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14-21 November, 2013. Pamela Branas, Micheal Graham, Sophie Hague, Sharon Kitching, Lena Obergfell, Cathy Weiszmann
Firelei Báez, Born Santiago de los Caballeros, Dominican Republic 1981
Untitled (Premiere Carte Pour L'Introduction A L'Histoire De Monde), 2022, oil and acrylic on archival printed canvas, 76 × 97 × 1 1⁄4 in.
What do you see in Firelei Báez's plumes of orange, red, and blue? Her painting might evoke the eye of a hurricane, an exploding supernova, or consuming flames.
Beneath the swirling streams of paint lies an image of the Atlas Historique, a map created in 1718 to document the recently conquered European colonies. Charting the farthest reaches of human knowledge at that time, the Atlas joined the earth, the solar system, and the constellations into one view.
Originally from the Dominican Republic, Báez thinks about the ways her own life has been shaped by the legacies of colonialism. She sees her art as a conversation with this earlier period, opening up space for questions and alternative histories. Here, she might be imagining the world represented by the Atlas ending in dramatic fires and floods. Or she could be continuing its traditions: her own imagery was inspired by the fantastical pictures of outer space transmitted by the James Webb Space Telescope in 2021--today's equivalent of the eighteenth-century star map.
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"Women, queer artists, and artists of color have finally become the protagonists of recent American art history rather than its supporting characters. This is the lesson to be learned from the programming at New York’s Whitney Museum of American Art since it reopened in 2015, and it is now the big takeaway in the nation’s capital, at the Smithsonian American Art Museum, whose contemporary art galleries have reopened after a two-year closure.
During that time, architect Annabelle Selldorf refurbished these galleries, which have the challenge of pushing art history’s limits without going too far. Her interventions in these spaces are fairly inoffensive. Mainly, she’s pared down some of the structural clutter, removing some walls that once broke up a long, marble-floored hallway. To the naked eye, the galleries are only slightly different.
What is contained within, however, has shifted more noticeably—and is likely to influence other museums endeavoring to diversify their galleries. For one thing, I have never encountered a permanent collection hang with more Latinx and Native American artists, who, until very recently, were severely under-represented in US museums. That unto itself is notable.
It is a joy to see, presiding over one tall gallery, three gigantic beaded tunics courtesy of Jeffrey Gibson, a Choctaw artist who will represent the US at the next Venice Biennale. Printed with bombastic patterning and hung on tipi poles, they hang over viewers’ heads and allude to the Ghost Shirts used by members of the Sioux to reach ancestral spirits. One says on it “WITHOUT YOU I’M NOTHING.” That statement can also be seen as a confession on behalf of SAAM’s curators to the artists now included in this rehang: a multiplicity of perspectives is more nourishing than having just one.
Something similar can be seen in Judith F. Baca’s Las Tres Marías (1976). The installation features a drawing of a shy-looking chola on one side and an image of Baca as a tough-as-nails Pachuca on the other. These are both Chicana personae—the former from the ’70s, the latter from the ’40s—and the third component, a long looking glass, sutures the viewer into the piece. It’s no surprise this piece is shaped like a folding mirror, an item used to examine how one may present to the outside world. Baca suggests that a single reflection isn’t enough. To truly understand one’s self, many are needed.
It is hardly as though the Smithsonian American Art Museum’s collection ever lacked diversity. Nam June Paik’s Electronic Superhighway: Continental U.S., Alaska, Hawaii (2002), a video installation featuring a map of the country with each state’s borders containing TV monitors, is a crown jewel of the collection. It has returned once more, where it now faces a 2020 Tiffany Chung piece showing a United States strung with thread. So, too, has Alma Thomas’s magnum opus, Red Azaleas Singing and Dancing Rock and Roll Music (1976), a three-part stunner showing an array of petal-like red swatches drifting across white space.
But the usual heroes of 20th century art history are notably absent. Partly, that is because the Smithsonian American Art Museum doesn’t own notable works by canonical figures like Andy Warhol, Jasper Johns, and Robert Rauschenberg. (For those artists, you’d have to head to the National Gallery of Art.) Yet it is also partly because the curators want to destabilize the accepted lineage of postwar American art, shaking things up a bit and seeing where they land.
There is, of course, the expected Abstract Expressionism gallery, and while works by Willem de Kooning and Clyfford Still are present, those two are made to share space with artists whose contributions are still being properly accounted for. The standouts here are a prismatic painting by Ojibwe artist George Morrison and a piquant hanging orb, formed from knotted steel wire, by Claire Falkenstein.
This being the nation’s capital, there is also an entire space devoted to the Washington Color School. Come for Morris Louis’s 20-foot-long Beta Upsilon (1960), on view for the first time in 30 years, now minus the pencil marks left on its vast white center by a troublemaking visitor a long time ago. Stay for Mary Pinchot Meyer’s Half Light (1964), a painting that features a circle divided into colored quadrants, one of which has two mysterious dots near one edge.
