View allAll Photos Tagged outside_project
The weather was not cooperating for my outside project and so I came back to the shop and glued up the seat board.
I only took one still of the process because I have video. But I need to figure out how to import it from the new video camera to the computer.
Thanks to the generosity of community members, CADL Mason is undergoing renovations! By combining a grant from the Dart Foundation with donations from the Margaret Doolittle estate, the Mason Library Friends and the City of Mason, the library is making nearly $34,000 worth of improvements. When it reopens on June 3, you’ll see new vinyl windows, fresh paint, new carpet, new seating, better lighting and some beautiful art installations. Outside projects include
a new catch basin, roofing work and upgraded landscaping.
Thanks to the generosity of community members, CADL Mason is undergoing renovations! By combining a grant from the Dart Foundation with donations from the Margaret Doolittle estate, the Mason Library Friends and the City of Mason, the library is making nearly $34,000 worth of improvements. When it reopens on June 3, you’ll see new vinyl windows, fresh paint, new carpet, new seating, better lighting and some beautiful art installations. Outside projects include
a new catch basin, roofing work and upgraded landscaping.
Jean Honoré Fragonard - French, 1732 - 1806
Diana and Endymion, c. 1753/1756
West Building, Main Floor — Gallery 55
Close to us, a woman and a winged, child-like putto float on clouds above a clean-shaven young man in a forest setting in this horizontal painting. All three people have smooth, pale skin, rosy cheeks, and ash-blond hair. The man reclines with his torso propped so his feet extend along the rocky ground to our left. He rests his head in his right hand, farther from us, with that elbow resting on a rock. We look up onto the underside of his chin and delicate features. A scarlet-red robe falls from his shoulders and across his hips. One knee is propped up, and that foot is tucked behind his other ankle. His muscular torso, arms, and legs are bare. His left hand, closer to us, rests by his side and loosely holds a staff. Three tan-colored sheep with long faces lie or stand behind the man, in the lower right corner of the painting. A light gray hound dog with floppy ears sleeps with its drooping muzzle resting on its paws in the shadows at the man’s feet. The woman floats just above the man, reclining on a fog-gray cloud with her feet angled toward the man’s torso. Her curls are held back by a topaz-blue ribbon, and she looks down at the man, a faint smile on her lips. A loose white garment partially covered by a blue robe falls from her shoulders, leaving one breast and one leg bare. She reaches outward with her left hand, palm out, and the other hand rests down on the cloud alongside her. A sharply pointed, luminous crescent moon curves up to each side behind the cloud. The chubby, nude, baby-like putto nestles on his belly in a cloud between the man and woman. He has short, tousled hair, stubby wings, and his skin is flushed pink. An arrow held in one hand points toward the man, and the putto rests his other hand in a bunch of pink roses. Plants and flowers grow in patches on the ground around the man. The sky above is framed with steel-gray clouds against pale blue.
This early masterpiece by Jean-Honoré Fragonard demonstrates his brilliant command — even at the beginning of his career — of the rococo pictorial idiom that was in its ascendancy in the 1750s and that he had absorbed through his close relationship with François Boucher (French, 1703 - 1770). On an ethereal mountaintop (the Mount Latmos of myth), the youthful shepherd Endymion, seminude, sleeps unaware, along with his dog. Several of his sheep lie beside him; one appears to notice the arrival of a glowing Diana, identified by a hazy crescent moon that surrounds her like a mandorla. Struck by Endymion’s great beauty, she leans back, her hand held out in wonder. She is accompanied by a rosy-fleshed Cupid, who mischievously aims an arrow at the object of her delectation. The cool night sky provides a shimmering backdrop for Endymion’s mountaintop, with its rocky ground enlivened by flowering shrubs.
