View allAll Photos Tagged permanent
Joaquín Maza, Ambassador, Permanent Representative of El Salvador to the OAS
Date: February 25, 2013
Place: Washington, DC
Credit: Maria Patricia Leiva/OAS
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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Every Single Block. Northfield NJ. I seem to remember living there as a very young child. Didn't see a single cyclist walk. I was the only one that perceptibly slowed :-) I didn't stop either.
gato; me parcías un permanente, una constante eterna que de aquí no se iba a mover nunca. Erré porqué no te aproveché, porque debía haber pasado por alto esa sequedad en tu carita cuando te empujaba contra mí, o ese juguetón rasguño que me dabas en la mañana cuando te despertabas antes que yo. Muchas veces te saqué la lengua cuando pedías comida en la mañana y te decía que esperaras tu hora, suponía que ibas a entender, la hora iba contra mí, y a mi parecer, las cosas permantentes no iban a salir de ahi. El peor error. El tuyo fue el más efímero pasar por la estúpida tierra, cuando de la eternidad de tu almita, pequeña como tú, llena millones y millones de hectáreas tapizadas en wiskas. Voy a guardar los cuadraditos crujientes que amabas. Amas. Y el resto de la comida que dejaste a medio disfrutar la tendrán otros gatos que igual que tú, aman la vida. Hermosura deja que te pida perdón porque no alcanzé a darte tu premio. Eres mejor que cualquier otro y sé que nadie me puede decir lo contrario. Me duele tu fragilidad y tu naturaleza. Me traicionó esa ley y siento que la culpable acá es otra que la que todos creen. No quiero sacar conclusiones, sólo que el piso se derretía, los muros se hacían cada vez más huecos, las luces cambiaban de tono para verte pasar hacia arriba, los dolores de las nubes caían como la peor de las lluvias invisibles, la musica ya no sonaba como antes sino como tus palabras y la gente caminaba hacia abajo, abajo abajo, cuando el llamado por telefono adelanto lo que no sabía. Se me cayó la permanencia y te empecé a extrañar. a ti y a las cosas que te llevas contigo. Te amo garabato.
Hoy me acordé de que cuando llegaste eras rosado porque te gustaba rodar como tonto en la baldoza roja.
Hoy cerré la puerta de la cocina para que no muerdas la matequilla, que sé que entras cuando nadie te mira, duermes un par de horas sobre la silla que se esconce bajo el mantel, y cuando en casa nadie queda, disfrutas el pecadito de morder con gusto un poco de prohibición. Tranquilo, no le voy a decir a nadie, pero en el cielo no hay paté ni queso ni jamón del que te gusta ni yo. Ni perros que te quitan de aqui =(.
te amo gordo. no lo digo de otra manera. adiós hermano.
(diciembre nueve, dos mil siete. cinco cuarenta y algo de la tarde)
(toda la vida)
This permanent installation was created by French artist, Honet, who was born in France in 1972. He lives and works in Paris. But, of course! The artwork can be found on the (14) subway columns between Trabrennstrasse and Stella-Klein-Löw-Weg. Actually, you just have to get off the U2 at either the 'Krieau' or 'Stadion' station. This project was created in cooperation with the Wiener Linien, Viertel Zwei, and KÖR - Kunst im Öffentlicher Raum Wien.
Meeting between EU Officials Ms. Myrian Ferran, Deputy Director-General, Directorate-General of International Partnerships (DG INTPA), and Mr. Gunnar Wiegand, EU Senior Official for ASEAN-EU Relations and Managing Director, Asia Pacific, European External Action Service (EEAS) and the Committee of Permanent Representatives to ASEAN
Image Credit: ASEAN Secretariat / Kusuma Pandu Wijaya
Edouard Manet - French, 1832 - 1883
The Tragic Actor (Rouvière as Hamlet), 1866
West Building, Main Floor — Gallery 90
A bearded man with light skin, wearing a black costume and holding a plumed hat, stands in front of mottled brown background in this vertical portrait painting. His body is angled to our left but he turns to look off to our right from the corners of his dark brown eyes. He has heavy, furrowed brows and high cheekbones. His dark mustache curls up at either end over a full beard, and his wavy chestnut-brown hair is swept back from his forehead. His black jacket has puffed sleeves with narrow ruffles of white at his collar and cuffs, and a peek of the white shirt at his chest where the row of buttons are undone. His puffy pants gather at the thigh over black stockings, and he wears black slippers. He crosses his wrists in front of him, and he wears a gold ring with a square, scarlet-red stone on his right ring finger, to our left. In that hand, he also holds a black hat with a long, feathery plume that falls to knee level. A saber lies on the floor to our left near the man’s feet, with the grip and elaborately twisting guard facing us. The background lightens from coffee brown along the top edge to light beige along the lower edge of the composition. The portrait is loosely painted with visible brushstrokes throughout, especially in the costume and background. The artist signed the painting in the lower right corner, “Manet.”
