View allAll Photos Tagged harmonious
гала-концерт, фестиваль, эстрада, ДК имени Ленина, выступление, певец, патриотическая песня, белая рубашка, русский парень, артистическое исполнение, сценичный образ, музыкальное выступление, национальный герой, творческая индивидуальность, эмоциональное воздействие, выразительный вокал, молодёжный артист, национальная культура, песня о Родине, воодушевляющее выступление, гармоничный имидж, проникновенное исполнение, русская музыка, талантливое выступление, творческая вдохновенность, музыкальный талант, стойкое впечатление, эстетическое воздействие, музыкальное мастерство, национальная гордость, творческий темперамент
gala concert, festival, variety show, Lenin Cultural Center, performance, singer, patriotic song, white shirt, Russian guy, artistic performance, stage image, musical performance, national hero, creative personality, emotional impact, expressive vocal, youth artist, national culture, song about Motherland, inspiring performance, harmonious image, heartfelt performance, Russian music, talented performance, creative inspiration, musical talent, lasting impression, aesthetic impact
Ginkakuji Temple, a Zen temple, was established in 1482 by Ashikaga Yoshimasa, the eighth Muromachi Shogunate. Yoshimasa, following Kinkakuji Temple Kitayama den built by his grandfather Ashikaga Yoshimitsu, built villa Higashiyama den to spend his retired life. Ginkakuji is the common name, and formally it was called Higashiyama Hishoji, taking after Yoshimasa's posthumous title after his death.
Higashiyama den is the place where Higashiyama cultre formed mainly by Yoshimasa started, and is the start of modern life style of the Japanese. Even now, the combination of Higashiyama culture and Zen culture can be seen here.
Midsummer Shadows - 1911
Artist: Willard Leroy Metcalf (American, 1858–1925)
Called the "poet laureate of the New England Hills," Willard Leroy Metcalf depicts a tranquil and harmonious nature in his landscape paintings. Here, he focuses on the beauty of a shade-dappled dirt road in Plainfield, New Hampshire, where he and his new wife spent the late spring through early fall of 1911. The feeling of the open air is achieved by contrasts of pure color used in broken patches, the paint laid on thinly and smoothly. Created during a period of social transformation in American culture, works like Midsummer Shadows were much admired, perhaps because they served as nostalgic evocations of an Arcadian ideal that many Americans had come to associate with New England and its historic past. By the 1920s, however, Metcalf's highly personal and sincere response to nature came under attack from the twin assaults of the Ashcan School's American realism and European modernism, and his painting was soon forgotten. Beginning in the 1990s his work, along with that of his generation, has undergone revival and reappraisal.
--------------------------------
Yale University has been collecting American art for more than 250 years. In 1832 it erected the first art museum on a college campus in North America, with the intention of housing John Trumbull’s paintings of the American Revolution—including his iconic painting The Declaration of Independence, July 4, 1776—and close to 100 of his portraits of Revolutionary and Early Republic worthies. Since then, the collection of the Yale University Art Gallery has grown to include celebrated works of art from virtually every period in American history. Encompassing works like an exquisite 18th-century watercolor-on-ivory memorial portrait of a bride, paintings of the towering grandeur of the American West in the 19th century, and jazz-influenced abstractions of the early 20th century, the Gallery’s collection reflects the diversity and artistic ambitions of the nation.
Superb examples from a “who’s who” of American painters and sculptors—including works by Benjamin West, John Singleton Copley, Ralph Earl, Albert Bierstadt, Hiram Powers, Frederic Church, Frederick Remington, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, George Bellows, John Singer Sargent, Joseph Stella, Gerald Murphy, Eli Nadelman, Arthur Dove, Thomas Hart Benton, Edward Hopper, Alexander Calder, and Stuart Davis—bring the complex American story to life. Now these extraordinary works of art are in a new home—the elegantly restored galleries in Street Hall, the magnificent Ruskinian Gothic building designed in 1867 by Peter Bonnett Wight to be the first art school in America on a college campus. Rich in architectural detail and nobly proportioned, these breathtaking spaces allow the American collections to “breathe,” to present new visual alliances, and to create multiple artistic conversations. Under soaring skylights, the uniqueness of vision that generations of American artists brought to bear in the service of their art will be on full display.
