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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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American Landscapes in Watercolor from the Corcoran Collection
August 2, 2025 - February 1, 2026
Locations West Building, Ground Floor, Gallery 22
Two centuries of watercolors capture the nation’s beauty from sea to shining sea.
In the nation’s early years, artists and explorers used watercolor for mapping and documenting the landscape. By the 19th century, American painters began capturing their country in larger, more finished works that were considered fine art.
See how artists with different backgrounds and styles painted iconic American places in watercolor over two centuries. You’ll travel from the Washington Monument to the choppy ocean waters of New England, from the Grand Canyon to Yosemite National Park, from the Hudson River Valley to local gardens.
American Landscapes features 30 works, most drawn from the National Gallery’s Corcoran Collection.
www.nga.gov/exhibitions/american-landscapes-watercolor-co...
A new show of landscapes feels like a series of establishing shots. The characters, if any, are minor, deflecting attention. The focus, instead, is on scene setting, on the spiky needles of a pine, the blazing crimsons of dusk. The world here is still, waiting quietly, expectantly, for something to happen.
Staged in two small rooms, the 30 watercolors on show at the National Gallery of Art are dreamlike. Drawn from the Corcoran Collection and dating from the early 19th to the late 20th century, the pictures trace the history of the nation’s landscapes in watercolor, a medium long dismissed as sentimental or, as Harper’s Weekly put it at the time, work “better fitted for girls than for men.” It wasn’t until the establishment of the American Watercolor Society in 1866 and the work of Winslow Homer, William Trost Richards and others that the art form rocketed to new heights.
Particularly monumental is Richards’s view of Narragansett Bay in Rhode Island. “It has the feel of a grand oil painting,” says curator Amy Johnston. Mounted on its own wall in the show, the work swells with blue-green waves crashing against the jagged rock, the tide breaking in cobweb-white flourishes. Seagulls cut across the shadowed sky, like fingernails strewn about. An accomplished oil painter, Richards here revels in rich passages of teal, churning ravenously on textured brown paper. Like his contemporaries, he’s “trying to elevate the status of watercolor,” Johnston notes, imbuing it with a rare sublimity.
That splendor runs through the show. It comes through in the delicate pictures of Seth Eastman, a West Point cadet turned painter. His sketches, like one of the Hudson River from 1837, were dashed off out of doors, where he could linger on the deep greens shading into sage, the cascading hills of silvery blue-grays. Unlike oils, watercolors were affordable and lightweight, allowing for a kind of immediacy.
Consider William Russell Birch’s circa 1808 “View From the Springhouse at Echo,” an enigmatic sketch of a densely wooded forest, light filtering through a canopy of leaves, each tendril scrawled in black ink. There’s a harmony to the picture, a taupe ground tinged with gold, tree trunks striped with delicate crosshatches. It’s not so much a study of nature as a delight in it, the eye snaking between branches.
Homer took up the same theme in 1891. There, bands of ultramarine are broken by spindly logs of rich brown and cadmium white, the hills a wash of olive green, the two central figures nearly eclipsed in a sea of cascading sapphires. Homer left slivers of the paper exposed, never overextending himself. The result is impossibly deft: a moment in time seared, immutably, in memory.
By the 20th century, that sense of nostalgia sharpens, before giving way to bolder modernism. Dora Louise Murdoch’s “Parmelee Garden” drips with glossy pinks and lilacs, centering on the wistful grounds of the Northwest Washington estate designed by landscape architect Ellen Biddle Shipman. A lover of overgrown gardens, Shipman approached her work as if “painting pictures” with her plants, she said, “as an artist would.”
That artistry explodes with Alma Thomas’s circa 1960 “Winter Shadows.” Probably a view of a holly tree outside her 15th Street window in Washington, D.C., the work is a symphony of ultramarines and jades daubed with lavenders and blush pinks. Rhythm permeates the picture, rising and falling in time.
Many of these artists seem to be looking for something outside themselves.
