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Tangible results of a very fruitful collaboration: Young European Ambassadors in Georgia and members of the Young Farmers Centers working together to mark the Georgian traditional vintage and rural harvest holiday Rtveli.
=> More about the ENPARD programme in Georgia: enpard.ge/en/.
=> Meet the Young European Ambassadors from Georgia: www.euneighbours.eu/en/east/eu-in-action/youth/young-euro...
#strongertogether #EU4youth
Tangible interface testing for Viruscraft before heading to the Eden Project to let it loose on visitors.
The Art of Investment: William Stone Images & Beyond
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WS-90-391296515-1413968-5622511-3032024013916
Lost&Found™ Embroidered Furniture, The Making Of Lost&Found™ Embroidered Furniture, Handmade, Craft, Tangible Interfaces, Visual Perceptions, Decoration, Surface Texture, PC Boards, Woodwork, Spray Room, Preparation, Analogue, Digital, Artisanal Techniques, Handmade Elements, Jewels, Re-Worked Objects, Assembled Objects, Found Objects, Eleanor-Jayne Browne, The D/sign Lounge
Photograph by OslerZoo Photography.
Check them out: www.oslerzoo.com
Party pics from our adidas x Forces of Nice art collab show in Hong Kong.
September 29th 2010.
// FORCES OF NICE/ //
CHAIRMAN TING INDUSTRIES
TANGIBLE INTERACTION
STRAIGHTLEG
The results have been tangible and are illustrated by a development in the numbers of craftsmen, which have increased by 20% due to the creation of more than 100 new jobs in the sector, as well as by an increase in the supervision rate.
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Les résultats ont été tangibles et s’illustrent par une évolution du chiffre d’affaire des artisans qui a évolué de 20% par la création de plus de 100 nouveaux postes d’emploi dans le secteur ainsi que par un relèvement du taux d’encadrement.
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النّتائج كانت ملموسةً من خلال ارتفاع في رقم معاملات الحرفيّين بنسبة 20% وخلق أكثر من 100 فرصة عمل جديدة في القطاع مع تطوّر نسبة التّأطير
Charles Hoge ’80
Charles Hoge ’80 has tangibly impacted the lives of countless war veterans and their families. A leading
psychiatrist and US Army colonel, Hoge is the foremost researcher on Post-Traumatic Stress Disorder
(PTSD) and mild Traumatic Brain Injury (mTBI) in Afghanistan and Iraq war veterans. Author of
the self-help book Once a Warrior–Always a Warrior: Navigating the Transition from Combat to Home,
Hoge has also authored or co-authored more than 200 peer-reviewed journal articles, letters, chapters,
reports, and abstracts. His articles on PTSD and mTBI are the most cited of all medical articles on the
Afghanistan and Iraq wars. On several occasions, he has testified before Congress.
Hoge wasn’t initially military-bound. While a student at Sarah Lawrence—where he met his wife,
Charise McFadden ’80—he studied the flute. In his junior year, he switched to pre-med and, after
graduating, earned his MD from the University of Maryland. There, Hoge completed an epidemiology
fellowship before becoming chief investigative officer for the Centers for Disease Control (CDC). Hoge
had spent his childhood in Southeast Asia; eager to return, he joined the army to direct epidemiological
studies in Thailand for the Department of Defense. Upon returning stateside, Hoge retrained in
psychiatry and joined the army’s premier research institute, the Walter Reed Army Institute of Research,
where he currently serves as senior scientist. Soon after Hoge shifted to psychiatric research, 9/11 and
the ensuing wars in Afghanistan and Iraq led to an upswing in war-related PTSD and mTBI, and he
found his focus. Today, Hoge also serves as neuropsychiatry consultant for the Office of the Army
Surgeon General and attending psychiatrist for Walter Reed National Military Medical Center.
A compelling blend of seemingly opposing traits and interests, Hoge confounds efforts at pigeonholing.
High school friend Peter Castaldi ’82 says: “He’s not disturbed by paradoxes. He always had two parallel
lives going on: artistic, sensitive, silly guy, and almost militaristic focus. He is famous for his cackle of a
laugh, but he’s one of the most serious guys I’ve ever met.”
Wife Charise says her husband is “driven by a passion for bringing attention to what is important, what
is effective, what has impact, what will make change. He doesn’t settle for less than the best he can
deliver.” In hundreds of television and radio interviews, a TEDx talk, his book, and numerous articles,
Hoge has worked hard to destigmatize war-related trauma and support veterans and families suffering its
effects. His accomplishments have been recognized by the military, the CDC, and academia.
