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Devotion in Every Colour
the Just Love Festival began with Guruji’s profound message during the Abhishek. Guruji explained that while our senses may constantly lead us into error, the satsang of the Guru is the adesh—the divine command—of the satguru, guiding us back to truth.
The day was also marked by the joyous celebration of Holi. As colors filled the air and everyone was joyfully covered in vibrant hues, we were reminded to be completely drenched in the love of God.
The main stage featured a series of extraordinary performances. A graceful Bharatanatyam recital opened the evening, followed by the energetic and soulful performance of Vishwaas, invoking the presence of Lord Vitthala with every note and movement.
Then, the stage welcomed Dr. Bharat Balvalli, whose musical offering left the audience breathless. His singing, paired with stunning instrumental accompaniments, was not only technically brilliant but also deeply heartfelt. The performance resonated with humility, devotion, and spiritual depth, touching the hearts of all present.
🔗 justlovefestival.org
Lippo di Dalmasio
Tempera on canvas
Like Donatello, the Bolognese painter Lippo responded to the graceful charm of 14th-century Sienese painting. The Virgin is shown as the 'Madonna of Humility', so-called because she is seated on the ground with the Christ Child on her lap. She tenderly embraces her child set against the sun, which gives the scene the appearance of a golden tondo.*
From the exhibition
Donatello: Sculpting the Renaissance
(11 February - 11 June 2023)
This first major UK exhibition to explore the exceptional talents of the Renaissance master Donatello, arguably the greatest sculptor of all time, presented a fresh vision of the artist and his influence on subsequent generations.
Donatello (about 1386 – 1466) is arguably the greatest Italian Renaissance sculptor. He revolutionised sculpture both through his inventive treatment of imagery, and his mastery of an extraordinary range of materials – including marble and stone, bronze, wood, terracotta and stucco as well as unusual mixed media. He rarely repeated himself, striving for innovation and never quenching his thirst for experimentation.
Born in Florence around 1386, Donatello is one of the most inventive and influential artists of the Renaissance. Throughout a career lasting over 60 years, his extraordinary sculpture was at the heart of the revolution in art and culture taking place in 15th-century Italy.
Always at the cutting edge, Donatello combined the growing interest in ancient Greece and Rome with familiar traditions. He used a wide variety of materials and techniques, creating innovative sculptures to adorn public and private settings. Through exceptional ingenuity and emotional insight, he captured the essence of the human experience in sculptural form and paved the way for sculptors and painters alike.
This exhibition explores Donatello's creativity and unique vision, his workshop practices and collaborations, and his enduring impact on artists across the centuries.
[*Victoria & Albert]
Taken in the V&A
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American Landscapes in Watercolor from the Corcoran Collection
August 2, 2025 - February 1, 2026
Locations West Building, Ground Floor, Gallery 22
Two centuries of watercolors capture the nation’s beauty from sea to shining sea.
In the nation’s early years, artists and explorers used watercolor for mapping and documenting the landscape. By the 19th century, American painters began capturing their country in larger, more finished works that were considered fine art.
See how artists with different backgrounds and styles painted iconic American places in watercolor over two centuries. You’ll travel from the Washington Monument to the choppy ocean waters of New England, from the Grand Canyon to Yosemite National Park, from the Hudson River Valley to local gardens.
American Landscapes features 30 works, most drawn from the National Gallery’s Corcoran Collection.
www.nga.gov/exhibitions/american-landscapes-watercolor-co...
A new show of landscapes feels like a series of establishing shots. The characters, if any, are minor, deflecting attention. The focus, instead, is on scene setting, on the spiky needles of a pine, the blazing crimsons of dusk. The world here is still, waiting quietly, expectantly, for something to happen.
Staged in two small rooms, the 30 watercolors on show at the National Gallery of Art are dreamlike. Drawn from the Corcoran Collection and dating from the early 19th to the late 20th century, the pictures trace the history of the nation’s landscapes in watercolor, a medium long dismissed as sentimental or, as Harper’s Weekly put it at the time, work “better fitted for girls than for men.” It wasn’t until the establishment of the American Watercolor Society in 1866 and the work of Winslow Homer, William Trost Richards and others that the art form rocketed to new heights.
