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I know this shot looks kinda silly, but I quite like it (mainly because it's dark and stuff...)
ENGLISH
Generously applied multi-color prints on front and back
Long-lasting durable wash resistant bold color quality (Silkscreen)
100% high grade cotton in heavy weight for comfortable fit
High Definition print pattern (HD)
Glow in the dark
Front-back screen
High Quality COTTON 100%
T-shirt is pre-shrunk
NO shrinking
No color fade problem
Quality in sewing
No side seams
ESPAÑOL
Impresiones multicolores aplicadas generosamente en la parte delantera y trasera
Calidad de color brilante, duradera, resistente al lavado (serigrafía)
100% algodón de alta calidad de gran peso para un ajuste cómodo
Patrón de impresión de alta definición (HD)
Brillan en la oscuridad - fluorescente
Pantalla frontal-trasera
ALGODÓN 100% de alta calidad
La camiseta está pre-encogida
SIN encogimiento
No hay problema de decoloración del color
Calidad en la costura
Sin costuras laterales
ITALIANO
Stampe multicolori applicate generosamente davanti e dietro
Qualità del colore brillante, durevole e resistente ai lavaggi (serigrafia)
100% cotone pesante di alta qualità per una vestibilità comoda
Modello di stampa Alta definizione (HD)
Florescente
Disegno avanti e dietro
100% COTONE di alta qualità
La maglia è pre-ristretta
NON restringe
Nessun sbiadimento del colore
Cuciture di qualità
Senza cuciture laterali
This CreativeMornings/NewYork event was generously hosted by the The Invisible Dog Art Center.
Our speaker was Liz Jackson.
This event was sponsored by MailChimp, Adobe, WordPress, Ueno, The Invisible Dog Art Center, Tag Prints, and Irving Farm.
All photos by Paul Jun | Instagram: @pauljunbear
The Capital Grille at Time-Life Building for The Generous Pour Summer Wine Event Press Preview
One of their few private dining rooms in this restaurant
© 2011 Tina Wong; The Wandering Eater. All Rights Reserved. Images may not be reproduced, copied, or used in any way without written permission.
This CreativeMornings/BER event was generously hosted by Ahoy! Berlin.
Meike Nittel was our speaker.
The event was sponsored by Monotype, MailChimp, and Adobe
All photos by Norman Posselt.
On Saturday, 3 February 2018 Veronica-Clibborn Dyer generously invited RAS members to visit her beautiful garden and adjacent buildings with Kwun Yam and Shing Wong Temples and a small museum of local field and lifestyle artifacts including deity ceramics.
In 1996, Veronica Clibborn-Dyer and her late husband Ron, formerly a HK policeman, discovered a run-down property in the hills above Nam Chung in HK’s far north-east, overlooking Starling Inlet. Some good detective work and the lucky find of a scrap of paper with a UK phone number on it enabled them to finally identify the owner and background of the building and eventually an arrangement was established whereby they became live-in caretakers of the property. This involved years of hard labour by Ron and Veronica, clearing out a lot of old rubbish, since the place had been a refuge for women, mostly retired amahs who had nowhere else to go once their working lives were over. As well as cleaning up the property to make a home and conserve the place, Veronica and Ron created the most wonderful garden in the terraced grounds. With its beauty and charm, plus its position amid some of HK’s most stunning scenery, their Temple of Peace and Tranquility is truly a special and unique place.
At the top of the nearby hill is a pavillion dedicated to the memory of Sir Edward Youde, Governor of Hong Kong from 198 to 1986. From this viewing point there are views of Sha Tau Kok, Starling Inlet and the Yantian district of Shenzhen in mainland China.
Season of Generosity Event on Saturday, November 3, 2018.
This year during the First Baptist Church of Elkhart's
Season of Generosity, they decided instead of funding
a worthy cause, they would give of themselves; they wanted
to do something to help the community. They chose to give service to the Town of Bristol
by cleaning gravestones and raking leaves at Bristol's Oak Ridge Cemetery.
Bristol Town Manager Michael Mitchell wrote: "Fantastic morning with dozens
of volunteers. Thank you so much for your time and energy to make Bristol
a great community. It was an honor to work with such caring people."