Nominator Liselle Gottlieb ’80 says: “Charles is compassionate and empathetic. He’s the last person
you’d think would end up donning protective gear in Iraq, testifying before Congress, or appearing
on TV, but that’s very Sarah Lawrence. He didn’t set out to become high profile; his profound
accomplishments came from following his heart.”
We honor Charles Hoge with the Alumni Citation for Achievement today for offering critical help
to our nation’s wounded warriors.
Lost & Found™ Venus Bowl, Ceramic Bowl, Crackle Glaze, Opaque Glaze, Underwater Bowl, Fibre Optic Basket, Pearls, Basket Weave, Handcraft, Venus Flower Basket, Ephemeral, Art, Design, Analogue, Eleanor-Jayne Browne, The D/sign Lounge, Tangible Interface
Lost&Found™ Embroidered Furniture, The Making Of Lost&Found™ Embroidered Furniture, Handmade, Craft, Tangible Interfaces, Visual Perceptions, Decoration, Surface Texture, PC Boards, Woodwork, Spray Room, Preparation, Analogue, Digital, Artisanal Techniques, Handmade Elements, Jewels, Re-Worked Objects, Assembled Objects, Found Objects, Eleanor-Jayne Browne, The D/sign Lounge
AV Concert by Valery Vermeulen. Tangible Feelings: Exhibition on EEG (and biofeedback for the Arts. 16-18th Sept 2011, iMAL, Brussels. imal.org/activity/tangible-feelings
Foreign investment costs politicians nothing, and it provides them tangible and taxable assets.
Have you ever gone to an Irvine new home model center and seen buses of foreign tourists on a shopping spree? I have, and I suspect many others have seen the same thing. Anecdotally, Irvine... at Why do politicians want foreign investment in real estate?
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Shot these for Tangible Interaction. Light design for their upcoming show Address Assembly. May 25 2017.
chairmanting.com
Fibre Optics, Experiments, Lighting, R+D, Materials, Magical, Decorative Applications, Potential, Tangible Interfaces Project, Eleanor-Jayne Browne, The D/sign Lounge, Weaving, Bio-Inspired Forms
By now we have all seen the tragic destruction and loss of life surrounding the natural disaster in Japan. In desperate times like these having people and organizations to help individuals pull through is incredibly important. It not only provides immediate tangible help but also develops a vital sense of community for those involved.
There has been a truly earnest response among the Japanese community at the unanticipated level of caring and support the rest of the world has shown in the past few days. Many friends have been truly thankful for even the small messages sent to make sure they were alright following the earthquake and tsunami.
To me this was important. The strong sense of community among the Japanese is truly something unique and it has always to me been something I have aspired to.
I, like many of you, have people in my life who have been affected to different degrees by this disaster. Like many of you I have also in some form donated money to help the relief effort. However, I began to feel guilty knowing I could do much more.
So this is my offer and my challenge to you all.
I want you to donate a minimum of $15 I will be taking donations on behalf of the Red Cross. In exchange, I want to take one sincere picture of you, holding up a badge of support. All the money collected will be donated to the relief effort. I will also be putting together a photo blog to showcase the people being a part of this effort.
This is what I would like to represent our message:
Special thanks go to shing02
It's simple enough but the value of it is so much more.
We can all do our part to help on a financial level. However, to me there is more than just financial support. I want people to know the face behind the gesture. I want to showcase that the international community is forever a part of the Japanese community. To me the worth of that support is equally as vital to people as assisting them financially in times of need.
To those who feel they can help be a part of this in other ways, please do so. Whether you take up your own camera and follow suit, make it your own or find another creative way you can use your talents and personal time to help the situation, put in the effort and be a part in creating an international community. I would much rather we all work on this together.
That is my challenge, be a part of this. Whether it is on one side of the lens or the other, help out and build a community that will ultimately bring a lot of good in a lot of valuable ways.
The images will be put up on a blog. The more people involved, the more we can show how much the international community is really a part and the more significant a difference we can actually make. If you know of people wanting to be involved please let them know.
So please, contact me or anyone involved and let's make this grow. You can reach me at mariuszphotography@gmail.com
For those looking to help in other regards you can do so via the Red Cross in a number of ways.
