Review of the most famous cases of art thefts in history including the stealing of the Mona Lisa and The Scream.
Art theft is an ancient and complicated crime. When you look at the some of the most famous cases of art thefts in history, you see thoroughly planned operations that involve art dealers, art fakers, mobsters, ransoms, and millions of dollars. Here you can read about some of the most famous cases of art theft in the history.
The First Theft:
The first documented case of art theft was in 1473, when two panels of altarpiece of the Last Judgment by the Dutch painter Hans Memling were stolen. While the triptych was being transported by ship from the Netherlands to Florence, the ship was attacked by pirates who took it to the Gdansk cathedral in Poland. Nowadays, the piece is shown at the National Museum in Gdansk where it was recently moved from the Basilica of the Assumption.
The Most Famous Theft:
The most famous story of art theft involves one of the most famous paintings in the world and one of the most famous artists in history as a suspect. In the night of August 21, 1911, the Mona Lisa was stolen out of the Louver. Soon after, Pablo Picasso was arrested and questioned by the police, but was released quickly.
It took about two years until the mystery was solved by the Parisian police. It turned out that the 30×21 inch painting was taken by one of the museum employees by the name of Vincenzo Peruggia, who simply carried it hidden under his coat. Nevertheless, Peruggia did not work alone. The crime was carefully conducted by a notorious con man, Eduardo de Valfierno, who was sent by an art faker who intended to make copies and sell them as if they were the original painting.
While Yves Chaudron, the art faker, was busy creating copies for the famous masterpiece, Mona Lisa was still hidden at Peruggias apartment. After two years in which Peruggia did not hear from Chaudron, he tried to make the best out of his stolen good. Eventually, Peruggia was caught by the police while trying to sell the painting to an art dealer from Florence, Italy. The Mona Lisa was returned to the Louver in 1913.
The Biggest Theft in the USA:
The biggest art theft in United States took place at the Isabella Stewart Gardner Museum. On the night of March 18, 1990, a group of thieves wearing police uniforms broke into the museum and took thirteen paintings whose collective value was estimated at around 300 million dollars. The thieves took two paintings and one print by Rembrandt, and works of Vermeer, Manet, Degas, Govaert Flinck, as well as a French and a Chinese artifact.
As of yet, none of the paintings have been found and the case is still unsolved. According to recent rumors, the FBI are investigating the possibility that the Boston Mob along with French art dealers are connected to the crime.
The Scream:
The painting by Edvard Munchs, The Scream, is probably the most sought after painting by art thieves in history. It has been stolen twice and was only recently recovered. In 1994, during the Winter Olympics in Lillehammer, Norway, The Scream was stolen from an Oslo gallery by two thieves who broke through an open window, set off the alarm and left a note saying: thanks for the poor security.
Three months later, the holders of the painting approached the Norwegian Government with an offer: 1 million dollars ransom for Edvard Munchs The Scream. The Government turned down the offer, but the Norwegian police collaborated with the British Police and the Getty Museum to organize a sting operation that brought back the painting to where it belongs.
Ten years later, The Scream was stolen again from the Munch Museum. This time, the robbers used a gun and took another of Munchs painting with them. While Museum officials waiting for the thieves to request ransom money, rumors claimed that both paintings were burned to conceal evidence. Eventually, the Norwegian police discovered the two paintings on August 31, 2006 but the facts on how they were recovered are not known yet.
Showing posts with label painting. Show all posts
Showing posts with label painting. Show all posts
Art - Make It Your Next Investment
There are a lot of people who enjoy decorating with beautiful and original pieces of art. Some may think that they spent a fortune on it, but if the attended an art festival they nay have found a bargain.
Attending an art festival to look for your next purchase of a piece of art is a great way to save money. You never know what you are going to find. There are many different artists supplying a variety in different pieces. Whether it is a wall hanging of sculpture for your prize garden there is a choice. You could even be buying a piece of work made by a future artist who works will one day be worth a small fortune.
If you are a collector or a dealer of art this is an excellent opportunity to purchase for your own investment. It doesn't matter what you are looking for you will most likely find it.
