Maritime History and Archaeology

The Museum and Art Gallery of the Northern Territory's Maritime Gallery houses the largest museum collection of Southeast Asian historic boats and ethnographic watercraft in Australia and possibly in the world. The Gallery has a permanent display of 21 boats and canoes.Darwin is often regarded as being part of the Southeast Asian region because of its closer proximity to Asian cities such as Singapore and Jakarta, rather than Australian cities such as Sydney, or Melbourne.

The Maritime Gallery clearly reflects this regional bias, indeed the collection policy that has driven the acquisition of this unique collection over the last 25 years, has demanded it. The region, defined as "North Australia (the area to the north of Broome on the west coast and Townsville on the east coast), Southeast Asia (including southern China) and the westernPacific (as far east as the islands of Fiji) has the greatest diversity of boat types from which to choose anywhere in the world.

Individual craft displayed in the Gallery include, an Australian pearling lugger (actually gaff, rather than lug rigged), a Vietnamese refugee boat, a Chinese refugee boat, Indonesian perahu lambo (gunter rigged sloops) and a perahu lete lete (lateen rigged). In addition, there are several smaller planked craft and double outrigger canoes including a fine Balinese jukung.

One of the most outstanding Indonesian boats on display was specifically commissioned by the MAGNT and built in a traditional manner by a boat building community in south-east Sulawesi. Known as a perahu padawakang, this type of historic boat was the kind of vessel that the Makassans sailed the Timor and Arafura seas during the nineteenth century to reach northern Australia in search of trepang, turtle shell and other marine products.

Several examples of watercraft from the western Pacific are also on display. These include a very rare balangut, an inter-island trading canoe from Riwo near Madang in Papua New Guinea, a war canoe from the Solomon Islands and beautiful single outrigger canoe from Fiji. There are also a number of single outrigger canoes.Recognised by many scholars as a vital source for future studies in maritime technology and cultural studies, the maritime historian, archaeologist, anthropologist, school group or enthusiast will not be disappointed. The Maritime History andArchaeology section also undertakes maritime heritage surveys and administers the Historic Shipwrecks Program in the NT for the Australian Government.

Maritime Gallery

The Museum and Art Gallery of the Northern Territory's (MAGNT) Maritime Gallery houses the largest museum collection of Southeast Asian historic boats and ethnographic watercraft in Australia. The Gallery has a permanent display of 21 boats and canoes. Darwin is often regarded as being part of the Southeast Asian region because of its closer proximity to Asian cities such as Singapore and Jakarta, rather than Australian cities such as Sydney, or Melbourne.

The Maritime Gallery clearly reflects this regional bias: indeed the collection policy that has driven the acquisition of this unique collection over the last 25 years, has demanded it. The region, defined as ‘North Australia’ (the area to the north of Broome on the west coast and Townsville on the east coast), Southeast Asia (including southern China) and the western Pacific (as far east as the islands of Fiji) has the greatest diversity of boat types anywhere in the world.

Individual craft displayed in the Gallery include an Australian pearling lugger (actually gaff, rather than lug rigged), a Vietnamese refugee boat, a Chinese refugee boat, Indonesian perahu lambo (gunter rigged sloop) and a perahu lete lete (lateen rigged). In addition, there are several smaller planked craft and double outrigger canoes, including a fine Balinese jukung. One of the most outstanding Indonesian boats on display was specifically commissioned by the MAGNT and built in a traditional manner by a boat building community in south-east Sulawesi. Known as a perahu padewakang, this type of historic boat was the kind of vessel that the monsoon traders (known as the Macassans) sailed the Timor and Arafura seas during the eighteenth and nineteenth centuries to reach northern Australia in search of trepang, turtle shell and other marine products.

Several examples of watercraft from the western Pacific are also on display. These include a very rare balangut, an inter-island trading canoe from Riwo near Madang in Papua New Guinea, a war canoe from the Solomon Islands, and beautiful single outrigger canoe from Fiji. There are also a number of single outrigger canoes.

Marine Painting

As early as colonial times, Atlantic ports such as Boston, New York, Baltimore, and Charleston were established hubs of American commerce. It was common for wealthy ship owners, mariners, and merchants to commission pictures of the boats and activities by which they made their living. Following British and Dutch models, many artists specialized in marine paintings.

