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“You expected to be sad in the fall. Part of you died each year when the leaves fell from the trees and their branches were bare against the wind and the cold, wintery light. But you knew there would always be the spring, as you knew the river would flow again after it was frozen. When the cold rains kept on and killed the spring, it was as though a young person died for no reason.”
― Ernest Hemingway, A Moveable Feast
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Expect to have hope rekindled. Expect your prayers to be answered in wondrous ways. The dry seasons in life do not last. The spring rains will come again.
Sarah Ban Breathnach
when taking her a picture
the most difficult thing is
how to put the focus on her eyes.
this time it seems worked! :-)
I expect this has been here a very long time. Looks to have some accident damage on the driver's side front corner, which I'd assume is what led to it being parked up. Unfortunately I couldn't see the reg from this side of the river.
Alice Neel - American (1900 - 1984)
Fire Escape - 1948
"So rarely does one get to see early (and even bad) paintings from such a great painter. The early paintings have the same quality that I’d expect out of any artist’s early work; the feeling of searching, experimenting. Neel seems to emulate Cezanne one moment and Cassatt the next, exploring style and form, trying to develop her own voice. These works are at times dark and strange, they ooze with emotion and grime- the dusky, smoke-filled aura of depression-era New York City. Movie Lobby (1932) features two well-dressed women in the ornate entryway of what I can only assume is a movie theatre. By today’s standards, they may as well be entering the fanciest of fancy hotels. Neel articulates chandeliers, ornate decorative carpeting, a colonnade, and yellowish, potentially gold-leafed crown molding. The bright pink, high-backed chairs flatten, forms demarcated only via their contour lines. The scene is opulent yet bleak; the emptiness of the room along with the grey, dusty, storm-cloud-like ceiling isolates these two women, dead center in the canvas and starkly alone. I can’t quite tell if Neel is empathetic towards these two women, or callously judging them. Living in poverty at the time and recently released from a sanatorium, perhaps Neel felt jealousy towards those who have time to go to a movie theatre. Engulfed by the room, the women are viewed from a distance, simplified and almost featureless, like effigies for the wealthy who seek entertainment at a time like this. One of the women stares forward, but the other appears to look directly at Neel, slightly shocked to find that she’s being watched by the painter.
In Fire Escape (1948), Neel’s perspective emerges in another painting atypical for what many associate with her body of work. Buildings flatten into rectangular shapes that overtake the entirety of the canvas, broken apart by shadows stretching vertically down the painting. Golden light accrues on the brick buildings, Neel’s thick, dynamic brushwork makes them shimmer. The shadows of clothes hanging to dry dance along the brick surfaces, you can almost see them bobbing gently in the wind. This view, according to information from the gallery’s website, is the view from the kitchen in Neel’s cramped Harlem apartment, where she lived while raising her two sons. Given the context, the wrought iron bars of fire escapes and domineering effect of the buildings begin to induce claustrophobia. What was initially a beautiful array of dancing light now becomes a metaphor for the longing of space and freedom. One pale blue triangle of sky peeks from behind at the very top of the canvas, nearly managing to become the main character of the image.
Throughout the entire show, familial relationships feature prominently in Neel’s paintings. Multiple paintings of her two sons, Richard and Hartley, culminate in two portraits of them as adults, painted two years apart. Hartley (1957) shows her son seated in an arm chair looking directly out at the viewer. Personally, I found this painting just absolutely stunning. He stares out at you, his gaze fixed and expression subtly intense. Head leaning against one hand, he seems pensive and intelligent, relaxed but perhaps a little uneasy. He would have been around 16 at the time, and his posture seems reserved, delicate even. Arms carefully placed, legs crossed, a bit lanky and maybe awkward looking, this portrait captures an unromantic depiction of youth. In comparison to the more famous, 1966 portrait of Hartley- where he confidently stretches his limbs to overtake the whole of the canvas- this piece feels entirely different. I can’t quite say it's an idealized, but it certainly is painted lovingly. Neel captures reality, but not in a photographic sense- she communicates an emotional reality through empathy with the sitter. Near these two portraits, the gallery provided a quote form Neel herself:
“A good portrait of mine has even more than just the accurate features. It has some other thing. If I have any talent in relation to people, apart from planning the whole canvas, it is my identification with them. I get so identified when I paint them, when they go home I feel frightful. I have no self — I have gone into this other person.… It is my way of overcoming the alienation. It is my ticket to reality.”
