View allAll Photos Tagged devoted
This album is devoted to Hana’s life in photos from 2004 when we re-homed her from the RSPCA until December 2015 when she sadly died.
Hana had a bad start in life, being one of 40 dogs being kept in very poor conditions in one house. Thankfully the RSPCA rescued all the dogs and found new homes for them.
Hana continued to have many health problems during her life including being afraid of many sounds, IBS which meant she was always on special diets, allergy problems, a heart murmur and in her final year she developed a canine version of Dementia.
Hana was a very affectionate dog and was totally devoted to our Sheltie, Bonsai. Sadly Bonsai died in 2009. Shortly after we were lucky enough to re-home another Sheltie called Mia who bonded immediately with Hana, as you will see from the photos.
This album is devoted to Hana’s life in photos from 2004 when we re-homed her from the RSPCA until December 2015 when she sadly died.
Hana had a bad start in life, being one of 40 dogs being kept in very poor conditions in one house. Thankfully the RSPCA rescued all the dogs and found new homes for them.
Hana continued to have many health problems during her life including being afraid of many sounds, IBS which meant she was always on special diets, allergy problems, a heart murmur and in her final year she developed a canine version of Dementia.
Hana was a very affectionate dog and was totally devoted to our Sheltie, Bonsai. Sadly Bonsai died in 2009. Shortly after we were lucky enough to re-home another Sheltie called Mia who bonded immediately with Hana, as you will see from the photos.
This painting is devoted to singing. Here, a group of men and women are clustered around a table in a darkened interior. One plays a cello, while his companions sing, the two ladies dutifully holding their song books. The table is set for tea. The setting for the gathering is a large and sombre room, indicating that the household is of considerable means and respectability.
Source: Web Gallery of Art
The public forum was devoted to discussing House Bill 26, a piece of legislation that would change the structure of the current Cullman County Commission from three to five members. House Bill 26 was originally introduced and championed by Alabama State Representative Corey Harbison.
Ten different Cullman County citizens placed their names on the pre-forum list to make sure they were scheduled to speak. While the original idea of the forum was supposed to be on the possibility of altering the current county commission structure, the speakers at the forum expanded that platform. They used the opportunity to enlighten everyone on their views on that subject as well as topics, while fascinating, well researched and experienced, went at times far a field from the forum’s primary focus.
Below is a chronology of what occurred at the forum along with highlighted excerpts from each of the ten speakers who took the podium in the Freedom Insurance Room:
cullmantoday.com/2015/11/12/bussman-forum-creates-more-qu...
Albert Bierstadt,
Born Solingen, Germany 1830-
died New York City 1902
Alaskan Coast Range, ca. 1889,
Albert Bierstadt traveled through western Canada in 1889 on the Canadian Pacific Railway. He headed to Alaska by steamer in search of "wild places in the mountains," but was shipwrecked in Loring Bay. He lived with the other passengers in Native American huts and filled two books with drawings and paintings of his surroundings. (Anderson and Ferber, Albert Bierstadt: Art and Enterprise, 1990) This painting of the Alaskan coastline is an oil sketch, probably done on the spot as a study for a later work. The cool colors and thin layers of paint evoke the raw atmosphere of the wilderness where Bierstadt found himself stranded.
________________________________
See Prior Visit from 2024:
www.flickr.com/photos/ugardener/albums/72177720320664546/
The Smithsonian American Art Museum is the home to one of the most significant and most inclusive collections of American art in the world. Its artworks reveal America’s rich artistic and cultural history from the colonial period to today. The museum’s main building is located at Eighth and G streets N.W., above the Gallery Place/Chinatown Metrorail station, and is open 11:30 AM to 7 PM Wednesday through Sunday. Admission is free.
The museum has been a leader in identifying and collecting significant aspects of American visual culture, including photography, modern folk and self-taught art, African American art, Latino art, and video games. The museum has the largest collection of New Deal art and exceptional collections of contemporary craft, American impressionist paintings and masterpieces from the Gilded Age. In recent years, the museum has focused on strengthening its contemporary art collection, and in particular media arts, through acquisitions, awards, curatorial appointments, endowments, and by commissioning new artworks.
