View allAll Photos Tagged permanent
The big permanent snow field on the final plain made entirely of obsidian. Apparently obsidian has virtually the same chemical composition as rhyolite, but due to rapid cooling became a glass and hence lacks rhyolite's crystalline structure. It's also more-than-razor sharp, and cut my pants to shreds. Rocks are weird.
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
ILO Introductory Briefing for Permanent Missions, 7 October 2024, Geneva, Switzerland. Photo: Alioune NDiaye/ILO
Jean Honoré Fragonard - French, 1732 - 1806
A Game of Horse and Rider, c. 1775/1780
West Building, Main Floor — Gallery 55
In a lush, tree-lined park, filtered light falls across a group of about a dozen light-skinned people lounging and frolicking along the banks of a river in this vertical landscape painting. A man wearing a shell-pink jacket and pants and woman wearing a topaz-blue, full-skirted dress and rose-pink bonnet sit near each other in the lower left corner. Several younger boys pile up in a game where one person tries to ride on the back of another, to our right. They wear rolled-up pants, open-necked shirts, and some wear straw-colored hats. Tall aspens, with smooth greenish-white trunks and soft, golden leaves, are among the trees that line this placid river. A gnarled trunk twists against the cloudless blue sky above the revelers to our right. Other couples board a long, narrow boat at the riverbank in the distance.
As with so many of Fragonard’s paintings, the original destination of A Game of Horse and Rider and A Game of Hot Cockles [FIG. 1] remains mysterious; the paintings made their first public appearance only in the late nineteenth century.[1] They were undoubtedly intended as pendants, however, and meant to be installed in boiseries as part of a larger decorative program. The paintings are equal in size and have similar color schemes and compositions, and their subjects are perfectly complementary; each focuses on richly verdant gardens in which groups of figures have gathered to enjoy games in the outdoors. In style and theme they can be compared to the larger canvases of Blindman's Buff [FIG. 2] and The Swing [FIG. 3], works that include similar figures that appear in the present paintings. For example, the dashing couple — the man in blue suit, the woman in red dress, their white lapdog beside them — seated on the bench to the left of the game in Hot Cockles seem to have wandered over from The Swing, where we see them lounging at the left, about to dip a similar white dog into the fountain. Despite the differences in size, the four garden paintings in the National Gallery of Art were very likely painted about the same time, probably between 1775 and 1780.
The similarities among the four paintings have often been noted, but whether they were intended as part of the same decorative scheme that also included another monumental garden scene, Fête at Saint-Cloud [FIG. 4], is still an open question.[2] The figures in Horse and Rider and Hot Cockles are more carefully finished and richly detailed than those in the larger garden scenes, perhaps a function of their better state of preser-vation, with the impasto of the brushwork and the delicate glazes applied to the figures still mostly intact. Nevertheless, the canvases are probably fragments, as Jean-Pierre Cuzin first suggested.[3] The branches and trunks of the towering trees are somewhat arbitrarily cropped at the top edge, and technical evidence suggests that the paintings have been cut down.[4] The two paintings may originally have been much taller, perhaps equal in height to Blindman’s Buff, The Swing, and Fête at Saint-Cloud (about 216 cm). The resulting compositions, while extremely tall and narrow, would not have been unusual for decorative painting, which often was conceived to fit into established wall paneling.[5] Many garden scenes by Hubert Robert (French, 1733 - 1808), for example, combine a soaring landscape and cloud-filled skies with groups of figures occupying themselves in the lower section of the painting [FIG. 5].[6]
The games of blindman’s buff and swinging have remained popular with children today, but horse and rider and hot cockles may be less familiar. Yet both were common in Fragonard’s time, and they appear with some frequency in works of art produced in the seventeenth and eighteenth centuries.[7] Fragonard’s paintings marvelously evoke the spirit of both activities. In Horse and Rider (in French the game is called “le cheval fondu,” or melted horse), the players have divided into two teams, one acting as a multilegged “horse,” bracing itself against a tree; the second team consists of “riders” who run and leap, one by one, onto the back of the “horse.” Once they are all aboard, the horse team tries to shake them off. In Fragonard’s painting two of the riders already seem to be losing their grip as they anticipate the charge of a teammate. Hot cockles (“la main chaude” or “frappe main”), by contrast, is a less physical game in which sleight of hand and close attention are rewarded. One player, the “penitent,” hides his face in the lap of a second (called the “confessor,” a referee who monitors the game) and places his hand flat behind his back. In turn, the other players slap the penitent on the hand, and he tries to identify who hit him. The player who lets himself be discovered becomes the penitent. This moment apparently is captured in the painting, as we see the penitent gesturing toward the person he has identified (either the standing woman in the light blue dress or the recoiling young man behind her). Fragonard records with his usual prescience the expressions, gestures, and body language that convey a sense of their amusement and absorption in the game.
