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Mr Hawazi and Mr Chong unveil the precinct plaque to officially commemorate the completion of Straits Vista @ Marsiling and are accompanied by (from left to right) Acting Chairman for Marsiling Zone '2' Residents' Committee (RC), Mr Nilanga Piyadasa; Chairman for Fuchun Community Club Management Committee (CCMC), Mr Ng Say Tiong; Chairman for Marsiling Citizens' Consultative Committee (CCC), Mr Cheong Khim Teck; and Chairman for Marsiling CCMC, Mr Lim Hock Chee.
A shower of candy adds to the festivities of the day during a Lion Dance performance by Jalan Kayu Zone '7' Residents' Committee.
A Young Man Seated at a
Table (possibly Govaert Flinck) - c. 1660
Rembrandt van Rijn
Dutch, 1606 - 1669
After learning the fundamentals of drawing and painting in his native Leiden, Rembrandt van Rijn went to Amsterdam in 1624 to study for six months with Pieter Lastman (1583–1633), a famous history painter. Upon completion of his training Rembrandt returned to Leiden. Around 1632 he moved to Amsterdam, quickly establishing himself as the town’s leading artist, specializing in history paintings and portraiture. He received many commissions and attracted a number of students who came to learn his method of painting.
This painting of a stylish young man is one of Rembrandt's most sympathetic late portraits. The sitter's handsome features and gentle expression, framed by the long locks of his hair, suggest warmth and sensitivity. At the same time, the understated simplicity of his dress — from the plain white collar, left open at the neck, to his black costume and hat — reinforces the sense of self-assurance so evident in the pose. The name of the sitter is not known, and the signature and date are extremely difficult to decipher. Stylistically, a date of about 1660 seems correct for this work.
This portrait may represent the artist Govaert Flinck (1615–1660), as it resembles an engraved portrait of Flinck made by an unknown artist. At the time of his sudden death in February 1660, Flinck was at the height of his fame. Following his studies with Rembrandt in the mid-1630s, he became a successful portrait and history painter in a style that was admired by important civic and private patrons in both Amsterdam and his native Germany. Flinck was wealthy and well connected, and had a remarkable art collection. The emotional warmth of this portrait suggests that the contacts between the sitter and Rembrandt were personal as well as professional.
Rembrandt Harmensz van Rijn, born in Leiden on July 15, 1606, was the son of a miller, Harmen Gerritsz van Rijn, and his wife, Neeltgen van Zuytbrouck. The youngest son of at least ten children, Rembrandt was not expected to carry on his father’s business. Since the family was prosperous enough, they sent him to the Leiden Latin School, where he remained for seven years. In 1620 he enrolled briefly at the University of Leiden, perhaps to study theology. Orlers, Rembrandt’s first biographer, related that because “by nature he was moved toward the art of painting and drawing,” Rembrandt left the university to study the fundamentals of painting with the Leiden artist Jacob Isaacsz van Swanenburgh (1571–1638). After three years with this master, Rembrandt left in 1624 for Amsterdam, where he studied for six months under Pieter Lastman (1583–1633), the most important history painter of the day.
After returning to Leiden, Rembrandt quickly developed a reputation as a history painter and portraitist. By 1628 his work, together with that of his Leiden colleague Lievens, Jan, was enthusiastically praised by Constantijn Huygens (1596–1687), the secretary to the Prince of Orange. Huygens particularly admired Rembrandt’s uncanny ability to convey feeling through gesture and expression and through dramatic contrasts of light and dark. That same year, Rembrandt, at the age of twenty-two, took on his first pupils, Dou, Gerrit and Isaac Jouderville (1612–1645/1648). Documents indicate that Jouderville paid Rembrandt one hundred guilders a year to study with him.
By 1631 Rembrandt had become financially involved with the Amsterdam art dealer Hendrik van Uylenburgh (c. 1587–1661). The nature of Van Uylenburgh’s enterprise, which was called “an academy” in its day, is not entirely understood, but it appears that he orchestrated an active art studio that specialized in portrait commissions. In any event, in about 1632 Rembrandt moved to Amsterdam, where he lived with Van Uylenburgh and ran his “academy” until 1635. Rembrandt achieved tremendous success in his lifetime. He received many commissions and attracted a number of students who came to learn his method of painting. Artists who had previously been trained elsewhere, including Jacob Backer (1608–1651), Flinck, Govaert, and Bol, Ferdinand, worked during these years at Van Uylenburgh’s studio under Rembrandt’s guidance.
In 1633 Rembrandt became engaged to Van Uylenburgh’s niece Saskia, daughter of a wealthy and prominent Frisian family. They married the following year. In 1639, at the height of his success, Rembrandt purchased a large house on the Sint-Anthonisbreestraat in Amsterdam for a considerable amount of money. To acquire the house, however, he had to borrow heavily, creating a debt that would eventually figure in his financial problems of the mid- 1650s. Rembrandt and Saskia had four children, but only Titus, born in 1641, survived infancy. After a long illness Saskia died in 1642, the very year Rembrandt painted The Night Watch (Rijksmuseum, Amsterdam).