Identification with her subjects fuses their humanity into the painting, affixed emotion through strokes and color. Depicting her son so truthfully, posed elegantly yet also with the awkward discomfort of youth, results in a potent emotional interaction between viewer and portrait. Featured at the very end of the show, this portrait marks the beginning of Neel’s golden era, as she finds her voice and hones her portraiture. The following few decades would see enthusiasm for Neel’s portraits increase throughout the rest of her life- her legacy still growing to this day.
Alice Neel, The Early Years is on display at David Zwirner Gallery in NYC until October 16th, 2021."
medium.com/@kenyondunscomb/three-paintings-from-alice-nee...
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American Modernism from the Charles Butt Collection: From Edward Hopper to Alma Thomas
Sunday, March 8, 2026 - Sunday, August 2, 2026
"American Modernism from the Charles Butt Collection: From Edward Hopper to Alma Thomas" is the first exhibition dedicated to the collection of businessman, philanthropist, and Texas native Charles Butt.
This exhibition presents over 80 rarely seen paintings and works on paper by icons of American modern art, including Edward Hopper, Ellsworth Kelly, Jacob Lawrence, Joan Mitchell, Georgia O’Keeffe, and Alma Thomas. The featured works span from the late 19th century through the 1970s, and will be grouped in seven thematic sections: Breaking Form: Cubism and Its Legacy, Urban Encounters, Intimate Perspectives, Precisionism, The Language of the Sea, Land Progressions, and Edges of Abstraction. The Blanton Museum of Art is one of four exclusive venues in Texas to host this exhibition.
Shared with the public for the first time, Butt’s collection reflects his vision of American creativity, as well as his civic dedication and commitment to education.
tribeza.com/arts/edward-hopper-georgia-okeeffe-alma-thoma...
A major private collection of American modern art will go on public display for the first time this spring in Austin. Opening March 8 at the Blanton Museum of Art, “American Modernism from the Charles Butt Collection: From Edward Hopper to Alma Thomas” brings together more than 80 paintings and works on paper spanning the late 19th century through the 1970s. Organized by the Amon Carter Museum of American Art, the exhibition is the first dedicated to the collection of Texas businessman, philanthropist and H-E-B Chairman Charles Butt. It remains on view through Aug. 2 as part of a multicity Texas tour.
The exhibition features works by some of the most significant artists of the era, including Edward Hopper, Georgia O’Keeffe, Jacob Lawrence, Joan Mitchell and Alma Thomas.
“We are honored to bring this extraordinary collection to Austin,” said Simone Wicha, director of the Blanton Museum of Art. “Charles Butt’s vision as a collector reflects his deep belief in expanding access to art and education—a mission we share at the Blanton. We look forward to sharing these remarkable works, many of which have never been seen outside his private collection.”
The Blanton organizes the exhibition into seven thematic sections tracing key movements and ideas in American modernism. “Breaking Form: Cubism and Its Legacy” examines how artists such as Arthur Dove and Stuart Davis absorbed and reinterpreted Cubist strategies. “Precisionism” focuses on artists including Charles Sheeler and Charles Demuth, who applied geometric clarity to industrial and architectural subjects.
“Urban Encounters” explores the psychological dimensions of city life through works by Hopper, Marsden Hartley and Alice Neel. A smaller section, “Intimate Perspectives,” centers on portraiture and personal relationships, featuring artists such as Bill Traylor, Rufino Tamayo and Milton Avery.
Two sections focus on landscape and environment. “The Language of the Sea” nods to Butt’s Gulf Coast childhood in Corpus Christi, moving from realist seascapes to Thomas Hart Benton’s “Flight of the Thielens.” “Land Progressions” examines changing approaches to the American landscape, including John Marin’s “Weehawken Series,” painted amid industrial growth along New Jersey’s harbor.
The final section, “Edges of Abstraction,” traces the gradual move toward non-objective art across the 20th century. It includes works by female artists such as Mitchell, Blanche Lazzell and Alice Trumbull Mason, who used abstraction to develop new visual languages.
“American Modernism from the Charles Butt Collection” premiered at the Amon Carter Museum of American Art. After its run in Austin, it will travel to the Museum of Fine Arts, Houston and the McNay Art Museum, remaining exclusively in Texas.