The genesis of Fragonard’s paintings is as mysterious as their original purpose. Although the landscapes and figures in Horse and Rider and Hot Cockles are among the artist’s most accomplished inventions, no preparatory studies for them exist.[8] As with much of his oeuvre, it is as if Fragonard created them directly on the canvas, with little of the preparation and planning that one usually expects in such elaborate productions. Yet he did not invent these scenes out of whole cloth, for there was an established tradition for representing games in landscape settings; Fragonard undoubtedly had access to this tradition, and the National Gallery’s paintings are clearly indebted to it. For example, Fragonard certainly was aware of the series of prints representing games published by Jacques Stella (French, 1596 - 1657) and Gabriel Perelle (French, 1603 - 1677) in the seventeenth century [FIG. 6].[9] But, as with the larger canvases showing Blindman’s Buff and The Swing, the present paintings owe a debt to Jean-Baptiste Oudry (French, 1686 - 1755), whose designs for a tapestry cycle on the theme of Amusements champêtres include representations of Horse and Rider and Hot Cockles that are closely related to Fragonard’s compositions [FIG. 7].[10] Despite their extraordinary inventiveness and incomparable technical mastery, these paintings continue a convention of decorative pastoral art that has its roots in the fête galante of the earlier eighteenth century.
As with Fragonard’s larger garden paintings, the possible meanings of these games have been a matter of debate among scholars. We may wonder whether Fragonard’s intention was to invest them with allegorical or emblematic meaning or whether he used them merely to enliven a pair of decorative landscapes. As Colin Eisler pointed out, Pieter Brueghel the Elder (?1525 / 1530 – 1569) included boys playing horse and rider in his painting Children’s Games, which has been interpreted as an evocation of the folly of youth.[11] In Fragonard’s painting the rowdy play of the boys is juxtaposed with the older couple at the left, who, it is perhaps implied, enjoy a more adult game of flirtation. This activity is expanded upon in Hot Cockles, in which the amusement — like the related one of blindman’s buff — is an obvious allegory of courtship.[12] This interpretation is emphasized by the sculptures included in the scene: at the right edge, surmounting a pedestal with a carved relief of dancing figures, is Étienne Maurice Falconet’s (1716 – 1791) Menacing Cupid, who holds a finger to his lips. This work, exhibited at the Salon of 1757, had already been used by Fragonard in his early version of The Swing (London, Wallace Collection); here it plays a similar role of commenting on the proceedings, for the success of the game of hot cockles depends on the participants remaining discreet. It is balanced on the left by a second sculpture, which Eisler understood to represent an altar to love, similar to the one depicted in Jean Baptiste Greuze’s painting The Offering to Love of about 1767.[13]
In conceiving A Game of Horse and Rider and A Game of Hot Cockles, Fragonard clearly meant for the viewer to measure one painting against the other, and he invested the landscape settings with a greater significance than is apparent in Oudry’s tapestry designs. Each picture depicts a corner of a vast parkland, with figures playing in the foreground and a view deep into the center distance. With typical sophistication and wit, Fragonard placed the two amusements in settings that comment on and amplify the activities. As with Blindman’s Buff, The Swing, and Fête at Saint-Cloud, Fragonard contrasts two different styles of garden design popular in the eighteenth century — the picturesque and the formal — and populates them with suitable figures enjoying activities proper for their nature.