View allAll Photos Tagged Length
Date: 2012 July 02
Camera: NIKON D7000
Lens: 35 mm f/1.8
Focal length: 35 mm
Equiv focal length: 52 mm
1/100 sec at f/3.2 at ISO 2500
uncropped
學名：Garrulus glandarius
英名: Jay
Family : Corvidae (鴉科), Length : 30~33 cm
是一種分佈極廣泛的鴉科動物，包括西歐大部分地區，至非洲的東北部，以至亞洲的東海岸以及東南亞等地均有分內。正因為分佈如此廣泛，因此不同地區的亞種往往出現極大的變異，特別是當它們的分佈地是相距極遠的時候，差異更大。在歐洲，松鴉也常被簡稱為Jay。常聽到松鴉的嗚叫聲多是粗糙刺耳的尖叫聲，主要是在發現捕獵者時用以警戒同伴之用。除此之外，這類型的鳥也擅長模仿其他鳥類的鳴叫聲。因此，除非能親愛看見，不然單憑聲音分辨容易被其誤導。有時甚至會模仿其捕食者的聲音以避過攻擊，如灰林鴞。松鴉好吃校欑籽，故日人叫松鴉為橿鳥。
The Eurasian Jay (Garrulus glandarius) is a species of bird occurring over a vast region from Western Europe and north-west Africa to the eastern seaboard of Asia and down into south-east Asia. Across its vast range, several very distinct racial forms have evolved to look very different from each other, especially when forms at the extremes of its range are compared.The bird is called jay, without any epithets, by English speakers in Britain and Ireland. Its usual call is the alarm call which is a harsh, rasping screech and is used upon sighting various predatory animals, but the Jay is well known for its mimicry, often sounding so like a different species that it is virtually impossible to distinguish its true identity unless the Jay is seen. It will even imitate the sound of the bird it is attacking, such as a Tawny Owl, which it does mercilessly if attacking during the day. However, the Jay is a potential prey item for owls at night and other birds of prey such as Goshawks and Peregrines during the day.
Shown Color: Blue
Fabric: Chiffon
Neckline: Sweetheart
Waistline: Natural
Sleeve length: Sleeveless
Hemline/train: Floor length
Embellishment: Sequins
Silhouette: A-line
Style: Beautiful
Occasion: Graduation,homecoming,prom
Weight: Approx 2.5kg
Description: This blue a-line dress is made of chiffon, cut with sweetheart neckline, featured by sequins on the bodice.
Length x Breadth: 21 m X 7 m
Speed recorded (Max / Average): 9.7 / 7.9 knots
Flag: Netherlands [NL]
Call Sign: PHKJ
IMO: 0, MMSI: 246132000
Name: Sixth Sense
Length: 74m
World's largest yacht number: 142
Shipyard: Amels
- - -
Name: Mylin IV
Length: 61m
World's largest yacht number: >200
Shipyard: Feadship
Price: 60 000 000€
Great Horned Owls range in length from 18–27 in (46–69 cm) and have a wingspan of 40-60.5 in (101–153 cm); Females are larger than males, an average adult being 22 in (55 cm) long with a 49 in (124 cm) wingspan and weighing about 3.1 lbs (1400 g). Depending on subspecies, Great Horned Owls can weigh from 0.72 to 2.55 kg (1.6 to 5.6 lb).[1]
Adults have large ear tufts, a reddish, brown or gray face and a white patch on the throat. The iris is yellow, except the amber-eyed South American Great Horned Owl (B. V. nacurutu). Its "horns" are neither ears nor horns, simply tufts of feathers. The underparts are light with brown barring; the upper parts are mottled brown. The legs and feet are covered in feathers up to the talons. There are individual and regional variations in color; birds from the sub-Arctic are a washed-out, light-buff color, while those from Central America can be a dark chocolate brown.
Their call is a low-pitched but loud ho-ho-hoo hoo hoo; sometimes it is only four syllables instead of five. The female's call is higher and rises in pitch at the end of the call. Young owls make hissing or screeching sounds that are often confused with the calls of Barn Owls.