Born in Paris in 1832 to a wealthy family, Edouard Manet showed promise in drawing and caricature from an early age. After twice being denied admission to France’s prestigious Naval College, he enrolled in 1850 at the studio of academic artist Thomas Couture. While copying paintings at the Louvre, Manet became attracted to the bold brushwork of Spanish painter Diego Velázquez. He soon adopted a free manner of painting that opposed the polished surfaces revered by academic artists. Rather than gradually building up a composition with layers of blended pigments and translucent glazes, Manet selected and applied patches of color side by side, from the start, for their final effect.
Manet set out on his own artistic career in 1856. Soon after, his focus on modern subject matter – street scenes, bar life, and backhanded versions of famous art icons – coupled with his unconventional paint handling, regularly provoked critics’ wrath. Olympia, a painting of a naked courtesan who frankly engages the viewer in parody of the classic Venus, triggered an unparalleled scandal when it was exhibited at the 1865 Salon. The uproar made Manet the de facto leader of the avant-garde.
Manet’s bold style, contemporary subject matter, and determination to challenge entrenched academic models influenced younger artists who would come to be known as the impressionists. Manet, too, learned from them, lightening his palette and using even freer brushwork. But he did not share the impressionists’ spontaneity; the striking immediacy of Manet’s greatest works resulted from a deliberate process involving drawing, models, and painting in a studio. Still determined to make his mark in the official Salon, he declined the more radical option of exhibiting with the impressionists.
Manet continued producing enigmatic and inventive paintings about urban life until his death in 1883. While he had gained a reputation as an influential innovator, only posthumously would he be recognized as a father of modern art.
________________________________
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...
.
Claude-Joseph Vernet - French, 1714 - 1789
Moonlight, 1772
West Building, Main Floor — Gallery 55
Moonlight falls across several masted ships near a rocky shoreline in this horizontal painting. The sky fills the top three-quarters of the picture. A veil of slate-gray clouds is lit to pearl white around the crisp, full moon at the center of the composition. Patches of denim-blue sky are seen through breaks in the blanket of clouds. Moonlight reflects down the center of rippling, silvery-gray water that laps against a beach close to us, along the bottom edge of the painting. A tent is set up in the lower left corner of the composition. There, two women and one man stand looking at a glowing fire next to the tent. One woman holds a basket on her head, the other tucks a flat basket under one arm. The man stands between the two women, and a fourth man crouches near the fire, his back to us. In the opening of the tent, another woman kneels over a large bowl as she looks at the fire. A fifth person, a man, gazes at the fire as he sits smoking a long-stemmed pipe on a boulder. At the foot of the boulders, a man lies back against some bundles, one arm thrown up over his head. A dog curls up next to his hip. Not far from the sleeping man and in the center of the foreground, a man carries several long wooden objects, possibly oars, over one shoulder while a dog beyond him barks at the lapping surf. The beach curves like a C away from us, along the left. At the point of the curve in the middle distance, a structure like a city wall and gate jut out to the water’s edge. More buildings atop steep cliffs rise vertically beyond the gate. The shoreline curves into the distance again, and more buildings, including a lighthouse, and masted ships there are smoke-gray silhouettes. Near the lower right corner of the painting, four men pull on ropes tied around the prow of a small wooden boat while three others push it toward the land. Another man stands in the far end. A short distance beyond that boat is a tall wooden ship with three masts and rigging outlined against the night sky. Windows along the decks of that boat’s wide stern, angled toward us, glow with golden light. Beyond it and a bit to our left, another ship, smaller in scale, sails away from us. Several more ships move back to the horizon until we only see strokes of white and gray to indicate their unfurled sails.
Claude-Joseph Vernet was born in Avignon in 1714, the son of Antoine Vernet (1689-1753), an artisan painter of architectural decorations, coach panels, and the like. He moved to the studio of Philippe Sauvan (1697-1792), a leading history painter in Avignon, and then worked with Jacques Viali (active 1681-1745), a decorative, landscape, and marine painter in Aix-en-Provence. Vernet's first recorded paintings were decorative overdoors executed in 1731 in the Aix townhouse of the marquise de Simiane. In 1734, Joseph de Seytres, marquis de Caumont, a leading amateur in Avignon, sponsored Vernet to make a study trip to Italy to complete his artistic education and to draw antiquities for his patron.
As Avignon was a papal territory in Vernet's day, he also had a number of useful introductions among influential churchmen when he arrived in Rome. Vernet was soon at home in the French community there, and he was encouraged by Nicolas Vleughels (1668-1737), director of the Académie de France in Rome, even though the young painter had no official affiliation with the royal institution. He likely entered the studio of the French marine painter Adrien Manglard (1695-1760). By 1740 Vernet was developing an independent reputation as a painter of topographical landscape in and around Rome and Naples, as well as of imaginary Italianate landscapes and marines, demonstrated by the increasing number of entries in his surviving account books from the mid-1730s onward. His first important patron in Rome was the French ambassador Paul Hippolyte de Beauvillier, duc de Saint-Aignan (1684-1776). This relationship set a pattern, and members of the French diplomatic corps and visiting French prelates remained important patrons during Vernet's long Roman sojourn, which lasted almost twenty years (he returned definitively to France in 1753). He also worked for the Roman nobility--for example, painting a series of major marines for Don Giacomo Borghese (Rome, Palazzo Borghese). But it was the British--the wealthiest travelers in Europe--who became Vernet's main patrons during their Grand Tours, purchasing Italianate landscapes and marines as souvenirs of their visits to Italy. The British remained enthusiastic patrons of Vernet, even long after his return to France.
