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The air was filled with clouds of huge dragonflies. Joel joked that we were late because when we arrived the dragonflies picked up the car and flew it back to Chicago.
La chaussure pour fille fait partie des incontournables dans un dressing de jeune modeuse. Confortable et tendance, c'est l'accessoire indispensable pour afficher un look branché et être parfaitement à l'aise. Ballerines, bottes, bottines, baskets, sandales, le choix est vaste et pourra changer selon la saison. Notre coup de cœur du moment : cette ballerine Geox Piuma rosé dorée.
Retrouvez toute la collection de chaussures pour fille sur Spartoo : www.spartoo.com/chaussures-enfants-filles.php
For more information on this and other resources, please visit extension.psu.edu/pesticide-education
Where trade names appear, no discrimination is intended, and no endorsement by Penn State Extension is implied.
Photos by Bill Riden, Pesticide Education Specialist
Penn State Pesticide Education Program
© The Pennsylvania State University 2016
Ethiopia revisited. Bahar Dar. This little boy was incredible, he came up to me and just held my hand while I went on a walk, stayed with me for about 30min then just gave me a hug and went home:-)
Play Party is a game-filled evening. Go nose-to-nose with friends and perfect strangers to show off your new-found olfactory knowledge in the premiere of Kendra’s Smelly Game Show.
www.mediamatic.net/en/page/370874/play-party
Photography by Anisa Xhomaqi
Saturday evening is filled with the anticipation of celebrating Easter Sunday. In some areas, people begin to gather in the churches and squares in cities, towns and villages by 11pm for the Easter liturgies. A few minutes before midnight, all the lights are turned off and the priest exits the altar holding candles lit by the Holy Light, which is distributed to everyone inside and outside the church. At midnight, the priest exits the church and announces the resurrection of Jesus. Many people carry large white candles called lambada, and the church bells toll as the priests announce “Christ is Risen!” at midnight. Each person in the crowd replies with a similarly joyous response.
The Church of Cyprus is one of the autocephalous Churches that together form the communion of the Eastern Orthodox Church. It is one of the oldest Eastern Orthodox autocephalous churches, achieving independence from the Patriarchate of Antioch and All the East in 431.
Getting big is a great problem, but rapid and unexpected growth can be filled with peril – both from a technology perspective and ability to continue delivering on your company’s core promise to consumers. Join industry veterans that have experienced this dilemma as they share lessons on how to limit unpredictability in today’s connected social world of the cloud, Web, and multiple devices. From starting small in your kitchen and growing to support thousands of users to running a business whose data stores jump from gigabytes to terabytes; or coming up with the next big thing that established behemoths want to mimic—if they can’t buy you first. Hear how firms like Graphic.ly, Redbox, Dodgeball, and Mediabank survive and thrive as they manage growth.
Albert Bierstadt - American, 1830 - 1902
Buffalo Trail: The Impending Storm, 1869
West Building, Main Floor — Gallery 67
The top three-quarters of this horizontal landscape painting is filled with roiling, deeply shadowed clouds that tower over a line of buffalo crossing a grassy meadow below. Small in scale, the buffalo form a line that extends away from us at a diagonal into the distance to our right. Sunlight creates a bright reflection on the stream where the frontmost buffalo crosses, but the other animals are nearly backlit in the raking light. Trees, with branches whipping in the wind, rise along the left side of the painting, and the mountainous landscape to our right is lost in darkness under heavy clouds. The clouds above lighten from navy blue in the lower right corner of the sky to slate blue and white at the center of the painting. Small patches of blue sky are visible between a few breaks in the clouds, and sunlight falls on a cliff-like mountain face in the distance beyond the trees to our left. Another bank of parchment-colored clouds in the upper left corner, closer to us, contrasts with the glimmering light highlighting some of the clouds nearby.
By 1869, when he created this idyllic view, Albert Bierstadt had made two extensive trips to the American West. He based this lush scene of buffalo peacefully making their way across a river or creek against a roiling sky on views he had sketched during one or both of those expeditions. In a letter he wrote on September 3, 1859 during his excursion with the survey team of US Army Colonel Frederick W. Lander, the artist describes one such scene. He recorded his awe at encountering the majestic buffalo in a passage that could easily describe Buffalo Trail: Impending Storm:
We find here plenty of buffalo. One morning we saw a noble looking animal crossing the river near us, and I alighted from my ambulance and took a position behind a bluff, in order to give him a reception. As he came splashing through the water, I felt half inclined to lay down my rifle and take up my sketchbook, but I was so wrapped in admiration and study I could do neither for a few moments.
Bierstadt's meticulous attention to detail and texture, as well as his tightly brushed technique—results of his early training in Düsseldorf, Germany—characterize this bucolic, romantic scene.
