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Original features have changed. The lantern has been changed to a lamp and the font has changed to a white basin
Features.The session takes place during the International Transport Forum's 2024 Summit on "Transport Enabling Sustainable Economies" in Leipzig, Germany on 22 May 2024.
Ethan of NRG Esports at VALORANT Masters Santiago on set during Features and B-roll in Santiago, Chile (Photo by Colin Young-Wolff/Riot Games)
4me4you Features - ‘reducing her colour palette..’
Artist: Vanessa Garwood
4me4you recently enjoyed a visit to PM/AM Gallery, where the spotlight illuminated the work of the talented artist Vanessa Garwood.
Vanessa Garwood, initially known for her mastery in oil-based portraiture, has evolved her artistic journey to embrace a diverse range of mediums and disciplines. This expansion has provided her with a broader canvas for creative expression, pushing the boundaries of her subject matter. Transitioning to a limited palette of black, white, and grey, Garwood delves into life's contrasting narratives with a literal visual representation, capturing the dynamic interplay on her canvases. Despite the constraint of this aesthetic choice, her works resonate with humour and satire, offering viewers an accessible entry point into her candid exploration of life's challenges.
In her latest artistic phase, Garwood has made bold decisions to paint exclusively in greyscale and switch from oils to the quicker drying medium of acrylics. These changes have streamlined her process, fostering a deeper immediacy in her work, which she considers her most personal to date. While her earlier focus was primarily on human subjects, including portraits, nudes, and dancers over two decades, she now draws inspiration from both reality and fantasy, blending boundless imagination with real-life figures. Despite the whimsical elements infused into her compositions, Garwood's commitment to naturalism ensures a relatable connection for the viewer.
The transition to a shorter window for paint manipulation may limit the time for technical refinement, yet it ignites a newfound spontaneity in Garwood's expression. Embracing this flux state, she thrives without the burden of overthinking. Surprisingly, the absence of colour doesn't diminish the vitality of her work; rather, it amplifies the raw energy of her paintings, captivating the viewer's imagination in monochrome. Garwood achieves a remarkable feat, activating the perception of colour in the mind without its physical presence, underscoring the power of her artistic vision.
A notable theme in Garwood's oeuvre is the strong presence of women engaged in everyday rituals seldom depicted in traditional art history—moments shared over drinks, cigarettes, laughter, and embraces. These scenes epitomise expressive freedom, celebrating vivacity while acknowledging underlying insecurities and challenges. They serve as a poignant reflection of a world grappling with oppressive struggles, yet reaching out for moments of joy and camaraderie amidst uncertainty.
FURIA Esports at VALORANT Masters Santiago on set during Features and B-roll in Santiago, Chile (Photo by Colin Young-Wolff/Riot Games)
Features:
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Global Esports at VALORANT Masters London on set during Features Day on June 05, 2026 in London, England (Photo by Jianhua Chen/Riot Games)
Indoor Tabletop Water Fountain Feature - Fountains / Features
A tabletop fountain is a great home accent and they will bring a sense of serenity to your indoor space. The water and natural elements bring a little bit of nature indoors. Our indoor tabletop fountains are made with hand thrown ceramic, copper, stainless steel and natural elements such as slate, gemstones, crystals and bamboo. The features made of semi precious stones often include a rotating object on the fountain such as a crystal sphere which rotates using water pressure, bringing movement to the table fountain which is both interesting and soothing to watch. Table fountains are ideal accents for small rooms and office desks where space is a concern. They easily fit into small spaces such as the corner of a desk, a bedroom table, mantle, around door entryways and coffee tables.
SAO PAULO, BRAZIL - NOVEMBER 26: Chao Hui EDward Gaming at the 2023 VALORANT Game Changers Championship Features Day in São Paulo, Brazil on November 26, 2023. (Photo by Adela Sznajder/Riot Games)
carpe T1 at VALORANT Masters Santiago on set during Features and B-roll in Santiago, Chile (Photo by Colin Young-Wolff/Riot Games)
PARIS, FRANCE - September 10, 2025: CHICHOO of EDG at the VALORANT Champions Paris Features Day on September 10, 2025 in Paris, France. (Photo by Adela Sznajder/Riot Games)
micaela of KRÜ Blaze at the 2025 VALORANT Game Changers Championship Features Day at in Seoul, South Korea on November 19, 2025. (Photo by Christina Oh/Riot Games)
Many companies can build a pool. But, what makes us different is the vision, design and implementation of an entire outdoor living experience right in your back yard.
