View allAll Photos Tagged harmonious
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.
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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 Art of Investment: William Stone Images & Beyond
In the heart of the contemporary art realm lies a unique space, imbued with sophistication and a touch of the avant-garde – enter the ethereal world of William Stone Images. Reflecting the style of an article from The New York Times, this space isn't merely about the aesthetic, but it's about transforming monetary support into something that goes beyond the visual.
Discovering Beauty and Empowerment
Whether you're an art connoisseur or someone new to the world of fine art prints, William Stone Images wsimages.com/ presents a delightful gallery of fine art photography prints and opulent wall art. Each piece, exclusive in nature, invites viewers to explore depths beyond the canvas and the lens, provoking thoughts of beauty, vision, and perhaps, financial acumen.
Yet, William Stone Images isn't merely about capturing moments or showcasing beauty. It's about creating an impact in the real world, making tangible differences in the lives of budding entrepreneurs and burgeoning Small and Medium-sized Enterprises (SMEs). Investing in art here is, intriguingly, an investment in the future of innovation.
The Act of Investing: More Than Money
The act of contributing or donating towards WSImages is emblematic of a grander vision. By directing your investment to RR MEDIA LIMITED, you become part of an ambitious project. This is not just about international payments being processed, but about fuelling the trajectory of SMEs, ushering in an era where they aren’t just surviving, but thriving.
Even a modest contribution via this link buy.stripe.com/28o8zHgmf0dO8dW5ko can set powerful wheels in motion. Such gestures, minute or grand, infuse life into enterprises, granting them the stability and assurance they need to innovate, hire, and prosper.
Why Join This Artistic Revolution?
In the intricate dance between art and commerce, William Stone Images strikes a harmonious chord. From the stunning visual tales on Flickr to the glimpses of events immortalised at randrphotographs.com - randrphotographs.com/ , there's an unceasing pulse of creativity here.
Moreover, the allure of discounted luxury art beckons at this clearance section - www.wsimages.com/clearance/, ensuring that beauty is accessible to many. Each dispatched piece carries with it the William Stone promise: of impeccable quality, enduring allure, and a lifetime of pride.
For those curious about the tools and techniques making these masterpieces possible, the equipment section - www.wsimages.com/about/ at wsimages reveals secrets. It's not just about having the best camera or lens. It's about understanding the myriad ways in which light interacts with these tools, producing breathtaking results.
Additionally, in a world increasingly moving towards digitisation, their services extend beyond the lens. Dive into their web offerings at cloudstands.com - cloudstands.com/, and you'll find another testament to their versatility.
In Conclusion
William Stone Images is more than a gallery or a photographic service; it's a movement. As art and entrepreneurship blend seamlessly here, your investment becomes a bridge between vision and reality. Every penny, every gesture, doesn’t just purchase beauty, but fosters growth.
Intrigued? Ready for the next chapter? The world of William Stone awaits. Join us, and let’s redefine what it means to invest in art, beauty, and progress.
Are you searching for that one captivating piece of art that resonates with your soul? Look no further! Our stunning photo product embodies the essence of quality, appeal, and unique value that you won't find elsewhere. Images here are been intentionally lowered in quality. They've been reduced from around 90MB to 350K for display purposes only.
- Quality and Appeal: Our photo product is not just a picture; it's a masterpiece. Immerse yourself in its exquisite details, vibrant colours, and captivating composition. Feel the emotions it evokes, and let its aesthetic charm brighten your life.
- Unique Value: What sets our photo product apart? It's not just pixels on paper; it's a story, a memory, a moment frozen in time. Discover the magic of its uniqueness. With each glance, you'll unearth hidden layers of beauty that make it unlike any other photo you've seen.
- Storytelling: This photo is more than ink on paper; it's a narrative waiting to be explored. Dive into the world behind the lens, and let the photo's context, inspiration, and story enchant you. Every detail has a purpose; every frame tells a tale.
