View allAll Photos Tagged points
Day 2 at the Brands Hatch MSVR Club Car Championships Feat GT Cup and it was time for all the Drivers to prepare for battle on the race track with a full day of Racing ahead. With many drivers close on points and some who could win the Championship the Intensity was heating up.
MSVR All Comers
The MSVR All comers Race featured an array of all of the different classes taking part during the event coming together for one big race.
From Caterham's to Radial SR3's to Mazda RX8'S every driver was pushing hard but in the end it was the Gun TS6 of Mike Jenvy who took Victory in the first and second Race of the day with a lap time of 1:30.724.
John Harrison in his Mallok MK21 took second Place in Race 2. Colin Watson was Second in His Caterham C400 and the pairing of T Barwell and J Barwell in their Radical SR3 took Third Place.
GT Cup
The GT Cup featured many different cars from many Modern manufacturers such as Aston Martin Lamborghini and even from Nissan and Mercedes with the most experienced drivers behind the wheel during the 3 Races.
Shamus Jennings and Greg Caton in their Porsche 911 GT3 R took Victory in Race 1 with a lap time of 1:28.902. Second was the Ferrari 448 Challenge of John Dhillon/Phil Quaife and Third was the Lamborghini Hurricane of Jim Geddie and Glynn Geddie for Race 1.
Race 2 saw John Dhillon/Phil Quaife score Victory with Shamus Second and Jim Geddie Third.
Race 3 saw the Nissan Nismo GTR GT3 of Graham Tilley and Will Tregutha Stormed the Field to take a well deserving Victory with a lap time of 1:29.256, despite having an incident the previous day where a wheel fell off the car while Qualifying for Sunday. Finally
Race 4 Once again saw Graham Tilley and Will Tregutha take another Victory with an insanely Fast Nissan GTR GT 3 Lap around the Brands Hatch GP Circuit. John Dhillon was Second while Alan Purbrick was Third in his Saker Rapex to Round out the Day for GT Cup.
Radical Challenge
Featuring High Speed Aerodynamic Track day Machines The Radical Challenge provided Race Day with some Spectacular overtaking and close wheel to wheel Racing all over the Track.
Race 1 saw the Radical SR3 RSX of Mark Richards Claim Victory with a lap time of 1:26.167 with Second Place finish going the way of Jason Rishover in another Radical SR3 RSX. Third Place was Ashton/Gudmundsson in their Radical SR3 RSX.
Race 2 Once Again saw Mark Richards take Victory with a very fast and Dominate Performance. Elliot Goodman was Second with John Macleod Third.
Race 3 is where the Lead Changed and saw a new Winner in the form of Shane Stoney with a lap time of 1:27.536. Mark Richards was Second with Peter Tyler in Third to Wind Down an amazing Day of Radical Racing.
MSVT Track Day Championship
Track day Challenge sees many cars that you would commonly find on a typical track day at Brands Hatch but this time they are Racing Each other for Victory its a good way to start out any Racing Career as it gives the Novice and the Professional Drivers the time to Bond and Help each other out.
Luke Read was the Race Victor in the only Race during the Sunday in his BMW 130i with a lap time of 1:44.450. Chris Payne was Second in his Caterham Super Seven with Third Place going the way of Chris and Jim McDougall in their Caterham Super sport to Finish an amazing Day of Track day Racing.
Sports 2000 Championship
Sports 2000 showcased some of the most impressive and Classic looking machinery of the day from the Likes of Lola Tiga and Gunn the grid was packed with very different looking cars for two Races that would decide the Champion of Sports 2000.
Race 1 went the way of Michael Gibbins in his MCR S2 with a lap speed of 1:28.717 Second Place was Joshua Law in his MCR S2 with Third Place going to Tom Stoten in his Gunn TS11 Sports 2000 Machine.
Race 2 saw Michael Gibbins take Victory for the Second time with Second Place now going to Tom Stoten and Third Place to Josh Law to Round off Another Fantastic Day from the Days Events.
Radical SR1 Cup
Radical SR1's are considered the Fastest Track Day cars in their Respective class and the Racing witnessed definitely provided that to everybody.
Race 1 saw James Pickerton take the First Victory of the day in his Radical SR1 Gen 2 car with a lap time of 1:31.773 Second Place went the way of Mackenzie Walker in his Radical SR1 Gen 2 with Third Place Will Hunt rounding out the leader board.
