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These sweet violets pop up almost without noticing. One day it is only a fluffy bunch of green leaves and the next day it is full of flowers, beautiful pink and lilac. What I love about them is that they sow themselves. This year our porch has turned into a purple blanket.
I've been seeing these pics from this group Run With Scissors doing this 30 day journal challenge. I thought I might give it a go. You follow the prompt of the day and journal it.
This is day 1 where you introduce yourself.
cast iron pot. My grandparents sold these at the small grocery store they owned. It's at least 30 years old, probably more. I love having things that hold my family history.
Industrial scenes are very suitable for Black & White. These cranes are famous in Rotterdam. (Taken with my iPhone and Hipstamatic).
Mount Katahdin, Maine - 1942
Marsden Hartley
American, 1877 - 1943
During the late 1930s the aging Marsden Hartley experienced a number of personal and professional reversals that prompted him to return to his native state to reinvent himself as a Maine artist. In September 1937, he settled in Bangor, where he realized a long-standing objective to paint Mount Katahdin, Maine’s highest mountain. Katahdin’s unspoiled beauty had attracted such notables as Henry David Thoreau and Frederic Edwin Church, and it was heavily promoted as a tourist destination in Hartley’s lifetime. The artist spent eight days in October 1939 making sketches of Katahdin that formed the basis of the approximately 18 oil paintings of it that he produced over the next three years.
Executed in 1942, Mount Katahdin, Maine is one of the last and most successful paintings in the series. Mount Katahdin, Maine was not intended to be a literal view of the mountain, but rather an evocation of its grandeur that captures a seasonal mood. Hartley exercised artistic license by centering Baxter Peak, the mountain’s highest point, and bringing it closer to the foreground than it really appeared from his vantage point. The reductive composition consists of four horizontal zones: the lake, the foliage, the mountain, and the sky. Hartley’s cloud forms are particularly distinctive. They appear to have the same weight and be made of the same substance as the mountain, and yet, barely escaping Katahdin’s gravitational force, they rise and float free against the sky. Such unusual insights reveal Hartley to be an American visionary painter in the tradition of Albert Pinkham Ryder, an artist he greatly admired.
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For previous visit in 2024, see:
www.flickr.com/photos/ugardener/albums/72177720320706623/
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www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
a full shot of a young girl with brown hair styled in two buns, wearing a white button up shirt, a red bow tie, a plaid skirt, barefoot. she is seated on a light brown and gray school desk, facing forward with her legs bent and her right hand resting on her chin. a black backpack with floral details is slung over her left shoulder. the background is a plain light gray wall with a white frame on the right
Photographing unnoticed is hard. I feel a bit awkward when doing it, afraid that someone will notice (suddenly the shutter makes a lot of noise), and also it is not easy to get an interesting shot.
Tonight I was at a wine bar enjoying a glass of good wine and the sunny weather. There were a lot of people outside having fun together. I tried to photograph from underneath the tabletop. This is what came out. (Together with shots of only the table leg in focus :-D).
Love all the different shoes.
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Prompt Option 1: A bustling cityscape during a weekend where cryptocurrency is booming. Neon signs flash with symbols of popular cryptocurrencies like Bitcoin, Ethereum, and Dogecoin. People are seen celebrating, with some looking at their phones in excitement. Medium: Photography. Style: Modern urban with a touch of cyberpunk aesthetics. Lighting: Neon lights mixed with the soft glow of street lamps. Colors: Vibrant blues, purples, and greens with contrasting dark shadows. Composition: Shot with a Canon EOS 5D Mark IV DSLR camera, EF 50mm f/1.8 STM lens, Resolution 30.4 megapixels, ISO sensitivity: 32,000, Shutter speed 1/125 second. Depth-of-field is evident, with a focus on the foreground, blurring the distant skyscrapers slightly. --ar 16:9 --v 5.1 --style raw --s 750 - Image #2 @coinpower
Think outside the box, literally.
[Font: Rough Typewriter; Digital Kits: KD Fly Boy by Karla Dudley.]
On Lefkas I found these giants of Bougainville. They were almost trees. Early in the morning I sneaked out to photograph the Bougainville of our landlady.
Wordsearch "creating art" seemed appropriate for this one :-)
livegrownourishcreate.wordpress.com/2012/09/09/finding-po...
Prompts sind klar formulierte Anweisungen oder Fragen, die dazu dienen, spezifische Reaktionen oder Antworten von einem KI-Programm generieren zu lassen. An der Prompt Battle Training Station können Besucher*innen ihre Prompting Skills trainieren.
Foto: Ars Electronica / Birgit Cakir
Our kitchen is a beautiful and cosy place where we spend a lot of hours. It is very very dark though. To bring some color into it I bought some bright and colorful dishtowels earlier this year. The colors and patterns reminded me of flowers and I got the urge to do something creative. I created the ‘Artificial Flower Collection’.