️
Follow Art
Follow
Richards wandered along the shore of Narragansett Bay. He spent hours there studying the jutting edge of bluff, the thrill of the current. “I watch and try to disentangle its push and leap and recoil,” he told his friend, the art collector George Whitney, but “[I] am always startled out of my self-possession by the thunder and the rush.” He relished nature, surrendering to its pull. That practice, a kind of grace, informed his work. As he once advised his student Fidelia Bridges: “It is not so much what you accomplish as what you learn by the work. If it teaches you humility, patience and steadfastness, your life is well spent.”
www.washingtonpost.com/dc-md-va/2025/09/17/american-lands...
________________________________
For earlier visit in 2024 see:
www.flickr.com/photos/ugardener/albums/72177720320689747/
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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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]
In Spring 2018 the Slanted editors took a close-up look at the contemporary design scene of Dubai. A city—when described by many people—that is all sickening shine and has no soul. But Dubai and the whole region, originally a piece of desert sparsely populated by Bedouins, is now transforming itself rapidly into a center, if not the world’s greatest center, of trade, finance, and tourism—and moreover, something important happened in the last few years: Culture! Today, a new Arab world is being plotted and planned. The entire Gulf is teeming with initiatives—from the most public to the most private—to change and reinvent seemingly immutable rules, regimes, edicts, and assumptions, culminating, perhaps, in the stated intention to work more closely together. The Gulf states have a past, and they will have a future. The contours of that future are legible in this Slanted issue!
Slanted met some of the most amazing creatives such as Möbius Studio, Wissam Shawkat, and Fikra Design Studio. Not only can you find their brilliant works in the new issue, Slanted also provides a deeper look at their opinions and views through video interviews that can be watched online on our video platform for free: www.slanted.de/dubai.
Six Characters in Search of an Author
Adapted from Luigi Pirandello by Ben Power and Rupert Goold
26-30 March, 7:30. Adam House Theatre.
'We are more than real. We are unchanging, immutable, fixed. We are what we have been made to be.'
Tickets available at xtspro.com/-/six-characters-in-search-of-an-author/
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
Winged Figure of the Republic. 'The immutable calm of intellectual resolution, and the enormous power of trained physical strength... enthroned in placid triumph of scientific accomplishment.' (Oskar J.W. Hansen, sculptor)
It started like any other ordinary evening. I was checking my emails and clearing out the usual spam when I noticed one that looked exactly like a security notification from Binance. The logo the layout and even the wording felt legitimate. Without thinking too much I clicked the link entered my details and moved on with my night. Within minutes my stomach dropped. I received an alert that a withdrawal had been initiated from my account. Twenty two thousand five hundred dollars worth of Ethereum was gone in a single transaction.Panic set in instantly. I rushed to log back into my Binance account and tried to stop the transfer but it was already too late. The funds had been sent to an unfamiliar wallet and all I could see on the blockchain was that it had vanished into the endless web of transactions. My heart sank. I immediately reached out to Binance support hoping there was some emergency measure they could take to freeze the assets or reverse the withdrawal. Their reply was polite yet crushing. The transaction was valid and confirmed and because of the immutable nature of blockchain there was nothing they could do.For days I felt devastated replaying my mistake and wondering how I could have been so careless. In desperation I began searching online for anyone who had gone through a similar situation. Most stories ended in disappointment with victims never seeing their funds again. That is when I stumbled across a discussion thread mentioning GRAVOY TECH NETWORK. Skeptical but hopeful I decided to give them a try.From the first conversation something felt different. They did not make vague promises. They explained in detail how they trace stolen crypto. Using Cryptocurrency forensics they began monitoring the exact transaction that had drained my account. They followed the Ethereum as it jumped through multiple wallets and even passed through mixers that hackers typically rely on to cover their tracks. Week after week they updated me on the progress showing how the laundering trail was slowly unraveling.Then almost unbelievably I received the message I had been waiting for. The stolen Ethereum had been recovered. Within weeks of what I thought was a permanent loss GRAVOY TECH NETWORK managed to bring back my twenty two thousand five hundred dollars in ETH.What began as a nightmare ended with relief and gratitude. GRAVOY TECH NETWORK gave me back my funds and restored what I thought was gone forever.
