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Photo: Erick Davidson
Elise wears the Serafina ensemble from the Renaissance couture collection: bespoke Empress and velvet Jude skirt; millinery by Kalico Delafay
In a fitting testament to their true nature, many Ethiopian churches are literally made out of bullshit.
Playing around with the old Minolta. 20+ year old Ilford HP5 developed in DDX and scanned on the Epson v600.
Test fitting the new wheels onto Dad's Evo...a very nice set of 18" Gunmetal Rota GTR's for summer! Only a test as the tyres they came with arent exactly legal...track tyres* Very nice wheels & test went well, looks a lot better than the speedlines on at the moment! Cant wait to get them on & do some proper photos that arent outside my house haha!
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JP-Property Maintenance's East Harling Kitchen bathroom fitting services are an excellent approach to revive your bathroom, toilet, shower room, or ensuite. We can help you with floor replacement, accessory installation, tiling and grouting, wiring and rewiring, and more. Visit our website - bit.ly/3lUMXRp
Ted made me wear his coveralls. I felt like The Jesus from The Big Lebowski. At first it was uncomfortable.
Someone on the Miata.net forums said they did this job without dropping the muffler. SUICIDE. Drop the muffler.
I forgot about this picture, from yesterday. But I went to beacon's Closet in park slope to use up the rest of my credit, and I ended up getting too fabulous pieces to add to my new wardrobe! You can kind of see one of them on the right, that black jumper! Sooo comfy and amazing!
Edited Library of Congress image of the fitting-out wharf in New York Harbor with a couple of battleships and what looks like a liner and a destroyer.
A ghostly Keith Eiser tests the transepts to see how well they fit before trimming them down to size.
Dry fitting the new baffle plate to the rest of the baffle assembly before cutting the baffle board.
Nicolas Lancret - French, 1690 - 1743
La Camargo Dancing, c. 1730
West Building, Main Floor — Gallery 54
Twenty-one men in long waistcoats and women in elegantly trimmed gowns gather and dance within a verdant landscape in this horizontal painting. The men wear jackets and breeches in ginger brown, pale pink, or spruce blue. The women’s gowns have full sleeves, tight-fitting bodices, and full skirts in shades of bronze, teal blue, butterscotch gold, or rich pink edged with ribbons and lace. Some of them wear floral wreaths or ribbons in their upswept hair. Groups gather around a woman and man who dance together to our left in the scene. Some in the group of onlookers to our left hold musical instruments, including a violin and a pipe. Another group is nestled among trees just beyond the dancers, at the center of the painting, and more sit and stand to our right. The dancing woman wears a gleaming, ice-blue gown with rows of flowers in muted pink, blue, and gold down the full skirt and around the bottom hem, which falls short of her thin ankles. More garlands cross her chest and shoulders, and flowers are tucked into her dark gray hair. She faces us with her head turned to our right as she looks off in that direction with dark eyes under curving brows. She has a delicate nose, rosy, round cheeks, and pink lips. She holds her arms spread wide with the thumb touching the index finger of each hand. The man with whom she dances wears a coral-red tunic and breeches with sleeves decorated with pale pink and blue ribbons. The brim of his brown hat is turned up. His body faces us but he turns his head to look at the woman, his lips parted. The man and woman each have one gracefully pointed foot raised. The dancers and groups are enclosed within a park-like setting with tall trees to either side, and a screen of trees across the back of the space. The trees have slender trunks and canopies in shades of pine, sage, and moss green. Near the back middle of the scene, a stone column topped by a human head wearing a wreath of laurel leaves rises above the central group. A fountain with a vertical jet of water is tucked into the shadows within a grove of trees along the right edge of the painting. The water falls into a pool in the lower right corner.
Nicolas Lancret was one of Antoine Watteau's most talented followers and helped to disseminate the taste for fête-galante subjects in the eighteenth century. On the far left musicians are hidden amidst the trees, while across the canvas from left to right, arranged on an exaggerated S curve, stylishly dressed spectators have assembled in intimate groups to watch a couple perform a pas de deux. Lancret, like Watteau, was often inspired by the stage, and the female dancer depicted here is Marie-Anne de Cupis de Camargo, a ballet star of the Paris Opéra.