Photos provided by Cathy Burke.
A Hare Krishna devotee collecting donations from generous passers-by and devotees of the Kuan Yin temple.
This ‘Genius’ themed CreativeMornings/SP event was generously hosted by The Iron Yard with special support from Roundhouse Creative and Station House.
Suncoast Compost’s Paul Rabaut was our engaging and informative speaker.
The event was fueled by Black Crow Coffee.
Photo by Stephen Zane.
I just received the most generous and beautiful box of fan mail I've ever received from @erikvonerik. It's "fan mail", I think. I have fans, right?
Anyway...for no cost at all, I was sent these gorgeous vintage trick or treat bags and Halloween goodies, all the way from Tennessee. But as neat as they are, the best item in the lot was not vintage at all, rather, brand new. I believe I mentioned in a comment a while back how cool a painting that Erik did was. Never did I expect to see it in the mail. I have no idea where I'm going to put all this vintage Halloween junk, but I DO know where this gorgeous painting is going...right on my wall.
I can't thank you enough, Erik for the amazing gifts and the lovely message on the back of the painting (which Erik informs me was a piece of scrap wood in his grandfather's shed.) I am still confused and flattered every time someone compliments me for the art/music/videos I share and create, and this is no exception. The thought that just being myself has the ability to brighten someone's day...it's humbling. Thank you so much, Erik. Keep painting and creating your awesome art.
- Billy
This CreativeMornings/Melbourne was generously hosted by The Commons QV Space.
Courtney Holm was our speaker.
The event was sponsored by Billy Blue College of Design , St Ali
All photos by Mark Lobo Photography
This CreativeMornings/NewYork event was generously hosted by The William Vale.
Our speaker was Phil Toledano.
The event was sponsored by MailChimp, Shutterstock, FreshBooks, Adobe, and WordPress.
Coffee was generously donated by Irving Farm.
All photos by Paul Jun.
The idea emerged from the innovative minds of Sajal Tiwari & Himanshu Bisht, Entrepreneurial by mind and Generous by heart who are highly dedicated to bring something which will inspire young minds to think about the Rural India by participating in the development of Rural living standards, technology, global reach, education, employment, business and attractive culture. We aim to achieve our vision by showcasing the Rural India lifestyle to the internet with several media platforms.
So some of you who follow me on Twitter may have seen the tweet that said my camera broke. Right before I'm heading up to Duluth for a Very Important shoot. Awesome luck, I know. I was able to MacGyver my camera back into use, but my dear friend Stacy insisted that I borrow her beautiful D300 to take as backup should anything go wrong. And man, is this a lovely camera. What a friend.
I owe her big time.And fingers crossed on the Tuesday shoot, btw. It should be tons of fun.
*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*
You can follow the adventure here:
Facebook | Instagram | Twitter
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___________________________________________________
Press L & F11, to see better
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Fuji X-T1 23mm f1.4
Processed with Snapseed on iPhone 6s
This CreativeMornings/Oklahoma City event was generously presented by The Treasury, KLLR Coffee, Rise Coworking, Roast Scout, Clover Partners, Kyle Dillingham, Marianne's Rentals, and Lunar Music Supply.
Bek Barkocy was our speaker.
The event was sponsored by Adobe, MailChimp, Shutterstock and Wordpress.
All photos by Prints Charming Photography
This CreativeMornings/Honolulu event was generously hosted by Entrepreneurs Sandbox.
Seth Buckley was our speaker.
The event was globally sponsored by Adobe, MailChimp, and Wordpress.com.
The event was locally sponsored by Sakai and Co, Honolulu Coffee Company, Aesop, Ellemsee Media, The Box Jelly, Candela Hawaii, HONBLUE,
AIGA Honolulu, and , and Art and Flea.
All photos by Megan Moura and Krstyn Yata.
Our new facility in Claremont, NH has 6 newly furnished bedrooms thanks to The Lebanon Elks Lodge #2009 and The New Hampshire National Veterans Service Commission of New Hampshire State Elks who raised more than $4,000 for furniture. Bridgman's Furniture of Lebanon delivered the furniture and generously donated 2 new nightstands. Thanks to you all 6 homeless veterans will know they can sleep comfortably in their new home.
