View allAll Photos Tagged stoop
Leisure and Labor, 1858
Frank Blackwell Mayer
West Building, Main Floor — Gallery 71
Gazing down at a blacksmith stooped over his work, an elegantly dressed man leans against a post. His graceful greyhound and the broken plow at his feet underscore his idleness. The poster behind him, which shows a grim reaper–like figure above the (misspelled) text “Stop Theif!!,” reminds us not to waste precious time.
Painted just before the Civil War, the scene may represent Northern scorn toward wealthy Southern landowners who bred greyhounds for sport and show. In political satires of the time, the dogs sometimes symbolized the Confederacy.
Two men, a dog, and a horse gather at the wide opening to a barn-like building that fills this horizontal painting. A light-skinned, blond man in a tall, brimmed, straw hat leans with his ankles crossed and hands in pockets against the right side of the opening. His body faces us and he turns his gaze toward the man to our left, whose face is in profile. The blond man's knee-length, olive-green jacket has black lapels, and it hangs open to reveal a close-fitting, ivory-white vest over a white shirt with a sea-blue tie. His brown, calf-high boots have a band of brick red around the top. A slender, brown and white grayhound stands facing our left in profile with its front legs stiffly straight and its hindquarters pressing against the man’s right leg. The tanned, dark-haired man near the jamb to our left bends over to work on the underside of a horse’s hoof, which he holds between his knees with his left hand. He wears a loose red shirt with an open collar and rolled-up sleeves, over wrinkled brown pants. Short black locks emerge under the edges of his olive-green cap. A wooden box of tools, with a handle for carrying, sits on the dirt ground in front of him. The horse being shod, overlapped by the workman, faces into the barn and to our left, but its head, turning to our right, is silhouetted against a landscape visible through an open window at the back of the barn. The view is dotted with haystacks and framed by tree branches. A stirrup hangs on a strap flung over a saddle on the back of the horse, whose rump stands between the laborer and a woman, who is deep in shadow. Placing her right hand, on our left, on her hip, she appears in front of the grids of window panes. She seems to have pale skin and dark, loosely bound-up hair, and she looks toward the horse. Red flames flicker in a fireplace between her and the standing blond man. The front opening of the structure is protected by a shallow wooden portico, supported on the left by a slender, trimmed tree trunk with a ring hanging from a screw near the top. Curling red and yellow leaves are scattered on the long, narrow, wooden boards that form the porch roof. Sunlight dapples the barn wall to our left, and a square patch of light falls on the face of the wall to our right, near the ground. A broken plow lies on the ground to our right, with the wooden handle of a tool propped against it. A tuft of long dark hair, like a horse’s tail, hangs on the wall over the tools. Closer to the head of the standing man, a poster is printed with black on white paper. A running man carrying an hourglass and a scythe is enclosed in a thin circle, over the words, “STOP THEIF!!!” in capital letters, though “thief” is misspelled.
This painting, completed just three years before the Civil War began, may be an expression of northern antipathy toward the landed gentry of the south. Leisure and Labor is the culmination of Mayer's decade-long exploration of the blacksmith theme. The bifurcated canvas juxtaposes a well-dressed man leaning casually on the right—hands tucked in his pockets and legs crossed—with an industrious and productive blacksmith hard at work on the left. A broken plow and graceful greyhound further underscore his leisure. The dog evokes breeding of animals for sport and show, an idle pursuit of Southern aristocracy during this period. During the war, the greyhound was one of the symbols of the Confederacy in anti-Southern political satires. The moral lesson is further communicated by the white poster on the right which depicts a man (who resembles the Grim Reaper) running with scythe in hand above the misspelled text "Stop Theif!" reminding the viewer that time is precious and not to be wasted.
Mayer, a Maryland artist renowned for his historical subjects and genre scenes, remained publicly ambivalent about the Civil War. After its outbreak, he traveled to Paris, as did two of the most important American collectors of the 19th century: William T. Walters, who commissioned Leisure and Labor and who later founded the Walters Art Museum in Baltimore, and William Wilson Corcoran, who purchased the painting in 1859 and who later founded the Corcoran Gallery of Art in Washington, DC. Both collectors were known Southern sympathizers.
________________________________
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...
.