With its pendant, Aurora (sometimes called Venus Awakening) [FIG. 1], Diana and Endymion clearly was intended as interior decorations, undoubtedly meant to be installed into the paneling of overdoors.[1] Both canvases have been extended from their original curvilinear shapes, which were scalloped at top and bottom, as was often the case with such decorations produced by Fragonard during these years [FIG. 2].[2] At some later date the canvases were made into rectangles and turned into easel paintings. Yet the low perspectives employed in both compositions work best if they are seen from below. In the National Gallery of Art’s painting, for example, the figure of the slumbering Endymion is angled away from the viewer, while Diana appears to float above, as if the expanse of sky reaches out over our heads. The composition of Aurora is essentially the mirror opposite of Diana and Endymion. The graceful figure of Aurora, or Dawn, identified by the morning star above her head, sails into the composition on a cloudburst as Night draws a heavy blanket over her form. When seen side by side, the two paintings present equally balanced and complementary designs — both organized around the perpendicular placement of the figures to each other — but for all its painterly virtuosity and scintillating color, Aurora betrays a more schematic solution than Diana and Endymion, in which the protagonists exist in a more integrated spatial relationship.[3]
Besides complementing each other compositionally, Fragonard’s two paintings are related in their themes. Aurora, ushering in the new day, provides the counterpart to Diana and Endymion, which symbolizes night. Entranced by the shepherd’s beauty, the goddess Diana visits him one night as he sleeps. She steals a kiss, causing him to fall in love with her; their liaison angers Jupiter, who offers Endymion a choice between instant death and a perpetual slumber that will always preserve his youth. The iconology of the subject is complex,[4] but the arcane references of the story probably would have been less important for Fragonard’s purpose. Here the subject serves the needs of the decorative program, providing a thematic juxtaposition with Aurora, representing Morning, in what must have been a fairly standard evocation of the Times of Day. As Colin Bailey observed, however, these paintings may have been part of a larger cycle, since the theme of the Times of Day was painted in sets of up to four compositions.[5] Fragonard probably drew his inspiration for Diana and Endymion from visual tradition, although his sensitive and appealing rendition of the myth is remarkably similar to the fullest literary account, told by Lucian in the Dialogues of the Gods, in which the writer imagines a conversation between Aphrodite and Selene, the moon goddess (who would later be associated with the Roman goddess Diana):
I think he’s very good-looking, Aphrodite [says Selene], especially when he sleeps with his cloak under him on the rock, with his javelins just slipping out of his left hand as he holds them, and his right hand bent upwards round his head and framing his face makes a charming picture, while he’s relaxed in sleep and breathing in the sweetest way imaginable. Then I creep down quietly on tip-toe, so as not to waken him and give him a fright, and then — but you can guess; there’s no need to tell you what happens next. You must remember I’m dying of love.[6]
The appearance of Cupid in Fragonard’s painting alludes to an earlier part of the exchange, when Aphrodite asks why Selene frequently descends from the sky to gaze upon Endymion. She replies, “Ask your own son, Aphrodite; it’s his fault.”[7] Fragonard’s representation of the myth betrays a familiarity with Lucian’s ancient text that is less surprising when we remember that an important aspect of the curriculum at the Ecole des élèves protégés — the elite school that he attended from 1752 to 1756 after winning the Rome prize in 1752 — focused on a thorough immersion in the study of classical literature.
When it entered the National Gallery of Art in 1960, Diana and Endymion carried an attribution to Boucher, Fragonard’s first teacher. Boucher’s name had been associated with the painting since at least the late nineteenth century, when it was in the collection of Sir Richard Wallace in Paris.[8] It was only in 1985 that Alan P. Wintermute recognized it as an early work by Fragonard, an attribution agreed to by all subsequent scholars.[9] The mistaken attribution to Boucher is understandable given the close similarities the painting shares with a great number of decorative works by Boucher. In subject and composition, if not in style, it is indebted to Boucher’s own rendition of the subject (private collection), a painting that dates to the artist’s youthful period in the 1730s.[10] Although the two principal figures are reversed, the general disposition of their forms is the same, and both works include such details as nestling sheep, a sleeping dog, and a mischievous Cupid. Compared to Fragonard’s exquisitely asymmetrical composition, however, Boucher’s is more static and less lively in its centralized grouping of forms; Diana’s glowing crescent moon, which in the Fragonard discreetly shimmers behind her in the upper left of the picture, becomes in the Boucher a distracting and flattened disc in the heart of the composition, while the awkward pose of his Endymion — with his wrenched shoulder and thrown-back head — lacks the poise and elegance of Fragonard’s figure.[11] Whether or not Fragonard had access to Boucher’s painting (its early history is unknown, and it does not appear to have been engraved), the similarities between them are probably due more to the constraints imposed by the subject matter than by any true relationship or influence. As two oeuvres de jeunesse, however, only the Fragonard anticipates the brilliance that its creator would achieve in full maturity.
