National Gallery of Art
National Gallery of Art
News Article | April 27, 2017
On Sunday, a Vanity Fair report claimed that Ivanka and her stepmother have had cold interactions with each other. Ivanka Trump took to Instagram to wish her "incredible stepmom" Melania Trump on her 47th birthday Wednesday. The first lady made a rare mid-week travel to Washington D.C., on her birthday and spent the day with Vice President Mike Pence’s wife, Karen, at a luncheon for Senate spouses at the National Gallery of Art. "Happy Birthday to our first lady (and my incredible step-mom!) Melania Trump," Ivanka captioned a photo of Melania and President Donald Trump. "A wonderful example of kindness and grace for us all! @FLOTUS." Ivanka's message for Melania came after Sunday's report on Vanity Fair claiming the two women have a frosty relationship. The report, citing two unnamed sources, said Ivanka and her stepmother have had cold interactions with each other. However, a White House spokesperson dismissed the rumors, telling the Huffington Post Melania and Ivanka have always had a close bond. Read: White House 'Family Office' To Be Shared By Melania And Ivanka Trump Trump's wife received the disapproval of many Americans when it was announced she will live in New York with her son Barron, while Ivanka was often seen working closely with her father. The first daughter also took on a larger role in her father’s campaign than Melania did. While she continues to live in New York so her 10-year-old son can finish the school year, Ivanka moved to Washington with her three children and husband Jared Kushner. “Melania is an unbelievable mother. It’s pretty uncommon for wives of candidates to not be on the campaign trail every day. And she made a decision I totally respect, which is that she has a young son, he needs stability, he needs routine,” Ivanka told People in July 2016 of Melania's decision to fly under the radar. “My father’s traveling so frequently, and she is an unbelievably consistent, loving and reliable figure in Barron’s life.” Ivanka also commended the first lady’s work with charitable organizations and said: "Melania is very smart, she’s very warm, she’s got an incredible heart."
News Article | April 26, 2017
I.M. Pei – creator of the now-iconic pyramid of Paris’s Le Grand Louvre, Boston’s Kennedy Library, and Washington D.C.’s National Gallery of Art, among others – is an architectural legend. Some even say he’s the last living father of modern architecture. Today, American-Costa Rican architect, David Konwiser, remembers his first encounter with his idol – the day Pei became the first guest at Konwiser’s family business and first solo project: Villa Punto de Vista. And this week, Architectural Digest features them both: A living legend on his centennial, and the young architect whom he inspired. Synopsis of article is as follows: Ambitious Architecture in the Jungle Ten years ago, Konwiser embarked on Villa Punto de Vista – a project so ambitious, it would have given pause to a more seasoned architect. But Konwiser – young, green, and at the time, almost recklessly optimistic – embraced the challenge. His six-story, luxury ten-bedroom concept villa, set within 2.5 acres of private Costa Rican rainforest reserve, embodied the precepts of modern architecture: floating cantilevers and transparency glass, green design and a geometric layout designed to maximize vistas to sea and rainforest. Two years into the project – and still months from completion – Konwiser’s brother, Christien, called with the good news: They had a potential first guest for New Year’s week – just two months away. There was no way they’d be ready in time. The elevator pit was leaking mysteriously. The ballroom had no floor. The pool was still being poured. And then, Christien dropped the bombshell: “The guest is apparently a famous architect – I.M. Pei. Have you heard of him?” The I.M. Pei Comes to Costa Rica There was no question: It didn’t matter if there was enough time. They’d be ready. For weeks on end, the team labored 12- to 18-hour days. Despite the frantic pace, sleepless nights, and sometimes waning morale, they rose to the occasion. By the time I.M. Pei’s chauffeured Mercedes rolled into the jungle, they were ready. Konwiser recalls, “When I first saw Mr. Pei, he was seated in the ballroom. He was looking about, absorbing the details, almost as if he were in a museum. My nerves almost got the best of me.” His nerves were for naught: Pei was gracious, thoughtful and kind. And, as Konwiser soon discovered, he was also impressed. Villa Punto de Vista: A “Real Tour de Force” That first night at sunset, Pei inquired as to what part of the villa made Konwiser most proud. The young architect pointed down to three cantilevered terraces below: “There’s not a corner in the villa that isn’t a floating cantilever.” And to that, a living legend responded, “David, it’s a real tour de force.” These were words that Konwiser would never forget. Words that today, seven years later, on Pei’s centennial birthday, Konwiser still repeats with wonder. Words that help explain why a luxury villa, secreted into the rainforests of Costa Rica, books up years in advance.
