archives photos on Flickr

History... This exact site has been occupied since the 8th century B.C. (Hello, Phoenicians!) The College of Olearians was on this plot o' land beginning in the 1st century A.D. (Thanks, Romans!) An early Visigothic church was built on the ruins of that. (That'd be the Basilica of Saint Vincent.) Hey, the Moor the better! They came along in 712 and ruled Seville for about 5 centuries (different Moorish empires) during which time they expanded the buildings a little bit. Finally, the Christians took the town back in the mid-13th century and demolished almost everything...just to rebuild it...in Mudejar fashion. (What is Mudejar? It's an architectural style that means...Christians imitating Muslim style without the actual Muslims. Something along those lines.) Which brings us to...

Today...it's a palace (technically palaces; the Spanish name is Reales Alcazares...and the royal family still owns this place and has residence here. All of the second floor...their private digs.) The tour guide enjoyed using the word "pastiche," and...it is. Beautiful as this place is, it's a mix...Gothic palace, gardens, Casa del Asistente, Casa de la Contratacion, Mudejar, and a very little of the original Moorish construction (Patio del Yeso). Basically a mix of a whole lot of different...stuff. For example, in the Casa de la Contratacion, you'll find the Capilla de la Virgen de los Navegantes (Admirals' Room).

Most folks seem about 99% certain that this is the room where Queen Isabel awaited as Columbus returned from the New World for the first time. His coat of arms is hanging on the wall here, opposite a painting that has him in it. (His coat of arms has the royal coats of Castilla y Leon, plus some Caribbean islands, plus anchors....with the inscription "Columbus gave a new world to Castille and Leon."

A lot happened on these grounds. Births (and maybe deaths), intrigue, legends. It's a beautiful, fascinating place.

Archive : Complementary colors by 315Edith

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August 2019 theme: Colors

Orange & blue

Llysyfran Reservoir, Dyfed, South Wales by Kim Freeman

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Film: Fuji Super G 100 Camera: Minolta 700si

Scanning old negatives for archive. Scanned with Smartfix veho VFS-014-SF (5.8.22)

Natinal Inland Fishers Institute = 淡水魚研究所　小麦関係の祭 by JIRCAS Library

JIRCAS Photo Archive

www.jircas.go.jp/ja/database/photoarchive

Author: Fukuda Tokuji

福田徳治 (TARC)

Date: 1984.12.08

Country: タイ (Thailand)

Place: Bang Khen (バンケン)

Keywords: タイ,バンケン,建物・人物,生活(風俗・習慣)

Slide no. 03-164-18

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印刷物、調査研究等でご利用頂いた場合は、お問い合わせフォームにてお知らせ頂ければ幸いです（任意）

This content is provided under the terms and conditions of the JIRCAS Website Terms of Use or Creative Commons Attribution 4.0 International (CC BY 4.0) license.

Archive-8272 by Ashes 57

archives upwards by Sarah Hitchcock Burzio

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Archive room library by CCA Glasgow

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Texts accompanying the archive of Harun Farocki's works.

Cutting, cutting, cutting by Julia Colleen Miller

PARADISEC @ ANU

Attribution: Julia Colleen Miller

Permissions: Contact julia.miller{AT}anu.edu.au

1994 Archives Fire Curry Hollow Road_40 by Devon Christopher Adams

1994 Fire at my Parent's Home

Archive 047R by vindaloo7

Photo Scan. Building the First Stage of The New Clubhouse

New Britain, Connecticut, Museum of American Art - May 8, 2025 by JR P

Birth of Venus - 1984

Andy Warhol (1928 - 1987)

Raised in Pittsburgh, Pennsylvania, Warhol was a central figure in the Pop Art movement of the 1960s, and is regarded as one of the most influential artists of the twentieth century. He was an avant-garde filmmaker, a record producer, an author, and is renowned as a painter. Warhol was known for his presence in diverse social circles that included bohemian street people, distinguished intellectuals, Hollywood movie stars, and wealthy aristocrats. Warhol's most famous works are his silkscreen images of pop culture icons and famous American consumer products, which show his remarkable interpretation of the powerful motifs of his time. Two of his best known subjects are large Campbell Soup cans and portraits of Marilyn Monroe. Both highlight the effects of commercialism and Hollywood on our daily lives.