You don't have to go just to make a purchase either. You can just simply get an idea of some things you might want to purchase in the future. Get an idea of the different types of art that is out there. Discover what your taste in art is. It is a nice way to just enjoy your day. Art usually has a calming effect on most people so just go to simply enjoy a day off. There are other things to do when you attend an art festival.
Some people go to art festivals in search of other homemade products. There are stands that sell beaded jewelry. Silver and turquoise is another popular choice in homemade jewelry. This is a great way to purchase something different. Some of it being better quality then jewelry you'll find in a department store.
Crafts are another thing sought out when one attends an art festival. Some of us love crafts, but just don't have the knack to make our own. It is also a great way for crafty people to sell their pieces. Making a profit off their hobby.
Art festivals are annual events in most areas. You may not live somewhere an art festival is held. You can search on the Internet to find out if there is an art festival held in a near by location to you. If you truly love art you won't mind the extra time it takes to attend a festival. Art festivals are a rewarding experience to both who attended them and the artists selling their works. It is something to look forwarded to every year knowing that you will again experience the endless talent of the locals near you.
Attending an art festival to look for your next purchase of a piece of art is a great way to save money. You never know what you are going to find. There are many different artists supplying a variety in different pieces. Whether it is a wall hanging of sculpture for your prize garden there is a choice. You could even be buying a piece of work made by a future artist who works will one day be worth a small fortune.
If you are a collector or a dealer of art this is an excellent opportunity to purchase for your own investment. It doesn't matter what you are looking for you will most likely find it.
You don't have to go just to make a purchase either. You can just simply get an idea of some things you might want to purchase in the future. Get an idea of the different types of art that is out there. Discover what your taste in art is. It is a nice way to just enjoy your day. Art usually has a calming effect on most people so just go to simply enjoy a day off. There are other things to do when you attend an art festival.
Some people go to art festivals in search of other homemade products. There are stands that sell beaded jewelry. Silver and turquoise is another popular choice in homemade jewelry. This is a great way to purchase something different. Some of it being better quality then jewelry you'll find in a department store.
Crafts are another thing sought out when one attends an art festival. Some of us love crafts, but just don't have the knack to make our own. It is also a great way for crafty people to sell their pieces. Making a profit off their hobby.
Art festivals are annual events in most areas. You may not live somewhere an art festival is held. You can search on the Internet to find out if there is an art festival held in a near by location to you. If you truly love art you won't mind the extra time it takes to attend a festival. Art festivals are a rewarding experience to both who attended them and the artists selling their works. It is something to look forwarded to every year knowing that you will again experience the endless talent of the locals near you.
Abstract Art And The Spirit 1
It has been a long and raging arguement that the abstract expressionists of the 50's, 60's and 70's were very busy contemplating their own navels and trying to find the "zen" in everything they did.
I would argue that they were in fact just one very important example of the hungry sleep-drugged soul seeking a way to be heard. However, many artsists of those times, and indeed today, would flatly deny anything remotely to do with spiritual things - or worse still - religious things.
Take, for instance, one of my favourites - Mark Rothko. This tragic artist committed himself to the task of producing massive canvases with many vaguely resembling the outline of a window - especially an after image once the eye has closed. His vast expanses of colour seemed to hunt out a corner or edge in a desperate attempt to complete, or conclude, the picture. Not satisfied with that he went on to give up titling his work saying that he did not want to influence the onlooker in any way. Ironically he failed ... and sadly took his own life. For me his works speak of wonderful tantilizing clues visually demonstrating the struggling spirit seeking (and succeeding!) in revealing herself - now that is real influence! Let me explain by an apparently unrelated route:
I seek to assist my own spirit in attempting to make manifest even the tiniest, most pathetic, weakest fact that the spirit in us all is not only just trying to communicate with us - but is in fact actively seeking to set the whole human balance right ... which is the spirit leading the mind and body back to her source - not the other way round - the mind and body leading the blinded soul to ... well, eventually death.