Explore the sweep of the American imagination across four centuries at the nation's flagship museum for American art and craft. Dive into inspiring artworks, the reimagined collection, and an array of special exhibitions including Glenn Kaino: Bridge. Experience our offerings both online and in person at our two locations, including national educational programs, innovative research, video interviews with artists, virtual artist studio tours, lectures, audio guides, and more. Admission is always free.
Since 1968, the National Portrait Gallery has been housed in the former Patent Office building, a structure designed by Robert Mills in the neoclassical style and built between 1836-1867. This historic building, which is the third oldest government building in the city, is shared with another Smithsonian museum, the Smithsonian American Art Museum. The building's marble and granite porticos are inspired by those of the Parthenon in Athens, Greece.
An undulating steel and glass canopy wows visitors who enter the Kogod Courtyard. Inside you’ll find diners from the museum’s café, tourists soaking their weary feet in the shallow fountain running across the space, and students taking advantage of free Wi-Fi in the light and airy setting. The modern roof seals the center of the old Patent Office Building, currently shared by the National Portrait Gallery and American Art Museum. Architect Norman Foster designed the roof to have minimal impact on the building by creating a support system that prevents direct contact and weight placement on it. Unlike most of the other Smithsonian Museums located on the Mall, this gem is found in the busy Penn Quarter of downtown D.C. It is my favorite place to bring visitors, not only for the impressive courtyard space, but also for the preserved architecture of the patent offices on the top floor. Check the Smithsonian’s website for special courtyard workshops, concerts, or events. The museum is right near the Gallery Place/Chinatown Metro on the green, yellow, and red lines.
Moreover, the National Portrait Gallery only takes up half of the building and shares the space with the Smithsonian American Art Museum. This museum showcases rotating exhibits, which have previously exposed visitors to work created in response to the Vietnam War, glasswork, native women artists and more. The Smithsonian American Art Museum also operates a separate branch, the Renwick Gallery, devoted to contemporary craft and decorative arts.
Previous travelers insist that you take a few minutes to enjoy the shared Kogod Courtyard; its glass-paneled roof protects visitors from the elements while maintaining an abundance of natural light. These visitors also recommend that you take a few hours to explore both the National Portrait Gallery and the Smithsonian American Art Museum, as there are a variety of interesting, small exhibits that are easy to miss if you're in a rush.
In the front we have a Cloudroom guitarist and friend. In the back ground is our guitar tech: Benny Goodwood and the shaved head individual is our stage hand/human shield/security guard known only as: Charger!
Two things on my bedside.
I got the three travel size selected hand lotions for ten dollers deal at Bath and Body works a few months back, and i love this one! And this is the book I am reading at the moment :) Devoted by Hilary Duff, it is her sequal to her first book Elixr, which was amazing, and this one is pretty good so far :)
This album is devoted to Hana’s life in photos from 2004 when we re-homed her from the RSPCA until December 2015 when she sadly died.
Hana had a bad start in life, being one of 40 dogs being kept in very poor conditions in one house. Thankfully the RSPCA rescued all the dogs and found new homes for them.
Hana continued to have many health problems during her life including being afraid of many sounds, IBS which meant she was always on special diets, allergy problems, a heart murmur and in her final year she developed a canine version of Dementia.
Hana was a very affectionate dog and was totally devoted to our Sheltie, Bonsai. Sadly Bonsai died in 2009. Shortly after we were lucky enough to re-home another Sheltie called Mia who bonded immediately with Hana, as you will see from the photos.
Dr. Gabriella Benedetti taking a patient's blood pressure on June 12th 2008 in Cagli, Italy.
Photo by: Kathleen Boehl
GLADIOLUS
Milton Avery
( 1940 )
Discovering Milton Avery: Two Devoted Collectors, Louis Kaufman and Duncan Phillips focuses on two of Milton Avery's most important patrons and their personal approaches to collecting. The exhibition will explore the remarkable commitment of Louis and Annette Kaufman and Duncan and Marjorie Phillips to the work of Milton Avery.