From there, the sense of chronology begins to blur. The Baca piece appears in a gallery that loosely takes stock of feminist art of the 1970s; a clear picture of the movement’s aims fails to emerge because the various artists’ goals appear so disparate. It’s followed by an even vaguer gallery whose stated focus is “Multiculturalism and Art” during the ’70s and ’80s. Beyond the fact that all five artists included are not white, the gallery doesn’t have much of a binding thesis.
This partial view of recent art history leads to gaps, which is both a good thing and a bad thing. It’s a good thing because it offers due recognition for art-historical nonpareils. Audrey Flack is represented by Queen (1976), a Photorealist painting showing a view of a sliced orange, a rose, photographs, a playing card, and trinkets blown up to a towering size. It’s both gaudy and glorious. Hats off to the curators for letting it shine.
Then there are two totem-like sculptures by the late Truman Lowe, a member of the Ho-Chunk Nation, that are allowed to command a tall space of their own. They feature sticks of peeled willow that zigzag through boxy lumber structures, and they refuse to enjoin themselves to any artistic trend. Later on, there are three deliciously odd paintings by Howard Finster, of Talking Heads album cover fame. One shows Jesus descended to a mountain range strewn with people and cars who scale the peaks. Try cramming that into the confines of an accepted art movement.
That’s just three lesser-knowns who make an impact—there are many others on hand, from Ching Ho Cheng to Ken Ohara. And yet, herein lies this hang’s big problem: its gaping omissions in between them all, which are likely to be visible not just to the literati of the art world but to the general public, too.
Despite the focus of these new galleries being the 1940s to now, Pop, Minimalism, Conceptualism, and their resultant offshoots are skipped over entirely as the curators rush through the postwar era in order to get closer to the present. The Paik installation aside, there is almost no video art in this hang (although there is a newly formed space for moving-image work where a Carrie Mae Weems installation can be found), and no digital art or performance documentation at all, which is a shame, given that the museum owns important works by the likes of Cory Arcangel and Ana Mendieta, respectively. The AIDS crisis of the 1980s and ’90s and its devastating impact on the art world isn’t mentioned a single time in the wall text for these new galleries, and queer art more broadly is a blind spot.
Protest art periodically makes the cut, but any invocation of racism, misogyny, colonialism, and the like is typically abstracted or aestheticized. That all makes a work like Frank Romero’s Death of Rubén Salazar (1986) stand out. The painting depicts the 1970 killing of a Los Angeles Times reporter in a café during an unrelated incident amid a Chicano-led protest against the high number of Latino deaths in the Vietnam War. With its vibrant explosions of tear gas (Salazar was killed when a tear gas canister shot by the LA Sheriff Department struck his head) and its intense brushwork, it is as direct as can be—a history painting for our times. So, too, in a much different way, is Consuelo Jimenez Underwood’s Run, Jane, Run! (2004), a piece that ports over the “Immigrant Crossing” sign, first installed near the US-Mexico border in Southern California in the 1990s, and remakes it as a yellow tapestry that is threaded with barbed wire.
In general, this presentation could use more art like Romero and Jimenez Underwood’s. Yet the curators at least cop to the fact they’re seeking to hold handsome craftmanship and ugly historical events in tension, and the methods on display are productive in that regard.
By way of example, there’s Firelei Báez 2022 painting Untitled (Première Carte Pour L’Introduction A L’Histoire De Monde), which features a spray of red-orange paint blooming across a page from an 18th-century atlas documenting Europe’s colonies. One could say Báez’s blast of color recalls the bloodshed of manifest destiny, but that seems like an unfair interpretation for a work that provides so much visual pleasure. Rather than re-presenting the violence of a bygone era, Báez beautifies it. The result allows history to begin anew—on Báez’s own terms."
www.artnews.com/art-news/reviews/smithsonian-american-art...
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Leisure and Labor, 1858
Frank Blackwell Mayer
West Building, Main Floor — Gallery 71
Gazing down at a blacksmith stooped over his work, an elegantly dressed man leans against a post. His graceful greyhound and the broken plow at his feet underscore his idleness. The poster behind him, which shows a grim reaper–like figure above the (misspelled) text “Stop Theif!!,” reminds us not to waste precious time.
Painted just before the Civil War, the scene may represent Northern scorn toward wealthy Southern landowners who bred greyhounds for sport and show. In political satires of the time, the dogs sometimes symbolized the Confederacy.