[14] In Hot Cockles the game is played by elegantly dressed young adults in a formal garden, with clipped hedges, smooth parterres, potted trees, and discreetly placed sculptures. In Horse and Rider, by contrast, the garden is natural, with no signs of human manipulation; its principal motif is a gnarled and twisted tree that acts to support the rowdy horseplay of the youths. Their roughhousing is appropriate to the rugged ground on which they play, so different from the well-maintained parterre on which the demure game of Hot Cockles is enjoyed. Fragonard created internal points of contrast as well. The craggy contour of the tree at the right in Horse and Rider is distinguished from the graceful stand of birches at the left, just as the carousing youths are opposed to the well-dressed couple reclining nonchalantly on the ground. In each painting there are half-glimpsed views into the further reaches of the garden, suggestive of hidden attractions and intriguing corners yet to explore. Garden paths lead off in several directions in each painting. Hot Cockles is dominated by a principal central path, on which two women have stopped to admire an unseen view off to the right. In Horse and Rider a large river or basin occupies the middle ground, and in the distance a gondola, unloading a group of promenaders, can just be discerned. The original extreme verticality of these two paintings, with their towering trees and monumental skies, would have visually complemented the emphatically horizontal formats of Fête at Saint-Cloud and, when taken together, Blindman’s Buff and The Swing, works that articulate the vast expanse of the landscape rather than the infinite heights of the sky.
This text was previously published in Philip Conisbee et al., French Paintings of the Fifteenth through the Eighteenth Century, The Collections of the National Gallery of Art Systematic Catalogue (Washington, DC, 2009), 188–194.
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
..
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
.
Pour fêter les 60 ans de la restauration du diaconat permanent, s'est tenu ce samedi 5 octobre 2024 à la basilique de Fourvière, une table ronde avec des témoignages ainsi qu'une messe d’action de grâce présidée par Monseigneur Lagadec.
Pour fêter les 60 ans de la restauration du diaconat permanent, s'est tenu ce samedi 5 octobre 2024 à la basilique de Fourvière, une table ronde avec des témoignages ainsi qu'une messe d’action de grâce présidée par Monseigneur Lagadec.
The way we came. Note the nice strada bianca, freshly dug out of a gravel pit and spread shoulder to shoulder on what was previously a mainly-dirt road.
Roberto Saladin, Ambassador, Permanent Representative of Dominican Republic to the OAS
Date: May 15, 2013
Place: Washington, DC
Credit: Maria Patricia Leiva/OAS
Permanent Secretary Ingabire Assumpta joins residents of Nyarugenge District for Kwibuka 25 I 13/04/2019
ILO Introductory Briefing for Permanent Missions, 7 October 2024, Geneva, Switzerland. Alioune NDiaye/ILO
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
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
Leisure and Labor, 1858
Frank Blackwell Mayer
West Building, Main Floor — Gallery 71
Gazing down at a blacksmith stooped over his work, an elegantly dressed man leans against a post. His graceful greyhound and the broken plow at his feet underscore his idleness. The poster behind him, which shows a grim reaper–like figure above the (misspelled) text “Stop Theif!!,” reminds us not to waste precious time.
Painted just before the Civil War, the scene may represent Northern scorn toward wealthy Southern landowners who bred greyhounds for sport and show. In political satires of the time, the dogs sometimes symbolized the Confederacy.
