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The Iconic Ford Power Live Event took Place at Brands Hatch to Celebrate The Blue Badged Ford Motor Company and their Iconic Cars From both the Past and The Present. From Escort Mexico's to Modern Ford Mustang GT'S there was Everything for the Ford Enthusiast to enjoy.
The Support Races Featured During the Day were also Full of Different Makes and Models of Ford Racing Cars From The Focus RS to the Ford Escort and the Iconic Sierra Cosworth and even the Iconic Enduro KA series was Present and with Drivers and Spectators Ready the Racing was about to begin.
Lets Turn to the Race Track and See what is the First Support Race to make it onto the Race track.
Champion Of Brands (Qualifying)
First up Champion of Brands and with Fast and High Speed Action from Thease Machines Lets See who took that all important People Position to Start the Race in P1.
In First Place was (Tom Mills) in his Spectrum KMR with a Best Lap Time of 50.154 and a Top Speed of 86.70mph. Amazing work there Tom a truly Heroic and Brave Drive for Pole Position.
In Second Place was (Niall Murray) in his Van Diemen BD21 with a Best Lap Time of 50.397 and a Top Speed of 86.28mph. Fantastic Work Niall Very Fast and Quick Driving.
In Third Place was (Colin Queen) in his Ray GR18 with a Best Lap Time of 50.399 and a Top Speed of 86.28mph. Another Incredible Driver in Colin Pushing Hard and Almost Taking Second Place from Niall. I think we are in for some Really Intense Racing but who will be Fast Enough to on Track to Take Victory?
Champion Of Brands (Race 1 Results)
After a Thrilling Battle that saw Tom Mills take Pole Position its time to find out who Won the Race and out of The Top Three Could Anyone else on the Grid Challenge them for a Spot on the Podium. Lets Find Out.
In First Place and taking the Win was (Niall Murray) in his Van Diemen BD21 with a Lap Time of 50.518 and an Average Speed of 77.40mph. Incredible work there Niall Beating back Tom to take Victory in the First Race and a Well Determined Drive to Secure it.
In Second Place was (Tom Mills) in his Spectrum KMR with a Lap Time of 50.706 and an Average Speed of 77.38mph. Amazing Drive there Tom Keeping up with Niall and a Fantastic Battle thought the entire Race too.
In Third Place was (Colin Queen) in his RAY GR18 with a Lap Time of 50.820 and an Average Speed of 77.32mph. A Great Victory for Third Place on the Podium Colin showing a Determined Drive and a lot of Bravery thought the Race.
What an Incredible First Race to Start out the Days Events and with Another Coming up Soon after is it possible for Another Competitor to take Victory and the Spotlight? Lets Take A Look.
Champion Of Brands (Race 2 Results)
Race 2 Up Next and The Final Time for Anyone Racing in Champion of Brands to Score Points and Take Victory in either First Second or Third Place. After a Thrilling End to Race 1 which Saw Tom Mills getting Beaten by Niall Murray it was time to see who could Once Again bring the Roar and Thunder Home for a Final Time.
In First Place was (Niall Murray) in his Van Diemen BD21 with a Lap Time of 50.584 and an Average Speed of 84.84mph. Another Incredible Drive from Niall to once again take The Final Pole Position for Champion of Brands. Brilliant Drive there Niall.
In Second Place was (Tom Mills) in his Spectrum KMR with a Lap Time of 50.606 and an Average Speed of 84.47mph. Another Well Deserved Second Place for Tom Showing Incredible Car Control and Bravery Pushing the Limits on Every Corner to Keep up with Niall. Fantastic Drive Tom.
In Third Place was (Lucan Romenek) in his Van Diemen JL13 with a Lap Time of 50.927 and an Average Speed of 83.92mph. Very Well Done there Lucan Fantastic to see a New Driver take a Step onto the Podium and Celebrate the Victory.
What an Exciting Opening Day here at Brands Hatch for Ford Power Live with Champion of Brands Providing some Well Deserved Winners in Niall Tom Lucan and Colin. Well Done to all other Drivers taking Part and Continuing to Improve and do what it is that you Love. Keep Up the Momentum and Never Give Up Hope of One Day Making it to the Top Step of the Podium.
Lets See what Track Action is Next Up onto the Circuit as the Action Continues to Hot Up.
Clubman Sports Prototype Championship (Qualifying)
Clubman Sports Prototypes were up next and thease Mad Looking Machines are known for their Supreme Aerodynamics as well as Insane Straight Line Speed. each Driver will have to be on the ball and Keeping their Machine under Constant Control as they will be Powering round this 1,2 mile Indy Circuit at Speeds of at Least 90mph.
Lets Look to the Track to see who Qualified where and see who will be starting the Race on Pole.
In First Place and taking Pole Position was (Steve Dickens) in his Mallock MK29 with a Best Lap Time of 47.146 and a Top Speed of 92.23mph. Amazing Drive there Steve Very Fast and Committed for Pole Position.
In Second Place was (Clive Wood) in his Mallock MK23 with a Best Lap Time of 47.784 and a Top Speed of 91.00mph. Well Deserved there Clive Pushing that Mallock for all its worth and taking Second Place.
In Third Place was (Alex Champkin) Mallock MK27 Synergy with a Best Lap Time of 48.129 and a Top Speed of 90.35mph. Very Well Done there Alex Taking Third Place and a Spirited Drive with it.