Two men, a dog, and a horse gather at the wide opening to a barn-like building that fills this horizontal painting. A light-skinned, blond man in a tall, brimmed, straw hat leans with his ankles crossed and hands in pockets against the right side of the opening. His body faces us and he turns his gaze toward the man to our left, whose face is in profile. The blond man's knee-length, olive-green jacket has black lapels, and it hangs open to reveal a close-fitting, ivory-white vest over a white shirt with a sea-blue tie. His brown, calf-high boots have a band of brick red around the top. A slender, brown and white grayhound stands facing our left in profile with its front legs stiffly straight and its hindquarters pressing against the man’s right leg. The tanned, dark-haired man near the jamb to our left bends over to work on the underside of a horse’s hoof, which he holds between his knees with his left hand. He wears a loose red shirt with an open collar and rolled-up sleeves, over wrinkled brown pants. Short black locks emerge under the edges of his olive-green cap. A wooden box of tools, with a handle for carrying, sits on the dirt ground in front of him. The horse being shod, overlapped by the workman, faces into the barn and to our left, but its head, turning to our right, is silhouetted against a landscape visible through an open window at the back of the barn. The view is dotted with haystacks and framed by tree branches. A stirrup hangs on a strap flung over a saddle on the back of the horse, whose rump stands between the laborer and a woman, who is deep in shadow. Placing her right hand, on our left, on her hip, she appears in front of the grids of window panes. She seems to have pale skin and dark, loosely bound-up hair, and she looks toward the horse. Red flames flicker in a fireplace between her and the standing blond man. The front opening of the structure is protected by a shallow wooden portico, supported on the left by a slender, trimmed tree trunk with a ring hanging from a screw near the top. Curling red and yellow leaves are scattered on the long, narrow, wooden boards that form the porch roof. Sunlight dapples the barn wall to our left, and a square patch of light falls on the face of the wall to our right, near the ground. A broken plow lies on the ground to our right, with the wooden handle of a tool propped against it. A tuft of long dark hair, like a horse’s tail, hangs on the wall over the tools. Closer to the head of the standing man, a poster is printed with black on white paper. A running man carrying an hourglass and a scythe is enclosed in a thin circle, over the words, “STOP THEIF!!!” in capital letters, though “thief” is misspelled.
This painting, completed just three years before the Civil War began, may be an expression of northern antipathy toward the landed gentry of the south. Leisure and Labor is the culmination of Mayer's decade-long exploration of the blacksmith theme. The bifurcated canvas juxtaposes a well-dressed man leaning casually on the right—hands tucked in his pockets and legs crossed—with an industrious and productive blacksmith hard at work on the left. A broken plow and graceful greyhound further underscore his leisure. The dog evokes breeding of animals for sport and show, an idle pursuit of Southern aristocracy during this period. During the war, the greyhound was one of the symbols of the Confederacy in anti-Southern political satires. The moral lesson is further communicated by the white poster on the right which depicts a man (who resembles the Grim Reaper) running with scythe in hand above the misspelled text "Stop Theif!" reminding the viewer that time is precious and not to be wasted.
Mayer, a Maryland artist renowned for his historical subjects and genre scenes, remained publicly ambivalent about the Civil War. After its outbreak, he traveled to Paris, as did two of the most important American collectors of the 19th century: William T. Walters, who commissioned Leisure and Labor and who later founded the Walters Art Museum in Baltimore, and William Wilson Corcoran, who purchased the painting in 1859 and who later founded the Corcoran Gallery of Art in Washington, DC. Both collectors were known Southern sympathizers.
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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...
..
________________________________
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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I WEBINÁRIO DA COMISSÃO PERMANENTE DE POLÍTICAS SOCIAIS E DE DESENVOLVIMENTO DO CIDADÃO.
Juíza auxiliar da presidência do CNJ, Dayse Starling Motta.
Foto: Gil Ferreira/Agência CNJ
Jean Honoré Fragonard - French, 1732 - 1806
A Game of Horse and Rider, c. 1775/1780
West Building, Main Floor — Gallery 55
In a lush, tree-lined park, filtered light falls across a group of about a dozen light-skinned people lounging and frolicking along the banks of a river in this vertical landscape painting. A man wearing a shell-pink jacket and pants and woman wearing a topaz-blue, full-skirted dress and rose-pink bonnet sit near each other in the lower left corner. Several younger boys pile up in a game where one person tries to ride on the back of another, to our right. They wear rolled-up pants, open-necked shirts, and some wear straw-colored hats. Tall aspens, with smooth greenish-white trunks and soft, golden leaves, are among the trees that line this placid river. A gnarled trunk twists against the cloudless blue sky above the revelers to our right. Other couples board a long, narrow boat at the riverbank in the distance.