Visit USWEB:gravoytechnetwork.comWhatsApp:+1 (206) 234‑9907Email:GRAVOYTECHNETWORK@techie.com
CMU 2018 MFA Thesis Exhibition
March 17 - April 8, 2018
Co-organized by CMU School of Art
Artists: Shobun Baile, Alex Lukas, KR Pipkin, Gray Swartzel, Lee Webster
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.
Website |
Tiktok |
Threads |
Medium |
Twitter |
Facebook |
All photographs © Andrew Lalchan
In Spring 2018 the Slanted editors took a close-up look at the contemporary design scene of Dubai. A city—when described by many people—that is all sickening shine and has no soul. But Dubai and the whole region, originally a piece of desert sparsely populated by Bedouins, is now transforming itself rapidly into a center, if not the world’s greatest center, of trade, finance, and tourism—and moreover, something important happened in the last few years: Culture! Today, a new Arab world is being plotted and planned. The entire Gulf is teeming with initiatives—from the most public to the most private—to change and reinvent seemingly immutable rules, regimes, edicts, and assumptions, culminating, perhaps, in the stated intention to work more closely together. The Gulf states have a past, and they will have a future. The contours of that future are legible in this Slanted issue!
Slanted met some of the most amazing creatives such as Möbius Studio, Wissam Shawkat, and Fikra Design Studio. Not only can you find their brilliant works in the new issue, Slanted also provides a deeper look at their opinions and views through video interviews that can be watched online on our video platform for free: www.slanted.de/dubai.
CMU 2018 MFA Thesis Exhibition
March 17 - April 8, 2018
Co-organized by CMU School of Art
Artists: Shobun Baile, Alex Lukas, KR Pipkin, Gray Swartzel, Lee Webster
A comprehended God is no God.
— St John Chrysostom
Typeface: Roswell
Merchandise available: www.redbubble.com/shop/ap/141292797
Six Characters in Search of an Author
Adapted from Luigi Pirandello by Ben Power and Rupert Goold
26-30 March, 7:30. Adam House Theatre.
'We are more than real. We are unchanging, immutable, fixed. We are what we have been made to be.'
Tickets available at xtspro.com/-/six-characters-in-search-of-an-author/
You and me
Meant to be
Immutable
Impossible
It's destiny
Pure lunacy
Incalculable
Insufferable
But for the last time
You're everything that I want and ask for
You're all that I'd dreamed
Who wouldn't be the one you love
Who wouldn't stand inside your love
Protected and the lover of
A pure soul and beautiful you
Don't understand
Don't feel me now
I will breathe
For the both of us
Travel the world
Traverse the skies
Your home is here
Within my heart
And for the first time
I feel as though I am reborn
In my mind
Recast as child and mystic sage
Who wouldn't be the one you love
Who wouldn't stand inside your love
And for the first time
I'm telling you how much I need and bleed for
Your every move and waking sound
In my time
I'll wrap my wire around your heart and your mind
You're mine forever now
Who wouldn't be the one you love and live for
Who wouldn't stand inside your love and die for
Who wouldn't be the one you love
In Spring 2018 the Slanted editors took a close-up look at the contemporary design scene of Dubai. A city—when described by many people—that is all sickening shine and has no soul. But Dubai and the whole region, originally a piece of desert sparsely populated by Bedouins, is now transforming itself rapidly into a center, if not the world’s greatest center, of trade, finance, and tourism—and moreover, something important happened in the last few years: Culture! Today, a new Arab world is being plotted and planned. The entire Gulf is teeming with initiatives—from the most public to the most private—to change and reinvent seemingly immutable rules, regimes, edicts, and assumptions, culminating, perhaps, in the stated intention to work more closely together. The Gulf states have a past, and they will have a future. The contours of that future are legible in this Slanted issue!
Slanted met some of the most amazing creatives such as Möbius Studio, Wissam Shawkat, and Fikra Design Studio. Not only can you find their brilliant works in the new issue, Slanted also provides a deeper look at their opinions and views through video interviews that can be watched online on our video platform for free: www.slanted.de/dubai.
CMU 2018 MFA Thesis Exhibition
March 17 - April 8, 2018
Co-organized by CMU School of Art
Artists: Shobun Baile, Alex Lukas, KR Pipkin, Gray Swartzel, Lee Webster
CMU 2018 MFA Thesis Exhibition
March 17 - April 8, 2018
Co-organized by CMU School of Art
Artists: Shobun Baile, Alex Lukas, KR Pipkin, Gray Swartzel, Lee Webster
.