Two men, a dog, and a horse gather at the wide opening to a barn-like building that fills this horizontal painting. A light-skinned, blond man in a tall, brimmed, straw hat leans with his ankles crossed and hands in pockets against the right side of the opening. His body faces us and he turns his gaze toward the man to our left, whose face is in profile. The blond man's knee-length, olive-green jacket has black lapels, and it hangs open to reveal a close-fitting, ivory-white vest over a white shirt with a sea-blue tie. His brown, calf-high boots have a band of brick red around the top. A slender, brown and white grayhound stands facing our left in profile with its front legs stiffly straight and its hindquarters pressing against the man’s right leg. The tanned, dark-haired man near the jamb to our left bends over to work on the underside of a horse’s hoof, which he holds between his knees with his left hand. He wears a loose red shirt with an open collar and rolled-up sleeves, over wrinkled brown pants. Short black locks emerge under the edges of his olive-green cap. A wooden box of tools, with a handle for carrying, sits on the dirt ground in front of him. The horse being shod, overlapped by the workman, faces into the barn and to our left, but its head, turning to our right, is silhouetted against a landscape visible through an open window at the back of the barn. The view is dotted with haystacks and framed by tree branches. A stirrup hangs on a strap flung over a saddle on the back of the horse, whose rump stands between the laborer and a woman, who is deep in shadow. Placing her right hand, on our left, on her hip, she appears in front of the grids of window panes. She seems to have pale skin and dark, loosely bound-up hair, and she looks toward the horse. Red flames flicker in a fireplace between her and the standing blond man. The front opening of the structure is protected by a shallow wooden portico, supported on the left by a slender, trimmed tree trunk with a ring hanging from a screw near the top. Curling red and yellow leaves are scattered on the long, narrow, wooden boards that form the porch roof. Sunlight dapples the barn wall to our left, and a square patch of light falls on the face of the wall to our right, near the ground. A broken plow lies on the ground to our right, with the wooden handle of a tool propped against it. A tuft of long dark hair, like a horse’s tail, hangs on the wall over the tools. Closer to the head of the standing man, a poster is printed with black on white paper. A running man carrying an hourglass and a scythe is enclosed in a thin circle, over the words, “STOP THEIF!!!” in capital letters, though “thief” is misspelled.
This painting, completed just three years before the Civil War began, may be an expression of northern antipathy toward the landed gentry of the south. Leisure and Labor is the culmination of Mayer's decade-long exploration of the blacksmith theme. The bifurcated canvas juxtaposes a well-dressed man leaning casually on the right—hands tucked in his pockets and legs crossed—with an industrious and productive blacksmith hard at work on the left. A broken plow and graceful greyhound further underscore his leisure. The dog evokes breeding of animals for sport and show, an idle pursuit of Southern aristocracy during this period. During the war, the greyhound was one of the symbols of the Confederacy in anti-Southern political satires. The moral lesson is further communicated by the white poster on the right which depicts a man (who resembles the Grim Reaper) running with scythe in hand above the misspelled text "Stop Theif!" reminding the viewer that time is precious and not to be wasted.
Mayer, a Maryland artist renowned for his historical subjects and genre scenes, remained publicly ambivalent about the Civil War. After its outbreak, he traveled to Paris, as did two of the most important American collectors of the 19th century: William T. Walters, who commissioned Leisure and Labor and who later founded the Walters Art Museum in Baltimore, and William Wilson Corcoran, who purchased the painting in 1859 and who later founded the Corcoran Gallery of Art in Washington, DC. Both collectors were known Southern sympathizers.
________________________________
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...
.
Lana Zaki Nusseibeh (at podium), Permanent Representative of the United Arab Emirates to the United Nations, briefs reporters after closed Security Council consultations on the situation in the Middle East. At left is Zhang Jun, Permanent Representative of China to the United Nations and President of the Security Council for the month of November.
UN Photo/Eskinder Debebe
6 November 2023
New York, United States of America
Photo # UN71010398
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
Fórum Permanente de Auditoria do Poder Judiciário - Edição 2024.
O Futuro Chegou: Como Utilizar Ferramentas de Inteligência Artificial para Aumentar
a Eficiência e a Efetividade da Auditoria Interna (Filipe de Caires/Itaú Unibanco).
