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Популярности молодежного бойз-бенда One Direction позавидовал бы любой начинающий артист. День за днем армия поклонников этих ребят безмерно растет, а сами парни получают все новые музыкальные награды. Однако, несмотря на весь успех, создатель группы Саймон Коуэлл предрекает ее скорый распад.
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Growth and change comes from moving forward...and I am finding my direction...
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Rembrandt Peale - American, 1778 - 1860
Washington before Yorktown, 1824, reworked 1825
West Building, Main Floor — West Stair Lobby
A man wearing a military uniform and riding a horse gestures in front of a small band of soldiers in this vertical painting. All the men have pale skin and wear navy-blue and flax-yellow uniforms. The central man, George Washington, and the cream-white horse he rides take up most of the composition. The horse has a glossy black mane and tail, and black hooves. The horse stands with its body facing our right in profile, one front leg lifted, but it turns its head to look off to our left with clear brown eyes. There is a scarlet-red blanket under the fawn-brown saddle. Washington also turns his head to our left to look up and off in that direction. He has a high forehead, a beaked nose, and his thin pink lips are pressed in a line. He has ruddy cheeks, a dimpled chin, and jowls along his jawline. His white hair is streaked with gray, and it sweeps back from his high forehead and bushes out over each ear. His blue jacket has gold epaulets, a high yellow collar around a white neckerchief, and gold-colored buttons down the front. The uniform also has yellow lapels, cuffs, and knee-high britches. The toe of his knee-high black boots pushes against the horse’s stirrup. Washington holds his right arm, to our left, out and points down with a gloved hand, which also holds a black, tricorn hat. The nearest man, just behind Washington to our left, rides a chestnut-brown horse. He is cleanshaven with blond hair, and looks at Washington, one hand tucked behind his lower back, where his hat rests on the horse’s rump. Several more men ride together under a grove of trees to our left, and the final rider lurches forward on a horse whose two front legs are raised midstride, to our right of Washington. The dirt ground beneath has some scrubby grass and a few plants. Tall, leafy green trees stretch to the sky to either side of the painting. The artist signed the painting in the lower left corner, on a rock. It reads, “Remt. Peale.”
Rembrandt Peale's Washington before Yorktown--one of the few life-size portraits of George Washington on horseback and only the second such depiction by an American artist—is a heroic portrayal of the father of the United States. The three-week siege of Yorktown occurred in early autumn 1781, near the end of the Revolutionary War. At that time Washington controlled 14,000 troops from the Continental Army and the French Expeditionary Force, under the command of the Marquis de Lafayette and the Comte de Rochambeau, as well as 24 warships under the Comte de Grasse.
Astride his restless white horse, Washington turns toward the Marquis de Lafayette and three other mounted officers: Henry Knox, Benjamin Lincoln, and Rochambeau. Alexander Hamilton gallops off to the right to execute the general's orders. Washington is presented as a man of action and decisiveness, commanding the completion of essential defensive trenches. His mature facial features show him not at age 49, as he would have been at Yorktown, but as he appeared near the end of his life. The background further distinguishes Washington from his companions: they are shown against a leafy green landscape, but he is set against the radiant sky, which complements the lofty portrayal of his features.
The large mullein plant in the foreground plays an important role in the painting. Also known as Aaron's rod, this medicinal herb was used to treat various physical ailments and, according to folklore, to cast out evil spirits. Peale included it as a symbol of Washington's character in his ambitious portrayal of the military leader preparing to vanquish George III's English forces.
Peale created this commanding painting in the hope that the United States Congress would purchase it to hang in the Capitol Rotunda. His ambition was never realized, and the work remained in the possession of his heirs until they donated it to George Washington's Mount Vernon in 1873. The Mount Vernon Ladies' Association lent the painting to the Corcoran Gallery of Art in 1902 and donated it to that museum in 1944. It entered the Gallery's collection, along with many other works from the Corcoran, in 2014.
Rembrandt Peale, born in 1778 in Bucks County, Pennsylvania, was the son of Philadelphia artist and museum proprietor Charles Willson Peale, and his first wife Rachel Brewer. He and his siblings, Rubens, Raphaelle, Titian Ramsay, Sophonisba Angusciola, and Angelica Kauffmann, were born during the most productive years of their father's painting career and were named after European artists. Rembrandt was a precocious artist, painting his first work, a self-portrait, at the age of thirteen. He continued to work as a portrait and history painter for almost seventy years, producing more than a thousand works. His most original works date from the first three decades of the nineteenth century.
