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"God is a hypothesis constructed by man to help him understand what existence is all about."
— Julian Huxley (1887-1975) "Religion Without God," The Observer (March 31, 1963)
Image: [42] The Ancient of Days, frontispiece to Europe a Prophecy by William Blake (1794)
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This North Eastern Life: Quote of the Day for 2016-07-25
#god #existence #JulianHuxley #quoteoftheday
Troyes has been in existence since the Roman era, as Augustobona Tricassium, which stood at the hub of numerous highways, primarily the Via Agrippa which led north to Reims and south to Langres and eventually to Milan; other Roman routes from Troyes led to Poitiers, Autun and Orléans. It was the civitas of the Tricasses, who had been separated by Augustus from the Senones. Of the Gallo-Roman city of the early Empire, some scattered remains have been found, but no public monuments, other than traces of an aqueduct. By the Late Empire the settlement was reduced in extent, and referred to as Tricassium or Tricassae, the origin of French Troyes.
quotidie
063 : 3.04
my art exam project has finally made a dent in my cluttered mind. thanks to miss bennett who spent a lot of time looking for the photographer she wanted to show me but couldn't remember the name of, i met Thomas Struth.
deserted streets, quasi-theatrical crowds in museums - i was, very plainly, captivated. he had completely transformed the idea i had of art upholding the mundane, the quotidian. after i had collected and prepared the photos i wanted to print out of my sketchbook, i logged off and looked round the empty BB1 art room. everything was a photograph. the sight that i lost in my period of un-inspiration (haha) was back.
i had quite a few to choose from today. even this photo has a partner, which i tried diptych-ing... in vain. it was a photo of two bananas that were also on the floor. all this overlooked existence. screaming discord. but overlooked.
Hollyhocks - 1876
Eastman Johnson (American, 1824 - 1906)
“Hollyhocks” depicts nine young women enjoying a summer afternoon in a garden. They quietly tend the blooming hollyhock plants or casually converse beneath a vine-laden arbor. Their elegant attire and their pretty unlined faces attest to an existence free from the trials of hard work. Refined outdoor activities became an accepted form of leisure after the Civil War, and with the increased industrialization of the late nineteenth century such paintings of pastoral bliss became popular among the newly urbanized elite.
Johnson executed “Hollyhocks” following extensive training in Europe, and the influence of his teacher Thomas Couture is especially evident in the fluid application of color and in the academic method of building up the composition from a series of individual studies. Johnson exhibited one of these studies, “Catching the Bee” (1872; Newark Museum, N.J.) at the National Academy of Design in New York in 1872. This highly finished work shows young woman plucking a single blossom from the tall stem of a hollyhock plant. Four years later Johnson incorporated this figure into the left side of “Hollyhocks”. “Catching the Bee” and “Hollyhocks” display a brighter palette and stronger contrasts of light and shadow than Johnson’s paintings of the previous decade, revealing the artist’s exploration of natural light in the 1870s.
The subject of women in an enclosed garden has a long tradition in art history. The enclosed garden, or hortus conclusus, was traditionally associated with the Garden of Eden, a theme with potent implications for artists of the New World. It was also identified with the purity of the Virgin Mary, and many late-nineteenth-century artists extended this analogy to women in general. An evocative floral language developed to suggest the fertility and beauty of the female sex. In “Hollyhocks” the flowers stand as tall as the women, their lyrical swaying attitudes mirroring the grace of their human counterparts.(1) The women, like the hollyhocks, are arranged decoratively along the periphery of the compound, and the red, pink, and white of their gowns are the colors of hollyhock blooms. Enclosing the hollyhocks--and, by extension, the nineteenth-century women--within the confines of a walled garden allowed them the benefits of air and light without exposing them to the dangers of the rapidly modernizing world. From this sheltered position, both the women and the flowers in “Hollyhocks” become beautiful, but passive, objects of contemplation.
