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This big sweet lug was found greeting customers at CVS/pharmacy where I work on Christmas Eve. I called the shelter and asked them to hold him for the required 72hrs in case his family was looking for him. Well, no one called...so the shelter told me his time was up. So, now he's here and I just may have an American Pit Bull Terrier dog rescue to take him. They specialize in placement of these bully breed dogs and are much better suited to the task than I. In the mean time, he's getting along great with all of our dogs (YAY!), he's awesome with people of all ages, and is just generally a well-behaved guy.
We're taking name ideas for him!!!
Framework for the temporary classrooms being contructed for Pibor Girls Primary School by Plan International in South Sudan
This shows the difficult life people are living in Pakistan due to poverty and difficult circumstances which have forced them to flee from their homes and live in an area temporarily set up for all the Internally Displaced Person's (IDP's).
Custom temporary tattoos are a low-cost, fun way to add a little ‘flash’ to your store as a retail product and raise your sales or as one-of-a-kind memorable gift with purchase for creating a social buzz. www.goldy.la
Gilbert Stuart - American, 1755 - 1828
Catherine Brass Yates (Mrs. Richard Yates), 1793/1794
West Building, Main Floor — Gallery 60-A
Shown from the lap up, a woman with pale skin wearing a white satin dress and tall white bonnet sits sewing with her body facing our left in this vertical portrait painting. She turns her head to look directly at us from under slightly raised eyebrows with heavy-lidded, almond-shaped, dark brown eyes. She has a long, sharp nose and her high cheekbones are lightly flushed. Her thin lips are pressed together with the corners pulled back, and her mouth is framed by vertical wrinkles along her chin. A bonnet of sheer white fabric is secured around her head by a white silk ribbon tied into a four-loop bow above her forehead. The bonnet is pleated to create ruffles that frame her face. The woman pinches threaded sewing needle between her right thumb and index finger, farther from us, while holding the thread taunt with her outstretched pinky. Light catches a pearl-like object near her thumb, but on closer inspection it might be a thimble she wears on her middle finger. The remainder of the thread is secured by her left index finger and thumb, which also holds the fabric she stitches. A gold ring glistens on the third finger of her left hand. The crisp fabric of her dress looks white in the light and the shadows are a silvery, pale gray. The long sleeves fit closely along her arms and more fabric, perhaps of the skirt, billows up beside her over the arm of the chair. A piece of gauzy white cloth drapes over the woman's neck and over her shoulders, and may be tied around her torso. She sits in a dusky rose-pink upholstered chair lined with brass nail heads. The background behind her is taupe near her torso and it darkens to nearly black in the upper corners.
Gilbert Stuart achieved fame as a portrait painter in both England and America. When he returned to America from England in 1793, he found himself in a homeland that was foreign to him. Politically, there was now a United States instead of thirteen separate colonies. Artistically, the fashionable style he had adopted for British and Irish sitters was highly inappropriate for Yankee merchants' forthright tastes.
Complaining about the literalness required of him in America, Stuart quipped, "In England my efforts were compared with those of Van Dyck, Titian, and other great painters—here they are compared with the works of the Almighty!" The Almighty had given Catherine Yates a bony face and an appraising character, and that is exactly what Stuart had to portray. Not wishing to waste time posing for an artist, this wife of a New York importer industriously attends to her sewing.
Yet Stuart's brilliant paint manipulation generates a verve few other artists on either side of the Atlantic could have matched. Every passage contains some technical tour de force, employing a variety of thick or thin, opaque or translucent oil paints for the fabrics, needle, thimble, wedding band, flesh, and fingernails. It is little wonder that Mrs. Richard Yates has become one of America's most famous paintings, both as an artistic masterpiece and as a visual symbol of the early republic's rectitude.
More information on this painting can be found in the Gallery publication American Paintings of the Eighteenth Century, pages 193-196, which is available as a free PDF at www.nga.gov/content/dam/ngaweb/research/publications/pdfs...
Gilbert Stuart was the preeminent portraitist in Federal America. He combined a talent for recording likeness with an ability to interpret a sitter's personality or character in the choice of pose, color and style of clothing, and setting. He introduced to America the loose, brushy style used by many of the leading artists of late eighteenth century London. He recorded likenesses of lawyers, politicians, diplomats, native Americans, their wives and children. His sitters included many prominent Americans, among them the first five presidents, their advisors, families, and admirers. He is known especially for his numerous portraits of George Washington.