Great Horned Owls can be easily confused with the Magellanic Horned Owl (B. magellanicus) and other eagle-owls. They are all generally allopatric though.
The length of the defence walls of Jerusalem is 4,018 meters, their average height is 12 meters and the average thickness of walls is 2.5 meters. The walls also contain 34 watchtowers and 8 gates.
The walls of Jerusalem were built originally to protect the borders of the city against intrusions.
Solomon, King David's son, built the first temple in the city and also extended the city walls in order to protect the temple.
In the 16th century, during the reign of the Ottoman empire in the region, the Ottoman Sultan Suleiman the Magnificent decided to fully rebuild the city walls on the remains of the ancient walls. The construction lasted from 1535-1538 and these walls are the walls that exist today.
Looks lovely with the purple stripey socks!
This is 116 length, my daughter is 113cm tall, and it comes just under her knees.
Blade Length: 5 1/4"
O/A Length: 10"
Cutting Edge: 4 7/8"
Thickness: 1/8"
Weight: 10oz
Blade Color: Tactical Gray
Blade Steel: 154CM CRYO Treated RC 58-60 Heat Treated 2x
Handle Material: Black Linen Micarta®
Sheath: Kydex Heavy Duty LBE Revolving Spring Steel Clip
Designed: by Steven Dick
Weight: 7.3oz
Weight w/ Sheath: 10.4oz
Mfg. Handcrafted in the USA
Metrogon lens in shutter
serial no. 5-5765
EFL 151.0mm (effective focal length)
Unmarked lens in unmarked shutter, probably manufactured in 1955 by Bausch & Lomb).—Yellow Filter (Type III) with 3" diameter, fastened with four screws.
© Dirk HR Spennemann 2012, All Rights Reserved
The Red School House - 1873
Winslow Homer
American, 1836 - 1910
Shown nearly full-length, a young schoolteacher fills the foreground of The Red Schoolhouse. Standing on a wide dirt path or road, she gazes off to her right with a solemn expression, holding two books in her left hand and the striped fabric of her flounced skirt in her right. Around her neck the teacher wears a lacy triangular shawl known as a fichu that appears to be fastened with a square gold brooch or button. Her black and white ruffled bonnet is similarly elegant. Though only roughly sketched, the building behind the central figure is recognizable as a small red schoolhouse toward which a trio of schoolgirls appear to be headed. The surrounding landscape, lush and green, is silhouetted against a wide expanse of sky that glows with the warm, bright colors of early morning.
The Red School House is related to a series of school subjects that Winslow Homer painted from 1871 to 1874. Though he varied the composition and narrative emphasis across the series, three elements remain consistent: a small red schoolhouse, its young female teacher, and a luminous mountain setting. Homer’s attention to this theme reflected a popular wave of nostalgia in late 19th-century America for small country schools and the simpler lifestyle they recalled. Part of a larger body of paintings of children completed in the 1870s, Homer’s school subjects, including The Red School House, simultaneously express the country’s sense of optimism for future generations in the wake of the Civil War.
More information on this painting can be found in the Gallery publication American Paintings of the Nineteenth Century, Part I, pages 305-309, which is available as a free PDF at www.nga.gov/content/dam/ngaweb/research/publications/pdfs...
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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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Avec Mario Baril, Colombe Déziel, Yves Deguire, Pascale Pruneau, Claude Rioux,
Steve Bernier ainsi que Charles C.Simoneau et Gabriel Lacoursière
Name: Faith
Length: 97m
World's largest yacht number: 47
Shipyard: Feadship
Price: 175 000 000€
- - -
Name: Rising Sun
Length: 138m
World's largest yacht number: 13
Shipyard: Lurssen
Price : 205 000 000€
Focal length: 34.4 mm
ISO: 125
Shutter speed: 1/80
Aperture setting: f/5.5
Description: Capturing the tree branches against the winter sky
Fabulous Pleats A-Line Flowers Floor-Length Luba's Bridesmaid Dresses (Free Shipping) US$119.99 : Tidebuy.com
|| Photo info: Taken 2021-03-03 with Canon EOS 5D Mark IV, EF24-70mm f/2.8L II USM, 1/50 sec at f/2.8, focal length 50 mm, ISO ISO 640. Copyright 2021 .
