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186/366 - Strings
05 November 2009:
My favorite subject these past few days..
OCL info:
43" Reflective satin umbrella at subject right with sb800 at 1/64 triggered by poverty wizards.
:)
Thanks Guys!! Hope you're having a great weekend.
You can tell, eh :D Well, there's also a human-sized cave underneath that, and you can jump inside through the freezing strings if you like your health that little.
I had a chance to visit Kamimoto Strings in San Jose's Japantown yesterday. One of the interns on the Web team at SCU works there part-time. She showed the owners my portfolio and they were curious about how I might shoot their shop. I spent about an hour shooting around the shop with the TtV rig, the Lensbaby Composer/Sweet 35 combo, the GF1 and Pinwide, and the E-PL3 with the Oly 17mm 2.8 and Panny 7-14mm f4. I took a few iPhone shots, too. They were pretty busy, and I tried not to get in the way, but I think I captured the essence of their business...
Up On The Rooftop
now available at Pulling Strings!
slurl.com/secondlife/Caribbean%20City/110/74/22
The snowy roof and chimney are included, as well as the starry/full moon backdrop texture, in case you want to take your own winter night pics! There are 7 anims; just sit and click to try them all! Have fun!
"The Madame comes to the Atelier bearing a gift with strings attached."
Gaaaah~! I've been dying to use that SD violin ever since HKDP9, but couldn't—at least, not until it was properly introduced. Hurray for finally making this photostory! ♥
Remember how it was the Madame who enrolled little Frei to violin classes, and how she bought him a violin. Then remember how Ave sent Frei to the Atelier, and then stole the violin from House Zia. Now, the Madame once again bought a violin for Frei, challenging Ave to try and pull the same stunt seven years ago.
Time to give the inner child a run. Stack of kites at Strand Park, Townsville, last year.
Heat mapped in Picnik.
François Boucher - French, 1703 - 1770
Allegory of Music, 1764
West Building, Main Floor — Gallery 54
A woman wearing flowing, pastel-colored robes and two, winged, child-like putti gather on a bank of clouds among musical instruments and sheet music in this horizontal painting. The people all have pale, pink-tinged skin. The woman sits to our right of center, facing our left in profile. She has straight nose, a rounded chin, and her small, pink lips are closed. Her ash-blond hair is pulled back under a yellow band. A voluminous white robe falls away over her left shoulder, to our right, to reveal a firm breast and small pink nipple. Sky-blue drapery wraps over her far arm, and deep rose-pink cloth falls across her lap and onto the clouds around her. Her legs extend to our left, her toes pointed. She leans back on her left elbow, closer to us, and points with that index finger to a lyre she props against her knee with her other hand. One chubby, nude putto reaches forward to strum the strings. The other putto hovers above, holding a ring of laurel leaves up in one hand and a flute in the other. Both putti have chubby limbs and torsos, blond curls lifted as if in a breeze, and short, ice-blue wings. Both look at the woman. In the lower left corner, a helmet with a topaz-blue feather and the gold hilt of a sword sit near the woman’s feet. Beneath the woman’s lower leg, at the bottom center of the painting, is a gold horn encircled by another wreath of laurel leaves. Two white doves with wings spread support an open book of sheet music and two pink roses tucked under the woman’s bent elbow. Fog-gray clouds billow up both sides of the scene against a pale blue sky. The clouds on which the trio gathers are parchment brown shaded with mauve pink. The outer corners of the image are white, indicating that the corners of the canvas were rounded. The artist signed and dated the painting in the lower right corner, “F Boucher 1764.”
François Boucher was a member of an extraordinarily talented generation of artists born around 1700 who would dominate French painting for much of the eighteenth century.[1] Heir to the grand manner of seventeenth-century art, Boucher nevertheless created a style and repertory of subject matter that was perfectly compatible with the intimate scale and refined taste of the court of Louis XV (r. 1715–1774) and his maitresse en titre, the marquise de Pompadour (1721–1764). Lavishly patronized and showered with academic honors throughout his career, Boucher came under harsh criticism later in his life, when his ebullient rococo style was attacked as decorative and his gallant iconography condemned as trivial.
A native of Paris, Boucher learned the rudiments of painting from his father, Nicolas (1672–1743), a member of the Académie de Saint-Luc. In the early 1720s he studied for a short time with François Lemoyne (1688–1737), one of the leading historical painters of the day, who would later be appointed First Painter to the King. According to Boucher, this experience did not have a great effect on his art,[2] even if several early paintings bear the influence of Lemoyne (for example, The Surprise, c. 1723–1725, New Orleans Museum of Art).
