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Ammi Phillips - American, 1788 - 1865
The Strawberry Girl, c. 1830
West Building, Main Floor — Gallery 63
Ammi Phillips painted for more than fifty years, producing perhaps as many as two thousand portraits in so many disparate styles that his works were once thought to be by several different artists. Currently about five hundred works can be attributed to him, most sharing the characteristics of plain backgrounds, strongly contrasting light and dark elements, and awkwardly articulated figures.
Born in Colebrook, Connecticut, in 1788, Phillips traveled often through western Connecticut and Massachusetts and through New York state. Advertisements in the Berkshire Reporter indicate that he was offering his services as a professional artist in Pittsfield, Massachusetts, as early as July 1809. His earliest identified works, for example his full-length portraits of Charles Rollin and Pluma Amelia Barstow, painted in Great Barrington, Massachusetts, in 1811, may have been influenced by Connecticut limners active in the late eighteenth century, particularly J. Brown (active 1806-1808) and Reuben Moulthrop (1763-1814). By 1813 the artist and his wife were settled in Troy, New York, shortly thereafter moving to Rhinebeck. The portraits of this period (1812-1819), all of which were executed in towns along the New York-Massachusetts border, were once given to a hand called "The Border Limner." They are distinguished by a light, almost pastel palette, three-quarter or occasionally full-length figures, faces with dark-lined eyes, and a primitive attempt at conveying volume.
In the next decade Phillips' paintings show greater realism, deeper coloring, and increased sophistication. He evidences a new interest in costume that may derive from contact with the academic Albany artist Ezra Ames (1768-1836), who lavished attention on the shawls and lace in his women's portraits.
During the early 1830s Phillips was located in Amenia, New York, and painted in nearby Clermont, Rhinebeck, Germantown, Pine Plains, and Northeast. In 1836 he left for Kent, Connecticut, the town which gave its name to another distinctive period (1829-1838) of Phillips' career. The work of the so-called "Kent Limner" was first isolated when a group of ancestral portraits were brought together for a 1924 summer fair in that town. Among them were eight which shared markedly similar characteristics.
After 1840, Phillips' portraits contain less costume detail. These later paintings were apparently executed rapidly and with great assurance. The last of Phillips' work, those of the 1860s, inevitably show the influence of photography.
When the newly widowed Phillips was married to his second wife in 1830, the record listed his occupation as "portrait painter." Unlike many untrained portraitists who had to resort to other means to supplement their income, Phillips seems to have pursued a single vocation. Although he and his family never settled in one town for any great length of time, he was far from a struggling itinerant. He generally painted several members of the same family and through these connections seems to have had a steady flow of work. He was known to the academically trained painter John Vanderlyn, who commented to his nephew on the profitable and socially advantageous aspects of Phillips' craft.
A century after his death in 1865 in Curtissville, outside of Stockbridge, Massachusetts, Phillips was given his first one-man exhibition, followed by a major comprehensive show three years later. Today he is recognized as the most prolific and one of the most important naive portraitists in nineteenth-century America
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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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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A Dutch Courtyard - 1658/1660
Pieter de Hooch
Dutch, 1629 - 1684
Pieter de Hooch worked in the small and relatively quiet city of Delft from 1652 to about 1660. Like other Delft artists, most notably Carel Fabritius and Johannes Vermeer, De Hooch painted everyday scenes that are remarkable for their clarity of perspective and harmony of light. He gave order to his compositions by emphasizing the geometry of architectural elements. The positioning of doors, windows and their shutters, floor tiles, and bricks was all carefully calculated and painted.
Women going about their daily chores or attending to visitors, such as the soldiers seen here sitting around a table smoking and drinking, are a frequent theme in De Hooch’s work. The man wearing a breastplate is setting down the pitcher he has used to refill the "pass-glass" held by the woman. The pass-glass was used in drinking games. Each participant had to drink down to a circular line on the glass; failing to reach the exact level, the reveler would be required to drink down to the next ring. Only when this was done successfully would the glass be passed on to the next participant. The little girl carries a brazier of hot coals so that the two soldiers can light their long-stemmed, white clay pipes. Despite its apparent realism, and the presence of the tower of the Nieuwe Kerk in the background, the scene probably does not depict a specific courtyard.