A Very Fast and Fierce set of Drivers Ready to take on the Indy Circuit. Lets Get Right Down to the Action for Race 1.
Clubman Sports Prototype Championship (Race 1 Results)
After A Thrilling Battle in Qualifying Between Steve Clive and Alex which of them will be Poised and Ready to Attack on the Race Track to either Defend maintain or even potentially Loose their Positions to the other Drivers. Lets Find Out.
In First Place was (Steve Dickens) in his Mallock MK29 with a Lap Time of 48.076 and an Average Speed of 76.87mph. Incredible Driving there Steve Taking the Victory and the Spoils that come with it Amazing Work from you and The Entire Team.
In Second Place was (Alex Champkin) in his Mallock MK27 Synergy with a Lap Time of 47.515 and an Average Speed of 76.84mph. Another Super Drive by Alex to move him up into Second Place on the Podium. Fantastic Work and Driving Ability.
In Third Place was (Clive Wood) in his Mallock MK23 with a Lap Time of 47.802 and an Average Speed of 76.81mph. Very Well Done there Clive Super Driving and an All Round Great Victory for Third Place.
An Exciting Opening Race for Clubman's with Steve Dickens taking Both Qualifying and the First Race Win. Can he Do it again For Race 2 or will the likes of Alex and Clive Hunt Him down and take that Victory away Stay Tuned to find out as We Go Racing Once Again.
Clubman Sports Prototype Championship (Race 2 Results)
In First Place was (Clive Wood) in his Mallock MK23 with a Lap Time of 47.475 and an Average Speed of 87.35mph.
In Second Place was (Pete Richings) in his Mallock MK30 PR with a Lap Time of 48.784 and an Average Speed of 86.84mph.
In Third Place was (Steve Dickens) in his Mallock MK29 with a Lap Time of 48.448 and an Average Speed of 86.63mph.
What an Exciting End to Race 2 with a New Winner in P2 being Pete Richings Well Done Pete Amazing work and a well deserved Podium Spot. Will Pete be able to Retain that Second Place or even Improve though as we head into the Final Round in Race 3.
Clubman Sports Prototype Championship (Race 3 Results)
In First Place was (Pete Richings) in his Mallock MK30PR with a Lap Time of 48.218 and a Top Speed of 88.27mph. Incredible Driving Pete taking the Top Step of the Podium and the Race Win. A Truly Excellent Drive.
In Second Place was (Steve Dickens) in his Mallock MK29 with a Lap Time of 47.986 and an Average Speed of 88.17mph. Very Well Done again Steve Putting in a lot of Hard work to Reach Second Place.
In Third Place was (Clive Wood) in his Mallock MK23 With a Lap Time of 47.883 and an Average Speed of 88.08mph. Another Amazing P3 for Clive with a lot of Strong Determination Behind the Wheel.
What a Race Weekend for the Clubman's with Many Different Victories and Winners in Clive Steve Pete and Alex all Looking to Fight it it on Track and take Home those Valuable Championship Winning Points. Well Done to all other Competitors as well Keep Pushing Hard and Making Memories that will Last Forever.
Creative Funding Solutions Sports 2000 Championship (Qualifying)
Now it was time for the Creative Solutions Sports 2000's to hit the Track and After a Thunderous Performance by the Classic Clubman's Lets see what thease Mean Machines Have to Offer. With Speeds once again Reaching Nearly 92mph thease cars are Monsters and Driving and Controlling One is going to be Very Challenging with all that Break Horse Power.
Lets take a Look at Qualifying and see which Drivers made it to the Front end of the Grid for Race 1.
In First Place Taking Pole Position and the Fastest Lap was ( Neil Burroughs) in his Gunn TS12 with a Best Lap Time of 47.202 and a Top Speed of 92.12mph. Fantastic work there Neil Once Again showing the Skill and Commitment Needed for a Championship Winning Drive.
In Second Place was (Tom Stoten) in his Gunn TS11 with a Best Lap Time of 47.400 and A Top Speed of 91.74mph. Great Work there Tom a Well Controlled and Well Balanced Car on the Race Track to Take P2 on the Grid.
In Third Place was (Joshua Law) in his MCR S2 with a Best Lap Time of 47.474 and a Top Speed of 91.59mph. Well Done Josh Really Amazing work to take P3 on the Grid for The Race.
What a Fantastic Qualifying Session with Battles Happening all over the Field but Neil Tom and Josh have made it into the Top Three and so Lets Find out in Race 1 which of them will be Taking Home Victory.
Creative Funding Solutions Sports 2000 Championship (Race 1)
In First Place and Taking Victory was (Tom Stoten) in his Gunn TS11 with a Lap Time of 48.471 and an Average Speed of 62.75mph. Amazing Work Tom taking yourself from P2 in Qualifying to P1 and The First Race Win, Incredible Drive.
In Second Place was (Michel Gibbins) in his MCR S2 with a Lap Time of 48.457 and an average Speed of 62.69mph. Fantastic Work Michel and a Really Strong Drive to take P2 in the Race. A Fantastic Drive.
In Third Place was (Giles Billingsley) in his MCR S2 with a Lap Time of 49.321 and an Average Speed of 62.31mph. Awesome Work there Giles a Brilliant Drive to Get P3 and the Last Spot on the Podium.