Particularly monumental is Richards’s view of Narragansett Bay in Rhode Island. “It has the feel of a grand oil painting,” says curator Amy Johnston. Mounted on its own wall in the show, the work swells with blue-green waves crashing against the jagged rock, the tide breaking in cobweb-white flourishes. Seagulls cut across the shadowed sky, like fingernails strewn about. An accomplished oil painter, Richards here revels in rich passages of teal, churning ravenously on textured brown paper. Like his contemporaries, he’s “trying to elevate the status of watercolor,” Johnston notes, imbuing it with a rare sublimity.
That splendor runs through the show. It comes through in the delicate pictures of Seth Eastman, a West Point cadet turned painter. His sketches, like one of the Hudson River from 1837, were dashed off out of doors, where he could linger on the deep greens shading into sage, the cascading hills of silvery blue-grays. Unlike oils, watercolors were affordable and lightweight, allowing for a kind of immediacy.
Consider William Russell Birch’s circa 1808 “View From the Springhouse at Echo,” an enigmatic sketch of a densely wooded forest, light filtering through a canopy of leaves, each tendril scrawled in black ink. There’s a harmony to the picture, a taupe ground tinged with gold, tree trunks striped with delicate crosshatches. It’s not so much a study of nature as a delight in it, the eye snaking between branches.
Homer took up the same theme in 1891. There, bands of ultramarine are broken by spindly logs of rich brown and cadmium white, the hills a wash of olive green, the two central figures nearly eclipsed in a sea of cascading sapphires. Homer left slivers of the paper exposed, never overextending himself. The result is impossibly deft: a moment in time seared, immutably, in memory.
By the 20th century, that sense of nostalgia sharpens, before giving way to bolder modernism. Dora Louise Murdoch’s “Parmelee Garden” drips with glossy pinks and lilacs, centering on the wistful grounds of the Northwest Washington estate designed by landscape architect Ellen Biddle Shipman. A lover of overgrown gardens, Shipman approached her work as if “painting pictures” with her plants, she said, “as an artist would.”
That artistry explodes with Alma Thomas’s circa 1960 “Winter Shadows.” Probably a view of a holly tree outside her 15th Street window in Washington, D.C., the work is a symphony of ultramarines and jades daubed with lavenders and blush pinks. Rhythm permeates the picture, rising and falling in time.
Many of these artists seem to be looking for something outside themselves.
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Richards wandered along the shore of Narragansett Bay. He spent hours there studying the jutting edge of bluff, the thrill of the current. “I watch and try to disentangle its push and leap and recoil,” he told his friend, the art collector George Whitney, but “[I] am always startled out of my self-possession by the thunder and the rush.” He relished nature, surrendering to its pull. That practice, a kind of grace, informed his work. As he once advised his student Fidelia Bridges: “It is not so much what you accomplish as what you learn by the work. If it teaches you humility, patience and steadfastness, your life is well spent.”
www.washingtonpost.com/dc-md-va/2025/09/17/american-lands...
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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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Humility is essential in most things, but in birding and photography it seems especially important. There I was, picking my way around the southern end of the pond at Bruce Pit, looking to get to the east side to shoot with the sun at my back. I was getting closer, but then an odd little sparrow began darting among the reeds. I was trying to use it as a test for my light readings, and so I too a couple of pictures. It was later int he afternoon, at home, that I realized I had been so intent on shooting the sparrow, and so concerned about the exposure, that I missed (being aware of) an interesting bird that had not bolted as I crashed through the reeds.
Photos by Francisco Montiel. Event hosted by Centro de Cultura Digital, Shutterstock, Frutos de Vida, Buñuelo Capuccino, Bopcakes #CMMX #CreativeMornings
Humility isn't thinking less of yourself, it is thinking of yourself less.
