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#AbFav_PARALLEL_LINES_🍰
The more unusual images, made by light that great artist.
Sunlight, backlight, daylight, natural light.
A medieval window on Mont St Michel, became an arrow in the thick wall.
Liverpool, coffee-break, I look behind me for some unknown reason, to spot this unusual image.
Ostend, Chez Paul, another coffee-break, bicycles?
Cassel, France, a sunbeam on the chairs in the church.
A photographer's eye sees it! LOL
Have a fine day and thank you for your support, M, (*_*)
For more: www.indigo2photography.com
IT IS STRICTLY FORBIDDEN (BY LAW!!!) TO USE ANY OF MY image or TEXT on websites, blogs or any other media without my explicit permission. © All rights reserved
Parallel, lines, churches, window, inside, sunlight, backlight, bikes, daylight, colour, vertical, chairs, horizontal, NikonD7200, "Magda indigo"
Claude Monet - French, 1840 - 1926
The Bridge at Argenteuil, 1874
West Building, Main Floor — Gallery 85
Two sailboats and a rowboat float on a glistening, azure-blue river spanned by a stone bridge to our right in this horizontal landscape painting. The scene is loosely painted with visible strokes and dashes throughout so some details are indistinct. An area of asparagus and moss-green dabs creates a patch of grassy riverbank in the lower right corner of the painting. The rippling, sun-dappled surface of the river is created with short parallel strokes of pale pink, caramel brown, white, sage green, and light blue. An empty sailboat, with its sails tightly furled or removed all together, floats near us to our left of center. It has a single tall, pale wood mast. A similar pole rises from the bottom edge of the picture, presumably the mast of another ship below us or out of our view. Farther out on the water and to our left is another sailboat with full white sails catching the sunlight. The final vessel is loosely painted with a few swipes of goldenrod yellow, black, white, and pink to suggest two people sitting in a rowboat, one of them holding a pink parasol. The gray stone bridge is shaded on our side with denim blue along the faces of the four arches we can see. Several people, painted with a few touches of peach and black, stand at the railing. The bridge angles from near the upper right corner of the canvas to almost the middle of the composition, where it meets a narrow, three-story coral-pink and light gray building. A two-story, white building sits a short distance to its left. They bask in warm sunlight against a row of emerald and olive-green trees. A baby-blue sky scattered with puffy white clouds spans the upper half of the composition. The artist signed the lower right with dark red letters, “Claude Monet.”
From a distance of ten feet or so, Monet's brushstrokes blend to yield a convincing view of the Seine and the pleasure boats that drew tourists to Argenteuil. Up close, however, each dab of paint is distinct, and the scene dissolves into a mosaic of paint—brilliant, unblended tones of blue, red, green, yellow. In the water, quick, fluid skips of the brush mimic the lapping surface. In the trees, thicker paint is applied with denser, stubbier strokes. The figure in the sailboat is only a ghostly wash of dusty blue, the women rowing nearby are indicated by mere shorthand.
In the early years of impressionism, Monet, Renoir, and others strove to capture the fleeting effects of light and atmosphere on the landscape and to transcribe directly and quickly their sensory experience of it. Monet advised the American artist Lilla Cabot Perry, "When you go out to paint, try to forget what objects you have before you, a tree, a house, a field or whatever. Merely think here is a little square of blue, here an oblong of pink, here a streak of yellow, and paint it just as it looks to you, the exact color and shape, until it gives your own naïve impression of the scene before you."
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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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Screening of Harun Farocki's Parallel I-IV
Courtesy of Harun Farocki GbR
KAM WORKSHOPS 2015
ARTIFICIAL NATURES
Chania, 21.8.2015
Screening of Harun Farocki's Parallel I-IV
Courtesy of Harun Farocki GbR
KAM WORKSHOPS 2015
ARTIFICIAL NATURES
Chania, 21.8.2015
Screening of Harun Farocki's Parallel I-IV
Courtesy of Harun Farocki GbR
KAM WORKSHOPS 2015
ARTIFICIAL NATURES
Chania, 21.8.2015
Screening of Harun Farocki's Parallel I-IV
Courtesy of Harun Farocki GbR
KAM WORKSHOPS 2015
ARTIFICIAL NATURES
Chania, 21.8.2015
Screening of Harun Farocki's Parallel I-IV
Courtesy of Harun Farocki GbR
KAM WORKSHOPS 2015
ARTIFICIAL NATURES
Chania, 21.8.2015
For the Thematorium contest (opposites attract):
this is a pond at my grandparents' farm, also shown are a dock and two bridges.
the image is flipped vertically, so things are not as they seem: the top half is actually a reflection in the pond and the bottom is real.
so the opposites i am using are: what the eye sees vs. what the eye thinks it sees, two very different concepts. an opposite pair that is also depicted is actuality vs. illusion.
but here i am showing the two opposites as seemingly the same.
my point is one many have made before: things that seem different are not always so much so.
a flat surface like that of a pond can fool the eye and make itself into a 3D landscape. how wondrous.
Screening of Harun Farocki's Parallel I-IV
Courtesy of Harun Farocki GbR
KAM WORKSHOPS 2015
ARTIFICIAL NATURES
Chania, 21.8.2015
Screening of Harun Farocki's Parallel I-IV
Courtesy of Harun Farocki GbR
KAM WORKSHOPS 2015
ARTIFICIAL NATURES
Chania, 21.8.2015
Caroline Middle School's Veterans Day observance held at the school's Korea War Monument, November 11, 2015. The event was hosted by the Caroline
Middle Scholl history club. The Memorial was dedicated in 2013 and is located on Caroline Middle School property on the 39th parallel.
This project is my speculation about presumable existence of parallel universes. The universe is infinite, but there is only limited amount of particles everything is made of. That means, that any combination of limited amount of participles will repeat again. Theory of hyperspace says, that our universe is just one small bubble in the foam full of bubbles.What if somewhere there, in the depth of infinite universe, exists exactly the same version of me?
Or you?
Screening of Harun Farocki's Parallel I-IV
Courtesy of Harun Farocki GbR
KAM WORKSHOPS 2015
ARTIFICIAL NATURES
Chania, 21.8.2015
Screening of Harun Farocki's Parallel I-IV
Courtesy of Harun Farocki GbR
KAM WORKSHOPS 2015
ARTIFICIAL NATURES
Chania, 21.8.2015
Screening of Harun Farocki's Parallel I-IV
Courtesy of Harun Farocki GbR
KAM WORKSHOPS 2015
ARTIFICIAL NATURES
Chania, 21.8.2015
Screening of Harun Farocki's Parallel I-IV
Courtesy of Harun Farocki GbR
KAM WORKSHOPS 2015
ARTIFICIAL NATURES
Chania, 21.8.2015
Jesus Benavente and Jennifer Remenchik, installation and performance of Parallel at the Austin Museum of Art as part of the 15 To Watch.