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12 Points Festival
The Project
Dublin Ireland
5 March 2008
12 Points Festival
The Project
Dublin Ireland
5 March 2008
12 Points Festival
The Project
Dublin Ireland
5 March 2008
Lea Castle Gardens TP4381
Bracket Number: S3783
Off B4190 @ Habberley
In Private Garden (asked owners) off B4189 nr Wolverley
A set of points at Boness and Kinneil Railway HDR softened in places sharpened in others was just messing around with a few filters till bedtime. including my new favourite Black Diffusion
Points of View
London
Urban View
Another moment after an event up high. So many unexpected colours in the city. So many spires. So many cranes. The moment the sun turned everything to gold.
Photography by www.tracyhowl.com
All Rights Reserved 2013
U.S. Military Academy cadets and U.S. Naval Academy Midshipman compete in the 2023 Patriot Games along the Freedom Trail in and around Boston, Massachusetts. Points are earned through five events and the team with the most wins will earn this year’s Patriot Games Trophy. December 8, 2023. (U.S. Army photo by Cadet Noah Murray)
12 Points Festival
The Project
Dublin Ireland
5 March 2008
12 Points Festival
The Project
Dublin Ireland
5 March 2008
12 Points Festival
The Project
Dublin Ireland
5 March 2008
Henry Fuseli
Oedipus Cursing His Son Polynices, 1786
West Building, Main Floor — Gallery 61
The bodies of four people are locked together through dramatic gestures and poses against a dark background in this nearly square painting. The two men have pale, peachy skin and the two women have ash-white skin, and together they almost fill the composition. A man with a white beard and hair wears a short-sleeved brown garment and sits to the right of center. His body faces our left and both of his arms reach straight out at shoulder height. His head juts forward and his bulging eyes appear white. He points at a younger man kneeling in front of him with his left hand. Near the left edge of the canvas, the younger man’s body also faces our left as he kneels on his left knee. His body leans forward over his right knee, which is bent so that foot is flat on the ground. His head is thrown back and his right hand, on our left, crosses his body and is raised as if to shield his face. His other arm extends so the raised flat of his hand is close to the old man’s face. The young man has dark hair and wears a tight-fitting, short-sleeved, golden yellow tunic. One woman with long blond hair rests her hands and leans her forehead onto the old man’s knee in the lower right corner. The second woman stands behind the pair of men with her arms spread wide so one hand reaches over the shoulder of the old man, and her other hand nearly touches the younger man’s head. She has long, curly brown hair, and she looks at the older man with her lips parted. Both women wear white and pale gray garments. There is the suggestion of blue sky beyond some trees along the left edge of the composition but the rest of the background is deep in shadow.
Fuseli, a native of Switzerland, began his career in England as a history painter. He developed an expressionistic style composed of a unique blend of influences—German romanticism, the monumental vision of Michelangelo, and the physical and psychological exaggerations of the 16th–century Italian mannerists.
Fuseli's own pessimism and fascination with the extremes of human passion are evident. He heightened the intensity of this scene from Sophocles' Oedipus at Colonus by placing Oedipus and his children in a dark, shallow space. The tragedy of the father's curse is played out through the gestures of the four figures. Polynices, who had expelled his blind father from Thebes and left him to live as a beggar, has come to ask his father's support in overthrowing his brother. Oedipus, enraged at his son's request, stretches out his accusing arms and levies his dreadful curse, by which each son would die at the hands of the other. Ismene, weak and despairing, kneels with her head on her father's knee. Antigone, whose strength and determination have kept her father alive, is highlighted above the terrible drama as she reaches out to protect her brother with one hand and restrain Oedipus with the other. Her gesture, however heroic, is futile.
More information on this painting can be found in the Gallery publication British Paintings of the Sixteenth through Nineteenth Centuries, which is available as a free PDF www.nga.gov/content/dam/ngaweb/research/publications/pdfs...
Fuseli was born in Zurich on 6 February 1741, the second son of the five children of Johann Caspar Füseli and Elisabeth Waser. Although educated as a theologian and ordained as a Zwinglian minister in 1761, Fuseli pursued a wide range of humanist studies, developing an enthusiasm for classical philology under the influence of Johann Jakob Breitinger, and becoming proficient in English, French, and Italian. He was introduced by Johann Jakob Bodmer, the mentor whom he most revered, to Homer, the Nibelungenlied, Dante, Shakespeare, and Milton, later the principal sources of his art. His associations with the Sturm und Drang movement were close. Forced, with Lavater, to leave Zurich in 1763 after publishing a pamphlet critical of the administration, he traveled in Germany, England, and France, embarking on a literary career.
Encouraged by Reynolds in 1768 to become a painter, Fuseli traveled to Italy in 1770 in the company of John Armstrong. He sought inspiration from classical sculpture, Michelangelo, and mannerist art, and, befriended by the Swedish sculptor Johan Tobias Sergel, became the leading spirit of a group of innovative young artists. Returning to London in 1780, Fuseli established his reputation with The Nightmare. Involved from the outset in 1786 with John Boydell's scheme for employing the most talented artists of the day on a Shakespeare Gallery, he devoted most of his time to paintings of Shakespearean themes until the opening of the gallery in 1789. In emulation of this project, he executed during the 1790s forty-seven paintings for a Milton Gallery in which the work was entirely his. Although many of these works were bought by his principal patron, Thomas Coutts, the exhibitions in 1799 and 1800 were not a public success.
Fuseli was elected an Associate of the Royal Academy of Arts in 1788, a full Academician in 1790, and Professor of Painting in 1799; he was obliged to relinquish the latter post after his election as Keeper in 1804, the year in which Benjamin Robert Haydon became his pupil, but the statutes were altered to allow him to resume it in 1810.
Fuseli's relationships with and attitude to women were highly important for his art. His most passionate love was for Anna Landolt, a niece of Lavater, whom he met in Zurich in 1778; but her father refused his suit. He married in 1788 Sophia Rawlins, an attractive young model obsessed with hair and fashion, who was socially and intellectually his inferior; there were no children, but she appears to have satisfied her husband's fetishistic and other desires. Mary Wollstonecraft's passion for him in 1792 was firmly put down by Mrs. Fuseli. Fuseli died suddenly on 16 April 1825, at the home on Putney Hill of Coutt's daughter, Lady Guilford, and was buried in Saint Paul's Cathedral, London.
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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...
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12 Points Festival
The Project
Dublin Ireland
5 March 2008
12 Points Festival
The Project
Dublin Ireland
5 March 2008
12 Points Festival
The Project
Dublin Ireland
5 March 2008
12 Points Festival
The Project
Dublin Ireland
5 March 2008
12 Points Festival
The Project
Dublin Ireland
5 March 2008
12 Points Festival
The Project
Dublin Ireland
5 March 2008