___________________________________________
American Landscapes in Watercolor from the Corcoran Collection
August 2, 2025 - February 1, 2026
Locations West Building, Ground Floor, Gallery 22
Two centuries of watercolors capture the nation’s beauty from sea to shining sea.
In the nation’s early years, artists and explorers used watercolor for mapping and documenting the landscape. By the 19th century, American painters began capturing their country in larger, more finished works that were considered fine art.
See how artists with different backgrounds and styles painted iconic American places in watercolor over two centuries. You’ll travel from the Washington Monument to the choppy ocean waters of New England, from the Grand Canyon to Yosemite National Park, from the Hudson River Valley to local gardens.
American Landscapes features 30 works, most drawn from the National Gallery’s Corcoran Collection.
www.nga.gov/exhibitions/american-landscapes-watercolor-co...
A new show of landscapes feels like a series of establishing shots. The characters, if any, are minor, deflecting attention. The focus, instead, is on scene setting, on the spiky needles of a pine, the blazing crimsons of dusk. The world here is still, waiting quietly, expectantly, for something to happen.
Staged in two small rooms, the 30 watercolors on show at the National Gallery of Art are dreamlike. Drawn from the Corcoran Collection and dating from the early 19th to the late 20th century, the pictures trace the history of the nation’s landscapes in watercolor, a medium long dismissed as sentimental or, as Harper’s Weekly put it at the time, work “better fitted for girls than for men.” It wasn’t until the establishment of the American Watercolor Society in 1866 and the work of Winslow Homer, William Trost Richards and others that the art form rocketed to new heights.
Particularly monumental is Richards’s view of Narragansett Bay in Rhode Island. “It has the feel of a grand oil painting,” says curator Amy Johnston. Mounted on its own wall in the show, the work swells with blue-green waves crashing against the jagged rock, the tide breaking in cobweb-white flourishes. Seagulls cut across the shadowed sky, like fingernails strewn about. An accomplished oil painter, Richards here revels in rich passages of teal, churning ravenously on textured brown paper. Like his contemporaries, he’s “trying to elevate the status of watercolor,” Johnston notes, imbuing it with a rare sublimity.
That splendor runs through the show. It comes through in the delicate pictures of Seth Eastman, a West Point cadet turned painter. His sketches, like one of the Hudson River from 1837, were dashed off out of doors, where he could linger on the deep greens shading into sage, the cascading hills of silvery blue-grays. Unlike oils, watercolors were affordable and lightweight, allowing for a kind of immediacy.
Consider William Russell Birch’s circa 1808 “View From the Springhouse at Echo,” an enigmatic sketch of a densely wooded forest, light filtering through a canopy of leaves, each tendril scrawled in black ink. There’s a harmony to the picture, a taupe ground tinged with gold, tree trunks striped with delicate crosshatches. It’s not so much a study of nature as a delight in it, the eye snaking between branches.
Homer took up the same theme in 1891. There, bands of ultramarine are broken by spindly logs of rich brown and cadmium white, the hills a wash of olive green, the two central figures nearly eclipsed in a sea of cascading sapphires. Homer left slivers of the paper exposed, never overextending himself. The result is impossibly deft: a moment in time seared, immutably, in memory.
By the 20th century, that sense of nostalgia sharpens, before giving way to bolder modernism. Dora Louise Murdoch’s “Parmelee Garden” drips with glossy pinks and lilacs, centering on the wistful grounds of the Northwest Washington estate designed by landscape architect Ellen Biddle Shipman. A lover of overgrown gardens, Shipman approached her work as if “painting pictures” with her plants, she said, “as an artist would.”
That artistry explodes with Alma Thomas’s circa 1960 “Winter Shadows.” Probably a view of a holly tree outside her 15th Street window in Washington, D.C., the work is a symphony of ultramarines and jades daubed with lavenders and blush pinks. Rhythm permeates the picture, rising and falling in time.
Many of these artists seem to be looking for something outside themselves.
