View allAll Photos Tagged Humankind
Brush and watercolour, black chalk on heavy white wove paper
Here, Homer studied details he would include in The Gulf Stream. By placing brightly coloured stalks of sugarcane at the centre of his composition and writing that 'the subject of this picture is comprised in its title', Homer may be referring obliquely to the institution of slavery. Sugar was a central commodity in the triangular trade between Europe, Africa and the Americas. The Gulf Stream current played an essential role in both transporting it and in the trafficking of enslaved people.
[National Gallery]
Taken in the Exhibition
Winslow Homer: Force of Nature
(September 2022 – January 2023)
[A]n overview of Winslow Homer (1836–1910), the great American Realist painter who confronted the leading issues facing the United States, and its relationship with both Europe and the Caribbean world, in the final decades of the 19th century.
Homer’s career spanned a turning point in North American history. He lived through the American Civil War and the abolition of slavery, so-called Reconstruction, and war with the last colonial European power in the Americas, Spain.
From his sketches of battle and camp life, to dazzling tropical views and darker restless seascapes, the works reflect Homer’s interest in the pressing issues of his time; conflict, race, and the relationship between humankind and the environment – issues still relevant for us today.
After the war, Homer’s subject became the lives of Americans in the wake of the war and abolition with a focus on the lives of formerly enslaved African Americans.
Homer travelled to France, England, the Bahamas, Cuba and Bermuda. In England, he painted scenes of heroism and resilience that he saw while staying in Cullercoats, a town on the North East coast. In the Caribbean, his paintings became more vivid as he painted the transparent turquoise waters and lush vegetation. His interest in conflict remained constant and he often explored the issue through painting the life and struggles of Black people.
With more than fifty paintings, covering over forty years of Homer’s career, 'Winslow Homer: Force of Nature' is part of a programme of exhibitions that introduce major American artists to a UK and European audience and follows on from our exhibitions about George Bellows and the Ashcan painters, Frederic Church and Thomas Cole.
[National Gallery]
A big male lion sleeps in the sun...
Photo taken at the Rhino & Lion Nature Reserve in the "Cradle of Humankind" World Heritage site, near Johannesburg, South Africa.
Brush and watercolour, black chalk on heavy white wove paper
Here, Homer studied details he would include in The Gulf Stream. By placing brightly coloured stalks of sugarcane at the centre of his composition and writing that 'the subject of this picture is comprised in its title', Homer may be referring obliquely to the institution of slavery. Sugar was a central commodity in the triangular trade between Europe, Africa and the Americas. The Gulf Stream current played an essential role in both transporting it and in the trafficking of enslaved people.
[National Gallery]
Taken in the Exhibition
Winslow Homer: Force of Nature
(September 2022 – January 2023)
[A]n overview of Winslow Homer (1836–1910), the great American Realist painter who confronted the leading issues facing the United States, and its relationship with both Europe and the Caribbean world, in the final decades of the 19th century.
Homer’s career spanned a turning point in North American history. He lived through the American Civil War and the abolition of slavery, so-called Reconstruction, and war with the last colonial European power in the Americas, Spain.
From his sketches of battle and camp life, to dazzling tropical views and darker restless seascapes, the works reflect Homer’s interest in the pressing issues of his time; conflict, race, and the relationship between humankind and the environment – issues still relevant for us today.
After the war, Homer’s subject became the lives of Americans in the wake of the war and abolition with a focus on the lives of formerly enslaved African Americans.
Homer travelled to France, England, the Bahamas, Cuba and Bermuda. In England, he painted scenes of heroism and resilience that he saw while staying in Cullercoats, a town on the North East coast. In the Caribbean, his paintings became more vivid as he painted the transparent turquoise waters and lush vegetation. His interest in conflict remained constant and he often explored the issue through painting the life and struggles of Black people.
With more than fifty paintings, covering over forty years of Homer’s career, 'Winslow Homer: Force of Nature' is part of a programme of exhibitions that introduce major American artists to a UK and European audience and follows on from our exhibitions about George Bellows and the Ashcan painters, Frederic Church and Thomas Cole.
[National Gallery]
Watercolour and graphite on off-white wove paper
Dark clouds threaten, while several tall palms are lashed by violent winds. Homer's attention to stormy weather distinguishes this from the more idyllic images he produced during his earlier trip to The Bahamas, in 1884-5. He signals the archipelago's status as a Crown colony by including the Red Ensign. This detail combined with the tempestuous weather may evoke the geopolitical turmoil elsewhere in the Caribbean that year, specifically the US military occupation of Cuba and Puerto Rico.
[National Gallery]
Taken in the Exhibition
Winslow Homer: Force of Nature
(September 2022 – January 2023)
[A]n overview of Winslow Homer (1836–1910), the great American Realist painter who confronted the leading issues facing the United States, and its relationship with both Europe and the Caribbean world, in the final decades of the 19th century.
Homer’s career spanned a turning point in North American history. He lived through the American Civil War and the abolition of slavery, so-called Reconstruction, and war with the last colonial European power in the Americas, Spain.
From his sketches of battle and camp life, to dazzling tropical views and darker restless seascapes, the works reflect Homer’s interest in the pressing issues of his time; conflict, race, and the relationship between humankind and the environment – issues still relevant for us today.
After the war, Homer’s subject became the lives of Americans in the wake of the war and abolition with a focus on the lives of formerly enslaved African Americans.
