www.tryzub.org/ukrainian-festival-2016.php

Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence

Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.

Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.

In the eyes of progress, the past is immutable. It is a crystallized mineral. It is a continuously growing, exponential segment. All the points form that line we call “History”; blessed and sacred events that have shaped our world as it is today. How can we get rid of History?

Future[past] is a speculative device sent to Earth to process the past and transform futures. By means of an AI, it configures multiple new possible past futures, escaping ecological, political, economic and social uncertainty that defines our present, imagining other futures.

Photo: vog.photo

www.tryzub.org/ukrainian-festival-2016.php

Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence

Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.

Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.

www.tryzub.org/ukrainian-festival-2016.php

Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence

Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.

Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.

The Fourth Grand Flaneur Walk took on Sunday, May 5th, 2024, and commenced at midday by the statue of Beau Brummell on Jermyn Street, London W1. The Grand Flaneur Walk celebrates the pure, the immutable, and the pointless, and it is taken by the bold, the adventurous, and the inebriated. The walk went through Green Park towards Hyde Park Corner.

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All photographs © Andrew Lalchan

By Tatsuo Miyajima

Employing contemporary materials such as electric circuits, video, and computer systems, Tatsuo Miyajima (born 1957, Japan) creates supremely technological works centred on his use of LED counters, or ‘gadgets’ as he calls them. These numbers, flashing in continual and repetitious cycles from 1 up to 9 or from 9 down to 1, represent the journey from birth to death, the finality of which is symbolised by ‘0’, the void or zero point, which consequently never appears in his work.

Time Waterfall is a new work by Miyajima in which numbers tumble randomly and incessantly for eternity, with the different sizes of the numerals and varying speeds of descent representing the trajectory of individual lives within that continuum.

[everythingatonce.com]

Part of Everything at Once

Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand

October-December 2017

Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.

As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.

In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...

[Lisson Gallery]

www.tryzub.org/ukrainian-festival-2016.php

Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence

Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.

Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.

www.tryzub.org/ukrainian-festival-2016.php

Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence

Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.

Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.

www.tryzub.org/ukrainian-festival-2016.php

Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence

Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.

Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.

www.tryzub.org/ukrainian-festival-2016.php

Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence

Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.

Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.

www.tryzub.org/ukrainian-festival-2016.php

Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence

Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.

Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.

Caminando por Deiá hacia la casa de Robert Graves, nos encontramos con esta curiosa estampa, una cabra mirando fijamente el hueco de un centenario olivo, no había nada dentro, ningún motivo aparente, pero ella permanecía inmóvil. A la vuelta, media hora más tarde, allí seguía, inmutable...

Walk to Deià toward the house of Robert Graves, we find ourselves with this curious spectacle, a goat staring at the hollow of a centenary olive tree, there was nothing within, no apparent reason, but she remained stationary. To the back, half an hour later, there was still, immutable ...

Claude-Joseph Vernet - French, 1714 - 1789

Moonlight, 1772

West Building, Main Floor — Gallery 55

Moonlight falls across several masted ships near a rocky shoreline in this horizontal painting. The sky fills the top three-quarters of the picture. A veil of slate-gray clouds is lit to pearl white around the crisp, full moon at the center of the composition. Patches of denim-blue sky are seen through breaks in the blanket of clouds. Moonlight reflects down the center of rippling, silvery-gray water that laps against a beach close to us, along the bottom edge of the painting. A tent is set up in the lower left corner of the composition. There, two women and one man stand looking at a glowing fire next to the tent. One woman holds a basket on her head, the other tucks a flat basket under one arm. The man stands between the two women, and a fourth man crouches near the fire, his back to us. In the opening of the tent, another woman kneels over a large bowl as she looks at the fire. A fifth person, a man, gazes at the fire as he sits smoking a long-stemmed pipe on a boulder. At the foot of the boulders, a man lies back against some bundles, one arm thrown up over his head. A dog curls up next to his hip. Not far from the sleeping man and in the center of the foreground, a man carries several long wooden objects, possibly oars, over one shoulder while a dog beyond him barks at the lapping surf. The beach curves like a C away from us, along the left. At the point of the curve in the middle distance, a structure like a city wall and gate jut out to the water’s edge. More buildings atop steep cliffs rise vertically beyond the gate. The shoreline curves into the distance again, and more buildings, including a lighthouse, and masted ships there are smoke-gray silhouettes. Near the lower right corner of the painting, four men pull on ropes tied around the prow of a small wooden boat while three others push it toward the land. Another man stands in the far end. A short distance beyond that boat is a tall wooden ship with three masts and rigging outlined against the night sky. Windows along the decks of that boat’s wide stern, angled toward us, glow with golden light. Beyond it and a bit to our left, another ship, smaller in scale, sails away from us. Several more ships move back to the horizon until we only see strokes of white and gray to indicate their unfurled sails.

Claude-Joseph Vernet was born in Avignon in 1714, the son of Antoine Vernet (1689-1753), an artisan painter of architectural decorations, coach panels, and the like. He moved to the studio of Philippe Sauvan (1697-1792), a leading history painter in Avignon, and then worked with Jacques Viali (active 1681-1745), a decorative, landscape, and marine painter in Aix-en-Provence. Vernet's first recorded paintings were decorative overdoors executed in 1731 in the Aix townhouse of the marquise de Simiane. In 1734, Joseph de Seytres, marquis de Caumont, a leading amateur in Avignon, sponsored Vernet to make a study trip to Italy to complete his artistic education and to draw antiquities for his patron.

As Avignon was a papal territory in Vernet's day, he also had a number of useful introductions among influential churchmen when he arrived in Rome. Vernet was soon at home in the French community there, and he was encouraged by Nicolas Vleughels (1668-1737), director of the Académie de France in Rome, even though the young painter had no official affiliation with the royal institution. He likely entered the studio of the French marine painter Adrien Manglard (1695-1760). By 1740 Vernet was developing an independent reputation as a painter of topographical landscape in and around Rome and Naples, as well as of imaginary Italianate landscapes and marines, demonstrated by the increasing number of entries in his surviving account books from the mid-1730s onward. His first important patron in Rome was the French ambassador Paul Hippolyte de Beauvillier, duc de Saint-Aignan (1684-1776). This relationship set a pattern, and members of the French diplomatic corps and visiting French prelates remained important patrons during Vernet's long Roman sojourn, which lasted almost twenty years (he returned definitively to France in 1753). He also worked for the Roman nobility--for example, painting a series of major marines for Don Giacomo Borghese (Rome, Palazzo Borghese). But it was the British--the wealthiest travelers in Europe--who became Vernet's main patrons during their Grand Tours, purchasing Italianate landscapes and marines as souvenirs of their visits to Italy. The British remained enthusiastic patrons of Vernet, even long after his return to France.

