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Notes: Along the top shelves are the pans donated by famous chefs with their names labeled above.
Among the items stocked on the shelves, boxes of Streits Matzo Meal. Well, they are serving chicken soup with matzo balls....
Fitz Henry Lane - American, 1804 - 1865
Lumber Schooners at Evening on Penobscot Bay, 1863
West Building, Main Floor — Gallery 67
Near the center of the painting, a masted wooden ship floats against a vibrant sunset that fades from lilac purple to carnation pink along the horizon line, which comes about a quarter of the way up this horizontal landscape. The boat is angled away from us and to our left with one sail tied up near the top of one of the two tall masts. Four people stand on the lumber-filled deck and tie up other sails. A second boat floats in the distance, its rigging and masts silhouetted against the vivid pink sky. The water is deep blue along the bottom edge of the canvas and lightens where it meets the hills along the horizon. Slivers of wispy slate-gray clouds sweep across the sky.
Despite its meticulous draftsmanship and precise detail, Lane's work is far more than a simple inventory of harbor activity. The diminutive figures and carefully rendered vessels remain secondary to the vast expanse of sky, where shimmering light creates a tranquil, idyllic mood. Lane's rarefied landscapes epitomize man's harmonious union with the natural world.
Some scholars have used the term "luminism" to describe the artist's subtle use of light and atmospheric effects to convey nature's intangible spirit. Ralph Waldo Emerson, the foremost exponent of American Transcendentalism, believed that poets and painters should serve as conduits through which the experience of nature might be transmitted directly to their audience. With a similarly self-effacing artistic temperament, Lane minimized his autographic presence, using translucent glazes rather than heavily impastoed surfaces to underscore the scene's pervasive stillness. His elegiac paintings differ profoundly from the more explosive exuberance expressed by Cole and Church, though he shared these artists' reverence for nature and their belief in its inherent divinity.
More information on this painting can be found in the Gallery publication American Paintings of the Nineteenth Century, Part I, pages 412-415, which is available as a free PDF at www.nga.gov/content/dam/ngaweb/research/publications/pdfs...
Fitz Henry Lane was born Nathaniel Rogers Lane in the fishing port of Gloucester, Massachusetts on December 18, 1804; in 1831 he legally changed his first and middle names, becoming Fitz Henry Lane. Paralyzed as a young child, probably by infantile polio, Lane was obliged to use crutches. He learned the rudiments of drawing and sketching while in his teens and in 1832 worked briefly with a lithographic firm in Gloucester. Later that year he moved to Boston for formal training and an apprenticeship with William S. Pendleton, owner of the city's most important lithographic firm. Lane remained with Pendleton until 1837, producing illustrations for sheet music and scenic views.
While in Boston Lane became acquainted with the work of the English-born artist Robert Salmon (1775-c.1845), who was the most accomplished marine painter in the area. Salmon's paintings, with their meticulously detailed ships and crisply rendered effects of light and atmosphere had a decisive influence on Lane's early style. By 1840 he had produced his first oils; two years later he was listed in a Boston almanac as a "Marine Painter." His Scene at Sea (present location unknown) was exhibited at the Boston Atheneum in 1841 and, after 1845, his works were regularly shown there. During the mid-1840s Lane continued to produce both oils and lithographs, concentrating on landscapes, harbor views, and ship portraits. In 1848 he sold a painting to the American Art-Union in New York, which would subsequently purchase several more of his works. That summer he visited Maine with his life-long friend, the Gloucester merchant Joseph Stevens, Jr., whose family had a home in Castine. Lane would make many more visits to Maine during the rest of his life, and the distinctive scenery of the state became an increasingly important part of his artistic vocabulary.