The first American marine paintings centered on the ports themselves, which were often viewed across the water as if from the deck of a ship. These harbor scenes frequently included ship traffic and illustrated mercantile activities along the wharves, suggesting the prosperity of America's flourishing maritime industry. In ship paintings, a harbor view might indicate the vessel's home port, as in Thomas Chambers' New York Harbor with Pilot Boat "George Washington".

Throughout the nineteenth century, proud ship owners commissioned individual portraits of their commercial vessels and racing yachts. Marine painters became skilled not only at precisely delineating the rigging of sailing ships but also at capturing effects of water and sky. The standard format showed the boat broadside, under full sail or steam, generally with other craft in the distance and perhaps a glimpse of the far shore.

In the mid-nineteenth century, marine painting shifted emphasis from man to nature. No longer interested in illustrations of commerce, artists like John Frederick Kensett and Fitz Henry Lane strove to capture the spiritual qualities of sea and sky. These scenes may include ships and human figures, but the true subject is the mood evoked by the crystalline atmosphere and pervading sense of serenity. Now called luminist works, these paintings indicate a change in the prevailing attitude toward the natural world.

Martin Johnson Heade and Thomas Moran were interested in more naturalistic representations. The unearthly calm of luminist works was replaced by realistic seascapes in which the viewer can almost hear the crashing surf. Winslow Homer added figures to this natural realism and reintroduced the human element to marine painting. His works focus on man's relationship with nature, and he uses the sea to embody nature's power. It is a constant and varied element, depicted both as provider of subsistence and a life-threatening force.

The impressionists favored another aspect of marine painting--that of leisure. Their interest in the sea had more to do with light and color than using a body of water as a dramatic device. Their stylistic methods provided artists with new ways to present intimate aspects of the sea, such as the picturesque coves and seasides dotted with revelers represented by Maurice Prendergast.

Twentieth-century artists experimented with a variety of styles and techniques in their interpretations of the sea. Modernist John Marin captured the ocean's energy with exuberant brushwork and abstract geometric shapes. Mark Rothko used surrealist-inspired biomorphic forms to suggest sea creatures in a primordial marine world. Albert Christ-Janer's lithograph combines the brilliant color of sun, sea, and sky with the rhythmic patterns of foaming waves. Vija Celmins approaches total abstraction in her quiet, meditative ocean views.

Maritime Art Beside the Canal

Plans are in the pipeline to install artwork with a maritime theme to enhance the entrance to the Canal Basin.

The artwork will take the form of a marine buoy, currently located at Piazza Terracina, mounted on a granite plinth. The buoy, which is a similar design to the one that marks safe water at the entrance to the estuary, is to be moved and restored with a flashing light in the centre. It will stand on the plinth, which is to be engraved with a wave design, and will incorporate a section of the poem, "The Seafarer", translated from the Exeter Book, and interpretative information. The work will be located on the area known as Kings Arms Isthmus between Canal Basin and the entrance to Riverside Valley Park.

The plans, which have been submitted for Council planning approval, show the park entrance improved with more trees, new seats and lighting.

Proposals are also being developed for removing inappropriate fencing, and widening the cyclepath, as part of the wider Riverside Valley Park improvements which were developed from the public consultation held in 2003-4.

The cost of the cycleway and lighting are to be funded by Sustrans and Devon County Council. Exeter City Council has approved a budget of £130,000 for the rest of the improvements.

Maritime Art Beside The Canal

Plans are in the pipeline to install artwork with a maritime theme to enhance the entrance to the Canal Basin.

The artwork will take the form of a marine buoy, currently located at Piazza Terracina, mounted on a granite plinth. The buoy, which is a similar design to the one that marks safe water at the entrance to the estuary, is to be moved and restored with a flashing light in the centre. It will stand on the plinth, which is to be engraved with a wave design, and will incorporate a section of the poem, "The Seafarer", translated from the Exeter Book, and interpretative information. The work will be located on the area known as Kings Arms Isthmus between Canal Basin and the entrance to Riverside Valley Park.

