View allAll Photos Tagged foreshadowing
The evening sun casts long shadows, giving me a glimpse of what my little boy will someday grow to be. Here, he is picking weeds from the planter by our mailbox...Carefully, because stickers hurt when you are not wearing gloves.
caterpillarsteps.my-expressions.com/archives/8177_1366932...
Foreshadow
Homeworks (Old Habitat For Humanity Building)
Champaign, Illinois
Unknown Date of Construction
Unknown Architect
Parker Brock
2nd Year Grad, Architecture
"Because you don't drink" Fast forward two hours and Ted is knocking back Gin Sours with Mick to the shock of us all. Well played, Ted. Well played. We knew there was a boozer in there somewhere. Now who has bail money to get him out?
A few snaps from the Nordic Race in Aarhus - some kind of steeple chase. A friend was running, so I tried to find high ground...
Just two months before CP and KCS would "merge" B231 heads north with a CP rebuild, a KCS Gevo, and an NS rebuild. This would be the only time I saw CP and KCS on the same train before the merger.
HIDE AND SEEK
William Merritt Chase
( 1888 )
When Chase returned to New York in 1878 from his studies abroad, he was armed with the dark palette and bravura brushwork of the Munich school. Yet he remained receptive to other influences. By 1886 his work began to show the effects of plein-air painting, a technique he had practiced in Holland as early as 1880, but which he would not take up again until several years later, at Shinnecock, New York, where he produced many impressionist paintings. Hide and Seek is a transitional work: while its dark colors place it well within the tradition of the Munich school, its broken brushwork and the suggestion of a fleeting moment in time captured by light, foreshadow the landscapes that comprise Chase’s mature style.
In this work, Chase focuses on a familiar late nineteenth-century theme of children at play. Usually noted for his lavish and exotic interiors, in Hide and Seek Chase emphasized economy of object and understatement of color, creating a composition that is at once radical and mysterious. Only four objects are included—a chair, a picture or mirror frame, an oriental curtain, and the door jamb or curtain behind which a young girl is hiding while she watches her playmate. We are drawn by the rapt attention of this child while at the same time, our eye moves to the second child, delicately positioned on the diagonal, illuminated by a sliver of light coming from behind the curtain.
Two influences, Japonisme, a style of painting influenced by Japanese aesthetics, and photography, converge in this painting. In the spirit of Japonisme—perhaps inspired by his friend Whistler—Chase has decentralized the picture, raised the horizon line, and defied the laws of gravity. The picture or mirror on the wall slides upward beyond the canvas edge, the empty chair floats unanchored, and the girl hovers before the light. The composition prefigures some of Chase’s later landscapes with their high horizon lines and uptilted foregrounds.
The influence of photography can be seen in the unusual cropping in the lower left corner and the surprising expanse of space that dominates this picture. Abandoning a traditional compositional scheme in favor of one that suggests the accidental moment, Chase adopted for himself photography’s intimacy and immediacy of expression. Chase owned photographs by Eadweard Muybridge, a pioneer in action photography, at the time this work was painted, affirming the artist’s interest in the new form. As it might be in a photograph, Chase’s cropped figure is sharply defined; the rest of the painting is slightly out of focus. At this time, too, many artists were concerned with issues of perception and the tensions between what is seen and what is unseen, for example, the light source, veiled by the curtain. The title itself—Hide and Seek—calls attention to this interchange, which is played out in the composition.
_______________________
Founded by art collector and philanthropist Duncan Phillips in 1921, The Phillips Collection has been collecting modern and contemporary art for over one hundred years. Duncan Phillips’s former home—and additions to it—in Washington’s historic Dupont Circle neighborhood provides a unique setting for the growing collection of over 6,000 works. Following Phillips’s unconventional approach to exhibitions, The Phillips Collection galleries are frequently rearranged to facilitate new conversations between artworks and fresh experiences for visitors.
HISTORY
“Sorrow all but overwhelmed me,” Duncan Phillips wrote. “Then I turned to my love of painting for the will to live.”