Pieter Hendricksz de Hooch (occasionally spelled de Hoogh) was baptized in the Reformed Church in Rotterdam on December 20, 1629. His father was a master bricklayer and his mother a midwife. His only recorded teacher was the land-scape painter Berchem, Nicolaes Pietersz, with whom he studied in Haarlem along with fellow pupil Jacob Ochtervelt (1634–1682). The exact dates of this apprenticeship are not known. Berchem’s interest in landscape apparently had little effect on De Hooch, whose earliest paintings are almost all bar-rack-room scenes.
De Hooch is first recorded in Delft on August 5, 1652, when he and another painter, Hendrick van der Burch (1627–after 1666), witnessed the signing of a will. The following year he is documented as a painter and dienaar (servant or assistant) to a wealthy merchant named Justus de la Grange, a resident of both Delft and Leiden whose collection contained eleven of the artist’s paintings when it was inventoried in 1655. De Hooch witnessed a baptism in Leiden in 1653, but in 1654, when he married Jannetje van der Burch of Delft, he was living in Rotterdam. He and his wife, who was probably the sister of the painter Hendrick van der Burch, had seven children.
De Hooch entered the Delft guild in 1655 and is recorded as having paid dues in 1656 and 1657. He remained in that city until the end of the decade, but sometime between mid-1660 and April 1661 he set-tled in Amsterdam. Apart from a visit to Delft in 1663, he apparently remained in Amsterdam for the rest of his life. It was long believed that De Hooch died at the age of fifty-four while an inmate at the Amsterdam dolhuis (lunatic asylum). However, that institution's records shows that the Pieter de Hooch who died in the asylum was the artist's son, also named Pieter.
Between about 1655 and 1662, De Hooch’s work rose to the very highest level of achievement. Almost all of his paintings from these years depict interiors or courtyards containing just a few people, engaged either in domestic activities or in some restrained form of entertainment or merrymaking. The atmosphere in these works is characteristically calm, spacious, and airy, effects created through De Hooch’s masterly control of light, color, and com-plex perspectival construction. These are also all essential elements of the style of Vermeer, Johannes, with whom he must have had contact.
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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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Holy Cross Church in Wilmington, NC installed 5,880 sq ft sanctuary space with classrooms and fellowship mall area in our modular building.
História Permanente do Cinema – “Nosferatu”, de F. W. Murnau - O Cine Humberto Mauro, apresenta o filme “Nosferatu”, dentro do projeto História Permanente do Cinema, na quinta-feira, dia 21/3/2013, às 17h. Na trama dirigida por F. W. Murnau, Hutter, um agente imobiliário, viaja até os Montes Cárpatos para vender um castelo cujo proprietário é o excêntrico conde Graf Orlock. O conde, na verdade, é um milenar vampiro. A sessão será comentada pelo pesquisador Flávio C. von Sperling. A entrada é gratuita. Foto Divulgação
Ecuador, 30 de noviembre de 2022.- Comparecen: Juan Carlos Holguín, ministro de Relaciones Exteriores; Hernán Pérez, representantes de la Misión Permanente de Ecuador ante la Organización de las Naciones Unidas; y, Mauricio Montalvo, representante de la Misión Permanente de Ecuador ante la Organización de Estados Americanos, quienes informarán sobre el cumplimiento de los artículos 417 y 426 de la Constitución, respecto a la aplicación directa de pronunciamientos de organismos internacionales en materia de derechos humanos.
Foto: Christian Medina / Asamblea Nacional
Ruy Casaes, Ambassador, Permanent Representative of Brazil to the OAS
Date: February 18, 2011
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Héctor Virgilio Alcántara, Ambassador, Permanent Representative of Dominican Republic to the OAS
Date: June 29, 2011
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Derma-pigmentation hair by hair (eyebrows) by GloriaPelo www.gloriapelo.com www.gloriapelobrides.com
3 de junio de 2012.
*CAMPAÑAS PERMANENTES EN MATERIA DE PROTECCIÓN ANIMAL Y DE ESTERILIZACIÓN
PARA MASCOTAS*
Adolfo Camacho Esquivel, Candidato a Presidente Municipal de Querétaro por
el Partido de la Revolución Democrática afirmó que durante sus recorridos
de campañas recibe la petición de los ciudadanos de abordar el tema de la
Protección Animal, por esa razón propone la creación del Departamento
Municipal de Protección Animal.
"El Departamento tendría como fin evitar que los animales domésticos y
mascotas sean maltratados o abandonados, el departamento contará con
personal capacitado para apoyar socialmente en este tema" afirmó el
candidato del sol azteca.