— C.S. Lewis
Typefaces: Neutraface Display Titling, Thirsty Soft
Merchandise available: www.redbubble.com/shop/ap/134971845
Dimensions: Medium Scale
Material: Copper, Metal
Provenance: Sunnyside, Brooklyn
Manufactured by: unkown
This was a tribute to the bond between man and animals. This beautiful plaque was given to the ASPCA circa 1953 and hung on their Manhattan quarters until 1992. The plaque was later hung at the Greenwood Cemetery below the grave of Henry Bergh, founder and first president of the ASPCA in his honor and in celebration of the 140 anniversary of founding the organization.
Replacement photo for 255/365
This is one of my all time favorite "self portraits"
I took this a few years ago, part of a self portrait project in a BW creative photography class at FCCJ.
After hand developing and printing this in BW, with blue toner, I scanned it and solarized it on the computer for this final look.
When I first developed this picture.. I imagined that this was how God might see me..... eyes down... humbled before him.
The color and chaos and unkept look were intentional... and the red does have symbolism too....
Devotion in Every Colour
the Just Love Festival began with Guruji’s profound message during the Abhishek. Guruji explained that while our senses may constantly lead us into error, the satsang of the Guru is the adesh—the divine command—of the satguru, guiding us back to truth.
The day was also marked by the joyous celebration of Holi. As colors filled the air and everyone was joyfully covered in vibrant hues, we were reminded to be completely drenched in the love of God.
The main stage featured a series of extraordinary performances. A graceful Bharatanatyam recital opened the evening, followed by the energetic and soulful performance of Vishwaas, invoking the presence of Lord Vitthala with every note and movement.
Then, the stage welcomed Dr. Bharat Balvalli, whose musical offering left the audience breathless. His singing, paired with stunning instrumental accompaniments, was not only technically brilliant but also deeply heartfelt. The performance resonated with humility, devotion, and spiritual depth, touching the hearts of all present.
🔗 justlovefestival.org
This is violet. Violet can be found easily around the Hanseo University. Violet represents sincerity and humility. It have a 3 color like red, purple, yellow. The main color is light purple. Background is green grass and stone It is very bright.
OBAMA HUMILITY / TRUMP HUMILIATION Posters on Utility Box at Connecticut Avenue and I Street, NW, Washington DC on Monday afternoon, 20 February 2017 by Elvert Barnes Protest Photography
Anti-Trump Street Art Project
Elvert Barnes WRITING ON THE WALLS 2017 at elvertbarnes.com/graffiti.html
Monday, 20 February 2017 Presidents Day NOT MY PRESIDENT DAY PROTESTS / DC docu-project at elvertbarnes.com/20February2017.html
During His visit to Peru, Paramahamsa Vishwananda showered His blessings upon everyone. He gave two darshans and met indigenous community leaders who have preserved their traditions for thousands of years. Guruji was warmly welcomed as He traveled across the country, visiting the sacred Lake Titicaca, the awe-inspiring Machu Picchu, Cusco, Lima, and many more significant places.
The breathtaking beauty of Peru, the deep devotion of its people, their humility, and their spirit of service made this journey truly special—one that will always remain in our hearts.
paramahamsavishwananda.com
bhaktimarga.org
The early 15c south door "humility" entrance, believed to probably be the finest carved door in the county. It has Tudor roses, crockets and rich canopies. The Knowles shield is set between the emblems of St Luke and St John.
Detail: One of the Four Doctors of the Church (Gregory, Jerome, Ambrose, & Augustine).
The South door is perpendicular and is probably the finest carved door in the county and one of the best in the whole country. It has tudor roses, crockets and rich canopies. The wicket is traceried and has signs of St Luke and St John. There are niches running from the sill of the door with mutilated figures of Saints and the Four Doctors of the Church (Gregory, Jerome, Ambrose, & Augustine). There is a lion at the bottom of the door and a stag at the East side.
www.ggmbenefice.uk/our-churches/harpley/harpley-church-hi...
There is so much humility wrapped up in the quilts I make that there is no reason to "create" a humility block (like the Amish).
Big ol' gap in the border gave me instant humbleness and the opportunity to announce it in orange. I embroidered a special "cousin word" on it just for J (my cousin!).
(That's a garden hose at the bottom)