View allAll Photos Tagged foreshadowing
The first business of the morning was to visit the California Science Center. There was something there that Daniel was keen to see...
Cake for my BIL before he goes back to college, just a little foreshadowing of his diet for the next few months :)
A repainted ex-SOO GP38-2 idles away, as an older Milwaukee Road painted GP38-2 shoves cars back into Bensenville Yard
A picture of Sam as a kitten, curled up asleep on the guest bed, on his third day with us in 2007. What he really liked though, right from the get go, was to curl up on you and fall asleep. Which he's doing now, 10 years later, some things never change.
Photo taken over a month ago during a night walk on Capitol Hill, Washington, DC. Flanking red lights foreshadowing political stalemate?
~dt
The other week when we went on our photo adventure, he climbed up on some bleachers and I had to laugh when I got this view. As much trouble as he has been at daycare, I had to wonder if this was glimpse into his future! Ok, so I don't really think that, but it made me laugh.
On a good note, he had a really good day on Friday, wasn't too bad on Saturday and got all stars/smiley faces yesterday. Now if he can just figure out how translate that into how to be consistently good in the much more chaotic conditions of daycare, we'll be good.
© Stella Luna Photography
Joseph Mallord William Turner, 1775–1851
Wreckers -- Coast of Northumberland, with a Steam-Boat Assisting a Ship off Shore - exhibited 1834
Exhibited at the Royal Academy in 1834, Turner’s Wreckers foreshadowed the turbulent, daringly generalized seascapes of his late career. The restrained palette of warm ocher tones with cool blues and grays contrasts strikingly with the dramatic subject matter. A steamer is shown rushing to the aid of a ship overcome by a storm off the wild Northumberland coast. Meanwhile, people — the wreckers of the title — gather on the shore in the hope of scavenging the cargo lost by the sinking vessel. Their pursuit of gain symbolizes the interrelationship between loss and survival, an effect heightened by the gaunt ruins of Dunstanborough Castle in the far distance. Though reminiscent of the antiquarian topography that had so deeply shaped Turner’s early work, here the endurance of the fourteenth-century fortification forms a menacing contrast with the fragility of the human lives around it.
Wreckers captures J. M. W. Turner’s recurrent exploration of the conflict between human culture and the power of nature. A masted ship flounders off the wild coast of Northumberland while a steamship tries desperately to come to its aid. Meanwhile, wreckers on the beach wait with ropes and nets to plunder whatever of value washes to shore. The old castle of Dunstanburgh looms menacingly in the background, battered by the storm but unyielding. Turner exhibited Wreckers at the Royal Academy in 1834 and again at the British Institution in 1836, when it was described by one critic as “a very great picture . . . a production of true genius.” It was bought in 1844 by Turner’s friend Elhanan Bicknell.
Wreckers were gangs who, otherwise permitted by law to take possession of scavenged debris and goods from wrecked ships, often lured them ashore by setting false lights near dangerous rocks. The danger was real, and numerous wrecks were deliberately caused and innocent lives lost as a result. The theme of shipwreck was a lifelong fascination for Turner, a sign of the ultimate helplessness and ignominy of man in the face of the cold power of the elements. But this scene may relate to an incident he himself witnessed in 1831 on his way home from a tour of Scotland. The castle in the background is Dunstanborough. After it was exhibited at the R.A., the picture was praised by the critic of the Spectator as combining “the truth of nature with the splendour of Turner.”
collections.britishart.yale.edu/catalog/tms:45
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J. M. W. Turner: Romance and Reality
The year 2025 marks the 250th anniversary of the birth of Joseph Mallord William Turner (1775–1851), possibly the most widely admired and influential British artist of all time.
Though Turner was trained within the English topographical tradition, his practice was deeply rooted in a wider European heritage of landscape painting. Turner pushed this inheritance to its limits in pursuit of his own expressive ends, astounding contemporaries with his bold and highly original compositions. His unique approach paved the way for a new form of landscape art, one that combined virtuoso brushwork with brilliant color, dazzling light effects, and an almost abstract sensibility. As a result, Turner came to be recognized as the most radical and innovative painter of his time and has continued to be so ever since.
