Some cool visual art images:
SC2012: Art Exhibition – The Reception
Image by Steve Welburn
sc2012 hosted an exhibition of interactive and audio-visual art at The Art Pavilion in Mile End Park, East London.
SC2012: Art Exhibition – The Reception
Image by Steve Welburn
sc2012 hosted an exhibition of interactive and audio-visual art at The Art Pavilion in Mile End Park, East London.
Check out these visual art images:
SC2012: Art Exhibition – The Reception
Image by Steve Welburn
sc2012 hosted an exhibition of interactive and audio-visual art at The Art Pavilion in Mile End Park, East London.
SC2012: Art Exhibition – The Reception
Image by Steve Welburn
sc2012 hosted an exhibition of interactive and audio-visual art at The Art Pavilion in Mile End Park, East London.
Some cool visual art images:
SC2012: Art Exhibition – The Reception
Image by Steve Welburn
sc2012 hosted an exhibition of interactive and audio-visual art at The Art Pavilion in Mile End Park, East London.
SC2012: Art Exhibition – The Reception
Image by Steve Welburn
sc2012 hosted an exhibition of interactive and audio-visual art at The Art Pavilion in Mile End Park, East London.
Some cool visual art images:
SC2012: Art Exhibition – The Reception
Image by Steve Welburn
sc2012 hosted an exhibition of interactive and audio-visual art at The Art Pavilion in Mile End Park, East London.
SC2012: Art Exhibition – The Reception
Image by Steve Welburn
sc2012 hosted an exhibition of interactive and audio-visual art at The Art Pavilion in Mile End Park, East London.
Check out these visual art images:
NYC: Metropolitan Museum of Art – Auguste Rodin’s Burghers of Calais – Jacques de Wissant
Image by wallyg
Les Bourgeois de Calais (The Burghers of Calais) is one of the most famous sculptures by Auguste Rodin. It serves as a monument to the heroism of six burghers in Calais during a siege by the England in the Hundred Years’ War in 1347.
After a victory in the Battle of Crécy, England’s King Edward III besieged Calais, an important French port on the English channel, and Philip VI of France ordered the city to hold out at all costs. Which it did for a over a year. Philip failed to lift the siege and starvation eventually forced the city to parlay for surrender. Edward offered to spare the people of the Calais if any six of its top leaders would surrender themselves. Edward demanded that they walk out almost naked, wearing nooses around their necks and carrying the keys to the city and castle. One of the wealthiest of the town leaders, Eustache de Saint Pierre, volunteered first and five other burghers–Jean d’Aire, Jacques and Pierre de Wissant, Jean de Fiennes, Andrieu d’Andres–soon followed suit. Though the burghers expected to be executed, their lives were spared by the intervention of England’s Queen, Philippa of Hainault, who persuaded her husband by saying it would be a bad omen for her unborn child. Rodin depicts a larger than life Saint Pierre leading the envoy of emaciated volunteers to the city gates, prepared to meet their imminent mortality.
The monument was initially proposed by Omer Dewavrin, mayor of Calais, for the town’s square in 1884. Unusual in that monuments were usually reserved for victories, the town of Calais had long desired to recognize the sacrifices made by these altruistic men. Rodin’s controversial design echoed this intent–the burghers are not presented in a heroic manner, but sullen and worn. His innovative design initially presented the burghers at the same level as the viewers, rather than on a traditional pedestal, although until 1924 the city, against Rodin’s wishes, displayed it on an elevated base.
Other casts stand around the world–the garden of Musée Rodin, the Victoria Tower Gardens, in the shadow of the Houses of Parliament in London; the Israel Museum in Jerusalem, the Rodin Museum in Philadelphia, the Brooklyn Museum in New York City, the sculpture garden of the Smithsonian Hirshorn Museum in Washington D.C., the National Museum of Western Art in Tokyo, the Rodin Gallery in Seoul, and Glyptoteket in Copenhagen, to name a few. Some installations have the figures tightly grouped with contiguous bases, while others, like this one, have the figures separated. Some installations are elevated on pedestals, others are placed at ground level. At Stanford University’s Iris & B. Gerald Cantor Center for Visual Arts, null, concealing the bottom few inches of the bases, and spaced such that viewers can walk between the figures. The museum claims this is how Rodin wished them to be displayed.