- Customer Testimonials: Don't take our word for it; hear what our delighted customers have to say. They've found not just a photo but a piece of their heart. Read their stories, and you'll understand why this photo is a treasure.
- Limited Time Offers: Act now to seize the opportunity! For a limited time, we're offering an exclusive discount on this extraordinary art-on-the-wall product. Don't miss your chance to own a piece of art that will grace your life for years to come.
- Customization: Make it truly yours! Choose from a range of print sizes and formats to suit your space and style. Tailor it to fit your vision and create a one-of-a-kind masterpiece.
- Social Proof: Our photo product has received accolades, been featured in prestigious publications, and earned its place in exhibitions. It's not just a art-on-the-wall; it's a recognized work of art.
- Transparent Pricing: We believe in honesty and fairness. Our pricing model is clear and straightforward. You'll know exactly what you're getting, with no hidden costs.
- Responsive Customer Service: Your satisfaction is our priority. Our dedicated team is here to assist you at every step of the journey. Have a question? Need assistance? We're just a message away.
- Licensing Options: Whether it's for personal use, commercial projects, or exclusive rights, we offer flexible licensing options to cater to your specific needs.
Don't wait to add this exceptional art-on-the-wall product to your collection. It's not just a purchase; it's an investment in a piece of art that will continue to inspire and captivate you. Act now, and let the beauty of visual art enhance your world.
Unlock the magic of visual storytelling today!
Please do qoute the unique reference below.
WS-96-7234198-102251574-4941317-542024100728
Harmonious Wail performs at the 2011 Midwest Gypsy Swing Festival on September 17, 2011, at the Art In The Barn, just outside of Madison, Wisconsin. The award-winning ensemble from Madison, and founders of this festival, are known for their brand of gypsy swing and vintage jazz.
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved.
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.
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.”
.
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.
Living harmoniously can be a fine art. Much of the balance in life emits from a well balanced home where just the conducive kind of environment and atmosphere is generated which adds to inner peace.
The Art of Investment: William Stone Images & Beyond
In the heart of the contemporary art realm lies a unique space, imbued with sophistication and a touch of the avant-garde – enter the ethereal world of William Stone Images. Reflecting the style of an article from The New York Times, this space isn't merely about the aesthetic, but it's about transforming monetary support into something that goes beyond the visual.
Discovering Beauty and Empowerment
Whether you're an art connoisseur or someone new to the world of fine art prints, William Stone Images wsimages.com/ presents a delightful gallery of fine art photography prints and opulent wall art. Each piece, exclusive in nature, invites viewers to explore depths beyond the canvas and the lens, provoking thoughts of beauty, vision, and perhaps, financial acumen.
Yet, William Stone Images isn't merely about capturing moments or showcasing beauty. It's about creating an impact in the real world, making tangible differences in the lives of budding entrepreneurs and burgeoning Small and Medium-sized Enterprises (SMEs). Investing in art here is, intriguingly, an investment in the future of innovation.
The Act of Investing: More Than Money
The act of contributing or donating towards WSImages is emblematic of a grander vision. By directing your investment to RR MEDIA LIMITED, you become part of an ambitious project. This is not just about international payments being processed, but about fuelling the trajectory of SMEs, ushering in an era where they aren’t just surviving, but thriving.
Even a modest contribution via this link buy.stripe.com/28o8zHgmf0dO8dW5ko can set powerful wheels in motion. Such gestures, minute or grand, infuse life into enterprises, granting them the stability and assurance they need to innovate, hire, and prosper.
Why Join This Artistic Revolution?
In the intricate dance between art and commerce, William Stone Images strikes a harmonious chord. From the stunning visual tales on Flickr to the glimpses of events immortalised at randrphotographs.com - randrphotographs.com/ , there's an unceasing pulse of creativity here.
Moreover, the allure of discounted luxury art beckons at this clearance section - www.wsimages.com/clearance/, ensuring that beauty is accessible to many. Each dispatched piece carries with it the William Stone promise: of impeccable quality, enduring allure, and a lifetime of pride.