The plans, which have been submitted for Council planning approval, show the park entrance improved with more trees, new seats and lighting.

Proposals are also being developed for removing inappropriate fencing, and widening the cyclepath, as part of the wider Riverside Valley Park improvements which were developed from the public consultation held in 2003-4.

The cost of the cycleway and lighting are to be funded by Sustrans and Devon County Council. Exeter City Council has approved a budget of £130,000 for the rest of the improvements.

Our Maritime Heritage

The Northern Territory’s maritime heritage extends to all human activities connected to the sea and in some cases to inland waters and river systems. It includes places, buildings (such as custom houses), structures (such as lighthouses, jetties and wharfs) as well as shipwrecks, aircraft wrecks (in the sea), sites of maritime industry, objects, stories, archival records (about maritime matters) beliefs, meanings, artworks (maritime rock art) and numerous uses of the sea.

The Northern Territory has a rich, diverse and interesting maritime history which began with the arrival of Indigenous Australians some 60,000 years ago. It includes Australia’s first maritime industry, the ‘trepang trade’, introduced by the ‘ Macassans’ (the 18th and 19th century monsoon traders of Indonesia), who first visited our shores (c.1700-1907) before European occupation (1788) to collect marine products which were traded as far as China.

Maritime heritage is an important part of our identity. Other activities associated with the sea, other than trade include fishing, pearling, shipping, underwater communication cables, military campaigns (WWII), immigration, refugees (the American war in Vietnam) and tourism. All of these have helped shape our identity and locate us firmly in our region.

Ancient heritage, modern society

Before the arrival of European settlers, Aboriginal and Torres Strait Islander peoples inhabited most areas of the Australian continent. They spoke one or more of hundreds of separate languages and dialects, and their lifestyles and cultural traditions differed from region to region. Their complex social systems and highly developed traditions reflect a deep connection with the land.

Asian and Oceanic mariners and traders were in contact with Indigenous Australians for many centuries before the era of European expansion. Some formed substantial relationships with communities in northern Australia.

Seat Belt Use at Record Level in 2008

More Americans are buckling up than ever before, Secretary of Transportation Mary E. Peters said Sept. 17. In 2008, 83 percent of all vehicle occupants are using seat belts during daylight hours — up from 82 percent in 2007, according to NHTSA. “We have seen seat belt use rising steadily every year and that means more and more lives are being saved and countless serious injuries prevented,” said Peters. NHTSA estimates approximately 270 lives are saved for every one percent increase in belt use.

Industrial, Aerospace, and Marine Painting

The GSA Schedule 03 FAC offers a wide range of services for surface preparation and application of chemical compounds. The applications may be used on federal equipment, machinery, ships, aircraft, and vehicles. Please note that this does not include passenger cars, trucks, or buses.

Surface Preparation:

Services related to the preparation for application of chemical compounds and support training/consultation services as they pertain to preparation for and could include, but are not limited to:

* Abrasive air, wet, micro or wheel blasting;
* Vibratory and mass finishing;
* Shot peening;
* Lapping and grinding;
* Drag or high energy barrel finishing;
* Mechanical scarification;
* Acid etching;
* Ultrasonic.

Application of Chemical Compounds:

These services include painting and sealant application on ships, aircraft, vehicles and other equipment or machinery surface that requires application of chemical compound, such as paint, sealant, coatings, or adhesives. These services could include, but are not limited to:

* Bridge painting;
* Electrostatic painting;
* Engineering structure (e.g., oil storage tank, water tower) painting;
* Aluminum coating;
* Bonderizing, chasing, enameling, enameling, etching, flocking, galvanizing;
* Glazing, hot dip galvanizing, japanning, lacquering, parkerizing;
* Powder coating, rust proofing, sherardizing, or varnishing.

Identifying Arts and Crafts Made by Alaska Natives

Any item produced after 1935 that is marketed with terms like "Indian, "Native American," or "Alaska Native" must have been made by a member of a state or federally-recognized tribe or a certified non-member Indian artisan. That’s the law.
A certified Indian artisan is an individual certified by the governing body of the tribe of his or her descent as a non-member Indian artisan.

