city. Later that year, the imperial architect Mustafa Ağa suggested that Turhan Sultan, mother of Sultan Mehmed IV, should complete the project as a work of piety. Turhan also ordered the construction of the nearby Spice Bazaar, which forms a part of the külliye of the New Mosque. Thus, in the last months of 1660, the construction of the mosque was resumed, while the construction of the adjacent bazaar began. The mosque was finally completed in 1663 and inaugurated in 1665. It was renamed the "New Valide Sultan Mosque" (Yeni Valide Sultan Camii). In time, this name was informally shortened as the "New Mosque" (Yeni Cami) among the public. As with other imperial mosques in Istanbul, the mosque itself is preceded by a monumental courtyard (avlu) on its west side. The courtyard of the New Mosque is 39 meters (128 feet) on a side, bordered on its inner side by a colonnaded peristyle covered by 24 small domes. An elegant şadırvan (ablution fountain) stands in the center, but is only ornamental. The actual ritual purifications are performed with water taps on the south wall of the mosque. The façade of the mosque under the porch is decorated with İznik tiles. Stone blocks supplied from the island of Rhodes were used in the construction of the mosque. The interior of the mosque is decorated with blue, green and white İznik tiles, which are considered somewhat inferior in quality to tiles in earlier imperial mosques. The mihrab is decorated with gilded stalactites and the minbar had a conical canopy with slender marble columns.
Graduates from the first cohort of Austin Community College District’s Advanced Manufacturing Production (AMP) program offered in partnership with Merit America–AFF Foundation celebrate during a completion ceremony at ACC Highland Campus on Wednesday, Nov. 5, 2025. The AMP program - developed under the leadership of Dr. Laura Marmolejo, Dean of Advanced Manufacturing Programs - was expanded nationally through a partnership between Merit America, the AFF Foundation, and ACC to provide low-wage workers with no-cost, high-quality technical training for advanced manufacturing and semiconductor careers.
A Polish Nobleman - 1637
Rembrandt van Rijn
Dutch, 1606 - 1669
After learning the fundamentals of drawing and painting in his native Leiden, Rembrandt van Rijn went to Amsterdam in 1624 to study for six months with Pieter Lastman (1583–1633), a famous history painter. Upon completion of his training Rembrandt returned to Leiden. Around 1632 he moved to Amsterdam, quickly establishing himself as the town’s leading artist. He received many commissions for portraits and attracted a number of students who came to learn his method of painting.
A Polish Nobleman is probably not a portrait of a specific individual; instead it represents a more generic exotic type that Rembrandt favored during the 1630s. The beaver hat, dark fur cloak, and massive gold chain and medallion have suggested to many that the sitter was Slavic, but the painting's title has no factual basis. Such exotic paintings allowed Rembrandt to expand the limits of portraiture because he was not constrained by traditional conventions. Through dramatic accents of light and dark on the sitter's face, bold brushwork, and dense application of paint, Rembrandt created a powerful, almost sculptural presence. By emphasizing the man’s furrowed brow and by shading his eyes, Rembrandt has portrayed him as a thoughtful individual. The penetrating expression of A Polish Nobleman and the striking resemblance of the sitter’s features to Rembrandt’s, particularly in the area around the eyes and nose, make one wonder if this painting is not, in fact, a fanciful and liberally embellished self-portrait.
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For earlier visit in 2024 see:
www.flickr.com/photos/ugardener/albums/72177720320689747/
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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The 2022 United Association Instructor Training Program culminated in a completion ceremony, where more than 200 UA members crossed the stage to receive an ITP certificate, a WCC associate degree or both.
(Photos by JD Scott)
The Spirit Flute is finally completed! After attaching everything together. After the radio, this is my favorite prop to date. (I know I say that a lot, but this time I really mean it.)
The rope is actually attached to the brown part by wire. I embedded little wire hoops in the clay before it dried, then put glue on them for good measure, and then just strung/tied the yarn on. Nothing falls off, either! :D