Eastman Johnson was born in Lovell, Maine, and began his career in Boston in 1840 as an apprentice in Bufford’s Lithographic Shop, designing title pages for books and sheet music. He became an itinerant portrait painter in 1842, and for the next seven years he worked in Newport; Portland, Maine; Washington, D.C.; and Boston. In 1849 Johnson traveled to Germany, where he studied at the Düsseldorf Academy, and joined the studio of Emanuel Leutze, who was then working on the second version of his “Washington Crossing the Delaware” (1851; Metropolitan Museum of Art, New York). Johnson continued his studies in The Hague, where he spent three and a half years studying the painterly brushwork of the seventeenth-century Dutch and Flemish masters, and in 1855 he enrolled in the Paris studio of Thomas Couture.
Settling in New York in 1858, Johnson opened a studio in the University Building and began work on “Negro Life at the South” (1859; New-York Historical Society), which he exhibited at the National Academy of Design to the acclaim of abolitionists and slaveholders alike. The following years were devoted to Civil War subjects and to the traditional American genre scenes for which he became best known. During the 1860s he began a series of maple-sugaring scenes in Maine and bought his first property on Nantucket in 1871. He was elected an associate of the National Academy of Design in 1859 and became a full member in 1860. Johnson became prominent in New York art circles, joining the Century Association and the Union League Club and becoming a founding trustee of the Metropolitan Museum of Art. In the 1880s Johnson began to refocus his attention on portraiture, dedicating the last two decades of his career to the depiction of the nineteenth century’s wealthy industrialist class.
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"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."
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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.
A previous existence as a military parachutist helped Patrick Baty on this project. The 185ft bridge had to be scaled at night, when the trains had stopped running, in order for paint samples to be taken.
See the BBC clip here.
He was able to establish that this famous bridge by Isambard Kingdom Brunel had originally been painted with a white “anti-corrosive” paint containing ground glass. The bridge had been painted twenty times and with a combination of physical and documentary analysis Patrick was able to work out how it looked since it was built in 1859.
This shows the initial off-white scheme, which included ground glass in the undercoat.
I’ve most effective ever slept with my husband, who I started courting in my past due young adults. Initially sex changed into exciting and I couldn’t get enough. I’d wear horny garments, and attempt new matters with enthusiasm. But matters changed. We behaved selfishly and betrayed...
javleech.com/my-existence-in-sex-it-could-be-a-dream-come...
A good example of peaceful co-existence with the Church and a Buddhist temple situated side by side.
126/366 ― street flowers
roadsandkingdoms.com/2015/hiroshima/
“The earth this city is built on was ready to move on before its surface had cooled. They say that after the bomb dropped and nearly blasted Hiroshima out of existence, the grass and flowers grew back almost immediately. Not months or years after the bodies had been burned and the radiation dissipated; by August 12, 1945, just a week after the Enola Gay gave birth to the nuclear age, the city was blanketed in green. “Weeds already hid the ashes, and wild flowers were in bloom among the city’s bones,” John Hersey wrote in Hiroshima, his wrenching minute-by-minute account of the aftermath of the first atomic bomb. “The bomb had not only left the underground organs of plants intact; it had stimulated them.” ―Matt Goulding
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Image from 'Relics from the wreck of a former world; or Splinters gathered on the shores of a turbulent Planet; proving the vast antiquity, and the existence of animal life before the appearance of Man. With an appendix on the scenery in a patch of infinite space. To which is added, accounts of the most wonderful bodies that have fallen from Heaven', 003070725
Author:
Page: 58
Year: 1847
Place: New York
Publisher:
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
Open the page in the British Library's itemViewer (page: 000058)
A very gloomy day today - after a couple of weeks of beautiful weather, it is back to reality (i.e. clouds, rain, humidity etc.). I do not really mind rain - in fact, I am quite glad it is raining, beacuse I will not need to water plants on the balcony (yay!) - but I hate the greyness that (sometimes) comes with it. I feel deflated. And I get a bit sad, especially when thinking of my friends in Poland, with whom I do not keep in touch as much as I would like to. I used to be really close with them and now I feel more and more disconnected from their lives. Like I somehow stop existing for them. I guess it works both ways, but it is more intense for me (I am here 'alone' and they are there together).
Well, that is the price you pay for your life choices.