For example, it would violate the law to advertise products as "Inupiaq Carvings" if the products were produced by someone who isn’t a member of the Inupiaq tribe or certified in writing by the tribal governing body as a non-member Alaska Native artisan of the Inupiaq people.

Qualifiers like "ancestry," "descent," and "heritage" - used in connection with the terms "Indian," "Alaska Native," or the name of a particular Indian tribe - do not mean that the craftsperson is a member of an Indian tribe or certified by a tribe. For example, "Native American heritage" or "Yupik descent" would mean that the artist is of descent, heritage' or ancestry of the tribe. These terms may be used only if they are truthful.

Rococo Decorative Arts of the mid 1700s

This lady's diminutive desk has bulging, bombe surfaces. Its slanted top folds out on hinged struts that support its writing surface. Below three drawers, a false bottom pushes back, revealing three more tiny drawers. The flowers and vines that ripple across the exterior are repeated on the interior. These patterns are made of dark woods that were end-cut to create a stippled effect and silhouetted against the diagonal grain of pale tulip-wood.

Such floral veneer, making the most of natural wood tones, characterizes the style of Bernard II van Risamburgh, who stenciled his initials, B.V.R.B., underneath this piece. He often used ink stencils on his smaller works, which were too delicate to withstand blows from metal stamp punches.

Specializing in small-scale luxury furniture, Bernard was exceptionally versatile in technique. He used wood marquetry and Oriental lacquer, and is likely to have been the first cabinetmaker to decorate his pieces with plaques of Sevres porcelain. The second of three generations of Parisian furniture makers of Dutch origin, Bernard II van Risamburgh was among the finest eighteenthcentury craftsmen. For More info:

http://www.nga.gov/collection/gallery/gg14c/gg14c-1579.html

French Maritime Artist

These artists thought that if their work was exhibited fairly, it would gain acceptance. They sought favorable viewing conditions such as good lighting and ample space between paintings, and they also wanted to exhibit more works than the two allowed by Salon rules. In 1874, Monet, Renoir, Pissarro, Degas, Morisot, and Sisley led a number of friends to form an association and publicly presented the first group exhibition independent of the official Salon. They called themselves "Artists, Painters, Sculptors, Printmakers, etc., Inc." to avoid descriptive titles and pejorative epithets. Critics noted their unorthodox style and especially a work exhibited by Monet with the title Impression, Sunrise (Musée Marmottan, Paris) and sarcastically dubbed them "impressionists." The group, which presented eight exhibitions in all, survived until 1886. By then the core impressionists were beginning to attain a degree of popular success. The exhibition strategy that had been essential to their enterprise was no longer necessary, and the group disbanded.

The audacious impressionist venture had overturned contemporary artistic institutions and freed artists to explore new forms of expression. A variety of styles arose as the impressionist movement concluded. Postimpressionism, usually associated with Seurat, Cézanne, Gauguin, and Van Gogh, was neither a style nor a movement; rather, postimpressionism was differentiated by the largely symbolic and imaginary sources of inspiration that supplanted the naturalist and realist impulses that had shaped impressionism.

Art Gallery of New South Wales - Australian collection

The Art Gallery of New South Wales has three main curatorial departments: Australian Art (including Aboriginal art), Asian Art and Western (international) Art. This page breaks these departments into more specific collection areas. In Highlights, click on the arrows to move from one highlight to the next and get a quick impression of the scope of that collection area. Alternatively, click View Slide Show, and the highlights will be automatically displayed in sequence, with an 8 second interval. Click on Search to do a search relating to that particular collection area.


Australian collection

The Australian collection provides a comprehensive overview of Australian art in all media from early colonial times to the present. There is also a separate selection under Aboriginal Art. The old courts on the ground floor display a strong representation of some of the most loved Australian painters and sculptors of the 19th century, including national icons such as Roberts, McCubbin and Streeton, while on the other side of the entrance court in the Captain Cook wing, you can find an impressive collection of key works of Australian modernism. The Aboriginal collection can be found on the third level in the Yiribana gallery as well as having a presence in the twentieth century Australian wing. This display reflects the long history of traditional art across the continent, and contemporary practice and innovation in all media.