In 1848 Lane moved permanently back to Gloucester, and with his sister and brother-in-law designed and constructed an impressive granite home overlooking the harbor. Although he traveled in the 1850s to such locations as Baltimore, New York, and, possibly, Puerto Rico, the scenery of Gloucester and Cape Ann would remain, with that of coastal Maine, at the very center of his artistic production. Although Lane's inconsistency in dating his works makes determining a strict stylistic evolution difficult, he seems to have reached a new maturity in the early 1850s. In an important series of images of Boston harbor, presumably from the mid-1850s, Lane perfected a style characterized by carefully balanced, calmly ordered compositions and radiant effects of light and atmosphere. Some modern historians have seen these paintings as part of a "luminist" style said to have been employed by many other American artists of the 1850s and 1860s. Whatever the case, Lane's art seems to have been primarily personal in nature, and there is little evidence he took notice of other painters' works or was much involved in larger artistic circles.
During the 1860s Lane produced what are perhaps his most poignant paintings, again focussing primarily on familiar scenes around Gloucester and in Maine. He left little in the way of written or otherwise recorded statements about his art, but these later works are markedly different from works of just a few years earlier. Highly reductive in format, refined in execution, and intense in effect, these works suggest some new expressive intent on Lane's part, the nature of which has been the subject of much modern speculation.
In 1864 and 1865 Lane was in poor health and, following a bad fall in August 1865, apparently suffered a heart attack or stroke; he died in Gloucester on the 13th of that month. Although one Boston paper characterized his passing as "a national loss," Lane's reputation during his lifetime was primarily local; following his death he and his works were largely forgotten outside Gloucester. With the revival of interest in nineteenth-century American painting during the 1940s, and, particularly with the large number of fine works by Lane presented to the Museum of Fine Arts, Boston by Maxim Karolik in 1948, he was gradually reinstated as a key figure. (At some point in the early twentieth century the artist's middle name began to appear erroneously as "Hugh," and he subsequently became well known as Fitz Hugh Lane. Archival research conducted in 2004-2005 irrefutably proved that his name was, in fact, Fitz Henry Lane; see "appendix" in John Wilmerding, Fitz Henry Lane, Glouchester, Massachusetts, 2005).
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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...
.
Boy in a Red Waistcoat, 1888-1890
Paul Cezanne
West Building, Main Floor — Gallery 84
This painting evokes the art of the past only to break boldly with its conventions. The boy is posed like an aristocrat in a 16th-century Italian portrait. He looks away from us, resting a hand on his cocked hips. But this is not a naturalistic portrait. Cezanne uses only patches of green and mauve for the boy’s face and hands. In the background, a floral curtain is fractured into a kaleidoscope of intersecting planes.
Through these experiments, Cezanne wants to capture his sitter from as many perspectives as possible. Yet the flurry of colorful brushstrokes transforms the boy into something impersonal, almost alien. Traditionally, portraits reveal the inner lives of their subjects; this one calls that goal into question.
This is, at once, an astonishingly modern painting and one that reflects Cézanne's admiration for and connection to the past. He said himself that he "wanted to make of impressionism something solid and durable like the art of the museums." The boy's pose is that of an academic life study, and for some art historians it has recalled the languid elegance of 16th–century portraiture. As a young man in Paris, Cézanne had learned his art not only from his impressionist colleagues but also through studying old masters in the Louvre.
On the other hand, it is possible to see this so–called portrait as an entity of shapes and colors. Notice the paints used in the hands and face: these greens and mauves have little to do with human flesh. The almost dizzying background of angles and gentle arcs, which are difficult at first to "read" as draperies and a chair back, divide space rather than define it. A work such as this looks forward to the reconstructed pictorial space of the cubists Georges Braque and Pablo Picasso, leading one noted critic to write, "Cézanne's art ...lies between the old kind of picture, faithful to a striking or beautiful object, and the modern 'abstract' kind of painting, a moving harmony of color touches representing nothing."
________________________________
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...
.
South-West Point, Conanicut - 1878 / 1879
William Trost Richards
American, 1833 - 1905
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American Landscapes in Watercolor from the Corcoran Collection
August 2, 2025 - February 1, 2026
Locations West Building, Ground Floor, Gallery 22
Two centuries of watercolors capture the nation’s beauty from sea to shining sea.