I was asked to photograph an acoustic gig at the Generous Briton in Loughborough and jumped at the chance to photograph some musicians under coloured lighting and experiment with the images.
Thank you for taking the time to take a look at my photographs
The word of 2013 is selfie, and Generosity wanted to show off his favorite holiday versions.
Generosity is The Greater Cincinnati Foundation's 50th Anniversary mascot. Follow his journey at www.gcfdn.org/at50. #gcf50
ENGLISH
Generously applied multi-color prints on front and back
Long-lasting durable wash resistant bold color quality (Silkscreen)
100% high grade cotton in heavy weight for comfortable fit
High Definition print pattern (HD)
Glow in the dark
Front-back screen
High Quality COTTON 100%
T-shirt is pre-shrunk
NO shrinking
No color fade problem
Quality in sewing
No side seams
ESPAÑOL
Impresiones multicolores aplicadas generosamente en la parte delantera y trasera
Calidad de color brilante, duradera, resistente al lavado (serigrafía)
100% algodón de alta calidad de gran peso para un ajuste cómodo
Patrón de impresión de alta definición (HD)
Brillan en la oscuridad - fluorescente
Pantalla frontal-trasera
ALGODÓN 100% de alta calidad
La camiseta está pre-encogida
SIN encogimiento
No hay problema de decoloración del color
Calidad en la costura
Sin costuras laterales
ITALIANO
Stampe multicolori applicate generosamente davanti e dietro
Qualità del colore brillante, durevole e resistente ai lavaggi (serigrafia)
100% cotone pesante di alta qualità per una vestibilità comoda
Modello di stampa Alta definizione (HD)
Florescente
Disegno avanti e dietro
100% COTONE di alta qualità
La maglia è pre-ristretta
NON restringe
Nessun sbiadimento del colore
Cuciture di qualità
Senza cuciture laterali
The plaque reads: In tribute to the outstanding support and generosity of the late Sir Donald von Bibra, in the restoration of this church's steeple and in recognition of all who contributed to this project. Fr L B Kirkham, PP.
Our Lady of the Sacred Heart Catholic Church, Ross, Central Tasmania.
The generosity of the companies in Guernsey really came to the forefront with the building of this magnificent sports complex
On August 7th, I was generously invited to join Donna Virgilio's Goddess Tour of Tintagel-Corwall. She was also a participant at the 2019 Sun Lover Goddess Conference in Glastonbury before having a group join her from the U.S. and Canada.
After a breakfast stop, we headed to Nectan's Falls, Boscastle, and Tintagel, where we spent time in King Arthur's Great Hall and Merlin's Cave on the beach below Tintagel Castle.
* "St. Nectan's 60-feet waterfall is reputed to be one of the top 10 spiritual sites in England. St. Nectan was a hermit who gave his name to the glen and. waterfall. Although, according to some sources, the name is a Christianized form of the Cornish water-god Nectan. The keive was seen as a potent Pagan symbol of Gaia and has been a place of reverence since before Christ. St. Nectan was said to have lived here and reputedly lies buried under the stone of the basin."
* Tintagel Castle is said to be the birth place of King Arthur.
After staring at me and smiling, the charming little girl came over and gave us two pieces of her Taiwanese candy
BE GENEROUS. (08.09.2021)
“Sometimes just a little compliment can make someone’s entire day”.
Principal’s Message:
Compliments stimulate more effort and desire to improve. Every word the right one and exactly where it should be that is basically the highest compliments we can give. The true beauty of a bride lies in the eyes of the groom. Compliments win friends, honesty uses them, compliments are the helium that fills everyone’s balloon; they elevate the person receiving them so he or she can fly over life’s troubles and land safely on the other side. We should love ourselves or we will never be able to accept compliments from anyone. Insults should be written in sand, compliments should be carved in stone. True humility is being able to accept criticisms as graciously as we accept compliments. Compliment people where ever they go, praise every single thing they see. Be a ray of sunshine to everyone they meet.