Sashes/Ribbons Ruched A-Line Sweetheart Neckline Floor-Length Luba's Bridesmaid Dresses (Free Shipping) US$104.99 : Tidebuy.com
U.S. Army Garrison Wiesbaden recognized employees for dedicated years of service during a ceremony in December 2021. (Photos by Volker Ramspott)
Price: 🌍 $82.72
Buy it on ali - alitems.site/g/1e8d114494480dde102416525dc3e8/?subid=flic...
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The Northern Cardinal is a mid-sized songbird with a body length of 7.9 - 9.3 inches (20 - 23.5 cm) and a wingspan of 9.8 - 12 inches (25 - 31 cm). It has fairly long tail with a short, very thick bill and a prominent crest. Cardinals often sit with a hunched over posture and with the tail pointed straight down.
Males are brilliant red all over, with a reddish bill and black face immediately around the bill. Females are pale brown overall with warm reddish tinges in the wings, tail, and crest. They have the same black face and red-orange bill.
The common name, as well as the scientific name, of the Northern Cardinal refers to the cardinals of the Roman Catholic Church, who wear distinctive red robes and caps. The term "Northern" refers to its range, as it is the northernmost cardinal species. It ranges from southern Canada, through the eastern United States from Maine to Texas and south through Mexico. It is found in woodlands, gardens, shrublands, and swamps.
Northern Cardinals tend to sit low in shrubs and trees or forage on or near the ground, often in pairs. They are common at bird feeders but may be inconspicuous away from them, at least until you learn their loud, metallic chip note. The diet consists mainly (up to 90 percent) of weed seeds, grains, and fruits. It eats beetles, cicadas, grasshoppers, snails, wild fruit and berries, corn and oats, sunflower seeds, the blossoms and bark of elm trees, and drinks maple sap from holes made by sapsuckers, an example of commensalism. During the summer months, it shows preference for seeds that are easily husked, but is less selective during winter, when food is scarce. Northern Cardinals feed their young almost exclusively on insects.
Pairs mate for life, and stay together year-round. Mated pairs sometimes sing together before nesting. During courtship they may also participate in a bonding behavior where the male collects food and brings it to the female, feeding her beak-to-beak. If the mating is successful, this mate-feeding may continue throughout the period of incubation. A clutch of three to four eggs is laid, and up to two - four clutches are produced each year. The Cardinal was once prized as a pet, but its sale as cage birds is now banned in the United States by the Migratory Bird Treaty Act of 1918.
ISO800, aperture f/6.7, exposure .004 seconds (1/250) focal length 300mm
Trier, Thebäerstraße, St. Paulin (St. Paulinus' Church).
The length of the towering nave and choir is 52 m and the slender bell tower, including the peak, has a height of 53 m.
The former collegiate church of St. Paulin in the north of the city of Trier, with its slightly more austere Baroque appearance, surprises with its light-flooded interior and the colorful and sumptuous décor of the late Baroque. The first church on this site was built in the 4th century by St. Felix, bishop of Trier, in the Roman burial ground. It was destroyed by fire in 1039 and in 1148 a new building was built as a collegiate church in the Romanesque style. After it had been destroyed in 1674 by the troops of Louis XIV, was the reconstruction in its present form between 1729 and 1756 under Elector and Archbishop Franz Georg von Schönborn (Mainz 1682 - Koblenz 1756), the builder and almost sole financier was.
Detail: Painted ceiling by Christoph Thomas Scheffler.
See also:-
Trier, Thebäerstraße, St. Paulin (St. Paulinus' Church).
The length of the towering nave and choir is 52 m and the slender bell tower, including the peak, has a height of 53 m.