EXTENDED BIO

Andy Warhol (/ˈwɔrhɒl/;[1] August 6, 1928 – February 22, 1987) was an American artist who was a leading figure in the visual art movement known as pop art. His works explore the relationship between artistic expression, celebrity culture and advertisement that flourished by the 1960s. After a successful career as a commercial illustrator, Warhol became a renowned and sometimes controversial artist. The Andy Warhol Museum in his native city, Pittsburgh, Pennsylvania, holds an extensive permanent collection of art and archives. It is the largest museum in the United States dedicated to a single artist.

Warhol's art encompassed many forms of media, including hand drawing, painting, printmaking, photography, silk screening, sculpture, film, and music. He was also a pioneer in computer-generated art using Amiga computers that were introduced in 1984, two years before his death. He founded Interview Magazine and was the author of numerous books, including The Philosophy of Andy Warhol and Popism: The Warhol Sixties. He is also notable as a gay man who lived openly as such before the gay liberation movement. His studio, The Factory, was a famous gathering place that brought together distinguished intellectuals, drag queens, playwrights, Bohemian street people, Hollywood celebrities, and wealthy patrons.

Warhol has been the subject of numerous retrospective exhibitions, books, and feature and documentary films. He coined the widely used expression "15 minutes of fame". Many of his creations are very collectible and highly valuable. The highest price ever paid for a Warhol painting is US$105 million for a 1963 canvas titled "Silver Car Crash (Double Disaster)".[2] A 2009 article in The Economist described Warhol as the "bellwether of the art market".[3] Warhol's works include some of the most expensive paintings ever sold. Andy Warhol (né Andrej Varhola, Jr.) was born on August 6, 1928 in Pittsburgh, Pennsylvania.[4] He was the fourth child of Andrej Varhola (Americanized as Andrew Warhola, Sr., 1889–1942)[5] and Júlia (née Zavacká, 1892–1972),[6] whose first child was born in their homeland and died before their move to the U.S. Andy had two older brothers, Paul (born June 26, 1922) and John Warhola (May 31, 1925 – December 24, 2010).

His parents were working-class Lemko[7][8][9] emigrants from Mikó (now called Miková), located in today's northeastern Slovakia, part of the former Austro-Hungarian Empire. Warhol's father immigrated to the United States in 1914, and his mother joined him in 1921, after the death of Warhol's grandparents. Warhol's father worked in a coal mine. The family lived at 55 Beelen Street and later at 3252 Dawson Street in the Oakland neighborhood of Pittsburgh.[10] The family was Byzantine Catholic and attended St. John Chrysostom Byzantine Catholic Church. Andy Warhol had two older brothers—Pavol (Paul), the oldest, was born before the family emigrated; Ján was born in Pittsburgh. Pavol's son, James Warhola, became a successful children's book illustrator. About 1939, he started to collect autographed cards of film stars.

In third grade, Warhol had Sydenham's chorea (also known as St. Vitus' Dance), the nervous system disease that causes involuntary movements of the extremities, which is believed to be a complication of scarlet fever which causes skin pigmentation blotchiness.[11] He became a hypochondriac, developing a fear of hospitals and doctors. Often bedridden as a child, he became an outcast at school and bonded with his mother.[12] At times when he was confined to bed, he drew, listened to the radio and collected pictures of movie stars around his bed. Warhol later described this period as very important in the development of his personality, skill-set and preferences. When Warhol was 13, his father died in an accident.[13]