This exhibition, the first show focused on Turner to be held at the Yale Center for British Art in more than thirty years, will showcase the museum’s rich holdings of the artist’s work. Unequaled in North America, this collection includes some of Turner’s most acclaimed oil paintings, notably his masterpiece Dort or Dordrecht: The Dort Packet-Boat from Rotterdam Becalmed (1818) and his celebrated later painting Staffa, Fingal’s Cave (1831–32). Alongside these major works, the exhibition will also feature outstanding watercolors and prints from the YCBA’s collection, including the artist’s only complete sketchbook outside of the British Isles.
Turner’s works are akin to painted poems, filled with incident, anecdote, and symbolism. Conveying both the beauty and cruelty of nature and human life, they shed fascinating light on the artist’s world and reveal an aesthetic—and moral—complexity that is at once discomforting and strangely modern.
britishart.yale.edu/exhibitions-programs/j-m-w-turner-rom...
"In two inaugural exhibitions upstairs, large gestural paintings on the second floor focused on the female body by Emin — who established her reputation with confessional, ramshackle sculptural installations — have unexpected resonance with atmospheric landscapes on the third floor drawn from the center’s almost 3,000 works by J.M.W. Turner, who was born almost 200 years before Emin and, like her, counted the English seaside town of Margate as an important second home.
This pairing reflects the center’s new curatorial approach, Droth said, showcasing the depth and richness of its historical collections “and then taking those threads into the present moment with someone like Tracey, who absolutely sees herself in the lineage of Margate, famous for Turner and now famous for Tracey, and in those sort of painting traditions.”
www.nytimes.com/2025/04/25/arts/design/yale-british-art-t...
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Opened in 1977 through the generosity of Yale graduate and philanthropist Paul Mellon, the Yale Center for British Art holds the largest and most significant collection of British art outside the United Kingdom. The collection spans five centuries and is the foundation for a museum uniquely focused on the histories, legacies, and shifting contexts of British art. Housed in a celebrated modernist building designed by Louis I. Kahn, the museum is situated on the Yale University campus in the city of New Haven. It is free and open to all.
"On the campus of Yale University, two art museums housed in landmark modernist buildings — each designed by Louis I. Kahn — sit directly across the street from one another. One, the Yale University Art Gallery, with an encyclopedic collection of about 300,000 objects, draws close to a quarter million people annually. The other, the Yale Center for British Art, with its specialized collection of more than 100,000 works from the 15th century to the present, brings in less than half that traffic.
The British center is now aiming to even up those visitor numbers.
It reopened in March after a two-year closure for conservation of the skylights and lighting throughout the building — the acclaimed architect’s last realized project, which opened in 1977 and is widely considered an artwork in itself — and with a fresh exhibition philosophy.
A piece by Tracey Emin, who came to fame as one of the so-called Young British Artists in the 1990s alongside peers like Damien Hirst and Sarah Lucas, inaugurates a new program of contemporary works in the lobby. Her glowing sculptural installation, with yellow neon lighting proclaiming in script “I loved you until the morning” on a mirrored wall in the museum’s entrance court, is visible from the street. It serves as an “invitation” at the front door, said Martina Droth, the center’s director, who was appointed in January after working with its collections for 16 years, most recently as chief curator."
www.nytimes.com/2025/04/25/arts/design/yale-british-art-t...