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The Jack S. Blanton Museum of Art (often referred to as the Blanton or the BMA) at the University of Texas at Austin is one of the largest university art museums in the U.S. with 189,340 square feet devoted to temporary exhibitions, permanent collection galleries, storage, administrative offices, classrooms, a print study room, an auditorium, shop, and cafe. The Blanton's permanent collection consists of more than 22,000 works, with significant holdings of modern and contemporary art, Latin American art, Old Master paintings, and prints and drawings from Europe, the United States, and Latin America. In 2024, the Blanton was ranked by the Washington Post as one of the five best college art museums in the U.S., "thanks to its dynamic programs, commitment to research and public-facing engagement."
en.wikipedia.org/wiki/Blanton_Museum_of_Art
The Blanton Museum of Art in Austin is highly rated as a clean,, and beautifully designed, world-class institution, frequently praised for its extensive Latin American, European, and modern collections, particularly Ellsworth Kelly’s Austin. Visitors find it a, manageable, family-friendly, and relaxing experience with engaging, and, occasionally, interactive, installations.
Guests enter the museum, located on the edge of The University of Texas' campus, through a series of archways. As you enter the lobby, the first thing you see is an installation in the two-story atrium: Reflective, acrylic panels in ombre shades of blue cover the walls and staircase to create a submerged-in-water feeling.
The collection is compact but does an excellent job covering numerous genres: early Renaissance paintings, Roman-era pottery, modern works housed in the contemporary gallery, a vast collection of prints, and Native American and Latin American works.
The collection is well-paced and not overwhelming. A small series of sculptures is housed in a round rotunda. Contemporary works are showcased in gleaming white gallery spaces; skylights brighten more traditional, hardwood-floored spaces lined with Italian paintings. There are rotating exhibits, sometimes from big names like Ellsworth Kelly or Andy Warhol, in video, photography, paper, and print.
The Blanton Museum of Art is a teaching museum, so there are always university students in the galleries. And though it's the largest museum in Austin, it's rarely crowded beyond travelers who know and appreciate art.
www.cntraveler.com/activities/austin/blanton-museum-of-ar....
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"What did you expect me to say?
you left it on my doorstep in the corner so it was safe,
and now i havent eaten for days,
and im loosing weight, but hunger fades."
David E. Sugar - Although you may laugh
I Expect You To Die is a virtual reality puzzle game that places you in the well-polished shoes of an elite secret agent. You must attempt to survive deadly situations in immersive, dangerous locales.
More PlayStation screenshots, trailers and trophies and everything for PS3, PS Vita and PS4: www.psmania.net/
Join us on Facebook: www.facebook.com/psmania.net/
Follow us on Twitter: twitter.com/TeamPSM
Restaurantes, importadoras y supermercados son algunos de los negocios establecidos en el Barrio Chino, donde se encuentra el Restaurante Popular, cuyo propietario resaltó algunos aspectos positivos de ese país asiático.
Foto: Presidencia República Dominicana
Nota de prensa:
presidencia.gob.do/noticias/comerciantes-del-barrio-chino...
Not sure what to expected from the bulls in Round 2… PBR livestock director Cody Lambert made this comment about the bulls the riders faced in night 2 of the PBR… “I didn’t ride ‘em all, but back when I rode I felt like I could ride ‘em all.”
This was the rank pen of bulls, riders will be facing the bulls that are hard to ride, and if you survive the ride, a score of ninety points or better could be expected. Cody Lambert had this to say “I know a lot of guys are going to get a no score, they’re going to get drilled.”
The 2008 Australian Bull Riding Champion and contender for Daisy Rookie of the Year won the round. Pete Farley from Kempsey, Australia, was matched up with Bones who is the current PBR World Champion Bull. Pete won Round 2 with Bones with a score of 93.25 points. Until tonight Bones had only been ridden once in thirty trips out of the chute…
This was not the night to miss at the PBR World Finals; you saw the best riders and the best bulls in the world, doing what they do best. They ride and buck for the love of the game, and for the danger of living on the edge. Join me as I bring you the wrecks and heart stopping action from Round 2 at the PBR World Finals in Las Vegas.
Natural disasters are expected to increase in both number and severity as a result of climate change. Many places lack the resources and institutional capacity for disaster prevention, preparedness, response, and recovery. As a result, climate-related natural disasters can act as a threat multiplier, undermining the stability of nations and regions and exacerbating insecurity. Recognizing this, the U.S. Department of Defense, U.S. Department of State, U.S. Agency for International Development, and their partners are working to strengthen U.S. responses to climate change through increased collaboration and coordination.
Join us for a discussion of whole-of-government interventions to reduce climate change vulnerability. Where are there opportunities to increase collaboration across U.S. agencies? What role can disaster risk management play in building stability? What are the barriers to strengthening disaster risk management? How can U.S. agencies work better with one another and with international partners?
This event is co-sponsored by the Jackson Foundation.
Read more: www.wilsoncenter.org/event/climate-change-disasters-and-s...