Louis Kaufman was one of America's finest violinists of the twentieth century. The most sought-after violin soloist in Hollywood, playing in some 500 films of the 1930s, 1940s, and 1950s, Kaufman is said to have given American film music its voice. Annette Kaufman, a pianist, shared her husband's passion for music and art. (right: Milton Avery (1885-1965), Annette Kaufman in a Black Dress, 1944, oil on canvas board, Louis and Annette Kaufman Collection)
The Kaufmans' very personal relationship to Avery tells a unique story. In 1926, Mr. Kaufman was the first person ever to buy an oil painting from Avery for the modest sum of $25. On his first date with his future bride Annette, Louis Kaufman took her to meet the Averys and to see Milton's work. On their third date together, Annette accepted Louis's proposal of marriage. In order to commemorate the life they were going to share, Louis asked Avery to paint Annette's portrait in a "nice dress." Over the course of their friendship, Louis and Annette sat for several portraits by Avery.
The Kaufmans became the Averys' good friends. Kaufman took numerous artists and collectors to Avery's studio. While they rarely, if ever, purchased anything, Kaufman never failed to leave without a painting under his arm. In 1929 Kaufman brought Mark Rothko to Avery's studio-a visit that would have a resounding impact on the personal and creative lives of both artists and, by extension, on mid- 20th century American art. The Averys and Kaufmans enjoyed a lifelong friendship: they visited each other, went out to restaurants, and visited art galleries together in New York City. In turn, Milton and Sally Avery made a point of attending many of Louis Kaufman's musical performances in New York.
The Phillips Collection was the first museum to acquire work by Avery. In contrast to the Kaufmans, however, the Phillips's relationship to Avery was one of mutual admiration from a distance. Uncomfortable in the limelight, the retiring Avery did not attend the opening of his first museum exhibition- an exhibition that Duncan Phillips organized in 1943. Sally Avery, in later years, expressed how "it meant a great deal to have a man of [Duncan Phillips's] stature [as] a supporter of my husband." After the death of her husband in 1965, Sally Avery became better acquainted with Duncan and Marjorie Phillips. Although Phillips's first purchase of a painting by Avery was made in 1929, he preferred later, more colorful works. The eight other works that Phillips purchased span Avery's career from 1932 to 1959. (right: Milton Avery (1885-1965), Chinese Checkers (March Avery and Vincenzo Spagna), c. 1941, oil on canvas, Louis and Annette Kaufman Collection)
Characteristically, Duncan Phillips responded more strongly to Avery's bolder compositions and the subtle but brilliant use of color in his still lifes, figure, and landscape paintings of the 1940s and 1950s. Compared with the Kaufmans' early still lifes that are quite detailed, depicting concrete objects in a traditional manner, the still lifes in the Phillips reflect Avery's mature style, with a view from above. Pine Cones (1940) and Gladiolus (1940) are monumental in concept and execution.
The Phillips Collection has a long-standing tradition of including sketchbooks, drawings, and prints in exhibitions of paintings to offer insight into the artist's process and an intimate view of the artist's relationship to his subject. Avery made copious sketches and drawings of his immediate surroundings: at home, in his studio, or of landscapes while vacationing. Later, in the privacy of his studio, he would transform his quickly penciled ideas into completed works depicting ordinary everyday objects or strong yet serene scenes from nature, often using saturated colors. Twelve prints and four sketchbooks from the National Gallery of Art, along with prints from the Kaufman collection, will be on view to further demonstrate Avery's unique style.
Milton Avery's work eludes simple categorization. Refusing to align himself with any particular group, Avery was truly an independent American artist. The inspiration of Matisse and Bonnard is evident in his work, yet Avery's work remained emphatically his own.