️
Follow Art
Follow
Richards wandered along the shore of Narragansett Bay. He spent hours there studying the jutting edge of bluff, the thrill of the current. “I watch and try to disentangle its push and leap and recoil,” he told his friend, the art collector George Whitney, but “[I] am always startled out of my self-possession by the thunder and the rush.” He relished nature, surrendering to its pull. That practice, a kind of grace, informed his work. As he once advised his student Fidelia Bridges: “It is not so much what you accomplish as what you learn by the work. If it teaches you humility, patience and steadfastness, your life is well spent.”
www.washingtonpost.com/dc-md-va/2025/09/17/american-lands...
________________________________
For earlier visit in 2024 see:
www.flickr.com/photos/ugardener/albums/72177720320689747/
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...
.
Artist | Song Cheon 송천 (born in Korea)
Title | Gyeon-bo-tap-pum: The Replica Mural Paintings in Yeongsanjeon Hall of Tongdosa Temple (2012) 견보탑품: 통도사 영산전 벽화 모사
pigment on Korean traditional paper
157 x 162cm, 469 x 230 cm, 157 x 162 cm
Occasion | Busan Biennale 2024
Exhibition | Seeing in the Dark
Artist's Instagram | www.instagram.com/solsem_art/
From a religious perspective, happiness refers to ‘the process of finding oneself who has entered the world of truth’. This kind of happiness as a search for truth is equivalent to ‘illumination’ or ‘light’ in the religious sense. The Avalokitesvara and the Virgin Mary are renowned images, already historically symbolised as ‘icons’. In Avalokiteshvara and Mary - The Truth Has Never Left My Side (2024), Song Cheon viewed the icons as ‘the truth’. For him, the truth always stays with us and is a saviour and immutable law that guides us from darkness to light. The Juhyeonggwangbae (boat-shaped halo) that looks like candlelight or a water drop encompasses the values of benevolence, including vitality, wisdom, love, and peace. The splendour of the Avalokitesvara and the simplicity of the Virgin Mary display different beauties, but they arouse the same awe. The doctrines and ideologies we profess may differ, but our ultimate goal is to achieve a valuable life.
The depiction of Avalokiteshvara employs a technique of layered colouring on the soft and warm texture of traditional Korean paper Hanji, renowned for its flexibility and excellent preservation qualities. In the painting of the Virgin Mary, techniques inherited from Buddhist art are integrated, utilising natural pigments and silk. The iconography was drawn from the attire represented in the 12th-century Mosaic Orans in the Basilica of Santa Maria e San Donato in Murano, Italy, yet also resonates with the cultural sensibilities of 13th-century Goryeo Buddhist paintings. The Eyes of Truth (2024) painted next to the Avalokiteshvara and Mary is an expression of the idea of love for the people through the gaze of the being that constantly watches over us. By gathering the two images that evoke the significance of life and coexistence, Song Cheon hopes for a lifestyle that practises the recovery of humanity and humanism.
Gyeon-bo-tap-pum-The Replica Mural Paintings in Yeongsanjeon Hall of Tongdosa Temple (2012) highly resonates with the Biennale’s overarching theme, which explores the subversive implications of image representation and reproduction. Treasure No. 1826 Yeongsanjeon and Treasure No. 1711 Yeongsanjeon Murals, as part of ‘Tongdosa Yeongsanjeon,’ are structures that replicate the assembly at Vulture Peak in ancient India, where the Lotus Sutra was preached. The content of the painting is derived from Chapter 11 of the Lotus Sutra, Gyeon-bo-tap-pum. This depiction is unique and holds significant importance as it is the only known representation of this chapter created in Korea, dating back to the early 18th century. This building, reconstructed in 1714 following the Japanese invasions of Korea, features a three-bay front and side layout with a gable roof in the multi-bracket style, and serves as the central dharma hall in the lower precinct. Inside, there are murals of Dabotap-the Pagoda of Many Treasures and 48 scenes depicting ‘The Historical Events of the Sakyamuni Buddha,’ with 26 scenes related to the life of Sakyamuni Buddha and 22 scenes depicting the deeds of his disciples. Song Cheon reproduced the mural of the Dabotap, located in the centre of the wall, using traditional Korean paper and natural pigments. The scene illustrates the dramatic moment when the Pagoda of Prabhutaratna rises from the earth to praise the teachings of Sakyamuni Buddha, after which Sakyamuni Buddha enters the pagoda and sits beside Prabhutaratna. This scene emphasises the veracity of Sakyamuni Buddha's teachings as affirmed by the Prabhutaratna. The paintings on either side includes disciples and divine guardians, with Song Cheon meticulously replicating even the segmented arrangement caused by the architectural structure of Yeongsanjeon. Many of these temple murals were painted during the late Joseon dynasty and are an essential legacy showing the effort put into the monks’ training environment and propagation. The life and practice of the community, as depicted by the ancestors, invites us to imagine a form of liberating space.