FRENCH PAINTING OF THE 19TH CENTURY

As the century began, the academic style favored by the official Salon still dictated the success of artists and public taste. But soon that began to change. Realists turned convention on its head to give heroic character to everyday subjects. Manet scandalized the public with his images of modern life. Impressionists tried to capture fleeting effects of light and atmosphere.

Painting in the first half of the nineteenth century was dominated by Ingres and Delacroix, the first continuing in the neoclassical tradition in his emphasis on linear purity and the second championing the expressive, romantic use of color as opposed to line. Both significantly influenced a new generation of painters who sought to communicate their own personal responses to the political upheavals of their time.

For two hundred years, the Academy, the School of Fine Arts, and the Salon, the official exhibition, had fostered the French national artistic tradition. But by the middle of the nineteenth century the academic system had degenerated.

During the 1860s and 1870s, the artists who later became known as the impressionists concluded that the smoothly idealized presentation of academic art was formulaic and artificial. Their relatively loose, open brushwork underscored their freedom from the meticulously detailed academic manner. They were innovative in their subject matter, too, choosing motifs that did not teach or preach, such as landscape or ordinary activities of daily life, which were considered trivial or degenerate by the Academy. Often juries, dominated by academic attitudes, rejected the young artists' paintings altogether.

U.S. Commission of Fine Arts

The Commission of Fine Arts, established in 1910 by Act of Congress, is charged with giving expert advice to the President, Congress and the heads of departments and agencies of the Federal and District of Columbia governments on matters of design and aesthetics, as they affect the Federal interest and preserve the dignity of the nation's capital. The Commission consists of seven "well qualified judges of the fine arts" who are appointed by the President and serve for a term of four years; they may also be reappointed. The Commission provides advice to the U. S. Mint on the design of coins and medals, and approves the site and design of national memorials, both in the United States and on foreign soil, in accordance with the Commemorative Works Act or the American Battle Monuments Act, whichever applies.

Within the District of Columbia community, the Commission advises on design matters affecting the Historic District of Georgetown, under the Old Georgetown Act, as well as other private sector areas adjacent to federal interests, under the Shipstead-Luce Act.

Indonesian Ceramic Pieces Arrive at MAGNT

A total of 199 fragile ceramic pieces have just arrived at the Museum and Art Gallery of the Northern Territory (MAGNT) in preparation for the second triennial Arafura Craft Exchange Trajectory of Memories, Tradition and Modernity in Ceramics which opens in July. MAGNT Curator Australian Visual Arts and Crafts Allison Gray said the works, mainly from Yogyakarta, Indonesia arrived in a sea container safe and sound and staff have just completed the unpacking process. “This exhibition has been three years in the making, so it’s great to see all the hard work of the artists, Guest Indonesian Curator Sudjud Dartanto and museum staff come to fruition with the arrival of the pieces,” Ms Gray said. “Trajectory of Memories, Tradition and Modernity in Ceramics, is based on artists living in neighbouring countries occupying the same Asia-Pacific region, and their responses to living traditions, which are continually evolving as we move through modernity, but it’s also an opportunity to simply enjoy the artistic achievements of Indonesian and Australian ceramicists.”

Guest Curator, Sudjud Dartanto said there were three different statements visible in the pieces from the seven artists. “First is affirmation of tradition, which is articulated in decorative motifs seen in Sudiyati, Arisuta and Ottley’s pieces, inspired by customary symbols these works show that this expression takes different shapes as artists’ choices are affected by a variety of factors,” Mr Dartano said.

“The second statement is subversion – the positioning of one’s personal stories as the antithesis of grand narratives – as reflected in the works of Titarubi and Orchard’s works, and lastly the third theme is the tendency to flirt with signism, which can be seen in the works of Asmudjo and Doolan who display a playful approach to the various idioms of modernity.”

Ms Gray said the exhibition will feature works from four Indonesian artists and three Australian artists, including local Darwin ceramicist Harvey Ottley. “Harvey uses a really interesting technique of introducing horse hair at the point of hot temperature in the firing, which results in the line pattern of her ceramic works,” Ms Gray said.