All of the works owned by the Kaufmans have been circulating in a show organized by Syracuse University. By adding the paintings and works on paper by Avery in The Phillips Collection to the Kaufman works, this exhibition celebrates the artist's earliest and most sustained patronage. Other carefully selected works from the National Gallery, the Smithsonian American Art Museum, and the Milton and Sally Avery Trust complement the holdings of the Kaufman and Phillips collections. The Kaufmans and the Phillips's never met. Yet their patronage of Milton Avery enriched both collections, while contributing to the rise in stature of one of the 20th century's greatest American painters.
www.tfaoi.org/aa/4aa/4aa286.htm
_______________________
Founded by art collector and philanthropist Duncan Phillips in 1921, The Phillips Collection has been collecting modern and contemporary art for over one hundred years. Duncan Phillips’s former home—and additions to it—in Washington’s historic Dupont Circle neighborhood provides a unique setting for the growing collection of over 6,000 works. Following Phillips’s unconventional approach to exhibitions, The Phillips Collection galleries are frequently rearranged to facilitate new conversations between artworks and fresh experiences for visitors.
HISTORY
“Sorrow all but overwhelmed me,” Duncan Phillips wrote. “Then I turned to my love of painting for the will to live.”
Duncan Phillips (1886-1966) was the son of Major Duncan Clinch Phillips, a Pittsburgh businessman and Civil War veteran, and Eliza Laughlin Phillips, whose father was a banker and co-founder of Jones and Laughlin Steel Company. The family moved to Washington, DC, in winter 1895-96.
Duncan was close to his older brother, Jim; Jim postponed attending college for two years so that he and Duncan could attend Yale University together. The brothers moved from DC to an apartment in New York in 1914. Duncan wrote extensively on art and published his first book, The Enchantment of Art, in 1914. Duncan’s passion for art was fueled by trips to Europe in 1911 and 1912 and visits to the Corcoran Gallery of Art in Washington and the Metropolitan Museum of Art, along with friendships in New York with artists Augustus Vincent Tack, who became a lifelong friend, and American impressionist painter Julian Alden Weir. In 1916 the brothers convinced their parents to set aside $10,000 annually to allow them to assemble a collection of contemporary American painting for the family.
Soon after, tragedy struck the Phillips family. Major Duncan Phillips died suddenly in 1917 from a heart condition and James died from the flu epidemic in 1918. To cope with these stunning blows, Duncan turned to the restorative quality of art. “Sorrow all but overwhelmed me,” he later wrote. “Then I turned to my love of painting for the will to live.” He and his mother founded the museum in late 1918. It was originally called the Phillips Memorial Art Gallery, and opened it to the public in fall of 1921. In a specially designed room added onto the second floor of the family home, they showed selections from their growing 237-work collection that now included examples by European artists, reflecting Duncan Phillips’s pioneering idea of creating a museum in the nation’s capital where one could encounter the art of the past and the present on equal terms. As the collection grew, the family moved out of their Dupont Circle home to a new residence in 1930, allowing the entire house to become a dedicated space for the museum.
Duncan Phillips married painter Marjorie Acker (1894-1985) in 1921, shortly before the museum opened, and she became his partner in developing The Phillips Collection. Born in Bourbon, Indiana, and raised in New York State, she was encouraged by her uncles―painters Gifford and Reynolds Beal―to pursue art; she studied at the Art Students League in New York City. Duncan and Marjorie met at an exhibition of his collection at The Century Club in New York in late 1920. After they were married, Marjorie painted almost every morning, ran the household, and served as Associate Director of the museum. She helped him gain insight into the artist’s process, and over the course of their lifetime together they collected nearly 2,500 works of art. When Duncan died in 1966, Marjorie became the museum director, continuing to develop close relationships with artists and the artistic community of DC. She held that position for six years.
From the outset, the vision for The Phillips Collection was “an intimate museum combined with an experiment station.” As a collector, Duncan Phillips was noted for his willingness to deviate from the art museum standard of displaying works together based on shared nationality and geography, interpreting modernism as a dialogue between past and present. He collected the work of his contemporaries at a time when art that did not follow traditional, academic standards was not widely accepted as aesthetically and culturally valuable. This philosophy of taking risks allowed for Phillips to be the first to collect and exhibit artists who were not well known at the time, such as Milton Avery, Pierre Bonnard, Georges Braque, Jacob Lawrence, Grandma Moses, Georgia O’Keeffe, and Rufino Tamayo.
www.flickr.com/photos/ugardener/54812157486/in/dateposted/
www.youtube.com/@PhillipsArtMuseum
www.cntraveler.com/activities/washington/phillips-collection
....