Duncan Phillips (1886-1966) was the son of Major Duncan Clinch Phillips, a Pittsburgh businessman and Civil War veteran, and Eliza Laughlin Phillips, whose father was a banker and co-founder of Jones and Laughlin Steel Company. The family moved to Washington, DC, in winter 1895-96.
Duncan was close to his older brother, Jim; Jim postponed attending college for two years so that he and Duncan could attend Yale University together. The brothers moved from DC to an apartment in New York in 1914. Duncan wrote extensively on art and published his first book, The Enchantment of Art, in 1914. Duncan’s passion for art was fueled by trips to Europe in 1911 and 1912 and visits to the Corcoran Gallery of Art in Washington and the Metropolitan Museum of Art, along with friendships in New York with artists Augustus Vincent Tack, who became a lifelong friend, and American impressionist painter Julian Alden Weir. In 1916 the brothers convinced their parents to set aside $10,000 annually to allow them to assemble a collection of contemporary American painting for the family.
Soon after, tragedy struck the Phillips family. Major Duncan Phillips died suddenly in 1917 from a heart condition and James died from the flu epidemic in 1918. To cope with these stunning blows, Duncan turned to the restorative quality of art. “Sorrow all but overwhelmed me,” he later wrote. “Then I turned to my love of painting for the will to live.” He and his mother founded the museum in late 1918. It was originally called the Phillips Memorial Art Gallery, and opened it to the public in fall of 1921. In a specially designed room added onto the second floor of the family home, they showed selections from their growing 237-work collection that now included examples by European artists, reflecting Duncan Phillips’s pioneering idea of creating a museum in the nation’s capital where one could encounter the art of the past and the present on equal terms. As the collection grew, the family moved out of their Dupont Circle home to a new residence in 1930, allowing the entire house to become a dedicated space for the museum.
Duncan Phillips married painter Marjorie Acker (1894-1985) in 1921, shortly before the museum opened, and she became his partner in developing The Phillips Collection. Born in Bourbon, Indiana, and raised in New York State, she was encouraged by her uncles―painters Gifford and Reynolds Beal―to pursue art; she studied at the Art Students League in New York City. Duncan and Marjorie met at an exhibition of his collection at The Century Club in New York in late 1920. After they were married, Marjorie painted almost every morning, ran the household, and served as Associate Director of the museum. She helped him gain insight into the artist’s process, and over the course of their lifetime together they collected nearly 2,500 works of art. When Duncan died in 1966, Marjorie became the museum director, continuing to develop close relationships with artists and the artistic community of DC. She held that position for six years.
From the outset, the vision for The Phillips Collection was “an intimate museum combined with an experiment station.” As a collector, Duncan Phillips was noted for his willingness to deviate from the art museum standard of displaying works together based on shared nationality and geography, interpreting modernism as a dialogue between past and present. He collected the work of his contemporaries at a time when art that did not follow traditional, academic standards was not widely accepted as aesthetically and culturally valuable. This philosophy of taking risks allowed for Phillips to be the first to collect and exhibit artists who were not well known at the time, such as Milton Avery, Pierre Bonnard, Georges Braque, Jacob Lawrence, Grandma Moses, Georgia O’Keeffe, and Rufino Tamayo.
www.flickr.com/photos/ugardener/54812157486/in/dateposted/
www.youtube.com/@PhillipsArtMuseum
www.cntraveler.com/activities/washington/phillips-collection
....