Born in 1755 in North Kingston, Rhode Island, Stuart was baptized with his name spelled "Stewart". His father, an immigrant Scot, built and operated a snuff mill that may have led to the artist's addiction to snuff. He grew up in the trading city of Newport, where itinerant Scottish portraitist Cosmo Alexander (1724-1772) gave him his earliest training in painting. He accompanied Alexander to Scotland in 1771, returning home at the older artist's death. Three years later in 1775, on the eve of the American Revolution, he went to London, where he worked for five years (1777-1782) as assistant to the Anglo-American painter Benjamin West. He exhibited at the Royal Academy from 1777 to 1785, using the name Gilbert Charles Stuart the first year. The success of The Skater (NGA 1950.18.1), painted in 1782, enabled him to establish his own business as a portrait painter. In 1786 Stuart married Charlotte Coates, and the following year they went to Dublin, where Stuart painted portraits of the Protestant ruling minority for over five years.
Stuart returned to the United States in 1793, planning to paint a portrait of George Washington that would establish his reputation in America. After about a year in New York City, he went to Philadelphia, the capital of the United States, with a letter of introduction to Washington from John Jay. He painted the president in the winter or early spring of 1795. He was not satisfied with his first life portrait of Washington, but others were. Martha Washington commissioned a second and Mrs. William Bingham commissioned two full-lengths. His success led immediately to many other commissions. His sitters were politically prominent and wealthy, from the merchant and landed classes. After Washington, D.C. became the new national capital, Stuart moved there in December of 1803, and this group continued as his patrons. There he painted the Madisons, Jefferson, the Thorntons, and others from Jefferson's administration.
In the summer of 1805 Stuart settled in Boston. In his Roxbury studio he continued to paint politically and socially prominent sitters and, on request, to make replicas of his second "Athenaeum" portrait of George Washington. Throughout his life younger artists, including John Trumbull, Thomas Sully, Rembrandt Peale, and John Vanderlyn, sought his advice and imitated his work. Among his students were his children Charles Gilbert (1787-1813) and Jane (1812-1888). One indication of Stuart's popularity is the number of portraits he painted, over a thousand during his long career, excluding copies of the portraits of Washington. Another indication is the number of copies of his work that other artists made. His sitters indicated their fascination for his talent and personality by recording lengthy anecdotes and descriptions of their sittings, producing an unusally rich written record about an American portraitist. Stuart died in Boston in 1828.
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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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Steve wanted someone to wear this temporary tattoo and I just wanted someone to wear it so that I could take a picture of it. Temporary tattoos are so funny, but I think real ones are even funnier.
Una domenica pomeriggio come tante, ma nell'aria qualcosa di nuovo. I tavoli di meltin pop si rivestono di rosso, compaiono uova e farina, spianatoie e mattarelli...ecco gli apprendisti sfoglini, si inizia!!
Chi non ha mai provato ad amalgamare la pasta si ritrova con le mani infarinate, tutto diventa piacevole ed interessante, tutto diventa collaborazione e momento di scambio.
I had to take some time off from the dirt digging and tree cutting to get ready for a family bar-be-que. This is a temporary fire pit I dug so I could roast marshmallows with the grandchildren.
Lightweight, intuitive, and efficiently assembled (or disassembled) without specialized tools, our modular wall system is made to respond to an evolving retail environment, business model, or changing workspace.
Available in 2-foot increments (up to 16ft) for standardized formatting, temporary walls can easily conform to the shape or design of your envisioned space. Made from durable material and with reusable application, our temporary partition walls are a viable and cost-effective alternative to soon-to-be discarded plywood or expensive and labor-intensive drywall. They are ideal for cordoning off construction, reimagining retail space or creating a more collaborative small business atmosphere, temporary walls can re-shape the interior of your business's office space.