Camacho Esquivel explicó que "realizaremos una campaña permanente de
difusión en materia de protección animal, de conservación y respeto a la
fauna silvestre; al mismo tiempo impulsaremos una campaña permanente de
esterilización para mascotas en todo el municipio".
El candidato mencionó que " el departamento atenderá el asunto de la
sanidad animal que prevendrá problemas de infecciones y enfermedades que
provoca la falta de control de los animales domésticos y mascotas".
"Al atender la situación de animales en la calle, disminuiremos los
accidentes de tránsito provocados por animales callejeros; esta situación
se da cuando los animales son abandonados y viven en la calle, se estima
que el sólo veinte por ciento de los perros que habitan en zonas urbanas
está bajo el cuidado de dueños o responsables de tiempo completo y el resto
son callejeros u ocasionalmente atendidos por alguna persona" explicó
Adolfo Camacho.
El candidato consideró que "el tema de la atención animal es un reclamo
social que requiere ser atendido, incluso varios organismos internacionales
como la UNESCO y ONU, recomiendan a los estados atender el problema de
maltrato animal".
Finalmente, el candidato consideró que "con la creación del Departamento
Municipal de Protección Animal, cumpliremos con varias de las obligaciones
que señala la Ley de Protección Animal del Estado de Querétaro y, que
actualmente, no cumple la administración municipal de Querétaro".
Bayney Karran, Ambassador, Permanent Representative of Guyana to the OAS
Date: December 01, 2010
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Ambassador Harold Adlai Agyeman, Ambassador and Permanent Representative to the United Nations and Chair-Designate, 3rd NPT Prep Com, and his delegation at the Agency headquarters in Vienna, Austria. 15 January 2025.
Photo Credit: Dean Calma / IAEA
Delegation:
Ambassador Harold Adlai Agyeman
Ambassador Matilda Osei-Agyeman
Deputy PR Paul Nanasei Osei
IAEA:
Rafael Mariano Grossi, IAEA Director-General
Jacek Bylica, IAEA Chief of Cabinet
Mariela Fogante, Special Assistant to the DG for Management
Diego Candano Laris, Senior Advisor to the Director-General
Nuno Luzio, IAEA External Relations Officer, Director General Office
La Comisión Permanente no Legislativa para las Políticas Integrales de la Discapacidad para la IX Legislatura, se ha reunido con el siguiente orden del día:
1. Comparecencia de D.ª Carmen García Serrano, Presidenta de la Federación ASPACE Castilla-La Mancha, al objeto de que informe sobre sus actividades, propuestas y demandas. (Expediente 09/CPC-00014).
2. Comparecencia de D.ª M.ª Carmen Navarro Honrado, Presidenta de la Federación de Salud Mental de Castilla-La Mancha, al objeto de que informe sobre sus actividades, propuestas y demandas. (Expediente 09/CPC-00015).
3. Otros asuntos de interés.
La Comisión ha estado presidida por Emilio Sáez, PSOE, y han participado José Luis Escudero (PSOE), David Llorente (Podemos) y Cortes Valentín y Claudia Alonso (PP).
Rodrigo Vielmann, Ambassador, Permanent Representative of Guatemala to the OAS
Date: May 16, 2012
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Subcomissão Permanente de Direitos das Pessoas com Doenças Raras (CASRARAS) realiza audiência pública para debater a normatização do acesso das pessoas com doenças raras a medicamentos, dispositivos médicos e tecnologias no âmbito do Sistema Únio de Saúde (SUS).
Mesa:
defensor público federal Ricardo Emílio Pereira Salviano;
diretor de Relações Governamentais do Sindicato da Indústria de Produtos Farmacêuticos (Sindusfarma), Renato Benine.
Foto: Marcos Oliveira/Agência Senado
Amsterdam Harbor Scene - c. 1654/1655
Reinier Nooms, called Zeeman
Dutch, 1623 or 1624 - 1664
Reinier Nooms, an Amsterdam painter and graphic artist also known as Reinier Zeeman (which means seaman), specialized in maritime subjects. His career coincided with the heyday of Dutch commercial and maritime power in the 17th century, and Amsterdam’s bustling harbor in the IJ estuary provided Nooms with much of his artistic inspiration.
