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Develop a collage containing the images from the song lyrics 'Lucy In The Sky With Diamonds' by the Beatles.
The colours are quite bright to represent the lyrics in the time that they were used.
This former Albertsons (#6388) opened in 1998 as part of the newly developed Westlake Village Marketplace. The store opened with the Awnings interior and had a unique layout more common in Eastern markets such as Texas and Florida Albertsons, with a drop ceiling in the center store and warehouse style ceilings in the perimeter. In the stores early days, it was featured in numerous commercials in the early 2000's, until #1335 in Calabasas was completed in 2002, which after that, Albertsons used that store for commercials. Particularly, a commercial on the Albertsons and Lucky "marriage" used this store.
Despite this store being kept in the 1999 merger with Lucky, as well as it's popular use in commercials in 2015, this store was divested to Haggen after Albertsons merger with Safeway/Vons. Haggen's venture into Southern California was short lived, as the company went under, and Haggen completely exit the market less than a year after accepting the divested stores. This is one of the many stores Smart & Final scooped up. There is signage saying "Yogurt" which is left over from Haggen.
When Smart & Final acquired this store, they walled off some of the space as they did not want the entire large store, and that space was subleased to Dollar Tree, which now occupies that space. This is evident on the right side of the store, where it is clear the store was walled off.
Albertsons Lucky Marriage Commercial:
www.youtube.com/watch?v=VIUuXdOs_lM
Yelp and Foursquare photos of this store as Albertsons and Haggen:
I have decided to develop the project “Through the light” to show how is living in Palermo. The city despite the diverse mixture of cultures has retained most of its original identity. Art and history are some important elements of daily palermitan life. Walking in the evening in our historical centre, which is the heart of the city, you can see many areas that are colored by typical corner markets such as Ballarò, il Capo and Vucciria that represent the ancient city’s pulsating core, tied to the scents and traditions of this city. Past and present exist together and give a unique scenery in many interesting places. I tried to “open a window” on some degraded areas to redeem the image of a city, which needs to look for a way back into the sun.
Developing skills in sketching to a team style, rapid ideas generation and idea classification
First year BA/BSc Product Design students at Middlesex University
developed at fau, i wasnt sure of the times at all, and was rushing considering i dont even go to fau. the rushing caused me to misjudge the time developing, which screwed some of these up, but making some 'dream' like.
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First roll developing film at home. Diafine. Results are mixed, a bit dodgy, but promising. Can't wait to try the next roll.
Developing a Bicycle Network Map for Prince George's County
Creating an online, interactive bicycle stress map showing on and off-road routes using LTS data released by Maryland DOT.
Still Life - c. 1660
Willem Kalf
Dutch, 1619 - 1693
Willem Kalf was one of the most celebrated, sought after, and successful still-life painters of the seventeenth century. With its off-center pyramidal composition, this Still Life is a quintessential example of a compositional format that Kalf used in the late 1650s and early 1660s. The artist’s favorite Chinese porcelain fruit bowl, dating from the Wan-Li dynasty, is tipped at an angle to reveal the blue-on-white decorations that play off so well against the oranges, yellows, and reds of the fruit. A craze for Chinese porcelain had developed in the Netherlands after the capture of Portuguese ships carrying a large cargo of Wan-Li porcelain in March 1603 and continued throughout the century.
With their depiction of Oriental carpets, Venetian glass, Seville oranges, agate-handled knives, and above all Chinese porcelain, Kalf’s paintings evoke the far corners of the world. Placing these exotic objects against dark, contrasting backgrounds allowed Kalf to illuminate their forms with accents of light.
Willem Kalf, baptized in Rotterdam on November 3, 1619, was one of the foremost still-life painters of the seventeenth century. His father, Jan Jansz Calff (Kalf), was a well-to-do textile merchant and town council member who died in 1625. Shortly after the death of his mother, Machtelt Gerrits, in 1638, Kalf settled in Paris, where he was active as a painter until his return to Rotterdam in 1646. Five years later his name appears in the marriage book for the city of Hoorn: “Willem Jansz Kalf, bachelor of Rotterdam, and Cornelia Pluvier, girl of Vollenhoven, both living at Hoorn, on October 22, 1651.”
Not long after his marriage he is mentioned as a member of the Saint Luke’s Guild in Amsterdam. Unlike many of his contemporaries, Kalf lived in comfortable circumstances. He seems to have stopped painting around 1680 to concentrate his energies on being an art dealer. He died in Amsterdam on July 31, 1693, and was buried on August 3 in the Zuiderkerk.
Houbraken stated that Pot, Hendrik Gerritsz was Kalf’s teacher, but there is little in Kalf’s early work to suggest such a relationship. Because of the stylistic and coloristic resemblances between the work of Frans Rijckhals (c. 1600–1647) and Kalf’s early peasant kitchen interiors and his later elaborate (pronk) still lifes, it seems that this Rotterdam artist was an important influence on the young artist.
Kalf’s mature work developed during the 1650s, after his move to Amsterdam. He focused on a few objects, which he organized with great restraint against a dark background, and delighted in depicting the sheen of silver, the translucency of glass, and the rich textures of intricately patterned Oriental rugs. His luminous manner of painting highlights has often been compared to that of Vermeer, Johannes, and it is entirely possible that Kalf’s work influenced the Delft master.
Although Kalf probably had pupils who made replicas of his work, none are documented. His most successful follower was Jurriaen van Streek (1632–1687).
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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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