Finally, I would also like to encourage others to use these pictures in their Facebook profiles similar to the current badges going around to help spread the message to donate.
Thank you everyone!
____________
「東北地方太平洋沖地震」におきまして、被害にあわれた方々に心よりお見舞い申し上げます。
現在も余震があり、被災地で多くの方が避難しており、懸命な救出活動が続いている状態です。
被災者の方に対し、義援金として支援をすることが、日本へカナダ内陸エドモントンからできるサポートだと思います。
具体的には、各自上記のShing02デザイン"Rise again 手をつなごう"バッジを表示したIpadを持っていただき、野外にて証明写真を作成します。
又、その証明写真購入代金（最低１５ドル寄付）として皆様から寄付を頂き、集まった全義援金は日本赤十字社を通じて、被災者救済のための救援活動及び復興支援活動等資金として寄付させていただきます。
更に、各証明写真はブログhttp://mariuszsikorski.blogspot.com/2011/03/we-need-your-help.htmlにショーケースとしてアップロードされます。
フェイスブックなどのソーシャルネットワーク等の証明写真として使用して頂ければ、更に多くの人に広め、参加していただけるきっかけになると思います。
一人でも多くの方ににご協力をいただければ幸いです。
日付、場所等につきましてはいつでも気軽に連絡ください。
連絡先Eメール マリオ
mariuszphotography@gmail.com
Fibre Optics, Experiments, Lighting, R+D, Materials, Magical, Decorative Applications, Potential, Tangible Interfaces Project, Eleanor-Jayne Browne, The D/sign Lounge, Weaving, Bio-Inspired Forms
Leaf Garland, R+D, Prototype, Research, Lasercut Acrylic Leaf, Laser Engraving, Fibre Optic Lights, Display String, Materials, Transparency, Invisible, Texture, Detail, Tangible Interfaces Project, Eleanor-Jayne Browne, The D/sign Lounge
Photograph by OslerZoo Photography.
Check them out: www.oslerzoo.com
Party pics from our adidas x Forces of Nice art collab show in Hong Kong.
September 29th 2010.
// FORCES OF NICE/ //
CHAIRMAN TING INDUSTRIES
TANGIBLE INTERACTION
STRAIGHTLEG
Lost & Found™ Venus Bowl, Ceramic Bowl, Crackle Glaze, Opaque Glaze, Underwater Bowl, Fibre Optic Basket, Pearls, Basket Weave, Handcraft, Venus Flower Basket, Ephemeral, Art, Design, Analogue, Eleanor-Jayne Browne, The D/sign Lounge, Tangible Interface
Lost & Found™ Venus Bowl, Ceramic Bowl, Crackle Glaze, Opaque Glaze, Underwater Bowl, Fibre Optic Basket, Pearls, Basket Weave, Handcraft, Venus Flower Basket, Ephemeral, Art, Design, Analogue, Eleanor-Jayne Browne, The D/sign Lounge, Tangible Interface
Lost & Found™ Embroidered Furniture, Embroidery, Art + Craft, Design, Lasercut Acrylic, Lasercut Sandpaper, Paisley Pattern, Circuit Board, 72dpi, Fibre Optics, Paisley Motif, Wire, Nails, Abandoned Objects, Desk, White Paint, Tools, Punched Pattern, Conductive Thread, Tangible Interfaces Project, Eleanor-Jayne Browne, The D/sign Lounge
Marc Van Hulle: The Mind Speller. Symposium on EEG (and biofeedback for the Arts. 16 Sept 2011, iMAL, Brussels. imal.org/activity/tangible-feelings
Vinyl Cube is a simple but versatile design object that allows artists to paint and or draw on it's smooth vinyl surface to create their own custom Vinyl Cube.
The Vinyl Cube emits light from within in various colours and is powered by a built in rechargeable battery unit. This particular Vinyl Cube was created by Chairman Ting.
The cube is now on sale at addtocart.bigcartel.com/
Vinyl Cube produced by Tangible Interaction.
Illustration art work and photography by Chairman Ting.