Once the true authorship of the Washington painting is recognized and it is reunited with its pendant, Aurora, the two paintings fit comfortably with several works Fragonard produced while a student in Paris before his departure for Rome in 1756. For example, the combination of two mythological characters in decorative compositions clearly intended as overdoors and of similar style, color, and elegiac mood had already been employed in a pair of paintings produced around 1755: Jupiter and Callisto and Cephalus and Procris (Angers, Musée des Beaux-Arts). These two works had also been attributed at one time to Boucher.[12] Diana and Endymion, however, is characterized by a greater complexity in the organization of the figures in space, and its composition — like that of the pendant Aurora — is marked by strong opposing diagonals that give a coherent structure to the profusion of colors, swirling draperies, billowing clouds, and rampant foliage and flowers. Diana and Endymion is better compared to Fragonard’s most important painting completed during his tenure at the Ecole des élèves protégés, the resplendent Psyche Showing Her Sisters the Gifts She Has Received from Cupid, which was exhibited, along with works by Fragonard’s classmates, to Louis XV at Versailles in 1754 [FIG. 3].[13] The composition of this complex painting also centers on a series of opposing diagonals, particularly in the figure of Psyche. Her reclining form, swathed in glowing white robes and mirroring that of Endymion, is set against the excited gestures of the haggard personification of Envy, flying into the scene at the upper left, who has a more beautiful counterpart in the figure of Diana. Moreover, the startling crimson of Endymion’s draperies, which sets him apart from the icy blues and steel grays of the Washington painting, was used to similar provocative effect in the sister kneeling at the right of the London painting. Diana and Endymion and Aurora undoubtedly date from the same period, if not shortly thereafter.[14]
The evolution of Fragonard’s early career has been the subject of debate. As Bailey has discussed, Boucher clearly continued to exert an important influence on his former protégé, even during the years Fragonard was attending classes at the Ecole des élèves protégés.[15] The close formal relationship between Diana and Endymion and Psyche Showing Her Sisters the Gifts She Has Received from Cupid is proof enough that not all of Fragonard’s Boucher-inspired decorative pictures can be assigned to the years 1750 – 1752, as Georges Wildenstein had presumed.[16] Despite the strict regulations to which the students at the Ecole des élèves protégés were held (as well as the indisputable influence the school’s director, Carle Van Loo (French, 1705 - 1765), had on his students) it seems clear that Fragonard managed to continue working on outside projects, both on his own and in collaboration with Boucher.[17]
________________________________
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...
.
Jean Honoré Fragonard - French, 1732 - 1806
Diana and Endymion, c. 1753/1756
West Building, Main Floor — Gallery 55
Close to us, a woman and a winged, child-like putto float on clouds above a clean-shaven young man in a forest setting in this horizontal painting. All three people have smooth, pale skin, rosy cheeks, and ash-blond hair. The man reclines with his torso propped so his feet extend along the rocky ground to our left. He rests his head in his right hand, farther from us, with that elbow resting on a rock. We look up onto the underside of his chin and delicate features. A scarlet-red robe falls from his shoulders and across his hips. One knee is propped up, and that foot is tucked behind his other ankle. His muscular torso, arms, and legs are bare. His left hand, closer to us, rests by his side and loosely holds a staff. Three tan-colored sheep with long faces lie or stand behind the man, in the lower right corner of the painting. A light gray hound dog with floppy ears sleeps with its drooping muzzle resting on its paws in the shadows at the man’s feet. The woman floats just above the man, reclining on a fog-gray cloud with her feet angled toward the man’s torso. Her curls are held back by a topaz-blue ribbon, and she looks down at the man, a faint smile on her lips. A loose white garment partially covered by a blue robe falls from her shoulders, leaving one breast and one leg bare. She reaches outward with her left hand, palm out, and the other hand rests down on the cloud alongside her. A sharply pointed, luminous crescent moon curves up to each side behind the cloud. The chubby, nude, baby-like putto nestles on his belly in a cloud between the man and woman. He has short, tousled hair, stubby wings, and his skin is flushed pink. An arrow held in one hand points toward the man, and the putto rests his other hand in a bunch of pink roses. Plants and flowers grow in patches on the ground around the man. The sky above is framed with steel-gray clouds against pale blue.
