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Part of the railroad museum in Savannah, Georgia that hasn't been refurbished yet. Taken with Fuji slide film cross processed.
Permanent Makeup rocking Andy's Birthday Show presented by ThxMgmt at New World Brewery, Ybor City, Tampa, FL - January 12, 2013.
Note: Please share, download and use these photos for non-commercial purposes but be sure to abide by the creative commons license by crediting the photos to Nicole Kibert / www.elawgrrl.com and if using online, add a link back to this page or to www.elawgrrl.com. This license does not permit commercial use. Thanks.
plastic stud permanent advertise board display medical rivet plastique rivet affiche bouton pression
Permanent Makeup rock their record release at New World Brewery, Ybor City, Tampa, FL - February 23, 2013.
Note: Please share, download and use these photos for non-commercial purposes but be sure to abide by the creative commons license by crediting the photos to Nicole Kibert / www.elawgrrl.com and if using online, add a link back to this page or to www.elawgrrl.com. This license does not permit commercial use. Thanks.
Mr Roof repair installed waterproof membrane in the valley of the roof to create a water proof barrier and prevent further damage to the roof deck.
Photo by: Mr. Roof Repair
A permanent Overband #Magnet installed on a #glass #recycling plant to separator ferrous metals (cans, bottle tops, etc) prior to separating non-ferrous metals on an #EddyCurrentSeparator | more info www.mastermagnets.com/product/permanent-overband-magnets/
If you are looking for Permanent Brows Makeup then, Haven Esthetics Brow and Lash Boutique is the right destination for you to get permanent brows makeup services at affordable prices in Cary, NC. With years of experience in this field, you will enjoy the desired result with us. To obtain service-related details visit our website or call us today!
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The recent 2017 Veterans’ Day Remembrance in Eatontown, New Jersey’s Wampum Brook Memorial Park included the presentation by a local Boy Scout’s Eagle Scout Project which consists of 14 permanent concrete cross markers and one Star of David which honor the Sons of Eatontown who made the ultimate sacrifice in all of America’s wars.
The young man who did this wonderful project is Scout Bailey Ferrugia. We are all very proud of him for being a man and a Scout and for taking on this project.
The Sons of Eatontown remembered in this memorial (from earliest military involvement to most recent) are:
Charles Hayes [Army] (1938-1915), Private, Civil War
Herbert O. Tilton [Army] (1896-1918), Second Lieutenant, WW I
William T. Conway [Army Air Corps] (1898-unk), Private First Class, WW II
Melvin Springfield [Army] (1907-1944), Private First Class, WW II
Wilfred J. Winning [Army] (1910-1944), TEC5 / Tech Corpral, WW II
Joseph E. Sine [Army] (1911-1944), Private First Class, WW II
Norman K. Stofflet [Army] (1914-1944), Private, WW II / Korean War
Joseph J. Finn [Army] (1913-1945), Sargent, WW II
Harry F. Yale [Army] (1920-1945), Private First Class, WW II
Russel Elgrim [Army] (1913-1944), Private, WW II
Joseph Beverly [Army] (1911-1945), Private, WW II
Paul Ondrey [Army] (1922-1950), Sargent First Class, WW II / Korean War
Jack Frazier [Army] (1925-1945), Private, WW II
Barry E. Everet [Army] (1946-1967), Private First Class, Vietnam
James M. Gurbisz [Army] (1980-2005), Captain, Operation Iraqi Freedom
I might have gotten a bit emotional when I saw the last marker for Captain Gurbisz. He was killed while I was on active duty at Fort Monmouth, New Jersey which is just across the street. I didn’t know him or his family, but I worked with or knew people who went to his church or knew his family who were all so proud of him being accepted into West Point and obtaining his Army commission from the United States Military Academy and were devastated at his loss. There’s another marker with his photo on it with more information about him very close. I try to stop by from time to time and clean the dirt off.
These men gave so much when most men today don’t even serve their country. God bless them.
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.
________________________________
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...
.
Permanent Makeup plays WonderRoot, Atlanta, GA on May 10, 2014.
