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Values coming together on HK Island (St.Johns Cathedral, unknown skyscraper, Bank of China monstrosity and Citibank Plaza)
Producer Orientation Program in Kohistan ii, Kapisa Province on Dec/18-0/2012.
Fresh Strawberry Value Chain supports farm women grow value added strawberry and start their own farm businesses.
Value Life Campaign buses travel through Tottenham as students from Gladesmore School take to the streets to campaign against gun and knife crime in Tottenham, North London as part of the Value Life Campaign originally set up by Youth Act campaigners in 2003
BY: Gina McGauley
CATEGORY: Wolverines Abroad
PROGRAM: UTT Summer
LOCATION: Near Evian, France
DATE: 2011
TO LEARN MORE ABOUT THIS PROGRAM: mcompass.umich.edu/index.cfm?FuseAction=Programs.ViewProg...
Herdsmen Tending Cattle - 1655/1660
Aelbert Cuyp
Dutch, 1620 - 1691
Aelbert Cuyp’s painting of herdsmen and cattle along a river with an evocative ruin in the background is more pastoral than agricultural in its associations. In this respect it parallels a rich literary tradition glorifying the values of rural life. The herdsman in the bright red jacket seems to be getting his cows ready to return to the farmstead, if only he can convince his female companion to abandon this lovely spot on the riverbank.
Many of the components of this work—the golden light, the atmospheric character of the distant landscape with its dramatic ruins, the diffused golden light that casts long shadows, the abstract shapes of the rocks and branches in the foreground—show the influence of the Italianate style of Jan Both (1615/1618–1652) and other Dutch artists who had worked in Italy.
Aelbert Cuyp, one of the foremost Dutch land-scape painters of the seventeenth century, was born in Dordrecht in October of 1620. His father, Jacob Gerritsz Cuyp (1594–1652), was a successful por-trait painter in the city, and from him Aelbert received his earliest training, assisting his father by painting landscape backgrounds for por-trait commissions. It is uncertain whether Cuyp had also apprenticed with a landscape painter, but he soon abandoned his father’s style and subject matter and turned almost exclusively to landscapes and river-scapes, painting only an occasional portrait in his mature period. Arnold Houbraken, a native of Dordrecht, noted that Cuyp was a man of “irreproachable character” (onbesproken leven), and the surviving documents concern his active involvement in the Dutch Reformed Church and the city affairs of Dordrecht, rather than his activities as a painter. His marriage to Cornelia Boschman (1617–1689), the wealthy widow of Johan van den Corput (1609–1650), a representa-tive to the admiralty at Middelburg and a member of an important Dordrecht family, took place on July 30, 1658. After his marriage, Cuyp appears to have painted less frequently, probably owing to a combi-nation of his increased church activity and the ab-sence of financial pressures. He was buried in the Augustinian Church at Dordrecht on November 15, 1691.
Houbraken commented that only the artist’s own works were found in his home at the time of his death, proof that nature alone served as his model. The stylistic evolution of his oeuvre, however, dis-proves Houbraken’s conclusion. Cuyp’s early landscapes are clearly inspired by the compositional ap-proach and monochromatic palette of Goyen, Jan van, but by the middle of the 1640s, the influence of the Utrecht painter Both, Jan be-comes apparent. Cuyp never lived in Utrecht, but probably his parents had met there while his father was studying, and Aelbert apparently visited the city regularly. By the mid-1640s Both had re-turned from Italy, bringing with him a new style employing the contre-jour effects associated with the work of Lorrain, Claude. Cuyp soon recognized the possibilities of this new compositional approach and began to employ large foreground elements in his panoramic scenes, infusing them with a warm light and atmosphere. The occasional classical motif and Italianate lighting effects that are found in Cuyp’s mature works are not the result of a trip to Italy but of his association with Both, and perhaps other Italianate landscape painters he may have had contact with in Utrecht. Although no documents related to his travels exist, Cuyp’s drawn landscapes and townscapes do indicate that he traveled within the Netherlands and along the lower Rhine in Germany.
Cuyp seems to have worked for a number of important Dordrecht families. He was clearly an important artist in the city, although little is known about the organization or production of a workshop. Houbraken mentions only one pupil, Barent van Calraet (1649–1737), whose brother Abraham van Calraet (1642–1722), if not a pupil of Cuyp, was certainly a follower. It appears that many of Abraham van Calraet’s works were among those mistaken for au-tograph Cuyp paintings by the beginning of the twentieth century, when Hofstede de Groot included more than eight hundred entries in his catalogue raisonné of the master. By the late eighteenth century, Cuyp had many other followers and imitators, including Jacob van Strij (1756–1815).
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For earlier visit in 2024 see:
www.flickr.com/photos/ugardener/albums/72177720320689747/
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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Day 10?
This picture, in all fairness, is more of an implied movement. I included 'value' despite it being an element because I found it to be the most applicable out of everything.
Tak, moi drodzy panowie,
tak się złożyło, że walczycie o zdrowie
i to dzięki tym Polkom,
co rządzą nami w Krakowie.
A dla was, drogie panie
mamy takie pytanie,
czy my damy radę jeszcze raz?
Czemu to ostatnie lato było dawno temu,
może pokochacie znów nas?
..Jak my was.