The appeal of Vernet's art was twofold. On the one hand, he drew on the tradition of ideal landscape painting codified by Claude Lorrain (1604/1605-1682), Nicolas Poussin (1594-1665), Gaspard Dughet (1615-1675), and Salvator Rosa (1615-1673) in seventeenth-century Italy. Inspired by the landscape of the Roman Campagna and its surrounding hills, and by the coastline south to Naples, these artists had created appropriate landscape settings for narratives from ancient history or mythology, or in which the classically educated viewer could wander in his imagination. Vernet, on the other hand, brought to the study of nature a more empirical and closely observed approach, consistent with his times, creating what seemed to his contemporaries a more vivid and convincing impression of nature. This effect was enhanced by the fact that he usually conceived his pictures in pairs, or even sets of four, which showed dramatically contrasting aspects of nature. Having established these kinds of paintings as successful formulas by the mid-1740s, Vernet continued to supply a European demand for them for the rest of his career. Vernet first exhibited typical landscapes and marines at the Paris Salon of 1746, the year his membership in the Académie royale de peinture et de sculpture was approved. He became a full member in 1753 and exhibited successfully at the Salon for the rest of his life. He had come to the attention of Louis XV's administration in 1746, and in 1753 he was finally called back to France to begin an official commission to paint large topographical views of the principal commercial and military seaports of the realm. This commission took him on an arduous itinerary, from Antibes in the south to Dieppe in the north, from 1753 until 1765, during which time he completed fifteen large paintings. Vernet's "Ports of France" (Paris, Musée du Louvre) are among the greatest French paintings of the mid-eighteenth century, for they are both remarkable social and historical documents of contemporary port life, full of fascinating observation, and at the same time beautifully composed and rendered works of art.

Vernet continued a large production of imaginary landscape and marine paintings until his death on the eve of the French Revolution in 1789. He was one of the most acclaimed and successful artists in France, and he received commissions from every corner of Europe. The public and critics alike admired his art, and the great writer and critic Denis Diderot (1713-1784) eulogized him. Diderot especially admired Vernet's dramatic scenes of shipwrecks, which perfectly illustrate the contemporary concept of the Sublime, expressing with horror the ephemeral quality of human endeavor before the immutable power of nature.

[Philip Conisbee, in French Paintings of the Fifteenth through the Eighteenth Century, The Collections of the National Gallery of Art Systematic Catalogue, Washington, D.C., 2009: 431.]

________________________________

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...

..

________________________________

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...

.

www.tryzub.org/ukrainian-festival-2016.php

Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence

Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.

Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.

www.tryzub.org/ukrainian-festival-2016.php

Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence

Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.

Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.

By Lee Ufan

Composed of a raw stone facing a blank canvas and a wall painting bearing repeated, layered sweeps of paint, Lee’s two Dialogue works are displayed in a discrete, chamber-like environment. This silent, ascetic, but highly charged space encourages a close, personal encounter with the works and offers a place for contemplation.

[everythingatonce.com]

Part of Everything at Once

Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand

October-December 2017

Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.

As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.

In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...

[Lisson Gallery]

By Ceal Floyer

Conceptual artist Ceal Floyer (born 1968) is celebrated for her deft manoeuvres in everyday situations, testing the slippage between function and implication, the literal and the imagined – reconfiguring familiar objects as sources of surprise and humour.

Providing circuitous guidance around the exhibition is her performative work, Taking a Line for a Walk, which plays on Paul Klee’s 1923 assertion that a drawing should be: “An active line on a walk, moving freely, without goal. A walk for walk’s sake”. After this helpful intervention – marked by the discarded, spent painting machine, typically used to delineate football pitches.

[everythingatonce.com]

Part of Everything at Once

Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand

October-December 2017

Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.

As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.

In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...

[Lisson Gallery]

This shows a new Veeam Backup & Replication V12 capability allowing NAS Backups to go to object storage directly, with immutability.

Claude-Joseph Vernet - French, 1714 - 1789

Moonlight, 1772

West Building, Main Floor — Gallery 55

Moonlight falls across several masted ships near a rocky shoreline in this horizontal painting. The sky fills the top three-quarters of the picture. A veil of slate-gray clouds is lit to pearl white around the crisp, full moon at the center of the composition. Patches of denim-blue sky are seen through breaks in the blanket of clouds. Moonlight reflects down the center of rippling, silvery-gray water that laps against a beach close to us, along the bottom edge of the painting. A tent is set up in the lower left corner of the composition. There, two women and one man stand looking at a glowing fire next to the tent. One woman holds a basket on her head, the other tucks a flat basket under one arm. The man stands between the two women, and a fourth man crouches near the fire, his back to us. In the opening of the tent, another woman kneels over a large bowl as she looks at the fire. A fifth person, a man, gazes at the fire as he sits smoking a long-stemmed pipe on a boulder. At the foot of the boulders, a man lies back against some bundles, one arm thrown up over his head. A dog curls up next to his hip. Not far from the sleeping man and in the center of the foreground, a man carries several long wooden objects, possibly oars, over one shoulder while a dog beyond him barks at the lapping surf. The beach curves like a C away from us, along the left. At the point of the curve in the middle distance, a structure like a city wall and gate jut out to the water’s edge. More buildings atop steep cliffs rise vertically beyond the gate. The shoreline curves into the distance again, and more buildings, including a lighthouse, and masted ships there are smoke-gray silhouettes. Near the lower right corner of the painting, four men pull on ropes tied around the prow of a small wooden boat while three others push it toward the land. Another man stands in the far end. A short distance beyond that boat is a tall wooden ship with three masts and rigging outlined against the night sky. Windows along the decks of that boat’s wide stern, angled toward us, glow with golden light. Beyond it and a bit to our left, another ship, smaller in scale, sails away from us. Several more ships move back to the horizon until we only see strokes of white and gray to indicate their unfurled sails.

Claude-Joseph Vernet was born in Avignon in 1714, the son of Antoine Vernet (1689-1753), an artisan painter of architectural decorations, coach panels, and the like. He moved to the studio of Philippe Sauvan (1697-1792), a leading history painter in Avignon, and then worked with Jacques Viali (active 1681-1745), a decorative, landscape, and marine painter in Aix-en-Provence. Vernet's first recorded paintings were decorative overdoors executed in 1731 in the Aix townhouse of the marquise de Simiane. In 1734, Joseph de Seytres, marquis de Caumont, a leading amateur in Avignon, sponsored Vernet to make a study trip to Italy to complete his artistic education and to draw antiquities for his patron.