A complement is a high dose of positivity which helps people feel good. We must learn something and do something new. Everybody likes a compliment. Having a smile on our face is a good compliment to life. But putting a smile on other’s face by our efforts is the best compliment to life.
Let us always remember that compliment people magnify their strengths, not their weakness.
Sunday Morning - 1860
Asher Brown Durand (American, 1796 - 1886)
“Sunday Morning” was commissioned by the important Baltimore collector William T. Walters, who generously permitted Durand to exhibit the painting before he had even seen it. The debut showing of Sunday Morning at the 1860 National Academy annual elicited general approbation in the press. One writer found “infinite satisfaction” in the work: “One is inevitably carried back to the experience of childhood, when the Sabbath was a day of delicious quiet. There is the same picturesque bridge that spanned the gurgling stream, the meeting-house crowns the summit of the gentle hill, the plough is left in the furrow, the sheep have sought in the shade protection from a summer sun.”
Almost invariably, Durand chose a pastoral mode for his landscapes; he had a penchant for painting sunlit, verdant summer climes. He voiced this preference while addressing the “prejudice against green pictures”: I "cannot persuade” myself, he wrote, that “the sunny green of summer . . . is not beautiful, being, as it is, the first witness of organic life in the creation, the universal sign of unimpeded and healthy action; and, above all, the chosen color of creative Love for the earth’s chief decoration.”How suitable an environment, one might at first conclude, for the distant hilltop church and the members of its congregation walking to Sunday services, passing a cross along the way.
Widespread at the time, of course, was the conviction that nature, “apart from its wondrous structure and functions that minister to our well-being,” was “fraught with lessons of high and holy meaning.” Even more pointed, with respect to “Sunday Morning”, is Durand’s often quoted remarks on his habit of passing the Sabbath in communion with nature rather than attending church indoors. While the New Britain picture offers both experiences to the viewer, it is largely given over to the lush, verdant environs of the church, which are laid out for the viewer’s spiritual delectation. One can only imagine the worship service about to begin moreover, at a great distance. The churchgoers, in turn, seem distant from the natural setting of which the viewer is so much a part, an aspect noted by a contemporary critic.
Durand took care to embellish his scene with imagery associated with a state of quiet reverence. In the right foreground a plow sits in a furrow and six sheep rest from their grazing. The river in the middle distance is mirror smooth. Indeed, the sheep lying down in their hillside pasture and the stilled water surface effectively evoke Psalm 23 “ The Lord is My Shepard”. Durand’s friend and fellow artist Daniel Huntington put it well when he characterized “Sunday Morning” as “a poem, suggesting to the mind that stillness and feeling of sacred rest which is often experienced on a calm Sunday morning in a beautiful country.”
Among Durand’s located works, two other paintings portray the theme taken up in “Sunday Morning”, interpolating the “lessons of high and holy meaning” in nature with those taught in church. A more domesticated but equally verdant locale serves as a setting for an earlier “Sunday Morning” (1839; New-York Historical Society), which, like the New Britain version, depicts worshipers on a country road leading to a church tucked amidst trees in the middle distance. A more mature and thoughtful variation on the theme can be found in the arched, vertical composition “Early Morning at Cold Spring” (1850; Montclair Art Museum, N.J.). This work, referred to as “Sabbath Bells” in the nineteenth century, was accompanied in the exhibition pamphlet by a poem by William Cullen Bryant when it was shown in 1850 at the National Academy: “O’er the clear still water swells / The music of Sabbath bells.” Here, a lone gentleman silhouetted against a high-keyed water surface contemplates a church in the middle distance, once again nestled among trees in full summer foliage. Minuscule figures walk to Sunday worship, while our thoughtful gentleman stands in the embrace of a foreground coulisse of trees, a construct Durand frequently used that can suggest a natural “cathedral," especially in an upright, arched composition. These trees provide an aperture through which the viewer takes in the scene.
