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Exercice grandeur nature au tunnel Howald - Luxembourg - Ville - Tunnel Howald - 24/10/2021 - photo: claude piscitelli
Michely Gilles (Dudelange)
Tennis de table - BDO TT League - Dudelange-Howald - 07/02/2021 - Ecole Boudersberg - Dudelange
Ademir Balaban (Howald)
Tennis de table - BDO TT League - Hostert/Folschette-Howald - 27/03/2021 - Centre culturel Hostert/Folschette
foto : Vincent Lescaut
Carole Howald (Aarau), Briar Schwaller-Hurlimann (Aarau), durant les finales du championnat suisse de curling 2023, le samedi 18 fevrier 2023 au Centre Sportif de Sous-Moulin, a Thonex (Bastien Gallay / GallayPhoto)
Exercice grandeur nature au tunnel Howald - Luxembourg - Ville - Tunnel Howald - 24/10/2021 - photo: claude piscitelli
Ademir Balaban (Howald)
Tennis de table / 1 ere finale du championnat / 28-04-2019 / Dudelange - Howald / centre sportif annexe Lycee Nic Biever
Photo : Vincent Lescaut
Marc Dielissen (Howald)
Tennis de table / BDO TT League / Howald - Duddelange / 03-02-2019 / 13 eme Journée / hall sportif holleschbierg
photo : Vincent Lescaut
Zoltab Fejer Konnerth (Dudelange)
Tennis de table / 1 ere finale du championnat / 28-04-2019 / Dudelange - Howald / centre sportif annexe Lycee Nic Biever
Photo : Vincent Lescaut
Tessy Gonderinger (Roodt)
Tennis de table - BDO League - Howald - Roodt - 20/09/2020 - photo : Vincent Lescaut
Exercice grandeur nature au tunnel Howald - Luxembourg - Ville - Tunnel Howald - 24/10/2021 - photo: claude piscitelli
Marc Dielissen (Howald)
Tennis de table / BDO TT League / Howald - Duddelange / 03-02-2019 / 13 eme Journée / hall sportif holleschbierg
photo : Vincent Lescaut
Vincent Kempfer (Dudelange)
Tennis de table / BDO TT League / Howald - Duddelange / 03-02-2019 / 13 eme Journée / hall sportif holleschbierg
photo : Vincent Lescaut
Exercice grandeur nature au tunnel Howald - Luxembourg - Ville - Tunnel Howald - 24/10/2021 - photo: claude piscitelli
Wang Xu (Howald)
Tennis de table - BDO TT League - Dudelange-Howald - 07/02/2021 - Ecole Boudersberg - Dudelange
Vosges donon foret forest wood alsace lorraine france olympus e510 lorraine arbre tree maison colombage lampadaire café bistrot
Ademir Balaban (Howald)
Tennis de table / 1 ere finale du championnat / 28-04-2019 / Dudelange - Howald / centre sportif annexe Lycee Nic Biever
Photo : Vincent Lescaut
Luka Bakic (Howald)
Tennis de table / 1 ere finale du championnat / 28-04-2019 / Dudelange - Howald / centre sportif annexe Lycee Nic Biever
Photo : Vincent Lescaut
Bianca Bauer (Dudelange)
Tennis de table / 1 ere finale du championnat / 28-04-2019 / Dudelange - Howald / centre sportif annexe Lycee Nic Biever
Photo : Vincent Lescaut
Brian Howald, 25, is a software engineer living in Long Island City, Queens. He voted for Bill Thompson because he wants there to be a runoff between Thompson and Bill de Blasio. “I wanted to see more of what they have to say,” said Howald. “I don’t particularly like either of them.”
Photo Credit: Daniel Wroclawski
Marc Delissen (Howald)
Tennis de table / 1 ere finale du championnat / 28-04-2019 / Dudelange - Howald / centre sportif annexe Lycee Nic Biever
Photo : Vincent Lescaut
Salem - 1913 -15
Maurice Brazil Prendergast (1858 - 1924)
Maurice Brazil Prendergast was an American Post-Impressionist artist who worked in oil, watercolor, and monotype. He exhibited as a member of The Eight, though the delicacy of his compositions and mosaic-like beauty of his style differed from the artistic intentions and philosophy of the group.
Maurice Prendergast and his twin sister, Lucy, were born at their family's subarctic trading post in the city of St. John's, in Newfoundland, then a colony in British North America. After the trading post failed, the family moved to Boston. He grew up in the South End and was apprenticed as a youth to a commercial artist. This conditioned him from the start to the brightly colored, flat patterning effects that characterized his mature work. He was also inspired by the example of Boston Impressionist Childe Hassam. A shy individual who experienced increasing deafness in his later years, Prendergast remained a bachelor throughout his life. He became closely attached to his younger brother Charles, who was also a post-impressionist painter.
