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Photos : Pauline Escot et Claire Tardy (Yes We Camp)
En partenariat avec la Ville de Paris, la Mairie du 14e et Paris Batignolles aménagement.
This is a high angle shot of my cat, Spike. I like the symmetry of the bed, and how the high angle allows the cat to be a focal point of the shot. I also like the color contrast of the darker couch with the white fleece and the orange of the cat's coat.
Theodore Robinson
The Valley of the Seine, from the Hills of Giverny, 1892
West Building, Main Floor — Gallery 70
From atop a high hill, we look across a broad valley leading to a winding river in this loosely painted horizontal landscape. The scene is created entirely with visible brushstrokes in fresh and vibrant green and shimmering and smoky blues. The hill slopes from the right edge of the painting down to the valley, which extends into the distance, angling slightly to our right alongside the river. Darker green trees are along both sides of the river, and a few buildings line the far bank. The land beyond rises to sapphire-blue hills along the horizon, which comes about two-thirds of the way up the composition. A few white clouds dot the robin’s egg-blue sky above.
A sunlit landscape set in the outskirts of Giverny, 45 miles northwest of Paris, this painting is one in a series of three closely related views completed by Theodore Robinson in the summer of 1892, and reflects the influence of Robinson's friend, French impressionist painter Claude Monet. Monet had settled in Giverny in 1883, and Robinson, a frequent visitor to the picturesque town, befriended the well-known but aloof master. Over their years of friendship, Monet influenced Robinson's work in notable ways, inspiring him to lighten his palette and to relax the highly polished painting techniques acquired from his academic training. Most importantly, by referencing Monet's practice, Robinson began to create multiple works depicting the same subject under different effects of light and weather.
By early August 1892, Robinson had completed the ambitious series of three sweeping panoramas of which this is a part. To accurately capture the play of sunlight and clouds on the meadows, Robinson alternated working on the three canvases as weather conditions shifted. The present painting depicts the sunniest of the scenes; the second sun-filled painting, Valley of the Seine, is owned by the Addison Gallery of American Art (Andover, MA). The third painting, also titled Valley of the Seine, but depicting the area under cloud cover, is in the collection of the Maier Museum of Art (Lynchburg, VA). Encouraged by Monet's praise, Robinson sent the Addison Gallery canvas to the Society of American Artists exhibition in the spring of 1893. Although the other two paintings would not be publicly exhibited until after the artist's untimely death in 1896, the series remained a touchstone of artistic achievement for Robinson throughout his career.
Theodore Robinson was born 3 July 1852 in Irasburg, Vermont and died 2 April 1896 in New York City after his final battle with the severe, chronic asthma that plagued him all of his forty-four years. His letters showed that he struggled constantly with his illness and with the complex challenges that his art presented. Nevertheless he managed to create much memorable work in his short life.
Of all the American artists that might be called impressionists, Robinson was the one who shared the closest friendship with the great French master Claude Monet. Ironically, Robinson's own rather reserved, dry style shows less affinity for the joyous exuberance of Monet than does the painting of other Americans such as Childe Hassam. Robinson's contribution to his countrymen came not only from his well-considered, studiously observed paintings, but from his enthusiasm for French impressionism and his dissemination of aspects of it to his American colleagues. At least two of his impressionist paintings won public honors; one the Webb Prize in 1890, and another the Shaw Fund Prize in 1891.
Robinson was raised in Wisconsin, the son of a one-time minister, sometime farmer. In 1870 he studied at the Art Institute of Chicago for a short time, until his asthma forced him to briefly seek relief in Colorado. He enrolled at the National Academy of Design in New York in 1874 and shortly thereafter helped to organize the Art Students League. Two years later he traveled to Europe, studying in Paris first under Emile Auguste Carolus-Duran and then under Jean-Leon Gerome. He wrote home with joy when one of his paintings was accepted into the Salon of 1877. In Venice in 1879 Robinson met Whistler, an experience that held importance to him his whole life. After returning to New York Robinson's funds came from a teaching position at Mrs. Sylvanevus Reed's School and from assisting John LaFarge with decorative mural projects. From 1881 to 1884 Robinson worked as a decorative painter in the firm of Prentice Treadwell in Boston. He spent the summer of 1884 at Barbizon and visited Holland the next year.
From 1887 to 1892 Robinson lived mostly abroad, making several lengthy visits to the United States. Beginning in 1887 much of his time in Europe was spent in the French village of Giverny. Robinson and several artist friends appear to have discovered the quietly beautiful setting while on a train trip in search of a propitious locale for their landscape efforts. According to some accounts, it was not until after they had settled there that they discovered it was the site of Claude Monet's country home. Monet generally tried to avoid the influx of young artists that eventually threatened to overun his village, but he interacted with a few, among them Robinson. The two spent many hours dining and conversing. While the American held a deep admiration for the Frenchman's work and enjoyed his company, he was never a pupil of Monet.
Robinson's last stay in Europe was in 1892. Thereafter he sought to rejuvenate himself by addressing American subjects. The early summer of 1893 was spent in Greenwich, Connecticut where Robinson often worked beside his friend John Twachtman. Later Robinson taught art students at Napanoch, New York. The following year he returned to Connecticut, first to Greenwich, then to nearby Cos Cob. Again, he reluctantly turned to teaching to earn a living, this time at Evelyn College in Princeton, New Jersey. In 1895 he taught classes at the Pennsylvania Academy of the Fine Arts. His first one-man show was held that year and he spent the summer at Townshend, Vermont. He was intrigued by the challenge of depicting his native state and intended to return the next summer to improve upon his initial efforts there. That winter, however, he died in New York.
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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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I went back to find old photos. Pain flare up has kept me down this week. When I took the picture I put the bike in the lower right hand corner. In Rad Lab I used the POS lens and then faded the effect back a bit.