As Avignon was a papal territory in Vernet's day, he also had a number of useful introductions among influential churchmen when he arrived in Rome. Vernet was soon at home in the French community there, and he was encouraged by Nicolas Vleughels (1668-1737), director of the Académie de France in Rome, even though the young painter had no official affiliation with the royal institution. He likely entered the studio of the French marine painter Adrien Manglard (1695-1760). By 1740 Vernet was developing an independent reputation as a painter of topographical landscape in and around Rome and Naples, as well as of imaginary Italianate landscapes and marines, demonstrated by the increasing number of entries in his surviving account books from the mid-1730s onward. His first important patron in Rome was the French ambassador Paul Hippolyte de Beauvillier, duc de Saint-Aignan (1684-1776). This relationship set a pattern, and members of the French diplomatic corps and visiting French prelates remained important patrons during Vernet's long Roman sojourn, which lasted almost twenty years (he returned definitively to France in 1753). He also worked for the Roman nobility--for example, painting a series of major marines for Don Giacomo Borghese (Rome, Palazzo Borghese). But it was the British--the wealthiest travelers in Europe--who became Vernet's main patrons during their Grand Tours, purchasing Italianate landscapes and marines as souvenirs of their visits to Italy. The British remained enthusiastic patrons of Vernet, even long after his return to France.

The appeal of Vernet's art was twofold. On the one hand, he drew on the tradition of ideal landscape painting codified by Claude Lorrain (1604/1605-1682), Nicolas Poussin (1594-1665), Gaspard Dughet (1615-1675), and Salvator Rosa (1615-1673) in seventeenth-century Italy. Inspired by the landscape of the Roman Campagna and its surrounding hills, and by the coastline south to Naples, these artists had created appropriate landscape settings for narratives from ancient history or mythology, or in which the classically educated viewer could wander in his imagination. Vernet, on the other hand, brought to the study of nature a more empirical and closely observed approach, consistent with his times, creating what seemed to his contemporaries a more vivid and convincing impression of nature. This effect was enhanced by the fact that he usually conceived his pictures in pairs, or even sets of four, which showed dramatically contrasting aspects of nature. Having established these kinds of paintings as successful formulas by the mid-1740s, Vernet continued to supply a European demand for them for the rest of his career. Vernet first exhibited typical landscapes and marines at the Paris Salon of 1746, the year his membership in the Académie royale de peinture et de sculpture was approved. He became a full member in 1753 and exhibited successfully at the Salon for the rest of his life. He had come to the attention of Louis XV's administration in 1746, and in 1753 he was finally called back to France to begin an official commission to paint large topographical views of the principal commercial and military seaports of the realm. This commission took him on an arduous itinerary, from Antibes in the south to Dieppe in the north, from 1753 until 1765, during which time he completed fifteen large paintings. Vernet's "Ports of France" (Paris, Musée du Louvre) are among the greatest French paintings of the mid-eighteenth century, for they are both remarkable social and historical documents of contemporary port life, full of fascinating observation, and at the same time beautifully composed and rendered works of art.

Vernet continued a large production of imaginary landscape and marine paintings until his death on the eve of the French Revolution in 1789. He was one of the most acclaimed and successful artists in France, and he received commissions from every corner of Europe. The public and critics alike admired his art, and the great writer and critic Denis Diderot (1713-1784) eulogized him. Diderot especially admired Vernet's dramatic scenes of shipwrecks, which perfectly illustrate the contemporary concept of the Sublime, expressing with horror the ephemeral quality of human endeavor before the immutable power of nature.

[Philip Conisbee, in French Paintings of the Fifteenth through the Eighteenth Century, The Collections of the National Gallery of Art Systematic Catalogue, Washington, D.C., 2009: 431.]

________________________________

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...

..

________________________________

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...

.

By Ai Weiwei

While undoubtedly created against the backdrop of the ongoing global refugee crisis, the iconography of the wallpaper was equally inspired by Greek and Egyptian imagery and by narratives documenting the earliest movements of people.

[everythingatonce.com]

Part of Everything at Once

Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand

October-December 2017

Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.

As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.

In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...

[Lisson Gallery]

Yes, here is the same old barn, fixed in place for a hundred years, and different in every season.

Especially on freezing days when even creek motion fixed and solid as ice, there is an immutability about this place, a stillness though polar winds whip the bare branches of beech and oak.

This deep freeze is a final drawing in, a last hibernation, a false sleep. Buds swell unseen. Cells divide hidden in wombs of bracts and scales, ready with promise and colored with the latent transparency of spring leaves and petals.

"the immutable calm of intellectual resolution, and the enormous power of trained physical strength, equally enthroned in placid triumph of scientific accomplishment."

By Ai Weiwei

Part of Everything at Once

Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand

October-December 2017

Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.

As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.

In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...

[Lisson Gallery]

Claude-Joseph Vernet - French, 1714 - 1789

Moonlight, 1772

West Building, Main Floor — Gallery 55

Moonlight falls across several masted ships near a rocky shoreline in this horizontal painting. The sky fills the top three-quarters of the picture. A veil of slate-gray clouds is lit to pearl white around the crisp, full moon at the center of the composition. Patches of denim-blue sky are seen through breaks in the blanket of clouds. Moonlight reflects down the center of rippling, silvery-gray water that laps against a beach close to us, along the bottom edge of the painting. A tent is set up in the lower left corner of the composition. There, two women and one man stand looking at a glowing fire next to the tent. One woman holds a basket on her head, the other tucks a flat basket under one arm. The man stands between the two women, and a fourth man crouches near the fire, his back to us. In the opening of the tent, another woman kneels over a large bowl as she looks at the fire. A fifth person, a man, gazes at the fire as he sits smoking a long-stemmed pipe on a boulder. At the foot of the boulders, a man lies back against some bundles, one arm thrown up over his head. A dog curls up next to his hip. Not far from the sleeping man and in the center of the foreground, a man carries several long wooden objects, possibly oars, over one shoulder while a dog beyond him barks at the lapping surf. The beach curves like a C away from us, along the left. At the point of the curve in the middle distance, a structure like a city wall and gate jut out to the water’s edge. More buildings atop steep cliffs rise vertically beyond the gate. The shoreline curves into the distance again, and more buildings, including a lighthouse, and masted ships there are smoke-gray silhouettes. Near the lower right corner of the painting, four men pull on ropes tied around the prow of a small wooden boat while three others push it toward the land. Another man stands in the far end. A short distance beyond that boat is a tall wooden ship with three masts and rigging outlined against the night sky. Windows along the decks of that boat’s wide stern, angled toward us, glow with golden light. Beyond it and a bit to our left, another ship, smaller in scale, sails away from us. Several more ships move back to the horizon until we only see strokes of white and gray to indicate their unfurled sails.

Claude-Joseph Vernet was born in Avignon in 1714, the son of Antoine Vernet (1689-1753), an artisan painter of architectural decorations, coach panels, and the like. He moved to the studio of Philippe Sauvan (1697-1792), a leading history painter in Avignon, and then worked with Jacques Viali (active 1681-1745), a decorative, landscape, and marine painter in Aix-en-Provence. Vernet's first recorded paintings were decorative overdoors executed in 1731 in the Aix townhouse of the marquise de Simiane. In 1734, Joseph de Seytres, marquis de Caumont, a leading amateur in Avignon, sponsored Vernet to make a study trip to Italy to complete his artistic education and to draw antiquities for his patron.