This early masterpiece by Jean-Honoré Fragonard demonstrates his brilliant command — even at the beginning of his career — of the rococo pictorial idiom that was in its ascendancy in the 1750s and that he had absorbed through his close relationship with François Boucher (French, 1703 - 1770). On an ethereal mountaintop (the Mount Latmos of myth), the youthful shepherd Endymion, seminude, sleeps unaware, along with his dog. Several of his sheep lie beside him; one appears to notice the arrival of a glowing Diana, identified by a hazy crescent moon that surrounds her like a mandorla. Struck by Endymion’s great beauty, she leans back, her hand held out in wonder. She is accompanied by a rosy-fleshed Cupid, who mischievously aims an arrow at the object of her delectation. The cool night sky provides a shimmering backdrop for Endymion’s mountaintop, with its rocky ground enlivened by flowering shrubs.
With its pendant, Aurora (sometimes called Venus Awakening) [FIG. 1], Diana and Endymion clearly was intended as interior decorations, undoubtedly meant to be installed into the paneling of overdoors.[1] Both canvases have been extended from their original curvilinear shapes, which were scalloped at top and bottom, as was often the case with such decorations produced by Fragonard during these years [FIG. 2].[2] At some later date the canvases were made into rectangles and turned into easel paintings. Yet the low perspectives employed in both compositions work best if they are seen from below. In the National Gallery of Art’s painting, for example, the figure of the slumbering Endymion is angled away from the viewer, while Diana appears to float above, as if the expanse of sky reaches out over our heads. The composition of Aurora is essentially the mirror opposite of Diana and Endymion. The graceful figure of Aurora, or Dawn, identified by the morning star above her head, sails into the composition on a cloudburst as Night draws a heavy blanket over her form. When seen side by side, the two paintings present equally balanced and complementary designs — both organized around the perpendicular placement of the figures to each other — but for all its painterly virtuosity and scintillating color, Aurora betrays a more schematic solution than Diana and Endymion, in which the protagonists exist in a more integrated spatial relationship.[3]
Besides complementing each other compositionally, Fragonard’s two paintings are related in their themes. Aurora, ushering in the new day, provides the counterpart to Diana and Endymion, which symbolizes night. Entranced by the shepherd’s beauty, the goddess Diana visits him one night as he sleeps. She steals a kiss, causing him to fall in love with her; their liaison angers Jupiter, who offers Endymion a choice between instant death and a perpetual slumber that will always preserve his youth. The iconology of the subject is complex,[4] but the arcane references of the story probably would have been less important for Fragonard’s purpose. Here the subject serves the needs of the decorative program, providing a thematic juxtaposition with Aurora, representing Morning, in what must have been a fairly standard evocation of the Times of Day. As Colin Bailey observed, however, these paintings may have been part of a larger cycle, since the theme of the Times of Day was painted in sets of up to four compositions.[5] Fragonard probably drew his inspiration for Diana and Endymion from visual tradition, although his sensitive and appealing rendition of the myth is remarkably similar to the fullest literary account, told by Lucian in the Dialogues of the Gods, in which the writer imagines a conversation between Aphrodite and Selene, the moon goddess (who would later be associated with the Roman goddess Diana):
I think he’s very good-looking, Aphrodite [says Selene], especially when he sleeps with his cloak under him on the rock, with his javelins just slipping out of his left hand as he holds them, and his right hand bent upwards round his head and framing his face makes a charming picture, while he’s relaxed in sleep and breathing in the sweetest way imaginable. Then I creep down quietly on tip-toe, so as not to waken him and give him a fright, and then — but you can guess; there’s no need to tell you what happens next. You must remember I’m dying of love.[6]
The appearance of Cupid in Fragonard’s painting alludes to an earlier part of the exchange, when Aphrodite asks why Selene frequently descends from the sky to gaze upon Endymion. She replies, “Ask your own son, Aphrodite; it’s his fault.”[7] Fragonard’s representation of the myth betrays a familiarity with Lucian’s ancient text that is less surprising when we remember that an important aspect of the curriculum at the Ecole des élèves protégés — the elite school that he attended from 1752 to 1756 after winning the Rome prize in 1752 — focused on a thorough immersion in the study of classical literature.
