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A few more images from the shoot I did with Hal.
Jan '09
©Jessica Newell. Not to be used without permission
HAL Pushpak was a light utility aircraft built by HAL Bangalore to meet the requirements of Indian Flying Clubs.
Illustration It’s Good to be Bad with the Disney Villains, Evil Queen Grimhilde during the journey in Disneyland Paris on 25th October, 2015 ( Photo by JO/ED92 )
Idea meeting table with white top finish & Light Aluminium Group cantilever meeting chairs in black leather
Moritzburg, Friedemann-Bach-Platz 5, 06108 Halle (Saale), F.R.G. 13/44
Karl Schmidt-Rottluff (Dec. 1st 1884 - Aug. 10th 1976), Mosaic (Glazed Claystone)
this "palace of wind" was only used by the king's wives back when they still had to live in "purdah" (separated from the outside world). their only connection was to peak through the tiny windows.
Alexandre Calame - Swiss, 1810 - 1864
Swiss Landscape, c. 1830
West Building, Main Floor — Gallery 91
We look out over a patchwork of cultivated fields that slope down to our right and back to an ice-blue lake in this nearly square landscape painting. Rectangular fields fill the lower half of the composition in fern green, caramel brown, and golden tan. Sage-colored trees and bushes with dark brown trunks and branches separate the strip of grassy earth closest to us from the fields just beyond, and are scattered like tufts through the landscape. A rocky, slate-gray mountain brushed with lime-green trees that rises along the left edge of the canvas curves around a wedge of the arctic-blue lake. A few wispy cream-white clouds line the horizon, which comes about halfway up the composition.
Best known for his large-scale, dramatic Alpine scenes that depict nature at its most sublime, Alexandre Calame was considered the leading Swiss landscape painter of the 19th century. Born in Vevey, Switzerland, on the banks of Lake Geneva, in 1810, Calame was deeply committed to his native landscape. As a devout Calvinist, he saw his subjects as expressions of the divine. He was also associated with the Düsseldorf school of painting that advocated working en plein air.
Calame began his artistic career hand coloring engraved landscapes, which he sold to a thriving tourist industry. In his spare time, he drew small views of the Swiss landscape. In 1829, the 19-year-old artist met his patron, the banker Jacques Amedée Diodati, who, recognizing the boy’s talent, provided the means for him to study with François Diday (1802–1877), a prominent Swiss landscape painter. Along with his mentor Diday, Calame’s name became synonymous with the then-fashionable Swiss Alpine genre. His works were exhibited, collected, and prized among discerning collectors.
In Swiss Landscape, Calame plays against the very conventions upon which he based his career. In lieu of dramatic vistas of the Alps with snowcapped peaks, he presents a quieter view of the Swiss landscape: idyllic and picturesque rather than sublime, inhabited and tamed by people rather than denying their very presence. The overall effect is inviting and soothing rather than forbidding and awe inspiring.
Among the fields, in varying degrees of cultivation, is a group of harvesters and a cart laden with freshly mown hay behind them. There is a strongly geometric quality to the landscape, neat and orderly with a patchwork of greens and golds like a handmade quilt. This geometry is echoed in the mountains and lake that have been simplified, abstracted down into shapes formed of color. In this painting, Calame does not celebrate the power of nature, but rather its quiet, subtle beauty bathed in a gentle radiance.
Despite the popularity and demand for his work, Calame, like many artists of his generation, kept paintings that were never intended for the public in his studio. A year after his death in 1864, the contents of his studio were sold at auction. The sale consisted of nearly 500 paintings and studies, as well as more than 100 watercolors and drawings. We can imagine Swiss Landscape as one of those works. An intimate and private painting, unusual in both scale and subject, it is a personal tribute to the place that he held in such esteem throughout his career.
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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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