Foto: G. Dettmar/ Ag.CNJ
Thomas Moran - American, born England, 1837 - 1926
The Juniata, Evening, 1864
West Building, Main Floor — Gallery 64
Far below us, a river winds through a valley lined with hazy mountains in this horizontal landscape painting. In the distance, the line of mountains emerges from the left, near the top of the canvas, and marches down toward the center, growing lighter and mistier in the distance. Streaks of olive-green growth drape down their sides, and pale sunlight from the upper right warms their craggy faces, which are painted in tones of peach, tan, taupe, and parchment white with pewter-gray fissures. The mountains move across the canvas and angle way from us, to our right. There, they are overlapped, just off center, by a tree-covered slope that emerges from the right. At its foot is a steel-gray river that winds from the lower right toward the center of the composition. The land sweeps down from the left side, spreading out into meadows that meet the river. They are carpeted in moss green with streaks and patches of rust-brown earth and scattered with clusters of trees painted in tones of celery, olive, and pine green. Closest to us and near the lower left corner of the painting, is a man, tiny in scale, on a flat bluff. He wears a white coat and trousers, and sits hunched on a stool facing our left. He looks toward a grove of trees with pea-green leaves and ginger-brown trunks that tower over him, along the left edge of the composition. He has turned away from a painting on an easel that stands just beyond him, and an open wooden box that sits on the ground behind him. A closed, seafoam-green parasol also lies nearby. Just beyond the lip of the bluff and down in the valley are creamy white dots that suggest livestock. Farther back, near the foot of the mountains, a cluster of buildings sit near the tree line in the meadow. Wispy white clouds drift through the light azure-blue sky. The artist signed and dated the painting in the lower left corner, “THOS.MORAN.1864 OP.8.”
In the spring of 1871 Thomas Moran traveled to the American West for the first time. Immediately upon his return, he began producing the paintings that would change the course of his career. A gifted colorist, Moran was the first artist whose technical expertise matched the wonders of Yellowstone. In 1872 Congress purchased Moran's enormous canvas Grand Canyon of the Yellowstone and installed it in the Capitol. Soon Moran began signing his paintings with a creatively configured monogram incorporating three letters (TYM), reflecting his new fame as Thomas "Yellowstone" Moran.
Moran's paintings of Yellowstone and later of the Grand Canyon and the Southwest were so revelatory in terms of wondrous geologic formations and astonishing color that they soon overshadowed all his previous work. Only recently have the remarkable eastern landscapes that Moran created before he journeyed west garnered the attention they deserve. The Juniata, Evening is one of the most beautiful and important of these works.
Born in Bolton, England, raised in Philadelphia, Moran returned to his homeland in 1862 to study works by the artist he revered above all others—J.M.W. Turner. For several months he retraced Turner's path through England and France sketching the landscapes that had inspired the English master. Steeped in the writings of John Ruskin, Turner's early champion, Moran returned to Philadelphia and began producing a series of stunningly beautiful landscapes of the Pennsylvania countryside. Taking to heart Turner's example and Ruskin's advice (study nature carefully and reproduce her wonders accurately), Moran spent weeks sketching in the forests surrounding Philadelphia.
In the summer of 1864 he ventured farther, traveling to central Pennsylvania where the Juniata River, a major tributary of the Susquehanna, flows through lush meadows and steep sandstone cliffs. Moran's painting of the valley is filled with closely observed detail: grazing sheep, farm dwellings, distant smoke, a lone traveler, and most remarkably, a foreground vignette of an artist (possibly a self-portrait) with a painting on his easel duplicating the scene before the viewer.
Completed in September 1864, The Juniata, Evening was purchased—perhaps commissioned—by George Frederick Tyler, a Philadelphia banker and railroad executive. Moran signed and dated the painting in the lower left corner, placing the notation "Op 8" beneath his name. One year earlier he had begun numbering his studio paintings and recording key information about them on an "Opus List." Several pages of Moran's list survive including his notation for "Opus 8" The Juniata, Evening. Thus the completion date and first owner of the painting are known as well as the original purchase price: $200.
Thomas Moran was born 12 February 1837 in Bolton, England, not far from Manchester, the birthplace of the Industrial Revolution. Several generations of the Moran family had worked as handloom weavers in Bolton until the introduction of power looms radically changed the industry. In 1842/1843, seeking public education for his children and economic opportunity in a new land, Thomas Moran, Sr., journeyed to America. The following year his wife and children joined him and the reunited family settled in Kensington, a suburb of Philadelphia, where they became part of a well-established community of immigrant textile workers.
