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Intention - For this third picture in my Project 13, I intended to demonstrate complexity by taking it of one of the lanterns outside my garage.
Reference to the reading - David Duchemin states in Lesson 41 that it’s helpful to get a sense of this because it’s not often that we’ll be able to, or even want to, change the visual mass in our images to find perfect static balance.
Outcome - Given the fact that it was sunny outside when I took this picture, the outcome met my vision, whereas I used an aperture rating of f/14 while taking this picture.
Edits - I used Photoshop to edit the picture for color balance on the lantern and used a brush to add more grayness beneath the grooves in the wall.
Intermediate volunteer needed ||| Patchy 'glaze' will require proficiency with masking. Please provide two options: with and without the date.
Men tend to be well intentioned, but sometimes miss the little things that are important when dating women. Here are some useful tips...
Dating to the 1960s is this tie of the Norfolk and Suffolk Yacht Owners Association and their booking agency Blakes, who at the time was owned by the association and run as a cooperative by its members.
Wooden water pipes, probably dating from the 19th century, unearthed during pipe replacement works.
Photography taken during the Interview with Joni Vihanta, Managing Director, Kannus Water Cooperative, Kannus, Central Ostrobothnia, Finland (www.kannus.fi/), 29 May 2018. The video interview can be accessed at: youtu.be/xCJUgg8u42M.
The interview is part of research fieldwork for Thematic Area 3, Urban Water Cycle and Essential Public Services, WATERLAT-GOBACIT Network (waterlat.org/thematic-areas/ta3/).
Photography: JEC
Creation Date - 1993
Description - This photograph shows crates of Riesling grapes are being loaded onto a truck by Andy Humphrey (in blue) and an unidentified person.
Collection Credit - Weber Vineyard Collection. Jereld R. Nicholson Library. Linfield College, McMinnville, Oregon. Donated by Vivian Weber, 2012.
This project is supported in part by a grant from the Oregon Cultural Trust: Oregonians sustaining, developing and participating in our arts, heritage and humanities.
Rights - Terms of Use for work posted in DigitalCommons@Linfield.
Antoine-Louis Barye lived his entire life in Paris and may never have left France. He was born in 1795 (a date revised in the 1990s from 1796 as a result of Martin Sonnabend's recalculation of the Revolutionary calendar). He is reported to have had minimal formal schooling even in reading, and to have acquired his extensive liberal-arts education on his own. His initial professional training was in metalwork: first with his father, a goldsmith from Lyons, then with a metal engraver in military equipment, and finally with Martin-Guillaume Biennais (active 1800-1832), then master goldsmith to Napoleon. After serving in the army from 1812 to 1814, Barye trained in the fine arts with sculptor François-Joseph Bosio (1768-1845) and painter Baron Gros (1771-1835). He then studied at the Ecole des Beaux-Arts from 1818 to 1823. His miniature medallion, Milo of Crotona Devoured by a Lion, won an honorable mention in metal engraving in 1819, but he failed to win the Prix de Rome. He worked as a craftsman for the goldsmith Jacques-Henri Fauconnier (1779-1839) from 1823 to 1831 and made his Salon debut in 1827 with a selection of busts.
Barye made his critical and public mark as a sculptor four years later, in the Salon of 1831, with groups representing predatory violence in the wild. His first government commission came soon after, precisely for such a subject. The Minister of the Interior purchased Barye's monumental plaster Lion (since called Lion Crushing a Serpent), shown in 1833, and had it cast in bronze by Honoré Gonon and shown in 1836, before placing it in the public Tuileries Gardens (now Musée du Louvre, Paris). In 1834 Barye was chosen for a project that was never executed, the colossal eagle as the crowning element of the triumphal arch at the Etoile. Around 1836 the government commissioned him to execute the emblematic animal decoration on the July Column at the place de la Bastille, inaugurated in 1840. He produced a monumental effigy of Saint Clotilde for the Church of the Madeleine, Paris, in the early 1840s. In 1846 the government commissioned a pendant Seated Lion for the Tuileries Lion Crushing a Serpent (1847, bronze, Portal, Pavillon de Flore, Palais du Louvre, Paris). During these same years the royal family began buying and commissioning small-scale works from Barye for their private collections. Around 1834, the duc d'Orléans commissioned a highly publicized surtout de table representing hunts of different regions and historical periods, possibly one of several tabletop projects that he ordered from Barye. The duc's sister Marie d'Orléans allegedly commissioned a lost-wax bronze of Barye's Charles VI Surprised in the Forest of Le Mans (location unknown; later serial variants), a model first shown in the Salon of 1833; his brother, the duc de Montpensier, apparently commissioned a pair of figurative candelabra and a clock surmounted by Barye's Roger and Angelica (1840-1846, location unknown; later serial variants) as a mantelpiece garniture.