Note: Please share, download and use these photos for non-commercial purposes but be sure to abide by the creative commons license by crediting the photos to Nicole Kibert / www.elawgrrl.com and if using online, add a link back to this page or to www.elawgrrl.com. This license does not permit commercial use. Thanks.
Permanent Representative of the United States of America to the OPCW, H.E. Ambassador Joseph Manso, and OPCW Director-General, H.E. Mr Fernando Arias
Ruy Casaes, Ambassador, Permanent Representative of Brazil to the OAS
Date: February 18, 2011
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
You'll see a number of tongue-in-cheek "fence-art" sculptures along the roads leading to and from Baker. Termed "Post-Impression Art" by local residents (because the art is mounted on fence posts). The movement began in the mid-1990's when "Doc" Sherman created the "Permanent Wave Society." This sculpture consisted of rubber gloves filled with cement (get it? permanent wave?) and mounted on the tops of fence posts. Since then Doc and others have added spontaneous contributions of whimsical art on fence posts along roads around Baker. Doc's artistic endeavors have been amazing therapy for him as he was partially paralyzed by a crippling stroke. He continues to create new pieces on occasion and his sense of humor and creativity have brought many smiles and laughter to residents and travelers alike.
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
Posse do Colégio Permanente de Corregedoras e Corregedores-Gerais dos Tribunais de Justiça do Brasil (CCOGE)
Foto: Rômulo Serpa/Ag.CNJ
Skating on the Frozen Amstel River - 1611
Adam van Breen
Dutch, c. 1585 - 1640
In this winter landscape, aristocrats, burghers, countrymen, and orphans take to the ice of the frozen Amstel River. From a young boy propelling himself with sticks on a prikslee (small push-sled) to the group of three stately men with no skates conversing by the riverbank, each of Van Breen's figures colorfully brings to life the possible actions and interactions of a winter's day on the ice. On the right, a man and woman glide hand-in-hand with the wide stride typical of Dutch 17th-century skating. The man's green jerkin and gold breeches tied at the knees with ribbon and the woman's black vlieger, a long garment worn over the bodice and skirt, reflect the height of early 17th-century fashion. As they skate, a young boy from the Amsterdam Burgerweeshuis (city orphanage), recognizable by his red and black shirt, approaches them clasping a kolf stick. Further back, men and women leisurely glide together, and a pair of boys race alongside a painted, pink mill.
Unlike many winter scenes that represent imaginary locales, this evocative landscape depicts an identifiable location on the Amstel River just south of Amsterdam. The profiles of three of the city's churches are visible in the distance: the large, wide building at the left is the Nieuwe Kerk; the distant church to its right with a tall steeple is the Oude Kerk; while the third church nearest the Amstel is the Zuiderkerk. Remarkably, the painting also depicts a large house surrounded by a painted wooden fence that can be seen on a contemporary map of the area
Little is known about Adam van Breen’s early life. Van Breen is identified as a “young man from Amsterdam” in a document recording his wedding in The Hague to Maria Gelle on Feburary 13, 1611. In 1612 he joined the Guild of Saint Luke in The Hague, to which he belonged until 1621. He was in Amsterdam in 1622 to appear before a bankruptcy court, and is documented there again six years later, in 1628.
Van Breen worked in Norway repeatedly, and seems to have split his time between Amsterdam and Oslo for much of his career. In 1624 Van Breen went to Oslo for the first time to paint decorations for the palace of Christopher Urne, Lord of Akershus, after it had been rebuilt following the fire that devastated much of the city that year. He returned in 1636 and again in 1639 to produce more decorations for palaces being rebuilt by King Christian IV. Van Breen apparently worked in Norway until his death; his last signed painting, a portrait, is dated 1642.
Van Breen specialized in paintings filled with figures enjoying wintry landscapes, occasionally depicting views from specific locations in Amsterdam or The Hague. While in Amsterdam he may have trained with the landscape painter David Vinckboons (1576–c. 1632). In some of his early works Van Breen borrowed both settings and figures directly from Vinckboons’s compositions In Amsterdam Van Breen also would have seen early paintings by Hendrick Avercamp (1585–1634), another Dutch artist who presumably studied with Vinckboons and depicted winter scenes with crowded frozen canals.