As Avignon was a papal territory in Vernet's day, he also had a number of useful introductions among influential churchmen when he arrived in Rome. Vernet was soon at home in the French community there, and he was encouraged by Nicolas Vleughels (1668-1737), director of the Académie de France in Rome, even though the young painter had no official affiliation with the royal institution. He likely entered the studio of the French marine painter Adrien Manglard (1695-1760). By 1740 Vernet was developing an independent reputation as a painter of topographical landscape in and around Rome and Naples, as well as of imaginary Italianate landscapes and marines, demonstrated by the increasing number of entries in his surviving account books from the mid-1730s onward. His first important patron in Rome was the French ambassador Paul Hippolyte de Beauvillier, duc de Saint-Aignan (1684-1776). This relationship set a pattern, and members of the French diplomatic corps and visiting French prelates remained important patrons during Vernet's long Roman sojourn, which lasted almost twenty years (he returned definitively to France in 1753). He also worked for the Roman nobility--for example, painting a series of major marines for Don Giacomo Borghese (Rome, Palazzo Borghese). But it was the British--the wealthiest travelers in Europe--who became Vernet's main patrons during their Grand Tours, purchasing Italianate landscapes and marines as souvenirs of their visits to Italy. The British remained enthusiastic patrons of Vernet, even long after his return to France.

The appeal of Vernet's art was twofold. On the one hand, he drew on the tradition of ideal landscape painting codified by Claude Lorrain (1604/1605-1682), Nicolas Poussin (1594-1665), Gaspard Dughet (1615-1675), and Salvator Rosa (1615-1673) in seventeenth-century Italy. Inspired by the landscape of the Roman Campagna and its surrounding hills, and by the coastline south to Naples, these artists had created appropriate landscape settings for narratives from ancient history or mythology, or in which the classically educated viewer could wander in his imagination. Vernet, on the other hand, brought to the study of nature a more empirical and closely observed approach, consistent with his times, creating what seemed to his contemporaries a more vivid and convincing impression of nature. This effect was enhanced by the fact that he usually conceived his pictures in pairs, or even sets of four, which showed dramatically contrasting aspects of nature. Having established these kinds of paintings as successful formulas by the mid-1740s, Vernet continued to supply a European demand for them for the rest of his career. Vernet first exhibited typical landscapes and marines at the Paris Salon of 1746, the year his membership in the Académie royale de peinture et de sculpture was approved. He became a full member in 1753 and exhibited successfully at the Salon for the rest of his life. He had come to the attention of Louis XV's administration in 1746, and in 1753 he was finally called back to France to begin an official commission to paint large topographical views of the principal commercial and military seaports of the realm. This commission took him on an arduous itinerary, from Antibes in the south to Dieppe in the north, from 1753 until 1765, during which time he completed fifteen large paintings. Vernet's "Ports of France" (Paris, Musée du Louvre) are among the greatest French paintings of the mid-eighteenth century, for they are both remarkable social and historical documents of contemporary port life, full of fascinating observation, and at the same time beautifully composed and rendered works of art.

Vernet continued a large production of imaginary landscape and marine paintings until his death on the eve of the French Revolution in 1789. He was one of the most acclaimed and successful artists in France, and he received commissions from every corner of Europe. The public and critics alike admired his art, and the great writer and critic Denis Diderot (1713-1784) eulogized him. Diderot especially admired Vernet's dramatic scenes of shipwrecks, which perfectly illustrate the contemporary concept of the Sublime, expressing with horror the ephemeral quality of human endeavor before the immutable power of nature.

[Philip Conisbee, in French Paintings of the Fifteenth through the Eighteenth Century, The Collections of the National Gallery of Art Systematic Catalogue, Washington, D.C., 2009: 431.]

________________________________

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...

..

________________________________

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...

.

www.tryzub.org/ukrainian-festival-2016.php

Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence

Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.

Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.

A comprehended God is no God.

— St John Chrysostom

Typeface: Roswell

Merchandise available: www.redbubble.com/shop/ap/141293645

1.Convert Array to ArrayList

2.Check If an Array Contains a Value

3.Remove an Element from a List Inside a Loop

4. Hashtable vs HashMap

5.Use Raw Type of Collection

6. Access Level

7. ArrayList vs. LinkedList

8. Mutable vs. Immutable

9. Constructor of Super and Sub

10. “” or Constructor?

blogs.mindsmapped.com/java-j2ee/top-10-mistakes-java-deve...

immutability

www.tryzub.org/ukrainian-festival-2016.php

Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence

Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.

Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.

www.tryzub.org/ukrainian-festival-2016.php

Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence

Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.

Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.

www.tryzub.org/ukrainian-festival-2016.php

Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence

Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.

Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.

www.tryzub.org/ukrainian-festival-2016.php

Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence

Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.

Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.

Claude-Joseph Vernet - French, 1714 - 1789

Moonlight, 1772

West Building, Main Floor — Gallery 55

Moonlight falls across several masted ships near a rocky shoreline in this horizontal painting. The sky fills the top three-quarters of the picture. A veil of slate-gray clouds is lit to pearl white around the crisp, full moon at the center of the composition. Patches of denim-blue sky are seen through breaks in the blanket of clouds. Moonlight reflects down the center of rippling, silvery-gray water that laps against a beach close to us, along the bottom edge of the painting. A tent is set up in the lower left corner of the composition. There, two women and one man stand looking at a glowing fire next to the tent. One woman holds a basket on her head, the other tucks a flat basket under one arm. The man stands between the two women, and a fourth man crouches near the fire, his back to us. In the opening of the tent, another woman kneels over a large bowl as she looks at the fire. A fifth person, a man, gazes at the fire as he sits smoking a long-stemmed pipe on a boulder. At the foot of the boulders, a man lies back against some bundles, one arm thrown up over his head. A dog curls up next to his hip. Not far from the sleeping man and in the center of the foreground, a man carries several long wooden objects, possibly oars, over one shoulder while a dog beyond him barks at the lapping surf. The beach curves like a C away from us, along the left. At the point of the curve in the middle distance, a structure like a city wall and gate jut out to the water’s edge. More buildings atop steep cliffs rise vertically beyond the gate. The shoreline curves into the distance again, and more buildings, including a lighthouse, and masted ships there are smoke-gray silhouettes. Near the lower right corner of the painting, four men pull on ropes tied around the prow of a small wooden boat while three others push it toward the land. Another man stands in the far end. A short distance beyond that boat is a tall wooden ship with three masts and rigging outlined against the night sky. Windows along the decks of that boat’s wide stern, angled toward us, glow with golden light. Beyond it and a bit to our left, another ship, smaller in scale, sails away from us. Several more ships move back to the horizon until we only see strokes of white and gray to indicate their unfurled sails.