Song Cheon diversely studies and practices Buddhist art while living as a monk in the quest to learn “who I am”. He has been researching and compiling Buddhist paintings scattered in the nationwide temples for seventeen years and served as the director of the Tongdosa Museum. Also, as a certified trainee of traditional Buddhist painting, Song Cheon has replicated Tongdosa Gwaebul (Buddhist hanging scroll in Tongdosa Temple), the Daegwangjeon Mural of the Sinheungsa Temple, Yangsan, and Gaesimsa Gwaebul (Buddhist hanging scroll in Gaesimsa Temple), which have been designated as the National Treasures of South Korea. Recently, Song Cheon has added his imagination to the replications, expanding his spectrum of work into abstraction.
immutability- because the pumpkin will always be orange just like God's unchanging grace and love for us (shallow depth of field).
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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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
Six Characters in Search of an Author
Adapted from Luigi Pirandello by Ben Power and Rupert Goold
26-30 March, 7:30. Adam House Theatre.
'We are more than real. We are unchanging, immutable, fixed. We are what we have been made to be.'
Tickets available at xtspro.com/-/six-characters-in-search-of-an-author/
CMU 2018 MFA Thesis Exhibition
March 17 - April 8, 2018
Co-organized by CMU School of Art
Artists: Shobun Baile, Alex Lukas, KR Pipkin, Gray Swartzel, Lee Webster
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
CMU 2018 MFA Thesis Exhibition
March 17 - April 8, 2018
Co-organized by CMU School of Art
Artists: Shobun Baile, Alex Lukas, KR Pipkin, Gray Swartzel, Lee Webster
"Five dollars" is an edition of 1 unique NFT and relates to a jpeg image from the collection “The Treachery of Money”. The collection title hints at René Magritte’s famous “This Is Not a Pipe”, a painting that highlights the distinction between the image of an object and the real physical object. Clearly this is not five dollars, but also, that is exactly what it is. Its immutable position on the Etherium blockchain is testament to its durability as something very real and it’s potential future as a carrier of value. Purchase of this NFT is accompanied, via unlockable content, by a digital download of the original image from the artist’s files and a copy of the Dada Dot Dot Artist Manifesto. In addition, audio access to the artist is granted via a private patrons-only channel on Discord.
Six Characters in Search of an Author
Adapted from Luigi Pirandello by Ben Power and Rupert Goold
26-30 March, 7:30. Adam House Theatre.
'We are more than real. We are unchanging, immutable, fixed. We are what we have been made to be.'
Tickets available at xtspro.com/-/six-characters-in-search-of-an-author/
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]
A comprehended God is no God.
— St John Chrysostom
Typeface: Roswell
Merchandise available: www.redbubble.com/shop/ap/141293001
Impression of the Plains - c. 1927
Wilson Irvine
American, 1869 - 1936
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American Landscapes in Watercolor from the Corcoran Collection
August 2, 2025 - February 1, 2026
Locations West Building, Ground Floor, Gallery 22
Two centuries of watercolors capture the nation’s beauty from sea to shining sea.
In the nation’s early years, artists and explorers used watercolor for mapping and documenting the landscape. By the 19th century, American painters began capturing their country in larger, more finished works that were considered fine art.
See how artists with different backgrounds and styles painted iconic American places in watercolor over two centuries. You’ll travel from the Washington Monument to the choppy ocean waters of New England, from the Grand Canyon to Yosemite National Park, from the Hudson River Valley to local gardens.