As with so many of Fragonard’s paintings, the original destination of A Game of Horse and Rider and A Game of Hot Cockles [FIG. 1] remains mysterious; the paintings made their first public appearance only in the late nineteenth century.[1] They were undoubtedly intended as pendants, however, and meant to be installed in boiseries as part of a larger decorative program. The paintings are equal in size and have similar color schemes and compositions, and their subjects are perfectly complementary; each focuses on richly verdant gardens in which groups of figures have gathered to enjoy games in the outdoors. In style and theme they can be compared to the larger canvases of Blindman's Buff [FIG. 2] and The Swing [FIG. 3], works that include similar figures that appear in the present paintings. For example, the dashing couple — the man in blue suit, the woman in red dress, their white lapdog beside them — seated on the bench to the left of the game in Hot Cockles seem to have wandered over from The Swing, where we see them lounging at the left, about to dip a similar white dog into the fountain. Despite the differences in size, the four garden paintings in the National Gallery of Art were very likely painted about the same time, probably between 1775 and 1780.
The similarities among the four paintings have often been noted, but whether they were intended as part of the same decorative scheme that also included another monumental garden scene, Fête at Saint-Cloud [FIG. 4], is still an open question.[2] The figures in Horse and Rider and Hot Cockles are more carefully finished and richly detailed than those in the larger garden scenes, perhaps a function of their better state of preser-vation, with the impasto of the brushwork and the delicate glazes applied to the figures still mostly intact. Nevertheless, the canvases are probably fragments, as Jean-Pierre Cuzin first suggested.[3] The branches and trunks of the towering trees are somewhat arbitrarily cropped at the top edge, and technical evidence suggests that the paintings have been cut down.[4] The two paintings may originally have been much taller, perhaps equal in height to Blindman’s Buff, The Swing, and Fête at Saint-Cloud (about 216 cm). The resulting compositions, while extremely tall and narrow, would not have been unusual for decorative painting, which often was conceived to fit into established wall paneling.[5] Many garden scenes by Hubert Robert (French, 1733 - 1808), for example, combine a soaring landscape and cloud-filled skies with groups of figures occupying themselves in the lower section of the painting [FIG. 5].[6]
The games of blindman’s buff and swinging have remained popular with children today, but horse and rider and hot cockles may be less familiar. Yet both were common in Fragonard’s time, and they appear with some frequency in works of art produced in the seventeenth and eighteenth centuries.[7] Fragonard’s paintings marvelously evoke the spirit of both activities. In Horse and Rider (in French the game is called “le cheval fondu,” or melted horse), the players have divided into two teams, one acting as a multilegged “horse,” bracing itself against a tree; the second team consists of “riders” who run and leap, one by one, onto the back of the “horse.” Once they are all aboard, the horse team tries to shake them off. In Fragonard’s painting two of the riders already seem to be losing their grip as they anticipate the charge of a teammate. Hot cockles (“la main chaude” or “frappe main”), by contrast, is a less physical game in which sleight of hand and close attention are rewarded. One player, the “penitent,” hides his face in the lap of a second (called the “confessor,” a referee who monitors the game) and places his hand flat behind his back. In turn, the other players slap the penitent on the hand, and he tries to identify who hit him. The player who lets himself be discovered becomes the penitent. This moment apparently is captured in the painting, as we see the penitent gesturing toward the person he has identified (either the standing woman in the light blue dress or the recoiling young man behind her). Fragonard records with his usual prescience the expressions, gestures, and body language that convey a sense of their amusement and absorption in the game.
The genesis of Fragonard’s paintings is as mysterious as their original purpose. Although the landscapes and figures in Horse and Rider and Hot Cockles are among the artist’s most accomplished inventions, no preparatory studies for them exist.[8] As with much of his oeuvre, it is as if Fragonard created them directly on the canvas, with little of the preparation and planning that one usually expects in such elaborate productions. Yet he did not invent these scenes out of whole cloth, for there was an established tradition for representing games in landscape settings; Fragonard undoubtedly had access to this tradition, and the National Gallery’s paintings are clearly indebted to it. For example, Fragonard certainly was aware of the series of prints representing games published by Jacques Stella (French, 1596 - 1657) and Gabriel Perelle (French, 1603 - 1677) in the seventeenth century [FIG. 6].[9] But, as with the larger canvases showing Blindman’s Buff and The Swing, the present paintings owe a debt to Jean-Baptiste Oudry (French, 1686 - 1755), whose designs for a tapestry cycle on the theme of Amusements champêtres include representations of Horse and Rider and Hot Cockles that are closely related to Fragonard’s compositions [FIG. 7].[10] Despite their extraordinary inventiveness and incomparable technical mastery, these paintings continue a convention of decorative pastoral art that has its roots in the fête galante of the earlier eighteenth century.