Claude-Joseph Vernet was born in Avignon in 1714, the son of Antoine Vernet (1689-1753), an artisan painter of architectural decorations, coach panels, and the like. He moved to the studio of Philippe Sauvan (1697-1792), a leading history painter in Avignon, and then worked with Jacques Viali (active 1681-1745), a decorative, landscape, and marine painter in Aix-en-Provence. Vernet's first recorded paintings were decorative overdoors executed in 1731 in the Aix townhouse of the marquise de Simiane. In 1734, Joseph de Seytres, marquis de Caumont, a leading amateur in Avignon, sponsored Vernet to make a study trip to Italy to complete his artistic education and to draw antiquities for his patron.

As Avignon was a papal territory in Vernet's day, he also had a number of useful introductions among influential churchmen when he arrived in Rome. Vernet was soon at home in the French community there, and he was encouraged by Nicolas Vleughels (1668-1737), director of the Académie de France in Rome, even though the young painter had no official affiliation with the royal institution. He likely entered the studio of the French marine painter Adrien Manglard (1695-1760). By 1740 Vernet was developing an independent reputation as a painter of topographical landscape in and around Rome and Naples, as well as of imaginary Italianate landscapes and marines, demonstrated by the increasing number of entries in his surviving account books from the mid-1730s onward. His first important patron in Rome was the French ambassador Paul Hippolyte de Beauvillier, duc de Saint-Aignan (1684-1776). This relationship set a pattern, and members of the French diplomatic corps and visiting French prelates remained important patrons during Vernet's long Roman sojourn, which lasted almost twenty years (he returned definitively to France in 1753). He also worked for the Roman nobility--for example, painting a series of major marines for Don Giacomo Borghese (Rome, Palazzo Borghese). But it was the British--the wealthiest travelers in Europe--who became Vernet's main patrons during their Grand Tours, purchasing Italianate landscapes and marines as souvenirs of their visits to Italy. The British remained enthusiastic patrons of Vernet, even long after his return to France.

The appeal of Vernet's art was twofold. On the one hand, he drew on the tradition of ideal landscape painting codified by Claude Lorrain (1604/1605-1682), Nicolas Poussin (1594-1665), Gaspard Dughet (1615-1675), and Salvator Rosa (1615-1673) in seventeenth-century Italy. Inspired by the landscape of the Roman Campagna and its surrounding hills, and by the coastline south to Naples, these artists had created appropriate landscape settings for narratives from ancient history or mythology, or in which the classically educated viewer could wander in his imagination. Vernet, on the other hand, brought to the study of nature a more empirical and closely observed approach, consistent with his times, creating what seemed to his contemporaries a more vivid and convincing impression of nature. This effect was enhanced by the fact that he usually conceived his pictures in pairs, or even sets of four, which showed dramatically contrasting aspects of nature. Having established these kinds of paintings as successful formulas by the mid-1740s, Vernet continued to supply a European demand for them for the rest of his career. Vernet first exhibited typical landscapes and marines at the Paris Salon of 1746, the year his membership in the Académie royale de peinture et de sculpture was approved. He became a full member in 1753 and exhibited successfully at the Salon for the rest of his life. He had come to the attention of Louis XV's administration in 1746, and in 1753 he was finally called back to France to begin an official commission to paint large topographical views of the principal commercial and military seaports of the realm. This commission took him on an arduous itinerary, from Antibes in the south to Dieppe in the north, from 1753 until 1765, during which time he completed fifteen large paintings. Vernet's "Ports of France" (Paris, Musée du Louvre) are among the greatest French paintings of the mid-eighteenth century, for they are both remarkable social and historical documents of contemporary port life, full of fascinating observation, and at the same time beautifully composed and rendered works of art.

Vernet continued a large production of imaginary landscape and marine paintings until his death on the eve of the French Revolution in 1789. He was one of the most acclaimed and successful artists in France, and he received commissions from every corner of Europe. The public and critics alike admired his art, and the great writer and critic Denis Diderot (1713-1784) eulogized him. Diderot especially admired Vernet's dramatic scenes of shipwrecks, which perfectly illustrate the contemporary concept of the Sublime, expressing with horror the ephemeral quality of human endeavor before the immutable power of nature.

[Philip Conisbee, in French Paintings of the Fifteenth through the Eighteenth Century, The Collections of the National Gallery of Art Systematic Catalogue, Washington, D.C., 2009: 431.]

________________________________

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...

..

________________________________

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...

.

1. Immutable Law Of The Universe #2, 2. rare steak, 3. Syracuse Skyline, 4. lonely planet - Maldives, 5. beatles_avedon67, 6. Restocked Beer Fridge, Nov. 2, 2007, 7. Damrak - Amsterdam, 8. coffee and chocolate mousse cake, 9. Bands I saw from Dec 17 1977 - 1980, 10. A Helping Hand, 11. Boys Of Summer, 12. mesmall

Created with fd's Flickr Toys.

Claude-Joseph Vernet - French, 1714 - 1789

Moonlight, 1772

West Building, Main Floor — Gallery 55

Moonlight falls across several masted ships near a rocky shoreline in this horizontal painting. The sky fills the top three-quarters of the picture. A veil of slate-gray clouds is lit to pearl white around the crisp, full moon at the center of the composition. Patches of denim-blue sky are seen through breaks in the blanket of clouds. Moonlight reflects down the center of rippling, silvery-gray water that laps against a beach close to us, along the bottom edge of the painting. A tent is set up in the lower left corner of the composition. There, two women and one man stand looking at a glowing fire next to the tent. One woman holds a basket on her head, the other tucks a flat basket under one arm. The man stands between the two women, and a fourth man crouches near the fire, his back to us. In the opening of the tent, another woman kneels over a large bowl as she looks at the fire. A fifth person, a man, gazes at the fire as he sits smoking a long-stemmed pipe on a boulder. At the foot of the boulders, a man lies back against some bundles, one arm thrown up over his head. A dog curls up next to his hip. Not far from the sleeping man and in the center of the foreground, a man carries several long wooden objects, possibly oars, over one shoulder while a dog beyond him barks at the lapping surf. The beach curves like a C away from us, along the left. At the point of the curve in the middle distance, a structure like a city wall and gate jut out to the water’s edge. More buildings atop steep cliffs rise vertically beyond the gate. The shoreline curves into the distance again, and more buildings, including a lighthouse, and masted ships there are smoke-gray silhouettes. Near the lower right corner of the painting, four men pull on ropes tied around the prow of a small wooden boat while three others push it toward the land. Another man stands in the far end. A short distance beyond that boat is a tall wooden ship with three masts and rigging outlined against the night sky. Windows along the decks of that boat’s wide stern, angled toward us, glow with golden light. Beyond it and a bit to our left, another ship, smaller in scale, sails away from us. Several more ships move back to the horizon until we only see strokes of white and gray to indicate their unfurled sails.

Claude-Joseph Vernet was born in Avignon in 1714, the son of Antoine Vernet (1689-1753), an artisan painter of architectural decorations, coach panels, and the like. He moved to the studio of Philippe Sauvan (1697-1792), a leading history painter in Avignon, and then worked with Jacques Viali (active 1681-1745), a decorative, landscape, and marine painter in Aix-en-Provence. Vernet's first recorded paintings were decorative overdoors executed in 1731 in the Aix townhouse of the marquise de Simiane. In 1734, Joseph de Seytres, marquis de Caumont, a leading amateur in Avignon, sponsored Vernet to make a study trip to Italy to complete his artistic education and to draw antiquities for his patron.

