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I always liked the BN colors, green and white, simple and clean. Here, a BN hopper, still sporting original colors and reporting marks (#447550) passes through Lenox Tower in Mitchell, IL.
Fitz Henry Lane - American, 1804 - 1865
Lumber Schooners at Evening on Penobscot Bay, 1863
West Building, Main Floor — Gallery 67
Near the center of the painting, a masted wooden ship floats against a vibrant sunset that fades from lilac purple to carnation pink along the horizon line, which comes about a quarter of the way up this horizontal landscape. The boat is angled away from us and to our left with one sail tied up near the top of one of the two tall masts. Four people stand on the lumber-filled deck and tie up other sails. A second boat floats in the distance, its rigging and masts silhouetted against the vivid pink sky. The water is deep blue along the bottom edge of the canvas and lightens where it meets the hills along the horizon. Slivers of wispy slate-gray clouds sweep across the sky.
Despite its meticulous draftsmanship and precise detail, Lane's work is far more than a simple inventory of harbor activity. The diminutive figures and carefully rendered vessels remain secondary to the vast expanse of sky, where shimmering light creates a tranquil, idyllic mood. Lane's rarefied landscapes epitomize man's harmonious union with the natural world.
Some scholars have used the term "luminism" to describe the artist's subtle use of light and atmospheric effects to convey nature's intangible spirit. Ralph Waldo Emerson, the foremost exponent of American Transcendentalism, believed that poets and painters should serve as conduits through which the experience of nature might be transmitted directly to their audience. With a similarly self-effacing artistic temperament, Lane minimized his autographic presence, using translucent glazes rather than heavily impastoed surfaces to underscore the scene's pervasive stillness. His elegiac paintings differ profoundly from the more explosive exuberance expressed by Cole and Church, though he shared these artists' reverence for nature and their belief in its inherent divinity.
More information on this painting can be found in the Gallery publication American Paintings of the Nineteenth Century, Part I, pages 412-415, which is available as a free PDF at www.nga.gov/content/dam/ngaweb/research/publications/pdfs...
Fitz Henry Lane was born Nathaniel Rogers Lane in the fishing port of Gloucester, Massachusetts on December 18, 1804; in 1831 he legally changed his first and middle names, becoming Fitz Henry Lane. Paralyzed as a young child, probably by infantile polio, Lane was obliged to use crutches. He learned the rudiments of drawing and sketching while in his teens and in 1832 worked briefly with a lithographic firm in Gloucester. Later that year he moved to Boston for formal training and an apprenticeship with William S. Pendleton, owner of the city's most important lithographic firm. Lane remained with Pendleton until 1837, producing illustrations for sheet music and scenic views.
While in Boston Lane became acquainted with the work of the English-born artist Robert Salmon (1775-c.1845), who was the most accomplished marine painter in the area. Salmon's paintings, with their meticulously detailed ships and crisply rendered effects of light and atmosphere had a decisive influence on Lane's early style. By 1840 he had produced his first oils; two years later he was listed in a Boston almanac as a "Marine Painter." His Scene at Sea (present location unknown) was exhibited at the Boston Atheneum in 1841 and, after 1845, his works were regularly shown there. During the mid-1840s Lane continued to produce both oils and lithographs, concentrating on landscapes, harbor views, and ship portraits. In 1848 he sold a painting to the American Art-Union in New York, which would subsequently purchase several more of his works. That summer he visited Maine with his life-long friend, the Gloucester merchant Joseph Stevens, Jr., whose family had a home in Castine. Lane would make many more visits to Maine during the rest of his life, and the distinctive scenery of the state became an increasingly important part of his artistic vocabulary.