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Designed as a classical French garden and opened in 1990, the Carroll and Milton Petrie European Sculpture Court serves as a framework for the presentation of large Italian and French sculptures, originally intended for the outdoors, dating from the seventeenth to the early twentieth century. The arcaded south wall of the court was inspired by the Orangerie of Versailles, and the north wall incorporates the Museum’s 1888 Italianate facade and carriage entrance of granite and red brick.
The Metropolitan Museum of Art‘s permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met’s holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met’s purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.
In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America’s Favorite Architecture list.
The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.
National Historic Register #86003556
Scratches in the kitchen
Image by Roberto Giannotti
If I run naked?
Image by Roberto Giannotti
Some cool visual art images:
California: Stanford University – Iris & B. Gerald Cantor Center for Visual Arts at Stanford University – Gay Liberation
Image by wallyg
In 1979, pop sculptor George Segal was commissioned by the Mildred Andrews Fund, a private Cleveland-based foundation that supports public art, to create a work that would commemorate New York City’s Stonewall Rebellion, the 1969 riot that marks the beginning of the modern gay liberation movement. The result was the first piece of public art commemorating the struggle of GLBTG people for equality, predating Amsterdam’s "Homomonument" by some seven years.
The sculpture, a life-like, life-size bronze group, painted white, depicts four figures: a standing male couple and a seated female couple. One of the men holds the shoulder of his partner; one of the seated women gently touches her friend’s thigh. The poses are non-dramatic, but quietly powerful, suggesting depths of love and companionship.
The idea for a sculpture to honor the gay and lesbian rights movement on the tenth anniversary of Stonewall originated with Bruce Voeller, co-founder and first executive director of the National Gay Rights Task Force and the founder of the Mariposa Foundation. The plan was to create two castings–one for New York City’s Sheridan Park, near the site of the Stonewall Inn, and one in Los Angeles. However local residents opposed the plans for the installation. Instead the sculpture was installed at Stanford University, where after just a month it was attacked with a ball-peen hammer. After being repaired, it was reinstalled only to be spray painted with the word AIDS, and vandalized again in 1994 with splattered black paint. In 1992 New York City finally agreed to place the statue in Christopher Park, where it was dedicated on June 23.
California: Stanford University – Iris & B. Gerald Cantor Center for Visual Arts at Stanford University – Gay Liberation
Image by wallyg
In 1979, pop sculptor George Segal was commissioned by the Mildred Andrews Fund, a private Cleveland-based foundation that supports public art, to create a work that would commemorate New York City’s Stonewall Rebellion, the 1969 riot that marks the beginning of the modern gay liberation movement. The result was the first piece of public art commemorating the struggle of GLBTG people for equality, predating Amsterdam’s "Homomonument" by some seven years.
The sculpture, a life-like, life-size bronze group, painted white, depicts four figures: a standing male couple and a seated female couple. One of the men holds the shoulder of his partner; one of the seated women gently touches her friend’s thigh. The poses are non-dramatic, but quietly powerful, suggesting depths of love and companionship.
The idea for a sculpture to honor the gay and lesbian rights movement on the tenth anniversary of Stonewall originated with Bruce Voeller, co-founder and first executive director of the National Gay Rights Task Force and the founder of the Mariposa Foundation. The plan was to create two castings–one for New York City’s Sheridan Park, near the site of the Stonewall Inn, and one in Los Angeles. However local residents opposed the plans for the installation. Instead the sculpture was installed at Stanford University, where after just a month it was attacked with a ball-peen hammer. After being repaired, it was reinstalled only to be spray painted with the word AIDS, and vandalized again in 1994 with splattered black paint. In 1992 New York City finally agreed to place the statue in Christopher Park, where it was dedicated on June 23.