The museum’s collections include more than 2,000 paintings, 250 sculptures, 20,000 drawings and watercolors, 40,000 prints, and 35,000 rare books and manuscripts dating from the fifteenth century to the present. More than 40,000 volumes supporting research in British art and related fields are available in the Reference Library. The collection is rich with historic works by John Constable, Thomas Gainsborough, Joshua Reynolds, George Stubbs, and J. M. W. Turner, as well as works by major artists of the twentieth- and twenty-first centuries, including Hurvin Anderson, Francis Bacon, Vanessa Bell, Sonia Boyce, Cecily Brown, Barbara Hepworth, Anish Kapoor, Henry Moore, Ben Nicholson, Yinka Shonibare, and Barbara Walker.
britishart.yale.edu/collections-overview
One of the museum's greatest treasures is the building itself. Opened to the public in 1977, the Yale Center for British Art is the last building designed by the internationally acclaimed American architect Louis I. Kahn. The structure integrates the dual functions of study center and gallery, while providing an environment for works of art that is appropriately elegant and dignified. The building stands across the street from Kahn’s first major commission, the Yale University Art Gallery (1953). Located in downtown New Haven, the YCBA is near many of the city’s best restaurants, theaters, and shops.
The YCBA’s exterior of matte steel and reflective glass confers a monumental presence in downtown New Haven. The geometrical four-floor interior is designed around two interior courtyards and is comprised of a restrained palette of natural materials including travertine marble, white oak, concrete, and Belgian linen. Kahn succeeded in creating intimate galleries where one can view objects in diffused natural light. He wanted to allow in as much daylight as possible, with artificial illumination used only on dark days or in the evening. The building’s design, materials, and skylit rooms combine to provide an environment for the works of art that is simple and dignified.
britishart.yale.edu/architecture
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Central Figure in the South Portal Stained Glass
The main central scene of the stained glass centers on the Sacrifice of Isaac, a tableau representing the binding of Isaac by Abraham, which serves as a typological foreshadowing of Christ’s Passion. This iconography draws a symbolic parallel between the two sacrifices, linking Old Testament obedience to Christian redemption
Though it’s not a depiction of the crucified Christ, the imagery intentionally evokes the crucifixion through this typological connection—the blade lifted over Isaac echoes the moment of Christ’s descent from the cross
Broader Iconographic Program
Surrounding the central Isaac scene, the adjacent panels depict episodes tied to the cathedral’s royal and sacramental heritage—baptism of Clovis, the crowning of Saint Louis, and the coronation of Charles VII—thus merging biblical prophecy with France’s royal history in Reims Cathedral
13th century – Original installation
The south portal tympanum was designed with stained glass rather than sculpted reliefs, an unusual choice for a Gothic façade. The original glazing likely matched the thematic program of the portal sculpture, centered on the Last Judgment and related biblical scenes.
1611–1612 – Early modern restoration
A restoration campaign on the west portals included work on masonry, tracery, and decorative elements. While primarily aimed at sculpture, it may also have involved repairs to the glazing or its leading.
19th century – Documentation and minor repairs
Photographic documentation of the west façade began in the mid-1800s, creating a visual record of the portals and their tympana. Isolated repairs were carried out after weather damage, including replacement of damaged panels.
1886 – Storm damage
A severe hailstorm damaged several windows in the cathedral, and repairs or partial replacements were likely made to the south portal glazing.
1914 – Destruction during World War I
German bombardment set the roof ablaze in September 1914. The molten lead from the roof poured down the façade, in some cases flowing through the mouths of gargoyles, shattering the stone tracery and destroying the south portal’s glazing completely.
1919–1938 – Post-war structural restoration
Architect Henri Deneux led the rebuilding of the cathedral. The stonework of the south portal was restored, but its tympanum glazing was left uninstalled or temporarily covered, as priority went to structural repairs and major interior windows.
1950s – Final glazing installation
The workshop of Jacques Simon in Reims was commissioned to design and install new stained glass for the south portal. The new scheme centered on the Sacrifice of Isaac as a typological prefiguration of the Crucifixion, surrounded by imagery linking biblical narrative to the cathedral’s royal coronation heritage.
Arrived at Munson's and saw this Osprey just minding its business and had sn ominous flyover...
Munson's Pond, Kelowna, BC. July 26, 2026
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