As with Fragonard’s larger garden paintings, the possible meanings of these games have been a matter of debate among scholars. We may wonder whether Fragonard’s intention was to invest them with allegorical or emblematic meaning or whether he used them merely to enliven a pair of decorative landscapes. As Colin Eisler pointed out, Pieter Brueghel the Elder (?1525 / 1530 – 1569) included boys playing horse and rider in his painting Children’s Games, which has been interpreted as an evocation of the folly of youth.[11] In Fragonard’s painting the rowdy play of the boys is juxtaposed with the older couple at the left, who, it is perhaps implied, enjoy a more adult game of flirtation. This activity is expanded upon in Hot Cockles, in which the amusement — like the related one of blindman’s buff — is an obvious allegory of courtship.[12] This interpretation is emphasized by the sculptures included in the scene: at the right edge, surmounting a pedestal with a carved relief of dancing figures, is Étienne Maurice Falconet’s (1716 – 1791) Menacing Cupid, who holds a finger to his lips. This work, exhibited at the Salon of 1757, had already been used by Fragonard in his early version of The Swing (London, Wallace Collection); here it plays a similar role of commenting on the proceedings, for the success of the game of hot cockles depends on the participants remaining discreet. It is balanced on the left by a second sculpture, which Eisler understood to represent an altar to love, similar to the one depicted in Jean Baptiste Greuze’s painting The Offering to Love of about 1767.[13]
In conceiving A Game of Horse and Rider and A Game of Hot Cockles, Fragonard clearly meant for the viewer to measure one painting against the other, and he invested the landscape settings with a greater significance than is apparent in Oudry’s tapestry designs. Each picture depicts a corner of a vast parkland, with figures playing in the foreground and a view deep into the center distance. With typical sophistication and wit, Fragonard placed the two amusements in settings that comment on and amplify the activities. As with Blindman’s Buff, The Swing, and Fête at Saint-Cloud, Fragonard contrasts two different styles of garden design popular in the eighteenth century — the picturesque and the formal — and populates them with suitable figures enjoying activities proper for their nature.[14] In Hot Cockles the game is played by elegantly dressed young adults in a formal garden, with clipped hedges, smooth parterres, potted trees, and discreetly placed sculptures. In Horse and Rider, by contrast, the garden is natural, with no signs of human manipulation; its principal motif is a gnarled and twisted tree that acts to support the rowdy horseplay of the youths. Their roughhousing is appropriate to the rugged ground on which they play, so different from the well-maintained parterre on which the demure game of Hot Cockles is enjoyed. Fragonard created internal points of contrast as well. The craggy contour of the tree at the right in Horse and Rider is distinguished from the graceful stand of birches at the left, just as the carousing youths are opposed to the well-dressed couple reclining nonchalantly on the ground. In each painting there are half-glimpsed views into the further reaches of the garden, suggestive of hidden attractions and intriguing corners yet to explore. Garden paths lead off in several directions in each painting. Hot Cockles is dominated by a principal central path, on which two women have stopped to admire an unseen view off to the right. In Horse and Rider a large river or basin occupies the middle ground, and in the distance a gondola, unloading a group of promenaders, can just be discerned. The original extreme verticality of these two paintings, with their towering trees and monumental skies, would have visually complemented the emphatically horizontal formats of Fête at Saint-Cloud and, when taken together, Blindman’s Buff and The Swing, works that articulate the vast expanse of the landscape rather than the infinite heights of the sky.
This text was previously published in Philip Conisbee et al., French Paintings of the Fifteenth through the Eighteenth Century, The Collections of the National Gallery of Art Systematic Catalogue (Washington, DC, 2009), 188–194.
________________________________
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...
.
Denis Moncada, Ambassador, Permanent Representative of Nicaragua to the OAS
Date: July 13, 2011
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
6/365
a chilly spring wind has forced me inside on this surprisingly sunny eve. sadly, there isn't much to inspire me in my dark, cluttered house. not every day will bring a photographic masterpiece, i suppose.
The Return, 1837
Thomas Cole
West Building, Main Floor — Gallery 71
Thomas Cole turns the landscape into a backdrop for a medieval tale in The Return, one of a pair of luminous paintings set at sunrise and sunset. Cole drew on several sources, including Scottish historian and poet Sir Walter Scott’s popular verses about warfare between the English and the Scots. The Middle Ages fascinated Americans of the day, inspiring works of literature, architecture, and art.