The billowing clouds, fluttering flags, and slightly choppy waters give life to this engaging view of Amsterdam’s harbor. A warship and several merchant ships are tied up inside the breakwater for maintenance and repairs. A man on a temporary platform works on the hull of the three-master to the left of center, while his colleague tends to a vat of hot tar on a floating dock. Two women have tied their skiff to the dock to do laundry in the harbor’s waters.
This painting celebrates a powerful Amsterdam family and its link to an important warship owned by the city’s Admiralty. The castle depicted on the ship’s tafferel (the painted panel on the stern) identifies it as the Huis te Swieten, which was built in 1653 and captured by the English in 1665. The warship served as the flagship of Michiel de Ruyter, one of Holland’s greatest naval heroes, on three expeditions in the 1650s.
The Huis te Swieten was named after the country estate of burgomaster Cornelis Bicker (1592–1654), a wealthy merchant and a member of the most powerful family in Amsterdam in the 1650s. Cornelis’s brother Jan Bicker (1591–1653) operated a thriving shipbuilding enterprise on a newly reclaimed island off Amsterdam’s shoreline. Bicker’s Island, as it is still known today, was one of three islands created as part of the city’s expansion of 1610. In the mid-1650s Nooms made an etching of the shipyard on Bicker’s Island featuring a small guardhouse at one of the openings in the breakwater that protected the harbor. At the far left of Amsterdam Harbor Scene we see a similar guardhouse, which, based on cartographic evidence, was situated at another opening farther out along the breakwater. The etching, which positively identifies Bicker’s Island, and contemporary maps of Amsterdam confirm that Nooms painted this scene from the northeastern shore of Bicker’s Island, looking across the IJ.
The artist signed Amsterdam Harbor Scene as "R.Zeeman" upon its completion around 1658, embedding his coined name on the flag on the warship’s main mast. Coincidentally, Nooms accompanied De Ruyter on an expedition to the Mediterranean from 1661 to 1663.
Reinier Nooms was a highly respected painter, draftsman, and internationally renowned graphic artist who specialized in maritime subjects during a period when the Dutch commercial empire spanned the globe. He was born in either 1623 or 1624, presumably in Amsterdam, to parents whose names are unknown.[1] Nooms probably received his artistic training in Amsterdam, but we do not know the name of his teacher. His earliest known work is a drawing dated 1643 made at the age of 19 or 20 that depicts the rear of Amsterdam’s Old City Hall (Hamburger Kunsthalle, Hamburg).
Nooms’s artistic speciality and the fact that he signed his paintings R. Zeeman or Reinier Zeeman (zeeman = sailor or seaman) make it virtually certain that he was both a professional sailor and an artist. Nooms drew on his intimate knowledge of ships to create images that are so accurate that settings, specific vessels, and the activities taking place in ports and aboard ships can be exactly identified. His paintings usually have a blue-gray tonality that he enlivened with a sensitive use of light and a restrained use of bright colors, including occasional touches of gold on his ships. White highlights animate his figures and activate the undulating surfaces of water. Nooms also preserved an overall clarity of form while subtly drawing the eye to a painting’s focal point.
Nooms appears to have spent time in Paris in the late 1640s or early 1650s, when he published two series of lively etchings depicting views of the French capital and its surroundings: Receuil de plusiers Nauires, et Païsages faits après le naturel par R. Zeeman 1650 and Quelque Nauires desseigner & graver par Remy Seeman Ao1652. It is possible that he learned the art of etching and printmaking in the workshop of the Flemish marine artist and engraver Matthieu van Plattenberg (also known as Plattemontaigne; 1607/1608–1660), who had settled in Paris.
After his return to Amsterdam in 1652, Nooms started a fertile collaboration as a printmaker with the publisher Cornelis Danckerts and his son, Dancker Danckerts. During the 1650s he designed a number of compelling print series that provide much information about Amsterdam, its busy harbor, Dutch waterways and the types of boats plying those waters, and views of other ports. Nooms was back in Amsterdam in time to witness the fire that destroyed the Old City Hall on July 7, 1652. He commemorated the dramatic event with a beautiful etching that he signed with the following statement: “R Zeeman Inventoor et fecit e x. | op dee ovde here graft | after dee geesondee broeder” (R Zeeman inventor and c[reator] and executor [engraver] | at the old Herengracht | behind the [house or tavern called] Gezonde Broeder).