When it entered the National Gallery of Art in 1960, Diana and Endymion carried an attribution to Boucher, Fragonard’s first teacher. Boucher’s name had been associated with the painting since at least the late nineteenth century, when it was in the collection of Sir Richard Wallace in Paris.[8] It was only in 1985 that Alan P. Wintermute recognized it as an early work by Fragonard, an attribution agreed to by all subsequent scholars.[9] The mistaken attribution to Boucher is understandable given the close similarities the painting shares with a great number of decorative works by Boucher. In subject and composition, if not in style, it is indebted to Boucher’s own rendition of the subject (private collection), a painting that dates to the artist’s youthful period in the 1730s.[10] Although the two principal figures are reversed, the general disposition of their forms is the same, and both works include such details as nestling sheep, a sleeping dog, and a mischievous Cupid. Compared to Fragonard’s exquisitely asymmetrical composition, however, Boucher’s is more static and less lively in its centralized grouping of forms; Diana’s glowing crescent moon, which in the Fragonard discreetly shimmers behind her in the upper left of the picture, becomes in the Boucher a distracting and flattened disc in the heart of the composition, while the awkward pose of his Endymion — with his wrenched shoulder and thrown-back head — lacks the poise and elegance of Fragonard’s figure.[11] Whether or not Fragonard had access to Boucher’s painting (its early history is unknown, and it does not appear to have been engraved), the similarities between them are probably due more to the constraints imposed by the subject matter than by any true relationship or influence. As two oeuvres de jeunesse, however, only the Fragonard anticipates the brilliance that its creator would achieve in full maturity.
Once the true authorship of the Washington painting is recognized and it is reunited with its pendant, Aurora, the two paintings fit comfortably with several works Fragonard produced while a student in Paris before his departure for Rome in 1756. For example, the combination of two mythological characters in decorative compositions clearly intended as overdoors and of similar style, color, and elegiac mood had already been employed in a pair of paintings produced around 1755: Jupiter and Callisto and Cephalus and Procris (Angers, Musée des Beaux-Arts). These two works had also been attributed at one time to Boucher.[12] Diana and Endymion, however, is characterized by a greater complexity in the organization of the figures in space, and its composition — like that of the pendant Aurora — is marked by strong opposing diagonals that give a coherent structure to the profusion of colors, swirling draperies, billowing clouds, and rampant foliage and flowers. Diana and Endymion is better compared to Fragonard’s most important painting completed during his tenure at the Ecole des élèves protégés, the resplendent Psyche Showing Her Sisters the Gifts She Has Received from Cupid, which was exhibited, along with works by Fragonard’s classmates, to Louis XV at Versailles in 1754 [FIG. 3].[13] The composition of this complex painting also centers on a series of opposing diagonals, particularly in the figure of Psyche. Her reclining form, swathed in glowing white robes and mirroring that of Endymion, is set against the excited gestures of the haggard personification of Envy, flying into the scene at the upper left, who has a more beautiful counterpart in the figure of Diana. Moreover, the startling crimson of Endymion’s draperies, which sets him apart from the icy blues and steel grays of the Washington painting, was used to similar provocative effect in the sister kneeling at the right of the London painting. Diana and Endymion and Aurora undoubtedly date from the same period, if not shortly thereafter.[14]
The evolution of Fragonard’s early career has been the subject of debate. As Bailey has discussed, Boucher clearly continued to exert an important influence on his former protégé, even during the years Fragonard was attending classes at the Ecole des élèves protégés.[15] The close formal relationship between Diana and Endymion and Psyche Showing Her Sisters the Gifts She Has Received from Cupid is proof enough that not all of Fragonard’s Boucher-inspired decorative pictures can be assigned to the years 1750 – 1752, as Georges Wildenstein had presumed.[16] Despite the strict regulations to which the students at the Ecole des élèves protégés were held (as well as the indisputable influence the school’s director, Carle Van Loo (French, 1705 - 1765), had on his students) it seems clear that Fragonard managed to continue working on outside projects, both on his own and in collaboration with Boucher.[17]
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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The 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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Thanks to the generosity of community members, CADL Mason is undergoing renovations! By combining a grant from the Dart Foundation with donations from the Margaret Doolittle estate, the Mason Library Friends and the City of Mason, the library is making nearly $34,000 worth of improvements. When it reopens on June 3, you’ll see new vinyl windows, fresh paint, new carpet, new seating, better lighting and some beautiful art installations. Outside projects include
a new catch basin, roofing work and upgraded landscaping.