Honey-gold sunlight from low along the horizon to our left falls across the copper and bronze-colored canopies of trees that frame our view of a stone church with stained glass windows and ornate spires in this horizontal landscape painting. We look down onto the scene from a height, and from a distance. On a dirt path across the front of the picture, an armored man is carried on a red cloth-draped stretcher, which is supported over the shoulders of four men. The armored man has a black beard and hair, and his face is turned from us. The men carrying him wear togas in white, rose pink, slate blue, and mustard yellow. Three of them wear armored breastplates and helmets. A white horse draped with a gold, lattice-like blanket walks behind them. An empty saddle is strapped to its back, and the reigns rest around its neck behind the lowered head. A bit behind this grouping, to our left, another armored man holding a spear rides a brown horse, and, farther back along the path, a man holding a crooked staff and a woman stand near the base of a tall, narrow plinth. The plinth is backlit so ornate carving along the roof-like top creates a spiky silhouette. A sculpted person stands at the peak of the roof, a halo around the head. The area beyond the plinth is layered with trees and bushes extending into the distance, lit sage green by the setting sun. The path with the horses and men runs parallel to a ravine, so the grassy embankment closer to us is in deep shadow. At least two brown goats walk along in the shadows of the ravine near the white horse. Four more white goats, one with black spots, stand and lie near a tree that rises nearly the height of the painting along the right edge. The tree has rust-red leaves, and the trunk leans away from us, to our right. One massive branch has been shorn off, and the exposed wood is caramel brown against the darker, gnarled trunk. The church is beyond the path, to our right of center. Tall stained-glass windows, several stories high, are ablaze in red, orange, and topaz blue. Birds, painted with short strokes of black, flock around the church roofline. A procession led by a man wearing blue and red vestments and a tall, split cap emerges from the main, arched doorway. Another man wearing a brown robe stands near a sun dial between us and the procession coming from the church. The wide brim of that man’s hat is fastened at the front with a gold object. He lifts one hand and holds a long staff with a black knob at its center with his other. More people walk near the church, sit on a bench under a tree, and move through the landscape deep into the distance. All the people have light skin. Beyond the moss-green, grassy area around the path and church, a river winds under an arched bridge. A tan-colored building complex sits on a low hill to our left of center. Across the back of the scene, smokey purple and muted mauve-pink mountains line the horizon, which comes about halfway up the composition. The vivid yellow sun is low on the horizon to our left. A few light gray clouds skim across the sky, which deepens from pale yellow along the horizon to light blue along the top of the painting. The artist signed and dated the work on a stone near the man next to the sundial: “T. Cole 1837.” He also signed the front face of the tall pedestal to our left with the same text, though it is difficult to make out.
Thomas Cole, America's leading landscape painter during the first half of the nineteenth century, was born on February 1, 1801 in Bolton-le-Moor, England. Before emigrating with his family to the United States in 1818, he served as an engraver's assistant and as an apprentice to a designer of calico prints. Cole worked briefly as an engraver in Philadelphia before joining his family in Steubenville, Ohio, in 1819. While in Ohio he apparently learned the rudiments of oil painting from an itinerant portrait painter named Stein. In 1823, during a stay in Pittsburgh, Cole began drawing from nature, creating closely observed and intensely expressive images of trees and branches. Later that year he returned to Philadelphia, where he studied at the Pennsylvania Academy of the Fine Arts and worked in a variety of art-related jobs.
In April 1825 Cole moved to New York, where his family had also relocated. That summer he made an extensive sketching tour up the Hudson River and into the Catskill Mountains. In late October 1825 three of his landscapes were sold to three prominent figures in the young nation's art community, John Trumbull (1756-1843), William Dunlap (1766-1839), and Asher B. Durand (1796-1886). In January 1826 Cole was elected a founding member of the National Academy of Design, and his works were increasingly in demand with leading patrons such as Daniel Wadsworth (1771-1848) of Hartford and Robert Gilmor, Jr. (1774-1848) of Baltimore.
Although Cole had ample commissions in the late 1820s to paint pictures of American scenery, his ambition was to create a "higher style of landscape" that could express moral or religious meanings. His first major efforts in this vein met with mixed reviews, and he decided study and travel in Europe were necessary. In June 1829 Cole sailed for England, where he studied the works of Old Masters and also met Joseph Mallord William Turner (1775-1851) and John Constable (1776-1837). He subsequently traveled in France and in Italy, with lengthy stays in Rome and Florence. While in Italy he conceived of a multi-part landscape series tracing the rise and fall of an archetypal civilization. Although he failed to interest Gilmor in commissioning the series, upon his return to America in 1832 Cole did manage to convince the retired New York merchant Luman Reed (1785-1836) to support his grand project. The result, the five canvas Course of Empire (New-York Historical Society), was completed in 1836 and received considerable popular attention and generally favorable reviews.
Cole continued to paint American landscapes in the 1830s and early 1840s, but much of his energy in these years went into the creation of complex imaginary works such as The Departure and The Return (1837, National Gallery of Art, Washington, D.C., Corcoran Collection) and the two versions of The Voyage of Life (1839-1840, Munson-Williams-Proctor Institute, Utica, and 1842, National Gallery of Art, Washington, D.C.). In 1836 he married Maria Barstow and settled in Catskill, New York, a small village on the west side of the Hudson and close to the Catskill Mountains. That same year Cole, who was throughout his career a prolific writer of prose and poetry, published his "Essay on American Scenery" in the American Monthly Magazine, in which he expressed many of his most deeply felt convictions about landscape painting.
