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I have an obscure interest in straining posts due to The Restraint of Beasts. This is between Ben Buck and Ben Cleuch.
Joseph Mallord William Turner, 1775–1851
Dort, or Dordrecht: The Dort Packet-Boat from Rotterdam Becalmed - 1818
Dort, or Dordrecht is a brilliant demonstration of Turner’s quest to outdo the most celebrated of his Dutch predecessors. Its composition reworks Aelbert Cuyp’s famed The Maas at Dordrecht (ca. 1650). More than simply recreating its diffuse, golden light, however, Turner introduced a richness of coloring that endows his painting with even greater luminosity. The overall impression is one of tranquility and calm. Nevertheless, it soon becomes clear that the painting is filled with incident, seemingly based on scenes Turner witnessed when he passed through the port during his second continental tour of 1817. The ferryboat at the center of the image is teeming with life. Its deck overflows with passengers who strain to look overboard as supplies are unloaded from the passing vessels. This combination of intense color and rich detail dazzled critics and led Turner’s fellow artist John Constable to call it “the most complete work of genius I ever saw.”
J. M.W. Turner made his second Continental tour in 1817 in the aftermath of the Napoleonic Wars and passed through Dordrecht on his way home. This view, one of Turner’s masterpieces, was painted after his return to London in December 1817 and was exhibited at the Royal Academy in April 1818. The Swan, a packet boat from Rotterdam, is traveling down the river Meuse towards Dordrecht and is being provisioned by passing boats while it is becalmed. A vision of peaceful serenity, the picture contrasted with Turner’s other exhibit that year, a view of the bloody battlefield of Waterloo by moonlight. In Dort, Turner was emulating the celebrated Dutch painter Aelbert Cuyp (1620–1691), whose work was avidly collected by British connoisseurs. The painting’s extraordinary luminosity and brightness of color dazzled the critics, one claiming it was “one of the most magnificent pictures ever exhibited.” John Constable was probably referring to this picture when, many years later, he remembered it as “the most complete work of genius I ever saw.”
n summer 1817, Turner visited Dordrecht (sometimes known as Dort) on a tour of the Netherlands. He spent a day and a half there and made many pencil sketches, some of which were the basis for this grand view of the city from the north. The river is the Noord, and the becalmed packet or market-boat is The Swan, which sailed regularly between Dordrecht and Rotterdam. While awaiting a change in the wind or tide, the passengers are buying food and drink from enterprising local people in rowboats. Ever matching himself against other landscapists, Turner imitates the style of the seventeenth-century Dutch master Aelbert Cuyp, a native of Dordrecht, particularly in the high contrast of dark elements against luminous sky and water. Dort belonged to one of Turner's best patrons, Walter Fawkes of Farnley Hall in Yorkshire, and hung there in the dining room until 1966, when it was purchased by Paul Mellon.
collections.britishart.yale.edu/catalog/tms:34
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J. M. W. Turner: Romance and Reality
The year 2025 marks the 250th anniversary of the birth of Joseph Mallord William Turner (1775–1851), possibly the most widely admired and influential British artist of all time.
Though Turner was trained within the English topographical tradition, his practice was deeply rooted in a wider European heritage of landscape painting. Turner pushed this inheritance to its limits in pursuit of his own expressive ends, astounding contemporaries with his bold and highly original compositions. His unique approach paved the way for a new form of landscape art, one that combined virtuoso brushwork with brilliant color, dazzling light effects, and an almost abstract sensibility. As a result, Turner came to be recognized as the most radical and innovative painter of his time and has continued to be so ever since.
This exhibition, the first show focused on Turner to be held at the Yale Center for British Art in more than thirty years, will showcase the museum’s rich holdings of the artist’s work. Unequaled in North America, this collection includes some of Turner’s most acclaimed oil paintings, notably his masterpiece Dort or Dordrecht: The Dort Packet-Boat from Rotterdam Becalmed (1818) and his celebrated later painting Staffa, Fingal’s Cave (1831–32). Alongside these major works, the exhibition will also feature outstanding watercolors and prints from the YCBA’s collection, including the artist’s only complete sketchbook outside of the British Isles.
Turner’s works are akin to painted poems, filled with incident, anecdote, and symbolism. Conveying both the beauty and cruelty of nature and human life, they shed fascinating light on the artist’s world and reveal an aesthetic—and moral—complexity that is at once discomforting and strangely modern.
britishart.yale.edu/exhibitions-programs/j-m-w-turner-rom...
"In two inaugural exhibitions upstairs, large gestural paintings on the second floor focused on the female body by Emin — who established her reputation with confessional, ramshackle sculptural installations — have unexpected resonance with atmospheric landscapes on the third floor drawn from the center’s almost 3,000 works by J.M.W. Turner, who was born almost 200 years before Emin and, like her, counted the English seaside town of Margate as an important second home.
This pairing reflects the center’s new curatorial approach, Droth said, showcasing the depth and richness of its historical collections “and then taking those threads into the present moment with someone like Tracey, who absolutely sees herself in the lineage of Margate, famous for Turner and now famous for Tracey, and in those sort of painting traditions.”
www.nytimes.com/2025/04/25/arts/design/yale-british-art-t...
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Opened in 1977 through the generosity of Yale graduate and philanthropist Paul Mellon, the Yale Center for British Art holds the largest and most significant collection of British art outside the United Kingdom. The collection spans five centuries and is the foundation for a museum uniquely focused on the histories, legacies, and shifting contexts of British art. Housed in a celebrated modernist building designed by Louis I. Kahn, the museum is situated on the Yale University campus in the city of New Haven. It is free and open to all.
