Q&A: What Washington, D.C. art museum has a sculpture garden?
Question by megan: What Washington, D.C. art museum has a sculpture garden?
Which one has a sculpture garden that has a Lichtenstein “playhouse” and a metallic tree?
Best answer:
Answer by mike1942f
Probably the Hirshhorn http://hirshhorn.si.edu/
What do you think? Answer below!
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Contemporary Art Conservation at Smithsonian’s Hirshhorn Museum
Latex, chocolate, soap, and video game software are just a few of the non-traditional materials that have inspired contemporary artists. While they embrace the modern, synthetic and technologically advanced world in which we live, some of materials present significant conservation problems for museum conservators. Gwynne Ryan, a conservator at the Smithsonian’s Hirshhorn Museum and Sculpture Garden discusses the challenges museums face with this issue: Should we keep art locked away to make it last? Or let it be experienced as it was intended while accelerating its natural degradation? For more information about the Hirshhorn’s conservation program, visit: hirshhorn.si.edu
Video Rating: 4 / 5
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Categories: Videos Tags: Conservation, Contemporary, Hirshhorn, museum, Smithsonian's
Gardner Museum Expansion
Some cool gardners images:
Gardner Museum Expansion
Image by WBUR
The Tapestry Room in the existing Gardner Museum, being restored (Andrea Shea/WBUR)
Gardner – Giant Chair
Image by bunkosquad
From Roadside America: Civic pride pulls no punches in the giant chair battle. Not two, but fully five American towns are involved, and at least four others joined the fight before being knocked out of the ring. And let’s not even talk about foreign competition…(more on that later).
It started quietly enough when the town of Gardner, Massachusetts, erected a twelve-foot-tall Mission chair in 1905.
Gardner, Edward V.
Image by San Diego Air & Space Museum Archives
Catalog #: BIOG00072
Last Name: Gardner
First Name: Edward V.
Notes:
Repository: San Diego Air and Space Museum Archive
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Vizcaya Museum and Gardens: Tea House
Check out these garden house images:
Vizcaya Museum and Gardens: Tea House
Image by Kwong Yee Cheng
Vizcaya Museum and Gardens: Tea House
on friday we visited kew gardens
Image by this lyre lark
it was a beautiful autumn day, very cold but very bright. we spent over 5 hours walking around. there were lots of little children dressed in skeleton costumes running around, it being half-term & halloween.
eden-something place/garden/house/farm
Image by susannasbirthday
I totally forget the name of this place. Eden-something, I think. Anyway it was a privately-owned garden that we visited after Hever Castle. We didn’t spend much time there, but check out the Oast House to the right. We had a delicious tea in the tearoom on the top floor of it. Mmm. Butterscotch cake. Oh yes, I do remember one thing: when one of our group asked the man who owned this garden why the English are so keen on gardening, he said and I quote, "It’s a small country. We have to keep it tidy."
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South African Landscape, British Museum, London
Some cool garden landscape ideas images:
South African Landscape, British Museum, London
Image by I am I.A.M.
In addition to a display of South African artifacts inside the building, there are plans to add an appreciation of the land from which the items come. To this end, one of the reflecting pools in front of the British Museum is being converted into a gigantic plant pot, in which flora native to the area will be placed. A very cool idea.
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How do you get to the sculpture garden in the Metropolitan Museum of Art?
Question by nperr1: How do you get to the sculpture garden in the Metropolitan Museum of Art?
I need to explain to my teacher how to get to the sculpture garden in the MoMA. I was suppose to go to the museum but instead just looked at a piece online. He will ask me how to get to the sculpture garden to prove that I went and I need to know what to tell him. Help PLEASE!!!
I need in the next 3 hours too!
Best answer:
Answer by Diamond ruler
just go to the museum and check the map and ull see 2 of them check both and write about both
Add your own answer in the comments!
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Categories: Answers Tags: garden, Metropolitan, museum, Sculpture
NYC – Metropolitan Museum of Art – Wang Yuanqui’s Wangchuan Villa
A few nice front garden design ideas images I found:
NYC – Metropolitan Museum of Art – Wang Yuanqui’s Wangchuan Villa
Image by wallyg
Wangchuan Villa
Wang Yuanqui (1641-1715)
Dated 1711
Handscroll; ink and color on paper
Artist’s inscriptions mounted in front of and following painting
This elegant Wangchuan Villa situated in the picturesque hills on the outskirts of the Tang dynasty (618-907) capital Chang’an (modern X’ian), is one of the most famous gardens of ancient China. The rambling estate with spectacular scenery was the retreat of the poet, musician, and landscape painter Wang Wei (699-759). Almost one thousand years later, Wang Yuanqi used a rubbing of a Wangchuan composition etched into stone in 1617 for the general outlines of his painting and referred to Wang Wei’s poems to guide his inspiration. In a colophon appended to the painting, Wang Yuanqi expresses satisfaction that he has captured some of Wang Wei’s idea of "painting in poetry and poetry in painting."