Exploratorium

Housed within the walls of the City of San Francisco's Palace of Fine Arts, the Exploratorium is a park partner and a world-renowned museum and educational center with 650 science, art, and human perception exhibits. Founded in 1969 by Dr. Frank Oppenheimer, the Exploratorium's mission is "to create a culture of learning through innovative environments, programs, and tools that help people nurture their curiosity about the world around them." Visitors of all ages flock to the museum.

Copyist

The National Gallery of Art copyist program has been in operation since the Gallery opened in 1941. A permit issued by the registrar's office is required for copying works of art in oil or any other liquid medium. The Gallery provides permit holders with an easel, stool, and drop cloth; private easels are not allowed. Visitors may sketch with pencils or other dry media in the galleries without a permit.

To participate in the copyist program, applicants must meet all requirements outlined in the National Gallery of Art "Rules Governing the Copying of Works of Art" and agree to an interview and a security background check; they must acknowledge in writing their acceptance of the rules. A packet of materials will be mailed to you within seven business days. The issue of a copyist permit does not in any way constitute the National Gallery of Art's endorsement of a copyist's work.

American Artist and Water Reclamation

In the late 1960s, the Bureau of Reclamation embarked on a program to present its accomplishments to the public through the medium of art. Under the direction of John DeWitt of the Commissioner's Office in Washington D.C., and Dr. Lloyd Goodrich, advisory director of the Whitney Museum of Modern Art in New York City, 40 of America's most prominent artists were commissioned to visit Reclamation's water resource development sites throughout the Western United States and record their impressions on canvas. The artists were given a free hand to depict what ever they choose so long as the subject matter pertained to Reclamation's program - the development of the West's water resources for irrigation, hydro power generation, recreation, water conservation, and fish and wildlife enhancement. The artists were welcome to use whatever medium and style they wished, with spectacular results ranging from the abstract depiction of irrigated fields along the lower Colorado River as seen by Richard Diebenkorn, to Norman Rockwell's portrait of a Native American family overlooking Glen Canyon Dam, to Anton Refregier's scenes of construction activities at Grand Coulee Dam.

When the project was completed, more than 375 pieces of art had been created. In the early 1970s, many of the pieces were displayed to the public in a traveling exhibit circulated by the Smithsonian Institution entitled "The American Artist and Water Reclamation." Although many of the pieces were returned to the artists, Reclamation maintains a collection of about 200 pieces. Many of the pieces in Reclamation's collection can be viewed in a number of places including the Interior Building in Washington D.C., and the visitor centers at Hoover Dam and Glen Canyon Dam.

The ART in Embassies Program

promotes the cultural identity of America’s art and artists by borrowing original works of art by U.S. citizens for display in U.S. embassy residences worldwide. Each ART exhibition is developed collaboratively between a United States ambassador and one of our curators. We select both image-based and abstract work in all media.

What is the length of a loan?The length of a loan is approximately two and one-half to three years, which coincides with the average length of an ambassador’s tenure.

Who arranges and pays for shipping and insurance?ART in Embassies hires professional fine art handlers to assemble, pack, crate and safely ship works of art to and from each embassy. ART insures each work during its transit to and from the embassy and while it is on exhibit at the residence.

Are lenders compensated in any way?Lenders are not compensated financially. Their participation is documented in ART exhibition publications and/or on the ART web site. A wall label accompanies each work of art and identifies both the artist and lender.

The Artists Village Show

15 August to 5 October 2008

The Artists Village: 20 years On addresses many issues concerning the history, or rather, memories of TAV. History encompasses verifiable events and accounts of those events. The reciprocal relationship between memory, forgetting, and history questions and reveals how remembering and forgetting alters our perception of historical experience and the production of discourses. The dynamics of individual and collective social memories of TAV artists during the Ulu Sembawang period and the Post-Ulu periods offer multiple entry points to our understanding of TAV. Other forms of memories such as memories that have been written and archived brings to the fore the role of infrastructural memory in the form of museums, archives, monuments and other sites of memories in the construction of historical narratives.

