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Burmese Brow-Antlered Deer in Asia section of the Sedgwick County Zoo in Wichita Kansas.
Taken on February 1, 2012 Sedgwick County Zoo Photowalk.
One of three Yellow-browed Warblers photographed in the last couple of weeks at Bockhill. 13th October 2017- McSwiggans
Yellow-browed Sparrow (Ammodramus aurifrons) at Finca la Independencia near Yopal, Casanare, Colombia.
Brow Studios of Homestead
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Jean-Baptiste Oudry - French, 1686 - 1755
Henri Camille, Chevalier de Beringhen, 1722
West Building, Main Floor — Gallery 53
Sitting on a rock and shown from the lap up, an elegantly dressed, light-skinned man holds up a partridge by one leg and sits next to a dog, all against a landscape with trees and a stone manor house in this vertical portrait painting. On the far side of the rock, the man’s legs angle away from us to our right, but he turns his torso to look at us with brown eyes under dark brows. His nose has a bump near the bridge, and his full, pink lips are closed. His rounded cheeks are slightly flushed, and he has a bit of a double chin. His hair curls around his face from a widow’s peak on his forehead, and locks are tied back with a black silk bow. His white shirt is pleated vertically across the front below a high collar, which wraps around his neck. Lace lines the front of the shirt down the chest and the cuffs at the end of puffy sleeves. His camel-brown jacket is lined with topaz blue and edged with silvery lace down the front and at the unbuttoned cuffs. His brown pants are lost in shadow beyond the rock on which he sits. In his raised left hand, on our right, the partridge dangles from one red leg, its brown wings spread and its head hanging back. By the man’s right side and closer to us, the dog is white with a few black spots. It has large floppy ears and a short tail. It crouches on its hind legs, angled to our left, and braces itself on its front paws, looking up at the bird. A second dead bird lies on the rock under the dog’s poised body. A few tufts of plants and grasses grow out of the rock next to the dog’s front feet, and behind the dog and man is a fawn-brown sack and a cylindrical vessel with a spout, a powder horn. Two trees grow beyond the rock, up the left edge of the canvas. To our right, in the distance, two women talk near a low wall. One wears an aquamarine-blue dress and gestures with arm outstretched to our left, and the other, in pale pink, sits looking up at her companion. Beyond, trees line the drive up to the three-story manor house. The middle story is lined with notably tall windows, like a series of French doors. Steel-gray clouds against a few glimpses of turquoise-blue sky fill the top half of the painting above the house. The painting is signed and dated in the lower right corner: “peint par JB. Oudry 1722.”
Oudry was the leading painter of still-life and hunting scenes in France during the first half of the eighteenth century. Much admired by Louis XV, he portrayed favorite royal hounds and painted scenes of the king riding to the hunt, which was the monarch's sporting passion. On occasion Oudry painted portraits; The Marquis de Beringhen, his masterpiece among them, most likely played a part in launching his artistic career at court.
Henri Camille de Beringhen (1693-1770) came from a family that had served the French crown since the sixteenth century. After a military career, he inherited the title Premier Ecuyer de la Petite Ecurie du Roi (Master of the King's Private Stables) in 1724, in which capacity he organized the royal hunt. He was a success at court, and was endowed with a number of lucrative and honorary titles. It was Beringhen who introduced Oudry to the young Louis XV, and the artist soon joined the royal hunts as an observer. Beringhen was a keen patron of contemporary artists, especially Nicolas Lancret, François Boucher, and Oudry, who provided decorations for his Paris town house and his country home at Ivry.
The Marquis de Beringhen is an elaborate image, in which Oudry combined portraiture, a still life with dead game, a living animal, and a landscape. The twenty-nine-year-old marquis, seated on a knoll at the base of a tree, is dressed in a linen shirt, a pale gray hunting coat lined with teal-blue velvet and trimmed with silver braid and buttons, breeches, and thigh-length boots. Strands of his powdered hair are caught at the back of his head in a black silk ribbon. In his left hand he holds aloft a red-legged partridge; with his right he pets a pointer. In the left corner is a still life of powder horn, fowling piece, game, and a game bag. In the distance two women converse on the terrace of a country house, which probably represents not an actual place, but a suitably gentlemanly setting that Oudry devised for Beringhen.
Oudry's art is characterized by sharp observation of nature, a bold sense of the decorative, and brilliantly assured technique. There are especially lively passages of painting in the costume, such as the handling of the lace of Beringhen's shirt and the silver embroidery on his coat, and in the feathers of the partridge and the fur of the hound. The Marquis de Beringhen epitomizes Oudry's approach to painting: the sophisticated elegance of the rococo style is combined with an acute sense of observation that is characteristic of the Age of Enlightenment.
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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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It doesn’t matter if you like your brows arched or straight, full or thin; Eyebrows are arguably the most important facial feature. So, if you are not happy with what you’ve got, then let me introduce you to Microblading.
Microblading (a.k.a. 3-D Eyeb...
The prominent white eyebrows of the male White-browed Shortwing make this item resemble a blue-black child's toy car with prominent white headlights. Usually shy and reclusive, this individual was quite bold, possibly in its anxiety at the presence of three humans invading its nesting territory.
The Yellow-browed Bulbul, Iole indica, is a member of the bulbul family of passerine birds. It is a resident breeder in the hills of Sri Lanka and the Western Ghats of India and in small pockets of the Eastern Ghats of India.
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This is a bird of moist secondary growth. Despite its restricted range, it is quite readily found at sites such as Kitulgala and Sinharaja in Sri Lanka and the Western Ghats. It builds its platform nest low in a tree; two or three eggs is a typical clutch.
The Yellow-browed Bulbul is about 20 cm (7 inches) in length, with a long tail. It has olive upperparts and bright yellow underparts. The dark bill and eye contrast with the yellow around the eye.
Sexes are similar in plumage, but young birds are duller than adults, especially on the face and flanks. The flight is bouncing and woodpecker-like. Yellow-browed Bulbuls feed on fruit and insects.
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Turquoise-browed Motmot at Hacienda Solimar, Guanacaste, Costa Rica. ebird.org/ebird/view/checklist/S36025351
White-browed wagtail is the largest species of wagtail about 21 cm length. It is a slender bird, with the characteristic long, constantly wagging tail of its genus. It has black upperparts, head and breast, with a white supercilium and large white wingbar. Unlike white wagtails it never has white on the forehead. The rest of the underparts are white. The female has the black less intense than in the male. Juveniles are like the females brown-grey where the adult is black. They are common in small water bodies and have adapted to urban environments where they often nest on roof tops. The specific name is derived from the Indian city of Madras (now Chennai).