Although Philadelphia was his home town, Rembrandt worked at various times in most of the other major eastern United States cities, including Boston, New York, Baltimore, Washington and Charleston. As a young artist he benefitted from his father's friendships and patronage in Federal America. He studied the work of contemporary painters, including Gilbert Stuart and Robert Edge Pine, as well as paintings by European artists that could be found in private collections. His father made it possible for him to paint life portraits of George Washington (1795) and Thomas Jefferson (1800, 1805). Charles Willson's ambitions also made him a museum director at times. In 1795-1798, for example, he went to Charleston, Baltimore, and New York City to paint portraits and exhibit sixty copies of his father's museum portraits, painted by himself and Raphaelle. In Baltimore in 1796-98 he managed the first Peale family museum outside of Philadelphia. In 1798-99 he worked as an itinerant artist in Maryland. In 1801 he assisted his father in unearthing the bones of prehistoric mammals in Newburgh, New York, and the following year he and Rubens took the skeleton assembled from these remains to England for exhibition. From 1813 to 1822 he established and managed the Peale Museum in Baltimore.
More than was true for his father, Rembrandt benefitted as an artist from extended periods spent in European capitals. He studied briefly at the Royal Academy while in London in 1802-1803. He travelled to France in 1808, and again in 1809-1810, painting portraits of French scientists, artists and writers in Paris for his father's collection of portraits. His third European stay was in Italy, in 1828-1830, where he copied old master paintings for American collectors. On his last European trip, in 1832-1833, he returned to England. As a result, especially of the early trips, Rembrandt's style of painting changed, when he was still a young artist, from the tight, closely observed eighteenth century manner of his father, to a style strongly influenced by French neoclassicism and the work of Jacques-Louis David. His first attempt at a grand manner history painting was The Roman Daughter (1811, National Museum of American Art, Washington, D.C.). Even more ambitious was his enormous, multifigured painting of Court of Death (1820, The Detroit Institute of Arts), whose theme of individual choice in creating a happy and rational life expressed the tenets of the new, controversial religion of Unitarianism. Next he turned his attention to creating a heroic portrait of Washington. His result was the painting known from its inscription as the "Patriae Pater" portrait - Washington as Father of his Country (1824, United States Congress). Later, in the 1840s, Peale returned to painting replicas of his portrait of Washington, capitalizing on the fact that he was the only living artist who had painted the first President's portrait at life sittings.
While Rembrandt's ambitions and opportunities were very much derived from his father's energy and drive, the results and the context of his work was of his own generation. After his trips to England and Paris, Charles Willson Peale turned to him to learn new techniques for painting. His creation of an idealized portrait of Washington was a response to the nationalistic demands of the 1820s, marking the end of the Revolutionary era. His subject pictures of the 1830s and 1840s reflected the sentiments of the Victorian era. Peale also promoted his theories of art and its role in a democracy by publishing brochures, articles and books. Some, like Description of the Court of Death; an Original Painting by Rembrandt Peale (1820), were written to accompany exhibitions of his work, held in several American cities. Others, including Graphics; A Manual of Drawing and Writing for the Use of Schools and Families (1835) and Introduction to Notes of the Painting Room (1852), were intended as drawing and painting manuals for mechanics and art students. He also wrote reminiscences of his life and family, poems, and accounts of his travels. From 1855 to 1857 he offered a personal history of American art in his "Reminiscences" and "Notes and Queries" published in The Crayon, a popular art periodical. He died in Philadelphia in 1860. [This is an edited version of the artist's biography published in the NGA Systematic Catalogue]
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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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Royal Navy wireless Direction Finding Station, Sheigra.
A reference was found to a WWII RN DF station at Sheigra, the site was found by looking around the area on Google Earth and the postwar aerial photographs.
There is concrete path up to the site and originally there seemed to be a structure at the bottom of the track. I thought the concrete path could perhaps have been a cover over a cable duct but there does not seem to have been a duct or pipe under it.
The building is long and narrow, there were four masts (probably 100 ft) around the site, each conected by a trench to the building.
There is a strange group of concrete pillars on each side of the building.
There was a suggestion that there could have been an earlier Post Office station in the area.
Building NC 19713 60689
Mast 1 NC 19739 60682
Mast 2 NC 19705 60654
Mast 3 NC 19678 60685
Mast 4 NC 19710 60712
There are also a couple of guy points further out that the normal stayblocks - NC 19756 60681
Art Direction 5: mesa
Encargo: poner una mesa, preocuparse por la colección de objetos que soporta, el drapeado {mantel y su caída}, composición, gama cromática y contexto.
Propuesta: tratar la mesa como un cuadro, una obra de arte.
"Often times the right direction isnt the one we thought of, but one that God knows of."
I should have put mountains, streams, bridges and brick walls in this pic but they didnt fit when I tired. haha