During the 1640s life became more unsettled for Rembrandt. Geertje Dirckx soon entered the household as a nurse for Titus and became a companion to Rembrandt. In 1649 he dismissed her and entered into a relationship with Hendrickje Stoffels that would last until her death in 1663. While Hendrickje seems to have been a warm and caring companion for Rembrandt, the early 1650s were fraught with personal turmoil. Rembrandt and Geertje Dirckx became embroiled in a number of contentious lawsuits that suggest he treated his former companion quite badly. Rembrandt and Hendrickje never married because of a stipulation in Saskia’s will that he was bound to transfer half of his and Saskia’s joint assets to Titus should he remarry.[1] After Saskia’s death, the net value of their assets was determined to be more than forty thousand guilders. Presumably in the early 1650s Rembrandt did not have twenty thousand guilders to give to Titus. Being unmarried caused Hendrickje public humiliation when she became pregnant in 1654. She was called before a council of the Dutch Reformed Church and censored for having “lived with Rembrandt like a whore.” The couple’s daughter, Cornelia, was baptized on October 30, 1654.
Perhaps as a result of the public outrage over his domestic situation or his treatment of Geertje Dirckx, Rembrandt lost favor with many of his patrons and became burdened by financial difficulties during these years. In 1656 he was forced to declare bankruptcy, which led to the auctioning off of his estate, including his large art collection, in 1657 and 1658. He then moved to an artist’s quarter in the Jordaan district of Amsterdam, eventually renting a relatively small house on the Rozengracht where he lived for the rest of his life. Hendrickje and Titus subsequently formed a business partnership to protect Rembrandt from further demands of creditors.
Although Rembrandt still received a number of important portrait commissions during the late 1650s and early 1660s, stylistic trends had veered away from his deeply personal manner of painting. He became more and more isolated from the mainstreams of Dutch art. No students are documented as having worked with him during the latter half of the 1650s, and only one student, Aert de Gelder (1645–1727), is known to have come to study with him in the 1660s.
Rembrandt’s financial situation remained poor during the 1660s. He owed a substantial amount of money, in particular to the art dealer and collector Lodewijk van Ludick, a debt he hoped to repay with the money he would receive from his large painting for one of the lunettes in the Amsterdam Town Hall, The Conspiracy of Claudius Civilis (Nationalmuseum, Stockholm). Rembrandt’s composition, however, was rejected by city authorities in 1662. To raise funds he was then forced to sell Saskia’s grave in the Oude Kerk. He never regained financial solvency and ended up living on the savings of his daughter, Cornelia.
Although Rembrandt remained famous as an artist, there seems to have been little to lighten the burdens of his life during his last years. In 1663 the plague ravaged Amsterdam and claimed the life of Hendrickje. Four years later Titus married Magdalena van Loo, but in 1668 he also died, the victim of another epidemic. When Rembrandt died on October 4, 1669, he was buried in a rented grave, which has long since disappeared, in the Westerkerk, Amsterdam.
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For earlier visit in 2024 see:
www.flickr.com/photos/ugardener/albums/72177720320689747/
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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We HAD to do something to make things nice again....at an expense, and an expense to my Fluffys poor hands! But the next rime you see this area of our garden, you will be very surprised as it WILL be magickal...
Ive had enough for one week.........
Thought for Today: Dont let seven days make one weak!
The 2022 United Association Instructor Training Program culminated in a completion ceremony, where more than 200 UA members crossed the stage to receive an ITP certificate, a WCC associate degree or both.
(Photos by JD Scott)
August 22, 2019 - I left my house at 4:15 to attend an event and gave the keys to the contractors to lockup. Devin texted me at 7PM to say they were leaving for the day. When I got home this evening I was ecstatic to see that they were finished!
Items left to be completed are the wood trim above the cabinets which will cover the transition between the cabinets and soffit. I am also having another contractor install the subway tile backsplash to cover up the green drywall. I am expecting that installation to take place tomorrow however I haven't heard back from the contractor if tomorrow is a go.
Another vantage of the future Prosperity Church Road interchange, looking south from Prosperity Church Roand and Ridge Road.
The Spirit Flute is finally completed! After attaching everything together. After the radio, this is my favorite prop to date. (I know I say that a lot, but this time I really mean it.)
The rope is actually attached to the brown part by wire. I embedded little wire hoops in the clay before it dried, then put glue on them for good measure, and then just strung/tied the yarn on. Nothing falls off, either! :D
The SR 167 Completion Project in north Pierce County also made improvements to I-5 and nearby wetlands.
The photo on the left was taken in February 2023. In that photo, Hylebos Creek is visible as a nearly straight-line ditch running parallel to the interstate. Bright orange fencing shows where it went under I-5. As part of the completion project, crews restored hundreds of acres of wetlands and creeks including this area.
The photo on the right, taken in March 2026, shows two new I-5 bridges that allow Hylebos Creek to flow more freely under the interstate. No longer constrained to a narrow irrigation ditch, Hylebos Creek flows through a restored wetland area.
The SR 167 Completion Project is part of the Puget Sound Gateway Program. The Puget Sound Gateway Program combines the SR 509 Completion Project in south King County with the SR 167 Completion Project in Pierce County to complete critical missing links in Washington State’s highway and freight network. These projects provide new connections to the state’s ports, improve freight movements and reduce congestion on local roads and highways.