Tutored in painting by his grandfather, Wang Shimin (1592-1680), Wang Yuanqi followed the lead of Dong Qichang (1555-1636), the first artist to transform landscape structure in painting by means of abstract compositional movements known as "breath force" (qishi). Inspired by the archaic convention of ringed mountain motifs in the engraving Wang Yuanqi created "dragon veins" (longmo), through which the cosmic "breath force" vigorously flows. Calligraphic brush formulas suddenly become torrents of writhing, churning rock forms, rising and falling like waves.
Ex coll: C.C. Wang Family
Purchase, Douglas Dillon Gift, 1977 (1977.80)
**
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
Ulysses S. Grant Memorial
Image by dbking
Ulysses S. Grant Memorial (Bronze)
Location: Union Square, on the east end of the National Mall at the base of the US Capitol Building
The Senate Park Commission’s 1902 plan to redesign the capital city, known as the McMillan Plan, envisioned Union Square as Washington’s Place de la Concorde (Paris), and the Grant Memorial is one of Washington’s most prominently placed memorials and the statue one of the largest and most important sculptures in the city. The central figure, an equestrian statue of General Grant, stands 40’ above a 252’ x 71’ marble plaza. Grant and his horse constitute the 2nd largest equestrian statue in the world, second only to the statue of Victor Emmanuel in Italy. The memorial’s thirteen
sculpted horses make it one of the most complex equestrian statues ever built, and its artist (Henry Merwin Shrady) was one of the most prolific equestrian sculptors of all time. The Lincoln Memorial and the Grant Memorial (both dedicated in 1922) were designed to anchor the east and west ends of the National Mall, intending to enshrine the Civil War for all time. Unfortunately, only the Lincoln Memorial achieved the intended prominence.
Overshadowing the Grant Memorial is the Capitol Building that looms behind it. First Street separates the Memorial from the Capitol, separating it from the city’s activity. In front of the Memorial, the reflecting pool separates it from the Mall. And, a challenge that the 1902 Senate Park Committee didn’t foresee was Grant’s diminishing popularity over time; while the mystique surrounding Lincoln has continued, Grant’s has fallen, further separating the Memorial from its intended grandeur.
Note: Grant’s funeral in 1885 drew more than one million mourners, making it one of the largest public gatherings in 19th century America. This great outpouring of public support at that time demonstrates how far from the public eye Grant has fallen, unlike Lincoln.
Twenty years in the making, the Grant Memorial uses no allegorical figures or symbolic markings to convey the Civil War. Instead, the face of war is showcased through richly detailed men and horses rushing to battle. Grant had only been dead two months when the debate over how to memorialize him began and how to portray a military hero whose foe had been his fellow Americans. It was decided that he “must be shown as a military victor” but with “no suggestion in its groups or its tableaux or its bas-relief that he ever gained a battle in which the defeated army was composed of his countrymen in rebellion.” Another said, “The great end accomplished by his splendid services was not a victory over a foe, but reconciliation between brothers.” In 1885, during the encampment of the Society of the Army of the Tennessee, Grant’s former command, the idea took root to honor Grant. The society voted to send members to lobby Congress for a memorial to the “victor of Vicksburg and Shiloh and the Wilderness.”
Eventually, Congressmen William Hepburn (IA) and David Mercer (NE) introduced legislation for a memorial, gaining an appropriation of 0,000, the largest amount set aside for a memorial up to that time. Within two weeks after funds were appropriated, the Grant Memorial Commission was up and running and artistic competitions were soon underway for a sculptor.
The Commission of the Memorial
Between March 1 and April 1, 1902, artists were asked to submit plans on a scale model of 1” to 1’. To be eligible to compete, artists were required to be American citizens and all casting would have to be done in the United States. There were no restrictions on the style or iconography on the work, but all submissions were required to represent “the character and individuality of the subject”. Twenty-three artists submitted twenty-seven models, which were displayed and judged in the basement of the Corcoran Gallery of Art. The Grant Memorial Committee made their top three selections on April 7, 1902. Shrady’s model caught the attention of the Committee since it focused more on the realities of war than the others, which focused more on the themes of peace and reconciliation. However, the Committee was wary of Shrady’s ability to carry through on his design (he had very limited experience as a sculptor), and they asked both Shrady and the better known sculptor Charles Niehaus to compete in a second head-to-head round of judging by enlarging their models.