As Avignon was a papal territory in Vernet's day, he also had a number of useful introductions among influential churchmen when he arrived in Rome. Vernet was soon at home in the French community there, and he was encouraged by Nicolas Vleughels (1668-1737), director of the Académie de France in Rome, even though the young painter had no official affiliation with the royal institution. He likely entered the studio of the French marine painter Adrien Manglard (1695-1760). By 1740 Vernet was developing an independent reputation as a painter of topographical landscape in and around Rome and Naples, as well as of imaginary Italianate landscapes and marines, demonstrated by the increasing number of entries in his surviving account books from the mid-1730s onward. His first important patron in Rome was the French ambassador Paul Hippolyte de Beauvillier, duc de Saint-Aignan (1684-1776). This relationship set a pattern, and members of the French diplomatic corps and visiting French prelates remained important patrons during Vernet's long Roman sojourn, which lasted almost twenty years (he returned definitively to France in 1753). He also worked for the Roman nobility--for example, painting a series of major marines for Don Giacomo Borghese (Rome, Palazzo Borghese). But it was the British--the wealthiest travelers in Europe--who became Vernet's main patrons during their Grand Tours, purchasing Italianate landscapes and marines as souvenirs of their visits to Italy. The British remained enthusiastic patrons of Vernet, even long after his return to France.

The appeal of Vernet's art was twofold. On the one hand, he drew on the tradition of ideal landscape painting codified by Claude Lorrain (1604/1605-1682), Nicolas Poussin (1594-1665), Gaspard Dughet (1615-1675), and Salvator Rosa (1615-1673) in seventeenth-century Italy. Inspired by the landscape of the Roman Campagna and its surrounding hills, and by the coastline south to Naples, these artists had created appropriate landscape settings for narratives from ancient history or mythology, or in which the classically educated viewer could wander in his imagination. Vernet, on the other hand, brought to the study of nature a more empirical and closely observed approach, consistent with his times, creating what seemed to his contemporaries a more vivid and convincing impression of nature. This effect was enhanced by the fact that he usually conceived his pictures in pairs, or even sets of four, which showed dramatically contrasting aspects of nature. Having established these kinds of paintings as successful formulas by the mid-1740s, Vernet continued to supply a European demand for them for the rest of his career. Vernet first exhibited typical landscapes and marines at the Paris Salon of 1746, the year his membership in the Académie royale de peinture et de sculpture was approved. He became a full member in 1753 and exhibited successfully at the Salon for the rest of his life. He had come to the attention of Louis XV's administration in 1746, and in 1753 he was finally called back to France to begin an official commission to paint large topographical views of the principal commercial and military seaports of the realm. This commission took him on an arduous itinerary, from Antibes in the south to Dieppe in the north, from 1753 until 1765, during which time he completed fifteen large paintings. Vernet's "Ports of France" (Paris, Musée du Louvre) are among the greatest French paintings of the mid-eighteenth century, for they are both remarkable social and historical documents of contemporary port life, full of fascinating observation, and at the same time beautifully composed and rendered works of art.

Vernet continued a large production of imaginary landscape and marine paintings until his death on the eve of the French Revolution in 1789. He was one of the most acclaimed and successful artists in France, and he received commissions from every corner of Europe. The public and critics alike admired his art, and the great writer and critic Denis Diderot (1713-1784) eulogized him. Diderot especially admired Vernet's dramatic scenes of shipwrecks, which perfectly illustrate the contemporary concept of the Sublime, expressing with horror the ephemeral quality of human endeavor before the immutable power of nature.

[Philip Conisbee, in French Paintings of the Fifteenth through the Eighteenth Century, The Collections of the National Gallery of Art Systematic Catalogue, Washington, D.C., 2009: 431.]

________________________________

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...

..

________________________________

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...

.

By Ai Weiwei

Part of Everything at Once

Presented by Lisson Gallery and The Vinyl Factory at the Store Studios, 180 The Strand

October-December 2017

Lisson Gallery opened on Bell Street in 1967, a year after John Cage’s pronouncement on the changing conditions of contemporary existence. In celebration of this anniversary, the gallery is partnering with The Vinyl Factory to stage ‘EVERYTHING AT ONCE’, an ambitious group exhibition inspired by these words, which could very well apply to our current anxiety-ridden age of ceaseless communication. Through new and historical works by 24 of the artists currently shown by Lisson Gallery (out of more than 150 to have had solo shows over the past 50 years), this extensive presentation aims to collapse half a century of artistic endeavour under one roof, while telescoping its original aims into an unknowable future.

As Cage predicted, we increasingly live in an all-at-once age, in which time and space are no longer rational or linear concepts and great distances can be traversed with an instantaneous click. More than ever before, contemporary art, like life, assaults us simultaneously from all angles and from anywhere on the globe, existing also as multisensory visions of an accelerated world.

In response, ‘EVERYTHING AT ONCE’ is neither a chronological exhibition nor an encyclopaedic history of the gallery’s activities since 1967, rather it is an interconnected journey incorporating 45 works exploring experience, effect and event, invoking immediacy and immutability. Ranging from text to installation, painting, sculpture, performance and sound, the selection presents some of Lisson’s leading artists, of both the past and present...

[Lisson Gallery]

www.tryzub.org/ukrainian-festival-2016.php

Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence

Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.

Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.

Claude-Joseph Vernet - French, 1714 - 1789

Moonlight, 1772

West Building, Main Floor — Gallery 55

Moonlight falls across several masted ships near a rocky shoreline in this horizontal painting. The sky fills the top three-quarters of the picture. A veil of slate-gray clouds is lit to pearl white around the crisp, full moon at the center of the composition. Patches of denim-blue sky are seen through breaks in the blanket of clouds. Moonlight reflects down the center of rippling, silvery-gray water that laps against a beach close to us, along the bottom edge of the painting. A tent is set up in the lower left corner of the composition. There, two women and one man stand looking at a glowing fire next to the tent. One woman holds a basket on her head, the other tucks a flat basket under one arm. The man stands between the two women, and a fourth man crouches near the fire, his back to us. In the opening of the tent, another woman kneels over a large bowl as she looks at the fire. A fifth person, a man, gazes at the fire as he sits smoking a long-stemmed pipe on a boulder. At the foot of the boulders, a man lies back against some bundles, one arm thrown up over his head. A dog curls up next to his hip. Not far from the sleeping man and in the center of the foreground, a man carries several long wooden objects, possibly oars, over one shoulder while a dog beyond him barks at the lapping surf. The beach curves like a C away from us, along the left. At the point of the curve in the middle distance, a structure like a city wall and gate jut out to the water’s edge. More buildings atop steep cliffs rise vertically beyond the gate. The shoreline curves into the distance again, and more buildings, including a lighthouse, and masted ships there are smoke-gray silhouettes. Near the lower right corner of the painting, four men pull on ropes tied around the prow of a small wooden boat while three others push it toward the land. Another man stands in the far end. A short distance beyond that boat is a tall wooden ship with three masts and rigging outlined against the night sky. Windows along the decks of that boat’s wide stern, angled toward us, glow with golden light. Beyond it and a bit to our left, another ship, smaller in scale, sails away from us. Several more ships move back to the horizon until we only see strokes of white and gray to indicate their unfurled sails.