In the nation’s early years, artists and explorers used watercolor for mapping and documenting the landscape. By the 19th century, American painters began capturing their country in larger, more finished works that were considered fine art.
See how artists with different backgrounds and styles painted iconic American places in watercolor over two centuries. You’ll travel from the Washington Monument to the choppy ocean waters of New England, from the Grand Canyon to Yosemite National Park, from the Hudson River Valley to local gardens.
American Landscapes features 30 works, most drawn from the National Gallery’s Corcoran Collection.
www.nga.gov/exhibitions/american-landscapes-watercolor-co...
A new show of landscapes feels like a series of establishing shots. The characters, if any, are minor, deflecting attention. The focus, instead, is on scene setting, on the spiky needles of a pine, the blazing crimsons of dusk. The world here is still, waiting quietly, expectantly, for something to happen.
Staged in two small rooms, the 30 watercolors on show at the National Gallery of Art are dreamlike. Drawn from the Corcoran Collection and dating from the early 19th to the late 20th century, the pictures trace the history of the nation’s landscapes in watercolor, a medium long dismissed as sentimental or, as Harper’s Weekly put it at the time, work “better fitted for girls than for men.” It wasn’t until the establishment of the American Watercolor Society in 1866 and the work of Winslow Homer, William Trost Richards and others that the art form rocketed to new heights.
Particularly monumental is Richards’s view of Narragansett Bay in Rhode Island. “It has the feel of a grand oil painting,” says curator Amy Johnston. Mounted on its own wall in the show, the work swells with blue-green waves crashing against the jagged rock, the tide breaking in cobweb-white flourishes. Seagulls cut across the shadowed sky, like fingernails strewn about. An accomplished oil painter, Richards here revels in rich passages of teal, churning ravenously on textured brown paper. Like his contemporaries, he’s “trying to elevate the status of watercolor,” Johnston notes, imbuing it with a rare sublimity.
That splendor runs through the show. It comes through in the delicate pictures of Seth Eastman, a West Point cadet turned painter. His sketches, like one of the Hudson River from 1837, were dashed off out of doors, where he could linger on the deep greens shading into sage, the cascading hills of silvery blue-grays. Unlike oils, watercolors were affordable and lightweight, allowing for a kind of immediacy.
Consider William Russell Birch’s circa 1808 “View From the Springhouse at Echo,” an enigmatic sketch of a densely wooded forest, light filtering through a canopy of leaves, each tendril scrawled in black ink. There’s a harmony to the picture, a taupe ground tinged with gold, tree trunks striped with delicate crosshatches. It’s not so much a study of nature as a delight in it, the eye snaking between branches.
Homer took up the same theme in 1891. There, bands of ultramarine are broken by spindly logs of rich brown and cadmium white, the hills a wash of olive green, the two central figures nearly eclipsed in a sea of cascading sapphires. Homer left slivers of the paper exposed, never overextending himself. The result is impossibly deft: a moment in time seared, immutably, in memory.
By the 20th century, that sense of nostalgia sharpens, before giving way to bolder modernism. Dora Louise Murdoch’s “Parmelee Garden” drips with glossy pinks and lilacs, centering on the wistful grounds of the Northwest Washington estate designed by landscape architect Ellen Biddle Shipman. A lover of overgrown gardens, Shipman approached her work as if “painting pictures” with her plants, she said, “as an artist would.”
That artistry explodes with Alma Thomas’s circa 1960 “Winter Shadows.” Probably a view of a holly tree outside her 15th Street window in Washington, D.C., the work is a symphony of ultramarines and jades daubed with lavenders and blush pinks. Rhythm permeates the picture, rising and falling in time.
Many of these artists seem to be looking for something outside themselves.