Race 2 Saw Will Hunt strike back and take the Victory from James in an Epic Battle thought the Race. Mackenzie Walker finished Second while James Pinkerton had to settle for Third Finishing the day off with another Awesome Race to Remember.
Toyota Tyres 7 Racing Series
Toyota Tyres 7 is a Racing series for Caterham Race Cars with the Focus being around The Caterham Race car and there were plenty on Show during the Race with constant battles between all the Drivers taking place.
Race 1 saw Phil Jenkins take Victory in his Caterham 420R with a lap time of 1:37.347 Second Place saw John Mitchell with Third Place being Alexander Koeberle.
Race 2 saw Phil Jenkins once again storm to Victory with a dominant Performance in Second Place was John Mitchell and Third was Alexander Koeberle to Finish off an amazing day of Racing at Brands Hatch.
Congratulations to all of the Race Winners and see you all again Next Year where a New Champion May Rise from the Ashes.
Casual Chat at the Philosopher’s Garden:
Time: 2014/10/26 10:00-13:00
Venue: Via Selvatico 30, Treviso, Italy.
Riccardo Caldura (art critic & curator), Massimo Donà （philosopher & musician, Michele Zaggia (philosopher & graphic novelist), dialog with Luigi Viola, Mauro Sambo, Laura Keyrouz, Lisa Perini, Filippo Corazza, Chen Shao-Wei, Chen Jun-hwa, Liu Tsung-Jung, Ho I-Ting, Lin Ting-Ting, Yang Fu-ju, Chen Mei-Yuan
With a five star line up Dekmantel threw a party in Paradiso, Amsterdam.
Deadboy, Floating Points, Pariah & James T. Cotton were all present on a fridaynight in july.
But half of Holland was on holiday, sadly.
Settlement points with population estimates are used in GRUMP as a guide tovreallocation of population from rural areas to urban extents defined by stable night-time lights. The level of detail available in the settlement points database varies by country.
Four Points by Sheraton, Meriden, CT, 9/2014, by Mike Mozart of TheToyChannel and JeepersMedia on YouTube
Tonight I jumped in my car after work and went hunting for a sunset shot. I was a little late out of the gate... as soon as I was out of my garage, the sun had already set.
I decided to drive along the waterfront looking for a dusk shot. As I got around Clover Point, I noticed the moon was rising above Gonzales, so I circled back to the turnout and setup.
This was the 2nd shot of that night, and my favourite. It's about 135 degrees from the moonrise shot that I'd originally gone for.
This scenic vista is in Victoria, BC, Canada and looks over to Port Angeles in Washington State, USA.
10 second long exposure, Nikon D600 and Nikkor 50mm f/1.4D lens, full manual at f/16, ISO 160, manual focus. Exposure adjustments in Lightroom 4.
Yeah Yeah Yeahs
All Points West Music Festival 2009
Liberty State Park
Jersey City, NJ
© Copyright David Simchock
Stockport Sports recorded 3 wins back-to-back for the first time in the league this season with a 2-1 away win at Squires Gate. Goals from Sam Pollard and Ben Halfacre secured the points.
Pictures of the the Vanarama National League North clash at The Impact Arena between Alfreton Town & Darlington.
The game finished in a 1-1 draw in front of 727.
Quakers took the lead on 8 minutes. Styche put the Alfreton left back under pressure, the defender slipped and Styche ran into the box and coolly fired across the keeper into the net. Styche ran 80 yards to celebrate in front of the Darlo fans. it looked like Darlo might hang on to 3 crucial points until an injury time altercation in Darlo penalty area resulted i nthe dismissal of on loan custodian Taklbot and a penalty to the home side which was dispatched without delay.
THe penaltwas at the far end and in the bets Arsen Wenger style I didnt see the incident.
This point means Darlo remain in the rlegation zone a point form safety but they have stopped the recent rot. Things need to impriove. Quickly.
Pictures I took at the vigil for Jorge Steven Lopez Mercado, a young man in Puerto Rico who was brutally murdered.
Casual Chat at the Philosopher’s Garden:
Time: 2014/10/26 10:00-13:00
Venue: Via Selvatico 30, Treviso, Italy.