On April 6, 1653, Nooms married Maria Jansdr Moosijn from Bruges, the sister of Michael Moosijn, an engraver with whom Nooms collaborated on two popular engravings of Maerten Harpersz Tromp, a famous admiral who died in battle in 1653. The couple had two daughters, Neeltjen (born in 1653) and Lisbet (born in 1655). Nooms’s married life seems to have been as stormy as some of the seas he depicted. A notarial record of January 6, 1656, relates statements made by his wife on December 27, 1655, that her husband had fallen in with bad company, was visiting houses of ill repute, stayed out until the wee hours of the morning, and had even begun to hit her on occasion.
Nooms probably returned to Paris in 1656 and then traveled around the Mediterranean basin, where he made a number of evocative drawings and etchings of coastal areas and ports. He also may have visited Berlin around 1657 to work for the elector of Brandenburg. From 1661 to 1663 Nooms accompanied the celebrated Dutch admiral Michiel de Ruyter on an expedition to eradicate piracy along the coast of North Africa. Upon his return from the Mediterranean, Nooms painted four large canvases for the Admiralty of Amsterdam that depict the port cities Algiers, Tunis, and Tripoli on the Barbary Coast, and Valetta on Malta (Rijksmuseum, Amsterdam). It is not certain, but very likely the Board of the Admiralty specifically recruited Nooms to accompany De Ruyter to create a visual record of the expedition.
Nooms was a prolific artist: more than 80 paintings and 177 etchings from his hand are known. His career spanned about 14 years, from around 1650 to his death in 1664. Most of his oeuvre depicts his two main artistic interests: marine subjects—including ships, naval battles, and foreign ports—and cityscapes featuring his hometown of Amsterdam and its bustling harbor in the IJ estuary. Aside from the accuracy of his renderings of ships and harbor activities, he was also attuned to the impact of variable weather patterns on the water and on sailing conditions, and he excelled at conveying a range of atmospheric qualities. His paintings and prints found eager buyers among Amsterdam’s merchant community and others who derived their living from maritime pursuits. Nooms died in Amsterdam in 1664, at age 40 or 41. When his widow remarried in 1667, her dowry included several paintings by Nooms as well as books on navigation.
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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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Gillian Bristol, Ambassador, Permanent Representative of Grenada to the OAS
Date: July 21, 2011
Place: Washington, DC
Credit: Patricia Leiva/OAS
Edgar Degas - French, 1834 - 1917
Horses in a Meadow, 1871
West Building, Main Floor — Gallery 87
Two horses, one dark brown and one cream white, stand together to our right against a landscape with rolling, sage-green hills and a river or canal in this horizontal painting. Near us, facing our right in profile, the brown horse rests his head across the back of the white horse, who stands with its tail toward us. The horses stand along the ridge of a grassy hill that dips beyond us to a waterway crossing the width of the canvas. Several buildings line the shore closer to us. At least one building has parchment-white walls and a red roof, and another has peanut-brown walls with a darker, chocolate-brown roof. More rooflines are nestled between, and gray smoke wafts from several chimneys. Long, low boats float near the opposite shore. The land rises in a hill across the water with more horses or other animals in the far pastures. The scene is loosely painted, and the background is the most indistinct, so some details are difficult to make out. Touches of brown and green suggest trees and perhaps more trees and buildings along the hill in the distance. The ivory-white sky is touched with pale, petal pink and a hint of blue near the horizon. The artist signed and dated the work with dark paint in the lower right corner: “E. Degas 71.”
he eldest son of a Parisian banker, Edgar Degas reinforced his formal academic art training by copying Old Master paintings both in Italy, where he spent three years (1856–1859), and at the Louvre. Degas early on developed a rigorous drawing style and a respect for line that he would maintain throughout his career. His first independent works were portraits and history paintings but in the early 1860s he began to paint scenes from modern life. He started with the world of horse racing and by the end of the 1860s had also turned his attention to the theater and ballet.
Soon after a trip to New Orleans, where his uncle and two of his brothers worked in the cotton trade, in 1873, Degas banded together with other artists interested in organizing independent exhibitions without juries. He became a founding member of what soon would be known as the impressionists, participating in six impressionist exhibitions between 1874 and 1886.
Despite his long and fruitful association with the impressionists, Degas preferred to be called a realist. His focus on urban subjects, artificial light, and careful drawing distinguished him from other impressionists, such as Claude Monet, who worked outdoors, painting directly from their subjects. A steely observer of everyday scenes, Degas tirelessly analyzed positions, gestures, and movement.