La Camargo is dressed in a white gown embroidered with flowers, suggesting a pastoral opera. She is gracefully poised and her partner's gestures subtly mirror her movements. Camargo, who was immensely talented, expanded the repertoire of eighteenth-century ballet with new steps that encouraged active footwork. To facilitate her movements, she shortened her skirts and may have been one of the first dancers to wear ballet slippers.
Lancret's weaving of figure and landscape into an intricate curvilinear design epitomizes the rococo style. The color scheme imbues the composition with a magical quality where the idea of nature and the fantasy of the theater are merged to create an idyllic setting for La Camargo's fashionable audience - who were also Lancret's patrons.
Nicolas Lancret has often been regarded as a close imitator of Jean-Antoine Watteau (1684-1721), but his paintings are imprinted with a distinctly personal stamp. Less steeped in fantasy and theater than those of his predecessor, Lancret's fêtes galantes seem to reflect contemporary society more directly. Although Lancret remained, like Watteau, a painter of genre scenes, his production encompassed subgenres that had not held much interest for the older artist, including conversation pieces, allegorical images, and scenes of children and adults playing games.
After a short period of training as an engraver, Lancret apprenticed to the obscure history painter Pierre Dulin (1669-1749), and shortly thereafter he enrolled in the Académie royale de peinture et de sculpture. Only a few years later he left Dulin's studio to enter that of Claude Gillot (1673-1722), Watteau's former teacher, a decision that announced his future career as a genre painter and the abandonment of his aspirations to become a history painter. The period in which Lancret trained with Gillot cannot be established, yet it must have coincided with Watteau's acceptance into the Académie in 1712 as a painter of the fête galante. Lancret was never Watteau's pupil, but the friendship that resulted from their contact through Gillot inspired Lancret to absorb Watteau's innovations. In 1719, Lancret submitted as his morceau de reception for acceptance into the Académie a conversation galante (possibly the version in the Wallace Collection, London), a painting utterly imbued with Watteau. His stylistic indebtedness to Watteau survived the rupture of their friendship and the latter's death in 1721, yet it was not long before Lancret infused his sujets galants with his own stylistic idiom, replacing Watteau's shimmering surfaces with a bolder use of color. He exhibited several paintings at the Salon of 1725, none of which can be identified with certainty, but which included a dance in a landscape, a return after the hunt, and a representation of women bathing. The latter two were subjects to which Lancret, unlike Watteau, would frequently return. In the same year, he exhibited a portrait of the man who would later write his biography, Ballot de Sovot. Lancret painted his celebrated portraits of Mademoiselle Camargo, the exceptionally popular dancer at the Paris Opera, before the end of the 1720s (one of them is NGA 1937.1.89).
Lancret's first royal commission was for a representation of contemporary history, one of the few history paintings the artist produced in the course of his career. Although now lost, surviving documents indicate that this painting portrayed the conveyance of Maria Leszczynska's ladies-in-waiting in a cart of straw after the carriage transporting the entourage of the future queen of France became stuck in the mud on the road to Fontainebleau. The depiction of this amusing incident heralded two defining characteristics of Lancret's art: humor and anecdote. Another humorous work, Le Déjeuner de Jambon (Chantilly, Musée Condé), representing a group of giddy carousers and their well-behaved servants, was produced in 1735 for Louis XV's private dining room in Versailles. Humor and anecdote emerge again in the second half of the 1730's in Lancret's series The Times of Day (London, National Gallery). As in Le Déjeuner de Jambon, the first image in the series, Le Matin, exposes the improprieties of the aristocracy, scarcely veiled by the elegant surroundings and beautiful possessions so delicately rendered by Lancret's brush. Human folly is mocked in a group of paintings, many of which Lancret exhibited at the Salon of 1738, representing fables of La Fontaine.
Lancret's early death in 1743 did not halt the fervor with which several important European collectors sought his paintings. They included Ange Laurent de La Live de Jully (1725-1779), to whom Le Déjeuner de Jambon passed by 1756. The most significant of these collectors was not a Frenchman but Friedrich II, King of Prussia (Frederick the Great), who, at his pleasure palace Sanssouci, in Potsdam, exhibited twenty-six paintings by the artist. Lancret's paintings were also widely known through engraved reproductions from 1730 on.
[Frances Gage, in French Paintings of the Fifteenth through
________________________________
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...
..
________________________________
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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