This quintessential urban farmhouse features a board-and-batten exterior with a metal accent roof and a welcoming front porch. The great room and dining room share a cathedral ceiling and a spacious screened porch extends living outdoors. The kitchen is highlighted by an island and a pantry is nearby.
Finished square footage in this house plan is an ample 2187 sq. ft. A growing family will appreciate this farmhouse because of the expansion capabilities afforded to them by the 438 sq. ft. bonus room. Whether it's used for an additional bedroom, playroom, or guest room, this space allows for a range of possibilities.
Combining modern and classic details, this one story house plan exemplifies the latest in urban farmhouse style. See plan pricing for this popular Don Gardner House Plan and if you decide to purchase, you may request modifications if needed, from our design team. *Photographed home may have been modified from the original construction documents.* www.dongardner.com/house-plan/1506/the-ashbry
xavi8k of Global Esports at VALORANT Masters London on set during Features Day on June 05, 2026 in London, England (Photo by Jianhua Chen/Riot Games)
Nicolas Lancret - French, 1690 - 1743
Picnic after the Hunt, probably c. 1735/1740
West Building, Main Floor — Gallery 54
Seven elegantly dressed men and women sit and stand together in a landscape while being attended to by more men, who also tend to four dogs and four horses, in this horizontal painting. The people all have pale skin with flushed cheeks and delicate features. They gather in front of a grove of towering trees, the canopies of which reach the top edge of the painting and fill much of the sky in the top half of the composition. In front of the trees, one woman sits and one stands at the center of the painting. To our left of center, the seated woman wears a muted, lemon-yellow dress trimmed with white. The bodice has a high neck and a narrow waist, and her outer yellow jacket is unbuttoned. She wears a small black tricorn hat perched on gray curls. She sits with her body facing us, but she turns to look at a man to our left with big eyes. She reaches out with one hand to take a teacup topped with froth from a tray that man holds. He sits and leans his torso toward the woman, looking at her in profile. His coat is sapphire blue edged with gold. His and the other men’s hair curl around their ears and are tied at the nape of their necks with black ribbons. The other woman stands next to the first, to our right. Her hoop skirt and jacket are scarlet red over a shimmering, ice-blue bodice. Her body angles to our right, and she looks off in that direction in profile. Her brown hair is pulled up under a black cap topped with a red feather. She holds her skirts with her left hand, to our right. A man standing slightly behind her and to our left holds out a loose fist, and she rests her other hand on his. This man wears a fawn-brown coat over an ultramarine-blue waistcoat. He pins a black, gold-edged hat under one arm and looks at the back of the woman’s head. Two more people sit on the ground in front of these couples. A person to our left sitting facing away from us has brown hair and wears a blue jacket. One hand is planted on the hip and the other holds a black hat by the ground. The other is a man who faces us as he leans on one elbow. He wears a dark yellow jacket, and a black hat hides his eyes. He holds out a piece of food to the four dogs in the lower right corner of the painting. One dog strains forward to smell it. Another sniffs the ground, one looks at us, and the fourth looks back at the man holding the dogs’ leashes. Three men tend to three brown horses just beyond this. To our left, a man wearing burnt orange holds a bowl of peach-colored fruit near the left-most couple. A man behind him kneels and pours liquid from a pouch into a decanter. Two baskets are on the ground next to that man and another basket is slung over the back of a gray horse behind him. Grass and leafy vegetation grows to either side of the grouping. Green hills roll back to distant, hazy blue mountains along the horizon, which comes halfway up this composition. Puffy white and gray clouds swirl in the powder-blue sky above.