News Article | April 12, 2017
A new exhibition documents the gorgeous, moody photographs made on the eastern seaboard of the United States in the 19th century, as the US began to fully take form. East of the Mississippi is at the National Gallery of Art, Washington DC, until July 16
News Article | April 28, 2017
First Lady Melania Trump joined her husband President Donald Trump Thursday for a meeting with the Argentine President Mauricio Macria and his wife at the White House. The first lady has been known for her choice of elegant yet simple designer dresses; however she chose to stand out on Thursday donning a military-inspired olive green ensemble. She wore an army green colored skirt with a matching peplum-style blazer from Altuzarra’s Spring 2017 collection. The designer's gabardine military jacket had python-print piping on its seam and the jacket solely costs $2,995. While the matching skirt tailored with asymmetrical buttons added another $1,120 to the total price of the $4,115 ensemble. Melania matched her edgy outfit with a pair of python Manolo Blahnik BB pumps which costs around $595 per pair. Her shoes perfectly matched with the piping of her designer ensemble. Even when Melania opted for a more edgy than her patent simple style for the meeting, she sported her trademark hairstyle- her caramel colored hair fell in loose waves over her shoulders. The U.S. first lady recently celebrated her 47th birthday on April 26 in Washington D.C. Melania attended the Senate spouses luncheon at the National Gallery of Art sporting a navy coatdress paired with a brown belt. The dress was possibly made out of alligator skin. She donned her trademark hairstyle. On Thursday, during the meeting, in contrast to Melania, the first Lady of Argentina was seen in monochrome attire, wearing a red pencil dress featuring a peplum design around the waist. Juliana, the first lady of Argentina matched her dress with a patent red leather clutch and red leather pumps by Aquazzura, which is sold at a price of $695. Surprisingly, Aquazzura, the designer brand has been currently involved in a legal battle with Trump's eldest daughter Ivanka Trump, as the high-end brand accused the first daughter of ripping off a number of its designs for her own fashion brand. Both the presidents wore navy suits for their meeting, however Trump decided to leave his jacket unbuttoned in order to showcase his long striped tie. The Argentinian president and his wife were treated royally up on their arrival to the White House. A red carpet and a military honor guard were placed at the gates as their motorcade entered through the driveway at the White House’s South Lawn entrance. The first ladies posed with their husbands for photos after their initial introductions. Photo: Getty Images Trump described Macri as “my good friend for many, many years.” "We're just going to be great friends, better than ever before," Trump said speaking of his expectations as far as his relations with Argentina were concerned. During their meeting, Argentine journalists at the White House asked about the ban on lemon imports. Argentina has been known as one of the world’s topmost lemon producers. Recently, the Trump administration delayed a decision by former President Barack Obama, which asked to lift a 16-year ban on imports of Argentine lemons. "I think we're going to be very favorably disposed," Trump joked about their meeting: "I'll tell him about North Korea and he'll tell me about lemons,” he said Ivanka Trump Gushes Over Melania On Her 47th Birthday
News Article | May 3, 2017
Canterbury Designs, a Los Angeles based designer and manufacturer of classic and inspired site furnishings, has launched a comprehensive and simple-to-navigate new website at http://www.canterbury-designs.com. Previously known as Canterbury International, and established in 1962, the company offers a full suite of benches, tables and chairs, receptacles, tree grates, bollards, drinking fountains, planters, bike racks, and other site amenities. Designed with landscape architects, designers, and planners in mind, the new website includes high quality photos and easy to download CAD drawings in both DWG and PDF file formats. For each product, Canterbury includes recommended complementary furnishings. According to Mr. Tom Price, General Manager at Canterbury, “We have received very positive feedback on our new site. We designed it to be intuitive, complete, and very simple to use. Our landscape architect clients in particular have thanked us for the inclusion of easy to access CAD drawings.” Mr. Price went on to add, “In addition to our broad portfolio of standard site furnishings, we do a significant amount of customization work. Whether it’s tweaking one element of a piece of site furniture, or designing something completely new, our services run the gamut. We included a ‘featured projects’ section on the site that highlights the creativity and problem solving capabilities the Canterbury team has to offer.” About Canterbury Designs Canterbury has been designing and crafting premium site furnishings since 1962. The Los Angeles based company offers a broad portfolio of standard and custom site amenities including seating solutions, receptacles, tree grates, bollards, drinking fountains and planters in both classic and contemporary designs. The company’s products grace the landscapes of thousands of parks, city streetscapes, retail & corporate developments, universities, and other urban sites. Recent projects include the Walt Disney theme parks, Central Park in New York City, the Broad museum in downtown Los Angeles, the LINQ entertainment district on the Las Vegas Strip, the National Gallery of Art, and the City of Pasadena.