The New Britain “Sunday Morning”, though employing a horizontal format, also features an enframing aperture, formed by coulisse arrangements of land forms, trees, plants, shrubbery, and rocks at the far left and right. It is one of the few “aperture compositions” in a horizontal format in Durand’s oeuvre. Overall, “Sunday Morning” is cast in the pastoral mode Durand so favored. It is enriched with the earthy irregularity of the picturesque, especially in the foreground. A vaguely classicizing, or Claudian, layout opens up beyond the foreground imagery. Typical are the formulaic steps back into space classically contained at the left and right by those coulisse constructs and in the middle and far distance by the bridge, the shadowy riverbank, the hills, and horizon line beyond.
Even before his trip abroad, Durand, instructed by prints, had begun experimenting with a type of landscape handed down to later generations by the seventeenth-century French landscapist Claude Lorrain, though he did not have an opportunity to study Claude firsthand until he arrived in Europe. There, he also was able to see the work of John Constable, J. M. W. Turner, and the work of other English landscape painters at a time when the aesthetics of the Sublime, the Beautiful, and the Picturesque were still observed. The pastoral landscape was a mode that aestheticians had traditionally classified as Beautiful. More often than not, Durand embellished it with picturesqueness and frequently structured it within a loosely translated Claudian framework, creating, then, an amalgam drawn from various precedents, an amalgam represented in the New Britain “Sunday Morning”.
Despite the Englishness of the bridge and of the Gothic-style country church, “Sunday Morning” was described by the artist's son as “an ideal of American scenery.” Gothic Revival architecture had been popular in America beginning in the 1840s and even churches in rural areas were built in the style. Then, too, perhaps Durand was recalling a hamlet he had sketched during a stop in England. The scenery in “Sunday Morning” is, indeed, too generalized to permit the identification of a specific site. As a reviewer noted in 1860, “The traveler who has resided in the Old World, and studied the rocks and trees of the New, will perceive in this agreeable picture a little English, Italian, and American scenery tastefully combined.” Indeed, Durand rarely specified sites in his titles or in information accompanying exhibitions.
“Sunday Morning” was not only well received by the press but was also included D. O. C. Townley's list of sixteen Durand paintings that “attracted the most attention” when they were exhibited and for which the artist “received the highest prices.” Durand's son John considered “Sunday Morning” the culmination of his father’s ability. As Jonathan Sturges wrote to Durand, ”We have no other artist who could paint it.”
Asher B. Durand is best known as a first-generation Hudson River School painter, a place in the annals of American art that he shares with Thomas Cole, considered the father of the movement. Before turning to landscape painting, Durand pursued a successful career as an engraver. As he first became involved with painting, he worked with a number of subjects other than landscape, including portraiture, genre, and mythological, biblical, and literary themes. Even his landscape oeuvre is varied. Certainly inspired in great part by Cole, Durand experimented with allegorical, historical, and literary landscape compositions, considered in many quarters, at least until mid-century, aesthetically superior to pure landscape views. In a completely different vein, he executed pioneering plein-air studies in oil; he was probably the first American landscapist to engage in this practice. The variety of Durand’s output notwithstanding, his reputation is primarily based on his lovingly naturalistic, carefully detailed, and highly finished landscape views, which are considered exemplary of the Hudson River School style.
Durand was born and raised on a farm in Jefferson Village (later Maplewood), New Jersey. As a boy he was called upon to help his father, a sort of universal mechanic who augmented the family income with watch making and metalwork; his potential as an engraver was recognized at an early age. Following an apprenticeship with the Newark engraver Peter Maverick from 1812 to 1817, Durand became a partner, taking charge of the branch of the Maverick firm.
In 1820 John Trumbull, also in New York at the time, recognized Durand’s superior abilities as an engraver and asked him to reproduce his “Declaration of Independence”, prompting Maverick to dissolve the partnership. Upon completion of the work in 1823, Durand’s stature as an independent engraver was assured. He worked as an engraver until 1835, executing illustrations for gift books and annuals, countless banknote designs, and numerous portraits of clergymen, statesmen, and other notables. Attesting to his success, he was able to build a house for himself and his family in New York in 1827. He had married Lucy Baldwin of Bloomfield, New Jersey, in 1821, and by 1827 they had three children. The eldest, John, would be his father’s biographer.