What an Exciting First Race with Tom Stoden being the First Race Winner in Sports 2000. A Big Congratulations to Michel and Giles too for some Heroic Driving and their Further P2 and P3 Finishes. Lets Find out what Race 2 Brings us Next.
Creative Funding Solutions Sports 2000 Championship (Race 2)
After a Really Hectic First Race which saw Tom Stoden Take P1 followed by Michel Gibbins and Giles Billingsley it was Time for Race 2. Lets see if Anyone Else can Challenge these Almighty Three Drivers at the Front of the Field.
In First Place was (Joshua Law) in his MCR S2 with a Lap Time of 47.878 and an Average Speed of 70.46mph. Incredible Drive for Joshua Taking P1 from Tom Stoden and Claiming his First Race Win of the Weekend. Amazing work Josh.
In Second Place was (Tom Stoden) in his Gunn TS11 with a Lap Time of 48.409 and an Average Speed of 70.35mph. Another Very Confident and Fast Drive by Tom to Achieve Second Place showing Just How Talented and Brave of a Driver Tom is Fantastic Performance Tom.
In Third Place was (Michel Gibbins) in his MCR S2 with a Lap Time of 48.395 and an Average Speed of 70.32mph. Really Good Drive there Michel Fantastic Car Control and a lot of Fast Race Pace. Well Done.
What Another Epic Race to Witness with a New Winner on the Top Step of the Podium being Joshua Law a Well Deserved Win from a Very Talented Driver. Amazing work to both Tom and Michel for their Respective P2 and P3 Finishes. With Race 3 Up Next who will be Taking Home that Final Pole Position of the Weekend for Sports 2000.
Creative Funding Solutions Sports 2000 Championship (Race 3)
The Final Round of the Day for the Sports 2000's and with Joshua Law Defending his People Position at the Front Will anyone be able to dethrone our New Race Winner. Lets Find Out.
In First Place and Taking the Victory was (Michel Gibbins) in his MCR S2 with a Lap Time of 47.479 and an Average Speed of 89.11mph. What a Drive Michel Taking P1 and the Final Race Win. Incredible Work.
In Second Place was (Tom Stoden) in his Gunn TS11 with a Lap Time of 47.680 and an Average Speed of 88.95mph. Amazing work Once Again Tom Proving Just How Competitive This Racing Series for Drivers is.
In Third Place was (Joshua Law) in his MCR S2 with a Lap Time of 47.938 and an Average Speed of 88.92mph. Great Work there Josh Really Good Drive in Taking P3.
What an Amazing Set of Races for the Sports 2000's with Many Different Victories for the likes of Joshua Tom Michel and Giles Drivers who Really Put the Pedal to the Metal when it really matters. Fantastic Work to all other Drivers on Track as well and Good Luck as the Season Continues.
Focus Cup Championship (Qualifying)
Next Up we take a Look to the Focus Cup Championship a Racing Series which Features the use of Ford Focus Road Cars Built to Racing Specifications. Thease Cars all Use The ZTEC 2.0 TDCI Engines and Have Proven to be Very Quick and also Very Twitchy when out Racing.
Lets Take a Look at Qualifying to see what Drivers Have made it to the Front of the Gird to start out the Days Racing.
In First Place taking Pole Position and The Fastest Lap was (Simon Rudd) in his Ford Focus 2.0 TDCi Zetec S with a Best Lap Time of 58.625 and a Top Speed of 74.17mph. Great Work there Simon Very Fast Driving while Keeping the Car on the Race Track to clock in a Perfect Lap of the Indy Circuit for P1.
In Second Place was (Scott Parkin) in his Ford Focus 2.0 TDCi Zetec S with a Best Lap Time of 58.880 and a Top Speed of 73.85mph. Very Well Done there Scott with a Blisteringly Quick Lap To take P2 on the Grid for the First Race.
In Third Place was (Gary Mitchell) in his Ford Focus 2.0 TDCi Zetec S with a Best Lap Time of 59.025 and a Top Speed of 73.67mph. Very Well Done Gary Pushing Hard and Making every Millie Second Count to take P3 on the grid.
Three Very Quick Drivers in Simon Scott and Gary all Looking to take that First Race Win. Which One of them Can Do it. Lets Find Out as Race 1 Begins.
Focus Cup Championship (Race 1)
In First Place and Taking Victory was (Simon Rudd) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 58.725 and an Average Speed of 72.88mph. Congratulations Simon what an Epic Drive to Victory and a First Win of the Day for you. Very Well Done.
In Second Place was (Scott Parkin) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 58.776 and an Average Speed of 72.49mph. Amazing Work there Scott Well Driven and Controlled Thought the entire Race.
In Third Place was (Gary Mitchell) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 58.909 and an Average Speed of 72.39mph. Great Drive there Gary and A Brilliant Finish on the Podium in P3.
What an Exciting First Race for the Focus Cup showing Just How Fast thease Cars are and How Brave each Driver has to be to take Moves and Dive Bombs to work there way to the Front of the Grid. Lets See what Race 2 Brings and Can Simon Keep His Defence of P1.
Focus Cup Championship (Race 2)
In First Place was (Gary Mitchell) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 58.914 and an Average Speed of 68.78mph. Incredible Work there Gary taking P1 and The Race Win what a Fantastic start to the Weekend for Him.