Nicolas Lancret has often been regarded as a close imitator of Jean-Antoine Watteau (1684-1721), but his paintings are imprinted with a distinctly personal stamp. Less steeped in fantasy and theater than those of his predecessor, Lancret's fêtes galantes seem to reflect contemporary society more directly. Although Lancret remained, like Watteau, a painter of genre scenes, his production encompassed subgenres that had not held much interest for the older artist, including conversation pieces, allegorical images, and scenes of children and adults playing games.
After a short period of training as an engraver, Lancret apprenticed to the obscure history painter Pierre Dulin (1669-1749), and shortly thereafter he enrolled in the Académie royale de peinture et de sculpture. Only a few years later he left Dulin's studio to enter that of Claude Gillot (1673-1722), Watteau's former teacher, a decision that announced his future career as a genre painter and the abandonment of his aspirations to become a history painter. The period in which Lancret trained with Gillot cannot be established, yet it must have coincided with Watteau's acceptance into the Académie in 1712 as a painter of the fête galante. Lancret was never Watteau's pupil, but the friendship that resulted from their contact through Gillot inspired Lancret to absorb Watteau's innovations. In 1719, Lancret submitted as his morceau de reception for acceptance into the Académie a conversation galante (possibly the version in the Wallace Collection, London), a painting utterly imbued with Watteau. His stylistic indebtedness to Watteau survived the rupture of their friendship and the latter's death in 1721, yet it was not long before Lancret infused his sujets galants with his own stylistic idiom, replacing Watteau's shimmering surfaces with a bolder use of color. He exhibited several paintings at the Salon of 1725, none of which can be identified with certainty, but which included a dance in a landscape, a return after the hunt, and a representation of women bathing. The latter two were subjects to which Lancret, unlike Watteau, would frequently return. In the same year, he exhibited a portrait of the man who would later write his biography, Ballot de Sovot. Lancret painted his celebrated portraits of Mademoiselle Camargo, the exceptionally popular dancer at the Paris Opera, before the end of the 1720s (one of them is NGA 1937.1.89).
Lancret's first royal commission was for a representation of contemporary history, one of the few history paintings the artist produced in the course of his career. Although now lost, surviving documents indicate that this painting portrayed the conveyance of Maria Leszczynska's ladies-in-waiting in a cart of straw after the carriage transporting the entourage of the future queen of France became stuck in the mud on the road to Fontainebleau. The depiction of this amusing incident heralded two defining characteristics of Lancret's art: humor and anecdote. Another humorous work, Le Déjeuner de Jambon (Chantilly, Musée Condé), representing a group of giddy carousers and their well-behaved servants, was produced in 1735 for Louis XV's private dining room in Versailles. Humor and anecdote emerge again in the second half of the 1730's in Lancret's series The Times of Day (London, National Gallery). As in Le Déjeuner de Jambon, the first image in the series, Le Matin, exposes the improprieties of the aristocracy, scarcely veiled by the elegant surroundings and beautiful possessions so delicately rendered by Lancret's brush. Human folly is mocked in a group of paintings, many of which Lancret exhibited at the Salon of 1738, representing fables of La Fontaine.
Lancret's early death in 1743 did not halt the fervor with which several important European collectors sought his paintings. They included Ange Laurent de La Live de Jully (1725-1779), to whom Le Déjeuner de Jambon passed by 1756. The most significant of these collectors was not a Frenchman but Friedrich II, King of Prussia (Frederick the Great), who, at his pleasure palace Sanssouci, in Potsdam, exhibited twenty-six paintings by the artist. Lancret's paintings were also widely known through engraved reproductions from 1730 on.
[Frances Gage, in French Paintings of the Fifteenth through the Eighteenth Century, The Collections of the National Gallery of Art Systematic Catalogue, Washington, D.C., 2009: 278-279.]
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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...
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valyn of G2 Esports at VALORANT Masters Santiago on set during Features and B-roll in Santiago, Chile (Photo by Colin Young-Wolff/Riot Games)
Reference: APAAME_20211022_DS-0408
Photographer: Dana Salameen
Credit:
Copyright: Creative Commons Attribution-Noncommercial-NoDerivative Works
kamo of Team Liquid at VALORANT Masters Santiago on set during Features and B-roll in Santiago, Chile (Photo by Colin Young-Wolff/Riot Games)
Features.The session takes place during the International Transport Forum's 2024 Summit on "Transport Enabling Sustainable Economies" in Leipzig, Germany on 23 May 2024.