Claude-Joseph Vernet was born in Avignon in 1714, the son of Antoine Vernet (1689-1753), an artisan painter of architectural decorations, coach panels, and the like. He moved to the studio of Philippe Sauvan (1697-1792), a leading history painter in Avignon, and then worked with Jacques Viali (active 1681-1745), a decorative, landscape, and marine painter in Aix-en-Provence. Vernet's first recorded paintings were decorative overdoors executed in 1731 in the Aix townhouse of the marquise de Simiane. In 1734, Joseph de Seytres, marquis de Caumont, a leading amateur in Avignon, sponsored Vernet to make a study trip to Italy to complete his artistic education and to draw antiquities for his patron.

As Avignon was a papal territory in Vernet's day, he also had a number of useful introductions among influential churchmen when he arrived in Rome. Vernet was soon at home in the French community there, and he was encouraged by Nicolas Vleughels (1668-1737), director of the Académie de France in Rome, even though the young painter had no official affiliation with the royal institution. He likely entered the studio of the French marine painter Adrien Manglard (1695-1760). By 1740 Vernet was developing an independent reputation as a painter of topographical landscape in and around Rome and Naples, as well as of imaginary Italianate landscapes and marines, demonstrated by the increasing number of entries in his surviving account books from the mid-1730s onward. His first important patron in Rome was the French ambassador Paul Hippolyte de Beauvillier, duc de Saint-Aignan (1684-1776). This relationship set a pattern, and members of the French diplomatic corps and visiting French prelates remained important patrons during Vernet's long Roman sojourn, which lasted almost twenty years (he returned definitively to France in 1753). He also worked for the Roman nobility--for example, painting a series of major marines for Don Giacomo Borghese (Rome, Palazzo Borghese). But it was the British--the wealthiest travelers in Europe--who became Vernet's main patrons during their Grand Tours, purchasing Italianate landscapes and marines as souvenirs of their visits to Italy. The British remained enthusiastic patrons of Vernet, even long after his return to France.

The appeal of Vernet's art was twofold. On the one hand, he drew on the tradition of ideal landscape painting codified by Claude Lorrain (1604/1605-1682), Nicolas Poussin (1594-1665), Gaspard Dughet (1615-1675), and Salvator Rosa (1615-1673) in seventeenth-century Italy. Inspired by the landscape of the Roman Campagna and its surrounding hills, and by the coastline south to Naples, these artists had created appropriate landscape settings for narratives from ancient history or mythology, or in which the classically educated viewer could wander in his imagination. Vernet, on the other hand, brought to the study of nature a more empirical and closely observed approach, consistent with his times, creating what seemed to his contemporaries a more vivid and convincing impression of nature. This effect was enhanced by the fact that he usually conceived his pictures in pairs, or even sets of four, which showed dramatically contrasting aspects of nature. Having established these kinds of paintings as successful formulas by the mid-1740s, Vernet continued to supply a European demand for them for the rest of his career. Vernet first exhibited typical landscapes and marines at the Paris Salon of 1746, the year his membership in the Académie royale de peinture et de sculpture was approved. He became a full member in 1753 and exhibited successfully at the Salon for the rest of his life. He had come to the attention of Louis XV's administration in 1746, and in 1753 he was finally called back to France to begin an official commission to paint large topographical views of the principal commercial and military seaports of the realm. This commission took him on an arduous itinerary, from Antibes in the south to Dieppe in the north, from 1753 until 1765, during which time he completed fifteen large paintings. Vernet's "Ports of France" (Paris, Musée du Louvre) are among the greatest French paintings of the mid-eighteenth century, for they are both remarkable social and historical documents of contemporary port life, full of fascinating observation, and at the same time beautifully composed and rendered works of art.

Vernet continued a large production of imaginary landscape and marine paintings until his death on the eve of the French Revolution in 1789. He was one of the most acclaimed and successful artists in France, and he received commissions from every corner of Europe. The public and critics alike admired his art, and the great writer and critic Denis Diderot (1713-1784) eulogized him. Diderot especially admired Vernet's dramatic scenes of shipwrecks, which perfectly illustrate the contemporary concept of the Sublime, expressing with horror the ephemeral quality of human endeavor before the immutable power of nature.

[Philip Conisbee, in French Paintings of the Fifteenth through the Eighteenth Century, The Collections of the National Gallery of Art Systematic Catalogue, Washington, D.C., 2009: 431.]

________________________________

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...

..

________________________________

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...

.

Blockchain technology has the potential to change accounting for the better, with this immutable, open-ledger technology all transactions are stored on the network. With all the nodes having access to the network it makes it easier for clients and their respective accountants to have real-time access to all the financial records of the organization. With the right integration of blockchain technology, one can enhance the productivity and efficiency of the system. We at Sara Technologies Inc. are industry leaders in blockchain development and have helped businesses from various walks integrate blockchain technology in their systems. With our user-centricBlockchain Accounting software, you can easily maintain your account's integrity, security, and efficiency.

Claude-Joseph Vernet - French, 1714 - 1789

Moonlight, 1772

West Building, Main Floor — Gallery 55

Moonlight falls across several masted ships near a rocky shoreline in this horizontal painting. The sky fills the top three-quarters of the picture. A veil of slate-gray clouds is lit to pearl white around the crisp, full moon at the center of the composition. Patches of denim-blue sky are seen through breaks in the blanket of clouds. Moonlight reflects down the center of rippling, silvery-gray water that laps against a beach close to us, along the bottom edge of the painting. A tent is set up in the lower left corner of the composition. There, two women and one man stand looking at a glowing fire next to the tent. One woman holds a basket on her head, the other tucks a flat basket under one arm. The man stands between the two women, and a fourth man crouches near the fire, his back to us. In the opening of the tent, another woman kneels over a large bowl as she looks at the fire. A fifth person, a man, gazes at the fire as he sits smoking a long-stemmed pipe on a boulder. At the foot of the boulders, a man lies back against some bundles, one arm thrown up over his head. A dog curls up next to his hip. Not far from the sleeping man and in the center of the foreground, a man carries several long wooden objects, possibly oars, over one shoulder while a dog beyond him barks at the lapping surf. The beach curves like a C away from us, along the left. At the point of the curve in the middle distance, a structure like a city wall and gate jut out to the water’s edge. More buildings atop steep cliffs rise vertically beyond the gate. The shoreline curves into the distance again, and more buildings, including a lighthouse, and masted ships there are smoke-gray silhouettes. Near the lower right corner of the painting, four men pull on ropes tied around the prow of a small wooden boat while three others push it toward the land. Another man stands in the far end. A short distance beyond that boat is a tall wooden ship with three masts and rigging outlined against the night sky. Windows along the decks of that boat’s wide stern, angled toward us, glow with golden light. Beyond it and a bit to our left, another ship, smaller in scale, sails away from us. Several more ships move back to the horizon until we only see strokes of white and gray to indicate their unfurled sails.