The former collegiate church of St. Paulin in the north of the city of Trier, with its slightly more austere Baroque appearance, surprises with its light-flooded interior and the colorful and sumptuous décor of the late Baroque. The first church on this site was built in the 4th century by St. Felix, bishop of Trier, in the Roman burial ground. It was destroyed by fire in 1039 and in 1148 a new building was built as a collegiate church in the Romanesque style. After it had been destroyed in 1674 by the troops of Louis XIV, was the reconstruction in its present form between 1729 and 1756 under Elector and Archbishop Franz Georg von Schönborn (Mainz 1682 - Koblenz 1756), the builder and almost sole financier was.
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Features and functions
As well as being the architect of the building, Neumann contributed his Rococo architectural flair to several internal elements, including the stucco work, ornate altars, and ciborium. The sculptor Ferdinand Tietz carried out several of Neumann's plans, carving elements such as the statuary and choir stalls.
The ceiling of the nave features a large fresco painted by Christoph Thomas Scheffler, portraying scenes from the life of St Paulinus and depictions of the martyrdom of the Theban Legion.
Organ-builder Romanus Benedict Nollet worked on the organ between 1753 and 1756. Klais Orgelbau, an organ building and restoration company, restored and electrified the pipe organ before 1934, and renewed it in 1991.
The church's four bells were cast by the brothers Charles and Joseph Perrin between 1821 and 1822. As few European bells from the 19th century survived two world wars, the bells are considered historically important.
Detail: Painted ceiling by Christoph Thomas Scheffler.
See also:-
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U.S. Army Garrison Wiesbaden recognized employees for dedicated years of service during a ceremony in December 2021. (Photos by Volker Ramspott)
學名: Anser cygnoides
英名: Swan Goose
Family: Anatidae (鴨科), Length: 81–94 cm.
亦名原鵝、大雁、洪雁、冠雁、天鵝式大雁、隨鵝、奇鵝、黑嘴雁、沙雁、草雁。
體形較大的雁，頸長。黑且長的嘴與前額成一直線，環繞嘴基的額部有一條很狹窄的棕白色條紋，嘴裂基部有兩條棕褐色的鶚紋。上體灰褐但羽緣皮黃。頭頂及頸部背側正中棕褐，前頸白色，與後頸有一道明顯界線，這種前白後棕的鮮明對比是鴻雁區別於雁屬其他種類的顯著特徵。本種最長的尾上覆羽純白，余者與腰同色，尾羽灰褐，先端及邊緣白色，初級飛羽外羽片灰褐，內羽片暗褐，羽干象牙白色，次級飛羽暗褐色。與小白額雁及白額雁區別在於嘴為黑色，額及前頸白色較少。 虹膜褐色；嘴黑色；腳深橘黃。 飛行時作典型雁叫，升調的拖長音。
繁殖於西伯利亞南部、庫頁島和中國東北的呼倫貝爾、齊齊哈爾，在朝鮮半島、日本、中國的長江中下游、福建、廣東等東南沿海越冬；遷徙時可見於中國新疆北部阿爾泰山、天山和青海的柴達木盆地等地。迷鳥可見於台灣。
The Swan Goose (Anser cygnoides) is a rare large goose with a natural breeding range in inland Mongolia, northernmost China, and southeastern Russia. It is migratory and winters mainly in central and eastern China. Vagrant birds are encountered in Japan and Korea (where it used to winter in numbers when it was more common), and more rarely in Kazakhstan, Laos, coastal Siberia, Taiwan, Thailand and Uzbekistan.
This species has been domesticated. Introduced and feral populations of its domestic breeds occur in many places outside its natural range. The wild form is also kept in collections, and escapes are not unusual amongst feral flocks of other Anser and Branta geese. The Swan Goose was uplisted from Near Threatened to Vulnerable in 1992 and further to Endangered in 2000, as its population is declining due to habitat loss and excessive hunting and (particularly on the Sanjiang Plain in China) egg collecting. But new research has shown it to be not as rare as it was believed, and consequently, it was downlisted to Vulnerable status again in 2008.