Artista: The Foreshadowing
Evento: Summer Breeze Festival
Fotografo: Enrico Dal Boni
Data: 20 agosto 2010
Città: Dinkelsbuhl - Germania
#dystopia #wasteland #apocalypse #nightmare #sci-fi #moody #darkness #psychological #malevolent #menacing #menace #malice #brooding #forboding #foreshadowing #Kafkaesque #daunting #intimidating #futuristic #controlling #militaristic #solemn #drab #lifeless #constraining #somber #wrecked #trashed #ruined #ruins #danger #dangerous #threatening #dissolute #hopeless #totalitarian #反乌托邦 #反烏托邦 #暗黒郷 #디스토피아 #антиутопия #антыўтопія #дистопија #dystopia #dystopi #distopi #distopía #dystopie #distopie #dystópíu #distopija #diostóip #disztópia #dystopiya #idystopia #դիստոպիա #డిస్టోపియా #โทเปีย #ডিষ্টোপিয়া #डिस्टोपिया #डिस्टोपिया #டிஸ்டோபியா #ડાયસ્ટોપિયા #ಡಿಸ್ಟೋಪಿಯಾ #ឌីស្តូបៀ #ഡിസ്റ്റോപ്പിയ #дистопия #डिस्टोपिया #антиутопія #претња #menace #威胁 #威脅 #হুমকি #hrozba #Bedrohung #amenaza #угроза #脅威 #위협 #bedreiging #dreiging #kërcënim #սպառնալիք #təhlükə #bagabagali #prijetnja #пагроза #заплаха #amenaça #minaccia #prijetnja #pagbabanta #მუქარა #barazana #hooweliweli #खतरा #fenyegetés #veszély #ancaman #ಬೆದರಿಕೆ #қауіп #ការគំរាមកំហែង #ຂົ່ມຂູ່ #Gresmė #закана #theddida #whakatuma #खतरा #tšhošetšo #ବିପଦ #groźba #ਖਤਰਾ #amenaza #ameninţare #धमकी #njodzi #උවදුර #grožnja #tishio #таҳдид #அச்சுறுத்தல் #куркыныч #ముప్పు #ภัยคุกคาม #tehdit #bygythiad #ingozi #danger #naniizaanad #maleewinaakat #maleew #náhádzid #Yíiyáh #CITY #community #urban #venue #civic #civil #metropolis #town #cosmopolitan #城市 #stad #ville #Stadt #πόλη #città #都市 #도시 #cidade #город #ciudad #thànhphố #город #Сити #qytet #քաղաք #şəhər #শহর নগর #ciutat #varoš #město #linn #kesklinn #lungsod #siyudad #kaupunki #cidade #ქალაქი #μεγαλούπολη #શહેર #lavil #शहर #város #kota #municipalità #urbano #ನಗರ #ນະຄອນ #pilsēta #miestas #градот #bandar #miasto #município #oraș #mesto #mestský #storstad #நகரம் #నగరం #เมือง #şehir #місто #ddinas
Artista: The Foreshadowing
Evento: Summer Breeze Festival
Fotografo: Enrico Dal Boni
Data: 20 agosto 2010
Città: Dinkelsbuhl - Germania
Artista: The Foreshadowing
Evento: Summer Breeze Festival
Fotografo: Enrico Dal Boni
Data: 20 agosto 2010
Città: Dinkelsbuhl - Germania
This is great foreshadowing. This was just about exactly one year ago today (May 17, 2007) and It was between May 15-19 2006 and we were in NYC. I'm moving there in August!
HIDE AND SEEK
William Merritt Chase
( 1888 )
When Chase returned to New York in 1878 from his studies abroad, he was armed with the dark palette and bravura brushwork of the Munich school. Yet he remained receptive to other influences. By 1886 his work began to show the effects of plein-air painting, a technique he had practiced in Holland as early as 1880, but which he would not take up again until several years later, at Shinnecock, New York, where he produced many impressionist paintings. Hide and Seek is a transitional work: while its dark colors place it well within the tradition of the Munich school, its broken brushwork and the suggestion of a fleeting moment in time captured by light, foreshadow the landscapes that comprise Chase’s mature style.
In this work, Chase focuses on a familiar late nineteenth-century theme of children at play. Usually noted for his lavish and exotic interiors, in Hide and Seek Chase emphasized economy of object and understatement of color, creating a composition that is at once radical and mysterious. Only four objects are included—a chair, a picture or mirror frame, an oriental curtain, and the door jamb or curtain behind which a young girl is hiding while she watches her playmate. We are drawn by the rapt attention of this child while at the same time, our eye moves to the second child, delicately positioned on the diagonal, illuminated by a sliver of light coming from behind the curtain.