While still a teenager Thomas became an apprentice at the Philadelphia engraving firm of Scattergood and Telfer. After three years he withdrew from his apprenticeship and began working in the studio of his older brother, Edward, who had begun to establish himself as a marine painter. Serving, in effect, a second apprenticeship, Moran benefitted not only from the advice of his brother but also from that of James Hamilton (1819-1878), a well-known Philadelphia painter who had befriended Edward. Described by contemporaries as the "American Turner," Hamilton may have sparked Thomas Moran's life-long interest in the work of English artist J.M.W. Turner.
In 1861, after several years of studying Turner's work in reproduction, Thomas and Edward journeyed to London where they spent several months studying and copying Turner's work at the National Gallery. A decade later, when Thomas journeyed west to join Ferdinand Vandiver Hayden's expedition to Yellowstone, the watercolors he produced on site bore clear evidence of his debt to Turner.
Moran's trip to Yellowstone in 1871 marked the turning point of his career. The previous year he had been asked by Scribner's Magazine to rework sketches made in Yellowstone by a member of an earlier expedition party. Intrigued by the geysers and mudpots of Yellowstone, he borrowed money to make the trip himself. Numerous paintings and commissions resulted from this journey, but the sale of his enormous (7 by 12 feet) Grand Canyon of the Yellowstone (1872, National Museum of American Art) to Congress shortly after passage of the bill that set Yellowstone aside as the first National Park, brought Moran considerable attention.
In 1873, following up on his earlier success, Moran joined John Wesley Powell's expedition down the Colorado River through the Grand Canyon. Shortly after his return he set to work on a second canvas equal in size to his earlier Yellowstone painting. In 1874 Congress purchased Chasm of the Colorado (1873-1874, National Museum of American Art), which became the second of Moran's western landscapes to hang in the Capitol.
That same year Moran traveled to Denver and then north to see the Mountain of the Holy Cross--a massive mountain with a cross of snow on its side. The resulting painting became Moran's chief contribution to the Centennial Exposition in Philadelphia in 1876. Iconic in its union of wilderness and religion, the Mountain of the Holy Cross became one of Moran's best known works.
His reputation established, Moran continued to travel widely during the following decades. He returned to Europe several times again following trails blazed by Turner. In 1883 he journeyed to Mexico. In later years he returned to the Grand Canyon and traveled more extensively in Arizona and New Mexico, producing a number of striking works of the pueblos at Acoma and Laguna. Extraordinarily productive, both as a painter and an etcher, Moran continued to work well into his eighth decade. At his death in Santa Barbara, California, in August 1926, he was memorialized as the "Dean of American Landscape Painters."
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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...
.
Permanent ventilation solution is provided by the best metal roofing company. Here is the video in which we talk about metal roofing benefits and vent system. Watch video: bit.ly/2ZJHNeL
Threadeds 3d chappy Lucas with Kiwi Artist Otis Frizzell - who will be speaking this year along with Father Dick Frizzell!
Fórum Permanente de Auditoria do Poder Judiciário - Edição 2024.
Construindo Pontes para um Mundo Mais Sustentável: A Jornada da Auditoria Interna
na Integração de Práticas ESG (Patrícia Marques/TCE-RJ)
Foto: G. Dettmar/Ag. CNJ
Acto de inauguración de las salas permanentes del Centro para la Interpretación de las Relaciones Culturales Cuba-Europa: Palacio del Segundo Cabo. La actividad estuvo presidida por el Dr. Eusebio Leal, Historiador de La Habana, y Herman Portocarero, Embajador y Jefe de la Delegación de la Unión Europea en Cuba. La acción se realizó en el marco del proyecto Gestión integral participativa y sostenible para el desarrollo local del Centro Histórico y la Bahía de La Habana, financiado por la Unión Europea y el Ayuntamiento de Barcelona. La Habana, 9 de mayo de 2017.