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With friends like these, who needs content? This is a screenshot of seven of the latest "people" who are following me on Twitter. Stay classy ladies.
Full title: Venice: S. Simeone Piccolo
Artist: Follower of Canaletto
Date made: after 1738
Source: www.nationalgalleryimages.co.uk/
Contact: picture.library@nationalgallery.co.uk
Copyright © The National Gallery, London
The status of the Sunnah (This is the Guidance with which the Prophet
(S) came. It includes his sayings, actions or his attributes.) of the
Prophet Muhammad (S) as a divine source of Islamic law and guidance
has been accepted unanimously by the Muslims throughout the centuries.
However, during the last century, many non-Muslim Orientalists and
their followers have tried to castdoubts in the authority of the
Sunnah, and have created a suspicious attitude towards Ahaadeeth.
The Ahaadeeths of our Messenger (S) all of which have been
scrupulously studied and verified by specialists in the study of
Ahaadeeth. Because of this,it is appropriate to mention a few facts
about the authority and reliabilityof the Sunnah, so that any
skepticism and suspicions can be laid to rest.
As for the authority of the Sunnah, then it must be understood that
the role ofthe Prophet Muhammad (S)was not as a mere postman who,
after delivering his letter, has noconcern with it whatsoever. The
Messengerwas not sent just to deliverthe Book of Allah, but to expound
it and demonstrate a practical example of its contents. (Aal-`Imran
3:164.) This function of the Prophet (S) could not be carried out
unless his guidance was held to be authoritative and binding upon his
followers. Thus Allah made obedience to His Messenger(S) an obligation
upon mankind. (Aal-`Imraan 3:132, An-Noor 24:54, etc.)
Today many Muslims do not understand this point, thinking that
following andobeying the Prophet's (S) commands is a matter of choice,
and that it is only the commandments in the Qur'ân that they are
duty-bound to comply with. This misconception was indeed prophesied by
the Messenger (S) who made the correct position and status of the
Sunnah explicitly clear. He said,
{Indeed I have been given the Qur'ân, and that which is like it along
with it; yet the time is coming where aman reclining on his couch will
say, "Keep to this Qur'ân: what you find in it to be permissible treat
as permissible; and what you find prohibited treat as prohibited." But
what Allah's Messenger has prohibited is like what Allah has
prohibited.} (Recorded by Ahmad, Abu Daawood, and others. Verified to
be authentic by al-Albaani (Saheeh ul-Jaami` 8186).
Careful consideration of this ahaadeeth will also lead us to deduce
that his (S) authority was not confined to his time, as many nowadays
purport; itholds good for all times to come. Since the above ahaadeeth
is a prophecy, it also shows us that the Sunnah is divine in its
origin.
Allah is Al-Aleem (the All-Knowing) and Al-Hakeem (the All-Wise); and
He is aware of the pastand everything to come in the future. Thus, His
divinely revealed Sunnah isapplicable to mankind from the time of the
Prophet (S) until the Day ofResurrection. Allah is able to do all
things; and He hasgiven us a Sunnah that is preserved, perfect and
complete and does not need to be changed with the times. Surely
removing something from it when it is complete and perfect willonly
cause imperfection and incompleteness. He hastold us (by revealing to
theProphet (S) towards the end of his life):
{This day, I have perfected your religion for you, completed my favor
upon you and have chosen for you Islam as your way of
life.}(Al-Maaidah 5:3.)
As for the reliability of the Prophet's (S) Sunnah, first of all,
contrary to what many think, compilation of the Prophet's (S) Sunnah
began in his own lifetime. Many Companions of the Messenger (R)
documented the sayings and actions of the Prophet (S); and this was
something the Prophet (S) himself instructed them to do. He (S) said
to one of his Companions (R):
{Continue writing [what I say] for by Him in whose Hand is my soul,
nothing comes out from my mouth except the Truth.} ( Ahmad,Abu
Daawood, and others. Verified to be authentic by al-Albaani
(As-Saheehah 1532)
Moreover, writing was not their sole means of preservation. The Arabs
before Islam were well accustomed to memorizingthousands of verses of
poetry./
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Horsemen and Herdsmen with
Cattle - 1655/1660
Aelbert Cuyp
Artist, Dutch, 1620 - 1691
This broad, panoramic view of a river valley has long been considered one of Aelbert Cuyp’s most masterful works. In the soft light of the late afternoon, the humid air softens the landscape. Two brightly dressed horsemen have paused their elegant white and chestnut-colored steeds near a cluster of trees. Behind them, two men, one holding his mule’s leash, rest in the shade of the trees while keeping an eye on a small flock of sheep and a cow. On the left, another herdsman tends to two cows, and in the middle distance a rider on a galloping horse provides the only real sign of activity. Farther back, the water’s mirrorlike quality suggests calm conditions in which the sailboats will make only limited progress on the meandering river.