Created as a panorama in Photoshop using 3 separate photo's.
ISO: 1600
Focal Length: 5 mm
Aperture: f/3.3
Shutter Speed: 1/40
Made from Debbie Bliss Baby Cashmerino. Decided to try a longer length, and I really like it with trousers!
Silhouette: A-line
Neckline: V-neck
Sleeve Length: Short Sleeve
Hemline/Train: Knee-length
Waistline: Natural
Fabric: Chiffon
Fully Lined: Yes
Built-in Bra: Yes
Technics: Ruffled
Shown Color: Light Champagne(Color representation may vary by monitor)
Occasion: Evening Party
Season: Spring, Summer, Fall
Net Weight: 1.5KG
Shipping Weight: 2.5KG
These unmarked Model of 1907 leather sling replicas are not true, pure reproduction of military slings, most of which bore maker's names and manufacturing dates.
I have both brass and blackened steel fittings. This set is dyed dark reddish brown, and no two are quite identical.
They are regulation length, 49-51" long portion, appx. 26"+ short strap and ring.
Stitched keepers, etc., etc.
To regulation, but not marked.
Jean-Auguste-Dominique Ingres - French, 1780 - 1867
Marcotte d'Argenteuil, 1810
West Building, Main Floor — Gallery 56
Shown from about the waist up, a man with pale, peachy skin, wearing a marine-blue greatcoat over several layers of clothing, looks out at us in this vertical portrait painting. The man’s body is angled to our left, and he looks at us from the corners of his dark brown, hooded eyes. He has an oval face with a slightly jutting chin, a long, straight nose, and his full-lipped mouth is lightly pursed. He is lit from our left, casting the right ear and side of his face in shadow. His chestnut-brown, wavy hair is short, and brushed forward over the ear we can see. Several shirts and coats are layered over his shoulders. Closest to his skin, a high-collared white shirt, with points reaching past his jawline, is tied with a wide, black neckcloth. Next is a custard-yellow garment, also with a high-neck, perhaps a vest. Over that he wears a brown coat with wide, pointed lapels. A bright, scarlet-red oval is fastened to one buttonhole on the lapel to our right, and a gold and rose-pink ornament peeks out from the bottom hem at his waist. Finally, the blue greatcoat has an elbow-length cape, and nearly falls off his shoulders. Fabric across the back of the collar is a hood lined with dark silver satin. He props his left elbow, to our right, on a table or ledge, and that wide cuff is rolled back over the white edge of this shirt. He wears a gold band on the pinky finger of that hand. The ledge is draped with a deep, marmalade-orange cloth. Gold tassels dangling from the end of a scrolled, bound document hangs off the edge of the ledge, near the man’s wrist. The background deepens from sage green along the lower left edge of the painting to fawn brown around the man’s head. The artist signed and dated the lower right corner, “Ingres. Pinx. Rom. 1810.”