Riccardo Caldura (art critic & curator), Massimo Donà （philosopher & musician, Michele Zaggia (philosopher & graphic novelist), dialog with Luigi Viola, Mauro Sambo, Laura Keyrouz, Lisa Perini, Filippo Corazza, Chen Shao-Wei, Chen Jun-hwa, Liu Tsung-Jung, Ho I-Ting, Lin Ting-Ting, Yang Fu-ju, Chen Mei-Yuan
Photos taken at Seven Points on Percy Priest Lake.
Photos taken at Seven Points on Percy Priest Lake.
Last run down the hill for the day, seen approaching the Sinai Halt platform between Clarence and the Top Points.
Canon 5Dmk2
24-09-2023
Jean-Auguste-Dominique Ingres - French, 1780 - 1867
Marcotte d'Argenteuil, 1810
West Building, Main Floor — Gallery 56
Shown from about the waist up, a man with pale, peachy skin, wearing a marine-blue greatcoat over several layers of clothing, looks out at us in this vertical portrait painting. The man’s body is angled to our left, and he looks at us from the corners of his dark brown, hooded eyes. He has an oval face with a slightly jutting chin, a long, straight nose, and his full-lipped mouth is lightly pursed. He is lit from our left, casting the right ear and side of his face in shadow. His chestnut-brown, wavy hair is short, and brushed forward over the ear we can see. Several shirts and coats are layered over his shoulders. Closest to his skin, a high-collared white shirt, with points reaching past his jawline, is tied with a wide, black neckcloth. Next is a custard-yellow garment, also with a high-neck, perhaps a vest. Over that he wears a brown coat with wide, pointed lapels. A bright, scarlet-red oval is fastened to one buttonhole on the lapel to our right, and a gold and rose-pink ornament peeks out from the bottom hem at his waist. Finally, the blue greatcoat has an elbow-length cape, and nearly falls off his shoulders. Fabric across the back of the collar is a hood lined with dark silver satin. He props his left elbow, to our right, on a table or ledge, and that wide cuff is rolled back over the white edge of this shirt. He wears a gold band on the pinky finger of that hand. The ledge is draped with a deep, marmalade-orange cloth. Gold tassels dangling from the end of a scrolled, bound document hangs off the edge of the ledge, near the man’s wrist. The background deepens from sage green along the lower left edge of the painting to fawn brown around the man’s head. The artist signed and dated the lower right corner, “Ingres. Pinx. Rom. 1810.”
Born in 1780 in the southern French town of Montauban, Jean-Auguste-Dominique Ingres had early instruction from his father, an artist in the town's employ. The boy showed a precocious musical and artistic talent. Aged twelve, he was enrolled at the Academy of Toulouse, under the painter Joseph Roques, a friend of Jacques-Louis David. Still uncertain of his vocation, Ingres kept up his musical interest, supporting himself by playing the violin in the theater of Toulouse. In 1797 he left for Paris to study with David who was then at work on his Battle of Romans and Sabines. Disputes at the time troubled the master's teaching studio. It contained, besides docile followers, some rough bohemians (Crassons) at war with fellow pupils of a royalist or Catholic bent (Muscadins). Keeping aloof from these factions, a handful of principled dissidents aspired to an art more pure and genuinely "antique" than David's. Steeped in early literature and archaic art, in Homer, Ossian, and the Bible, they made themselves conspicuous by wearing beards and Greek costume and were known derisively as Barbus or Primitifs. Though not himself a member of this group, Ingres sympathized with them, and in his own student work affected a severe linearity that implied a reaction against his master's more moderate classicism. David nevertheless recognized his talent and used him as his assistant in the execution of the Portrait of Madame Récamier. Admitted to the Ecole des Beaux-Arts, Ingres won the Rome Prize of 1801 with The Ambassadors of Agamemnon in the Tent of Achilles (Ecole des Beaux-Arts, Paris). While a shortage of state funds delayed his departure for Italy, he lived in a community of young artists housed in a disused monastery. Medieval sculptures in the Musée des Petits-Augustins, the salvage of churches pillaged during the Revolution, deepened his taste for early styles. His studies at the Louvre, where Napoleon had assembled masterworks of the early Italians and Flemings, offered him further alternatives to Davidian classicism. At the Salon of 1806 his originality as an exacting stylist was manifested in the three portraits of Philibert Rivière, Mme Rivière, and Mlle Rivière (Louvre) -intricately designed, nearly shadowless figures, formed of distinct areas of color. They were ignored by the critics, but a fourth painting, of commanding size, Napoleon on the Imperial Throne (Musée de l'Armée, Paris), scandalized them by its static symmetry and hard, "Gothic" artificiality.