Like Avercamp, Van Breen built up a stock of figural types that appear repeatedly in his landscapes, with minor variations. In The Hague Van Breen appears to have influenced Adriaen Adriaensz Ghibons (active 1605–1639), who also produced icy landscapes.
Yet Van Breen did not focus exclusively on winter views. Several of his paintings show elegant companies picnicking in verdant formal gardens, similar to works by Vinckboons and Esaias van de Velde (1587–1630), who joined The Hague Guild of Saint Luke in 1618. Van Breen also drew figural designs for an illustrated book of military exercises and weapons, Nassaushe wapenhandelinge, van schilt, spies, rapier, ende targe, published in 1618 in The Hague by Aert Meruis. The illustrations depict armored figures demonstrating stances for readying and using various types of swords, shields, and spears. Notably, in Van Breen's paintings soldiers occasionally appear amid crowds of well-to-do burghers and playing children.
________________________________
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...
.
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
Linda Thomas-Greenfield (at podium), Permanent Representative of the United States to the United Nations, delivers a joint statement on the 1718 Committee Panel of Experts Mandate Renewal, on behalf of the United States, Ecuador, France, Malta, Japan, Slovenia, Switzerland, Republic of Korea, and the United Kingdom. At left is Joonkook Hwang, Permanent Representative of the Republic of Korea to the United Nations.
UN Photo/Loey Felipe
28 March 2024
New York, United States of America
Photo # UN71031710
Henri de Toulouse-Lautrec - French, 1864 - 1901
Alfred la Guigne, 1894
West Building, Main Floor — Gallery 80
A man and two women standing near a bar nearly fill this vertical painting. Though made with oil on cardboard, the paint is applied in thin strokes, so parts of the painting look more like a drawing, and the tan of the cardboard is visible in many areas. Shown from the thighs up at the center of the composition, the man stands with his back to us, looking away from us to our left, almost in profile. The camel-brown of the cardboard acts as the color of his jacket and the skin of his face, which are otherwise delineated with cobalt-blue and violet-purple lines. He wears a dark bowler hat, and a white cigarette dangles in his lips. A few scribbled black lines could suggest a mustache. Hands thrust into his pockets, he looks down at the bar, which a runs along left edge of the composition. Squeezed between the man and the glasses on the bar, a woman wearing a teal-blue feather boa leans one elbow on the bar and looks back at the man from the corners of her eyes. Her skin is rose-pink and she has curly red hair. Her arched, thin eyebrows and snub nose are set in a round face with a double chin, and her crimson-red lips are pursed. She wears a ruby-red dress or coat and a turquoise-blue, wide-brimmed hat with bubblegum-pink ribbons or feathers. Two small, stemmed glasses sit on the bar in front of the man and woman. Behind the bar, along the left edge of the painting, a man wears a dark vest over a shirt with sky-blue sleeves. A light cloth lies over the shoulder closer to us and he has dark hair. The rest of his features are lost behind the woman’s hat. To our right, beyond the man’s shoulder, a woman stands with her body facing us as she tips back and looks off to our right. She wears a long, black tie over a pale blue, high-necked shirt. One hand is tucked into a pocket on the front of her jacket, which is streaked with mint green over the brown cardboard. Loosely painted vertical stripes below her waist suggests she wears a skirt, indicating this is a woman, though it might otherwise be difficult to tell. She wears a low, royal-blue cap with an emerald-green feather curling up from the back over a cloud of yellow hair. Only the gray bowler hat, ruddy skin around the ear, and a teal-green jacket of a fifth person are visible between that woman and the right edge of the composition. The wall at the back of the space is tan with shell-pink streaks, and a sign with a red triangle against a turquoise background is cropped by the right edge of the painting. The scene is sketchily painted so features are outlined with blue or brown and filled in with streaks of pale color. The artist inscribed the painting in the lower right corner, “pour Metenier d'apres son Alfred la Guigne HTLautrec,” with the HTL overlapping to create a monogram.
________________________________
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...
.