Born in 1780 in the southern French town of Montauban, Jean-Auguste-Dominique Ingres had early instruction from his father, an artist in the town's employ. The boy showed a precocious musical and artistic talent. Aged twelve, he was enrolled at the Academy of Toulouse, under the painter Joseph Roques, a friend of Jacques-Louis David. Still uncertain of his vocation, Ingres kept up his musical interest, supporting himself by playing the violin in the theater of Toulouse. In 1797 he left for Paris to study with David who was then at work on his Battle of Romans and Sabines. Disputes at the time troubled the master's teaching studio. It contained, besides docile followers, some rough bohemians (Crassons) at war with fellow pupils of a royalist or Catholic bent (Muscadins). Keeping aloof from these factions, a handful of principled dissidents aspired to an art more pure and genuinely "antique" than David's. Steeped in early literature and archaic art, in Homer, Ossian, and the Bible, they made themselves conspicuous by wearing beards and Greek costume and were known derisively as Barbus or Primitifs. Though not himself a member of this group, Ingres sympathized with them, and in his own student work affected a severe linearity that implied a reaction against his master's more moderate classicism. David nevertheless recognized his talent and used him as his assistant in the execution of the Portrait of Madame Récamier. Admitted to the Ecole des Beaux-Arts, Ingres won the Rome Prize of 1801 with The Ambassadors of Agamemnon in the Tent of Achilles (Ecole des Beaux-Arts, Paris). While a shortage of state funds delayed his departure for Italy, he lived in a community of young artists housed in a disused monastery. Medieval sculptures in the Musée des Petits-Augustins, the salvage of churches pillaged during the Revolution, deepened his taste for early styles. His studies at the Louvre, where Napoleon had assembled masterworks of the early Italians and Flemings, offered him further alternatives to Davidian classicism. At the Salon of 1806 his originality as an exacting stylist was manifested in the three portraits of Philibert Rivière, Mme Rivière, and Mlle Rivière (Louvre) -intricately designed, nearly shadowless figures, formed of distinct areas of color. They were ignored by the critics, but a fourth painting, of commanding size, Napoleon on the Imperial Throne (Musée de l'Armée, Paris), scandalized them by its static symmetry and hard, "Gothic" artificiality.
In 1806 Ingres finally took his place among the pensioners of the French Academy in Rome. He used the four years of his stipend to immerse himself in the work of the Renaissance masters, Raphael above all, but his eyes were also open to medieval and Byzantine art. Several masterly portraits mark the early years of his Roman stay, among them those of Mme Devauçay (1807, Musée Condé, Chantilly) and of François-Marius Granet (c. 1807, Musée Granet, Aix-en-Provence). Required to show proof of his progress, he submitted deeply calculated studies of the nude, finished off by the addition of narrative detail, Oedipus and the Sphinx and the "Valpincon Bather" in 1808 (both, Louvre) and Jupiter and Thetis in 1811 (Musée Granet, Aix-en-Provence). After his stipend expired in 1810, he prolonged his stay in Rome by making portraits of its French administrators, among them that of his future patron and lifelong friend, Marcotte d'Argenteuil (1810, National Gallery of Art, 1952.2.24). He was among the painters charged with the decoration of the Quirinale Palace, chosen as residence for Napoleon's infant son, the king of Rome. His share consisted of two large paintings, The Dream of Ossian (1813, Musée Ingres, Montauban), a luridly romantic subject ill-suited to his talent, and Romulus Victorious over Acron (1812, Louvre), executed in tempera to simulate fresco and composed as a frieze recalling works by John Flaxman (1755-1826) in its two-dimensionality. Among his Napoleonic patrons was Caroline Murat, sister of the emperor and queen of Naples, for whom he painted the Grand Odalisque (1814, Louvre), a woman of the harem reclining in a posture reminiscent of David's Madame Récamier for which Ingres had painted the accessories. The steely finish and the extravagant elongations and sinuosities of this nude troubled the reviewers of the Paris Salon, where the picture was shown in 1819. Painted for his friend Marcotte at about the same time, but in a totally different style, the National Gallery's Pope Pius VII in the Sistine Chapel (1952.2.23) presents a modern scene in minute detail and with great painterly subtlety.
In 1814 the collapse of the French government in Rome deprived Ingres of patronage and reduced him to making a meager living for himself and Madeleine Chapelle, his young bride, by drawing portraits of visiting foreigners. At this juncture, the fashion for small, genrelike paintings of historical subjects came to his aid. With his gift for minute execution, he composed scenes from the lives or legends of famous men with conscientiously researched detail. His painted anecdotes--Henry IV and the Spanish Ambassador (1817, PetitPal), The Death of Leonardo da Vinci (1818, PetitPal), and others of this kind--have the bright distinctness of manuscript illuminations. To the Salon of 1819 he submitted, besides the Odalisque of 1814, a scene from Ariosto, Roger Saving Angelica from the Dragon (Louvre), which made effective use of the contrast between the golden gleam of Roger's armor and Angelica's fleshy whiteness, highlit against the lugubrious darkness of cliff and sea. The critics were hostile, but the picture was bought by the State.