In 1806 Ingres finally took his place among the pensioners of the French Academy in Rome. He used the four years of his stipend to immerse himself in the work of the Renaissance masters, Raphael above all, but his eyes were also open to medieval and Byzantine art. Several masterly portraits mark the early years of his Roman stay, among them those of Mme Devauçay (1807, Musée Condé, Chantilly) and of François-Marius Granet (c. 1807, Musée Granet, Aix-en-Provence). Required to show proof of his progress, he submitted deeply calculated studies of the nude, finished off by the addition of narrative detail, Oedipus and the Sphinx and the "Valpincon Bather" in 1808 (both, Louvre) and Jupiter and Thetis in 1811 (Musée Granet, Aix-en-Provence). After his stipend expired in 1810, he prolonged his stay in Rome by making portraits of its French administrators, among them that of his future patron and lifelong friend, Marcotte d'Argenteuil (1810, National Gallery of Art, 1952.2.24). He was among the painters charged with the decoration of the Quirinale Palace, chosen as residence for Napoleon's infant son, the king of Rome. His share consisted of two large paintings, The Dream of Ossian (1813, Musée Ingres, Montauban), a luridly romantic subject ill-suited to his talent, and Romulus Victorious over Acron (1812, Louvre), executed in tempera to simulate fresco and composed as a frieze recalling works by John Flaxman (1755-1826) in its two-dimensionality. Among his Napoleonic patrons was Caroline Murat, sister of the emperor and queen of Naples, for whom he painted the Grand Odalisque (1814, Louvre), a woman of the harem reclining in a posture reminiscent of David's Madame Récamier for which Ingres had painted the accessories. The steely finish and the extravagant elongations and sinuosities of this nude troubled the reviewers of the Paris Salon, where the picture was shown in 1819. Painted for his friend Marcotte at about the same time, but in a totally different style, the National Gallery's Pope Pius VII in the Sistine Chapel (1952.2.23) presents a modern scene in minute detail and with great painterly subtlety.
In 1814 the collapse of the French government in Rome deprived Ingres of patronage and reduced him to making a meager living for himself and Madeleine Chapelle, his young bride, by drawing portraits of visiting foreigners. At this juncture, the fashion for small, genrelike paintings of historical subjects came to his aid. With his gift for minute execution, he composed scenes from the lives or legends of famous men with conscientiously researched detail. His painted anecdotes--Henry IV and the Spanish Ambassador (1817, PetitPal), The Death of Leonardo da Vinci (1818, PetitPal), and others of this kind--have the bright distinctness of manuscript illuminations. To the Salon of 1819 he submitted, besides the Odalisque of 1814, a scene from Ariosto, Roger Saving Angelica from the Dragon (Louvre), which made effective use of the contrast between the golden gleam of Roger's armor and Angelica's fleshy whiteness, highlit against the lugubrious darkness of cliff and sea. The critics were hostile, but the picture was bought by the State.
In 1817 Ingres received his first major commission from the Restoration government then in the process of refurbishing churches neglected since the Revolution. It called for an altarpiece representing Christ Delivering the Keys to Saint Peter to be installed in the French church of Santa Trinita dei Monti in Rome (1820, now Musée Ingres, Montauban) and was followed in 1820 by an even larger charge, the execution of The Vow of Louis XIII (completed 1824) for the cathedral of Montauban, Ingres' native city. Drawing heavily on motifs from Raphael and carried out with the help of many model studies, these projects occupied him for nearly a decade. Ingres, who had meanwhile moved to Florence, in 1824 accompanied The Vow of Louis XIII to Paris, where it won a resounding success at the Salon. Long accustomed to critical abuse, he now became the object of flattering attention from an art administration that, threatened by the hostility of the younger artists and the rising tide of romanticism, needed a leader strong enough to take David's place. In this emergency, Ingres seemed--despite his eccentricities--a possible defender of the traditions of great art. Awarded the Legion of Honor and elected to the academy, he was persuaded to remain in France, where he opened a teaching studio in 1825 and became David's heir as the most influential teacher of the unruly young and groomer of Rome Prize winners. He may have been unaware of the strategy that had led to his elevation and was, at any rate, ill cast in the role of academician, being of independent mind and opposed to academic routine.