The appeal of Vernet's art was twofold. On the one hand, he drew on the tradition of ideal landscape painting codified by Claude Lorrain (1604/1605-1682), Nicolas Poussin (1594-1665), Gaspard Dughet (1615-1675), and Salvator Rosa (1615-1673) in seventeenth-century Italy. Inspired by the landscape of the Roman Campagna and its surrounding hills, and by the coastline south to Naples, these artists had created appropriate landscape settings for narratives from ancient history or mythology, or in which the classically educated viewer could wander in his imagination. Vernet, on the other hand, brought to the study of nature a more empirical and closely observed approach, consistent with his times, creating what seemed to his contemporaries a more vivid and convincing impression of nature. This effect was enhanced by the fact that he usually conceived his pictures in pairs, or even sets of four, which showed dramatically contrasting aspects of nature. Having established these kinds of paintings as successful formulas by the mid-1740s, Vernet continued to supply a European demand for them for the rest of his career. Vernet first exhibited typical landscapes and marines at the Paris Salon of 1746, the year his membership in the Académie royale de peinture et de sculpture was approved. He became a full member in 1753 and exhibited successfully at the Salon for the rest of his life. He had come to the attention of Louis XV's administration in 1746, and in 1753 he was finally called back to France to begin an official commission to paint large topographical views of the principal commercial and military seaports of the realm. This commission took him on an arduous itinerary, from Antibes in the south to Dieppe in the north, from 1753 until 1765, during which time he completed fifteen large paintings. Vernet's "Ports of France" (Paris, Musée du Louvre) are among the greatest French paintings of the mid-eighteenth century, for they are both remarkable social and historical documents of contemporary port life, full of fascinating observation, and at the same time beautifully composed and rendered works of art.
Vernet continued a large production of imaginary landscape and marine paintings until his death on the eve of the French Revolution in 1789. He was one of the most acclaimed and successful artists in France, and he received commissions from every corner of Europe. The public and critics alike admired his art, and the great writer and critic Denis Diderot (1713-1784) eulogized him. Diderot especially admired Vernet's dramatic scenes of shipwrecks, which perfectly illustrate the contemporary concept of the Sublime, expressing with horror the ephemeral quality of human endeavor before the immutable power of nature.
[Philip Conisbee, in French Paintings of the Fifteenth through the Eighteenth Century, The Collections of the National Gallery of Art Systematic Catalogue, Washington, D.C., 2009: 431.]
________________________________
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...
.
Permanent Makeup rock their record release at New World Brewery, Ybor City, Tampa, FL - February 23, 2013.
Note: Please share, download and use these photos for non-commercial purposes but be sure to abide by the creative commons license by crediting the photos to Nicole Kibert / www.elawgrrl.com and if using online, add a link back to this page or to www.elawgrrl.com. This license does not permit commercial use. Thanks.
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...
.
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.
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência interativa para tratar da implementação da INDC brasileira: políticas públicas e legislação. Foram convidados, o secretário de Mudanças Climáticas e Qualidade Ambiental do Ministério do Meio Ambiente e representantes do WWF Brasil e do Centro Brasil no Clima.
Em pronunciamento, secretário de Mudanças Climáticas e Qualidade Ambiental, José Domingos Gonzalez Miguez
Foto: Waldemir Barreto/Agência Senado
Permanent Makeup rocking New World Brewery, Ybor City, Tampa, FL - December 25, 2014.
Note: Please share, download and use these photos for non-commercial purposes but be sure to abide by the creative commons license by crediting the photos to Nicole Kibert / www.elawgrrl.com and if using online, add a link back to this page or to www.elawgrrl.com. This license does not permit commercial use. Thanks.
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...
The Illawarra Knitting Nannas Against Gas (IKNAG) set up outside the office of the member for Shellharbour, Anna Watson today. This is part of their campaign to get our drinking water protected from coal seam gas.
From left to right:
Bayney R. Karran, Chair of the OAS Permanent Council and Permanent Representative of Guyana to the OAS
Albert R. Ramdin, OAS Assistant Secretary General
Date: May 15, 2013
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Meeting between EU Officials Ms. Myrian Ferran, Deputy Director-General, Directorate-General of International Partnerships (DG INTPA), and Mr. Gunnar Wiegand, EU Senior Official for ASEAN-EU Relations and Managing Director, Asia Pacific, European External Action Service (EEAS) and the Committee of Permanent Representatives to ASEAN
Image Credit: ASEAN Secretariat / Kusuma Pandu Wijaya