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love this photoshoot. she looks beautiful! ;]
I love to photo a large selection of FP pieces to use as backgrounds. It is my way of BRANDING myself.
Finished wingmast in my garden from the cores built at Portishead. This one is 15.3 metres long and has 8 miles of 2" carbon fibre table laminated onto the outside and a SWL compression of over 20T
haven't been taking photos lately and just found a file with a few pics in it i may have wanted to upload at some time and didn't so here they are
George Peter Alexander Healy - American, 1813 - 1894
Abraham Lincoln, 1860
West Building, Main Floor — Gallery 66
The head and shoulders of a cleanshaven, light-skinned man with black hair and a lined face is shown against a dark background in this vertical portrait. His body is angled to our right and he looks in that direction with blue-gray eyes under black brows. His hair is combed loosely back from his face but one lock falls onto his forehead, and it curls around the ear we can see. His prominent cheekbones are lightly flushed over hollow cheeks, which create noticeable shadows. He has a long nose, and his thin pink lips are closed. His forehead, the corners of his eyes, and the areas around his mouth and chin are lined with wrinkles. His black suit jacket has wide rounded lapels over a white buttoned shirt. The collar folds over a black bow tie and the two buttons visible on this shirt shine. Next to his left shoulder, on our right, the artist signed and dated the work with red paint: “G.P.A. Healy 1860.”
A self-trained artist born in Boston, George Peter Alexander Healy enjoyed moderate success as a painter in New England before traveling to Europe to study and seek commissions. He lived in both Paris and London, developing a style of portraiture that emphasized fine draftsmanship, naturalistic coloring, and a smooth, finished surface—all visible in this representation of Abraham Lincoln. The pinnacle of Healy's success abroad was a commission from French king Louis-Philippe to return to paint likenesses of distinguished American statesmen, an endeavor cut short by the French Revolution of 1848 and subsequent abdication of the king. In 1860, Chicago businessman and philanthropist Thomas B. Bryan purchased the works Healy had completed for the series, and commissioned the portrait of then president-elect Lincoln, an Illinois native son. Bryan planned to exhibit these works together in what he described as his "National Gallery," to be housed in the eponymous Bryan Music Hall in Chicago.
Although it lacks the iconic features that came to characterize Lincoln's visage in later portraits—his full beard, gaunt face, and pensive solemnity—this portrait is significant as the last painted depiction of Lincoln without a beard. The lines on Lincoln's forehead and jowls and the dark circles beneath his eyes hint at the demands of the election campaign and his impending service as president. Yet, as art collector and museum founder Duncan Phillips noted, "This is a happy Lincoln with a glint of the famous humor which was to mitigate his sorrows and his cares. . . . It is a disarmingly personal impression of the eyes of true greatness at a moment when they were lighted with the surprise, the honor, and the vision of supreme opportunity."
In addition to serving as the model for a 1959 postage stamp commemorating the sesquicentennial of Lincoln's birth, this portrait has hung in the Corcoran Gallery of Art, the White House, and the Lincoln School in southeast Washington, DC.
George Peter Alexander Healy was born in Boston on July 15, 1813, the first of five children of William Healy, an Irish immigrant and captain of a merchant vessel, and his wife Mary Hicks. Healy showed an early artistic interest: by 1830 the self-taught painter had opened a portrait studio from which he hoped to help to support his family. Although commissions were at first sparse, young Healy received important encouragement from Thomas Sully (1783-1872)) who advised him to make painting his profession. His fortunes also improved in 1831 when Mrs. Harrison Gray Otis, a leader in Boston society, granted him permission to paint her portrait and recommended his talents to other potential patrons.
In 1834 Healy went to France where he studied with Baron Antoine-Jean Gros (1771-1835). A year later he traveled through Italy, visiting museums and churches in the company of Lady and Sir Arthur Faulkner who soon provided his introduction to London society. It was in England that Healy met and, in 1839, married Louisa Phipps. The couple settled in Paris where Healy embarked upon the beginning of a long and happy marriage and thriving career. His diplomatic and affable demeanor, together with his obvious skill, brought him tremendous success throughout Europe and the United States. Prolific, as well as talented, he had by 1867 produced more than six hundred portraits. The constant stream of commissions included dignified, imposing portraits of such celebrated figures as Pope Pius IX and Queen Elizabeth of Romania, the latter of whom developed a warm friendship with Healy and his family.
Although Healy, sometimes accompanied by his wife, traveled to the United States several times during the 1840s and early 1850s, it was not until 1856 that the entire family settled in America. They took up residence in the booming city of Chicago, which Healy used as a base for his work in Boston, Philadelphia, New Orleans, and other cities. During the Civil War years he often traveled to Washington to paint military figures and members of the President's cabinet. The family returned to Europe in 1867, but George Healy crossed the Atlantic many times over the following years in order to fill commissions. In 1892 Healy, his wife, and one daughter returned to Chicago. The artist died in that city on June 24, 1894
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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...
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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...
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September 1, 2013 - Kearney Nebraska
Hey its Nebraska... With the game playing in the background... Nebraska (Huskers) Football was in session and if your a College Football Fan... That takes precedence over storm chasing. Some might laugh at this but their are some small rural towns that will shut down during a Husker Football event. Win or Lose!
I would have to look back to this date and see whom played that evening, but the Huskers had a substantial lead and I knew this was coming close. Packed up a few cams and headed out for this September night storm.
This was a beauty. This storm cell was pulling out some incredible cloud to cloud lightning. It was illuminating the night sky with some frighting delightful thunderstorm ambiance! Not only did I get this, a nice wall cloud was present the whole time but never produced a tornado that evening. Sure was purdy to look at though as you can see in this set of captures.
Eventually this storm would become outflow dominate. Once you see the shelf cloud forming then this storm changed. With all that ambient lightning it made this one of best night storms of 2013.
Husker Football & Storm Chasing... Can it get any better?
Go Big Red!
#ForeverChasing
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