In Second Place was (Richard Avis) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 59.506 and an Average Speed of 68.70mph. what a Drive there From Richard Fantastic to see a New Face in P2 on the Podium and a Well Deserved Victory in Second Place.
In Third Place was (Scott Parkin) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 59.283 and an Average Speed of 68.61mph. Very Well Done there Scott Pushing Hard and Making sure to Stay in the Top Three. Fantastic Drive.
Another Incredible Race with a Different Driver in Richard Avis taking Second Place with an Incredible Drive and Sheer Speed and Talent. Congratulations to both Gary and Scott as well for their Fantastic Finishes Too.
Now for Race 3 and its the Final Time to see who will be taking Home that Last P1 Victory for the Focus Cup Championship.
Focus Cup Championship (Race 3)
In First Place was (Simon Rudd) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 59.228 and an Average Speed of 71.60mph. Amazing Work as Usual Scott putting in One Final Flying Run to Gain Another Race Victory. Great Drive.
In Second Place was (Scott Parkin) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 59.972 and an Average Speed of 70.23mph. Another Really Impressive Drive by Scott to take P2 in the Final Race for The Focus Cup.
In Third Place was (Rob Gaffney) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 59.238 and an Average Speed of 70.19mph. Very Well Done Indeed Rob Finishing P3 and taking his First Podium of the Weekend. Phenomenal Drive.
What an Amazing End to the Focus Cup Championship at Brands Hatch with Many Different Victories for Simon Scott Rob and Gary who all Drove out of their Skin and showed Phenomenal Car Control and Ability to Drive. Fantastic Work to all the other Drivers too Keep Working Hard and Most Important of All Enjoy what you Love Doing.
MSVR Elise Trophy (Qualifying)
Next Up is the MSR Elise Trophy
with the Focus of this Race being on the Lotus Elise S1 S2 and S3 with Just One Qualifying Session and Just 1 Race This will be A Test of Will Power and Determination on the Track to see who can Take Victory.
First Lets look to Qualifying and See who will be Starting on the Front Row.
In First Place taking the Pole and Fastest Lap was (Maurizio Sciglio) in his Lotus Elise S2 with a Best Lap Time of 53.544 and a Top Speed of 81.21mph. Fantastic work there Maurizio to take P1 and start o the Front Row of the Grid.
In Second Place was (Jason Mcinulty) in his Lotus Elise S3 with a Best Lap Time of 53.914 and a Top Speed of 80.65mph. Very Well Done there Jason Putting in one Hell of a Quick Time to Gain P2 on the Grid.
In Third Place was (Simon Walsh) in his Lotus Elise S2 111R with a Best Lap Time of 54.076 and a Top Speed of 80.41mph. Incredible Drive from Simon to put Himself in P3.
With Three Very Quick Drivers in Maurizio Jason and Simon it was Time to see if Anyone Could challenge them and Win the Only Race of the Day for the Lotus Elise Trophy.
MSVR Elise Trophy (Race 1)
In First Place taking The Victory was (Jason Mcinulty) in his Lotus Elise S3 with a Lap Time of 54.638 and an Average Speed of 66.83mph. Fantastic Victory for Jason taking P1 and The Race Win for the Elise Trophy. Phenomenal Driving too.
In Second Place was (John Lamaster) in his Lotus Elise S2 135R with a Lap Time of 54.781 and an Average Speed of 66.75mph. Fantastic work John and So Great to see a New Face on the Podium Taking P2 what an Incredible Driver.
In Third Place was (David Alexander) in his Lotus Elise S1 with a Lap Time of 55.589 and an Average Speed of 66.62mph. Very Well Driven Dave Keeping an Eye out all over the Place and Bringing Home a Superb P3 Finish.
A Brilliant Race for the Elise Trophy and Victories for Jason John and David as well as Maurizio and Simon for their Heroic Efforts in Qualifying. Congratulations to Jason on the Race Win and Good Luck to all other Drivers in this Series.
Modified Ford Series (Qualifying Group A)
Now it was Time to head Back to the Blue Badged Ford Machines Once again as the Modified Ford Series Rolled out onto the Race Track with each car being Heavily Modified from their Road Counterparts. With Escort Cosworth's and RS200's Roaring and Ready to go it was Time to see what the First Group A set of Drivers could do in Qualifying.
Due to how large the Grids were and the Fact that both Group A and Group B Have Different Races I will only be putting up results from both Qualifying Sessions from Group A and Group B. I will Leave a Link Below each Qualifying Session so you can Get All the Race Result's and Action from the 4 Different Races.
Modified Ford Series (Qualifying Group A)
In First Place Taking Pole Position and the Fastest Lap was (David Cockell) in his Ford Escort Cosworth with a Best Lap Time of 49.872 and a Top Speed of 87.19mph. Very Well Done David Keeping that Escort on the Track Must Have Taken some Practice no Doubt Amazing work on Getting Pole.
In Second Place was (Wayne Crabtree) in his Ford RS200 with a Best Lap Time of 51.121 and a Top Speed of 85.06mph. Very Fast Drive from Wayne to take P2 and a Very Solid Drive Thought.
In Third Place was (Michael Saunders) in his Ford Escort MK1 Mexico with a Best Lap Time of 51.129 and an Average Speed of 85.05mph. Very Well Driven by Michael Being Able to Keep up with Both Wayne and David Must Have Ben a Real Pain but what a Fantastic Achievement.