Barye submitted works to the Salon only rarely after the jury rejected his surtout elements in 1837. Unable to capitalize on that outlet and on royal patronage, which declined after the death of the duc d'Orléans in 1842, he embarked on a new venture that lasted his entire career. He began to market his figurative and ornamental works as small-scale serial bronzes, first through the foundry Maison Besse in 1844, then directly to the public. He then worked in partnership with entrepreneur Emile Martin from 1845 to 1857, after which he proceeded independently. This serial production provided Barye's most widespread and enduring reputation, with casts distributed throughout the United States and Europe during the artist's lifetime. In the process he closely aligned himself with high-quality industrial craftsmanship. He won the coveted Grand Gold Medal for technical excellence for a selection of his serial proofs in the industrial arts section of the Paris Universal Exposition of 1855, while simultaneously garnering accolades in the fine arts section for his bronze Jaguar Devouring a Hare (Musée du Louvre, Paris). In 1863 he became a founder and president of the consultative Commission of the Central Union of the Arts Applied to Industry.
Other professional skills were put to work during the Second Republic and the Second Empire. Beginning in 1848, Barye served as director of plaster casting at the Louvre and curator of the gallery of plaster casts. In 1850 he taught drawing at the agricultural school at Versailles and, from 1854 until his death, he was master of zoological drawing at the Muséum d'Histoire Naturelle, where the young Rodin briefly studied with him in 1863. Simultaneously, his career as a monumental sculptor revived. He received several government commissions during this period: ornamental eagle reliefs for the Pont d'Iéna (1849); a series of decorative masks for the Pont Neuf (c. 1851); four allegorical seated groups (Strength, Order, Peace, and War) for the facade of the Louvre (1854); an allegorical pedimental relief, Napoleon I Crowned by History and the Fine Arts (1857); and a bronze relief with the equestrian portrait of Napoleon III as emperor, à l'antique (1861, destroyed; presentation drawing, Musée du Louvre, Paris, office of the architect-in-chief). Barye received two important government commissions for provincial dynastic equestrian monuments: the imperial Napoleon I surmounting the Bonaparte family monument at Ajaccio, inaugurated in 1865; and a second Napoleon I for Grenoble, a commission of 1862, which he abandoned in 1866. In 1869 Barye executed pairs of monumental lions and tigers in stone for the gates of the Palais de Longchamps at Marseilles.
During the Second Empire Barye was showered with distinctions. He received the Légion d'Honneur in 1833 and was promoted to chevalier in 1855. In 1868 he was elected to the Institut de France. He died in Paris in 1875, and after an elaborate funeral to signal his high artistic stature, Barye was buried at Père-Lachaise Cemetery.
Though also a painter and printmaker, Barye triggered important debate, through his sculpture, about animal subjects, complex narrative, stylistic realism, and the threshold between fine and decorative art. He was a master of anatomical form, whether human or animal. His work became a benchmark for animal sculpture in monumental and table-top format. The latter often conveyed a powerful sense of grand scale, just as his monumental work successfully blended rich materialism, naturalistic detail, and broad rhythms. Barye's advocacy of good design and craftsmanship in serial work that was affordable to the middle class broadened options available to artists, artisans, and patrons alike. His example and success enhanced the modest reputation of animal and small-scale sculpture as "fine art" during the nineteenth century. [This is the artist's biography published in the NGA Systematic Catalogue]
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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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BLIND DATE Festival 2015.Die BLIND DATE Kapelle 2015.Roy Herrington(git,voc) Basti Korn (piano,voc) Toby Schwietering (bas) Benni Korn (drums) Thomas Erkelenz (git).
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Fringe has numerous dance events, but surely none will achieve the cool perfection of Blind Date - Body Theater (…).
Photos: Günter Krämmer
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Date taken: 15/10/2011
Location taken: Didcot Railway Centre
Rolling stock in photo: GWR V14 'Mink A' Goods Van 101836
On Friday we went to the market to shop for food/drinks for the beach on Sat....I saw this card in the aisle and laughed so I took a photo of it and sent it to my friends. I think they thought it was a real person with us and that was hysterical....