In 1817 Ingres received his first major commission from the Restoration government then in the process of refurbishing churches neglected since the Revolution. It called for an altarpiece representing Christ Delivering the Keys to Saint Peter to be installed in the French church of Santa Trinita dei Monti in Rome (1820, now Musée Ingres, Montauban) and was followed in 1820 by an even larger charge, the execution of The Vow of Louis XIII (completed 1824) for the cathedral of Montauban, Ingres' native city. Drawing heavily on motifs from Raphael and carried out with the help of many model studies, these projects occupied him for nearly a decade. Ingres, who had meanwhile moved to Florence, in 1824 accompanied The Vow of Louis XIII to Paris, where it won a resounding success at the Salon. Long accustomed to critical abuse, he now became the object of flattering attention from an art administration that, threatened by the hostility of the younger artists and the rising tide of romanticism, needed a leader strong enough to take David's place. In this emergency, Ingres seemed--despite his eccentricities--a possible defender of the traditions of great art. Awarded the Legion of Honor and elected to the academy, he was persuaded to remain in France, where he opened a teaching studio in 1825 and became David's heir as the most influential teacher of the unruly young and groomer of Rome Prize winners. He may have been unaware of the strategy that had led to his elevation and was, at any rate, ill cast in the role of academician, being of independent mind and opposed to academic routine.
Important official commissions now came his way. For a newly decorated gallery of the Louvre, he was assigned an ideologically significant subject, the Apotheosis of Homer (1827), which he conceived as an homage to classical authority and affirmation of the continuity of tradition. In two hundred drawings and more than thirty painted studies, he calculated every detail of the composition but curiously failed to consider its ultimate function as a ceiling panel. At the Salon of 1827, it appeared as the conservative counterweight to Delacroix' anarchical Death of Sardanapalus (Louvre). Both pictures failed to please: Ingres' work was considered a bore, Delacroix', the ravings of a lunatic.
The Revolution of 1830 found Ingres at his post as national guardsman, protecting, rifle in hand, the Italian masters at the Louvre. The liberal monarchy of Louis-Philippe gave him honors but little work. It named him president of the Ecole des Beaux-Arts, but the great commission that occupied him in the 1830s, the Martyrdom of Saint Symphorian (1826-1834) for Autun cathedral, had been given him by the previous regime. He labored over it for nearly ten years, only to find that, when shown at the Salon of 1834, it was dismissed by the critics as outmoded in style and subject matter. Deeply angered, Ingres declared that he would never show his work in Paris again and departed for Rome to assume the directorship of the French Academy. His output during his six-year term at the Villa Medici was relatively small, culminating in two paintings, Odalisque with Slave, an oriental fantasy (1839, Fogg Art Museum, Cambridge, Massachusetts), and Antiochus and Stratonice (1840, Musée Condé, Chantilly), painted for the duc d'Orléans, the king's eldest son. A classical subject staged with minute attention to archaeological detail, this picture was shown at the Palace of the Tuileries. Its popular success enabled Ingres to make a triumphal return to France.
Much of his energy during the following decade was spent on the project of a large mural decoration on the themes of the Age of Gold and the Age of Iron for the château of the duc de Luynes at Dampierre. Begun in 1842, Age of Gold, which Ingres planned as an image of humanity's primeval existence in a state of ideal beauty, developed into a dreamlike congestion of nudes in an Arcadian setting. Discouraged after years of effort, he left the project unfinished in 1850 but returned to its subject in 1862, in a painting of small size (Fogg Art Museum, Cambridge, Massachusetts). It was in several portraits of society wornen--Vicomtesse d'Haussonville (1845), Baroness Rothschild (1848), Madame Moitessier (1851, National Gallery of Art, 1946.7.18), Princesse de Broglie (1853), and Madame Moitessier Seated (1856)--that Ingres achieved the monumentality that had eluded him in work of wall-size dimensions.