What a Fantastic Set of Legendary Drivers all Battle Hardened and Ready to take on the Might of the Indy Circuit. But there can Only be One Winner who do you Think will Win the First Race? Click the Link Below to get all of the Race Results from this Racing Series.
(Link to Group A Race Results)
www.tsl-timing.com/Event/213751
Modified Ford Series Group B (Qualifying)
Now it was Time for Group B to make a stance and see what their Modified Ford Racing Machines could do. with How Fast and Action Packed Group A Had Been During both The Races and Qualifying Group B was looking to be much the Same.
Lets Waste No Time in Finding out who Has Taken Pole Position for the First of 4 Races.
In First Place Taking Pole Position and The Fastest Lap was (Neil Jessop) in his Ford Escort MK2 with a Best Lap Time of 52.030 and a Top Speed of 83.57mph. Fantastic Work there Neil and a Really Quick Escort to match too. Very Well Done.
In Second Place was (James Harris) in his Ford Escort MK2 with a Best Lap Time of 53.928 and a Top Speed of 80.63mph. Amazing work there James Pushing Hard and Giving the Old Girl everything she has to offer.
In Third Place was (Malcom Harding) in his Ford Escort MK1 with a Best Lap Time of 54.892 and a Top Speed of 79.22mph. Awesome Drive there from Malcom Overcoming a lot of Pressure to put in an Incredible Lap for P3.
What an Amazing Line up for Group B with Plenty of Experienced Drivers who know their cars inside out. But who will be Brave Enough to challenge the Top Three Drivers for Victory. Find out for Yourself at the Link Below.
(Link to Group B Race Results)
www.tsl-timing.com/Event/213751
Enduro KA (Qualifying)
The Final Qualifying Session of the Day Had Come and its the Enduro KA'S. with all of the Cars on the Grid being Models of the Popular Ford KA made Between 1998-2009 thease Cars were Fun City cars that could get you from A to B with Ease. They were Also Build on a tight budget meaning that Handling Performance and Comfort were a Big Selling point of thease Brilliant little cars.
The Racing Versions seen here in the pictures however are built for Racing. they use different tyres but still the same Legendary 1.3 Dura Tec Engine found in their Road Going Counterparts.
Lets Take a look at Qualifying and see which KA and Driver made it to the top step of the podium.
Enduro KA (Qualifying)
In First Place taking the Pole and Fastest Lap was (Octane Junkies Adam Smith and Martyn Smith) with a Best Lap Time of 1:03.495 and a Top Speed of 68.48mph. Fantastic Work Adam and Martyn Really Pushing the Car for all its worth.
In Second Place was (Alex Reade Motorsport Luke Reade and Chris Reade) with a Best Lap Time of 1:03.713 and a Top Speed of 68.25mph. Fantastic Drive there from Both Alex and Chris Claiming P2.
In Third Place was (Fat Boys Racing Matt Pinny) with a Best Lap Time of 1:03.921 and a Top Speed of 68.03mph. Very Well Done there Matt Great Drive and Awesome Car Control.
Three Very Quick and Determined Teams and with 4 Races to Race in this will be a Very Close and Tight Battles Between all Teams and Drivers. Skill and Talent will be crucial to survival and Who will be able to take the First Victory of Race 1. Lets Find Out.
Enduro KA (Race 1 Results)
In First Place Taking the Victory was (Alex Reade Motorsport's Luke Reade and Chris Reade) with a Lap Time of 1:03.688 and an Average Speed of 67.95mph. Congratulations Both Alex and Luke on a Superb Race Victory and Well Done to hold off the Pressure from the other Competitors.
In Second Place was (Octane Junkies Adam Smith and Martyn Smith) with a Lap Time of 1:03.416 and an Average Speed of 67.92mph. Very Well Done to both Adam and Martyn for that Amazing P2 Finish.
In Third Place was (Fat Boys Racing Matt Pinny) with a Lap Time of 1:03.664 and an Average Speed of 67.79mph. Incredible Work there Matt Amazing Drive and a Really Super Looking Car.
An Exciting Opening Race for the Enduro KA Series with Three Different Teams on the Podium in Alex Reade Motorsport Octane Junkies and Fat Boys Racing. Amazing work to all of you Now Lets see what Action Race 2 Brings and whether or not Alex Reade Motorsport can Hold onto that 1st Place.
Enduro KA (Race 2 Results)
In First Place was (Alex Reade Motorsport's Luke Reade and Chris Reade) with a Lap Time of 1:03.557 and an Average Speed of 67.94mph. Another Incredible Drive from both the likes of Alex and Luke to Keep their P1 Finish From the First Race. Amazing Work.
In Second Place was (Octane Junkies Adam Smith and Martyn Smith) with a Lap Time of 1:03.621 and an Average Speed of 67.90mph. Fantastic Work Once Again to the likes of Adam and Martyn Another Set of Drivers Keeping their Second Place Finish.
In Third Place was (Fat Boys Racing Matt Pinny) with a Lap Time of 1:04.005 and an Average Speed of 67.39mph. Well Done once again Matt Perfect Driving and a Well Balanced Car out there.
Looks like the Top Three Remain the Same even After Two Races but will Race 3 Bring a New Twist to the Current Driver and Team Standings. Lets Find Out.
