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"In 1811, the landlord of the “Little Cot” wanted possession. The following year, forced by the end of his tenancy, and not helped by the onset of illness, Bewick reluctantly moved his family south across the Tyne to Mirk or Back(?) Lane, Gateshead, later known as West Street.
The final significant wood engraving of Bewick's life was Waiting for Death, not published until 1832; it shows an old horse reduced to skin and bone, standing bleakly and unsheltered in a rocky field; the prosperity of a country house is clearly seen in the distance.
In November 1828, Bewick died at his home in Gateshead, with his place secure in the history of British art and his name destined to be prominent in every history of his craft. He was buried at the church of St Mary in Ovingham." Newcastle City Guides
Boxgrove Priory, in the village of Boxgrove in Sussex, was founded in about 1066 by Robert de Haye, who in 1105 bestowed the church of St. Mary of Boxgrove upon the Benedictine Abbey of Lessay. In about 1126 upon the marriage of Robert's daughter Cecily, to Roger St. John the number of monks living at Boxgrove was increased from the original three to six, and by 1187 there were a total of fifteen. The nineteenth monk was added to the priory in about 1230 by William de Kainesham, Canon of Chichester. By 1535 the priory's possessions were worth £185 19s. 8d. gross, and £145 10s. 2½d. clear.
The Priory church is still in use as the Church of St Mary and St Blaise. The Battle of Britain Pilot, Billy Fiske is buried in the churchyard.
TaxDay TeaParty Raleigh North Carolina 2010
The question was, why did not the country erupt into protest over Hillary Care?
Aussicht bei der G.rimselstaumauer in den Alpen - Alps im Berner Oberland im Kanton Bern in der Schweiz :
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W.anderung mit R.alf auf`s S.idelhorn am Dienstag den 18. August 2009
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Mit dem Z.ug von B.ern über I.nterlaken O.st - M.eiringen nach I.nnertkirchen und weiter
per A.utostop auf den G.rimselpass
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G.rimselpass ( BE / VS - 2`165m ) - Q.uerfeldein über den S.üdostgrat - S.idelhorn
( BE / VS - 2`764m - 5x ) - r.ot - w.eiss m.arkierter W.anderweg - T.rübtensee
( BE - 2`340m - 2x ) - F.ahrstrasse - G.rimselpass
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Mit R.alf bis H.andegg und weiter per A.utostop nach G.uttannen
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Von G.uttannen mit dem P.ostauto nach I.nnertkirchen und weiter mit dem Z.ug über
M.eiringen - I.nterlaken O.st nach B.ern
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Hurni090818 AlbumZZZZ090818WanderungSidelhorn AlbumUnterwegsindenBernerBergen
AlbumKantonBernGrimselgebiet AlbumGrimselgebiet KantonBern BernerOberland Berner Oberland
E - Mail : chrigu.hurni@bluemail.ch
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Letzte Aktualisierung - Ergänzung des Textes : 050216
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NIF
Concert in the dark
Shawn Grocott, Gabriela Koch & Ensemble
Konzertsaal der Kulturstiftung Marienmünster am 02.02.2018.
Rome, Piazza Navona et Sant'Agnese in Agone. Photo réalisée avec l'objectif à décentrement Laowa 20mm f/4 zero-D shift lens. Netteté optimisée en post traitement avec Topaz AI.
In 2008 Veronika and José were interviewed by Jan Middendrop for the monthly popular series "Creative Characters" by MyFonts. The originally digital interview, was included in the first volume of type-designer interviews spanning two years, with expanded case histories, behind-the-scenes images and further examples of fonts in use.
Find more: www.type-together.com/index.php?action=portal/viewContent...
Price: US $625
Artist: Parag Adhikari
Size: 30in x 24in
Medium: Acrylic on Canvas
Year: 2009
Directly commissioned from Artist
Skating in Central Park, 1934
Agnes Tait - born New York City 1894
died Santa Fe NM 1981
Agnes Tait had long wanted to make a large, festive painting of winter revelers in Central Park, but without a patron she could not take on this project. When the Public Works of Art Project gave her support in the winter of 1933–1934, the artist had her opportunity. As skaters and sledders flocked to the frozen lake and snowy slopes of Central Park, Tait joined them to sketch the winter fun. Then she retreated to her studio to make her painting.
Tait showed the park in late afternoon as the Manhattan sky began to blush and the street lamps to glow, but skating and sledding were still in full swing. Once she had the landscape painted, Tait added figures in groups to create a colorful pattern against the snow and ice. The dark branches of the bare trees make a more subtle design against the white snow and mist and the golden sky. Around the ends of tree branches and in patches along the snowbanks, Tait painted areas of gray into which she drew snow-covered twigs and grasses by scraping away the gray paint with the end of her paintbrush.
americanart.si.edu/artwork/skating-in-central-park-23599
americanart.si.edu/artist/agnes-tait-4732
Agnes Tait was born in New York City in 1894. She enrolled at the National Academy of Design in 1908, leaving in 1913 after the death of her mother. A year later she returned to the academy and took a life drawing class taught by Leon Kroll, whose emphasis on craftsmanship and balanced design was a major influence on Tait's own work. She finished her training at the academy in 1916. During this time she searched for whatever art-related employment she could find, eventually modeling for the illustrator Tenny Johnson and for George Bellows.
In 1927 she traveled to Paris and studied at the École des Beaux-Arts, where she learned lithography. The following year she returned to New York, where she had her first exhibition at the Dudensing Galleries. She traveled to Europe a second time in the early 1930s and returned via Haiti and Jamaica, which fostered an interest in tropical scenes. Her first solo exhibition, of portraits, took place in 1932 at the Ferargil Galleries.
In early 1934 Tait was employed by the Public Works of Art Project, for which she executed what is considered her most famous work, Skating in Central Park [SAAM, 1964.1.15]. Throughout the 1930s Tait worked on small lithographic editions and mural work. In 1941 she and her husband moved to Santa Fe, New Mexico. She continued to travel extensively in Mexico, France, Spain, Ireland, and Italy and worked on portrait commissions, book illustrations, mural commissions, and her own paintings and lithographs. In the late 1960s and 1970s Tait limited her output to smaller works depicting mostly cats and flowers.
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Experience America
The 1930s was a heady time for artists in America. Through President Franklin Roosevelt’s New Deal programs, the federal government paid them to paint and sculpt and urged them to look to the nation’s land and people for subjects. For the next decade — until World War II brought support to a halt — the country’s artists captured the beauty of the landscape, the industry of America’s working people, and a sense of community shared in towns large and small despite the Great Depression.
Many of the paintings in Experience America were created in 1934 for a pilot program designed to put artists to work; others were produced under the auspices of the WPA (Works Progress Administration), which followed. The thousands of paintings, sculptures, and murals placed in schools, post offices, and other public buildings stand as a testimony to the resilience of Americans during one of the most difficult periods in U.S. history. This display is drawn entirely from the Smithsonian American Art Museum's collection. SAAM holds the largest collection of New Deal art in the world.
americanart.si.edu/exhibitions/experience-america
During the Great Depression, president Franklin Delano Roosevelt promised a “new deal for the American people,” initiating government programs to foster economic recovery. Roosevelt’s pledge to help “the forgotten man” also embraced America’s artists. The Public Works of Art Project (PWAP) enlisted artists to capture “the American Scene” in works of art that would embellish public buildings across the country. Although it lasted less than one year, from December 1933 to June 1934, the PWAP provided employment for thousands of artists, giving them an important role in the country’s recovery. Their legacy, captured in more than fifteen thousand artworks, helped “the American Scene” become America seen.
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