News Article | February 21, 2017
Yares Art is pleased to present "Manuel Neri: Singularity of Form & Surface," the first solo exhibition at the gallery's New York location, featuring bronze sculptures and drawings from the noted California artist. The exhibition runs from February 23rd through April 8th, 2017, with a preview reception on Thursday, February 23rd from 5:30 to 7:30pm at Yares Art’s new location on the 4th floor at 745 Fifth Avenue, New York. An 88-page catalogue published for the exhibition is available at the gallery. Gallery owner Dennis Yares writes in the exhibition catalogue that Manuel Neri’s work “continues a Modernist figurative tradition advanced in the 20th century by such artists as Alberto Giacometti and Marino Marini, yet Neri’s approach to the figure is matchless and very much his own. For Neri, the sculptural figure remains a viable and relevant vehicle capable of speaking in contemporary terms...” Neri, whose career now spans six decades, has exhibited with Yares galleries in Scottsdale, Arizona, and Santa Fe, New Mexico, since 1991. This is his first solo New York exhibition in ten years. Manuel Neri (b. 1930) is recognized for his life-size figurative sculptures and reliefs in plaster, bronze, and marble, their complex surfaces sanded, gouged, or painted as a means of directing the gestural thrust. The life-size bronze figures and maquettes featured in this exhibition are treated with the artist’s signature “Alborada patina,” a white painted surface layered with yellow glazes, that highlights the glow of the bronze and the sculptures’ formal and gestural essence. In Neri's work with the figure, he conveys an emotional inner state that is revealed through body language, gesture, and surface. During the past four decades, Neri has worked primarily with the same model, Mary Julia Klimenko, creating drawings and sculptures that merge contemporary sculptural concerns with classical forms. Since 1965 Neri has worked in his studio in Benicia, California; in 1981 he purchased a studio in Carrara, Italy, for working in marble. Neri initially became known in the 1960s for his association with the Bay Area Figurative movement. During the 1950s, he was a member of the artist-run cooperative Six Gallery in San Francisco where, in October 1955, he helped organize the "6 Poets at 6 Gallery" poetry reading, a landmark Beat era event where Allen Ginsberg gave the first public reading of “Howl.” In 1959, Neri was an original member of the Rat Bastard Protective Association, along with Bruce Conner, Joan Brown, Jay DeFeo, and other artists. (In the early 1960s Neri was married to painter Joan Brown, though their relationship and artistic collaboration dated back several years prior to that.) Neri taught sculpture at California School of Fine Arts (1959–65) and UC Berkeley Art Department (1963-4), and was on the art department faculty at the University of California, Davis from 1965-99. Awards include the International Sculpture Center’s 2006 Lifetime Achievement Award in Contemporary Sculpture, the 2008 Bay Area Treasure Award from the San Francisco Museum of Modern Art, and many others. Museums holding works by Manuel Neri include the Art Institute of Chicago; Denver Art Museum; El Paso Museum of Art; Fine Arts Museums of San Francisco; Honolulu Museum of Art; Indianapolis Museum of Art; Memphis Brooks Museum; Metropolitan Museum of Art, New York; Manetti Shrem Museum, Davis, California; Minneapolis Institute of Art; Nasher Gallery at Duke University; Nasher Sculpture Center, Dallas; National Gallery of Art, Washington DC; Oakland Museum of California; Palm Springs Art Museum; Portland Art Museum, Oregon; San Diego Museum of Art; San Francisco Museum of Modern Art; San Jose Museum of Art; Seattle Art Museum; University Museums, Iowa State University, Ames; Whitney Museum of American Art; Yale University Art Gallery, and others. Yares Art champions primarily major Postwar Abstract Expressionist and Color Field artists and has represented the Milton Avery Estate for the past five decades. The gallery’s inaugural exhibition featured “Helen Frankenthaler and L.M.N.O.P,” with works by Frankenthaler, Morris Louis, Robert Motherwell, Kenneth Noland, Jules Olitski, and Larry Poons and was hailed by writer David Ebony as “A rarity in New York, … a concise overview of the Color Field movement of the late 1950s and ’60s, whose heroic scaled canvases and immersive, panoramic viewing experiences are little known by younger generations of artists and art-lovers.” (Nov. 26, 2016, artnet.com) Yares Art is located at 745 Fifth Avenue, 4th Floor, New York, NY 10151 (212) 256-0969. http://www.yaresart.com
News Article | October 28, 2016