In 1848 Lane moved permanently back to Gloucester, and with his sister and brother-in-law designed and constructed an impressive granite home overlooking the harbor. Although he traveled in the 1850s to such locations as Baltimore, New York, and, possibly, Puerto Rico, the scenery of Gloucester and Cape Ann would remain, with that of coastal Maine, at the very center of his artistic production. Although Lane's inconsistency in dating his works makes determining a strict stylistic evolution difficult, he seems to have reached a new maturity in the early 1850s. In an important series of images of Boston harbor, presumably from the mid-1850s, Lane perfected a style characterized by carefully balanced, calmly ordered compositions and radiant effects of light and atmosphere. Some modern historians have seen these paintings as part of a "luminist" style said to have been employed by many other American artists of the 1850s and 1860s. Whatever the case, Lane's art seems to have been primarily personal in nature, and there is little evidence he took notice of other painters' works or was much involved in larger artistic circles.
During the 1860s Lane produced what are perhaps his most poignant paintings, again focussing primarily on familiar scenes around Gloucester and in Maine. He left little in the way of written or otherwise recorded statements about his art, but these later works are markedly different from works of just a few years earlier. Highly reductive in format, refined in execution, and intense in effect, these works suggest some new expressive intent on Lane's part, the nature of which has been the subject of much modern speculation.
In 1864 and 1865 Lane was in poor health and, following a bad fall in August 1865, apparently suffered a heart attack or stroke; he died in Gloucester on the 13th of that month. Although one Boston paper characterized his passing as "a national loss," Lane's reputation during his lifetime was primarily local; following his death he and his works were largely forgotten outside Gloucester. With the revival of interest in nineteenth-century American painting during the 1940s, and, particularly with the large number of fine works by Lane presented to the Museum of Fine Arts, Boston by Maxim Karolik in 1948, he was gradually reinstated as a key figure. (At some point in the early twentieth century the artist's middle name began to appear erroneously as "Hugh," and he subsequently became well known as Fitz Hugh Lane. Archival research conducted in 2004-2005 irrefutably proved that his name was, in fact, Fitz Henry Lane; see "appendix" in John Wilmerding, Fitz Henry Lane, Glouchester, Massachusetts, 2005).
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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...
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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...
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Simple Minds perform at the Orpheum Theater in Downtown Los Angeles on October 13th, 2015l ©2020 Ron Lyon Photo
well yesterday, my mate text me, about lunch time, asking if i wanted to go to an childrens animal farm, considering we are both well not children, but had nothing else better to do, i grabbed my camera and went, it was proper jokes, and when we saw this guy, it was to good of opertunity to miss,
kids all around were singing the advert, it was greatly amusing,
there was even a little angry monkey called josh, it was pretty much me in monkey form it was great,
oh, as far as zoo's and captivity of wild animals etc, there not that cool like, but this was mostly pigs and goats and that sort of thing, but it was good
Download link: graphicriver.net/item/simple-minimalistic-resume-template...
Simple and Minimalistic Resume Template
This Resume is print ready, CMYK , 300 DPI with bleed lines and guides included and enabled.
All layers are fully editable, you can replace all the information very easily.
Includes 15 Layered PSD files with different Colors
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Fotos para el Web Magazine The Concert in Concert
Simple Plan - Palacio Vistalegre - 12/03/12
Please do not copy or use images without permission
5 x 5 is de naam van de clubtour die de Simple Minds aandoen waarmee ze 5 numers spelen van hun 5 eerste albums: ‘Life In a Day’, ‘Real to Real Cacophony’, ‘Empires and Dance’, ‘Sons’, ‘Fascination/Sister Feelings Call’ en ‘New Gold Dream (81, 82, 83, 84)’ uit de jaren 1979-1982. Paradiso Amsterdam was het decor van alweer de 4e 5 x 5 tour welke was gestart in Portugal 2 weken geleden. 5 x 5 is de naam van de clubtour die de Simple Minds aandoen waarmee ze 5 numers spelen van hun 5 eerste albums: ‘Life In a Day’, ‘Real to Real Cacophony’, ‘Empires and Dance’, ‘Sons’, ‘Fascination/Sister Feelings Call’ en ‘New Gold Dream (81, 82, 83, 84)’ uit de jaren 1979-1982. Paradiso Amsterdam was het decor van alweer de 4e 5 x 5 tour welke was gestart in Portugal 2 weken geleden.