Paneled with abrasion-resistive vinyl and framed with aluminum supports, our temporary wall systems are made to last and are simple to maintain. Maximize the surplus surface of these temporary wall panels by embellishing with striking branding or utilizing it as revenue generating ad-space. Rounded off with vibrant graphics and impactful messaging, the enclosure created will exude a professional permeance that other temporary wall solutions cannot replicate.
Converting any formless concourse into an organized interior with identity, let temporary walls create the space your business needs.
Easily refresh and customize your modular temporary walls with printed graphics.
britteninc.com/products/display-hardware/modular-temporar...
Lightweight, intuitive, and efficiently assembled (or disassembled) without specialized tools, our modular wall system is made to respond to an evolving retail environment, business model, or changing workspace.
Available in 2-foot increments (up to 16ft) for standardized formatting, temporary walls can easily conform to the shape or design of your envisioned space. Made from durable material and with reusable application, our temporary partition walls are a viable and cost-effective alternative to soon-to-be discarded plywood or expensive and labor-intensive drywall. They are ideal for cordoning off construction, reimagining retail space or creating a more collaborative small business atmosphere, temporary walls can re-shape the interior of your business's office space.
Paneled with abrasion-resistive vinyl and framed with aluminum supports, our temporary wall systems are made to last and are simple to maintain. Maximize the surplus surface of these temporary wall panels by embellishing with striking branding or utilizing it as revenue generating ad-space. Rounded off with vibrant graphics and impactful messaging, the enclosure created will exude a professional permeance that other temporary wall solutions cannot replicate.
Converting any formless concourse into an organized interior with identity, let temporary walls create the space your business needs.
Easily refresh and customize your modular temporary walls with printed graphics.
britteninc.com/products/display-hardware/modular-temporar...
Temporary Fence, Graham Guy-Robinson (2018)
Mirror polished stainless steel and powder coat
Part of the 250th Summer Exhibition at the Royal Academy of Arts
In 2018, Grayson Perry RA and his committee of fellow artists handpicked over 1,300 artworks in an array of mediums.
The Summer Exhibition included a monumental sculpture by Anish Kapoor RA in the RA courtyard, while vast new works by David Hockney RA and Joana Vasconcelos appeared in the galleries. Artists Mona Hatoum and Tal R showed alongside Royal Academicians including Wolfgang Tillmans, Mike Nelson, Tracey Emin and Rose Wylie, and Honorary Academicians Bruce Nauman and Ed Ruscha.
[Royal Academy]
Una domenica pomeriggio come tante, ma nell'aria qualcosa di nuovo. I tavoli di meltin pop si rivestono di rosso, compaiono uova e farina, spianatoie e mattarelli...ecco gli apprendisti sfoglini, si inizia!!
Chi non ha mai provato ad amalgamare la pasta si ritrova con le mani infarinate, tutto diventa piacevole ed interessante, tutto diventa collaborazione e momento di scambio.
Fitz Henry Lane - American, 1804 - 1865
Lumber Schooners at Evening on Penobscot Bay, 1863
West Building, Main Floor — Gallery 67
Near the center of the painting, a masted wooden ship floats against a vibrant sunset that fades from lilac purple to carnation pink along the horizon line, which comes about a quarter of the way up this horizontal landscape. The boat is angled away from us and to our left with one sail tied up near the top of one of the two tall masts. Four people stand on the lumber-filled deck and tie up other sails. A second boat floats in the distance, its rigging and masts silhouetted against the vivid pink sky. The water is deep blue along the bottom edge of the canvas and lightens where it meets the hills along the horizon. Slivers of wispy slate-gray clouds sweep across the sky.
Despite its meticulous draftsmanship and precise detail, Lane's work is far more than a simple inventory of harbor activity. The diminutive figures and carefully rendered vessels remain secondary to the vast expanse of sky, where shimmering light creates a tranquil, idyllic mood. Lane's rarefied landscapes epitomize man's harmonious union with the natural world.
Some scholars have used the term "luminism" to describe the artist's subtle use of light and atmospheric effects to convey nature's intangible spirit. Ralph Waldo Emerson, the foremost exponent of American Transcendentalism, believed that poets and painters should serve as conduits through which the experience of nature might be transmitted directly to their audience. With a similarly self-effacing artistic temperament, Lane minimized his autographic presence, using translucent glazes rather than heavily impastoed surfaces to underscore the scene's pervasive stillness. His elegiac paintings differ profoundly from the more explosive exuberance expressed by Cole and Church, though he shared these artists' reverence for nature and their belief in its inherent divinity.