Enduro KA (Race 3 Results)
In First Place was (Octane Junkies Adam Smith and Martyn Smith) with a Lap Time of 1:03.849 and an Average Speed of 67.57mph. Amazing Work there Adam and Martyn managing to topple the likes of Alex and Luke to Earn P1.
In Second Place was (Fat Boys Racing Matt Pinny) with a Lap Time of 1:03.584 and an Average Speed of 67.51mph. Well Done there Matt Improving up to P2 and Taking Home a Well Deserved Finish in the Standings for Race 3.
In Third Place was (Alex Reade Motorsport's Luke Reade and Chris Reade) with a Lap Time of 1:03.606 and an Average Speed of 67.44mph. Very Good Come Back Drive for Both Luke and Ale to Finish Third Great Driving.
Many Twists and Turns Have Benn brought into Race 3 with the Top Three Drivers now being Shuffled Around the Gird into different Positions. With One More Race to Go who will be The Last Driver of the Day on the Top Step of the Podium.
Enduro KA (Race 4 Results)
In First Place was (Octane Junkies Adam Smith and Martyn Smith) with a Lap Time of 1:03.442 and an Average Speed of 67.82mph. An Amazing Final Win for the Day to Octane Junkies Adam and Martyn Smith Congratulations and Very Well Driven.
In Second Place was (Piston Heads Peter Dignan) with a Lap Time of 1:03.781 and an Average Speed of 67.54mph. Incredible work there Peter Getting P2 and Standing on the Podium and Incredible Achievement.
In Third Place was (IP Racing Oliver Wilmot and Scott Parkin) with a Lap Time of 1:03.710 and an Average Speed of 67.47mph. Very Well Done to both Scott and Oliver on that Fantastic P3 Achievement. Something Very Special to Remember for both of you.
And With that The Days Racing at Brands Hatches Ford Power Live comes to an End and what an Incredible Array of Both Cars Teams and Drivers on Display Today. A Big Congratulations to the likes of Adam Martyn Luke Chris Peter Matt Oliver and Scott for their Incredible Achievements and All Other Drivers Keeping the World Of Motorsport Alive and Well.
Keep Working Hard everyone Else. Your Time Will Come.
See You All Again Next Year!!!!
Brig virtually secured a playoff place with a great secong half comeback against playoff hopefuls Spennymoor Town. Goals from Darren Green and Chris Marlow secured the 3 points
A locked hatch, presumably leading to pumps and drainage for the array of man-made ponds at the park at Milliken.
Sgt. Young of the Russell Springs, Kentucky Police Department clears a stairway during the Mock School Shooting/Hostage excercise.
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The Shipwreck, 1772
Claude-Joseph Vernet
West Building, Main Floor — Gallery 55
This dramatic scene is meant to evoke the “sublime,” a feeling that combines terror, awe, and delight. The small, frantic figures are overwhelmed by the violence of nature: the wind and waves and the jagged lightning bolt brightening the dark sky. Moonlight, the partner painting, presents a contrast: a calm, reassuring harbor, peacefully subdued by man-made architecture. Marine painting was popular in the 18th century, particularly in the British Empire, which maintained a powerful fleet of ships to secure its colonies around the globe. British aristocrats commissioned paired paintings from Vernet to decorate their country homes.
Claude-Joseph Vernet was one of the most famous landscape and marine painters in Europe during the second half of the 18th century. After his initial schooling in his native Avignon and in Aix-en-Provence, the 20-year-old artist traveled to Rome in 1734. He studied there for a brief time with the French-born marine painter Adrien Manglard, but quickly established his own reputation. Vernet made sketching trips in and around Rome and along the Mediterranean coast as far south as Naples, capturing scenes that provided the basic repertoire for the rest of his long career. He was soon sought after by Roman collectors, as well as by French diplomats in Italy and the many wealthy travelers from north of the Alps, especially the British making their Grand Tour. For these patrons Vernet painted views of Rome and Naples, and imaginary landscapes and coastal scenes—often in pairs or a set of four.
The Shipwreck epitomizes the type of marine subject for which Vernet was best known. It was commissioned, along with a pendant, Moonlight, by Lord Arundell in November 1771. The Shipwreck formed a dramatic contrast with the peaceful, moonlit coast scene, illustrating respectively the “sublime” (eliciting a sensation of horror in the spectator) and the “beautiful” (an agreeable and reposeful sensation), concepts that were much discussed in aesthetic discourse of the day. A ship flying a Dutch flag has foundered on a rocky seashore during a dramatic storm. Wind crashes the waves, bends a tree to breaking point, and sends clouds scudding across the sky, while a red zigzag crack of lightning illuminates a harbor town farther along the coast. Survivors from the wreck are distraught, exhausted, or just grateful to have clambered ashore. As the ship takes a final lurch against the rocks, desperate survivors slide down a rope in an attempt to reach the land. Shipwrecks were a real travel hazard in the 18th century, similar to automobile and plane crashes in our own time. Vernet painted the scene with lively brushwork, corresponding to the various effects of clouds, waves, and foam; his figures, however, were carefully and precisely rendered.