.
artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
_______________________________________
Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
.
One other gorgeous venture from the architects of DJ Avicii’s house in Hollywood Hills – gifted studio McClean Design – makes us marvel how they discover the sources to assemble such vivid residential areas. Spreading over three,500 sq. toes, this new single household harmonious house...
www.stylishdecorideas.com/harmonious-house-with-fascinati...
Submerged in a Mesmerizing Dance: Stained glass fragments float mid-air, their vibrant colors crafting a captivating spectacle of harmonious chaos. This tableau, as if orchestrated by an unseen glass artisan, encapsulates the mesmerizing play of clashing hues.
Submerged in a Mesmerizing Dance: Stained glass fragments float mid-air, their vibrant colors crafting a captivating spectacle of harmonious chaos. This tableau, as if orchestrated by an unseen glass artisan, encapsulates the mesmerizing play of clashing hues.
Harmonious relations reigned between the fans. My mate Adam and myself celebrating a fine game of rugby.
Submerged in a Mesmerizing Dance: Stained glass fragments float mid-air, their vibrant colors crafting a captivating spectacle of harmonious chaos. This tableau, as if orchestrated by an unseen glass artisan, encapsulates the mesmerizing play of clashing hues.
Submerged in a Mesmerizing Dance: Stained glass fragments float mid-air, their vibrant colors crafting a captivating spectacle of harmonious chaos. This tableau, as if orchestrated by an unseen glass artisan, encapsulates the mesmerizing play of clashing hues.
Submerged in a Mesmerizing Dance: Stained glass fragments float mid-air, their vibrant colors crafting a captivating spectacle of harmonious chaos. This tableau, as if orchestrated by an unseen glass artisan, encapsulates the mesmerizing play of clashing hues.
Submerged in a Mesmerizing Dance: Stained glass fragments float mid-air, their vibrant colors crafting a captivating spectacle of harmonious chaos. This tableau, as if orchestrated by an unseen glass artisan, encapsulates the mesmerizing play of clashing hues.
Lovely terraced house harmoniously set in the stunning natural setting of Domus di Pitrizza, a small oasis of peace in the heart of the Costa Smeralda.
Submerged in a Mesmerizing Dance: Stained glass fragments float mid-air, their vibrant colors crafting a captivating spectacle of harmonious chaos. This tableau, as if orchestrated by an unseen glass artisan, encapsulates the mesmerizing play of clashing hues.
Midsummer Shadows - 1911
Artist: Willard Leroy Metcalf (American, 1858–1925)
Called the "poet laureate of the New England Hills," Willard Leroy Metcalf depicts a tranquil and harmonious nature in his landscape paintings. Here, he focuses on the beauty of a shade-dappled dirt road in Plainfield, New Hampshire, where he and his new wife spent the late spring through early fall of 1911. The feeling of the open air is achieved by contrasts of pure color used in broken patches, the paint laid on thinly and smoothly. Created during a period of social transformation in American culture, works like Midsummer Shadows were much admired, perhaps because they served as nostalgic evocations of an Arcadian ideal that many Americans had come to associate with New England and its historic past. By the 1920s, however, Metcalf's highly personal and sincere response to nature came under attack from the twin assaults of the Ashcan School's American realism and European modernism, and his painting was soon forgotten. Beginning in the 1990s his work, along with that of his generation, has undergone revival and reappraisal.