American Landscapes features 30 works, most drawn from the National Gallery’s Corcoran Collection.
www.nga.gov/exhibitions/american-landscapes-watercolor-co...
A new show of landscapes feels like a series of establishing shots. The characters, if any, are minor, deflecting attention. The focus, instead, is on scene setting, on the spiky needles of a pine, the blazing crimsons of dusk. The world here is still, waiting quietly, expectantly, for something to happen.
Staged in two small rooms, the 30 watercolors on show at the National Gallery of Art are dreamlike. Drawn from the Corcoran Collection and dating from the early 19th to the late 20th century, the pictures trace the history of the nation’s landscapes in watercolor, a medium long dismissed as sentimental or, as Harper’s Weekly put it at the time, work “better fitted for girls than for men.” It wasn’t until the establishment of the American Watercolor Society in 1866 and the work of Winslow Homer, William Trost Richards and others that the art form rocketed to new heights.
Particularly monumental is Richards’s view of Narragansett Bay in Rhode Island. “It has the feel of a grand oil painting,” says curator Amy Johnston. Mounted on its own wall in the show, the work swells with blue-green waves crashing against the jagged rock, the tide breaking in cobweb-white flourishes. Seagulls cut across the shadowed sky, like fingernails strewn about. An accomplished oil painter, Richards here revels in rich passages of teal, churning ravenously on textured brown paper. Like his contemporaries, he’s “trying to elevate the status of watercolor,” Johnston notes, imbuing it with a rare sublimity.
That splendor runs through the show. It comes through in the delicate pictures of Seth Eastman, a West Point cadet turned painter. His sketches, like one of the Hudson River from 1837, were dashed off out of doors, where he could linger on the deep greens shading into sage, the cascading hills of silvery blue-grays. Unlike oils, watercolors were affordable and lightweight, allowing for a kind of immediacy.
Consider William Russell Birch’s circa 1808 “View From the Springhouse at Echo,” an enigmatic sketch of a densely wooded forest, light filtering through a canopy of leaves, each tendril scrawled in black ink. There’s a harmony to the picture, a taupe ground tinged with gold, tree trunks striped with delicate crosshatches. It’s not so much a study of nature as a delight in it, the eye snaking between branches.
Homer took up the same theme in 1891. There, bands of ultramarine are broken by spindly logs of rich brown and cadmium white, the hills a wash of olive green, the two central figures nearly eclipsed in a sea of cascading sapphires. Homer left slivers of the paper exposed, never overextending himself. The result is impossibly deft: a moment in time seared, immutably, in memory.
By the 20th century, that sense of nostalgia sharpens, before giving way to bolder modernism. Dora Louise Murdoch’s “Parmelee Garden” drips with glossy pinks and lilacs, centering on the wistful grounds of the Northwest Washington estate designed by landscape architect Ellen Biddle Shipman. A lover of overgrown gardens, Shipman approached her work as if “painting pictures” with her plants, she said, “as an artist would.”
That artistry explodes with Alma Thomas’s circa 1960 “Winter Shadows.” Probably a view of a holly tree outside her 15th Street window in Washington, D.C., the work is a symphony of ultramarines and jades daubed with lavenders and blush pinks. Rhythm permeates the picture, rising and falling in time.
Many of these artists seem to be looking for something outside themselves.
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Richards wandered along the shore of Narragansett Bay. He spent hours there studying the jutting edge of bluff, the thrill of the current. “I watch and try to disentangle its push and leap and recoil,” he told his friend, the art collector George Whitney, but “[I] am always startled out of my self-possession by the thunder and the rush.” He relished nature, surrendering to its pull. That practice, a kind of grace, informed his work. As he once advised his student Fidelia Bridges: “It is not so much what you accomplish as what you learn by the work. If it teaches you humility, patience and steadfastness, your life is well spent.”
www.washingtonpost.com/dc-md-va/2025/09/17/american-lands...
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For earlier visit in 2024 see:
www.flickr.com/photos/ugardener/albums/72177720320689747/
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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Six Characters in Search of an Author
Adapted from Luigi Pirandello by Ben Power and Rupert Goold
26-30 March, 7:30. Adam House Theatre.
