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The chalk wall; the cities freedom of expression wall where anyone can write anything they want to all in the ideal of Thomas Jefferson's principals dealing with personal expression in a public space
In the Studio! playing around with random stuff!
Model: Brylea.P
Styling, makeup, hair - Briahna Patterson (me)
Photography by Bri Photography - Briahna Patterson
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Audiobook Microsoft Expression Blend 4 Step by Step (Step by Step Developer) Full Book
The idea that models do not have to be beautiful to make a photograph worth while of being taken. Also the idea that the model is hiding behind an expression, leading astray her true feelings.
The Red School House - 1873
Winslow Homer
American, 1836 - 1910
Shown nearly full-length, a young schoolteacher fills the foreground of The Red Schoolhouse. Standing on a wide dirt path or road, she gazes off to her right with a solemn expression, holding two books in her left hand and the striped fabric of her flounced skirt in her right. Around her neck the teacher wears a lacy triangular shawl known as a fichu that appears to be fastened with a square gold brooch or button. Her black and white ruffled bonnet is similarly elegant. Though only roughly sketched, the building behind the central figure is recognizable as a small red schoolhouse toward which a trio of schoolgirls appear to be headed. The surrounding landscape, lush and green, is silhouetted against a wide expanse of sky that glows with the warm, bright colors of early morning.
The Red School House is related to a series of school subjects that Winslow Homer painted from 1871 to 1874. Though he varied the composition and narrative emphasis across the series, three elements remain consistent: a small red schoolhouse, its young female teacher, and a luminous mountain setting. Homer’s attention to this theme reflected a popular wave of nostalgia in late 19th-century America for small country schools and the simpler lifestyle they recalled. Part of a larger body of paintings of children completed in the 1870s, Homer’s school subjects, including The Red School House, simultaneously express the country’s sense of optimism for future generations in the wake of the Civil War.
More information on this painting can be found in the Gallery publication American Paintings of the Nineteenth Century, Part I, pages 305-309, which is available as a free PDF at www.nga.gov/content/dam/ngaweb/research/publications/pdfs...
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For earlier visit in 2024 see:
www.flickr.com/photos/ugardener/albums/72177720320689747/
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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