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Georges Charbonneaux, fondateur en 1912 de la société d'Habitations à Bon marché , Le Foyer Rémois, souhaite édifier une cité-jardin. Il engage dès 1919, la construction du Chemin Vert, 617 maisons avec en son coeur une église (1923 - 1924) en béton armé.
Georges Charbonneaux, founder in 1912 of the Low coast homes company, the "Foyer Rémois", wanted to build a garden city. In 1919, he built the "Chemin Vert" (the green path), 617 houses with a reinforced concrete church (1923 - 1924).
Espetáculo de conclusão do curso de extensão Introdução à Interpretação Teatral: Corpo, Voz, Ação. 2008-1
foto: waldo neto
Today's museums seek to explain, to edify with the abosluteness of our knowledge, or bolster our belief in science through the explication of theory. It is not to collect or inspire, as has been the case in previous centuries. No, we enter into a hall of decisive knowledge, a place of diagrams and demonstrations. In no aspect is this more apparent than in the banishment of shadows. Everything is in full view, categorized joylessly and precisely.
It is in such a crisis of illumination that I seek to draw the curtains in order to preserve our wonder.
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Georges Charbonneaux, fondateur en 1912 de la société d'Habitations à Bon marché , Le Foyer Rémois, souhaite édifier une cité-jardin. Il engage dès 1919, la construction du Chemin Vert, 617 maisons avec en son coeur une église (1923 - 1924) en béton armé.
Georges Charbonneaux, founder in 1912 of the Low coast homes company, the "Foyer Rémois", wanted to build a garden city. In 1919, he built the "Chemin Vert" (the green path), 617 houses with a reinforced concrete church (1923 - 1924).
The House of Representatives, 1822, probably reworked 1823
Samuel F. B. Morse
West Building, Main Floor — Gallery 62
www.nga.gov/stories/art-that-tells-early-us-history.html
With this monumental painting, Samuel F. B. Morse wanted to glorify US democracy in action. He depicts the grand House of Representatives chamber glowing in lamplight before an evening session.
The artist spent four months in Washington painting the individuals seen here: congressmen, staff, Supreme Court justices, and press. At the far right in the visitors’ gallery is Chief Petalesharo (Pawnee Nation), who visited President James Monroe in 1821. Petalesharo is isolated from the other figures, echoing the oppression and displacement of Native Americans. Morse toured the painting in 1823, but it did not draw much attention. He went on to pursue scientific interests, becoming famous as the primary inventor of the telegraph.
We look across a cavernous room with a half-domed ceiling where more than a hundred men are gathered at desks and theater-like boxes in this horizontal painting. Almost all of the men have pale, peachy skin and wear black suits with white high-pointed collars. The desks curve in a half-circle facing our left, where two candelabras sit on a dais, a canopied space with polished columns. Seven more columns lining the rounded space are also speckled with fawn brown, bronze, copper, and muted moss green. They have white capitals carved with leaves ands scrolls. Crimson-red curtains hung between the columns have been gathered up along their centers so they drape down to each side. The space is lit by a three-tiered chandelier near the center of the composition. The chandelier has been lowered and a man, backlit in silhouette, stands on a ladder and reaches for a light on the top tier. The other men sit singly or in groups at the desks or gather in small groups throughout the space. The D-shaped rows of desks are enclosed within a curving, waist-high wall. To our right, on our side of the wall, a pair of boys or men lean over an open box that is lit inside. A few people look on from a second-level balcony to our right. This includes a trio of men all wearing black. In the next bay, a man with medium-brown skin wears Pawnee attire with a tall headdress, necklaces, and what seems to be a fur-lined cloak. He looks out at us. A clock on the wall near him reads 6:14. The domed space has nested, ivory-white square or octagonal panels within gold borders. At the center of each panel is a six-petaled, gold flower. The artist signed the work as if he had written his name and date on the base of the wall to our left: “S.F.B. MORSE pinx 1822.”
Before achieving fame in the 1840s as the inventor of the telegraph, Samuel F. B. Morse was a portraitist of some renown. He sought to cement his reputation as a painter by attempting a grand work of historical significance: The House of Representatives. The foundation for such lofty ambition was laid when he studied at London's Royal Academy of Arts, where painters were taught to execute epic pictures that could edify their audiences. Upon his return to America, Morse chose the chamber of the lower body of the United States Congress in session at the US Capitol—a place unseen and unvisited by most Americans in 1822—as his subject for this monumental undertaking.
Arriving in Washington, DC, in November 1820, Morse worked 14 hours a day for four months in a temporary studio adjacent to the House chamber, which recently had been rebuilt after the Capitol was destroyed by fire during the War of 1812. His massive canvas included careful renderings of architecture and people, including Congressmen, staff, Supreme Court justices, and press. In the visitors' gallery at the far right is Pawnee Indian chief Petalesharo, and on the left, Morse's father, Reverend Jedidiah Morse. Rev. Morse was in town to report on Indian affairs to Secretary of War John C. Calhoun, one of the giants of American political life before the Civil War and a leading defender of slavery.
Ultimately, Morse created a picture of the House of Representatives not as it was, but as he wanted it to be. At a time when the House was often raucous and factional—debating major legislation such as the Slave Trade Act of 1820 and the Missouri Compromise of 1821—Morse presented instead a tranquil and relatively uneventful scene. He toured the painting nationally in 1823, but its lack of sensational subject matter failed to attract wide audiences and ultimately proved to be a financial failure. In the ensuing years, Morse turned away from painting to pursue his scientific interests.
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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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________________________________
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...
.