Thanks to the generosity of community members, CADL Mason is undergoing renovations! By combining a grant from the Dart Foundation with donations from the Margaret Doolittle estate, the Mason Library Friends and the City of Mason, the library is making nearly $34,000 worth of improvements. When it reopens on June 3, you’ll see new vinyl windows, fresh paint, new carpet, new seating, better lighting and some beautiful art installations. Outside projects include
a new catch basin, roofing work and upgraded landscaping.
I'm doing an outside project for my old job (at PNTA) and helping make some round screens. So making the template and cutting circles and doing some sewing... it just ended up being a long day. Especially since it's the weekend. At least I can sleep in tomorrow.
Tyler Hessel, of Outside Projects, recently presented a cheque to Barry Detenbeck, of the Bayfield River Valley Trail Association, in the amount of $100. The money was raised during a Family Day Weekend snowshoeing event. (Submitted photo)
LGBTIQ+ spaces are often at risk. The decades-long fight to keep venues up-and-running is grassroots-led and vibrant. Despite this, over 150 gay bars and clubs closed in London between 2000 and 2016 alone.
Fighting for safe and inclusive spaces is more than just keeping bars and clubs alive. It’s about sober spaces, community centres, youth groups, artist collectives. What does it mean to be lost if you haven’t had the privilege of recognition in the first place? Join us at this month’s CM Lates as we explore the existence and loss of LGBTIQ+ spaces at the Outside Project, which is the UK’s first LGBTIQ+ community centre and crisis/homeless shelter.
Hear from a number of speakers from different LGBTIQ+ spaces and initiatives, including the Outside Project’s founder Carla Ecola, and the Friends of the Joiners campaign. Get stuck into different activities to document the spaces that matter to you. Come prepared to share (or hear) stories!
Thanks to the generosity of community members, CADL Mason is undergoing renovations! By combining a grant from the Dart Foundation with donations from the Margaret Doolittle estate, the Mason Library Friends and the City of Mason, the library is making nearly $34,000 worth of improvements. When it reopens on June 3, you’ll see new vinyl windows, fresh paint, new carpet, new seating, better lighting and some beautiful art installations. Outside projects include
a new catch basin, roofing work and upgraded landscaping.
Glad to have gotten to go out and grab some pics with a good friend of mine. This place was treacherous to get to. But I’d say it was worth it.
OCT. 3 - ISSUE 170 - CLINTON COMMUNITY HOSPITAL: CYCLISTS RIDE FOR LOCAL HEALTH CARE: Joe Lobby (left) and a fellow cyclist were quick off the mark during the Bike Tour for Local Health Care held on Saturday morning. (Photo by Vreni Beeler)
Photo Credit: Project Row Houses
CoLab Radio post: colabradio.mit.edu/a-soundwalk-on-private-sidewalks-in-ho...
20121025 Davidson Day School Basketball. Rafael. 7th Grade.
Photo by Laura Mueller
www.lauramuellerphotography.com20121025 Davidson Day School TK outdoor classroom, science with Mrs. Carbonne, and leaf collecting. Sterling Martin Trail.
Photo by Laura Mueller
Looks beautiful at night, as the light from outside projects a dark shadow of the designs onto the walls and tables.
Photo by watashi-wa's