Assisted by Osler Zoo Photography
Check out the video here:
Follow the chairman:
Lost & Found™ , Embroidery, Art + Craft, Fibre Optics, Paisley Motif, Wire, Nail, Abandoned Objects, Desk, White Paint, Tools, Punched Pattern, Thread, Experiment, Work In Progress, Tangible Interfaces Project, Eleanor-Jayne Browne, The D/sign Lounge, Prototype, R+D, Detailing, Experiment Database, Conceptual Thinking
Lost & Found™ , Embroidery, Art + Craft, Fibre Optics, Paisley Motif, Wire, Nail, Abandoned Objects, Desk, White Paint, Tools, Punched Pattern, Thread, Experiment, Work In Progress, Tangible Interfaces Project, Eleanor-Jayne Browne, The D/sign Lounge, Prototype, R+D, Detailing, Experiment Database, Conceptual Thinking
Exhibition, concert and symposium on EEG (and biofeedback) for the Arts.
EMO-Synth by Valery Vermeulen.
Silicone, Lasercut Silicone, Drawing, Freestyle, Experiment, Texture, Elasticity, Opaque, Semi-Transparent, Stretchable, Surface Decoration, Materials Experiment, R+D, Tangible Interfaces Project, Eleanor-Jayne Browne, The D/sign Lounge
Lost & Found™ Invisible Window, Fine Art Digital Installation, Art, Creativity, Design, Visual Perceptions, Transparent, Opaque, Tangible Interface, Acrylic, Fibre Optic Lights, Is It Real Or Is It Fake, Light, Shadow, Interactive Art, Shadowplay, Magical, Ephemeral, Eleanor-Jayne Browne, Digital, Analogue, The D/sign Lounge
A test design for a little interview I gave over at the amazing Maison Tangible :
www.maison-tangible.fr/archives/interview-timbree-29-mark...
:::::::::::::
Responsive installation by Christophe De Boeck. Tangible Feelings: Exhibition on EEG (and biofeedback for the Arts. 16-18th Sept 2011, iMAL, Brussels. imal.org/activity/tangible-feelings
Responsive installation by Christophe De Boeck. Tangible Feelings: Exhibition on EEG (and biofeedback for the Arts. 16-18th Sept 2011, iMAL, Brussels. imal.org/activity/tangible-feelings
Fibre Optics, Experiments, Lighting, R+D, Materials, Magical, Decorative Applications, Potential, Tangible Interfaces Project, Eleanor-Jayne Browne, The D/sign Lounge, Weaving, Bio-Inspired Forms
Lost & Found™ Venus Bowl, Ceramic Bowl, Crackle Glaze, Opaque Glaze, Underwater Bowl, Fibre Optic Basket, Pearls, Basket Weave, Handcraft, Venus Flower Basket, Ephemeral, Art, Design, Analogue, Eleanor-Jayne Browne, The D/sign Lounge, Tangible Interface
Blockchain has become an inescapable buzzword in the last few years. Proponents contend that blockchain will disrupt every major industry and will even alter the way that people and societies interact. But the questions remain: Are we at the pinnacle of a history-altering technology that will drive massive economic and social impact, or is blockchain just the latest tech buzzword – more noise than substance?
This panel addressed the following key questions:
• What are the potential benefits and tangible examples of using blockchain?
• In which sectors is there major progress in using blockchain?
• What groundwork is still required for blockchain to enter the mainstream and become more scalable?
• What type of regulatory environment is necessary to facilitate the use of blockchain?
• What impact will blockchain-enabled decentralisation have on traditional business models and governments?
Moderator
Jelena Madir
Director, Chief Counsel, EBRD
Speakers
Vlaho Hrdalo
Union for Blockchain and Cryptocurrencies
Marko Kovacevic
Chairman of the Board, MVP Workshop
Marloes Pomp
Program Officer, Blockchain, Dutch Government
Lukas Repa
Deputy Head of Unit, Directorate General for Communications Networks, Content an, European Commission
Tadej Slapnik
Chairman of Advisory Board, European Blockchain Hub
Fibre Optics, Experiments, Lighting, R+D, Materials, Magical, Decorative Applications, Potential, Tangible Interfaces Project, Eleanor-Jayne Browne, The D/sign Lounge, Weaving, Bio-Inspired Forms
Fibre Optics, Experiments, Lighting, R+D, Materials, Magical, Decorative Applications, Potential, Tangible Interfaces Project, Eleanor-Jayne Browne, The D/sign Lounge, Weaving, Bio-Inspired Forms
Gustave Courbet - French, 1819 - 1877
Calm Sea, 1866
West Building, Main Floor — Gallery 92
Gustave Courbet was born in in 1819 in Ornans, a farming town in eastern France, into a closeknit family of the rural middle class. His happy childhood, spent in the woods and fields around Ornans, gave him a taste for the hunt and sport, a dislike for school, and a lifelong love of his native region. While at a boarding school in nearly Besançon, he was briefly taught by a local painter, Charles-Antoine Flajoulot (1774-1840), who called himself a disciple of Jacques-Louis David.