As a teenager, Warhol graduated from Schenley High School in 1945. After graduating from high school, his intentions were to study art education at the University of Pittsburgh in the hope of becoming an art teacher, but his plans changed and he enrolled in the Carnegie Institute of Technology in Pittsburgh, where he studied commercial art.[14] In 1949, he moved to New York City and began a career in magazine illustration and advertising. In 1949, he earned a Bachelor of Fine Arts in pictorial design. During the 1950s, Warhol gained fame for his whimsical ink drawings of shoe advertisements. These were done in a loose, blotted-ink style, and figured in some of his earliest showings at the Bodley Gallery in New York. With the concurrent rapid expansion of the record industry and the introduction of the vinyl record, Hi-Fi, and stereophonic recordings, RCA Records hired Warhol, along with another freelance artist, Sid Maurer, to design album covers and promotional materials.[15]

Warhol was an early adopter of the silk screen printmaking process as a technique for making paintings. His earliest silkscreening in painting involved hand-drawn images though this soon progressed to the use of photographically derived silkscreening in paintings. Prior to entering the field of fine art, Warhol's commercial art background also involved innovative techniques for image making that were somewhat related to printmaking techniques. When rendering commercial objects for advertising Warhol devised a technique that resulted in a characteristic image. His imagery used in advertising was often executed by means of applying ink to paper and then blotting the ink while still wet. This was akin to a printmaking process on the most rudimentary scale.[16]

Warhol's work both as a commercial artist and later a fine artist displays a casual approach to image making, in which chance plays a role and mistakes and unintentional marks are tolerated. The resulting imagery in both Warhol's commercial art and later in his fine art endeavors is often replete with imperfection—smudges and smears can often be found. In his book "POPism" Warhol writes, "When you do something exactly wrong, you always turn up something."[17][18][19] He began exhibiting his work during the 1950s. He held exhibitions at the Hugo Gallery,[20] and the Bodley Gallery[21] in New York City and in California his first West Coast gallery exhibition[22][23] was on July 9, 1962, in the Ferus Gallery of Los Angeles. The exhibition marked his West Coast debut of pop art.[24] Andy Warhol's first New York solo pop art exhibition was hosted at Eleanor Ward's Stable Gallery November 6–24, 1962. The exhibit included the works Marilyn Diptych, 100 Soup Cans, 100 Coke Bottles, and 100 Dollar Bills. At the Stable Gallery exhibit, the artist met for the first time poet John Giorno who would star in Warhol's first film, Sleep, in 1963.[25]

It was during the 1960s that Warhol began to make paintings of iconic American objects such as dollar bills, mushroom clouds, electric chairs, Campbell's Soup Cans, Coca-Cola bottles, celebrities such as Marilyn Monroe, Elvis Presley, Marlon Brando, Troy Donahue, Muhammad Ali, and Elizabeth Taylor, as well as newspaper headlines or photographs of police dogs attacking civil rights protesters. During these years, he founded his studio, "The Factory" and gathered about him a wide range of artists, writers, musicians, and underground celebrities. His work became popular and controversial. Warhol had this to say about Coca Cola:

What's great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca-Cola, and you know that the President drinks Coca-Cola, Liz Taylor drinks Coca-Cola, and just think, you can drink Coca-Cola, too. A Coke is a Coke and no amount of money can get you a better Coke than the one the bum on the corner is drinking. All the Cokes are the same and all the Cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it.[26]

New York's Museum of Modern Art hosted a Symposium on pop art in December 1962 during which artists like Warhol were attacked for "capitulating" to consumerism. Critics were scandalized by Warhol's open embrace of market culture. This symposium set the tone for Warhol's reception. Throughout the decade it became increasingly clear that there had been a profound change in the culture of the art world, and that Warhol was at the center of that shift.[citation needed]