--------------------------------
Yale University has been collecting American art for more than 250 years. In 1832 it erected the first art museum on a college campus in North America, with the intention of housing John Trumbull’s paintings of the American Revolution—including his iconic painting The Declaration of Independence, July 4, 1776—and close to 100 of his portraits of Revolutionary and Early Republic worthies. Since then, the collection of the Yale University Art Gallery has grown to include celebrated works of art from virtually every period in American history. Encompassing works like an exquisite 18th-century watercolor-on-ivory memorial portrait of a bride, paintings of the towering grandeur of the American West in the 19th century, and jazz-influenced abstractions of the early 20th century, the Gallery’s collection reflects the diversity and artistic ambitions of the nation.
Superb examples from a “who’s who” of American painters and sculptors—including works by Benjamin West, John Singleton Copley, Ralph Earl, Albert Bierstadt, Hiram Powers, Frederic Church, Frederick Remington, Thomas Eakins, Winslow Homer, Augustus Saint-Gaudens, George Bellows, John Singer Sargent, Joseph Stella, Gerald Murphy, Eli Nadelman, Arthur Dove, Thomas Hart Benton, Edward Hopper, Alexander Calder, and Stuart Davis—bring the complex American story to life. Now these extraordinary works of art are in a new home—the elegantly restored galleries in Street Hall, the magnificent Ruskinian Gothic building designed in 1867 by Peter Bonnett Wight to be the first art school in America on a college campus. Rich in architectural detail and nobly proportioned, these breathtaking spaces allow the American collections to “breathe,” to present new visual alliances, and to create multiple artistic conversations. Under soaring skylights, the uniqueness of vision that generations of American artists brought to bear in the service of their art will be on full display.
.
artgallery.yale.edu/collection?f%5B0%5D=on_view%3AOn%20vi...
The early years of the 20th century were characterized in the visual arts by a radical international reassessment of the relationship between vision and representation, as well as of the social and political role of artists in society at large. The extraordinary modern collection at the Yale University Art Gallery spans these years of dramatic change and features rich holdings in abstract painting by artists such as Pablo Picasso, Georges Braque, and Wassily Kandinsky, as well as in paintings and sculptures associated with German Expressionism, Russian Constructivism, De Stijl, Dada, and Surrealism. Many of these works came to Yale in the form of gifts and bequests from important American collections, including those of Molly and Walter Bareiss, B.S. 1940s; Stephen Carlton Clark, B.A. 1903; Mr. and Mrs. Paul Mellon, B.A. 1929; Katharine Ordway; and John Hay Whitney.
Art from 1920 to 1940 is strongly represented at the Gallery by the group of objects collected by the Société Anonyme, an artists’ organization founded by Katherine S. Dreier and Marcel Duchamp with Man Ray. This remarkable collection, which was transferred to Yale in 1941, comprises a rich array of paintings, drawings, prints, and sculptures by major 20th-century artists, including Marcel Duchamp, Constantin Brancusi, El Lissitzky, and Piet Mondrian, as well as lesser-known artists who made important contributions to the modernist movement.
The Gallery is also widely known for its outstanding collection of American painting from after World War II. Highlights include Jackson Pollock’s Number 13A: Arabesque (1948) and Roy Lichtenstein’s Blam (1962), part of a larger gift of important postwar works donated to the Gallery by Richard Brown Baker, B.A. 1935. Recent gifts from Charles B. Benenson, B.A. 1933, and Thurston Twigg-Smith, B.E. 1942, have dramatically expanded the Collection with works by artists such as James Rosenquist, Ed Ruscha, and Wayne Thiebaud.
_______________________________________
Yale University Art Gallery is the oldest college art museum in America. The Gallery’s encyclopedic holdings of more than 250,000 objects range from ancient times to the present day and represent civilizations from around the globe. Spanning a block and a half of the city of New Haven, Connecticut, the Gallery comprises three architecturally distinct buildings, including a masterpiece of modern architecture from 1953 designed by Louis Kahn through which visitors enter. The museum is free and open to the public.
www.archdaily.com/83110/ad-classics-yale-university-art-g...
