View allAll Photos Tagged quadrant
CLASS 107--QUADRANT
HEADS UP-TOURIST TRAP
A hat worn by a visitor to a national park
PHS 10181 ACape Hatteras National Seashore, North Carolina
Pamela Mathis, Norristown Garden Club
QUADRANT: HOLLYWOOD HATS
Esther Williams
Carrie F. V. Wilcox
Sasqua Garden Club (CT)
Bear grass, rice flower, rose
This photo shows the basics of the impact quadrant, a tool used by Continuous Improvement project teams to sort ideas they have brainstormed according to cost and impact.
Clockwise from the top left:
LCHI: Low Cost High Impact
HCHI: High Cost High Impact
HCLI: High Cost Low Impact
LCLI: Low Cost Low Impact
Photos from Milwaukee County's second continuous improvement project: improving the Procurement process. The photos here are of the value stream mapping session which was held over the course of two days, at Milwaukee County's Lincoln Park Blatz Pavilion
Finish your best bathroom with our shower doors and shower enclosures, screen presented in range of shape, size and best styles consist of quadrant shower enclosures, frameless shower enclosures, glass shower enclosures, walk in shower enclosures, folding shower screen etc at www.dabbl.de/home/shower-enclosures email export2@dabbl.de
Paul Cezanne - French, 1839 - 1906
Château Noir, 1900/1904
West Building, Main Floor — Gallery 84
We look across a forested ravine painted in deep greens and blues at a terracotta-orange building at the top of a hill at the center of this nearly square, loosely painted landscape. Spring and moss-green trees grow along the ravine in front of us and up the left side of the canvas. Shadows within the densely forested area are painted with slate and royal blue with touches of plum and lavender purple, and the blue continues into the sky in the upper right quadrant of the composition. The sky is visible through the pointed, arched windows on the upper level of the building, giving the impression that it might be incomplete or in ruins. The building is made up of two stories over a protruding base, which could be a fortress-like structure below or a cliff face. Loose, thick brushstrokes are visible throughout.
Cézanne's paintings after about 1895 are more somber, more mysterious than those of earlier years. His colors deepen, and his brushwork assumes greater expression. Spaces become more enclosed. Compare this landscape with Houses in Provence: The Riaux Valley near L'Estaque, c. 1883, executed 20 years earlier.
That painting is open, while a web of branches screens this one. This place is crabbed and remote—much more difficult and forbidding. Compare the skies, too. This blue is no longer airy, but leaden, darkened with touches of purple and green. Even the pale buildings have been replaced by a deeper ocher. Late in his life Cézanne was attracted not only to the fundamental order of nature, but also its chaos and restlessness. The moody loneliness of this place seems matched to his own. He painted Château Noir several times. It was the subject of local legends and had earlier been called Château Diable, "Castle of the Devil." With its Gothic windows and incomplete walls, it has the look of a ruin.
Cézanne still painted in the open air, directly in front of his subject, as impressionist Camille Pissarro had encouraged him to do. But this is far from a quick recording of fleeting visual effects. It is a long and intense meditation, an attempt to "realize"—to use Cézanne's word—his complete sensation of this place, which involves his temperament, his vision, and his mind equally.
________________________________
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...
.
Thank you, Bev, for the permission to use your chair picture for a series of kaleidoscopes. I enjoyed the new challenge.
A little hard to see but I've affixed the quadrant to a stub shaft and chucked it up in a rotary indexer. I'm using a ball nose endmill to make a pair of grooves for the steering cables.