In 1841 Cole make a second trip abroad, with extensive travel in Italy, including a memorable visit to Sicily that resulted in several views of Mt. Etna. He returned to Catskill in 1842; in 1844 he accepted the young Frederic Edwin Church as a pupil on Daniel Wadsworth's recommendation. In the mid and late 1840s Cole painted many impressive American landscapes, which are notable for an increased accuracy in the depiction of atmosphere and light. At the same time he labored, ultimately without success, to complete a five-part series called The Cross and the World, in which he endeavored to portray the individual's quest for spiritual knowledge and salvation.
Cole's premature death in Catskill on February 11, 1848, was universally mourned and a comprehensive memorial exhibition of his works was quickly organized in New York. His influence on the course of American landscape painting was profound and his works influenced numerous younger painters who matured in the late 1840s and early 1850s, most notably Jasper F. Cropsey and Church.
________________________________
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...
.
A Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) se reúne para apresentação da pesquisa sobre violência doméstica e familiar contra a mulher; apreciar o Plano de Trabalho da Comissão e analisar requerimentos.
E/D:
senadora Simone Tebet (PMDB-MS);
senadora Vanessa Grazziotin (PCdoB-AM);
ministra Eleonora Menicucci.
Fotos: Marcos Oliveira/Agência Senado
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública para discutir sobre a contribuição dos Biocombustíveis no cumprimento das metas brasileiras estabelecidas na iNDC.
Em pronunciamento, o diretor superintendente da União Brasileira do Biodiesel e Bioquerosene (Ubrabio), Donizete Tokarski.
Foto: Marcos Oliveira/Agência Senado
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Mémoire2cité il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. archipostcard.blogspot.com/search?updated-max=2009-02-13T... - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive
le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye
www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …
Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -
Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.
www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty
la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije - Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes
Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945
Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transports
Lieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952. Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...
Walter Alban, Ambassador, Permanent Representative of Peru to the OAS
Date: March 19, 2013
Place: Washington, DC
Credit: Maria Patricia Leiva/OAS
O Fórum Permanente de Combate à Corrupção em Pernambuco (Focco-PE) realizou, em 19 de abril, capacitação sobre a fiscalização de recursos públicos, contando com atividades abertas ao público interessado. A atividade ocorreu no auditório da Procuradoria da República em Pernambuco (Av. Agamenon Magalhães, 1800, Espinheiro, Recife).
Toledo, 18 de febrero de 2020.- Comisión no Permanente de Estudio para alcanzar un Pacto contra la Despoblación en Castilla-La Mancha. Nueva sesión de comparecencias. FOTOS: Carmen Toldos.
Robert S. Duncanson, Born Seneca County, NY 1821/22-
died Detroit, MI 1872
Landscape with Rainbow, 1859, oil on canvas, 30 x 52 1⁄4 in.
Robert Seldon Duncanson was America’s best known African American painter in the years surrounding the Civil War. Based in Cincinnati, he was supported by abolitionists who bought his paintings and sponsored his trip to Europe to study from the Old Masters. In this pastoral landscape, a young couple strolls through fertile pastureland, toward a house at the end of a rainbow. The cattle head home toward the nearby cottage, reinforcing the sense that man lives in harmony with nature. Duncanson’s vision of rural America as Arcadia, a landscape akin to paradise, is a characteristic feature of his work, a late hope for peace before the onset of Civil War.
The topography of Duncanson’s Landscape with Rainbow evokes the Covington/Cincinnati region. When it was exhibited in 1859, a reviewer praised it as "one of the most beautiful pictures painted on this side of the [Allegheny] mountains." The bucolic vista over which the rainbow arches suggests a scene imbued with hope, providing a pictorial end of the rainbow towards which the couple walks. Duncanson painted this landscape on the eve of Civil War, a reminder of the power of landscape painting to convey America’s cultural aspirations. Duncanson presents this scene as a vision of future peace and prosperity regardless of race—an aspiration we all should embrace.
Robert S. Duncanson (1821–1872) was America’s best known African American painter in the years surrounding the Civil War. His parents moved the family from Virginia to Fayette, New York, near Seneca Falls, where Duncanson was born. In 1840 at the age of 19, the artist moved to Cincinnati, then the largest and most prosperous city on the western frontier. By the 1850s the “Queen City” had developed a reputation for its pro-abolitionist leanings. But even here Duncanson walked a fine line, acknowledging his heritage without flaunting it. Duncanson worked hard to make a decent living and raise a family working as an artist of color during the antebellum and Civil War years.