Not so long ago I came across the writings of Meister Eckhart, a fourteenth century Christian mystic. His words amazed me. He described in his many sermons what he believed to be the truth as to why we are here. He also revealed many tantilizing "images" of the spirit from the least angelic being right up to God Himself. His descriptions were ... how can I put it simply? ... abstract!
In one of his sermons he described God as ... "unknowable" ... "not able to be understood" ... "undefinable". In another he made a statement (one of many which may have contributed to him being accused of heresy!) "People say God exists ... God does not exist ... " left out of context that would be a truly blasphemous assertion. But he went on to say that "... God is far greater ... God is beyond existance". These and many other controversial sayings have impressed me so much that I have come to "see" God as an abstract entity - not, I hasten to add, an anarchic abstract form - but rather a God far more powerful, far more greater - than I can imagine ... in other words totally undefinable. Rather than this putting a distance between me and God, it has done exactly the opposite. And when Eckhart began to describe the life of Christ in an almost completely abstract way - Eckhart said that Christs life was the greatest example of the seeking and finding the uncreated source of the pure soul - my imagination began to run like a film of frenzied obscure visuals. Eckhart has become, to me, the patron saint of abstract artists.
The beauty of Eckharts enigmatic words are intensely inspiring. What better way to illustrate his poetic writings than to describe Gods "isness" in the very basic form of a gigantic flat area of one saturated colour untainted by anythingelse. Strangely enough this could be part of an exact description from one of Rothko's immense, sometimes almost monochromatic, paintings.
But this is by no means the whole story ... one of Eckhart's contradictions said that on the one hand God is totally unapproachable, yet at the same time God is actually very, very approachable ...
However, that is another article.
I would argue that they were in fact just one very important example of the hungry sleep-drugged soul seeking a way to be heard. However, many artsists of those times, and indeed today, would flatly deny anything remotely to do with spiritual things - or worse still - religious things.
Take, for instance, one of my favourites - Mark Rothko. This tragic artist committed himself to the task of producing massive canvases with many vaguely resembling the outline of a window - especially an after image once the eye has closed. His vast expanses of colour seemed to hunt out a corner or edge in a desperate attempt to complete, or conclude, the picture. Not satisfied with that he went on to give up titling his work saying that he did not want to influence the onlooker in any way. Ironically he failed ... and sadly took his own life. For me his works speak of wonderful tantilizing clues visually demonstrating the struggling spirit seeking (and succeeding!) in revealing herself - now that is real influence! Let me explain by an apparently unrelated route:
I seek to assist my own spirit in attempting to make manifest even the tiniest, most pathetic, weakest fact that the spirit in us all is not only just trying to communicate with us - but is in fact actively seeking to set the whole human balance right ... which is the spirit leading the mind and body back to her source - not the other way round - the mind and body leading the blinded soul to ... well, eventually death.
Not so long ago I came across the writings of Meister Eckhart, a fourteenth century Christian mystic. His words amazed me. He described in his many sermons what he believed to be the truth as to why we are here. He also revealed many tantilizing "images" of the spirit from the least angelic being right up to God Himself. His descriptions were ... how can I put it simply? ... abstract!
In one of his sermons he described God as ... "unknowable" ... "not able to be understood" ... "undefinable". In another he made a statement (one of many which may have contributed to him being accused of heresy!) "People say God exists ... God does not exist ... " left out of context that would be a truly blasphemous assertion. But he went on to say that "... God is far greater ... God is beyond existance". These and many other controversial sayings have impressed me so much that I have come to "see" God as an abstract entity - not, I hasten to add, an anarchic abstract form - but rather a God far more powerful, far more greater - than I can imagine ... in other words totally undefinable. Rather than this putting a distance between me and God, it has done exactly the opposite. And when Eckhart began to describe the life of Christ in an almost completely abstract way - Eckhart said that Christs life was the greatest example of the seeking and finding the uncreated source of the pure soul - my imagination began to run like a film of frenzied obscure visuals. Eckhart has become, to me, the patron saint of abstract artists.