Some cool visual art images:
Still Life with light scratches
Image by Roberto Giannotti
Unexpected without a profile
Image by Roberto Giannotti
Still Life with light scratches
Image by Roberto Giannotti
Some cool visual art images:
Street Art In Drogheda
Image by infomatique
Visual Arts
October 2006 saw the opening of the town’s first dedicated municipal art gallery and visual arts centre, the Highlanes Gallery, housed in the former Franciscan Friary on St. Laurence Street. The Highlanes Gallery holds Drogheda’s important municipal art collection which dates from the 17th century as well as visiting exhibitions in a venue which meets key international museum and gallery standards.
The original Drogheda bypass bridge over the river Boyne, known locally as the "Bridge of Peace", is well-known regionally for its aerosol graffiti murals. Under the bridge, on each side of the river there are two large concrete supports that measure approximately 8 metres high, and 20 metres long. Starting in the 1980s with the breakdance craze, these supports were painted and sprayed with murals by aerosol artists. This activity at the time was technically illegal and frowned upon by the local authorities. Today the murals are frequently updated and limited sponsorship of the artists is provided by local businesses.
Street Art In Drogheda
Image by infomatique
Visual Arts
October 2006 saw the opening of the town’s first dedicated municipal art gallery and visual arts centre, the Highlanes Gallery, housed in the former Franciscan Friary on St. Laurence Street. The Highlanes Gallery holds Drogheda’s important municipal art collection which dates from the 17th century as well as visiting exhibitions in a venue which meets key international museum and gallery standards.
The original Drogheda bypass bridge over the river Boyne, known locally as the "Bridge of Peace", is well-known regionally for its aerosol graffiti murals. Under the bridge, on each side of the river there are two large concrete supports that measure approximately 8 metres high, and 20 metres long. Starting in the 1980s with the breakdance craze, these supports were painted and sprayed with murals by aerosol artists. This activity at the time was technically illegal and frowned upon by the local authorities. Today the murals are frequently updated and limited sponsorship of the artists is provided by local businesses.
Check out these visual art images:
Scratches on film human
Image by Roberto Giannotti
Elee’s Tail
Image by cybertoad
Featured as the Houstonist Flickr Group Photo Of The Day for May 25th, 2006.
The Irish Museum of Modern Art is housed in the Royal Hospital Kilmainham
Image by infomatique
The Museum wishes to advise visitors that, owing to essential and extensive refurbishing works, the main building at IMMA will be closed from 1 November 2011 until 31 December 2012.
The Irish Museum of Modern Art is housed in the Royal Hospital Kilmainham, the finest 17th-century building in Ireland. The Royal Hospital was founded in 1684 by James Butler, Duke of Ormonde and Viceroy to Charles II, as a home for retired soldiers and continued in that use for almost 250 years. The style is based on Les Invalides in Paris with a formal facade and a large elegant courtyard. The Royal Hospital in Chelsea was completed two years later and also contains many similarities in style. The Royal Hospital Kilmainham was restored by the Government in 1984 and opened as the Irish Museum of Modern Art in May 1991.
The Museum’s mission is to foster within society an awareness, understanding and involvement in the visual arts through policies and programmes which are excellent, innovative and inclusive.
The Irish Museum of Modern Art is Ireland’s leading national institution for the collection and presentation of modern and contemporary art. The Museum presents a wide variety of art in a dynamic programme of exhibitions, which regularly includes bodies of work from its own Collection and its award-winning Education and Community Department. It also creates more widespread access to art and artists through its Studio and National programmes.