Degas developed distinctive compositional techniques, viewing scenes from unexpected angles and framing them unconventionally. He experimented with a variety of media, including pastels, photography, and monotypes, and he used novel combinations of materials in his works on paper and canvas and in his sculptures. He primarily viewed his sculpture as a means of researching movement and publicly exhibited only one, Little Dancer Aged Fourteen (1878–1881).
Degas was frequently criticized for depicting unattractive models from Paris’ working class, but others, like realist novelist Edmond de Goncourt, championed Degas as “the one who has been able to capture the soul of modern life.” By the late 1880s, Degas was recognized as a major figure in the Parisian art world. Financially secure, he could be selective about exhibiting and selling his work. He also bought ancient and modern works for his own collection, including paintings by El Greco, Edouard Manet, and Paul Gauguin, who became close friends. Depressed by the limitations of his failing eyesight, he created nothing after 1912; at his death in 1917, he was hailed as a French national treasure. About 150 deteriorating clay and wax sculptures were found in Degas’s studio following his death. Their existence had been unknown to all but Degas’s closest associates.
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
.
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Foto: Washington Costa/MDIC
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www.lymanallyn.org/louis-comfort-tiffany-in-new-london/
Louis Comfort Tiffany in New London
www.youtube.com/watch?v=EpMVFDjhPXM&t=6s
This Gilded Age permanent collection gallery includes stained-glass windows, lamps, favrile glass vessels, silver, jewelry, paintings, archival photographs, and other objects, many of which come from Tiffany family descendants. Louis Comfort Tiffany’s parents hailed from Killingly, CT, and although they lived in New York City, the family often visited relatives in Norwich and New London. Louis’s first wife, Mary Goddard, was from Norwich, as was Louis’s brother-in-law Alfred Mitchell, who married his sister Annie. The Mitchells acquired a home in New London overlooking the Thames River, and Louis and his family were frequent visitors there in the mid-to-late 1870s and 1880s.
Tiffany in New London features three stained-glass windows from New London that anchor the gallery, evoking the contemplative memorial and ecclesiastical environment for which they were created. The local patrons who commissioned these and other objects offer insight into a key period in New London’s history, when the region flourished and was a popular seaside resort for the wealthy. The stained-glass windows also illustrate Louis Comfort Tiffany’s many technical innovations in glassmaking, as do examples of Tiffany Studios’ lamps and favrile glass. Tiffany was an artist and designer of incredible breadth who worked in a range of styles and materials. He traveled extensively and was influenced by the art and culture of the Middle East, Asia, and Europe. Related Aesthetic-era and Art Nouveau fine art and decorative arts are included to show their influence and overlap with Tiffany’s innovative designs.
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www.lymanallyn.org/american-perspectives/
The Lyman Allyn Art Museum is home to a collection of more than 18,000 works.
The Museum opened in March 1932 with only 13 objects from the permanent collection on view. Of the original 13 on display, four were of Asian or ancient origin, four were European sculptures – two of which were quite modern – and five were European works on paper dating from the 14th to the 18th centuries. Today, the collection has grown to include more than 18,000 paintings, drawings, prints, sculptures, furniture and decorative arts as a result of active acquisitions by the Museum and generous donations to the Lyman Allyn.
The collection spans a 2,600-year period, ranging from ancient Greek and Roman artifacts to works by living artists, with particular strengths in American and European art from the 18th and 19th centuries. Notable artists in the collection include Thomas Cole, Frederic Edwin Church, Winslow Homer, Andrew Wyeth, John Copley, Winthrop Chandler, Paul Revere, Louis Comfort Tiffany, Sol LeWitt, Eugene Delacroix, Charles LeBrun, J. A. D. Ingres, and Giovanni Battista Tiepolo, among many others.
The 18th Century
New London’s deep water harbor has driven the regional economy since colonial times, connecting southeastern Connecticut to the broader Atlantic world. In the 18th century, local shipping merchants specialized in the West Indies trade, exporting livestock and food to Caribbean plantations in exchange for sugar, molasses, and rum. Economic growth and stability in the second half of the century enabled colonists to acquire a greater range of household goods—textiles, silver, glass, ceramics, furniture, and paintings among them. Some goods were imported, while others were produced in the home or by craftsmen and artists, whose work and skill expanded to meet increasing demand. The Tea Table and the painting of Sarah Deshon (from the same family) tell a local story, showing how the Deshons of 18th century New London cemented their status and wealth from trade with objects that conveyed their social and economic standing.
