View allAll Photos Tagged immutable
9/18/22 Hammerstein Ballroom/Manhattan Center - New York, NY
Photos by Ty Jamar of DriftAndDiePress.com
Oskar J. W. Hansen called these "the Winged Figures of the Republic." They express "the immutable calm of intellectual resolution, and the enormous power of trained physical strength, equally enthroned in placid triumph of scientific accomplishment." Their feet have become polished by millions of hands rubbing them, presumably for luck.
April 5, 2016 by Jeff Peachey
Tearing Up Books
A client of mine, who is a rare book dealer, pulled a paperback out of his coat pocket. It had the covers torn off and a number of pages removed. Slightly puzzled, and before I could start my “This is going to be very expensive” speech, he explained.
“When I’m finished reading a page, I tear it off and throw it away. The book is much lighter and easier to carry. I just do it with worthless paperbacks. Look, it is already half the size!”
I doubt any of us would have a problem with discarding an unwanted section of a newspaper. Or a notebook page.
But a book! Symbol of permanence, order, fixed sequence and immutable fact. His action was as strong of a comment on the nature of books as many destructive and altered artist books I’ve seen. Or is it a manifestation of our single use, disposable, throw-away culture?
I couldn’t do this to a book. Could you?
Health Care = HS
healthcaresector.exchange/?afmc=SNiB980NX5If0cRQAZkU3
6 of 11
The Global Industry Classification Standard used by Morgan Stanley defines the health care sector and industry that includes health care providers & services, companies that manufacture and distribute health care equipment & supplies, and healthcare technology companies. It also includes companies involved in the research, development, production and marketing of pharmaceuticals and biotechnology products. Using CrowdPoint’s next generation Blockchain all members of the ecosystem benefit from the transparency, speed and immutable transactions associated with health care equipment, supplies, providers, services and technology. It also includes biotechnology, pharmaceuticals, life sciences and tools and services.
Our mission is to horizontally and vertically unite healthcare equipment, supplies, providers, biotechnology, pharmaceuticals, life sciences and health care related Products on our NexGen Blockchain in order to DEMOCRATIZE the Health Experience for your HUMAN IDENTITY
Blockchain Ecosystem = BE
blockchainecosystem.exchange/?afmc=SNiB980NX5If0cRQAZkU3
Ellipsis Welcome - portal.theellipsis.exchange/welcome/?afmc=SNiB98ONX5lf0cR...
#BlockchainEcosystem #Energy #Materials #Industrials #ConsumerDiscretionary #ConsumerStaples #Healthcare #Financials #InfomationTechnology #CommunicationServices #Utilities #RealEstate #SeanBrehm #MarleneBrehm #ValindaLWood
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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...
.
Continuous evolution is the ability to add features easily to a running service while maintaining high availability, which is the key to high velocity in development. A repeated theme is a focus on immutability at many layers so that we can decouple specification from instantiation. Similarly, declarative techniques allow us to say what we mean rather than script one way to do it, which enables automation. Finally, specialization of APIs enables better support for classes of tasks, including those that are stateless or best effort.
Blockchain defined: Blockchain is a shared, immutable ledger that facilitates the process of recording transactions and tracking assets in a business network. An asset can be tangible (a house, car, cash, land) or intangible (intellectual property, patents, copyrights, branding).
Impression of the Plains - c. 1927
Wilson Irvine
American, 1869 - 1936
___________________________________________
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...
.
The answer from God’s word : "Perhaps, now, you wish to receive life, or perhaps you wish to gain the truth. Whatever the case, you wish to find God, to find the God that you can rely on, and who can provide you with eternal life. If you wish to gain eternal life, you must first understand the source of eternal life, and must first know where God is. I have already said that only God is immutable life, and only God possesses the way of life. Since His life is immutable, so it is eternal; since only God is the way of life, so God Himself is the way of eternal life. …" from The Word Appears in the Flesh
A hickory tussock lodged himself above the gate leading to our backyard, leading to the garden, and hadn't moved for days; today there is no sign of him, or of a cocoon. Also, no squawk of any immutable blue jay which might be brazen enough to breach these defenses.
Painting I just finished.
White fighting back as it violently and suddenly shifts to black and bleeds the other colors.
Eduardo Basualdo
Born in Buenos Aires in 1977
2013
Steel rod, sheet aluminum, hemp cord
Promised gift of Michel de la Chenelière
Inventory 453.2014
Argentinain artist Eduardo Basualdo, who has a background in theatre, draws on literature and psychoanalysis to put the position of mankind with its inescapable submission to and potential emancipation from uiniversal forces evading its control, into perspective. Flirting with the apocalypse and plunging us into a world of strange familiarity, Basualdo conjures up the transformation now taking place in our environment and challenges our fragile, but fundamental, certainties. He asks us to think about life and nature's mysterious energies, as well as our consciousness and illusions.