Prendergast studied in Paris from 1891 to 1895, at the Académie Colarossi with Gustave Courtois and Jean-Joseph Benjamin-Constant and at the Académie Julian. During one of his early stays in Paris, he met the Canadian painter James Morrice, who introduced him to English avant-garde artists Walter Sickert and Aubrey Beardsley, all ardent admirers of James McNeill Whistler. A further acquaintance with Édouard Vuillard and Pierre Bonnard placed him firmly in the Post-Impressionist camp. He also studied the work of Vincent van Gogh and Georges Seurat at retrospectives held in Paris in 1891 and 1892. Prendergast was additionally one of the first Americans to espouse the work of Paul Cézanne and to understand and utilize his expressive use of form and color.
Prendergast returned to Boston in 1895 and worked mainly in watercolor and monotyping. A trip to Venice in 1898 exposed him to the genre scenes of Vittore Carpaccio and encouraged him to experiment with even more complex and rhythmic arrangements. His inventive watercolors of Venice are among his most appreciated works today. In 1900, he had major exhibitions at the Art Institute of Chicago and at Macbeth Galleries in New York, which earned him critical acclaim. He showed in a National Arts Club exhibition in 1904, through which he befriended the painters William Glackens, Robert Henri, and John French Sloan. He exhibited with them in 1908 at Macbeth Galleries, along with George Luks, Everett Shinn, and Arthur B. Davies, a group collectively known after the show as The Eight. Glackens in particular became a lifelong friend.
Despite poor health that hindered his work, Prendergast continued to show in major exhibitions throughout the remainder of his life. Important collectors like Albert Barnes and Ferdinand Howald became his patrons after his shows at the Carroll Gallery and the Daniel Gallery. His seven works at the landmark Armory Show of 1913 presented examples of his stylistic maturity. Seen in company with the most adventurous examples of Post-Impressionism and Fauvism, "his critical reception grew more favorable in [the] immediate aftermath [of that exhibition.]" In 1916, he participated in the "Fifty at Montross" show at the Montross Gallery, which also included works by Cézanne, Matisse, Seurat, and Van Gogh. His work was the subject of a retrospective at Joseph Brummer Gallery in 1921, but the Metropolitan Museum of Art declined to host a Prendergast memorial retrospective after his death in 1924; at that time, his art was still seen as too demanding and advanced for the Metropolitan's trustees. His first New York memorial exhibition was held ten years later at the Whitney Museum of American Art.
Prendergast exhibited at the Macbeth Galleries in 1908 with the short-lived association of artists known as "The Eight" because he supported their protest against the academic bias and restrictive exhibition policies of the powerful, conservative National Academy of Design. He believed in a "no jury, no prizes" openness that would allow independent or unconventional artists greater opportunities to find a wider, appreciative audience for their work. This controversial exhibition, which acquired legendary status in American art history, is seen as a seminal moment in the public response to Ashcan realism, as that form of gritty urban representational art was the style practiced by five of the participants (Henri, Sloan, Luks, Shinn, and Glackens), but Prendergast has nothing in common, in style or content, with that school of painting. Prendergast was far more a Modernist than any of the other seven members of The Eight. His ties to The Eight did not necessarily help his reputation in the long run: "Prendergast's irrevocable association with The Eight left him stylistically isolated in genealogies of modern art." A true independent, he fits into no particular category of modern American art.
Prendergast's work was strongly associated from the beginning with leisurely scenes set on beaches and in parks. His early work was mostly in watercolor or monotype, and he produced over two hundred monotypes between 1895 and 1902. He also experimented with oil painting in the 1890s, but did not focus on that medium until the early 1900s.
He developed early in his career and continued throughout his life to elaborate a highly personal style, with boldly contrasting, jewel-like colors, and flattened, pattern-like forms rhythmically arranged on a canvas. Forms were radically simplified and presented in flat areas of bright, unmodulated color. His paintings have been aptly described as tapestry-like or resembling mosaics.
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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.
Zoltan Fejer Konnerth (Dudelange)
Tennis de table - BDO TT League - Dudelange - Howald - 01/05/2021 - Ecole Boudersberg - Dudelange
foto : Vincent Lescaut
Irfan Cekic (Howald)
Tennis de table / BDO TT League / Howald - Duddelange / 03-02-2019 / 13 eme Journée / hall sportif holleschbierg
photo : Vincent Lescaut
Marc Dielissen (Howald)
Tennis de table / BDO TT League / Howald - Duddelange / 03-02-2019 / 13 eme Journée / hall sportif holleschbierg
photo : Vincent Lescaut