A pivotal event was the 1964 exhibit The American Supermarket, a show held in Paul Bianchini's Upper East Side gallery. The show was presented as a typical U.S. small supermarket environment, except that everything in it—from the produce, canned goods, meat, posters on the wall, etc.—was created by six prominent pop artists of the time, among them the controversial (and like-minded) Billy Apple, Mary Inman, and Robert Watts. Warhol's painting of a can of Campbell's soup cost $1,500 while each autographed can sold for $6. The exhibit was one of the first mass events that directly confronted the general public with both pop art and the perennial question of what art is. As an advertisement illustrator in the 1950s, Warhol used assistants to increase his productivity. Collaboration would remain a defining (and controversial) aspect of his working methods throughout his career; this was particularly true in the 1960s. One of the most important collaborators during this period was Gerard Malanga. Malanga assisted the artist with the production of silkscreens, films, sculpture, and other works at "The Factory," Warhol's aluminum foil-and-silver-paint-lined studio on 47th Street (later moved to Broadway). Other members of Warhol's Factory crowd included Freddie Herko, Ondine, Ronald Tavel, Mary Woronov, Billy Name, and Brigid Berlin (from whom he apparently got the idea to tape-record his phone conversations).[27]

During the 1960s, Warhol also groomed a retinue of bohemian and counterculture eccentrics upon whom he bestowed the designation "Superstars", including Nico, Joe Dallesandro, Edie Sedgwick, Viva, Ultra Violet, Holly Woodlawn, Jackie Curtis, and Candy Darling. These people all participated in the Factory films, and some—like Berlin—remained friends with Warhol until his death. Important figures in the New York underground art/cinema world, such as writer John Giorno and film-maker Jack Smith, also appear in Warhol films of the 1960s, revealing Warhol's connections to a diverse range of artistic scenes during this time. Warhol had a re-emergence of critical and financial success in the 1980s, partially due to his affiliation and friendships with a number of prolific younger artists, who were dominating the "bull market" of 1980s New York art: Jean-Michel Basquiat, Julian Schnabel, David Salle and other so-called Neo-Expressionists, as well as members of the Transavantgarde movement in Europe, including Francesco Clemente and Enzo Cucchi.

By this period, Warhol was being criticized for becoming merely a "business artist".[40] In 1979, reviewers disliked his exhibits of portraits of 1970s personalities and celebrities, calling them superficial, facile and commercial, with no depth or indication of the significance of the subjects. They also criticized his 1980 exhibit of 10 portraits at the Jewish Museum in New York, entitled Jewish Geniuses, which Warhol—who was uninterested in Judaism and Jews—had described in his diary as "They're going to sell."[40] In hindsight, however, some critics have come to view Warhol's superficiality and commerciality as "the most brilliant mirror of our times," contending that "Warhol had captured something irresistible about the zeitgeist of American culture in the 1970s."[40]

Warhol also had an appreciation for intense Hollywood glamour. He once said: "I love Los Angeles. I love Hollywood. They're so beautiful. Everything's plastic, but I love plastic. I want to be plastic."[41] Warhol's will dictated that his entire estate — with the exception of a few modest legacies to family members — would go to create a foundation dedicated to the "advancement of the visual arts". Warhol had so many possessions that it took Sotheby's nine days to auction his estate after his death; the auction grossed more than US$20 million.

In 1987, in accordance with Warhol's will, the Andy Warhol Foundation for the Visual Arts began. The foundation serves as the estate of Andy Warhol, but also has a mission "to foster innovative artistic expression and the creative process" and is "focused primarily on supporting work of a challenging and often experimental nature."[45]

The Artists Rights Society is the U.S. copyright representative for the Andy Warhol Foundation for the Visual Arts for all Warhol works with the exception of Warhol film stills.[46] The U.S. copyright representative for Warhol film stills is the Warhol Museum in Pittsburgh.[47] Additionally, the Andy Warhol Foundation for the Visual Arts has agreements in place for its image archive. All digital images of Warhol are exclusively managed by Corbis, while all transparency images of Warhol are managed by Art Resource.[48]

The Andy Warhol Foundation released its 20th Anniversary Annual Report as a three-volume set in 2007: Vol. I, 1987–2007; Vol. II, Grants & Exhibitions; and Vol. III, Legacy Program.[49] The Foundation remains one of the largest grant-giving organizations for the visual arts in the U.S.

_________________________________

"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."

www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...

www.nbmaa.org/permanent-collection

The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.

Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.

Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).

Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.

**Archive** by Adam Coyne

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**Archive** by Adam Coyne

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Victory by Tim Knifton