Some cool visual art images:
Thomas Howard, 2nd Earl of Arundel, son of Phillip Howard and Anne Dacre
Image by lisby1
1629-1630 — Portrait of Thomas Howard, Second Earl of Arundel — Image by © National Gallery Collection; By kind permission of the Trustees of the National Gallery, London/CORBIS
Thomas Howard, 21st Earl of Arundel, 4th Earl of Surrey and 1st Earl of Norfolk (7 July 1585–4 October 1646) was a prominent English courtier during the reigns of King James I and King Charles I, but he made his name as a Grand Tourist and art collector rather than as a politician. When he died he possessed 700 paintings, along with large collections of sculpture, books, prints, drawings, and antique jewellery. Most of his collection of marble carvings, known as the Arundelian Marbles, was eventually left to the University of Oxford.
He is sometimes referred as the 2nd Earl of Arundel; it depends on whether one views the earldom obtained by his father as a new creation or not. He was also 2nd or 4th Earl of Surrey, and later, he was created 1st Earl of Norfolk. Also known as ‘the Collector Earl’.
Arundel was born in relative penury, his aristocratic family having fallen into disgrace during the reign of Queen Elizabeth I owing to their religious conservatism and involvement in plots against the Queen. He was the son of Philip Howard, 20th Earl of Arundel and Anne Dacre, daughter and co-heiress of Thomas Dacre, 4th Baron Dacre of Gilsland. He never knew his father, who was imprisoned before Arundel was born.
Arundel’s great-uncles returned the family to favour after James I ascended the throne, and Arundel was restored to his titles and some of his estates in 1604. Other parts of the family lands ended up with his great-uncles. The next year he married Lady Alatheia (or Alethea) Talbot, a daughter of Gilbert Talbot, 7th Earl of Shrewsbury, and a granddaughter of Bess of Hardwick. She would inherit a vast estate in Nottinghamshire, Yorkshire, and Derbyshire, including Sheffield, which has been the principal part of the family fortune ever since. Even with this large income, Arundel’s collecting and building activities would lead him heavily into debt.
During the reign of Charles I, Arundel served several times as special envoy to some of the great courts of Europe. These trips encouraged his interest in art collecting.
In 1642 he accompanied Princess Mary for her marriage to William II of Orange. With the troubles that would lead to the Civil War brewing, he decided not to return to England, and instead settled first in Antwerp and then into a villa near Padua, in Italy. He died there in 1646, having returned to Roman Catholicism he nominally abandoned on joining the Privy Council, and was succeeded as Earl by his eldest son Henry Frederick Howard, 22nd Earl of Arundel who was the ancestor of the Dukes of Norfolk and Baron Mowbray. His youngest son William Howard, 1st Viscount Stafford-the ancestor of what was first the Earl of Stafford and later Baron Stafford.
Arundel had petitioned the king for restoration of the ancestral Dukedom of Norfolk. While the restoration was not to occur until the time of his grandson, he was created Earl of Norfolk in 1644, which at least ensured the title would stay with his family. Arundel also got Parliament to entail his earldoms to the descendants of the 4th Duke of Norfolk.
Arundel commissioned portraits of himself or his family by contemporary masters such as Daniel Mytens, Peter Paul Rubens, Jan Lievens, and Anthony Van Dyck. He acquired other paintings by Hans Holbein, Adam Elsheimer, Mytens, Rubens, and Honthorst.
He collected drawings by Leonardo da Vinci, the two Holbeins, Raphael, Parmigiano, Wenceslaus Hollar, and Dürer. Many of these are now at the Royal Library at Windsor Castle or at Chatsworth.
He had a large collection of antique sculpture, the Arundel Marbles mostly Roman, but including some he had excavated in the Greek world, which was then the most important in England, and was later bequeathed to Oxford University. It is now in the Ashmolean Museum.
The architect Inigo Jones accompanied Arundel on one of his trips to Italy 1613-14, a journey which took both men as far as Naples. In the Veneto Arundel saw the work of Palladio which was to become so influential to Jones’s later career. Soon after the latter’s return to England he became Surveyor to the King’s Works.
Amongst Arundel’s circle of scholarly and literary friends were James Ussher, William Harvey, John Selden and Francis Bacon.