Maintenance Connection recently welcomed more than 300 attendees and integration partners to its 14th annual user group meeting, Checkpoint, in Baltimore. Maintenance Connection, the industry’s leading computerized maintenance management software (CMMS) provider, holds the annual event to provide guidance and training for users to maximize the return on their CMMS investment. Checkpoint provides Maintenance Connection customers — from early adopters to seasoned users — the chance to see new product advancements, and the opportunity to check-in with the Customer Success team. The team works with customers on a one-on-one basis to talk about how they’re using the product and ways to ensure that they maximize its benefits considering their own maintenance programs. “My favorite part of Checkpoint is the opportunity to interact with our users face to face,” Maintenance Connection Chief Customer Officer Brian Kincaid says. “We use this event as a time to celebrate our customers, and take a deeper dive into each user’s needs to expand our partnership.” This year’s user group meeting included a customer appreciation event at Baltimore’s National Aquarium. Checkpoint attendees got the chance to meet and hear from the company’s newly appointed CEO, Eric Morgan during the opening session. Attendees also had a sneak-peak of MC v8.0, Maintenance Connection’s upcoming product release set for 2017. Outside of sessions, Checkpoint attendees are given the opportunity to network at cross-industry events. At this year’s event, the largest industries represented include manufacturing, facilities, education, energy, government and healthcare. “This was the most well-planned conference I’ve ever attended,” says attendee Mike Platt of the National Gallery of Art. “Everyone on the Maintenance Connection team was extremely accommodating, helpful, courteous and knowledgeable. I want to thank them for such a great conference, product and time.” The Checkpoint seminar also provides a forum for Maintenance Connection to present two annual awards to its customers: “Client of the Year” and “User of the Year.” This year’s recipient for Client of the Year 2016 was presented to CH2M who has been using Maintenance Connection since 2005. The 2016 User of the Year was presented to Troy Lingelbach, Assistant to Director Facilities Management at Towson University. Troy has been using Maintenance Connection since 2006. Maintenance Connection plans to hold the 2017 Checkpoint event from Sept. 18-20 in Seattle. Visit the Maintenance Connection website to learn more about its CMMS software. Or, click here to learn more about the annual Checkpoint user group meeting.
News Article | October 18, 2016
WASHINGTON, Oct. 18, 2016 (GLOBE NEWSWIRE) -- The U.S. Postal Service dedicated a Christmas stamp today featuring the Florentine Madonna and Child, from a 15th-century tempera-on-panel painting in the Widener Collection at the National Gallery of Art in Washington, DC. The ceremony took place at the Smithsonian National Postal Museum. The painting is dated to circa 1470, and its anonymous artist is known only as "a Follower of Fra Filippo Lippi and Pesellino." The public is invited to share the news using the hashtag #ChristmasStamps. "With the holidays right around the corner, this stamp, based on a beautiful portrait as part of the National Gallery of Art's collection, is perfect for extending Christmas greetings to family, friends and loved ones," said U.S. Postal Service Capital Metro Area Vice President of Operations Linda Malone. Joining Malone in the dedication ceremony were National Gallery of Art Associate Curator for Italian and Spanish Paintings Gretchen Hirschauer; Editor-in-Chief of Italian America Miles Fisher; U.S. Postal Service Chief Human Resources Officer and Executive Vice President Jeffrey Williamson; and Smithsonian National Postal Museum Director Allen Kane. Voice of America "International Edition" Host Lori Lundin served as master of ceremonies. "The Florentine Madonna and Child represents not only the Italian Renaissance, but also the importance of the arts in all of western civilization," said Fisher. "This emphasis was later brought to the United States by many immigrant groups — including Italians — each in their own way." Art historians have long sought to identify the artist who created this painting. Early in the 20th century, the painting was attributed to the Florentine artist Pier Francesco Fiorentino, but not long after, the painting was seen as the work of an anonymous artist who had created a large number of paintings in the same style. Although some museums still refer to the artist as "Pseudo-Pier Francesco Fiorentino," scholars have recently taken a different approach and concluded that the artist was heavily influenced by two prominent 15th-century Florentine artists, Fra Filippo Lippi and Francesco Pesellino. The painting on this stamp is believed to be based on a Pesellino painting, now in the Musée des Beaux-Arts de Lyon in France, which shows a very similar Madonna and Child against a different background. For that reason, the National Gallery of Art refers to the artist as "a Follower of Fra Filippo Lippi and