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I took this photo in my hallway with my Canon Rebel T6i. I was imagining how the rule of thirds could be broken so I set the flower towards the center of the photo to take this shot. I liked how this isn't exactly where it would fall in rule of thirds but also doesn't fall in the center of the photo. The colors contrast each other with the deep purple in the foreground and the lighter while in the back, it makes the flower stand out more and captures the viewers attention.
The first version of the photo can be found at
focussion.com/1Ii/lines-in-the-metro-station
Any suggestions to improve it?
Keeping it simple for a change. Shooting at home. Roses, that Duckia picked up for 39.5 RMB for the bouquet.
The Big Dory - 1913
George Wesley Bellows (American, 1882 - 1925)
"The Big Dory" is a painting created in 1913 by American realist painter George Wesley Bellows. The artwork depicts a group of fishermen hauling a dory (a type of small boat) onto a rocky shore, likely in preparation for or after a voyage. It's known for its dynamic composition, energetic brushstrokes, and portrayal of rugged masculinity, reflecting the artist's interest in depicting everyday American life and the power of human effort.
Nine roughneck fishermen, their taut sculpted bodies straining forcefully together, haul a white, wide-planked, orange bottomed ‘dory’ down the sandy beach towards the agitated turquoise swell, where a yacht lies at anchor, a seagull atop its single mast. Out in the bay, the wind is rising and dark storm clouds are rolling in; white horses crest the deep blue ocean; a yacht ploughs on in full sail and at the entrance to the cove waves crash against the cliff. The sun catches the towering crag on the left and the rocky promontory on the right, highlighting a simple, solitary, stone shack and accentuating the stark sense of nature in the raw. The brightness exaggerates the thrusting diagonal of the solid, chiselled men against the horizontal lines of the boat, the distant hills and the gathering clouds [1]. Bellows made no preliminary sketches for the picture but applied great slabs of viscous oil paint quickly and directly (‘wet-on-wet’) onto this small (46×56cm) panel, producing a surface as rough as the landscape, his vigorous brushstrokes matching the strength of the subject matter [2]. His aggressive technique imparts hardness to the brown rocks in the foreground, weight to the overhanging cliff, muscle to the threatening sky and an insatiable energy to the whole scene. There’s work to be done on this remote and rugged New England coastline before the bad weather sets in and Bellows captures the masculine power and intensity of the impending struggle [3]. The little inlet lies between Monhegan and Manana islands ~22 km off Lincoln County, ME, where Bellows spent summer with his young family, escaping New York City’s heat and where he engaged with the community, played in the town band and painted >100 local seascapes and views
academic.oup.com/occmed/article-abstract/65/1/4/1433764?r...
A native of Columbus, Ohio, George Bellows attended Ohio State University for three years before moving in 1904 to New York. There, he received art instruction from Robert Henri and during the next few years created several memorable images of New York City life. His paintings portrayed not only the pleasantries of the parks and rivers but also the seedier aspects of the city. Bellows is perhaps best known for his powerful depictions of the boxing ring. His Club Night (1907; National Gallery of Art, Washington, D.C.), Both Members of This Club (1909; National Gallery of Art, Washington, D.C.), and Stag at Sharkey's (1909; Cleveland Museum of Art) remain some of the most familiar icons of twentieth-century American art.
After his marriage to Emma Story in 1910, Bellows devoted much of his time to family life. From 1911 to 1919 he spent almost every summer in Maine and did some of his best painting during these vacations. From 1920 until his death in 1925, he and his family summered in Woodstock, New York. His art often reflected his surroundings.
Beginning in 1916 Bellows turned to lithography as a steady source of income. He produced most of his lithographs during the winter months, when he spent more time indoors. Between 1916 and 1925 he completed almost two hundred lithographs. The artist singlehandedly ressurrected the medium, which had earlier been associated with commercial printing, as a serious form of artistic expression.
Before Bellows's untimely death from peritonitis at the age of forty-two, he had embarked on a serious examination of portraiture. His late portraits were of great popular acclaim and demanded the highest prices in his career, but they have become overshadowed by the fame of his earlier accomplishments.
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"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."
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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.