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Richards wandered along the shore of Narragansett Bay. He spent hours there studying the jutting edge of bluff, the thrill of the current. “I watch and try to disentangle its push and leap and recoil,” he told his friend, the art collector George Whitney, but “[I] am always startled out of my self-possession by the thunder and the rush.” He relished nature, surrendering to its pull. That practice, a kind of grace, informed his work. As he once advised his student Fidelia Bridges: “It is not so much what you accomplish as what you learn by the work. If it teaches you humility, patience and steadfastness, your life is well spent.”
www.washingtonpost.com/dc-md-va/2025/09/17/american-lands...
________________________________
For earlier visit in 2024 see:
www.flickr.com/photos/ugardener/albums/72177720320689747/
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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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.
This is immediately after completing the first eyeliner procedure, the camera is still a touch fuzzy.
Freundel Stuart, Prime Minister of Barbados
Date: April 25, 2012
Place: Washington, DC
Credit: Patricia Leiva/OAS
Fase de Arpa, Canto y Música de Cámara del Concurso Permanente de Jóvenes Intérpretes de Juventudes Musicales de España que ha tenido lugar los días 18 a 20 de noviembre´11 en Ciutadella de Menorca (Islas Baleares, Spain)
Toda la información en la web de Juventudes Musicales de España, o en la página de Joventuts Musicals de Ciutadella.
Álbum Concurso Permanente de Jóvenes Intérpretes JJMMEspaña – Ciutadella de Menorca - Noviembre´11
Joseph Wright - British, 1734 - 1797
The Corinthian Maid, 1782-1784
West Building, Main Floor — Gallery 61
A woman leans forward to trace the shadow cast by a sleeping young man on a wall in a dimly lit room in this horizontal painting. Both people have smooth, pale skin, long, straight noses, thin lips, and brown hair. The man sits and sleeps on a deep, wood chair. The scene is lit from over our left shoulder so he casts a shadow on the brown wall on which he leans. His right arm, closer to us, hangs by his side with his palm turned to face away from his body. The other arm lies across his bent knee. He wears a harvest-yellow tunic, and a sapphire-blue cloak drapes over his far arm and the thigh closer to us. A long spear rests across one shoulder, and a thin, muted-brown dog, like a greyhound, sleeps on the ground by the man’s side. The woman leans one knee onto the chair and reaches out with a stylus to capture the man’s shadow. She is barefoot and smiles gently at his face. She also wears a dark yellow dress, which exposes one bare shoulder. A mauve-pink cloth wraps over one shoulder and the bent thigh. A deep red curtain bunched up in the upper left corner hides the light source. An urn, nearly as tall as the chair, stands behind the man and another is tipped over behind the woman. An arched opening leads into a darkened room to our right. Rectangles of red and white seen through the top of a pointed arched window there are difficult to interpret. A table and some shelves with more urns are deep in the shadows.
Joseph Wright was born in Derby on 3 September 1734, the third son of John Wright and Hannah Brookes. He trained with Thomas Hudson from 1751 to 1753, returned to Derby as a portraitist, but, "not being satisfied with himself," again studied under Hudson between 1756 and 1757, forming a lasting friendship with his fellow pupil John Hamilton Mortimer. He toured the East Midlands as a portrait painter in 1769 and worked in Liverpool from 1768 to 1771; otherwise he practiced in Derby, and the bulk of his output was portraiture. In the mid-1760s he began painting "Candlelight" pictures, his own phrase, chiefly of scientific subjects. He quickly achieved a high reputation in this field, in which he was an innovator. He first exhibited at the Incorporated Society of Artists in 1765, showing there regularly until 1776, when he transferred to the Royal Academy. In 1773 he married Anne Swift, "a person in an inferior station of life;" the couple had six children.
Wright spent nearly two years in Rome, from 1773 to 1775, where he was overwhelmed by the remains of classical antiquity and drew assiduously; on his way home he stopped briefly in Florence, Bologna, Venice, and other centers. When he returned, Wright abandoned his scientific and industrial scenes in favor of landscapes and literary subjects. After a disastrous two years in Bath, where he had hoped to take the place of Gainsborough, who had left for London in 1774, Wright settled in his native Derby. He was elected an Associate of the Royal Academy in 1781 but, after being defeated by Edmund Garvey for full Academicianship in 1783 and feeling constantly dissatisfied with the way his pictures were hung, he declined election the following year and resigned as an Associate. In 1785 he followed Gainsborough's example and held his own exhibition of his works (at Robin's auction rooms in London).