'We are more than real. We are unchanging, immutable, fixed. We are what we have been made to be.'
Tickets available at xtspro.com/-/six-characters-in-search-of-an-author/
Celebrating the Arts at Santa Monica Place
This summer, one hundred local artists, designers, fashion industry leaders and community members will have one thing in common: The Mannequin Collective. Their muse and medium is nothing but a blank canvas — the immutable, immovable fashion icon known as the mannequin.
When complete, The Mannequin Collective art exhibit will encompass one hundred original expressions of art created by the hands of the LA arts community. The top five mannequins, chosen by a jury of local artists and community leaders, will be prominently displayed at the Otis campus in Westchester, as well as on the fashion campus in downtown Los Angeles. The complete collection will be on exhibit at Santa Monica Place later this year.
The grand design winner, as chosen by a panel of community leaders and local artists, will have a $10,000 scholarship donated in his or her name to Otis College of Art and Design. This donation will help support scholarship opportunities for continuing education in the arts.
The Mannequin Collective is a reflection of Santa Monica Place’s ongoing commitment to the arts and its community — a community that deserves to be celebrated for its talent and diversity. Look for the complete Mannequin Collective art exhibit at the grand opening of Santa Monica Place this summer.
CMU 2018 MFA Thesis Exhibition
March 17 - April 8, 2018
Co-organized by CMU School of Art
Artists: Shobun Baile, Alex Lukas, KR Pipkin, Gray Swartzel, Lee Webster
CMU 2018 MFA Thesis Exhibition
March 17 - April 8, 2018
Co-organized by CMU School of Art
Artists: Shobun Baile, Alex Lukas, KR Pipkin, Gray Swartzel, Lee Webster
Inspired by this page: github.com/omcljs/om/wiki/Cursors
Not sure I'm finished with this one. Component Cat is just getting 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.
Website |
Tiktok |
Threads |
Medium |
Twitter |
Facebook |
All photographs © Andrew Lalchan
“Fifty pounds” is an edition of 1 unique NFT and relates to a jpeg image from the collection “The Treachery of Money”. The collection title hints at René Magritte’s famous “This Is Not a Pipe”, a painting that highlights the distinction between the image of an object and the real physical object. Clearly this is not fifty pounds, but also, that is exactly what it is. Its immutable position on the Etherium blockchain is testament to its durability as something very real and it’s potential future as a carrier of value. Purchase of this NFT is accompanied, via unlockable content, by a digital download of the original image from the artist’s files and a copy of the Dada Dot Dot Artist Manifesto. In addition, audio access to the artist is granted via a private patrons-only channel on Discord.
In Spring 2018 the Slanted editors took a close-up look at the contemporary design scene of Dubai. A city—when described by many people—that is all sickening shine and has no soul. But Dubai and the whole region, originally a piece of desert sparsely populated by Bedouins, is now transforming itself rapidly into a center, if not the world’s greatest center, of trade, finance, and tourism—and moreover, something important happened in the last few years: Culture! Today, a new Arab world is being plotted and planned. The entire Gulf is teeming with initiatives—from the most public to the most private—to change and reinvent seemingly immutable rules, regimes, edicts, and assumptions, culminating, perhaps, in the stated intention to work more closely together. The Gulf states have a past, and they will have a future. The contours of that future are legible in this Slanted issue!
Slanted met some of the most amazing creatives such as Möbius Studio, Wissam Shawkat, and Fikra Design Studio. Not only can you find their brilliant works in the new issue, Slanted also provides a deeper look at their opinions and views through video interviews that can be watched online on our video platform for free: www.slanted.de/dubai.
Six Characters in Search of an Author
Adapted from Luigi Pirandello by Ben Power and Rupert Goold
26-30 March, 7:30. Adam House Theatre.
'We are more than real. We are unchanging, immutable, fixed. We are what we have been made to be.'
Tickets available at xtspro.com/-/six-characters-in-search-of-an-author/
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.
Website |
Tiktok |
Threads |
Medium |
Twitter |
Facebook |
All photographs © Andrew Lalchan