Cincinnati was home to a substantial group of prominent abolitionists, among them Rev. Francis Conover, James Birney, Nicholas Longworth, Rev. Charles Avery, Freeman Cary, and Rev. Richard Rust, all of whom were among the artist’s patrons. During the 1840s Lyman Beecher and his family—including daughter Harriet and son Henry Ward Beecher —were friends and fellow residents. Stowe and her brother left for Boston shortly before she wrote Uncle Tom’s Cabin; however, their ties to Cincinnati meant it was highly likely Duncanson, and many of his patrons, read the book in serial form and saw one of the early plays. Local abolitionist journals took pride in pointing out Duncanson’s accomplishments as evidence of the capabilities of African Americans.
The Civil War made it increasingly difficult for Duncanson to feel comfortable even in Cincinnati, and by 1863 the artist had moved with his family to Montreal. There he was in good company; Canada was a terminus of the Underground Railroad. Even Frederick Douglass had headed north of the border after John Brown’s raid on Harper’s Ferry in 1859, when his arrest seemed imminent. Cincinnati had long been an important stop on the Underground Railroad. Across the river was Covington, Kentucky, and between them flowed the Ohio River. For many who escaped, the Ohio River represented the last obstacle to freedom. It was across that river that Stowe’s character Eliza escaped with her infant daughter, crossing the ice floes that choked the river at the height of winter.
americanart.si.edu/blog/inauguration-highlights-rainbow-p...
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The Smithsonian American Art Museum is the home to one of the most significant and most inclusive collections of American art in the world. Its artworks reveal America’s rich artistic and cultural history from the colonial period to today. The museum’s main building is located at Eighth and G streets N.W., above the Gallery Place/Chinatown Metrorail station. Admission is free.
The museum has been a leader in identifying and collecting significant aspects of American visual culture, including photography, modern folk and self-taught art, African American art, Latino art, and video games. The museum has the largest collection of New Deal art and exceptional collections of contemporary craft, American impressionist paintings and masterpieces from the Gilded Age. In recent years, the museum has focused on strengthening its contemporary art collection, and in particular media arts, through acquisitions, awards, curatorial appointments, endowments, and by commissioning new artworks.
Explore the sweep of the American imagination across four centuries at the nation's flagship museum for American art and craft. Dive into inspiring artworks, the reimagined collection, and an array of special exhibitions including Glenn Kaino: Bridge. Experience our offerings both online and in person at our two locations, including national educational programs, innovative research, video interviews with artists, virtual artist studio tours, lectures, audio guides, and more. Admission is always free.
Since 1968, the National Portrait Gallery has been housed in the former Patent Office building, a structure designed by Robert Mills in the neoclassical style and built between 1836-1867. This historic building, which is the third oldest government building in the city, is shared with another Smithsonian museum, the Smithsonian American Art Museum. The building's marble and granite porticos are inspired by those of the Parthenon in Athens, Greece.
An undulating steel and glass canopy wows visitors who enter the Kogod Courtyard. Inside you’ll find diners from the museum’s café, tourists soaking their weary feet in the shallow fountain running across the space, and students taking advantage of free Wi-Fi in the light and airy setting. The modern roof seals the center of the old Patent Office Building, currently shared by the National Portrait Gallery and American Art Museum. Architect Norman Foster designed the roof to have minimal impact on the building by creating a support system that prevents direct contact and weight placement on it. Unlike most of the other Smithsonian Museums located on the Mall, this gem is found in the busy Penn Quarter of downtown D.C. It is a favorite place to bring visitors, not only for the impressive courtyard space, but also for the preserved architecture of the patent offices on the top floor. Check the Smithsonian’s website for special courtyard workshops, concerts, or events. The museum is right near the Gallery Place/Chinatown Metro on the green, yellow, and red lines.
The Smithsonian American Art Museum showcases rotating exhibits, which have previously exposed visitors to work created in response to the Vietnam War, glasswork, native women artists and more. The Smithsonian American Art Museum also operates a separate branch, the Renwick Gallery, devoted to contemporary craft and decorative arts.
Irish Life and Permanent has been commended for its contribution to the local community through the Maximising Community Involvement through Partnership Programme and for its continued endeavour to integrate social and environmental concerns into all aspects of its business operations. Permanent tsb and Foroige have joined together to promote youth citizenship in Ireland. The awards are built on a long-running programme of youth citizenship in Foroige.
Permanent Makeup – It’s pros & cons
We women always want to look the perfect, and this desire for perfection has given birth to the process of permanent makeup. Now before you take the help of permanent makeup to accentuate your features, please have a look at the pros and cons of it mentioned in this article.
Carmen Lomellin, Ambassador, Permanent Representative of the United States to the OAS
Date: May 15, 2013
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS