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Florian Howald, Tampereen Pyritö, winner of leg 7, takes T P to second place, 1 min behind Stora Tuna.
Fondation Cancer - soirée de remerciement des bénévoles - Luxembourg Howald - Banque de Luxembourg - 18/04/2023 - photo: claude piscitelli
Sous Les Étoiles @ Les Amis
Martin Dahanukar, trumpet - Dimitri Howald, guitar - Valentin von Fischer, double-bass - Willy Kotoun, percussion
06.02.2020 Patrick Principe
Sous Les Étoiles @ Les Amis
Martin Dahanukar, trumpet - Dimitri Howald, guitar - Valentin von Fischer, double-bass - Willy Kotoun, percussion
06.02.2020 Patrick Principe
Maurice Prendergast - American, 1858 - 1924
Salem Cove, c. 1915/1918
East Building, Ground Level — Gallery 106-B
In November 1914, Maurice Prendergast and his brother, Charles, left Boston and moved to New York. Prendergast was regarded as an important American modernist in his adopted city, and a major exhibition of his work at the Carroll Galleries in 1915 was an immense success. Prominent collectors such as John Quinn, Albert Barnes, and Ferdinand Howald vied for his work.
Salem Cove is a particularly fine example among the many shore scenes that the artist produced between 1914 and 1923, when his failing health forced him to cease working. During this late phase of his career, Prendergast summered in New England resort towns, such as Salem, Massachusetts. His standard working procedure was to paint watercolors on site and then translate them into fairly large exhibition oil paintings at his studio in New York. Salem Cove represents his favorite subject, people pursuing leisurely activities in the idyllic inlets, coves, and beaches of New England’s Atlantic coast. Prendergast’s bright palette and mosaic-like technique contribute to the festive, optimistic ambience of the scene.
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www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
Ensalada de origen suizo para los suizos que cenaron ayer en Bistro, acomodada por el patronsito Adrian Howald [en lo personal se ve horrendo de esa forma]
Georgia O'Keeffe
1924
Oil on canvas
O'Keeffe often visited Alfred Stieglitz's family estate at Lake George, New York, where she kept a studio and captured the changing of the seasons. Here, the leaves are seen as if seen as if from above, with depths of space behind their layered forms.
Columbus Museum of Art, museum purchase, Howald Fund II