Connecticut played a key role in the American Revolution, as political tension over taxation and colonial governance led to war with Britain. With the British headquartered in New York City, New London’s harbor was an ideal site from which to initiate naval attacks on British loyalists. New London’s privateering (the use of authorized private ships to attack and loot enemy ships) prompted British troops to retaliate, burning New London in the Battle of Groton Heights on September 6, 1781.
Daniel Huntington’s portrait of Abigail Dolbeare Hinman, 1854–56, recreates an episode from this event, showing Hinman standing with her musket in hand, attempting to shoot Benedict Arnold, who can be seen through the window, sitting on horseback.
The 19th Century
As the young nation sought to define itself in the first half of the 19th century, artists created objects and paintings to unite Americans around common ideals of liberty, justice, and hope for the future. Some objects were overtly patriotic, while others were less direct. Hudson River School landscapes, for example, expressed pride in the nation’s natural resources, with scenes from the woods, rivers, and mountains of the northeast standing in for all of America, suggesting the promise of land, the spread of civilization, and the unique, almost spiritual quality of the landscape.
Artists also traveled to Europe to study art and see the sights, painting mountains and classical ruins, as Thomas Cole did in his the majestic view of Mount Etna, drawing visual connections between the ideals of the newly minted American Republic and those of classical antiquity.
Steam power, the railroad, the telegraph, and improved roads and canals ushered in the age of industrialization, facilitating the mass production and transportation of goods. Whereas many objects had been crafted by hand in the previous century, the 19th century saw the rise of goods made with machines. Connecticut mills and factories produced munitions, tinworks, clocks, furniture, and textiles, among other things. Early factories were fueled by whale oil, an important industrial lubricant and lamp fuel supplied by whaling, the most significant part of New London’s economy for several decades.
Isaac Sheffield, who painted portraits of many local whaling captains, portrayed five-year-old James Francis Smith shortly after his return from a long whaling voyage in 1837 with his father, New London whaling captain Franklin Smith. They had gone to Desolation Island in the South Seas, and his portrait shows him wearing a penguin skin coat, with the Chelsea, the ship his father had captained, in the background.
The United States grew dramatically over the course of the 19th century, expanding westward and growing in population with waves of immigration. Regional differences and tension over slavery and states’ rights erupted in the U.S. Civil War (1861–65). In New London County, a number of textile mills were built to supply the Union troops. After the war, New England’s mills became an industrial powerhouse, employing and sustaining entire towns.
The 20th Century
In a period of tremendous growth and change, artists looked forward and back, charting new terrain with abstraction, while revisiting their artistic roots through innovative approaches to traditional genres such as landscape, still life, and portraiture.
The early 20th century was a time of rapid expansion and industrialization fueled in part by waves of immigration. A decade of exuberance followed World War I before the stock market crash of 1929 initiated the Great Depression of the 1930s. Abstraction and European modernism filtered into American art, while a realistic, regional style simultaneously held sway, resulting in a mix of subjects and styles.
Many artists were drawn to the energy and bustle of the modern city, awash in crowds and transformed by industry, skyscrapers and the automobile. The city could be intense, noisy, and oppressive, however, and some artists retreated during the summer to Connecticut art colonies to paint peaceful landscapes and scenes of leisure. Guy Wiggins drew inspiration from both the city and the country, painting impressionistic views of New York in winter, as well as scenes such as Church on the Hill, ca. 1910–12, showing country life in Old Lyme, Connecticut.
Beatrice Cuming’s painting, Chubb, shows a submarine being built in Groton, Connecticut during World War II. Cuming’s canvas affirms New London’s long connection to the sea and celebrates industry at a time when the nation was consumed with the war effort.
Post-War Art
In the prosperity and growth of the post-World War II era, a multiplicity of artistic trends and styles arose, dominated by abstraction. New York emerged as the center of the international art world. The 1960s and ‘70s witnessed cultural upheaval as people of color and women sought equal rights and many protested the U.S. involvement in the Vietnam War. The prevalence of advertising and mass media led artists to explore new themes, performance, and technology, questioning the definitions of art and the idea of originality.
Since the 1980s, the postmodern art world has been in flux, and issues of gender, race, politics, and cultural identity have been at the fore in our globalized and technology-driven world. In A.R.T. (in the new world order), 1994, African-American artist Willie Cole uses text on a blackboard to create an acrostic poem of sorts, using various word associations and erasure to define and comment on art and culture.