His wife's death in 1849 cast him into a depression that prompted him to resign his professorship at the Ecole des Beaux-Arts, but his marriage in 1852, at age seventy-two, to Delphine Ramel, a relative of his friend Marcotte, revived his spirits and renewed his self-confidence. The government of Napoleon III commissioned him in 1853 to paint an Apotheosis of Napoleon I for a ceiling at the Hôte1 de Ville (destroyed in 1871) and honored him with a grand retrospective exhibition at the Universal Exposition of 1855. Like David, who in his old age had turned to erotic subjects, the aged Ingres showed a renewed interest in the female nude, causing him to revisit motifs from his own earlier work: Venus Anadyomene (1848, Musée Condé, Chantilly) completed a composition begun in 1808; La Source (1856, Louvre), a boldly frontal nude, was the reworking of a canvas begun in 1820; Turkish Bath (Louvre), finished in 1862 after changes of format and details, comprised in its crowded composition a repertoire of his earlier nudes.
Ingres was eighty-two years old when he signed this picture. In the same year he was appointed to the French Senate. He died, after a brief illness in January 1867, aged eighty-seven and still in vigorous mental and physical health. Having all his life shown a dislike of the academy and an aversion to the Salon, he was adopted by the establishment in the latter part of his career and perversely miscast in the role of archconservative. As such he has long figured in the history of art, though his work proclaims him to have been a stylist of daring individuality, whose single-minded dedication to an ideal of beauty based on difficult harmonies of line and color, on the music of relationships, and the mathematics of form, assures him a place apart. [This is the artist's biography published in the NGA Systematic Catalogue]
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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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Captured at RV in Concord, New Hampshire, USA — settings: Camera: ILCE-9, focal length: 35mm, SS: 1/160, Aperture: f/4, ISO: 1250, Flash: off — by Kevin Lowery
Length determined by the length of the flowered piece I found for the skirt, so it is not full length, but will hopefully be ok, as many Disney ones aren't full length after a while either. Tried to "dress it down" from "Sunday-go-to-meeting" look by making the waist band wider and gathered it to match the floppy collar. Pattern had a proper flat tie at the waist.
4-20-2011
Nike SF AF1 Hi PRM, SF Air Force 1 High PRM, Praline, Dark Russet, Gum, Light Brown, AQ0118-200, UPC: 00191887716747, 2018, Nike Special Field boot, autumn-appropriate color schemes, autumn-appropriate color schemes, Ballistic nylon and nubuck Upper, sherpa fleece lining, Nike Special Field boot, military-inspired design, Nike Special Field boot, Nubuck suede and canvas textile upper, rugged lacing system, Canvas textile tongue, Quick-cinch closure system, rope lacing, Extended high ankle cut, Adjustable straps at the ankle, Pull tabs on the heel, Boot Perforations enhance breathability, PU Foam midsole, full-length Air-Sole unit lightweight cushioning and impact protection, Rubber outsole, Pivot point for grip and traction,
Ship Type: General cargo
Year Built: 1989
Length x Breadth: 82 m X 13 m
Gross Tonnage: 2270, DeadWeight: 2801 t
Speed recorded (Max / Average): 12.8 / 9.2 knots
Flag: Barbados [BB]
Call Sign: 8PSO
IMO: 9000833, MMSI: 314206000
Destination: GOOLE
Name: Ace
Length: 87m
World's largest yacht number: 96
Shipyard: Lurssen
Price: 103 000 000€
- - -
Garçon is a yacht who belongs to the category of the support vessel.
A support vessel is a yacht for people who have outgrown their mega-yachts and need more space for their helicopters, speedboats, launches and submarines. The support yacht acts as a floating garage, trailing alongside the main yacht with all of the owner's oversized « toys »
Name: Garçon
Length: 67m
World's largest yacht number: >200
Shipyard: Damen
Name of the Vessel Supported: Ace
Price: 27 000 000€