Albert Bierstadt was born in Solingen, Prussia, on January 7, 1830, but he spent his early years in New Bedford, Massachusetts, where his parents settled two years after his birth. Henry Bierstadt, the artist's father, found work as a cooper in the capital of America's whaling industry.
Primarily self-taught, Albert Bierstadt began his professional career in 1850 when he advertised his services as a drawing instructor. Three years later he departed for Europe, hoping Johann Peter Hasenclever (1810-1853), a distant relative and prominent member of the Dusseldorf school of artists, would help him obtain formal instruction. Hasenclever died suddenly, however, shortly before Bierstadt's arrival. When Emanuel Leutze (1816-1868) and Worthington Whittredge (1820-1910) came to his aid Bierstadt found, unexpectedly, American rather than German mentors.
After nearly three years in Dusseldorf, Bierstadt joined Whittredge on an extended sketching tour through Germany, Switzerland, and Italy. Following a winter in Rome and a sketching tour to Naples and Capri, Bierstadt returned to New Bedford in the fall of 1857. Described as a "timid, awkward, unpolished specimen of a Yankee" when he arrived in Dusseldorf in 1853, Bierstadt returned to New Bedford four years later a socially poised and technically mature painter.
In the spring of 1858 he made his New York debut when he contributed a large painting of Lake Lucerne and the Swiss Alps to the annual exhibition at the National Academy of Design. Critics were dazzled by Bierstadt's technical expertise; within weeks he was elected an honorary member of the academy.
Bierstadt's European apprenticeship served him well the following spring when he journeyed west for the first time, joining Frederick W. Lander's survey party bound for the Rocky Mountains. Though not the first artist to see or even paint the Rockies, Bierstadt was the first who brought with him superior technical skills and considerable experience painting European alpine peaks. For Americans eager to finally see the mountains a generation of travelers had described as "America's alps," Bierstadt's credentials were near perfect.
By late September 1859 Bierstadt had returned to New Bedford laden with field sketches, stereo photographs, and Indian artifacts. Within three months he had moved to New York, established himself in the Tenth Street Studio Building, and begun to exhibit the western paintings that would soon make his reputation. He completed the most important of these, The Rocky Mountains, Lander's Peak (Metropolitan Museum, New York), in the spring of 1863 just weeks before he set off on his second journey west.
Accompanied by Fitz Hugh Ludlow, a celebrated writer who later published a book about their overland adventure, Bierstadt traveled to the Pacific Coast. He spent several weeks in Yosemite Valley completing the plein air studies he would later use to compose several of his most important paintings. Following a trip north through Oregon to the Columbia River, Bierstadt and Ludlow returned east. Utilizing studies gathered during all stages of his journey, Bierstadt completed, by the end of the decade, a remarkable series of large scale paintings that not only secured his position as the premier painter of the western American landscape but also offered a war-torn nation a golden image of their own Promised Land.
In 1867 Bierstadt and his bride set sail for London. It was a triumphant return for the emigrant's son who had arrived in Europe fourteen years earlier an eager but impoverished student. Six months after his arrival Bierstadt was invited to exhibit two of his most important paintings (both of which had been purchased by English railroad entrepreneurs), privately before Queen Victoria. During the more than two years he remained abroad, Bierstadt traveled, sketched, and cultivated the friendships that would sustain a European market for his work for many years.
In July 1871, Bierstadt and his wife boarded the recently completed transcontinental railroad bound for San Francisco. Apart from the artist's brief return to New York that autumn, they remained in California until October 1873. As he had since his days in Dusseldorf, Bierstadt spent much of his time traveling in remote regions completing the field studies he would later use to compose studio paintings.
In the fall of 1876 Rosalie Bierstadt, who had been diagnosed as consumptive and advised to spend the winter months in a warm climate, made her first trip to Nassau. Until her death in 1893, Rosalie spent increasingly longer periods in Nassau. Though Bierstadt continued to maintain his New York studio and travel widely in the West and Canada, he found new subject matter in the tropics during visits with his wife. In 1880 he exhibited one of the most successful of these pictures, The Shore of the Turquoise Sea (Private Collection), at the National Academy of Design. Though praised by some, the painting drew fire from critics who had found fault with his "theatrics" as early as the 1860s.
Critical disfavor and a falling market plagued Bierstadt during his later years. The most telling blow came in 1889 when the American committee charged with selecting works for the Exposition Universelle in Paris rejected Bierstadt's entry, The Last of the Buffalo (originally acquired 1909 by the Corcoran Gallery of Art; since 2014, National Gallery of Art, Washington). Described as too large but more likely judged old-fashioned, the painting marked the end of Bierstadt's series of monumental western landscapes.
Bierstadt died suddenly in New York on February 18, 1902, largely forgotten. Ironically, renewed interest in his work was sparked by a series of exhibitions in the 1960s highlighting not the great western paintings but rather the small oil sketches he had used as "color notes" for the panoramic landscapes that had brought him such success in the 1860s.
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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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