Yale University’s School of Architecture was in the midst of pedagogical upheaval when Louis Kahn joined the faculty in 1947. With skyscraper architect George Howe as dean and modernists like Kahn, Philip Johnson, and Josef Albers as lecturers, the post-war years at Yale trended away from the school’s Beaux-Arts lineage towards the avant-garde. And so, when the consolidation of the university’s art, architecture, and art history departments in 1950 demanded a new building, a modernist structure was the natural choice to concretize an instructional and stylistic departure from historicism. Completed in 1953, Louis Kahn’s Yale University Art Gallery building would provide flexible gallery, classroom, and office space for the changing school; at the same time, Kahn’s first significant commission signaled a breakthrough in his own architectural career—a career now among the most celebrated of the second half of the twentieth century.
The university clearly articulated a program for the new gallery and design center (as it was then called): Kahn was to create open lofts that could convert easily from classroom to gallery space and vice versa. Kahn’s early plans responded to the university’s wishes by centralizing a core service area—home to the stairwell, bathrooms, and utility shafts—in order to open up uninterrupted space on either side of the core. Critics have interpreted this scheme as a means of differentiating “service” and “served” space, a dichotomy that Kahn would express often later in his career. As Alexander Purves, Yale School of Architecture alumnus and faculty member, writes of the gallery, “This kind of plan clearly distinguishes between those spaces that ... house the building's major functions and those that are subordinated to the major spaces but are necessary to support them.” As such, the spaces of the gallery dedicated to art exhibition and instruction are placed atop a functional hierarchy, above the building’s utilitarian realms; still, in refusing to hide—and indeed, centralizing—the less glamorous functions of the building, Kahn acknowledged all levels of the hierarchy as necessary to his building’s vitality.
Within the open spaces enabled by the central core, Kahn played with the concept of a space frame. He and longtime collaborator Anne Tyng had been inspired by the geometric forms of Buckminster Fuller, whom Tyng studied under at the University of Pennsylvania and with whom Kahn had corresponded while teaching at Yale. It was with Fuller’s iconic geometric structures in mind that Kahn and Tyng created the most innovative element of the Yale Art Gallery: the concrete tetrahedral slab ceiling. Henry A. Pfisterer, the building’s structural engineer, explains the arrangement: "a continuous plane element was fastened to the apices of open-base, hollow, equilateral tetrahedrons, joined at the vertices of the triangles in the lower plane.” In practice, the system of three-dimensional tetrahedrons was strong enough to support open studio space—unencumbered by columns—while the multi-angular forms invited installation of gallery panels in times of conversion.
Though Kahn’s structural experimentation in the Yale Art Gallery was cutting-edge, his careful attention to light and shadow evidences his ever-present interest in the religious architecture of the past. Working closely with the construction team, Kahn and Pfisterer devised a system to run electrical ducts inside the tetrahedrons, allowing light to diffuse from the hollow forms. The soft, ambient light emitted evokes that of a cathedral; Kahn’s gallery, then, takes subtle inspiration from the nineteenth-century neo-Gothic gallery it adjoins.
Of the triangulated, concrete slab ceiling, Kahn said “it is beautiful and it serves as an electric plug." ] This principle—that a building’s elements can be both sculptural and structural—is carried into other areas of the gallery. The central stairwell, for example, occupies a hollow, unfinished concrete cylinder; in its shape and utilitarianism, the stairwell suggests the similarly functional agricultural silo. On the ceiling of the stairwell, however, an ornamental concrete triangle is surrounded at its circumference by a ring of windows that conjures a more elevated relic of architectural history: the Hagia Sophia. Enclosed within the cylinder, terrazzo stairs form triangles that mimic both the gallery’s ceiling and the triangular form above. In asserting that the stairs “are designed so people will want to use them,” Kahn hoped visitors and students would engage with the building, whose form he often described in anthropomorphic terms: “living” in its adaptability and “breathing” in its complex ventilation system (also encased in the concrete tetrahedrons).