The competition between the two artists was fanned into a full-fledged drama that caught the public’s imagination with the artists themselves providing fuel for the papers. Niehaus berated Shrady’s previous attempts at sculpture, criticized the judges, and generally whined unmercifully about being put in competition with a relative novice. Niehaus’ letters to the judging committee made him look jealous and petty while Shrady’s correspondence with the committee was respectful. On October 1, 1902, the enlarged models went on display. Two months later the committee was still undecided. Only after Secretary Root urged the committee to hurry, saying, “he’d had enough of the “spectacle of a fierce feud between two rival sculptors” was a decision imminent. Finally, on February 3, 1903, the Grant Memorial Committee awarded the commission to sculptor Shrady and architect Edward Pearce Casey.
Design of the Grant Memorial
Shrady began his work even though the exact location for the statute had not yet been selected. The lions for the four corners of the pedestal were the first constructed and were the first of several small changes to the submitted design.
Originally designed as ferocious, snarling lions, Shrady decided to bring them into harmony with the statue of Grant by having them lay watchfully, suggesting strength and power – as does the statue of Grant. At the base of the lions he added American and army flags to “personify the character of Gen. Grant and his army in protecting the national ensigns.” The commission was happy with the alterations but dismayed that it had taken a full two years to complete this portion, symptoms of Shrady’s perfectionism and chronically slow pace.
While Shrady labored on the statue, the debate about where to place the memorial continued. Wanting to place it on the axis with the Lincoln Memorial, as twin icons of the Civil War, the proposed site presented problems since it would displace the Botanic Gardens and require the uprooting of several hallowed old trees. Speaker of the House, “Uncle Joe Cannon,” defended the trees and the Washington Star newspaper launched public opposition to their removal. Eventually (1908), the superstructure for the memorial was completed among the hallowed trees.
With the lions complete, Shrady began preparations for the massive artillery group on the south end of the platform. To ensure accuracy in every detail, the perfectionist Shrady joined an artillery regiment of the New York National Guard, haunted the stables of the New York Police Department, borrowed Civil War uniforms and equipment from the War Department. When the artillery group was cast in four pieces in 1911, the 15-ton piece was the largest bronze group ever cast in America. Having completed the artillery group, Shrady, already behind schedule and showing physical toll from the project, turned his attention to the cavalry group. He spent days at West Point near his home in New York where the superintendent would stage cavalry charges while Shrady sketched them. Shrady had his sons pour water over his own horses so he could better understand their musculature for his work. In 1914, he wrote the commission that he had completed a quarter scale model, and a committee member was sent to inspect it and to prod Shrady to hurry. The commissioner, noting the detail and Shrady’s failing health, defended the slow pace by saying that “generally an equestrian statue takes two years to make and cast and in Grant’s Memorial there are seven or eight horses with rider in the cavalry group and another four in the artillery group, not counting the statue of General Grant himself.” Viewing the cavalry portion today, observers are forced to project themselves into the soldiers’ maelstrom as they rush toward an unforeseen enemy. This section is so densely packed that viewers are said to have a dangerously limited perspective of all soldiers in the pack. Once the artillery and cavalry portions were finished, all that remained was the statue of Grant and the infantry panels for the pedestal. Shrady modeled the statue of Grant and his horse four times in clay before he was satisfied. Contrasted to an “alert” horse, Grant sits astride with shoulders slouched, wearing a battered hat, heavy coat, and without sword watching the crashing churning groups below him; his face is haggard. Shrady examined Grant’s life mask to get proportions correct. However, Shrady was falling further and further behind schedule, having had his contract extended ten times over eighteen years. His health was failing and his family was suffering from the financial hardships (he would not be paid for the work until it was completed) and Shrady was forced to borrow money from friends. Further slowing his pace and creating additional challenges was increased pressure from the commission. Meanwhile, the First World War made materials difficult to obtain and the influenza epidemic of 1918-1919 took its toll on Shrady.
Dedication of the Grant Memorial
n 1921, with only two infantry panels still unfinished, the commission gave Shrady an ultimatum: finish by October or the work would be given to another artist to complete! Shrady was crushed. Frantic to help her husband Harrie Shrady wrote a family friend on the commission asking him to intervene but the commission was not swayed. Reluctantly, Shrady took on an assistant, Edmund Amateis, to help finish the panels of dozens of marching infantrymen that had already been sketched in clay. As 1922 dawned, the commission decided to move ahead with the dedication ceremony scheduled for the centennial of Grant’s birth without the panels. On Thursday, April 27, 1922, the dedication took place. Sadly, Shrady was not there to see his monumental work dedicated; he had been hospitalized in February and died on April 12,1922, two weeks prior to the dedication. The final two panels were completed by Sherry Fry and installed in 1924.
