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Help the aged,
one time they were just like you,
drinking, smoking cigs and sniffing glue. Help the aged,
don't just put them in a home,
can't have much fun in there all on their own.
Give a hand, if you can,
try and help them to unwind.
Give them hope & give them comfort 'cos they're running out of time.
*In the meantime we try.
Try to forget that nothing lasts forever. No big deal so give us all a feel.
Funny how it all falls away.
When did you first realise?
It's time you took an older lover baby. Teach you stuff
although he's looking rough.
Funny how it all falls away.
Help the aged
'cos one day you'll be older too
- you might need someone who can
pull you through
& if you look very hard
behind the lines upon their face you may see where you are headed
and it's such a lonely place.
You can dye your hair
but it's the one thing you can't change.
Can't run away from yourself, yourself...
Funny how it all falls away.
So help the aged.
- Pulp
A Pier Overlooking Dordrecht - early 1640s
Aelbert Cuyp
Artist, Dutch, 1620 - 1691
This luminous painting depicts Aelbert Cuyp’s native Dordrecht from the west, as seen from a pier near the village of Zwijndrecht, situated on the opposite bank of the river Maas. The three small, wooden, fishing skiffs tied up at the rough-hewn pier help give the painting its rustic charm. Across the Maas rise Dordrecht’s city walls, with the thin spire of the Groothoofdspoort, a major gateway to the inner harbor, appearing prominently at the left. Sailboats or rowboats provided constant ferry transportation across the river to Dordrecht’s neighboring villages.
Cuyp’s numerous views of river life are extremely varied and demonstrate a remarkable sensitivity to the changing light and water conditions encountered on inland waterways. He could comfortably set boats in the water, even as he visually contrasted water’s translucent and changing surface with the physical presence of heavy wooden hulls and weighty canvas sails. Cuyp’s pictorial sensitivities were also directed toward the activities of humans and animals in and around the water; they added visual and thematic interest to the inherent beauty of his river scenes.
Aelbert Cuyp, one of the foremost Dutch land-scape painters of the seventeenth century, was born in Dordrecht in October of 1620. His father, Jacob Gerritsz Cuyp (1594–1652), was a successful por-trait painter in the city, and from him Aelbert received his earliest training, assisting his father by painting landscape backgrounds for por-trait commissions. It is uncertain whether Cuyp had also apprenticed with a landscape painter, but he soon abandoned his father’s style and subject matter and turned almost exclusively to landscapes and river-scapes, painting only an occasional portrait in his mature period. Arnold Houbraken, a native of Dordrecht, noted that Cuyp was a man of “irreproachable character” (onbesproken leven), and the surviving documents concern his active involvement in the Dutch Reformed Church and the city affairs of Dordrecht, rather than his activities as a painter. His marriage to Cornelia Boschman (1617–1689), the wealthy widow of Johan van den Corput (1609–1650), a representa-tive to the admiralty at Middelburg and a member of an important Dordrecht family, took place on July 30, 1658. After his marriage, Cuyp appears to have painted less frequently, probably owing to a combi-nation of his increased church activity and the ab-sence of financial pressures. He was buried in the Augustinian Church at Dordrecht on November 15, 1691.
Houbraken commented that only the artist’s own works were found in his home at the time of his death, proof that nature alone served as his model. The stylistic evolution of his oeuvre, however, dis-proves Houbraken’s conclusion. Cuyp’s early landscapes are clearly inspired by the compositional ap-proach and monochromatic palette of Goyen, Jan van, but by the middle of the 1640s, the influence of the Utrecht painter Both, Jan be-comes apparent. Cuyp never lived in Utrecht, but probably his parents had met there while his father was studying, and Aelbert apparently visited the city regularly. By the mid-1640s Both had re-turned from Italy, bringing with him a new style employing the contre-jour effects associated with the work of Lorrain, Claude. Cuyp soon recognized the possibilities of this new compositional approach and began to employ large foreground elements in his panoramic scenes, infusing them with a warm light and atmosphere. The occasional classical motif and Italianate lighting effects that are found in Cuyp’s mature works are not the result of a trip to Italy but of his association with Both, and perhaps other Italianate landscape painters he may have had contact with in Utrecht. Although no documents related to his travels exist, Cuyp’s drawn landscapes and townscapes do indicate that he traveled within the Netherlands and along the lower Rhine in Germany.
Cuyp seems to have worked for a number of important Dordrecht families. He was clearly an important artist in the city, although little is known about the organization or production of a workshop. Houbraken mentions only one pupil, Barent van Calraet (1649–1737), whose brother Abraham van Calraet (1642–1722), if not a pupil of Cuyp, was certainly a follower. It appears that many of Abraham van Calraet’s works were among those mistaken for au-tograph Cuyp paintings by the beginning of the twentieth century, when Hofstede de Groot included more than eight hundred entries in his catalogue raisonné of the master. By the late eighteenth century, Cuyp had many other followers and imitators, including Jacob van Strij (1756–1815).
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For earlier visit in 2024 see:
www.flickr.com/photos/ugardener/albums/72177720320689747/
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 tallest pot of them all. He can actually climb it quite easily, but he is our sweet little lazy blob and if we could help him up that would just be best.
Tangerine was walking in the forest when she heard, "HELP!"
Domo 1: "We've been lost in this forest for days..."
Domo 2: "...with only roots and berries to eat!"
Domo 3: "Please take us home and feed us cookies before we collapse!"
This is a close up of some of the squares in the quilt - all pics of Jazzy alone or with family. At 4 she doesn't really appreciate it for what it is but when she's older I hope she will.
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Apparently I only had my phone to take this picture so it is really blurry. But I cant figure out what these are. Minca, Colombia.
After our second flat tire, we were left with one that was poorly inflated, and unlikely to get us very far. A convoy from a competing tour operator stopped to help us out.
Ok I finally got off the computer and went and took some photo's today. And every one of them were grainy! I used the tripod, I messed with the ISO and Shutter and even the light meter thing. and nothing worked! Can someone help me figure out what I'm doing wrong
I was playing skeeball so WINNER-ing-ly that it needed help.
Play games & ride rides at Quassy Amusement Park in Middlebury, Connecticut, half an hour southwest of Hartford.
Our old intern, Maurice, dropped by to see us again! He's also doing a bit of work with Andy and I on Lab Rats.
Manchester based dbn Lighting helped to bring an ancient legend to life for a landmark event in the UK’s first ever City of Culture, Derry~Londonderry.
dbn designed and supplied rigging and lighting for a breath-taking recreation of the famed Loch Ness Monster – which played a starring role in the Showdown on the Foyle finale to the weekend-long celebrations entitled ‘The Return of Colmcille’.
laying out a design for my quilt -- my helper :)
blogged at - www.knotted-thread.com/2012/04/wip_25.html