For those curious about the tools and techniques making these masterpieces possible, the equipment section - www.wsimages.com/about/ at wsimages reveals secrets. It's not just about having the best camera or lens. It's about understanding the myriad ways in which light interacts with these tools, producing breathtaking results.
Additionally, in a world increasingly moving towards digitisation, their services extend beyond the lens. Dive into their web offerings at cloudstands.com - cloudstands.com/, and you'll find another testament to their versatility.
In Conclusion
William Stone Images is more than a gallery or a photographic service; it's a movement. As art and entrepreneurship blend seamlessly here, your investment becomes a bridge between vision and reality. Every penny, every gesture, doesn’t just purchase beauty, but fosters growth.
Intrigued? Ready for the next chapter? The world of William Stone awaits. Join us, and let’s redefine what it means to invest in art, beauty, and progress.
Are you searching for that one captivating piece of art that resonates with your soul? Look no further! Our stunning photo product embodies the essence of quality, appeal, and unique value that you won't find elsewhere. Images here are been intentionally lowered in quality. They've been reduced from around 90MB to 350K for display purposes only.
- Quality and Appeal: Our photo product is not just a picture; it's a masterpiece. Immerse yourself in its exquisite details, vibrant colours, and captivating composition. Feel the emotions it evokes, and let its aesthetic charm brighten your life.
- Unique Value: What sets our photo product apart? It's not just pixels on paper; it's a story, a memory, a moment frozen in time. Discover the magic of its uniqueness. With each glance, you'll unearth hidden layers of beauty that make it unlike any other photo you've seen.
- Storytelling: This photo is more than ink on paper; it's a narrative waiting to be explored. Dive into the world behind the lens, and let the photo's context, inspiration, and story enchant you. Every detail has a purpose; every frame tells a tale.
- Customer Testimonials: Don't take our word for it; hear what our delighted customers have to say. They've found not just a photo but a piece of their heart. Read their stories, and you'll understand why this photo is a treasure.
- Limited Time Offers: Act now to seize the opportunity! For a limited time, we're offering an exclusive discount on this extraordinary art-on-the-wall product. Don't miss your chance to own a piece of art that will grace your life for years to come.
- Customization: Make it truly yours! Choose from a range of print sizes and formats to suit your space and style. Tailor it to fit your vision and create a one-of-a-kind masterpiece.
- Social Proof: Our photo product has received accolades, been featured in prestigious publications, and earned its place in exhibitions. It's not just a art-on-the-wall; it's a recognized work of art.
- Transparent Pricing: We believe in honesty and fairness. Our pricing model is clear and straightforward. You'll know exactly what you're getting, with no hidden costs.
- Responsive Customer Service: Your satisfaction is our priority. Our dedicated team is here to assist you at every step of the journey. Have a question? Need assistance? We're just a message away.
- Licensing Options: Whether it's for personal use, commercial projects, or exclusive rights, we offer flexible licensing options to cater to your specific needs.
Don't wait to add this exceptional art-on-the-wall product to your collection. It's not just a purchase; it's an investment in a piece of art that will continue to inspire and captivate you. Act now, and let the beauty of visual art enhance your world.
Unlock the magic of visual storytelling today!
Please do qoute the unique reference below.
WS-58-181140430-11105320-1833111-2722024111846
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.
Mt. Ktaadn - 1853
Artist: Frederic Edwin Church (American, 1826–1900)
Frederic Edwin Church traveled to northern Maine soon after the publication of Henry David Thoreau’s essay "Ktaadn and the Maine Woods." In this canvas, Church brings the landscape that Thoreau called "exceedingly wild and desolate" subtly under control by imagining its civilized future. Cattle, sawmill, bridge, buggy, and men harmoniously coexist, domesticating the landscape without appearing to disturb its natural beauty. The soaring mountain remains outside the bounds of such cultivation. Church optimistically evokes the divine destiny of a young country by bathing the land in the sunset’s spiritual glow.
--------------------------------
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.”
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