Homer travelled to France, England, the Bahamas, Cuba and Bermuda. In England, he painted scenes of heroism and resilience that he saw while staying in Cullercoats, a town on the North East coast. In the Caribbean, his paintings became more vivid as he painted the transparent turquoise waters and lush vegetation. His interest in conflict remained constant and he often explored the issue through painting the life and struggles of Black people.
With more than fifty paintings, covering over forty years of Homer’s career, 'Winslow Homer: Force of Nature' is part of a programme of exhibitions that introduce major American artists to a UK and European audience and follows on from our exhibitions about George Bellows and the Ashcan painters, Frederic Church and Thomas Cole.
[National Gallery]
Last Day in S.A. - Cradle of Humankind in Maropeng, South Africa. Pictures from the Cradle of Humankind "Museum"
Come visit the Cradle of Humankind! Starting in a camp reflecting the 1920s you soon cross a wide river with the wildlife veterinary station and a savanna lying behind. Or you visit a small native village near the dark jungle. Safari feeling guaranteed!
Theme song youtu.be/GibiNy4d4gc
Fun Theme Song
{"colorSpace":"kCGColorSpaceSRGB","macroEnabled":false,"qualityMode":3,"deviceTilt":0.02305929263564543,"customExposureMode":0,"extendedExposure":false,"whiteBalanceProgram":0,"focusMode":0}
Libraries are the memory of humankind, irreplaceable repositories of documents of human thought and action. The New York Public Library is such a memory bank par excellence, one of the great knowledge institutions of the world, its myriad collections ranking with those of the British Library, the Library of Congress, and the Bibliothèque nationale de France. Virtually all of the Library's many collections and services are freely available to all comers. In fact, the Library has but one criterion for admission: curiosity.
The New York Public Library comprises simultaneously a set of scholarly research collections and a network of community libraries, and its intellectual and cultural range is both global and local, while singularly attuned to New York City. That combination lends to the Library an extraordinary richness. It is special also in being historically a privately managed, nonprofit corporation with a public mission, operating with both private and public financing in a century-old, still evolving private-public partnership. The research collections (for reference only, and organized as The Research Libraries, with four major centers) resemble the holdings of the great national and university libraries, and the community circulating libraries (organized as The Branch Libraries) resemble classic American municipal libraries.
computersAll these features, taken together, make The New York Public Library a unique and complex institution, wonderful to use but not always easy to grasp. A useful way to understand the Library is to consider its beginnings and subsequent evolution. It has been very much a creature of time and place, bearing the imprint of its origins but always, like any living organism, coping with struggles and problems while adapting to an ever changing environment.
Last Day in S.A. - Cradle of Humankind in Maropeng, South Africa. Pictures from the Cradle of Humankind "Museum"
SAN FRANCISCO, CA - May 22 - Atmosphere at Humankindness Gala on May 22nd 2024 at San Francisco City Hall in San Francisco, CA (Photo - Jessica Monroy for Drew Altizer Photography)
When humankind understands is a poem by Frank Scassellati and this photo is my complimentary and visionary picture. A gateway to the Spirit Realm which, I truly never finished. The entire weave of gold thread, shining the light, should be an unusual navaho web weaved in the shape of a heart, attached to a branched tree fork. A pathway through to the forbidden lands. Someday I will complete it and retake the photo. Below is the the poem for those interested in reading it.
"There Lies a World hidden, mysterious, unknown, and forbidden. Where dwell entities with technologies beyond our comprehension, and knowledge kept hidden from us, in this other dimension. Will the truth ever be revealed? Earthly forces of power and greed forever sealed, forbidden knowledge for warfare to wield. When humankind understands, to use the knowledge acquired from these strange lands. For the benefit of humankind, then an entrance into their world we will find."
The Cradle of Humankind, north of Johannesburg, South Africa, has been the world's hotbed of discoveries of humanity's origins. Mrs. Pless, Little Foot, and more recently, in May 2010, Australopithicus Sediba have all been found in the limestone caves that pepper this grassy piece of African bushveld. They have rewritten the story of human origins, and Professor Francis Thackery, the Director of the Instutute for Human Evolution at the University of the Witwatersrand has been involved intimately with many of the discoveries and the study of them.
Assemblage on wood. 177x118 in. This is an installation I created in my former school. It is meant to interact and to play with the viewer. When sitting on the chair, the viewer becomes part of the artwork. However, if he reads the free quotation from Peter Handke’s play "Audience bashing" he becomes aware that he is already being absorbed by the work’s unpleasing aura.
President Cyril Ramaphosa and leaders of political parties in the GNU comment on the outcome of the Government of National Unity Leaders Retreat meeting convened over two days at the Cradle of Humankind in Mogale City, Gauteng Province.
The Government of National Unity Leaders’ Retreat provided a platform for political leadership of governing parties to reflect on collaboration among parties across the political spectrum within the framework of the 2024 post-election Statement of Intent.
The meeting was attended by President Cyril Ramaphosa and Deputy President Paul Mashatile (ANC), John Steenhuisen (DA), Velenkosini Hlabisa (IFP), Gayton McKenzie (PA), Corné Mulder (FF Plus), Bantu Holomisa (UDM), Songezo Zibi (Rise Mzansi), Ganief Hendricks (Al Jama-Ah), Mzwanele Nyhontso (PAC) and Brett Herron (Good). [Photo: GCIS]