Having gone to Paris in 1839, ostensibly to study law but already determined to become an artist, Courbet entered the studio of Charles Steuben (1788-1856), an academic teacher, from whom, as he later claimed, he learned nothing. Determined to be his own teacher, he launched himself on a course of independent study painting the nude at the teacherless Académie Suisse and copying the Spanish, Venetian, and Dutch masters at the Louvre. The course of his self-education in six years of strenuous work is difficult to chart; much of his early work has been lost. An early attempt at a narrative composition, Lot and His Daughters (private collection, Paris), painted in 1840 and submitted unsuccessfully to the Salon of 1844, seems, in its hearty crudity, like a caricature of Salon painting. But there is energy in its awkwardness, and its nudes give a foretaste of the carnality that was to infuriate his future critics. Famously handsome, Courbet was attractive to women. One of his mistresses bore him a son in 1847. But self-absorption made him unsuited for matrimony, which he regarded, horrified, as slavery.
His imagination needed the stimulus of physical presence and was most deeply stirred by the tangible reality of things and beings. Portraits posed by members of his family gave early proof of his talent, but his favorite subject was himself, and it was in self-portraits that he gave the strongest evidence of a personal style. Theatrical performances as much as likenesses, they show him in dramatic roles-as a man on the verge of madness (The Desperate Man, 1847), as infatuated lover (Lovers in the Countryside, 1844), inspired artist (The Sculptor, 1844), or wounded duelist (The Wounded Man, 1844, Musée d'Orsay, Paris). Romantic in sentiment, these youthful works have painterly qualities that reflect his study of the masters, particularly the baroque painters of dramatic light-and-shadow modeling, Caravaggio, Ribera, and Rembrandt. The 1840s were a time of struggle during which Salon juries often refused his submissions. Self-portrait with Black Spaniel (1844, PetitPal), a work of very confident execution and the first of his paintings to be accepted for the Salon, continued the long series of his self-portraits, followed by Self-Portrait with Leather Belt (c. 1846, Louvre), Self-Portrait as Cellist (c. 1847, National Museum, Stockholm), and the masterly Self-Portrait with Pipe (c. 1849, Musée Fabre, Montpellier). The Guitar Player (c. 1844, private collection, Bedford, New York), a romantic costume piece, was admitted to the Salon of 1845 that rejected The Hammock (1844-1845, Oskar Reinhart Stiftung, Winterthur), an early instance of what was to be a recurrent motif ín Courbet's work: a sexually attractive woman observed while asleep. As an outsider by choice, he cheerfully defied the official establishment, certain of winning his public by the sheer strength of native genius: a "student of nature" who owed no debt to any teacher. But the "nature" that nourished his art was an irresistible appetite for painting which initially led him to the museum, where, aided by prodigious technical facility, he plundered the masters of whatever appealed to his instinct--his nature.
The Revolution of 1848 brought his work to a wider audience. Compulsively gregarious, he shone nightly in high-spirited gatherings at Andler's beer hall, where his companions included the painter François Bonvin (1877-1887), the musician Alphonse Promayet, the poet Charles Baudelaire, and the critic Jules Champfleury. To the Salon of 1849, which, unlike the revolutionary Salon of 1848, was no longer non-juried, he submitted eleven paintings. Among those accepted was After Dinner at Ornans (Musée des Beaux-Arts, Lille), an intimately domestic scene boldly treated in dimensions normally reserved for historical subjects. Its grave realism, reminiscent of Louis Le Nain's (1593-1648) Peasant Repast (1642, Louvre), was admired by artists (Eugène Delacroix) and critics (Champfleury) and earned him a gold medal, which rendered him hors concours for life at the Salons.
In the autumn of 1849 he returned to Ornans, where his father had prepared a studio for him. With the coming Salon in view, he rapidly completed a group of nine paintings, including several of monumental dimensions. The funeral of his maternal grandfather, Antoine Oudot, gave him the idea for the enormous Funeral at Ornans (Louvre), posed by members of his family and citizens of Ornans gathered around the priest officiating at the open grave. A second entry, the life-size Stonebreakers (formerly Dresden Museum, destroyed in 1945), recalled an encounter with road menders in the vicinity of Ornans. Exhibited at the time when a reaction against the recent revolution was gathering force, these unadorned scenes from common life were vehemently denounced for their supposedly socialist tendency and for what critics regarded as their offensive ugliness.