This painting is a prime example of the broad panoramic landscapes that Cuyp began to paint during the 1650s. The two hills surmounted by buildings that appear in the background are from the Rhine valley near the towns of Kleve and Kalkar, not far from the Dutch border. Cuyp visited this region around 1651–1652 and made drawings of these hills in a sketchbook he compiled on this trip. This distant panorama, however, is an imaginative evocation of the valley that he later painted in his studio.
Aelbert Cuyp, one of the foremost Dutch land-scape painters of the seventeenth century, was born in Dordrecht in October of 1620. His father, Jacob Gerritsz Cuyp (1594–1652), was a successful por-trait painter in the city, and from him Aelbert received his earliest training, assisting his father by painting landscape backgrounds for por-trait commissions. It is uncertain whether Cuyp had also apprenticed with a landscape painter, but he soon abandoned his father’s style and subject matter and turned almost exclusively to landscapes and river-scapes, painting only an occasional portrait in his mature period. Arnold Houbraken, a native of Dordrecht, noted that Cuyp was a man of “irreproachable character” (onbesproken leven), and the surviving documents concern his active involvement in the Dutch Reformed Church and the city affairs of Dordrecht, rather than his activities as a painter. His marriage to Cornelia Boschman (1617–1689), the wealthy widow of Johan van den Corput (1609–1650), a representa-tive to the admiralty at Middelburg and a member of an important Dordrecht family, took place on July 30, 1658. After his marriage, Cuyp appears to have painted less frequently, probably owing to a combi-nation of his increased church activity and the ab-sence of financial pressures. He was buried in the Augustinian Church at Dordrecht on November 15, 1691.
Houbraken commented that only the artist’s own works were found in his home at the time of his death, proof that nature alone served as his model. The stylistic evolution of his oeuvre, however, dis-proves Houbraken’s conclusion. Cuyp’s early landscapes are clearly inspired by the compositional ap-proach and monochromatic palette of Goyen, Jan van, but by the middle of the 1640s, the influence of the Utrecht painter Both, Jan be-comes apparent. Cuyp never lived in Utrecht, but probably his parents had met there while his father was studying, and Aelbert apparently visited the city regularly. By the mid-1640s Both had re-turned from Italy, bringing with him a new style employing the contre-jour effects associated with the work of Lorrain, Claude. Cuyp soon recognized the possibilities of this new compositional approach and began to employ large foreground elements in his panoramic scenes, infusing them with a warm light and atmosphere. The occasional classical motif and Italianate lighting effects that are found in Cuyp’s mature works are not the result of a trip to Italy but of his association with Both, and perhaps other Italianate landscape painters he may have had contact with in Utrecht. Although no documents related to his travels exist, Cuyp’s drawn landscapes and townscapes do indicate that he traveled within the Netherlands and along the lower Rhine in Germany.
Cuyp seems to have worked for a number of important Dordrecht families. He was clearly an important artist in the city, although little is known about the organization or production of a workshop. Houbraken mentions only one pupil, Barent van Calraet (1649–1737), whose brother Abraham van Calraet (1642–1722), if not a pupil of Cuyp, was certainly a follower. It appears that many of Abraham van Calraet’s works were among those mistaken for au-tograph Cuyp paintings by the beginning of the twentieth century, when Hofstede de Groot included more than eight hundred entries in his catalogue raisonné of the master. By the late eighteenth century, Cuyp had many other followers and imitators, including Jacob van Strij (1756–1815).
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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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Morrigan, Leliana, and Wynne have breakfast together. This is so much more peaceful without Alistair and Oghren.
This is my first attempt at the 365 day self portrait challenge, this photo was inspired by the protests that happened today. I believe in protesting when you know what you're fighting for and you have a reason to protest, however many people who were taking part in today's protests and previous protests were there for no reason other than to follow the crowd. A few friends who i knew where going had no idea what the protest is about. This photo is simply highlighting that people should question their motives before acting.