Wright was most at ease in provincial middle-class society, who were his clients, and was in close contact with the Lunar Society (a group interested in experimental science) and with leaders of the Industrial Revolution in the Midlands. From early middle age he suffered from chronic ill health, which frequently incapacitated him for months. His last years were marred by a plethora of complaints, and he died in Derby on 29 August 1797.
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
..
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
.
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.
Fórum Permanente de Auditoria do Poder Judiciário - Edição 2024.
O Papel da Inteligência Artificial na Transformação da Auditoria:
Oportunidades e Desafios (Tiago Chaves Oliveira/CGU)
Foto: G. Dettmar/Ag. CNJ
Childe Hassam - American, 1859 - 1935
Poppies, Isles of Shoals, 1891
West Building, Main Floor — Gallery 70
We look across a profusion of vivid red, blush-pink, and white flowers lining a stony shoreline in this almost square landscape painting. The scene is loosely painted so some details are indistinct, especially the blossoms of the flowers, which are dabs of pink and red. The flowers have long, sage-green stems shaded with flicks of navy blue. The field of flowers covers the bottom third of the composition, and a vibrant green and blue bush peeks in from the right edge of the painting. Beyond the field of flowers is a powder-blue body of water with low, rocky formations, like giant, shallow boulders rolling across the surface of the water. The rocks are painted in shades of white tinged with pink, blue, and green with daubs of rust orange along their edges. An outcropping farther in the distance to our left is carpeted with patches of pea green and canary yellow. One rock formation in the middle of the composition almost spans the width of the painting. Beyond it is a small boat with white sails drifting on the water. In the deep distance is another long finger of oyster-white land stretching across the left half of the horizon, which comes two-thirds of the way up the composition. A lone bird flies through the milk-white sky that fills the top third of the scene. Some patches along the bottom edge of the painting are beige, where the canvas on which this is painted is visible. The artist signed and dated the lower left, “Childe Hassam 1891.”
Childe Hassam was a regular visitor to the Isles of Shoals, nine small, rocky, treeless islands off the New Hampshire coast. His acquaintance with the islands was due to his poet friend Celia Thaxter, whose house on Appledore Island was a summer mecca for writers, painters, illustrators, musicians, and other artistic visitors. Between 1890 and 1894, the year of Thaxter's death, Hassam painted many fine works there, some depicting the interior of Thaxter's cottage, others (the majority), outdoor scenes set either in or nearby her much-admired flower garden. Poppies, Isles of Shoals presents a broad vista moving from a dense foreground of flowers to a background of rocks, water, and sky. This view, centered on an outcropping called Babb's Rock, was one of Hassam's favorites, for he painted it many times. Although ample signs of man's presence were readily apparent from Celia Thaxter's garden, Hassam usually excluded them from his paintings. Here, only a passing sailboat hints that we are not in some pristine, wild environment.
The composition is divided into three distinct and equal bands of space, in which different colors predominate: green and red for the flowers; blue, purple, and white for the rocks and water; and pale blue for the sky. Hassam's brushwork is equally varied, ranging from lush red and white strokes defining the flowers to long drags of pigment suggesting the multihued surfaces of the rocks. At the bottom he left areas of canvas bare, adding yet another color and texture. For anyone accustomed to academic landscape painting, seeing one of Hassam's Isles of Shoals paintings was, as one reviewer wrote, "like taking off a pair of black spectacles that one has been compelled to wear out of doors, and letting the full glory of nature's sunlight color pour in upon the retina."
Frederick Childe Hassam (he later discontinued the use of his first name) was born on October 17, 1859 in Dorchester, Massachusetts. His ancestors had come from England to America, with the original family name Horsham, in the seventeenth century. In 1876 he was apprenticed to a local wood-engraver and soon thereafter became a free-lance illustrator. In the evenings he attended the life class at the Boston Art Club, then briefly studied anatomy with William Rimmer (1816-1879) at the Lowell Institute, and took private lessons from the German-born painter Ignaz Gaugengigl (1855-1932).