The coup d'état of December 1851, which made Louis-Napoleon the dictator of France and led to his "election" as emperor in 1852, drastically changed the climate in the world of art. The government of Napoleon III, though liberal to a degree, did not tolerate genuine dissent. Appeased by lavish patronage, many artists submitted. Courbet gave himself truculent oppositional airs, but thereafter avoided subjects that could be seen as hostile to the regime. Shortly before Napoleon's seizure of power, Courbet undertook a composition meant to disarm his critics, Young Ladies of the Village Giving Alms to a Cow Girl (1851, Metropolitan Museum of Art), which was bought, even before its exhibition at the Salon of 1852, by one of the most powerful men of the new regime, Napoleon's half brother, comte de Morny. For the Salon of 1853, Courbet once again made an effort at a spectacular presentation. The political situation urged caution in the choice of subjects, for which he sought to compensate by a show of artistic daring. The Bathers (1853, Musée Fabre, Montpellier), his first exhibited nude of large dimensions, caused a lively scandal by the exuberant fleshiness of the main bather's back and posterior. Pierre-Joseph Proudhon, Courbet's socialist friend, read an indictment of bourgeois society into these fesses colossales, while Delacroix, who admired the nude's vigorous execution, deplored the ponderous insignificance of its gesture. Courbet's best-liked picture at the Salon, The Sleeping Spinner (1853, Musée Fabre, Montpellier), the portrait of a buxom girl in a drowse beside her spinning wheel, was bought by Alfred Bruyas, an art patron of Montpellier, who also acquired the controversial Bathers, beginning a long association with the artist who was soon to be in need of a financial backer. His Portrait of Bruyas (1853, Musée Fabre, Montpellier), which shows the sitter holding a volume entitled La Solution, hints at the role Courbet had in mind for his patron. Insisting on total artistic freedom, and aware that, as a result, he could not rely on state subsidies, he envisioned support freely given by private patrons as a desirable alternative. The mutual accommodation of independent artist and private patron was the "solution" that he proposed and that Bruyas cautiously accepted as the basis of a free art-economy of the future. The need for such an arrangement was impressed on Courbet by his dealings with the government's director of the Beaux-Arts, comte Nieuwerkerke, who had invited him to paint a large picture "in his most vigorous style" for the Universal Exposition of 1855. There were only two conditions: the submission of a preliminary sketch and approval of the finished painting by a jury of his own choice. This moved Courbet to declare that he would not have his work judged by any jury: rather than making the slightest sacrifice of his freedom, he would withdraw from the official exhibition and show his works in a rival exhibition of his own.
On a visit to Bruyas, in May 1854, he sought to persuade his patron to underwrite the cost of a one-man show. The main result of the voyage was a large picture, The Meeting (1854, Musée Fabre, Montpellier), which shows the artist, proudly erect, encountering his respectful patron--"Fortune bowing to Genius," according to a contemporary reviewer. Bruyas proved to be unable to finance a private venue, and Courbet resigned himself to submitting his paintings to the official exhibition. Their centerpiece was to be an immense personal statement, The Studio: A Realist Allegory Summing up Seven Years of My Artist's Life (Louvre), showing him at work, surrounded by "all the people who serve my cause, sustain me in my idea, and support my action." Besides its personal self-celebration, the painting had the more general purpose of presenting the Artist as the exemplar of human creativity. When Courbet learned in the spring of 1855 that the jurors had rejected two of his fourteen entries, The Studio and Funeral at Ornans, he renewed his plan for an exhibition of his own and within a short time managed to have a temporary gallery built near the official exhibition, placing over its entrance the sign Le Réalisme. He did not, however, boycott the official exhibition but contributed eleven of his most important works to it. His own show, opened a month later, included thirty-nine paintings and four drawings. To Courbet's surprise, attendance was sparse.