The beauty of Eckharts enigmatic words are intensely inspiring. What better way to illustrate his poetic writings than to describe Gods "isness" in the very basic form of a gigantic flat area of one saturated colour untainted by anythingelse. Strangely enough this could be part of an exact description from one of Rothko's immense, sometimes almost monochromatic, paintings.
But this is by no means the whole story ... one of Eckhart's contradictions said that on the one hand God is totally unapproachable, yet at the same time God is actually very, very approachable ...
However, that is another article.
Abstract Art As Therapy
Abstract art is not just a mixture of colourful meaningless patterns and arbitrary shapes.
There is, I believe, a definate therapeutic value to be found in most of the enigmatic marks made by the very different styles available today. What appears to be the most important decision to make is a very careful consideration of the specific audience in conjunction with the choosing of the appropriate artwork. This is not something to be taken lightly or quickly. This can cover anybody within the wide spectrum of individual audiences: a busy boardroom environment or a single office or room where quick thinking, fast reactions, and serious decision making is required; or a worker who returns from a hard days work simply wanting to be visually massaged by an easily observed enigma; or even the space inwhich the desperate and mostly misunderstood person who is gradually loosing their tentative hold on the sense of reality. There is a tremendous variety of possibilities.
Here are some suggested associations from one artists point of view:
Colour plays an obvious healing and therapeutic role to be found in a carefully selected crafted piece, and so colour-field work, which is growing in popularity, first conceived by artists like Mark Rothko and Ellsworth Kelly with their vast areas of empty colour space, might add a general feeling of peace and quiet to an otherwise noisy and hectic environment. With there being very few variations within such a large image a gentle sense of immersion into abstract stillness can slow down any fretful or irratic thinking, and even assist with the adrenal challenge of a creative.
Indefinate shapes or patterns by the likes of Jackson Pollock, Peter Lanyon, and Howard Hodgkin (again, similar works inspired by these very different abstract styles can be seen in many exhibitions, shops and galleries), show a very positive association, and may perhaps persuade a mind filled with illogical thoughts to pause, simply take in the apparent spontenaiety, and then take a different direction. Hodgkin style works in particular can be seen as puzzle like canvases inwhich the observer has no real point of reference so is free to "start" anywhere upon the picture. And because there are very few defined areas sometimes the observer inevitably finds themself either regarding the piece with little emotion, and therefore can freely make a comment - positive or not.
Let us not deny, however, the fact that many an image that has the potential to provoke a negative response can also be of great value to the observer who might actually benefit from seeing such a challenging picture that bears such a bad association. Better there on the wall than here inside the head. In this case the classic associations of red for blood and danger, black for death and sin, brown for decay and illness, along with dramatic lines and movements found in a painting are equally valuable stimulii if revealed within the appropriate environment. This comes back to my point made at the beginning - when choosing a picture, very careful consideration must be taken in order to find that one work of art which speaks directly to the very deepest parts of the observer.
There is, I believe, a definate therapeutic value to be found in most of the enigmatic marks made by the very different styles available today. What appears to be the most important decision to make is a very careful consideration of the specific audience in conjunction with the choosing of the appropriate artwork. This is not something to be taken lightly or quickly. This can cover anybody within the wide spectrum of individual audiences: a busy boardroom environment or a single office or room where quick thinking, fast reactions, and serious decision making is required; or a worker who returns from a hard days work simply wanting to be visually massaged by an easily observed enigma; or even the space inwhich the desperate and mostly misunderstood person who is gradually loosing their tentative hold on the sense of reality. There is a tremendous variety of possibilities.
Here are some suggested associations from one artists point of view:
Colour plays an obvious healing and therapeutic role to be found in a carefully selected crafted piece, and so colour-field work, which is growing in popularity, first conceived by artists like Mark Rothko and Ellsworth Kelly with their vast areas of empty colour space, might add a general feeling of peace and quiet to an otherwise noisy and hectic environment. With there being very few variations within such a large image a gentle sense of immersion into abstract stillness can slow down any fretful or irratic thinking, and even assist with the adrenal challenge of a creative.
