View allAll Photos Tagged Introspection
This is what a beach should look like, clean, beautiful, quiet. So quiet, and so freash you'd fall into a introspective trance. There is nothing to capture your mind other then patterns on the cliff walls and the gentle swooshing of the waves.
Perched precariously on the textured, ancient rocks of Vancouver Island's wild west coast, a solitary figure leans into the pervasive mist. This stretch of coastline, near the coordinates provided, is renowned for its dramatic meeting of dense rainforest and the powerful Pacific Ocean. The soft, diffuse light of an overcast day highlights the rough surfaces of the rocks and the deep greens of the coastal vegetation clinging stubbornly to the unforgiving terrain.
The wooden structure visible above hints at the human presence, perhaps a section of the iconic Wild Pacific Trail or a secluded viewpoint offering a brief respite from the raw elements. Yet, the focus remains on the individual, isolated amidst the vastness and the mood created by the fog.
Is this a moment of peaceful solitude, a quiet escape from the demands of modern life? Or does the posture suggest introspection, perhaps grappling with deeper thoughts against the backdrop of nature's indifference? The image invites contemplation about our place within such powerful landscapes and the complex relationship between human structure and the untamed environment.
"Veiled Gazes," my intention was to capture a moment of quiet introspection and the profound separation implied by glass and weather. This piece explores the interplay between interior solitude and the blurred presence of the outside world, creating a sense of subtle melancholy and contemplation. The figure, seen from behind and partially obscured by deep shadow, stands close to a window, their gaze directed outwards.
The window pane, streaked with rain, acts as a translucent barrier, distorting the exterior into an abstract blur of light and forms, enhancing the feeling of being enclosed yet connected. The stark contrast between the darkness of the interior and the muted light filtering through the wet glass emphasizes the reflective mood of the scene. It's about finding beauty in the ordinary act of observation, the quiet dignity of presence, and the unspoken narratives that unfold as one looks out onto a rainy day.
#ArtPhotography #ConceptualArt #DigitalArt #RainyDay #WindowView #Introspection #Solitude #ShadowAndLight #AtmosphericPhotography #SubtleEmotions #Melancholy #FigurativeArt #BlurredReality #QuietMoments #AbstractView #UrbanGloom #ContemplativeArt #VisualStorytelling #ReflectiveMood #gesofMelora #MeloraArtist #RhondaMelo #Melora<3 #CrushPetal
Introspection
Photography©RusMulyadi.com
HP. +62815 851 89 515
Time to inspect ourself in the end of this year
CameraCanon EOS 50D
Exposure0.002 sec (1/640)
Aperturef/9.0
Focal Length93 mm
ISO Speed100
Exposure Bias0 EV
A moment of introspection for a young lady on a short morning's sea voyage.
I've found I'm inhibited lately about posting my "street" candids of anonymous people, but I really liked this shot after I cropped it in a bit. Actually shot a couple months ago.
Introspection- sometimes- means getting to the heart of things. You pack some gear and you go out (actually the journey is inward) to seek something- specifically, some soul searching, to find you. You come to a place in yourself...the window of your soul. And you are surprised by what you find- a tattered window that leads into black, and your surprise springs from a superficial knowledge of yourself. You must go in now, and feel around for the light.
James McNeill Whistler - American, 1834 - 1903
Gold and Brown: Self-Portrait, c. 1896-1898
West Building, Main Floor — Gallery 69
Known for his biting wit, extravagant style, and personal eccentricities, the publicity-conscious Whistler used self-portraiture as a means to manipulate his public persona. Gold and Brown belongs to a small group of works executed in the mid-1890s in which Whistler replaced the flamboyance of his earlier self-portraits with an aura of introspection and heightened spirituality. Here he presents himself as a reserved, mature gentleman who turns his head to acknowledge the viewer's presence with a slight smile. Whistler's trademarks—the monocle, the white lock of hair, the mustache, and the small imperial beard—are all present. Completing the ensemble is the red ribbon of the Légion d'Honneur, France's highest decoration, in his lapel.
Whistler's transformation of his public image can be partly ascribed to his despondency over the recent death of his wife, Beatrice. At the same time, he wanted to present himself as regarded by his admirers as a "living old master": a status he could claim after the French government purchased his Arrangement in Gray and Black No. 1: The Painter's Mother (best-known as Whistler's Mother, 1871, Musée d'Orsay, Paris) in 1892. In her study of Whistler's changing image, art historian Sarah Burns noted that this development, along with his purported disdain for financial and material considerations, rendered him a modernized, scientifically verified recreation of the idealized, lofty, disinterested Old Master." According to the artist's sister-in-law, Gold and Brown was the portrait that "Whistler wanted to be remembered by."
More information on this painting can be found in the Gallery publication American Paintings of the Nineteenth Century, Part II, pages 257-261, which is available as a free PDF (21MB).