Claude-Joseph Vernet was born in Avignon in 1714, the son of Antoine Vernet (1689-1753), an artisan painter of architectural decorations, coach panels, and the like. He moved to the studio of Philippe Sauvan (1697-1792), a leading history painter in Avignon, and then worked with Jacques Viali (active 1681-1745), a decorative, landscape, and marine painter in Aix-en-Provence. Vernet's first recorded paintings were decorative overdoors executed in 1731 in the Aix townhouse of the marquise de Simiane. In 1734, Joseph de Seytres, marquis de Caumont, a leading amateur in Avignon, sponsored Vernet to make a study trip to Italy to complete his artistic education and to draw antiquities for his patron.
As Avignon was a papal territory in Vernet's day, he also had a number of useful introductions among influential churchmen when he arrived in Rome. Vernet was soon at home in the French community there, and he was encouraged by Nicolas Vleughels (1668-1737), director of the Académie de France in Rome, even though the young painter had no official affiliation with the royal institution. He likely entered the studio of the French marine painter Adrien Manglard (1695-1760). By 1740 Vernet was developing an independent reputation as a painter of topographical landscape in and around Rome and Naples, as well as of imaginary Italianate landscapes and marines, demonstrated by the increasing number of entries in his surviving account books from the mid-1730s onward. His first important patron in Rome was the French ambassador Paul Hippolyte de Beauvillier, duc de Saint-Aignan (1684-1776). This relationship set a pattern, and members of the French diplomatic corps and visiting French prelates remained important patrons during Vernet's long Roman sojourn, which lasted almost twenty years (he returned definitively to France in 1753). He also worked for the Roman nobility--for example, painting a series of major marines for Don Giacomo Borghese (Rome, Palazzo Borghese). But it was the British--the wealthiest travelers in Europe--who became Vernet's main patrons during their Grand Tours, purchasing Italianate landscapes and marines as souvenirs of their visits to Italy. The British remained enthusiastic patrons of Vernet, even long after his return to France.
The appeal of Vernet's art was twofold. On the one hand, he drew on the tradition of ideal landscape painting codified by Claude Lorrain (1604/1605-1682), Nicolas Poussin (1594-1665), Gaspard Dughet (1615-1675), and Salvator Rosa (1615-1673) in seventeenth-century Italy. Inspired by the landscape of the Roman Campagna and its surrounding hills, and by the coastline south to Naples, these artists had created appropriate landscape settings for narratives from ancient history or mythology, or in which the classically educated viewer could wander in his imagination. Vernet, on the other hand, brought to the study of nature a more empirical and closely observed approach, consistent with his times, creating what seemed to his contemporaries a more vivid and convincing impression of nature. This effect was enhanced by the fact that he usually conceived his pictures in pairs, or even sets of four, which showed dramatically contrasting aspects of nature. Having established these kinds of paintings as successful formulas by the mid-1740s, Vernet continued to supply a European demand for them for the rest of his career. Vernet first exhibited typical landscapes and marines at the Paris Salon of 1746, the year his membership in the Académie royale de peinture et de sculpture was approved. He became a full member in 1753 and exhibited successfully at the Salon for the rest of his life. He had come to the attention of Louis XV's administration in 1746, and in 1753 he was finally called back to France to begin an official commission to paint large topographical views of the principal commercial and military seaports of the realm. This commission took him on an arduous itinerary, from Antibes in the south to Dieppe in the north, from 1753 until 1765, during which time he completed fifteen large paintings. Vernet's "Ports of France" (Paris, Musée du Louvre) are among the greatest French paintings of the mid-eighteenth century, for they are both remarkable social and historical documents of contemporary port life, full of fascinating observation, and at the same time beautifully composed and rendered works of art.
Vernet continued a large production of imaginary landscape and marine paintings until his death on the eve of the French Revolution in 1789. He was one of the most acclaimed and successful artists in France, and he received commissions from every corner of Europe. The public and critics alike admired his art, and the great writer and critic Denis Diderot (1713-1784) eulogized him. Diderot especially admired Vernet's dramatic scenes of shipwrecks, which perfectly illustrate the contemporary concept of the Sublime, expressing with horror the ephemeral quality of human endeavor before the immutable power of nature.
________________________________
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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The Shipwreck, 1772
Claude-Joseph Vernet
West Building, Main Floor — Gallery 55
This dramatic scene is meant to evoke the “sublime,” a feeling that combines terror, awe, and delight. The small, frantic figures are overwhelmed by the violence of nature: the wind and waves and the jagged lightning bolt brightening the dark sky. Moonlight, the partner painting, presents a contrast: a calm, reassuring harbor, peacefully subdued by man-made architecture. Marine painting was popular in the 18th century, particularly in the British Empire, which maintained a powerful fleet of ships to secure its colonies around the globe. British aristocrats commissioned paired paintings from Vernet to decorate their country homes.
Claude-Joseph Vernet was one of the most famous landscape and marine painters in Europe during the second half of the 18th century. After his initial schooling in his native Avignon and in Aix-en-Provence, the 20-year-old artist traveled to Rome in 1734. He studied there for a brief time with the French-born marine painter Adrien Manglard, but quickly established his own reputation. Vernet made sketching trips in and around Rome and along the Mediterranean coast as far south as Naples, capturing scenes that provided the basic repertoire for the rest of his long career. He was soon sought after by Roman collectors, as well as by French diplomats in Italy and the many wealthy travelers from north of the Alps, especially the British making their Grand Tour. For these patrons Vernet painted views of Rome and Naples, and imaginary landscapes and coastal scenes—often in pairs or a set of four.