In 1883 Hassam and his friend, the painter Edmund H. Garrett (1853-1929), traveled to Great Britain, Holland, Spain, and Italy, where Hassam produced a large number of watercolors that were exhibited at Williams & Everett Gallery in Boston later that year. Once home, in 1884, Hassam married Kathleen Maude Doane and lived in Boston until the spring of 1886 when the couple left for Europe. In Paris, Hassam studied figure painting with Gustave Boulanger (1824-1890) and Jules Lefebvre (1836-1911) at the Academie Julian, and exhibited his work at the Salons of 1887 and 1888. When they returned to the United States in 1889 the artist and his wife settled in New York. Hassam subsequently assisted in founding the New York Watercolor Club and joined the Pastel Society of New York. He also began to exhibit with the Society of American Artists, with whom he remained until withdrawing in 1897 as a founder of the group that would become known as The Ten.
During the 1890s and the following two decades Hassam spent his summers painting in locations throughout New England, such as Gloucester, Massachusetts; Cos Cob, Connecticut; and Newport, Rhode Island. His favorite settings, however, were Old Lyme, Connecticut, and Appledore, on the Isles of Shoals, off the coast of New Hampshire, where he produced some of his best known images. After 1920 the Hassams' permanent summer home became East Hampton, Long Island. A prolific and industrious artist, Hassam produced numerous scenes of both the city and the countryside. Many of his early street scenes of Boston, Paris, and New York, with their reflections of wet pavement or of gaslight on the snow, evidenced a wonderful talent for capturing the effects of light and atmosphere. While he recorded nearly all aspects of busy city life, he seldom focused on the seamier subjects that often attracted painters of the Ash Can School.
Throughout his career Hassam won numerous awards and prizes and earned the serious attention of the American collectors George A. Hearn, John Gellatly, and Charles Freer. His work was widely exhibited at established museums throughout the country. In the 1913 Armory Show Hassam was represented by six paintings, five pastels, and a drawing. About 1915 he began to turn in his efforts to printmaking, producing etchings and drypoints at first, and lithographs about two years later. By 1933 a catalogue raisonné of his intaglio prints identified 376 different plates. Toward the end of his life Hassam most often exhibited graphic works. The quality of his paintings, in the meantime, became increasingly uneven.
Of the American artists called impressionists, Childe Hassam was among those whose work most closely followed that of their French colleagues. Although Hassam was not a novice, but already a practicing artist when he began to study in Paris, it is apparent that he soon absorbed aspects of the avant-garde styles of that time and place. (Hassam himself chose to minimize his connection to the art of France, indicating that he was influenced, if at all, by the plein-air prototypes of nineteenth century English painters such as Constable, Turner, and Bonington, perhaps in recognition of his own national origins.) By the time Hassam turned wholly to impressionism, the style had been introduced into the United States for several years and the bright colors and broken brushwork of his images found a ready audience.
Despite his bewilderment concerning some of the changes in contemporary art toward the end of his life, Hassam continued to express faith in the future of American art. Shortly before his death, in East Hampton in August 1935, he arranged to bequeath all the paintings remaining in his studio to the American Academy of Arts and Letters. According to his wish these were sold to establish a fund for the purchase of American works which were then presented to museums.
________________________________
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...
.
Realizado em Brasília nos dias 19, 20 e 21 de novembro, uma iniciativa do Ministério da Saúde, por meio da Secretaria de Gestão do Trabalho e da Educação na Saúde, do Departamento de Gestão e Regulação do Trabalho (DEGERTS) e da Mesa Nacional de Negociação Permanente do SUS (MNNP-SUS), com o objetivo de contribuir para a consolidação das diretrizes da Política Nacional de Negociação Permanente do SUS e do seu Sistema Nacional de Negociação Permanente – SINNP-SUS.