Pesellino." Clad with a white veil over her head and a red garment and blue cloak, both trimmed in gold, a haloed Virgin Mary gazes downward and to the right, looking at a blond, haloed Christ child while placing her right hand on his shoulder. The Christ child looks directly at the viewer. The position of the thumb and forefinger of his left hand suggests to some art historians that the painter may have intended to show him holding a symbolic object, although the painting in France believed to be its source shows the Christ child making the same gesture. Behind both of them is a hedge of pink and white roses, with blue sky visible through thorny, leafy stalks. Similar paintings, presumably by the same artist or workshop, are in the collections of many museums in other cities, including Baltimore, Philadelphia and London. Art historians have speculated that the painter may have had preparatory drawings or close copies of the works of the masters he imitated, and that a relationship may have existed between the workshops of those artists and this anonymous painter. The Postal Service is issuing this stamp as a Forever stamp in a booklet of 20. Forever stamps are always equal in value to the current First-Class Mail 1-ounce price. When referring to the Madonna and Child painting, use the following credit line: "National Gallery of Art, Widener Collection." Ordering First-Day-of-Issue Postmarks Customers have 60 days to obtain the first-day-of-issue postmark by mail. They may purchase new stamps at local Post Offices, at The Postal Store website at usps.com⁄shop, or by calling 800-782-6724. They should affix the stamps to envelopes of their choice, address the envelopes to themselves or others, and place them in a larger envelope addressed to: Florentine Madonna and Child Christmas Stamp Stamp Fulfillment Services Cancellation Services 8300 NE Underground Drive, Pillar 210 Kansas City, MO 64144-9998 The Postal Service will apply the first-day-of-issue postmark and return the envelopes through the mail. There is no charge for the postmark up to a quantity of 50. There is a 5-cent charge for each additional postmark over 50. All orders must be postmarked by Dec. 18, 2016. Ordering First-Day Covers The Postal Service also offers first-day covers for new stamp issues and Postal Service stationery items postmarked with the official first-day-of-issue cancellation. Each item has an individual catalog number and is offered in the quarterly USA Philatelic catalog, online at usps.com⁄shop, or by calling 800-782-6724. Customers may request a free catalog by calling 800-782-6724 or writing to: U.S. Postal Service Catalog Request PO Box 219014 Kansas City, MO 64121-9014 Visit this link for information on upcoming stamp events. The Postal Service receives no tax dollars for operating expenses and relies on the sale of postage, products and services to fund its operations. Please Note: For broadcast quality video and audio, photo stills and other media resources, visit the USPS Newsroom. Reporters interested in speaking with regional Postal Service public relations professionals should visit this link. Follow us on twitter.com/USPS and like us at facebook.com/USPS. For more information about the Postal Service, visit usps.com and usps.com/postalfacts. A photo accompanying this release is available at: http://www.globenewswire.com/newsroom/prs/?pkgid=41689
Lomax S.Q.,National Gallery of Art
Journal of Coatings Technology Research | Year: 2010
Over 50 commercial paints were examined by x-ray powder diffraction in order to try and identify the synthetic organic pigments present. The binders included acrylic, oil, gum, and alkyd. Some pigments could be identified, though analysis is often complicated by the presence of large amounts of fillers and extenders in the paints relative to the small quantities of the pigment. A few of the paints did not have reflections due to fillers or extenders but the pigments could still not be identified. The best success in identifying the pigments was with acrylic binders, where the pigments could be identified in more than half of the samples examined, and with alkyds, where the pigment could frequently be identified. However, other binders, especially oil and gum, contain so many fillers that the pigment reflections are obscured. X-ray powder diffraction, therefore, is of limited utility in the identification of synthetic organic pigments in paints. © FSCT and OCCA 2009.
Berrie B.H.,National Gallery of Art
Annual Review of Analytical Chemistry | Year: 2012
Following a brief overview of the history of analysis of artists' pigments, I discuss the illustrative example of lead-tin yellow. Recent advances in our knowledge of artists' use of red lakes, glassy pigments, and metallic pigments in works of cultural heritage, particularly European paintings, as determined from chemical analyses are described. Copyright © 2012 by Annual Reviews. All rights reserved.