Leisure and Labor, 1858
Frank Blackwell Mayer
West Building, Main Floor — Gallery 71
Gazing down at a blacksmith stooped over his work, an elegantly dressed man leans against a post. His graceful greyhound and the broken plow at his feet underscore his idleness. The poster behind him, which shows a grim reaper–like figure above the (misspelled) text “Stop Theif!!,” reminds us not to waste precious time.
Painted just before the Civil War, the scene may represent Northern scorn toward wealthy Southern landowners who bred greyhounds for sport and show. In political satires of the time, the dogs sometimes symbolized the Confederacy.
Two men, a dog, and a horse gather at the wide opening to a barn-like building that fills this horizontal painting. A light-skinned, blond man in a tall, brimmed, straw hat leans with his ankles crossed and hands in pockets against the right side of the opening. His body faces us and he turns his gaze toward the man to our left, whose face is in profile. The blond man's knee-length, olive-green jacket has black lapels, and it hangs open to reveal a close-fitting, ivory-white vest over a white shirt with a sea-blue tie. His brown, calf-high boots have a band of brick red around the top. A slender, brown and white grayhound stands facing our left in profile with its front legs stiffly straight and its hindquarters pressing against the man’s right leg. The tanned, dark-haired man near the jamb to our left bends over to work on the underside of a horse’s hoof, which he holds between his knees with his left hand. He wears a loose red shirt with an open collar and rolled-up sleeves, over wrinkled brown pants. Short black locks emerge under the edges of his olive-green cap. A wooden box of tools, with a handle for carrying, sits on the dirt ground in front of him. The horse being shod, overlapped by the workman, faces into the barn and to our left, but its head, turning to our right, is silhouetted against a landscape visible through an open window at the back of the barn. The view is dotted with haystacks and framed by tree branches. A stirrup hangs on a strap flung over a saddle on the back of the horse, whose rump stands between the laborer and a woman, who is deep in shadow. Placing her right hand, on our left, on her hip, she appears in front of the grids of window panes. She seems to have pale skin and dark, loosely bound-up hair, and she looks toward the horse. Red flames flicker in a fireplace between her and the standing blond man. The front opening of the structure is protected by a shallow wooden portico, supported on the left by a slender, trimmed tree trunk with a ring hanging from a screw near the top. Curling red and yellow leaves are scattered on the long, narrow, wooden boards that form the porch roof. Sunlight dapples the barn wall to our left, and a square patch of light falls on the face of the wall to our right, near the ground. A broken plow lies on the ground to our right, with the wooden handle of a tool propped against it. A tuft of long dark hair, like a horse’s tail, hangs on the wall over the tools. Closer to the head of the standing man, a poster is printed with black on white paper. A running man carrying an hourglass and a scythe is enclosed in a thin circle, over the words, “STOP THEIF!!!” in capital letters, though “thief” is misspelled.
This painting, completed just three years before the Civil War began, may be an expression of northern antipathy toward the landed gentry of the south. Leisure and Labor is the culmination of Mayer's decade-long exploration of the blacksmith theme. The bifurcated canvas juxtaposes a well-dressed man leaning casually on the right—hands tucked in his pockets and legs crossed—with an industrious and productive blacksmith hard at work on the left. A broken plow and graceful greyhound further underscore his leisure. The dog evokes breeding of animals for sport and show, an idle pursuit of Southern aristocracy during this period. During the war, the greyhound was one of the symbols of the Confederacy in anti-Southern political satires. The moral lesson is further communicated by the white poster on the right which depicts a man (who resembles the Grim Reaper) running with scythe in hand above the misspelled text "Stop Theif!" reminding the viewer that time is precious and not to be wasted.
Mayer, a Maryland artist renowned for his historical subjects and genre scenes, remained publicly ambivalent about the Civil War. After its outbreak, he traveled to Paris, as did two of the most important American collectors of the 19th century: William T. Walters, who commissioned Leisure and Labor and who later founded the Walters Art Museum in Baltimore, and William Wilson Corcoran, who purchased the painting in 1859 and who later founded the Corcoran Gallery of Art in Washington, DC. Both collectors were known Southern sympathizers.
________________________________
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...
.
5 Apr 19 - The Stoop, Twickenham, Middlesex, England, UK.
Rugby.
Inter-Services Rugby Championship 2019.
Royal Air Force v Royal Navy.
Win for Royal Navy - 25-10.
Posing with Blue's Clues. We brought him with us because she kissed him goodbye so I said what the heck, bring the little plastic guy with us.