Indefinate shapes or patterns by the likes of Jackson Pollock, Peter Lanyon, and Howard Hodgkin (again, similar works inspired by these very different abstract styles can be seen in many exhibitions, shops and galleries), show a very positive association, and may perhaps persuade a mind filled with illogical thoughts to pause, simply take in the apparent spontenaiety, and then take a different direction. Hodgkin style works in particular can be seen as puzzle like canvases inwhich the observer has no real point of reference so is free to "start" anywhere upon the picture. And because there are very few defined areas sometimes the observer inevitably finds themself either regarding the piece with little emotion, and therefore can freely make a comment - positive or not.
Let us not deny, however, the fact that many an image that has the potential to provoke a negative response can also be of great value to the observer who might actually benefit from seeing such a challenging picture that bears such a bad association. Better there on the wall than here inside the head. In this case the classic associations of red for blood and danger, black for death and sin, brown for decay and illness, along with dramatic lines and movements found in a painting are equally valuable stimulii if revealed within the appropriate environment. This comes back to my point made at the beginning - when choosing a picture, very careful consideration must be taken in order to find that one work of art which speaks directly to the very deepest parts of the observer.
Abstract Art and I
I pride in the feeling and reactions of my clients and viewers to my creations. I feel blessed in many ways than words can express. The challenge sometimes is getting the composition right, or balancing the elements of color, lines and shapes while maintaining a dynamic tension and massage beneath.
I have always loved bright colors and movement, like dancing its healing, relaxing fulfilling and challenging as well. The bottom line is the feeling and message that I want to convey through the medium. When I paint, every attempt is to capture the feel of warmth, passion, joy and bliss in none objective or figurative composition. I enjoy experimentation of different media and subjects.
My subject varies based on my emotion and statement but my love for colors is constant. In spite of this, viewers see different forms or figures in my abstract expressions. The good thing about these expressions is the freedom of the viewers to see and appreciate the forms in their mind's eyes, like face painting in the eye of the viewer. Its also important to mention that "Uli" which is my traditional art style has played a major role in my age long career. The symbols and forms of this art style are reflected in my cubism, abstract images, abstract relief sculpture, seascape, drawing, pastels and watercolor painting.
People see different forms or images in abstract art, the depth of what you actually see when you look at the paintings is partly based on individual exposure and understanding of art forms, color, shapes, line and texture; which are the physical elements that combine to make up the artworks.
A selection of different dark hues, shapes and forms may give various impressions to different minds; light, airy images as mystical; balanced, temperate forms as peaceful. Uli organic forms and shape are symbolical such as colors and forms have meaning in and of themselves. It is a simple truth that you can't give what you don't have. I am a believer and my work time is also a meditation time, which can go either way depending on the spiritual consciousness of the creative mind.
To me, my work section is an intimate moment between I, canvas and colors. At this creative moment there is a spiritual impartation from the artist to the Art. Hence the emotional reaction to these elements even if they create no recognizable object for us to hang onto.
I enjoy the inclusion and deletion of space. The handling of space or the
illusion of space is another powerful element in the artist's mind. If you are drawn into a yard of three-dimensional space stretching beyond the framework of the painting to sculpture, you are not alone. The impression of depth, perspective, airiness, solidity, textures and other spatial relations are created and controlled to achieve a desired goal.
The overall composition or design of my painting or sculpture is created to guide the viewer's eyes to understanding and appreciation of the images.
I must admit, most of my figurative compositions is a celebration of womanhood, which I am very proud to be part of for they are the seats of wisdom and knowledge.
I pride in the feeling and reactions of my clients and viewers to my creations. I feel blessed in many ways than words can express. The challenge sometimes is getting the composition right, or balancing the elements of color, lines and shapes while maintaining a dynamic tension and massage beneath.
Energy is the life force that is present in all good art. This is not something that is easily defined. The life force of every work I do is the same, but different energy and different statements. It is this peculiar energy that makes my works speak to you, and makes them unique, original and identifiable to me. This energy is created out of experience and self-awareness, materials and tools, but the end is more than the means in the same sense that a musical composition is so much more than a collection of notes.
