View allAll Photos Tagged lying
Switha lies 2 km to the south of the island of Flotta and 2 km east of the South Walls area of Hoy. South Ronaldsay lies about 5 km further east. The island is roughly rectangular in shape, about 1 km by 0.5 km in size and is aligned in a NE to SW direction. The maximum elevation is 28 m, found on the small cliff on the south coast, to the west of which is the only appreciable beach at The Pool. Geologically, the island is wholly of Old Red Sandstone, from the Devonian period, specifically Rousay Flagstones, dating from about 375 Mya, laid down by a cyclical series of lakes and containing many fish fossils.
Perhaps a Yes on 8 proponent can tell me how breaking the church/state wall guarantees their constitutional rights? Wow, many conservatives rolling in their grave today.
Lier (Frans: Lierre) is een stad in de Belgische provincie Antwerpen. Lier ligt ten zuidoosten van de stad Antwerpen en bestaat uit de deelgemeenten Koningshooikt en Lier zelf.
De stad telt in 2020 36.631 inwoners en ligt aan de samenloop van de Grote Nete en de Kleine Nete. Lier wordt "de poort der Kempen" genoemd en kreeg de bijnaam Lierke Plezierke. Haar patroonheilige is Gummarus en de spotnaam voor een Lierenaar is "schape(n)kop".
Lier (Dutch pronunciation: [liːr]) is a municipality located in the Belgian province of Antwerp. It is composed of the city of Lier proper and the village of Koningshooikt. The city center is surrounded by the river Nete, which also cuts through it. Per January 1, 2010 Lier had a total population of 33,930. The total area is 49.70 km² which amounts to a population density of 669 inhabitants per km². Lier is known for its beers (which include Caves), its patron saint St. Gummarus and Lierse vlaaikes cake. It is also home to the world headquarters of Van Hool, a global bus and coach manufacturer. Lier's two principal football clubs are K. Lyra-Lierse and Lierse Kempenzonen (formerly known as KFC Oosterzonen, which moved to Lier in 2018).
Lier is a Belgian city located in the province of Antwerp. The city is said to have been founded in the 11th century. In 1212, the Duke of Brabant Henri I granted an urban charter to the inhabitants. The fourteenth century was a period of prosperity for the city: construction of a cloth hall in 1367, a belfry in 1369 and a second rampart in 1389. The prosperity of the city was based on the drapery industry and on the existence of a cattle market, which had been granted to it by the Dukes of Brabant.
The beguinage
Beguinages were closed courtyards where widows and unmarried women led a religiously inspired but independent life. Self-rule occurred under the leadership of a “grand dame”. The beguines supported themselves by weaving, making lace or embroidering. They took a vow of purity and obedience but not of poverty. There was great harmony between the spiritual and material life. They could leave the beguinage whenever they wished.
The Lier beguinage was created in 1258. It is a typical 13th century street beguinage comprising 11 alleys and 162 houses. All houses have a name. Agnes, the last beguine of Lier, died in 1994. At the centre stands St Margaret's Church (17-18th century).
Joseph Wright - British, 1734 - 1797
The Corinthian Maid, 1782-1784
West Building, Main Floor — Gallery 61
A woman leans forward to trace the shadow cast by a sleeping young man on a wall in a dimly lit room in this horizontal painting. Both people have smooth, pale skin, long, straight noses, thin lips, and brown hair. The man sits and sleeps on a deep, wood chair. The scene is lit from over our left shoulder so he casts a shadow on the brown wall on which he leans. His right arm, closer to us, hangs by his side with his palm turned to face away from his body. The other arm lies across his bent knee. He wears a harvest-yellow tunic, and a sapphire-blue cloak drapes over his far arm and the thigh closer to us. A long spear rests across one shoulder, and a thin, muted-brown dog, like a greyhound, sleeps on the ground by the man’s side. The woman leans one knee onto the chair and reaches out with a stylus to capture the man’s shadow. She is barefoot and smiles gently at his face. She also wears a dark yellow dress, which exposes one bare shoulder. A mauve-pink cloth wraps over one shoulder and the bent thigh. A deep red curtain bunched up in the upper left corner hides the light source. An urn, nearly as tall as the chair, stands behind the man and another is tipped over behind the woman. An arched opening leads into a darkened room to our right. Rectangles of red and white seen through the top of a pointed arched window there are difficult to interpret. A table and some shelves with more urns are deep in the shadows.
Joseph Wright was born in Derby on 3 September 1734, the third son of John Wright and Hannah Brookes. He trained with Thomas Hudson from 1751 to 1753, returned to Derby as a portraitist, but, "not being satisfied with himself," again studied under Hudson between 1756 and 1757, forming a lasting friendship with his fellow pupil John Hamilton Mortimer. He toured the East Midlands as a portrait painter in 1769 and worked in Liverpool from 1768 to 1771; otherwise he practiced in Derby, and the bulk of his output was portraiture. In the mid-1760s he began painting "Candlelight" pictures, his own phrase, chiefly of scientific subjects. He quickly achieved a high reputation in this field, in which he was an innovator. He first exhibited at the Incorporated Society of Artists in 1765, showing there regularly until 1776, when he transferred to the Royal Academy. In 1773 he married Anne Swift, "a person in an inferior station of life;" the couple had six children.
Wright spent nearly two years in Rome, from 1773 to 1775, where he was overwhelmed by the remains of classical antiquity and drew assiduously; on his way home he stopped briefly in Florence, Bologna, Venice, and other centers. When he returned, Wright abandoned his scientific and industrial scenes in favor of landscapes and literary subjects. After a disastrous two years in Bath, where he had hoped to take the place of Gainsborough, who had left for London in 1774, Wright settled in his native Derby. He was elected an Associate of the Royal Academy in 1781 but, after being defeated by Edmund Garvey for full Academicianship in 1783 and feeling constantly dissatisfied with the way his pictures were hung, he declined election the following year and resigned as an Associate. In 1785 he followed Gainsborough's example and held his own exhibition of his works (at Robin's auction rooms in London).
Wright was most at ease in provincial middle-class society, who were his clients, and was in close contact with the Lunar Society (a group interested in experimental science) and with leaders of the Industrial Revolution in the Midlands. From early middle age he suffered from chronic ill health, which frequently incapacitated him for months. His last years were marred by a plethora of complaints, and he died in Derby on 29 August 1797.
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
..
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
.
Almost completely hidden in the weeds and slime, this turtle never moved the whole time that I watched it.
"Lies Unknown" is a four piece INDIE ROCK band from Clinton Township,
Michigan. The bands lineup consists of Joe Piazza (drums), Jamie Allan (lead guitar),
Sarah Cole (bass guitar) and Justin Alexander (guitar and vocals). This is one of the
premier bands from the Metro Detroit area. "Lies Unknown" is dedicated to pushing the
envelope on all of the sub genres of rock & roll by writing songs of hope, honesty, tribulation and everything in between.
Check out the latest information on the band at www.darkgreene.com