Boucher won the Grand Prix in 1723, but there was no room for him at the French Academy in Rome, so his trip to Italy was delayed several years. He spent the intervening period painting (he exhibited several works at the annual Exposition de la Jeunesse in the Place Dauphine in 1725) and printmaking, which he learned while living in the household of the engraver Jean François Cars (1661–1730). This experience led him to the print publisher Jean de Jullienne (1686–1766), for whom he produced numerous etchings for the Recueil Jullienne, a multivolume compendium of prints after compositions by Antoine Watteau (French, 1684 - 1721). As a result, Boucher gained what amounted to a second education as he immersed himself in the visual language and imagery of the great master of the fête galante. He finally traveled to Italy in 1728 at his own expense, although next to nothing is known about his activities there or whether the trip had any effect on his art. He was back in Paris by 1731. That same year he was admitted as a history painter into the Académie royale de peinture et de sculpture, gaining full membership three years later with Rinaldo and Armida (Paris, Musée du Louvre), a painting that still demonstrates the influence of Lemoyne.
From these auspicious beginnings followed an exceptionally successful career, as Boucher won a succession of important commissions from the French Crown and aristocracy. For Louis XV he produced many painted decorations for royal châteaus at Versailles, Bellevue, Choisy, and Fontainebleau while also participating in the decoration of aristocratic residences in Paris, such as the Hôtel de Soubise. Among his most innovative works were two pictures of exotic hunts, La Chasse au Tigre and La Chasse au Crocodile, painted for the king’s private apartments at Versailles and now in the Musée de Picardie, Amiens. His prodigious oeuvre and the many engravings made after his works soon earned him an international reputation.[3] With Charles Joseph Natoire (French, 1700 - 1777) and Carle Van Loo (French, 1705 - 1765) he was one of the principal exponents of the rococo, the ornate, colorful style of art associated with the reign of Louis XV. A tireless draftsman, Boucher made lyrical and often brilliant drawings that were widely collected, then as now, and disseminated through prints by such artists as Gilles Demarteau (1722–1776), who perfected a “crayon-manner” engraving technique that reproduced the soft textures of colored chalk.
Boucher is perhaps best known for his many mythological paintings, such as Diana at the Bath of 1742 (Paris, Musée du Louvre), and pastoral subjects, such as Pensent-ils au Raisin of 1749 (London, Wallace Collection). Generally idealized and lighthearted depictions of rustic life, these pastorals sometimes drew their imagery from the theater, such as the comic operas of Charles Simon Favart (1710–1792) and Jean Monnet (1703–1785), for whom Boucher designed stage sets in the 1740s and 1750s. A diverse artist, Boucher also produced religious paintings, some of them innovative, such as his devotional picture La Lumière du monde of 1750 (Lyon, Musée des Beaux-Arts), painted for Madame de Pompadour’s private chapel at Bellevue; genre scenes (his Le Déjeuner of 1739 in the Musée du Louvre is one of his highest achievements in the category of the tableau de mode); landscapes; and portraits. This latter category, encountered infrequently in his oeuvre, nevertheless includes one of his greatest masterpieces, the monumental Portrait of Madame de Pompadour of 1756 (Munich, Alte Pinakothek).[4]
In addition to his many painted decorations and cabinet pictures, Boucher contributed designs for the Beauvais and Gobelins tapestry works, the Sèvres porcelain factory, and stage sets and costumes for the theater. He also produced numerous chinoiseries, fanciful and exotic images of the Far East (such as the oil sketches, now in the Musée des Beaux-Arts, Besançon, used as tapestry designs).[5] He was the favorite artist of Madame de Pompadour, for whom he painted some of his most impressive works, including The Rising of the Sun and The Setting of the Sun of 1753 (London, Wallace Collection), large canvases that were made as tapestry cartoons for Beauvais. Boucher’s flourishing studio was the training ground for many young artists, the greatest of whom, Jean Honoré Fragonard (French, 1732 - 1806), would surpass his master in invention and ingenuity if not in public renown. During the 1750s and 1760s Boucher’s increasingly saccharine style and repetitive compositions came under attack from anti-rococo critics such as Etienne La Font de Saint-Yenne (1688–1771) and Denis Diderot (French, 1713 - 1784), who saw Boucher’s lighthearted subject matter and fluid, coloristic style as frivolous and morally corrupt. Yet Boucher, in defiance of an increasing demand from theorists, critics, and public agitators, continued to exhibit his cheerful and sugary visions of pastoral bliss and mythological trysts at the biennial Salons. Indeed, his social connections and efficient careerism resulted in his appointment in 1765 as First Painter to the King and his election as director of the Académie royale. This final triumph was short lived, however, as Boucher died in Paris in 1770.
________________________________
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...
.
An improv duet between double-bass and acoustic salad-making: Nine Strings at the DC Arts Center, 11feb09: part of the Electric Possible series of experimental music performances.