Two influences, Japonisme, a style of painting influenced by Japanese aesthetics, and photography, converge in this painting. In the spirit of Japonisme—perhaps inspired by his friend Whistler—Chase has decentralized the picture, raised the horizon line, and defied the laws of gravity. The picture or mirror on the wall slides upward beyond the canvas edge, the empty chair floats unanchored, and the girl hovers before the light. The composition prefigures some of Chase’s later landscapes with their high horizon lines and uptilted foregrounds.
The influence of photography can be seen in the unusual cropping in the lower left corner and the surprising expanse of space that dominates this picture. Abandoning a traditional compositional scheme in favor of one that suggests the accidental moment, Chase adopted for himself photography’s intimacy and immediacy of expression. Chase owned photographs by Eadweard Muybridge, a pioneer in action photography, at the time this work was painted, affirming the artist’s interest in the new form. As it might be in a photograph, Chase’s cropped figure is sharply defined; the rest of the painting is slightly out of focus. At this time, too, many artists were concerned with issues of perception and the tensions between what is seen and what is unseen, for example, the light source, veiled by the curtain. The title itself—Hide and Seek—calls attention to this interchange, which is played out in the composition.
_______________________
Founded by art collector and philanthropist Duncan Phillips in 1921, The Phillips Collection has been collecting modern and contemporary art for over one hundred years. Duncan Phillips’s former home—and additions to it—in Washington’s historic Dupont Circle neighborhood provides a unique setting for the growing collection of over 6,000 works. Following Phillips’s unconventional approach to exhibitions, The Phillips Collection galleries are frequently rearranged to facilitate new conversations between artworks and fresh experiences for visitors.
HISTORY
“Sorrow all but overwhelmed me,” Duncan Phillips wrote. “Then I turned to my love of painting for the will to live.”
Duncan Phillips (1886-1966) was the son of Major Duncan Clinch Phillips, a Pittsburgh businessman and Civil War veteran, and Eliza Laughlin Phillips, whose father was a banker and co-founder of Jones and Laughlin Steel Company. The family moved to Washington, DC, in winter 1895-96.
Duncan was close to his older brother, Jim; Jim postponed attending college for two years so that he and Duncan could attend Yale University together. The brothers moved from DC to an apartment in New York in 1914. Duncan wrote extensively on art and published his first book, The Enchantment of Art, in 1914. Duncan’s passion for art was fueled by trips to Europe in 1911 and 1912 and visits to the Corcoran Gallery of Art in Washington and the Metropolitan Museum of Art, along with friendships in New York with artists Augustus Vincent Tack, who became a lifelong friend, and American impressionist painter Julian Alden Weir. In 1916 the brothers convinced their parents to set aside $10,000 annually to allow them to assemble a collection of contemporary American painting for the family.
Soon after, tragedy struck the Phillips family. Major Duncan Phillips died suddenly in 1917 from a heart condition and James died from the flu epidemic in 1918. To cope with these stunning blows, Duncan turned to the restorative quality of art. “Sorrow all but overwhelmed me,” he later wrote. “Then I turned to my love of painting for the will to live.” He and his mother founded the museum in late 1918. It was originally called the Phillips Memorial Art Gallery, and opened it to the public in fall of 1921. In a specially designed room added onto the second floor of the family home, they showed selections from their growing 237-work collection that now included examples by European artists, reflecting Duncan Phillips’s pioneering idea of creating a museum in the nation’s capital where one could encounter the art of the past and the present on equal terms. As the collection grew, the family moved out of their Dupont Circle home to a new residence in 1930, allowing the entire house to become a dedicated space for the museum.
