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#dumbartonoaks
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During the Fed Govt shutdown, some of our local #dmv public gardens are closed, but you can still visit #brooksidegardens (pics here are from my recent visit) as well as others like #hillwood #ahsriverfarm #meadowlarkbotanicalgardens #dumbartonoaks and #greenspringgardens #gardendc #dc #va #md
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In a room with light coming through the glass ceiling, a potted palm tree stands to the left of a double door with a semi-circular transom above. The right side of the door is open. The walls of the room are covered with live climbing vines.
Bringing the outside #inside.
The conservatory at Dumbarton Oaks, Georgetown, District of Columbia.
#AlphabetChallenge #WeekIforInside #Photography #DumbartonOaks #DC
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A bronze statue of the Greek god Pan, playing his flute and pointing with his right hand toward the viewer's left. He sits with his goat legs crossed, on a concrete column against a concrete background lightly covered with various shades of green moss.
#AlphabetChallenge #WeekFforFilm #photography #DumbartonOaks
Pan's Labyrinth (2006)
A statue of the Greek god Pan, pointing the way toward a garden of earthly delights. Dumbarton Oaks, Georgetown, District of Columbia
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Victorine Meurend stands in profile looking over her right shoulder at us while holding a large uh grey bird with black wings in her right hand. Her dark hair is up above her ears centering the light on her face and beauty. She wears a heavy yellow dress with lace color while standing in a room with wooden Flemish furniture and colorful blue and yellow tapestry on the wall behind her. Although Alfred Stevens was born in Brussels, he spent much of his career in Paris, where he was a close friend of the artist Édouard Manet. Until about 1875, Stevens’s typical subject was the domestic interior, often involving women attired in opulent clothing and represented in luxurious settings. This interest in the modern woman, with her attendant social culture and fashion, distinguished Stevens in the eyes of his contemporaries as a painter of modern life. This notwithstanding, Stevens also strove to emulate seventeenth-century Dutch and Flemish painting, especially quiet interior genre scenes and, later, marine compositions. In the early 1860s, Stevens began to use a particular model, Victorine Meurend — also the favorite model of Manet, who depicted her most famously in his 1863 Olympia in the Musée d’Orsay, Paris. Stevens’s interest to pose Meurend with a bird may have coincided with Manet’s depiction of her in his 1866 Femme au Perroquet, which was completed the same year that Gustave Courbet exhibited his painting of the same title that depicted a reclining female nude with a bird on her hand. Stevens’s painting, in addition to having greater specificity in the rendering of hair style and costume, differs from Manet’s and Courbet’s paintings by both downplaying the sensual overtones of the theme and by subtly introducing references to the seventeenth century: the Flemish ebony double cabinet with applied spiral-turned spindles and the Flemish tapestry hanging behind.
Lady (Victorine Meurend) with a Bird by Alfred Stevens (Belgian) - Oil on canvas / 1860-1865 - Dumbarton Oaks (Washington, D.C.) #womeninart #alfredstevens #oilpainting #belgianartist #fineart #stevens #art #portraitofawoman #bskyart #painting #birdart #dumbartonoaks #artbsky #womensart #oiloncanvas
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Dumbarton Oaks is one of the frequently overlooked jewels of Washington DC. And these pics are just the gardens; the house is amazing too!
#DumbartonOaks #WashingtonDC #DistrictofColumbia
#Georgetown
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#morninglistening to disc 4 of the hmmmm! box of Stravinsky w/#RiccardoChailly through 3 decades. @deccaclassics goodness, now on his LondonSinfonietta #DumbartonOaks Cto, Divertimento, Tango, etc. Pleasant diversions, working our way up to big ticket items.
Amazon: amzn.to/3YHjqPh
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According to James D. Breckenridge, ‘the Dumbarton Oaks Cameo presents two male busts carved in dark red-orange stone against an opaque white background. The man on the left of the cameo is frontal, with head turned right, bearded and mustached; his chlamys is fastened at his left shoulder – apparently an arbitrary choice of the gem cutter – with a round brooch. The man on the right appears younger – beardless and without moustache; he is slightly behind his senior and slightly lower. Whereas the older man’s hair and beard are in short curls, his hair is in wavy strands. Pupils and irises of both men are incised.’ Three green stones hang from the gold frame around the cameo, the middle one cut in a cylinder shape, and the ones on either side of it are teardrop shaped. The rough inscription DIOCL(etianus) MAXim(ianus) AVG(ustus) on the gold plaque at the back of the gem, the style of execution, the iconography, make scholars believe that these are two members of the tetrarchy.
A fascinating item! Late 3rd-early 4th c. chalcedony on gold pendant with the busts of two Roman emperors, probably two co-emperors from the Tetrarchy. Cut down from a larger work that might have shown all four emperors. 🏺
See ALT text for more.
#DumbartonOaks (BZ.1947.14)
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