Given the structural and aesthetic triumphs of Kahn’s ceiling and stair, writing on the Yale Art Gallery tends to focus on the building’s elegant interior rather than its facade. But the care with which Kahn treats the gallery space extends outside as well; glass on the west and north faces of the building and meticulously laid, windowless brick on the south allow carefully calculated amounts of light to enter.
Recalling the European practice, Kahn presents a formal facade on York Street—the building’s western frontage—and a garden facade facing neighboring Weir Hall’s courtyard.
His respect for tradition is nevertheless articulated in modernist language.
Despite their visual refinement, the materials used in the gallery’s glass curtain walls proved almost immediately impractical. The windows captured condensation and marred Kahn’s readable facade. A restoration undertaken in 2006 by Ennead Architects (then Polshek Partnership) used modern materials to replace the windows and integrate updated climate control. The project also reversed extensive attempts made in the sixties to cover the windows, walls, and silo staircase with plaster partitions. The precise restoration of the building set a high standard for preservation of American modernism—a young but vital field—while establishing the contentiously modern building on Yale’s revivalist campus as worth saving.
Even with a pristinely restored facade, Kahn’s interior still triumphs. Ultimately, it is a building for its users—those visitors who, today, view art under carefully crafted light and those students who, in the fifties, began their architectural education in Kahn’s space. Purves, who spent countless hours in the fourth-floor drafting room as an undergraduate, maintains that a student working in the space “can see Kahn struggling a bit and can identify with that struggle.” Architecture critic Paul Goldberger, who studied at Yale a decade after Kahn’s gallery was completed, offers a similar evaluation of the building—one echoed by many students who frequented the space: “its beauty does not emerge at first glance but comes only after time spent within it.”
.
Four Harmonious siblings. This picture was taken during our pilgrimage tour in Nepal 2007. This place is located in very high altitude and the road is very rumbling that you feel like on the mini- roller-coaster ride.
It's worth getting up there though we had little difficulty with the pavement.
2012-2013 Faculty Training Series: Ambassadorship. Also check in our website: psarts.org/2012/09/faculty-professional-development-an-ou...
Thomas Gainsborough, born in Sudbury, England, 1727; active in England; died in London, England, 1788
The Gravenor Family - ca. 1754
Working in his native Suffolk, Gainsborough painted members of the professional classes, such as John Gravenor, an apothecary and local politician; his wife, Ann; and their two daughters. Gainsborough has arranged them in a harmonious group alongside a wheat field, as if they have stopped on a walk, the girls holding freshly picked flowers in their hands.
Gainsborough supported his own family through portraiture — or the “Face way” — but he took his greatest pleasure in landscape painting. He carefully details the crossing trees behind the couple and opens up the landscape behind them to include a distant church. The darkening sky serves as a contrast to the fashionable dresses worn by the Gravenor women. Fluid brushstrokes give the impression of light dancing across the brightly colored silks.
After training with Hubert-François Gravelot, Francis Hayman, and George Lambert in London, Thomas Gainsborough returned to Suffolk and established himself as a portrait and landscape painter in the provincial port town of Ipswich. He introduced his clientele, which included local gentry and professionals, to the fashion for conversation pieces in the latest French style. Here he presents John Gravenor, a local apothecary and politician, Gravenor’s wife, Ann, and their two daughters in a productive country landscape. They sit beneath two trees at the edge of a cornfield, the interwoven trunks suggesting marital harmony and the corn representing the blessings of a fertile union. Gainsborough often worked up multifigure compositions from lay figures—small wooden dolls that could be posed for artists to work from—a practice he learned in London. He slowly abandoned these conversation pieces in Ipswich in favor of bust-length portraits such as the portrait of Susanna Gardiner (shown nearby).