Duncan Phillips married painter Marjorie Acker (1894-1985) in 1921, shortly before the museum opened, and she became his partner in developing The Phillips Collection. Born in Bourbon, Indiana, and raised in New York State, she was encouraged by her uncles―painters Gifford and Reynolds Beal―to pursue art; she studied at the Art Students League in New York City. Duncan and Marjorie met at an exhibition of his collection at The Century Club in New York in late 1920. After they were married, Marjorie painted almost every morning, ran the household, and served as Associate Director of the museum. She helped him gain insight into the artist’s process, and over the course of their lifetime together they collected nearly 2,500 works of art. When Duncan died in 1966, Marjorie became the museum director, continuing to develop close relationships with artists and the artistic community of DC. She held that position for six years.
From the outset, the vision for The Phillips Collection was “an intimate museum combined with an experiment station.” As a collector, Duncan Phillips was noted for his willingness to deviate from the art museum standard of displaying works together based on shared nationality and geography, interpreting modernism as a dialogue between past and present. He collected the work of his contemporaries at a time when art that did not follow traditional, academic standards was not widely accepted as aesthetically and culturally valuable. This philosophy of taking risks allowed for Phillips to be the first to collect and exhibit artists who were not well known at the time, such as Milton Avery, Pierre Bonnard, Georges Braque, Jacob Lawrence, Grandma Moses, Georgia O’Keeffe, and Rufino Tamayo.
www.flickr.com/photos/ugardener/54812157486/in/dateposted/
www.youtube.com/@PhillipsArtMuseum
www.cntraveler.com/activities/washington/phillips-collection
....
#dystopia #wasteland #apocalypse #nightmare #sci-fi #moody #darkness #psychological #malevolent #menacing #menace #malice #brooding #forboding #foreshadowing #Kafkaesque #daunting #intimidating #futuristic #controlling #militaristic #solemn #drab #lifeless #constraining #somber #wrecked #trashed #ruined #ruins #danger #dangerous #threatening #dissolute #hopeless #totalitarian #反乌托邦 #反烏托邦 #暗黒郷 #디스토피아 #антиутопия #антыўтопія #дистопија #dystopia #dystopi #distopi #distopía #dystopie #distopie #dystópíu #distopija #diostóip #disztópia #dystopiya #idystopia #դիստոպիա #డిస్టోపియా #โทเปีย #ডিষ্টোপিয়া #डिस्टोपिया #डिस्टोपिया #டிஸ்டோபியா #ડાયસ્ટોપિયા #ಡಿಸ್ಟೋಪಿಯಾ #ឌីស្តូបៀ #ഡിസ്റ്റോപ്പിയ #дистопия #डिस्टोपिया #антиутопія #претња #menace #威胁 #威脅 #হুমকি #hrozba #Bedrohung #amenaza #угроза #脅威 #위협 #bedreiging #dreiging #kërcënim #սպառնալիք #təhlükə #bagabagali #prijetnja #пагроза #заплаха #amenaça #minaccia #prijetnja #pagbabanta #მუქარა #barazana #hooweliweli #खतरा #fenyegetés #veszély #ancaman #ಬೆದರಿಕೆ #қауіп #ការគំរាមកំហែង #ຂົ່ມຂູ່ #Gresmė #закана #theddida #whakatuma #खतरा #tšhošetšo #ବିପଦ #groźba #ਖਤਰਾ #amenaza #ameninţare #धमकी #njodzi #උවදුර #grožnja #tishio #таҳдид #அச்சுறுத்தல் #куркыныч #ముప్పు #ภัยคุกคาม #tehdit #bygythiad #ingozi #danger #naniizaanad #maleewinaakat #maleew #náhádzid #Yíiyáh #CITY #community #urban #venue #civic #civil #metropolis #town #cosmopolitan #城市 #stad #ville #Stadt #πόλη #città #都市 #도시 #cidade #город #ciudad #thànhphố #город #Сити #qytet #քաղաք #şəhər #শহর নগর #ciutat #varoš #město #linn #kesklinn #lungsod #siyudad #kaupunki #cidade #ქალაქი #μεγαλούπολη #શહેર #lavil #शहर #város #kota #municipalità #urbano #ನಗರ #ນະຄອນ #pilsēta #miestas #градот #bandar #miasto #município #oraș #mesto #mestský #storstad #நகரம் #నగరం #เมือง #şehir #місто #ddinas