Hanging only by a cord, Teoria evokes the precarious balance often refered to in mythological narratives. The astonishing black mass, subject as it is to the immutable laws of gravity, could collapse upon humanity. Dramatic and dreamlike, mysterious and disproportionate, this object with the look of a meteorite threatens our existence. Teoria provides viewers with a perceptual experience that leads them to both contemplate and fear this strange and enthralling work, whose inner character and origin cannot be penetrated or recognized.
10th january - Terribly late for work, and waiting like an eternity the tram. And I was thinking that Barcelona it is amazing with his palms, and green, and nice sun.
As well this picture it feels to me, motionless, eternally static, immutable. Especially in contrast with all the traffic that there is happening on the side.
.
___________________________________________
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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StringBuffer class in Java
The StringBuffer in Java is a class that we can use to manipulate Strings. Strings are immutable which means it is of fixed length whereas StringBuffer is mutable and growable meaning we can change the length of string and do different manipulations like append, delete, insert, etc. In this tutorial, we will discuss the StringBuffer class in Java and methods in detail with examples. We will also see the difference between StringBuffer vs StringBuilder towards the end of the tutorial.
Features
Below are the features of the StringBuffer class:
- It creates a mutable String object
- It is thread-safe and synchronized which means we can use it for multithreading.
- Implements the CharSequence, Appendable, and Serializable interfaces.
- Inherits all the methods from the Object class.
Constructors
The StringBuffer class contains the below constructors:
StringBuffer methods in Java
Below are the StringBuffer methods
StringBuffer examples
Let's see various examples by using different StringBuffer methods.
Example: insert() method - Java StringBuffer class
We can use the insert() method to insert a new string at the required index position. In the below example, it inserts the new string at position 4 hence prints the output as "Javalanguage".
public class StringBufferDemo {
public static void main(String args) {
StringBuffer s = new StringBuffer("Java");
s.insert(4, "language");
System.out.println(s);
Continuous evolution is the ability to add features easily to a running service while maintaining high availability, which is the key to high velocity in development. A repeated theme is a focus on immutability at many layers so that we can decouple specification from instantiation. Similarly, declarative techniques allow us to say what we mean rather than script one way to do it, which enables automation. Finally, specialization of APIs enables better support for classes of tasks, including those that are stateless or best effort.
Immutable X IMX được coi là giải pháp có thể đáp ứng nhu cầu giao dịch NFT trên Ethereum Beatdautu sẽ cung cấp toàn bộ thông tin dự án này
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Continuous evolution is the ability to add features easily to a running service while maintaining high availability, which is the key to high velocity in development. A repeated theme is a focus on immutability at many layers so that we can decouple specification from instantiation. Similarly, declarative techniques allow us to say what we mean rather than script one way to do it, which enables automation. Finally, specialization of APIs enables better support for classes of tasks, including those that are stateless or best effort.
Since Grandpa is not anymore in charge of the irrigation, the system looks less so like it may break at any given second. But should it be for memories sake or just an immutable factor: the leaks are still there.
[Sculptor Oskar J. W.] Hansen's principal work at Hoover Dam is the monument of dedication on the Nevada side of the dam. Here, rising from a black, polished base, is a 142-foot flagpole flanked by two winged figures, which Hansen calls the Winged Figures of the Republic. They express "the immutable calm of intellectual resolution, and the enormous power of trained physical strength, equally enthroned in placid triumph of scientific accomplishment."
"The building of Hoover Dam belongs to the sagas of the daring. The winged bronzes which guard the flag, therefore, wear the look of eagles. To them also was given the vital upward thrust of an aspirational gesture; to symbolize the readiness for defense of our institutions and keeping of our spiritual eagles ever ready to be on the wing."
In Java programming language, a string is nothing but a sequence of characters. It is the most widely used object. Java String class has many methods that are used for various manipulations. It is immutable, meaning, its value cannot be changed. A string is equivalent to an array of characters.
Creating a string in Java
We can create a string using 2 different methods:
- Using string literal
- Using new keyword
Create a string using a string literal
This is the most direct way of creating a string in Java. We can create a string by enclosing the value in double-quotes. Here the variable "value" of type String holds the string named as "Java language"
String value = "Java language";
When we create a string literal, JVM first checks in the "string constant pool" if the string exists. If it does not exist, JVM creates a new string instance, else only a reference to the pooled instance will be returned. For example, in the below case, both string objects hold the same value. Hence only 1 object is created (i.e s1) and s2 will have the reference to s1. This means, irrespective of how many ever string variables we create with the same value, only 1 instance will be created in the string constant pool.
"String constant pool" is nothing but the special memory to hold the string objects.
String
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.
Energy = ES
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Blockchain Ecosystem = BE
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While hardly a household name in the United States, artist Michelangelo Pistoletto belongs to the generation who effected a radical transformation in 20th-century art by extending its parameters.
In the mid-1950s Pistoletto was inspired to place figures on thin sheets of highly polished stainless steel. These "mirror paintings" are really tinted tracings (on tissue-thin paper) of life size photographs. The mirrored surfaces supply background and context; when you look at one, you become part of the painting. (as I have in my photo)
As the artist explains, these works not only extend space, they blend past and present. The figures, pasted to the foreground, are immutably past, but the mirrored context is always the present.