Karmine Corp GC at the 2025 VALORANT Game Changers Championship Features Day at in Seoul, South Korea on November 19, 2025. (Photo by Christina Oh/Riot Games)
purp0 of Team Liquid at VALORANT Masters Santiago on set during Features and B-roll in Santiago, Chile (Photo by Colin Young-Wolff/Riot Games)
T1 at VALORANT Masters Santiago on set during Features and B-roll in Santiago, Chile (Photo by Colin Young-Wolff/Riot Games)
Jiex (L) and Glance of Karmine Corp GC at the 2025 VALORANT Game Changers Championship Features Day at in Seoul, South Korea on November 19, 2025. (Photo by Christina Oh/Riot Games)
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Indoor Tabletop Water Fountain Feature - Fountains / Features
A tabletop fountain is a great home accent and they will bring a sense of serenity to your indoor space. The water and natural elements bring a little bit of nature indoors. Our indoor tabletop fountains are made with hand thrown ceramic, copper, stainless steel and natural elements such as slate, gemstones, crystals and bamboo. The features made of semi precious stones often include a rotating object on the fountain such as a crystal sphere which rotates using water pressure, bringing movement to the table fountain which is both interesting and soothing to watch. Table fountains are ideal accents for small rooms and office desks where space is a concern. They easily fit into small spaces such as the corner of a desk, a bedroom table, mantle, around door entryways and coffee tables.
Water Features add beauty and luxury to your in-ground pool. Call Paul Herr Custom pools to schedule your free consultation (509) 266-4205 or visit us on the web at
4me4you features - ‘HISTORIES IN FLUX’.
Artist: Tim Kent
4me4you recently had the pleasure of visiting JD Malat Gallery to view "Histories in Flux," a new series of oil paintings by the acclaimed artist Tim Kent.
The paintings exhibited at JD Malat Gallery are reflections of what the artist describes as "playing with art history." These fragmented yet visually coherent compositions of vast interiors, sculptures, historical figures, and classical nudes blur, disconnect, and reshape before the viewer's eyes, critically engaging with the systemic power structures that Western art history has fortified, but which contemporary art must continuously challenge.
"Histories in Flux" presents twelve psychologically charged portraits, architectural depictions of estates, and cultural institutions that highlight key issues related to class, access, privacy, and consumption. Kent both resists and highlights the conformity inherent in traditional painting genres, attuned to contemporary issues. His work transforms and dissects Baroque and Georgian interior spaces, revealing an ominous past with its own dimensional terrain.
Kent's playful engagement with genre—specifically the nude, portraiture, interiors, and narrative painting—results in the distortion of old art historical systems, merging tradition with the contemporary. This imbues his work with subtle criticisms that sever traditional roles of authority. His grid-like fragmentations suggest an empirical reaction from the viewer, turning the once harmonious genre of chamber painting into a realm of architectural dissonance. As Kent states, “The perspective grid becomes a visual metaphor for the interconnectivity of how we construct our visual world and it’s influences across every level of existence.”
These obscured historic scene scapes challenge our understanding of history. Busts, portraits, monuments, museum spaces, and estates serve as vessels for thematic parallels deeply rooted in classism, elitism, and power dynamics. Through his portrayal of these traditional art historical archetypes, Kent exposes the controversial and often overlooked narratives woven into the fabric of art history's canon. While institutional spaces proudly showcase their collections as symbols of cultural education and progress, beneath this veneer lies a concealed tapestry of colonial dominance, imperial knowledge systems, class stratification, and labor obfuscation. Kent's compositions unearth these underlying complex networks, dismantling and deconstructing familiar symbols of tradition. By layering their veneer of opulence and allure with shadows and uncertainties, he transforms these once-celebrated spaces into stark objects that challenge viewers to confront the uncomfortable realities obscured by centuries of glorification.