The Shipwreck epitomizes the type of marine subject for which Vernet was best known. It was commissioned, along with a pendant, Moonlight, by Lord Arundell in November 1771. The Shipwreck formed a dramatic contrast with the peaceful, moonlit coast scene, illustrating respectively the “sublime” (eliciting a sensation of horror in the spectator) and the “beautiful” (an agreeable and reposeful sensation), concepts that were much discussed in aesthetic discourse of the day. A ship flying a Dutch flag has foundered on a rocky seashore during a dramatic storm. Wind crashes the waves, bends a tree to breaking point, and sends clouds scudding across the sky, while a red zigzag crack of lightning illuminates a harbor town farther along the coast. Survivors from the wreck are distraught, exhausted, or just grateful to have clambered ashore. As the ship takes a final lurch against the rocks, desperate survivors slide down a rope in an attempt to reach the land. Shipwrecks were a real travel hazard in the 18th century, similar to automobile and plane crashes in our own time. Vernet painted the scene with lively brushwork, corresponding to the various effects of clouds, waves, and foam; his figures, however, were carefully and precisely rendered.
Claude-Joseph Vernet was born in Avignon in 1714, the son of Antoine Vernet (1689-1753), an artisan painter of architectural decorations, coach panels, and the like. He moved to the studio of Philippe Sauvan (1697-1792), a leading history painter in Avignon, and then worked with Jacques Viali (active 1681-1745), a decorative, landscape, and marine painter in Aix-en-Provence. Vernet's first recorded paintings were decorative overdoors executed in 1731 in the Aix townhouse of the marquise de Simiane. In 1734, Joseph de Seytres, marquis de Caumont, a leading amateur in Avignon, sponsored Vernet to make a study trip to Italy to complete his artistic education and to draw antiquities for his patron.
As Avignon was a papal territory in Vernet's day, he also had a number of useful introductions among influential churchmen when he arrived in Rome. Vernet was soon at home in the French community there, and he was encouraged by Nicolas Vleughels (1668-1737), director of the Académie de France in Rome, even though the young painter had no official affiliation with the royal institution. He likely entered the studio of the French marine painter Adrien Manglard (1695-1760). By 1740 Vernet was developing an independent reputation as a painter of topographical landscape in and around Rome and Naples, as well as of imaginary Italianate landscapes and marines, demonstrated by the increasing number of entries in his surviving account books from the mid-1730s onward. His first important patron in Rome was the French ambassador Paul Hippolyte de Beauvillier, duc de Saint-Aignan (1684-1776). This relationship set a pattern, and members of the French diplomatic corps and visiting French prelates remained important patrons during Vernet's long Roman sojourn, which lasted almost twenty years (he returned definitively to France in 1753). He also worked for the Roman nobility--for example, painting a series of major marines for Don Giacomo Borghese (Rome, Palazzo Borghese). But it was the British--the wealthiest travelers in Europe--who became Vernet's main patrons during their Grand Tours, purchasing Italianate landscapes and marines as souvenirs of their visits to Italy. The British remained enthusiastic patrons of Vernet, even long after his return to France.
The appeal of Vernet's art was twofold. On the one hand, he drew on the tradition of ideal landscape painting codified by Claude Lorrain (1604/1605-1682), Nicolas Poussin (1594-1665), Gaspard Dughet (1615-1675), and Salvator Rosa (1615-1673) in seventeenth-century Italy. Inspired by the landscape of the Roman Campagna and its surrounding hills, and by the coastline south to Naples, these artists had created appropriate landscape settings for narratives from ancient history or mythology, or in which the classically educated viewer could wander in his imagination. Vernet, on the other hand, brought to the study of nature a more empirical and closely observed approach, consistent with his times, creating what seemed to his contemporaries a more vivid and convincing impression of nature. This effect was enhanced by the fact that he usually conceived his pictures in pairs, or even sets of four, which showed dramatically contrasting aspects of nature. Having established these kinds of paintings as successful formulas by the mid-1740s, Vernet continued to supply a European demand for them for the rest of his career. Vernet first exhibited typical landscapes and marines at the Paris Salon of 1746, the year his membership in the Académie royale de peinture et de sculpture was approved. He became a full member in 1753 and exhibited successfully at the Salon for the rest of his life. He had come to the attention of Louis XV's administration in 1746, and in 1753 he was finally called back to France to begin an official commission to paint large topographical views of the principal commercial and military seaports of the realm. This commission took him on an arduous itinerary, from Antibes in the south to Dieppe in the north, from 1753 until 1765, during which time he completed fifteen large paintings. Vernet's "Ports of France" (Paris, Musée du Louvre) are among the greatest French paintings of the mid-eighteenth century, for they are both remarkable social and historical documents of contemporary port life, full of fascinating observation, and at the same time beautifully composed and rendered works of art.
Vernet continued a large production of imaginary landscape and marine paintings until his death on the eve of the French Revolution in 1789. He was one of the most acclaimed and successful artists in France, and he received commissions from every corner of Europe. The public and critics alike admired his art, and the great writer and critic Denis Diderot (1713-1784) eulogized him. Diderot especially admired Vernet's dramatic scenes of shipwrecks, which perfectly illustrate the contemporary concept of the Sublime, expressing with horror the ephemeral quality of human endeavor before the immutable power of nature.
________________________________
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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