View allAll Photos Tagged Grounding
I have never found the earth to be very grounding. Meditations that instruct me to root into the earth to feel grounded fall flat and do nothing for me. However, I've always found the same sense in air, in the image of air currents surrounding me and holding me up. I'm drawn to wide open spaces and tall ceilings.
A series of photos showing the effort to remove the Sarah Spencer from her grounding near the Southwestern Sales dock in Windsor Ontario.
This is to get a strong green colour for the background. Once painted over parts of the gold leaf, it gets a beautiful transluscent colour, and depending on the amount of layers applied can take on the apprearance of a laquer.
Lightning protection systems are used to prevent or lessen lightning strike damage to all facilities. They protect the internal and external components of a building. Lightning protection can be provided from basic grounding rods to advanced dissipation arrays that prevent lightning from striking in a protected zone. Working with LEC you will get a lightning protection system with the capability to eliminate the lightning strikes within zones of protection! Contact us for more details: www.lightningprotection.com/
A series of photos showing the effort to remove the Sarah Spencer from her grounding near the Southwestern Sales dock in Windsor Ontario.
A series of photos showing the effort to remove the Sarah Spencer from her grounding near the Southwestern Sales dock in Windsor Ontario.
I finally paid an electrician to ground our house. We did all the ground work (get it?) but when it came time to put it in the box, we just couldn't figure it out.
Ein Moment tiefer Verbindung und kollektiver Erdung im afro-diasporischen Tanzritual. Die Teilnehmer:innen ehren ihre Körper und Ahnen durch Stille, Rhythmus und Atmung. Geleitet von AfroPiae fördert diese Praxis Heilung und spirituelle Präsenz.
Mehr erfahren auf afrikanischer-tanz.de.
A moment of deep connection and collective grounding during an Afro-diasporic dance ritual. Participants honor their bodies and ancestors through stillness, rhythm, and breath. Led by AfroPiae, this practice nurtures healing and spiritual presence.
Discover more at afrikanischer-tanz.de.
We join spokes together in a wheel,
but it is the center hole
that makes the wagon move.
We shape clay into a pot,
but it is the emptiness inside
that holds whatever we want.
We hammer wood for a house,
but it is the inner space
that makes it livable.
We work with being,
but non-being is what we use.
~ Lao tsu
When time is wasted on the superfluous and conversations are held to be 'politically correct' I seek the grounding of the wise sages - we seem to be lacking in them these days. Naples, FL
It's an expression some may not be familiar with. These two (whom I didn't know) were going down this road into what looked like a lovely place to be. This is Colorado. I used a telephoto lens, so they were farther away (than it looks) and had no idea I was snapping their photo.
Yvonne in Green Dress - 1938
Guy Pène Du Bois (American, 1884 - 1958)
Born in Brooklyn, Guy Pène du Bois was named after Guy de Maupassant, a friend of his father, Henri, who came from New Orleans. Throughout his life the artist maintained a strong connection to French culture (he did not speak English until he was nine), grounding his art in the sharp wit and keen alertness to social environment of his Gallic predecessors, Honoré Daumier, Jean-Louis Forain, and Théophile Steinlen. Yet like so many of his generation, Pène du Bois remained confident in the future of art in America, and his themes were inspired by a broad conception of the American scene, including depicting his countrymen abroad. Although he resided in France for some years, he never became a true expatriate.
Pène du Bois began his art studies at the New York School of Art under William Merritt Chase and also took classes from James Carroll Beckwith, Frank Vincent Du Mond, and Kenneth Hayes Miller. But it was the magnetic Robert Henri, with whom he began to study in 1902, who made the most powerful impression on his development, and this teacher's emphatic blending of art and life remained fundamental to Pène du Bois's aesthetic, both as critic and as painter. He made his first trip to Europe in April 1905, returning in July 1906 after his father’s death. Needing to earn a living, he worked as a writer and an editor for a series of newspapers and art periodicals. His writings, spanning over forty years, represent an articulate consideration of realist concerns grounded in the aesthetic of Henri's circle.
The art of Pène du Bois came to maturity during the 1920s. Although he had ended his studies in 1905, the necessity of earning a living as a critic and teacher meant that studio time was often limited. In 1913 John Kraushaar began to handle the artist’s work at his New York gallery, and in 1918 Pène du Bois had his first one-man show at the Whitney Studio Club. In 1920, in an effort to minimize the distractions of New York, he moved to Westport, Connecticut, though the town, with its active social life--F. Scott Fitzgerald was a neighbor--did not turn out to be the quiet painting refuge he had sought, and he continued to work in his New York studio. Not until December 1924, when he sailed for France, could he paint full time, freed from immediate financial concerns. The artist was forty years old.
His six years in France were the most sustained period of work he would ever have. Temporarily relieved from his obligations as a critic and supported by steady sales through Kraushaar Gallery, Pène du Bois could concentrate on his painting. During this period his style changed dramatically, as he abandoned the heavy brushtrokes and dark colors of his earlier works in favor of a broader conception of the human figure, using a lighter palette, simplified volumes, bold patterns, and larger canvases. Seeking his subjects in situations he knew well, his style remained solidly representational yet progressive.
Pène du Bois and his family occupied a rented house in Garnes, a rural village about thirty miles from Paris, where he visited regularly, seeking the companionship of other artists and subjects for his works. He was fascinated by the display of contemporary life and social relations he saw at the Café du Dôme and other public gathering places and closely studied Americans he encountered abroad. His substantially modeled and stylish figures are chic and sophisticated yet ultimately empty and superficial. His was an urbane view characterized by an underlying sharpness; Pène du Bois’s canvases of the 1920s established his reputation as one of America's most trenchant artists.
The stock market crash of October 1929 forced the artist to return to America in April 1930. Throughout the 1930s and 1940s he continued exploring the figural interests that had long occupied him. Outside the studio he continued to write, teach, and exhibit widely. During the Depression he received government sponsorship for several New Deal murals, and he published his autobiography, “Artists Say the Silliest Things”, in 1940. That year he was also made a full member of the National Academy of Design. Increasing health problems throughout the late 1940s sharply curtailed his work, and by 1950 he had effectively ceased painting. Pène du Bois died in Boston, where his daughter Yvonne lived until her death in 1997.
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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 series of photos showing the effort to remove the Sarah Spencer from her grounding near the Southwestern Sales dock in Windsor Ontario.
A series of photos showing the effort to remove the Sarah Spencer from her grounding near the Southwestern Sales dock in Windsor Ontario.
Grounding rod is a type of earth electrode. An Earth Electrode is a conducting element buried directly in the ground, facilitating the flow of fault currents towards the ground. Lightning Eliminators is a rarity in its thoroughness with the aspects of planning, manufacturing and installations, but this contributes to the success the company enjoys in terms of its performance. For any query, feel free to contact us: www.lightningprotection.com/grounding-earthing/chem-rod/