You are welcome into my world of abstract wall art or modern art, relax and let your eye leisurely wander over the collection of verities of art forms and styles. Let your heart and mind react to my colors, shapes, figures and textures. Come and spoil yourself a little in the illusion of vibrant spaces, the movement of lines and the mood of blissful atmosphere.
Come, come up close and explore the intricacies of brushstrokes, spatula- strokes, paint thickness, textures and compositional details. Enjoy how the parts are woven together to form the whole.
Take your time. My artwork cannot be understood and appreciated in a ten second glance. Allow my art to grow on you, becoming more interesting and more enjoyable to look at as you live with it.
I have always loved bright colors and movement, like dancing its healing, relaxing fulfilling and challenging as well. The bottom line is the feeling and message that I want to convey through the medium. When I paint, every attempt is to capture the feel of warmth, passion, joy and bliss in none objective or figurative composition. I enjoy experimentation of different media and subjects.
My subject varies based on my emotion and statement but my love for colors is constant. In spite of this, viewers see different forms or figures in my abstract expressions. The good thing about these expressions is the freedom of the viewers to see and appreciate the forms in their mind's eyes, like face painting in the eye of the viewer. Its also important to mention that "Uli" which is my traditional art style has played a major role in my age long career. The symbols and forms of this art style are reflected in my cubism, abstract images, abstract relief sculpture, seascape, drawing, pastels and watercolor painting.
People see different forms or images in abstract art, the depth of what you actually see when you look at the paintings is partly based on individual exposure and understanding of art forms, color, shapes, line and texture; which are the physical elements that combine to make up the artworks.
A selection of different dark hues, shapes and forms may give various impressions to different minds; light, airy images as mystical; balanced, temperate forms as peaceful. Uli organic forms and shape are symbolical such as colors and forms have meaning in and of themselves. It is a simple truth that you can't give what you don't have. I am a believer and my work time is also a meditation time, which can go either way depending on the spiritual consciousness of the creative mind.
To me, my work section is an intimate moment between I, canvas and colors. At this creative moment there is a spiritual impartation from the artist to the Art. Hence the emotional reaction to these elements even if they create no recognizable object for us to hang onto.
I enjoy the inclusion and deletion of space. The handling of space or the
illusion of space is another powerful element in the artist's mind. If you are drawn into a yard of three-dimensional space stretching beyond the framework of the painting to sculpture, you are not alone. The impression of depth, perspective, airiness, solidity, textures and other spatial relations are created and controlled to achieve a desired goal.
The overall composition or design of my painting or sculpture is created to guide the viewer's eyes to understanding and appreciation of the images.
I must admit, most of my figurative compositions is a celebration of womanhood, which I am very proud to be part of for they are the seats of wisdom and knowledge.
I pride in the feeling and reactions of my clients and viewers to my creations. I feel blessed in many ways than words can express. The challenge sometimes is getting the composition right, or balancing the elements of color, lines and shapes while maintaining a dynamic tension and massage beneath.
Energy is the life force that is present in all good art. This is not something that is easily defined. The life force of every work I do is the same, but different energy and different statements. It is this peculiar energy that makes my works speak to you, and makes them unique, original and identifiable to me. This energy is created out of experience and self-awareness, materials and tools, but the end is more than the means in the same sense that a musical composition is so much more than a collection of notes.
You are welcome into my world of abstract wall art or modern art, relax and let your eye leisurely wander over the collection of verities of art forms and styles. Let your heart and mind react to my colors, shapes, figures and textures. Come and spoil yourself a little in the illusion of vibrant spaces, the movement of lines and the mood of blissful atmosphere.
Come, come up close and explore the intricacies of brushstrokes, spatula- strokes, paint thickness, textures and compositional details. Enjoy how the parts are woven together to form the whole.
Take your time. My artwork cannot be understood and appreciated in a ten second glance. Allow my art to grow on you, becoming more interesting and more enjoyable to look at as you live with it.