This album is devoted to Hana’s life in photos from 2004 when we re-homed her from the RSPCA until December 2015 when she sadly died.
Hana had a bad start in life, being one of 40 dogs being kept in very poor conditions in one house. Thankfully the RSPCA rescued all the dogs and found new homes for them.
Hana continued to have many health problems during her life including being afraid of many sounds, IBS which meant she was always on special diets, allergy problems, a heart murmur and in her final year she developed a canine version of Dementia.
Hana was a very affectionate dog and was totally devoted to our Sheltie, Bonsai. Sadly Bonsai died in 2009. Shortly after we were lucky enough to re-home another Sheltie called Mia who bonded immediately with Hana, as you will see from the photos.
Joseph Henry Sharp, Born Bridgeport, OH 1859-died Pasadena, CA 1953
Sunset Dance--Ceremony to the Evening Sun, 1924, oil on canvas, 25 1⁄8 x 30 in.
Born in Ohio, studied in Europe, lived in California and New Mexico. The father of the artists' colony at Taos, starting in 1912, he specialized in portraits of Indians and larger paintings of Indian life, some of which are now at the Smithsonian American Art Museum.
________________________________
The Smithsonian American Art Museum is the home to one of the most significant and most inclusive collections of American art in the world. Its artworks reveal America’s rich artistic and cultural history from the colonial period to today. The museum’s main building is located at Eighth and G streets N.W., above the Gallery Place/Chinatown Metrorail station. Admission is free.
The museum has been a leader in identifying and collecting significant aspects of American visual culture, including photography, modern folk and self-taught art, African American art, Latino art, and video games. The museum has the largest collection of New Deal art and exceptional collections of contemporary craft, American impressionist paintings and masterpieces from the Gilded Age. In recent years, the museum has focused on strengthening its contemporary art collection, and in particular media arts, through acquisitions, awards, curatorial appointments, endowments, and by commissioning new artworks.
Explore the sweep of the American imagination across four centuries at the nation's flagship museum for American art and craft. Dive into inspiring artworks, the reimagined collection, and an array of special exhibitions including Glenn Kaino: Bridge. Experience our offerings both online and in person at our two locations, including national educational programs, innovative research, video interviews with artists, virtual artist studio tours, lectures, audio guides, and more. Admission is always free.
Since 1968, the National Portrait Gallery has been housed in the former Patent Office building, a structure designed by Robert Mills in the neoclassical style and built between 1836-1867. This historic building, which is the third oldest government building in the city, is shared with another Smithsonian museum, the Smithsonian American Art Museum. The building's marble and granite porticos are inspired by those of the Parthenon in Athens, Greece.
An undulating steel and glass canopy wows visitors who enter the Kogod Courtyard. Inside you’ll find diners from the museum’s café, tourists soaking their weary feet in the shallow fountain running across the space, and students taking advantage of free Wi-Fi in the light and airy setting. The modern roof seals the center of the old Patent Office Building, currently shared by the National Portrait Gallery and American Art Museum. Architect Norman Foster designed the roof to have minimal impact on the building by creating a support system that prevents direct contact and weight placement on it. Unlike most of the other Smithsonian Museums located on the Mall, this gem is found in the busy Penn Quarter of downtown D.C. It is a favorite place to bring visitors, not only for the impressive courtyard space, but also for the preserved architecture of the patent offices on the top floor. Check the Smithsonian’s website for special courtyard workshops, concerts, or events. The museum is right near the Gallery Place/Chinatown Metro on the green, yellow, and red lines.
The Smithsonian American Art Museum showcases rotating exhibits, which have previously exposed visitors to work created in response to the Vietnam War, glasswork, native women artists and more. The Smithsonian American Art Museum also operates a separate branch, the Renwick Gallery, devoted to contemporary craft and decorative arts.