"On the campus of Yale University, two art museums housed in landmark modernist buildings — each designed by Louis I. Kahn — sit directly across the street from one another. One, the Yale University Art Gallery, with an encyclopedic collection of about 300,000 objects, draws close to a quarter million people annually. The other, the Yale Center for British Art, with its specialized collection of more than 100,000 works from the 15th century to the present, brings in less than half that traffic.
The British center is now aiming to even up those visitor numbers.
It reopened in March after a two-year closure for conservation of the skylights and lighting throughout the building — the acclaimed architect’s last realized project, which opened in 1977 and is widely considered an artwork in itself — and with a fresh exhibition philosophy.
A piece by Tracey Emin, who came to fame as one of the so-called Young British Artists in the 1990s alongside peers like Damien Hirst and Sarah Lucas, inaugurates a new program of contemporary works in the lobby. Her glowing sculptural installation, with yellow neon lighting proclaiming in script “I loved you until the morning” on a mirrored wall in the museum’s entrance court, is visible from the street. It serves as an “invitation” at the front door, said Martina Droth, the center’s director, who was appointed in January after working with its collections for 16 years, most recently as chief curator."
www.nytimes.com/2025/04/25/arts/design/yale-british-art-t...
The museum’s collections include more than 2,000 paintings, 250 sculptures, 20,000 drawings and watercolors, 40,000 prints, and 35,000 rare books and manuscripts dating from the fifteenth century to the present. More than 40,000 volumes supporting research in British art and related fields are available in the Reference Library. The collection is rich with historic works by John Constable, Thomas Gainsborough, Joshua Reynolds, George Stubbs, and J. M. W. Turner, as well as works by major artists of the twentieth- and twenty-first centuries, including Hurvin Anderson, Francis Bacon, Vanessa Bell, Sonia Boyce, Cecily Brown, Barbara Hepworth, Anish Kapoor, Henry Moore, Ben Nicholson, Yinka Shonibare, and Barbara Walker.
britishart.yale.edu/collections-overview
One of the museum's greatest treasures is the building itself. Opened to the public in 1977, the Yale Center for British Art is the last building designed by the internationally acclaimed American architect Louis I. Kahn. The structure integrates the dual functions of study center and gallery, while providing an environment for works of art that is appropriately elegant and dignified. The building stands across the street from Kahn’s first major commission, the Yale University Art Gallery (1953). Located in downtown New Haven, the YCBA is near many of the city’s best restaurants, theaters, and shops.
The YCBA’s exterior of matte steel and reflective glass confers a monumental presence in downtown New Haven. The geometrical four-floor interior is designed around two interior courtyards and is comprised of a restrained palette of natural materials including travertine marble, white oak, concrete, and Belgian linen. Kahn succeeded in creating intimate galleries where one can view objects in diffused natural light. He wanted to allow in as much daylight as possible, with artificial illumination used only on dark days or in the evening. The building’s design, materials, and skylit rooms combine to provide an environment for the works of art that is simple and dignified.
britishart.yale.edu/architecture
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Determining the best strains of all time is like trying to pick the best songs of all time. There's an endless amount of factors, epic contenders, and at the end of the day, it all comes down to a matter of taste. However, like songs, certain varieties of flower undeniably shine above the rest. These strains, regardless of their current availability, have shaped the modern market and today's popular products.
One of the most incredible things about cannabis is its unending versatility. Its ability to morph into a mind-bending amount of varieties is what makes this meditation on the best strains possible, yet it's also what makes it difficult for strains to maintain their original high and integrity. Once a strain becomes popular, versions are hybridized and grown by a multitude of growers and brands, flooding the market with flower that may not even resemble the original cut.
Genetics get watered down over time and cross-bred into oblivion. As with NY Sour Diesel, which revolutionized the cannabis market in NYC in the late '90s and early 2000s, great strains are ephemeral. While still popular, the Sour Diesel you're picking up at your local dispensary doesn't hold a candle to the original cut Manhattanites were paying $100 a gram for in 2007. However, not all legendary strains have faded over time. Many of those that made this list are alive and well and readily available.
Amazing guitarist with an amazing sounding guitar. He is, however, only 24. I've got shoes older than that.....
Taken at New Bedford Summerfest 2008
"You're lying there in this hospital bed. Wont you open your eyes and let's talk once again? If you fly away tonight, i wanna tell you that i love you. I hope that you can hear me, i hope that you can feel me. If you fly away tonight, i wanna tell you that i'm sorry that i never told you when we were face-to-face."-Disciple.
“Sometimes I can hear my bones straining under the weight of all the lives I'm not living.”
― Jonathan Safran Foer, Extremely Loud and Incredibly Close
The National | Richmond, VA | February 13, 2011
Welcome To Hell Tour
Check me out on my other sites:
BrandonHambright.com // Facebook // Twitter // Youtube // Tumblr
After juice came out of the mill, it was run through a netting to strain bits of cane and such out of it.
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After surviving a terrifying car crash, a young woman discovers that aggressive, flesh-eating zombies have overtaken the entire area. She must figure out what is happening and why in hopes of escaping her horrifying circumstances.
The National | Richmond, VA | February 13, 2011
Welcome To Hell Tour
Check me out on my other sites:
BrandonHambright.com // Facebook // Twitter // Youtube // Tumblr