Soil Values project Launch in Burkina Faso.
www.cifor-icraf.org/project/soil-values/
Photo by CIFOR-ICRAF
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: news@cifor-icraf.org and a.sanjaya@cifor-icraf.org
What's a ball game without snacks? Our "dinner" was from the concession stand. Hot dogs, popcorn, drinks, and candy.
a 367-foot (112 m), 33-story hotel in Los Angeles, California, constructed between 1974 and 1976.[6] It was designed by architect John C. Portman Jr.. The top floor has a revolving restaurant and bar. It was originally owned by investors that included a subsidiary of Japanese conglomerate Mitsubishi Corporation and John Portman & Associates. The building is managed by Aimbridge Hospitality (IHR), and is valued at $200 million.
The hotel and its architect John Portman have been the subject of several documentaries and academic analyses.[7][8]
Fredric Jameson discusses the hotel in his 1984 essay, "Postmodernism, or, the Cultural Logic of Late Capitalism," and in his 1991 book by the same name.[9][10] He writes that
the Bonaventura aspires to being a total space, a complete world, a kind of miniature city (and I would want to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd).[11]
In his book Postmodern Geographies: The Reassertion of Space in Critical Social Theory (1989), Edward Soja describes the hotel as
a concentrated representation of the restructured spatiality of the late capitalist city: fragmented and fragmenting, homogeneous and homogenizing, divertingly packaged yet curiously incomprehensible, seemingly open in presenting itself to view but constantly pressing to enclose, to compartmentalize, to circumscribe, to incarcerate. Everything imaginable appears to be available in this micro-urb but real places are difficult to find, its spaces confuse an effective cognitive mapping, its pastiche of superficial reflections bewilder co-ordination and encourage submission instead. Entry by land is forbidding to those who carelessly walk but entrance is nevertheless encouraged at many different levels. Once inside, however, it becomes daunting to get out again without bureaucratic assistance. In so many ways, its architecture recapitulates and reflects the sprawling manufactured spaces of Los Angeles.[12]
The hotel is a 33-story building, with no floors numbered "7" or "13"; the top floor is therefore numbered "35". The four elevator banks (each containing three cars for a total of 12) are named by colors and symbols: Red Circle (the only one that goes to "35"; the other three only go to "32"), Yellow Diamond, Green Square, and Blue Triangle. The color-coded system of directions was a later addition, as visitors found the space confusing and hard to navigate.[13]
Several bronze plaques commemorate elevator scenes from three major films:
In the Line of Fire,[14][15] September 1993, "Green Square" elevator
True Lies,[15] September 1993, "Red Circle" and "Yellow Diamond" elevators
Forget Paris,[15] November 1994, "Yellow Diamond" elevator
It has been featured in many movies and television series over the years, including Interstellar,[16] Strange Days, Buck Rogers in the 25th Century (as part of the city of New Chicago), Wonder Woman,[17] Blue Thunder, It's a Living,[18] Starsky & Hutch, L.A. Law, The A-Team, Breathless, Matlock, This Is Spinal Tap, Nick of Time,[19] Rain Man,[19][20] Ruthless People,[19] Logan's Run,[19] My Fellow Americans,[19] Midnight Madness, Moonlighting (TV series), Showtime, Hard to Kill, The Lincoln Lawyer, Chuck, Heaven Can Wait, Xanadu, The New Dragnet, Time After Time, Moby Dick,[21] Zoolander,[22] Lethal Weapon 2,[19] The Fantastic Journey[23][24] and was destroyed (via special effects) in Escape from LA, Epicenter and San Andreas. The front of the hotel was also featured in the British children’s television series Tots Tv ‘American Adventure’ special where Tilly, Tom and Tiny went to explore a different country and were observing tall buildings and went onto the roof of the hotel to observe the view of Los Angeles.[25] You can see it under construction in the 1975 film The Wilderness Family (released a year before the hotel opened). In cartoon form, the building can be seen in the first shot of Jem in the episode "The Beginning", and in the anime Steins;Gate. In November 1979, the ABC soap opera General Hospital videotaped some on location scenes there dealing with Luke Spencer, played by Anthony Geary who was hired to assassinate Senator Mitch Williams. In 1999, Power Rangers Lost Galaxy used the building as the administration building of the space colony Terra Venture, with Red Ranger Leo falling from the building after a battle with main villain Trakeena.
In 2002, the hotel was the location for a Fear Factor stunt which involved crossing a bridge of plexiglass discs on cables suspended on the lobby's fifth floor.[26] The television series It's a Living was set in a restaurant atop the Bonaventure. The hotel is also showcased in episodes of CSI and its exterior can be seen in Americathon, Mission: Impossible III, Almighty Thor, Hancock, and at the beginning of the Lionel Richie "Dancing on the Ceiling" music video. The building made appearances in the 1991 Kylie Minogue music video Step Back in Time, the 1985 Survivor music video "The Search Is Over", the 2004 video game Grand Theft Auto: San Andreas, the 2012 video game Call of Duty: Black Ops II (in the "Aftermath" multiplayer map) and in the 2013 video game Grand Theft Auto V with the name "Arcadius Business Center" (having three towers instead of four towers and featuring glass elevator animations).
The hotel was also used as a setting for R&B singer Usher's music video for the 2002 hit single, "U Don't Have to Call". A pivotal scene in the season four (2005) episode "Another Mister Sloane" of the espionage drama Alias took place in the Bonaventure Hotel as well, while it was also featured in season one (2017), episode five of another espionage drama, Counterpart. In 2021, Rihanna's "Savage x Fenty Show Vol. 3" was filmed entirely on location at the hotel.[27][28] The hotel also hosted the first task for the final leg of The Amazing Race 33, which aired in 2022.[26]