James Abbott Whistler was born in in 1834 in Lowell, Massachusetts, the third son of West Point graduate and civil engineer Major George Washington Whistler, and his second wife Anna Matilda McNeill. After brief stays in Stonington, Connecticut, and Springfield, Massachusetts, the Whistlers moved to St. Petersburg, Russia, where the Major served as an engineer for the construction of a railroad line to Moscow. Whistler studied drawing there at the Imperial Academy of Science. In 1848 he went to live with his sister and her husband in London, and after his father's death the following year the family returned to the United States and settled in Pomfret, Connecticut. Whistler enrolled in the United States Military Academy at West Point in 1851, where he excelled in Robert W. Weir's drawing class. He was dismissed from the academy in 1854, and after brief periods working for the Winans Locomotive Works in Baltimore, and the drawings division of the United States Coast and Geodetic Survey, resolved to become an artist and went to Europe.
Whistler settled in Paris, where he studied at the Ecole Imperiale et Speciale de Dessin, before entering the Academie Gleyre. He quickly associated himself with avant garde artists, and was influenced by Courbet's realism, as well as the seventeenth century Dutch and Spanish schools. He befriended Henri Fantin-Latour and Alphonse Legros, with whom he founded the Société des Trois. After Whistler's At The Piano (Taft Museum, Cincinnati) was rejected at the Salon of 1859 he moved to London (where the painting was exhibited at the Royal Academy), and began work on a series of etchings. There Whistler was influenced by the Pre-Raphaelites, and he befriended Dante Gabriel Rossetti. He achieved international notoriety when Symphony in White, No. 1: The White Girl (1943.6.2) was rejected at both the Royal Academy and the Salon, but was a major attraction at the famous Salon des Refusés in 1863. Thereafter Courbet's influence waned, and Orientalism--and to a lesser extent classicism--became increasingly pronounced elements in his work. Whistler maintained close ties with France during the London years, and painted at Trouville with Courbet, Daubigny, and Monet in 1865.
In 1866 he went to South America, where he painted seascapes in Valparaiso, Chile. After returning to Europe he commenced work on a series of monumental figure compositions for Frederick R. Leyland called the Six Projects (Freer Gallery of Art, Washington, D.C.), that reflect the influence of the English artist Albert Moore. In 1869 Whistler began to sign his paintings with a butterfly monogram composed of his initials. In 1872 he painted his well-known Arrangement in Grey and Black, No. 1: Portrait of the Artist's Mother (Louvre, Paris), that was later acquired by the French government. During the early 1870s he painted his famous "Nocturne" series, views of the Thames. Whistler's Peacock Room, or Harmony in Blue and Gold (1876-1877, Freer Gallery of Art), done for Leyland, exerted a strong influence on the Aesthetic movement's interior design.
In 1877 the critic John Ruskin denounced Whistler's Nocturne in Black and Gold: The Falling Rocket (ca. 1875, Detroit Institute of Arts) as being tantamount to "flinging a pot of paint in the public's face." The artist successfully sued Ruskin for libel the following year, but was only awarded one farthing in damages. Potential patrons were repelled by the negative publicity surrounding the case, and Whistler declared bankruptcy in 1879. He proceeded to Italy with a commission from the Fine Arts Society to make twelve etchings of Venice. After returning to England in 1880 he painted a wide variety of subjects, continued with his interest in the graphic arts, and promulgated his aesthetic theories in print and in the Ten O'Clock lecture (1885); his polemical The Gentle Art of Making Enemies was published in 1890. In 1886 he was elected president of the Society of British Artists, but despite some successes his revolutionary ideas ran afoul of the conservative members, and he was voted out of office within two years. During the late 1880s and 1890s Whistler achieved recognition as an artist of international stature. His paintings were acquired by public collections, he received awards at exhibitions, and he was elected to such prestigious professional associations as the Royal Academy of Fine Arts, Munich, and the Legion d'Honneur. In 1898 he was elected president of the International Society of Sculptors, Painters and Gravers. He withdrew from an active social life around the time his wife Beatrice Godwin died of cancer in 1896. In 1903, the year of his death, a memorial exhibition was held in Boston; the following year similar retrospectives were held by the International Society in London, and the Ecole des Beaux-Arts in Paris. [
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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...
..
________________________________
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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www.asiafitnesstoday.com/?p=10179
Asia Fitness Today speaks to Malaysian-Australian artist Kenneth W.H. Lee about his third solo art show, “Introspection III” which is on display at Sydney Haymarket’s Bendigo Community Bank’s branch at Darling Square 11 Little Pier St Shop NE12 until 22 July 2021.
On reflection, a place like Central Park adds just an interesting dimension to NYC. Wish Mumbai had one
I took this series of photos some months ago with my friend and improvised model Roberto. The conceptual photography is one of my favourites ways of expression. You can even find things that you don't know conciously: feelings... sensations... moods... In this series he begun to pose for me in a "ordinary" way until I suggested some changes in order to get the inner expression of his essence. In this photo I think he is revealing a very intimate part of himself.