A Look At The Crystal Bridges Museum of Art
Some critics might say Jasper Cropseys The Backwoods of America, part of the Crystal Bridges growing American Art Collection, is a symbolic icon for billionaire Alice Waltons passion for the arts.
Designed by world renowned architect Moshe Safdie, and funded by billionaire Alice Walton, the 50 million dollars that is just the cost of the facility and does not include the artworks Crystal Bridges Museum of American Art is scheduled to open in 2009, in Bentonville, Arkansas. It was two years ago this month that the daughter of Sam Walton, Founder of Wal-Mart, made the controversial announcement.
The museum will house a permanent collection of signature works from American artists along with galleries dedicated to regional art and artists including Native American art, but oddly enough, this monumental task is not making everyone happy.
The depth of the museum is indicated in a purchase from Christies Americas auction house in New York City in 2004 of Charles Wilson Peales portrait of George Washington for $6.1 million. This is causing some critics to puff up, believing that the art works are being snatched from their own backyard. No need to worry, collaborating with other institutions will be an important focus of Crystal Bridges, even before the museum opens, and they can also rest easy to know Bentonville does have an airport.
A number of the works from the Crystal Bridges permanent collection are already on loan at various museums throughout the United States including: The Hudson River School masterwork Kindred Spirits which was loaned to The National Gallery in Washington, D.C. for public viewing from 2005 - 2007. It is currently on loan to the Brooklyn Museums exhibition by the same name featuring the works of Asher B. Durand. The same exhibition will also travel to Washington D.C. and San Diego.
Thomas Eakins Portrait of Professor Benjamin H. Rand is currently on loan to the Philadelphia Museum of Art. Jasper Cropseys majestic depiction of early American frontier life, The Backwoods of America, is now featured in the American galleries of The Nelson-Atkins in Kansas City, and the most extensive surviving group of Colonial American portraiture, the Levy-Franks family paintings, is currently on loan at The Jewish Museum in New York City. Also, the distinctive painting George Washington (The Constable-Hamilton Portrait) by the American painter Gilbert Stuart is currently on view at the Museum of Fine Arts Houston.
While the puffers puff, others admire Waltons passion and dedication to the arts, and recognize the fact Crystal Bridges will be the premier American Art Collection, once it is in place. The collection is headed up by Bob Workman, formerly associated with the Amon Carter Museum in Fort Worth, Texas.
When completed, the museum complex will encompass approximately 100,000 square feet of gallery, library, meeting, and office space, a 250-seat indoor auditorium, areas for outdoor concerts and public events, gallery rooms suitable for large receptions, as well as sculpture gardens and walking trails. Walton is building this American Dream on 100 pristine, wooded acres her family owns in Bentonville.
Designed by world renowned architect Moshe Safdie, and funded by billionaire Alice Walton, the 50 million dollars that is just the cost of the facility and does not include the artworks Crystal Bridges Museum of American Art is scheduled to open in 2009, in Bentonville, Arkansas. It was two years ago this month that the daughter of Sam Walton, Founder of Wal-Mart, made the controversial announcement.
The museum will house a permanent collection of signature works from American artists along with galleries dedicated to regional art and artists including Native American art, but oddly enough, this monumental task is not making everyone happy.
The depth of the museum is indicated in a purchase from Christies Americas auction house in New York City in 2004 of Charles Wilson Peales portrait of George Washington for $6.1 million. This is causing some critics to puff up, believing that the art works are being snatched from their own backyard. No need to worry, collaborating with other institutions will be an important focus of Crystal Bridges, even before the museum opens, and they can also rest easy to know Bentonville does have an airport.
A number of the works from the Crystal Bridges permanent collection are already on loan at various museums throughout the United States including: The Hudson River School masterwork Kindred Spirits which was loaned to The National Gallery in Washington, D.C. for public viewing from 2005 - 2007. It is currently on loan to the Brooklyn Museums exhibition by the same name featuring the works of Asher B. Durand. The same exhibition will also travel to Washington D.C. and San Diego.