Important official commissions now came his way. For a newly decorated gallery of the Louvre, he was assigned an ideologically significant subject, the Apotheosis of Homer (1827), which he conceived as an homage to classical authority and affirmation of the continuity of tradition. In two hundred drawings and more than thirty painted studies, he calculated every detail of the composition but curiously failed to consider its ultimate function as a ceiling panel. At the Salon of 1827, it appeared as the conservative counterweight to Delacroix' anarchical Death of Sardanapalus (Louvre). Both pictures failed to please: Ingres' work was considered a bore, Delacroix', the ravings of a lunatic.
The Revolution of 1830 found Ingres at his post as national guardsman, protecting, rifle in hand, the Italian masters at the Louvre. The liberal monarchy of Louis-Philippe gave him honors but little work. It named him president of the Ecole des Beaux-Arts, but the great commission that occupied him in the 1830s, the Martyrdom of Saint Symphorian (1826-1834) for Autun cathedral, had been given him by the previous regime. He labored over it for nearly ten years, only to find that, when shown at the Salon of 1834, it was dismissed by the critics as outmoded in style and subject matter. Deeply angered, Ingres declared that he would never show his work in Paris again and departed for Rome to assume the directorship of the French Academy. His output during his six-year term at the Villa Medici was relatively small, culminating in two paintings, Odalisque with Slave, an oriental fantasy (1839, Fogg Art Museum, Cambridge, Massachusetts), and Antiochus and Stratonice (1840, Musée Condé, Chantilly), painted for the duc d'Orléans, the king's eldest son. A classical subject staged with minute attention to archaeological detail, this picture was shown at the Palace of the Tuileries. Its popular success enabled Ingres to make a triumphal return to France.
Much of his energy during the following decade was spent on the project of a large mural decoration on the themes of the Age of Gold and the Age of Iron for the château of the duc de Luynes at Dampierre. Begun in 1842, Age of Gold, which Ingres planned as an image of humanity's primeval existence in a state of ideal beauty, developed into a dreamlike congestion of nudes in an Arcadian setting. Discouraged after years of effort, he left the project unfinished in 1850 but returned to its subject in 1862, in a painting of small size (Fogg Art Museum, Cambridge, Massachusetts). It was in several portraits of society wornen--Vicomtesse d'Haussonville (1845), Baroness Rothschild (1848), Madame Moitessier (1851, National Gallery of Art, 1946.7.18), Princesse de Broglie (1853), and Madame Moitessier Seated (1856)--that Ingres achieved the monumentality that had eluded him in work of wall-size dimensions.
His wife's death in 1849 cast him into a depression that prompted him to resign his professorship at the Ecole des Beaux-Arts, but his marriage in 1852, at age seventy-two, to Delphine Ramel, a relative of his friend Marcotte, revived his spirits and renewed his self-confidence. The government of Napoleon III commissioned him in 1853 to paint an Apotheosis of Napoleon I for a ceiling at the Hôte1 de Ville (destroyed in 1871) and honored him with a grand retrospective exhibition at the Universal Exposition of 1855. Like David, who in his old age had turned to erotic subjects, the aged Ingres showed a renewed interest in the female nude, causing him to revisit motifs from his own earlier work: Venus Anadyomene (1848, Musée Condé, Chantilly) completed a composition begun in 1808; La Source (1856, Louvre), a boldly frontal nude, was the reworking of a canvas begun in 1820; Turkish Bath (Louvre), finished in 1862 after changes of format and details, comprised in its crowded composition a repertoire of his earlier nudes.
Ingres was eighty-two years old when he signed this picture. In the same year he was appointed to the French Senate. He died, after a brief illness in January 1867, aged eighty-seven and still in vigorous mental and physical health. Having all his life shown a dislike of the academy and an aversion to the Salon, he was adopted by the establishment in the latter part of his career and perversely miscast in the role of archconservative. As such he has long figured in the history of art, though his work proclaims him to have been a stylist of daring individuality, whose single-minded dedication to an ideal of beauty based on difficult harmonies of line and color, on the music of relationships, and the mathematics of form, assures him a place apart. [This is the artist's biography published in the NGA Systematic Catalogue]
________________________________
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...
.