Durand’s activity in the New York art world was impressive. In late 1825 he was instrumental in organizing the New York Drawing Association, which was renamed the National Academy of Design the following year. He subsequently served as the institution's recording and corresponding secretary, vice-president, and president (1845-61). He was also among the founders of the Sketch Club, later the Century Association.
Durand curtailed his engraving activity in the early 1830s; it is no coincidence that at this time his exhibits at the National Academy included engravings after his own designs as well as portraits in oil. In 1834 Luman Reed, notable for his generous patronage of American artists, among them Cole, supported Durand’s aspirations as a painter with commissions for several portraits as well as a literary and a genre scene. Durand’s career as a painter was launched. While the late 1820s and the early 1830s were witness to his continuing success in his first profession as a new one opened before him, these years also brought tragedy: after losing his firstborn daughter to illness in 1826, his wife passed away in 1830. She had given birth to their fourth child in 1829.
In 1837 Durand and his new wife, Mary Frank, whom he married in 1834 and with whom he would have two more children, joined the Coles on an excursion to Schroon Lake in the Adirondacks. The experience figured in Durand’s decision to become a landscape painter. The following year he exhibited nine landscapes at the National Academy. In 1840 Jonathan Sturges, business partner and son-in-law to Luman Reed, who had died in 1836, loaned Durand the money to travel abroad to sketch the scenery and see the sites but most important to get acquainted with the work of European artists, especially the Old Masters. Durand sailed in June 1840 with three artist friends John Casilaer, John F. Kensett, and Thomas Rossiter. His tour included London and other places in England, the Netherlands, Paris, Germany, Switzerland, and Northern Italy on his way to Rome. After wintering in Rome, where he set up a studio, he retraced his steps to England and returned to New York the following summer.
Durand, by now an indefatigable traveler, explored the Hudson River Valley in 1838 and toured a good deal of New England with Cole the following year. Indeed, until 1877, when, at the age of eighty-one he made his last trip to the Adirondacks, he went off virtually every season to sketch and paint in various locales. He visited the Adirondacks the most often and repeatedly toured the Hudson River and Catskill regions as well as Vermont, New Hampshire, and Maine. These trips yielded a steady production of Hudson River School landscapes as well as plein-air studies that he regularly exhibited at the National Academy and elsewhere to a receptive public, press, and circle of collectors.
In 1869 Durand, now a widower for the second time, returned to New Jersey and built a house on family property in Maplewood. It was there that he spent his remaining years, painting and exhibiting into the 1870s and, as long as health and age permitted, making his sketching excursions. His friends and colleagues in New York hardly forgot him, and in a memorable expression of their esteem a congregation of some twenty of them and their wives honored him with a surprise visit in June 1872, bringing food, drink, and conviviality. The occasion was a fitting testament to Durand’s leadership of the Hudson River School, a position he assumed after Cole's death in 1848, to his years of service to the National Academy, to his active participation in the New York art world, and most important, to his tireless devotion to landscape painting.
ink.nbmaa.org/people/473/asher-brown-durand
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"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
This CreativeMornings/Chicago event was generously hosted by Threadless
Katherine Nagasawa was our speaker.
The event was sponsored by
and
Photo by Chris Gallevo
This CreativeMornings/NewYork event was generously hosted by 501 Union.
Our speakers for Audience Takes the Stage were Magogodi oaMphela Makhene, Ariel Coello, and Sally Rumble.
This event was sponsored by Mailchimp, Adobe, WordPress, and Harvest.
All photos by Tory Williams.
This CreativeMornings/Raleigh event was generously hosted by Durham’s Motorco Music Hall.
Pan II Creative’s Founder Napoleon Wright II was our speaker.
The event was sponsored by Counter Culture Coffee, Hamilton Hill Jewelry, CompostNow, Rise, and North Carolina Modernist Houses.
All photos by Phillip "King Phill" Loken.
This CreativeMornings/NewYork event was generously hosted by 501 Union.
Our speakers for Audience Takes the Stage were Magogodi oaMphela Makhene, Ariel Coello, and Sally Rumble.
This event was sponsored by Mailchimp, Adobe, WordPress, and Harvest.
All photos by Tory Williams.