Thomas Eakins Portrait of Professor Benjamin H. Rand is currently on loan to the Philadelphia Museum of Art. Jasper Cropseys majestic depiction of early American frontier life, The Backwoods of America, is now featured in the American galleries of The Nelson-Atkins in Kansas City, and the most extensive surviving group of Colonial American portraiture, the Levy-Franks family paintings, is currently on loan at The Jewish Museum in New York City. Also, the distinctive painting George Washington (The Constable-Hamilton Portrait) by the American painter Gilbert Stuart is currently on view at the Museum of Fine Arts Houston.
While the puffers puff, others admire Waltons passion and dedication to the arts, and recognize the fact Crystal Bridges will be the premier American Art Collection, once it is in place. The collection is headed up by Bob Workman, formerly associated with the Amon Carter Museum in Fort Worth, Texas.
When completed, the museum complex will encompass approximately 100,000 square feet of gallery, library, meeting, and office space, a 250-seat indoor auditorium, areas for outdoor concerts and public events, gallery rooms suitable for large receptions, as well as sculpture gardens and walking trails. Walton is building this American Dream on 100 pristine, wooded acres her family owns in Bentonville.
3 Steps to Picking out Your Dream Paint
Pick out your dream paint and make your house look like a million bucks.
Moving into a new house can be quite an experience. You are totally in a new zone, surrounded by new ceilings and floors near stairs in an entire new layout. You want your home to look the best, so it's important to pick out the right kind of paint. Of course, in a single article, we can't show you absolutely everything that you need to know about moving into your new house, but we are going to try to give you some good tips on picking out a new house quality house paint.
1. Match it. By new house paint is arty difficult as it is in, and you definitely don't want to paint your house a second time. Make sure whatever kind of house paint that you buy matches up with your existing paint. Maybe take a picture or find out exactly what kind of paint you have in your house right now so that when you go to the hardware store, you can show them exactly what you need.
2. Buy high-quality paint. Take a look around at the different types of paint that are available for you to buy in the store. You will quickly notice that paint varies in quality drastically and you generally get way you pay for. Granted, you have to make sure that you're not getting ripped off and you really are getting a good deal, but if you are serious about making money on your house, try to buy the best type of paint that you can afford.
3. Ask a professional. It's okay if you don't know everything about home remodeling. Some people do it for a living. Builders, contractors, subcontractors and other home decorators might be able to give you some words of wisdom and help that you might not be able to get otherwise. Don't be afraid to ask. Just ask them for a little help and you might be able to save yourself some time and headaches.
Of course, there's a lot more to say about house paint. We can't have put everything in one article. Visit our site to learn all about house paint today.
Moving into a new house can be quite an experience. You are totally in a new zone, surrounded by new ceilings and floors near stairs in an entire new layout. You want your home to look the best, so it's important to pick out the right kind of paint. Of course, in a single article, we can't show you absolutely everything that you need to know about moving into your new house, but we are going to try to give you some good tips on picking out a new house quality house paint.
1. Match it. By new house paint is arty difficult as it is in, and you definitely don't want to paint your house a second time. Make sure whatever kind of house paint that you buy matches up with your existing paint. Maybe take a picture or find out exactly what kind of paint you have in your house right now so that when you go to the hardware store, you can show them exactly what you need.
2. Buy high-quality paint. Take a look around at the different types of paint that are available for you to buy in the store. You will quickly notice that paint varies in quality drastically and you generally get way you pay for. Granted, you have to make sure that you're not getting ripped off and you really are getting a good deal, but if you are serious about making money on your house, try to buy the best type of paint that you can afford.
3. Ask a professional. It's okay if you don't know everything about home remodeling. Some people do it for a living. Builders, contractors, subcontractors and other home decorators might be able to give you some words of wisdom and help that you might not be able to get otherwise. Don't be afraid to ask. Just ask them for a little help and you might be able to save yourself some time and headaches.
Of course, there's a lot more to say about house paint. We can't have put everything in one article. Visit our site to learn all about house paint today.
Subscribe to:
Posts (Atom)