Claude-Joseph Vernet was born in Avignon in 1714, the son of Antoine Vernet (1689-1753), an artisan painter of architectural decorations, coach panels, and the like. He moved to the studio of Philippe Sauvan (1697-1792), a leading history painter in Avignon, and then worked with Jacques Viali (active 1681-1745), a decorative, landscape, and marine painter in Aix-en-Provence. Vernet's first recorded paintings were decorative overdoors executed in 1731 in the Aix townhouse of the marquise de Simiane. In 1734, Joseph de Seytres, marquis de Caumont, a leading amateur in Avignon, sponsored Vernet to make a study trip to Italy to complete his artistic education and to draw antiquities for his patron.

As Avignon was a papal territory in Vernet's day, he also had a number of useful introductions among influential churchmen when he arrived in Rome. Vernet was soon at home in the French community there, and he was encouraged by Nicolas Vleughels (1668-1737), director of the Académie de France in Rome, even though the young painter had no official affiliation with the royal institution. He likely entered the studio of the French marine painter Adrien Manglard (1695-1760). By 1740 Vernet was developing an independent reputation as a painter of topographical landscape in and around Rome and Naples, as well as of imaginary Italianate landscapes and marines, demonstrated by the increasing number of entries in his surviving account books from the mid-1730s onward. His first important patron in Rome was the French ambassador Paul Hippolyte de Beauvillier, duc de Saint-Aignan (1684-1776). This relationship set a pattern, and members of the French diplomatic corps and visiting French prelates remained important patrons during Vernet's long Roman sojourn, which lasted almost twenty years (he returned definitively to France in 1753). He also worked for the Roman nobility--for example, painting a series of major marines for Don Giacomo Borghese (Rome, Palazzo Borghese). But it was the British--the wealthiest travelers in Europe--who became Vernet's main patrons during their Grand Tours, purchasing Italianate landscapes and marines as souvenirs of their visits to Italy. The British remained enthusiastic patrons of Vernet, even long after his return to France.

The appeal of Vernet's art was twofold. On the one hand, he drew on the tradition of ideal landscape painting codified by Claude Lorrain (1604/1605-1682), Nicolas Poussin (1594-1665), Gaspard Dughet (1615-1675), and Salvator Rosa (1615-1673) in seventeenth-century Italy. Inspired by the landscape of the Roman Campagna and its surrounding hills, and by the coastline south to Naples, these artists had created appropriate landscape settings for narratives from ancient history or mythology, or in which the classically educated viewer could wander in his imagination. Vernet, on the other hand, brought to the study of nature a more empirical and closely observed approach, consistent with his times, creating what seemed to his contemporaries a more vivid and convincing impression of nature. This effect was enhanced by the fact that he usually conceived his pictures in pairs, or even sets of four, which showed dramatically contrasting aspects of nature. Having established these kinds of paintings as successful formulas by the mid-1740s, Vernet continued to supply a European demand for them for the rest of his career. Vernet first exhibited typical landscapes and marines at the Paris Salon of 1746, the year his membership in the Académie royale de peinture et de sculpture was approved. He became a full member in 1753 and exhibited successfully at the Salon for the rest of his life. He had come to the attention of Louis XV's administration in 1746, and in 1753 he was finally called back to France to begin an official commission to paint large topographical views of the principal commercial and military seaports of the realm. This commission took him on an arduous itinerary, from Antibes in the south to Dieppe in the north, from 1753 until 1765, during which time he completed fifteen large paintings. Vernet's "Ports of France" (Paris, Musée du Louvre) are among the greatest French paintings of the mid-eighteenth century, for they are both remarkable social and historical documents of contemporary port life, full of fascinating observation, and at the same time beautifully composed and rendered works of art.

Vernet continued a large production of imaginary landscape and marine paintings until his death on the eve of the French Revolution in 1789. He was one of the most acclaimed and successful artists in France, and he received commissions from every corner of Europe. The public and critics alike admired his art, and the great writer and critic Denis Diderot (1713-1784) eulogized him. Diderot especially admired Vernet's dramatic scenes of shipwrecks, which perfectly illustrate the contemporary concept of the Sublime, expressing with horror the ephemeral quality of human endeavor before the immutable power of nature.

[Philip Conisbee, in French Paintings of the Fifteenth through the Eighteenth Century, The Collections of the National Gallery of Art Systematic Catalogue, Washington, D.C., 2009: 431.]

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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...

..

________________________________

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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The devil's bridge's builder, according to legends linked to this type of work, can't end its work which defies immutably adverse norms an rules, without a supernatural help. This will be given by de devil, in exchange for the soul of the first person crossing it, generally the same builder who has to test it. But this will deceive the devil, letting pass an animal at first. Through the sacrifice of this one, this way, the bridge and its builder will be free from curses and mortgages.

Il nome “del Diavolo” è legato a una leggenda secondo la quale i civitesi, dopo aver tentato inutilmente di costruire un ponte tra le gole del Raganello, strinsero un patto con il diavolo in cambio della prima anima che avesse attraversato il viadotto. Ma i cittadini, una volta edificato il ponte, lo fecero attraversare da un cagnolino. Il diavolo furioso tirò un calcio alla costruzione tanto da lasciare i segni, secondo la leggenda, sul ponte originario.

www.tryzub.org/ukrainian-festival-2016.php

Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence

Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.

Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.

God's creation is always beautiful, it is unchanging

www.tryzub.org/ukrainian-festival-2016.php

Over 2,500 Gathered at the Ukrainian America Sport Center – Tryzub to celebrate the 25th Anniversary of Ukraine’s Independence

Sun., Aug. 28, Horsham, PA - The Ukrainian and American flags danced in the brilliant sunshine and mild breezes of another delightful summer afternoon at the Ukrainian American Sport Center-Tryzub. The intense, varied and complex thoughts, prayers and emotions of the gathering crowd were palpable.

Ukrainians, haling, directly or through ancestry, from nearly all regions of Ukraine, demonstrated solidarity with their homeland and her people through their spirited attendance, clothing and accessories: Beautiful embroideries and folk costumes (including also those of our Crimean Tatar Ukrainians), flags, tryzubs, Ukrainian sports and thematic jerseys and our beautiful language affirmed the presence of Ukraine’s immortal and immutable spirit in the festival glade, well before the concert had even started.