All federal government offices were closed for the dedication and bunting decorated homes and office buildings. A huge military parade preceded the ceremony, with cadets from West Point, midshipmen from Annapolis, and Army, Navy, and Marine units marching from the White House to the foot of Capitol Hill. The loudest ovations came from Civil War veterans as they marched past the large crowds that had gathered. Behind the Civil War veterans marched veterans of the Indian Wars, the Spanish-American War and the recent World War. During the ceremony, the themes of peace, unity, reconciliation and progress were highlighted. The emphasis was on “Grant, the peacemaker,” not Grant the ruthless general or two-term president. Vice President Calvin Coolidge stood in for President Harding at the ceremony (President Harding was in Point Pleasant, Ohio, dedicating the Grant birthplace). During the ceremony, Coolidge said “a grateful Republic has raised this memorial, not as a symbol of war, but as a symbol of peace,” which must have made Shrady roll over in his grave since his design from the start had been to show the horrors of war!
Note: Extreme detail abounds in all portions of this memorial. In the cavalry grouping, one fallen rider is about to be trampled and the riders behind shield their faces from the sight. Also worth noting are the debris of war on the ground, such as broken sabers and canteens.
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Washington DC – Hirshorn Museum and Sculpture Garden – Agricola I by David Smith
A few nice garden hand tools images I found:
Washington DC – Hirshorn Museum and Sculpture Garden – Agricola I by David Smith
Image by wallyg
Agricola I, a painted steel sculpture, was executed in 1951-52 by David Smith. The abstract piece is made from pieces of old farm marchinery assembled to depict a farmer holding a tool in each hand. The name agricola means farmer in Latin. It was acquired by gift of Joseph H. Hirshhorn in 1966, purchased from Park International in 1962.
The Hirshhorn Museum and Sculpture Garden, with an emphasis on contemporary and modern art, was established by Act of Congress in 1966. Gordon Bunshaft’s museum and 4-acre garden complex with a two-level sculpture garden opened along the National Mall in 1974.
The Smithsonian Institution, an educational and research institute and associated museum complex, administered and funded by the government of the United States and by funds from its endowment, contributions, and profits from its shops and its magazines, was established in 1846. Although concentrated in Washington DC, its collection of over 136 million items is spread through 19 museums, a zoo, and nine research centers from New York to Panama.
Wood Carving Celtic Crosses HW 2011 (1)
Image by Olds College
Hand tools, expert guidance and nice wood made for a great half day workshop of carving and sanding celtic crosses.
20110609-DM-LSC-0377
Image by USDAgov
Washington Capitals defenseman Jeff Schultz had workout controlling a power tiller during the construction of a People’s Garden, at William B. Powell Elementary School, in Washington, DC, on Thursday, June 9, 2011. The professional hockey player did more than a celebrity appearance; he spent hours working with several project teams; gloves on; putting power and hand tools to their test. Volunteers from U.S. Department of Agriculture People’s Garden Executive Master Gardener program and Washington Capitals hockey organization, along with defenseman Jeff Schultz, and mascot Slapshot transformed a grassy corner of the school playground into a habitat garden and outdoor learning area. Executive Master Gardeners led the volunteer project teams. The Washington Capitals donated new tools; tool shed; garden materials; lunch; most of the volunteers and more. The completed projects included a walking path; tiling of garden plots; planting a bird habitat garden, pollinator garden and native grasses; caterpillar and butterfly plaques; hummingbird and bat house, and tool shed. The garden will later include a picnic area, outdoor classroom, hummingbird garden, Monarch watch garden, native bee garden, and birdbath. USDA challenges its employees to establish People’s Gardens at USDA facilities worldwide or on this case, help communities create gardens. People’s Gardens vary in size and type, but all have a common purpose – to help the community and the environment. USDA photo by Lance Cheung.
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Wallace Decorative Arts Museum & Abby Aldrich Rockefeller Folk Art Museum Christmas tree ornaments
A few nice decoration ideas images I found:
Wallace Decorative Arts Museum & Abby Aldrich Rockefeller Folk Art Museum Christmas tree ornaments
Image by Patrick Q
Picture 066
Image by Abraxas3d
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Categories: Articles Tags: Abby, Aldrich, arts, christmas, Decorative, FOLK, museum, ornaments, Rockefeller, tree, Wallace
Outdoor Cafe Seating At Grand Rapids Art Museum
Some cool outdoor seating images:
Outdoor Cafe Seating At Grand Rapids Art Museum
Image by laudu
Outdoor seating at the GRAM Cafe allows you to enjoy a delicious meal and people watch too! GRAM Cafe is located within the Grand Rapids Art Museum in Grand Rapids, MI
Outdoor seating, Highline
Image by La Citta Vita
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