Disappointed and in poor health, he emerged from this phase of his career with a lessened zest for controversy. From 1855 onward he largely abandoned social subjects and avoided, except in a few instances, complex compositions, instead devoting himself mainly to landscapes, scenes of the hunt, nudes, and portraits. At the Salon of 1857, he showed Ladies on the Banks of the Seine (PetitPal), an opulent human still life posed by two fashionably dressed women, drowsing in the summer heat at the river's edge. This Salon also contained two of the hunting pictures that were becoming one of his specialities, Exhausted Doe in the Snow (private collection, New York) and The Quarry (Museum of Fine Arts, Boston), in the latter of which he appears standing beside the carcass of a slain buck. Successful exhibitions in 1858 and 1859 took him to Brussels and to Frankfurt, where he made a lengthy stay and received commissions for portraits and hunting subjects. Back in Paris, his dramatic forest scenes (Battle of Stags, 1861, Louvre) won him a popular success. From the mid-1850s onward landscapes played an increasing part in his work. He found his motifs in his native Franche-Comté whose hillsides, forests, and streams had deeply impressed him in his youth. In his dark-toned landscapes he concentrated on the tangible matter of stone, turf, and foliage rather than on fugitive effects of light and atmosphere. Setting up his easel wherever the view pleased him, he painted directly in oils, making use of rich paints that he spread on the canvas with the palette knife. About 1863-1865 he painted the series Source of the Loue. Close views of a rock face opening into a cavern from whose depths the river flows, they invert norms of landscape painting by replacing sky and space with solid matter.
Nudes dominate his late figure painting. The Awakening (Venus Pursuing Psyche with Her Jealousy), destroyed in World War II, was refused by the Salon of 1864 because of its hint at lesbianism. Courbet profited from this rejection by converting the naked Psyche into Woman with Parrot (Metropolitan Museum of Art, New York), a suave nude that was admired at the Salon of 1866. The Awakening's true sequel was his frankly lesbian Sleep (Les Dormeuses) (1866, PetitPal), painted for a collector of erotica. A still life of passive bodies, it expresses Courbet's materialist aesthetic and his pleasure at the sight of women reduced by sleep to purely physical existence. At the Universal Exposition of 1867, he again had a pavilion, built at his own expense at the Pont d'Alma, in which he presented more than a hundred paintings in a retrospective that won favorable reviews. Lionized by society in the empire's final years, he loudly refused the Legion of Honor offered him in 1870. After a summer at the seaside village of Etretat, he prepared a selection of seascapes for the Salon of 1870, among them The Wave (Louvre). Having heretofore shown nature mainly in a state of rest, he now produced, in paintings of the agitated sea, images of the elements in powerful motion.
The collapse of the empire after its defeat by Prussia in 1870 rekindled Courbet's political activism. As member of the Arts Commission of the Paris Commune, then defending the city against the forces of the national government quartered in Versailles, he recommended the destruction of the Vendôme Column, a symbol of Bonapartism. When the Commune fell, he suffered arrest, a trial, and six months in prison. Only fifty-one years old, he was in poor health, his body bloated from overindulgence in food and drink. Freed in early 1872, he returned to Ornans, where he found his studio looted. His submissions to the Salon were refused, but his work continued to have steady and profitable sales. In the spring of 1873 he was condemned to bear the cost of the reerection of the Vendôme Column. Fearing renewed imprisonment, he fled to Switzerland, where he settled in the town of La Tour de Peilz on the Lake of Geneva. In Paris, meanwhile, his property was confiscated and a fine of 323,000 francs imposed on him.
In his last years, he worked feverishly to produce paintings for sale to meet the State's exorbitant demand. Helped by assistants, he began a mass production, chiefly of landscapes, hasty parodies of his style, and in their repetitiousness a mockery of realism. But his talent was not extinguished yet. Flashes of it still appeared in personal work, in portraits, animal studies, and still lifes. The Trout (1872, Kunsthaus, Zurich), the picture of a superb, glistening fish suspended by its gills and expiring, is a poignant image of captivity and death, and perhaps a final self-portrait.
Cared for by friends, still hoping to return to France, he gradually succumbed to heart and liver disease. After undergoing painful medical treatment, he died on 31 December 1877.
[This is the artist's biography published in the NGA Systematic Catalogue]
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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.”
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Fibre Optics, Experiments, Lighting, R+D, Materials, Magical, Decorative Applications, Potential, Tangible Interfaces Project, Eleanor-Jayne Browne, The D/sign Lounge, Weaving, Bio-Inspired Forms
Mattia Casalegno & Enzo Varriale: Unstable Empathy. Symposium on EEG (and biofeedback for the Arts. 16 Sept 2011, iMAL, Brussels. imal.org/activity/tangible-feelings