More information on this painting can be found in the Gallery publication American Paintings of the Nineteenth Century, Part I, pages 412-415, which is available as a free PDF at www.nga.gov/content/dam/ngaweb/research/publications/pdfs...
Fitz Henry Lane was born Nathaniel Rogers Lane in the fishing port of Gloucester, Massachusetts on December 18, 1804; in 1831 he legally changed his first and middle names, becoming Fitz Henry Lane. Paralyzed as a young child, probably by infantile polio, Lane was obliged to use crutches. He learned the rudiments of drawing and sketching while in his teens and in 1832 worked briefly with a lithographic firm in Gloucester. Later that year he moved to Boston for formal training and an apprenticeship with William S. Pendleton, owner of the city's most important lithographic firm. Lane remained with Pendleton until 1837, producing illustrations for sheet music and scenic views.
While in Boston Lane became acquainted with the work of the English-born artist Robert Salmon (1775-c.1845), who was the most accomplished marine painter in the area. Salmon's paintings, with their meticulously detailed ships and crisply rendered effects of light and atmosphere had a decisive influence on Lane's early style. By 1840 he had produced his first oils; two years later he was listed in a Boston almanac as a "Marine Painter." His Scene at Sea (present location unknown) was exhibited at the Boston Atheneum in 1841 and, after 1845, his works were regularly shown there. During the mid-1840s Lane continued to produce both oils and lithographs, concentrating on landscapes, harbor views, and ship portraits. In 1848 he sold a painting to the American Art-Union in New York, which would subsequently purchase several more of his works. That summer he visited Maine with his life-long friend, the Gloucester merchant Joseph Stevens, Jr., whose family had a home in Castine. Lane would make many more visits to Maine during the rest of his life, and the distinctive scenery of the state became an increasingly important part of his artistic vocabulary.
In 1848 Lane moved permanently back to Gloucester, and with his sister and brother-in-law designed and constructed an impressive granite home overlooking the harbor. Although he traveled in the 1850s to such locations as Baltimore, New York, and, possibly, Puerto Rico, the scenery of Gloucester and Cape Ann would remain, with that of coastal Maine, at the very center of his artistic production. Although Lane's inconsistency in dating his works makes determining a strict stylistic evolution difficult, he seems to have reached a new maturity in the early 1850s. In an important series of images of Boston harbor, presumably from the mid-1850s, Lane perfected a style characterized by carefully balanced, calmly ordered compositions and radiant effects of light and atmosphere. Some modern historians have seen these paintings as part of a "luminist" style said to have been employed by many other American artists of the 1850s and 1860s. Whatever the case, Lane's art seems to have been primarily personal in nature, and there is little evidence he took notice of other painters' works or was much involved in larger artistic circles.
During the 1860s Lane produced what are perhaps his most poignant paintings, again focussing primarily on familiar scenes around Gloucester and in Maine. He left little in the way of written or otherwise recorded statements about his art, but these later works are markedly different from works of just a few years earlier. Highly reductive in format, refined in execution, and intense in effect, these works suggest some new expressive intent on Lane's part, the nature of which has been the subject of much modern speculation.
In 1864 and 1865 Lane was in poor health and, following a bad fall in August 1865, apparently suffered a heart attack or stroke; he died in Gloucester on the 13th of that month. Although one Boston paper characterized his passing as "a national loss," Lane's reputation during his lifetime was primarily local; following his death he and his works were largely forgotten outside Gloucester. With the revival of interest in nineteenth-century American painting during the 1940s, and, particularly with the large number of fine works by Lane presented to the Museum of Fine Arts, Boston by Maxim Karolik in 1948, he was gradually reinstated as a key figure. (At some point in the early twentieth century the artist's middle name began to appear erroneously as "Hugh," and he subsequently became well known as Fitz Hugh Lane. Archival research conducted in 2004-2005 irrefutably proved that his name was, in fact, Fitz Henry Lane; see "appendix" in John Wilmerding, Fitz Henry Lane, Glouchester, Massachusetts, 2005).
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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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