John Gravenor was a successful apothecary in Ipswich, the town to which Gainsborough moved from his native Sudbury in 1752. In 1754, Mr. Gravenor turned his hand to local politics, and it is likely that he commissioned this portrait of his family to celebrate his new role in public life. With him are his second wife, Ann (née Colman), and their two daughters, Elizabeth and the younger Ann. The nearly square format suggests that the picture was originally intended to be used as an over-mantel, while the crossed tree-trunks allude quite specifically to the condition of matrimony. We do not know if Mr. Gravenor actually owned the corn field extending back into the distance on the right, but the easy manner in which his wife and daughters are depicted sitting so comfortably at the edge of it suggests that this may indeed be so.
collections.britishart.yale.edu/catalog/tms:5004
___________________________
In a New Light: Five Centuries of British Art
This installation sheds light on the surprising and complicated history of British art, bringing into focus the people and cultures that produced these artworks. From the sixteenth century to the present, Britain has attracted artists from all over the world, with their outputs as diverse as their origins. Many artists traveled or migrated to India, the Caribbean, and beyond. Individual and family portraits uncover the systems of class, gender, and race that undergirded societies around the globe and privileged the wealthy and influential. Other works depict landscapes, seascapes, manor houses, and cathedrals, often offering a record of the industrialization of an agrarian world. Allegorical, historical, and religious subjects further enrich our understanding of the expansive culture of a changing nation.
Many highlights from the Paul Mellon Collection including Hadleigh Castle, The Mouth of the Thames—Morning after a Stormy Night by John Constable, Lion and Lioness by George Stubbs, and The Island of Barbados, attributed to Isaac Sailmaker, find new resonance with several recent acquisitions—such as Emma Soyer’s Young Mariner and Dog, Thomas Beach’s Four Servants of Ston Easton Estate, and Albert Huie’s Benjamin Dorrell. This display reflects not only the individual creators of these objects but also the societies that shaped them.
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
.
Submerged in a Mesmerizing Dance: Stained glass fragments float mid-air, their vibrant colors crafting a captivating spectacle of harmonious chaos. This tableau, as if orchestrated by an unseen glass artisan, encapsulates the mesmerizing play of clashing hues.
The Narita Airport lounge was the best I had ever had the pleasure of visiting. Spacious and quiet, with lots of little dainty snacks to choose from. Everything so clean and constantly being refreshed by the unobtrusive staff.
- Wednesday Hashtag:
#igms_sun
-
Moving right along with sunrises, sunsets and silhouettes. Lovely harmonious palettes shared by our wonderful community. Please visit each artist and leave some love for all their participation and great work! Without everyone's submission we would not be able to share all these beautiful works of colorful art colliding together like a symphony.
__________________________________
Owning the grid:
-
T: @thaikrub (all 3)
M: @carmenyf @aravisdolmenna @carmenyf
B: @aravisdolmenna @carmenyf @aravisdolmenna
__________________________________
Remember, we just have a few rules. For every one image you tag to the forum apply the 1,3,5 rule of adding 1 new person, 3 comments on someone's image that has inspired you, and "like" 5 images. Reach out and make new friends to build your community. (Posted: 03.13.2013 @rbpixs)
167 Likes on Instagram
15 Comments on Instagram:
carmenyf: Thanks for the features!!! I' ve been loving this theme and all the wonderful collages!!! Great gon @ig_mississippi
carmenyf: @aravisdolmenna Thanks you and congrats to you too and also to @thaikrub
carmenyf: @gky_ataca @triple__d @toksmurfan @bethanylinnphotography @axelady Thanks so much!!!!
lauriemoorhead: Congrats to all and especially my thrice featured friend @aravisdolmenna ⭐☀
weera_suksom: @thaikrub ✨
thaikrub: Thank you @ig_mississippi for featuring my pictures(Top row) and congrats to @carmenyf @aravisdolmenna as well.
thaikrub: @gky_ataca @aravisdolmenna @triple__d @toksmurfan @bethanylinnphotography Thank you !
thaikrub: @axelady @carmenyf @lauriemoorhead @weera_suksom Thank you !