Fotos: Ana Oliveira/MNNP-SUS
Maker: Thomas Annan (1829-1887)
Born: Scotland
Active: Scotland
Medium: albumen print
Size: 4 1/2 in x 6 1/4 in
Location: Scotland
Object No. 2024.999by
Shelf: M-14
Publication: Annan, Thomas, John Oswald Mitchell & John Guthrie Smith, "LXXVII. Newton," The Old Country Houses of the Old Glasgow Gentry, Illustrated by Permanent Photographs by Annan (Second Edition), Glasgow: James Maclehose & Sons–Publishers to the University, 1878
Other Collection: The Getty, Philadelphia Museum of Art, Glasgow Library, National Galleries of Scotland
Provenance:
Notes: One of 220 copies, 100 mounted carbon-print photographs and 3 plates, original red quarter morocco over green cloth gilt. Includes: Aikenhead House, Annfield, Auchinraith, Auchintoshan house, Auldhouse, Ballancleroch, Bardowie, Barlanark, Bedlay House, Bellahouston, Belvidere House, Blythswood House, Bredisholme, Cadder House, Calder Park, Campbellfield, Capelrig, Carbeth Guthrie, Carntyne House, Castlemilk, Cathkin, Cessnock, Clober House, Cochna, Cowlairs, Craigend Castle, Carighead, Craigmaddie, Criagpark House, Craigton, Crossbasket, Dalbeth, Daldowie, Dalmarnock House, Dalmuir House, Drumpellier, Easterhill House, Edinbarnet, Eldinbarnet, Elderslie House, Farme, Gairbraid, Gallowflat, Garnkirk House, Garscadden, Garscube, Gartferry House, Gartsherrie, Germiston, Gilmorehill, Glenarbuck, Golfhill House, Greenbank, Greenfield House, Haggs Castle, Hallside, Househill, Ibroxhill, Jordanhill, Kelvinbank House, Kelvingrove House, Kelvinside, Kenmure, Killermont, Kilmardinny, Landside, Long Calderwood, Lynn, Mains, Milheugh, Meadow Park House, Milliken House, Moore Park, Mountblow, Mount Vernon, Newton, Northwoodside House, Orbiston House, Plantation, Petershill, Pollock House, Possil, Ralston, Ralston, Rosebank, Ruchill, Scotstoun, Shield Hall, Shawfield, Slatefield, Springbank, Stobcross House, Thronbank House, Tollcross, Wellshot, Westburn, Wetthorn House, Whitehill House, Wolfe's House, York Hill; map of Glasgow 1776; map of Glasgow 1807.
The Old Country Houses of the Old Glasgow Gentry was published in 1870, and the Second and greatly enlarged Edition was published in 1878. The Volume was Illustrated with 100 plates by Thomas Annan, containing views of the old houses; the letterpress described the houses and gave an account of those who successively possessed them - their origin, history, and connections. (gdl.cdlr.strath.ac.uk/smihou/smihou0001.htm)
Thomas Annan (1829-1887), who lived most of his life in Glasgow, trained and worked as a copperplate engraver until 1853, when he started a calotype printing business, probably with the encouragement of his friend David Octavius Hill. In 1857 he established a photographic studio, T. & R. Annan located in Sauchiehall Street from which he produced portraits, photographic reproductions of works of art and architectural photographs. Annan acquired the Scottish rights to the carbon print process shortly after its invention by Joseph Wilson Swan in 1866. He first used this process commercially to reproduce D. O. Hill's painting the Signing of the Deed of Demission. An astute businessman, Annan also acquired the British patent rights in the 'heliogravure' or photogravure process invented by William Henry Fox Talbot and developed by Karel Klic.
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
The permanent exhibition includes exhibits that have received a Red Dot Design Award. It includes objects of contemporary industrial design from various fields such as furniture, lighting, household appliances, consumer electronics, medical technology or vehicles. Everyday objects from around 45 nations are represented.
Source: wikipedia.de
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