Bareki - Sydney Harbour tug boat

Built to a WWII Australian tugboat design at Goat Island shipyard on Sydney Harbour for the Maritime Services Board 40 years ago, Bareki is now a museum workboat and assists with handling the vessels in the National Maritime collection. Particulars,

Builder MSB Goat Island Shipyard, Sydney

Launched - c 1966

Length Overall - 12.39 m

Beam - 4.36 m

Draft - 2.13 m

Propulsion - Detroit 12V71 diesel, (340 kW)

Construction - Carvel planked on sawn frames

Marine Painting

The impressionists favored another aspect of marine painting--that of leisure. Their interest in the sea had more to do with light and color than using a body of water as a dramatic device. Their stylistic methods provided artists with new ways to present intimate aspects of the sea, such as the picturesque coves and seasides dotted with revelers represented by Maurice Prendergast.

Twentieth-century artists experimented with a variety of styles and techniques in their interpretations of the sea. Modernist John Marin captured the ocean's energy with exuberant brushwork and abstract geometric shapes. Mark Rothko used surrealist-inspired biomorphic forms to suggest sea creatures in a primordial marine world. Albert Christ-Janer's lithograph combines the brilliant color of sun, sea, and sky with the rhythmic patterns of foaming waves. Vija Celmins approaches total abstraction in her quiet, meditative ocean views.

Maritime archaeology program - collection

As a result of its national profile the museum receives many enquiries from Australia and overseas about the acquisition or loan of archaeological material. Our Maritime Archaeology Program Policy (199 kb) includes guidelines about ethical practices and legislation. These have been adopted from recommendations by the International Council on Monuments and Sites (ICOMOS) and the International Congress of Maritime Museums (ICMM) in an effort to curb the destruction of underwater cultural heritage sites, and the illegal or unethical trade in artefacts.

Acquiring archaeological material
Generally we do not acquire archaeological material except in certain special circumstances. As a rule, when material is offered to us, we investigate transferring it to the designated state authority or relevant museum responsible for archaeological material. We prefer that collections stay together except for the requirements of conservation, study or display.

Loan of archaeological objects
When the museum borrows archaeological material for display, it must have been obtained in accordance with the 1990 ICMM recommendations. That is, the material must not have been excavated for profit, it must have been obtained legally and excavated correctly.

Under the 1972 Australian-Netherlands Committee on Old Dutch Shipwrecks (ANCODS) the ANMM is the legal Commonwealth repository of selected material from the four major Dutch shipwrecks off the Western Australian coast. Some of this material is displayed in the Navigators gallery

State Art Collection – Acquisition Policy 2007 - 2011

The State Art Collection increases the knowledge and appreciation of the art of the world for the enjoyment and cultural enrichment of the people of Western Australia. The Collection aspires to be the best public art collection in the State and the pre-eminent collection of Western Australian art. The Collection provides primary access to art, heritage and ideas locally, regionally and internationally now and for future generations. The acquisition policy provides the direction for all purchases, gifts and loans to the Collection.

The priority is to expand the principal strength of the Collection – art with a central theme of human habitation in the environment. These Stories of Habitation encompass works of art across all areas of the Collection, and embrace the subject of human habitation, endeavour, beliefs and cultural critique. Through Stories of Habitation the Collection builds dialogues to support visitor engagment with the art of Western Australia and the art of the world.

International, Historical and Contemporary Art

The Art Gallery of Western Australia acquires works of art that build upon the principal strength of the Collection Stories of Habitation.

Indigenous Art - The Gallery acquires Australian Indigenous art, with a particular focus on enriching the representation of Western Desert, Kimberley and South West artists and communities. Clusters of works of art may be identified and developed to reflect a breadth of artists, to reinforce the strength of the community context and present the diversity of Indigenous artistic practice.

Australian Art - The Gallery acquires works of art by Australian artists with national reputations, from the historical and contemporary periods. In so doing, it will further enhance this key Collection strength. Further, the Gallery seeks to introduce the work of emerging artists.

Western Australian Art - The Art Gallery of Western Australia represents Western Australian artists with exemplary work from the historical and contemporary period, to build areas of key strength, artistic movements and/or artists. The Gallery acquires the work of WA artists to ensure the pre-eminence of this most unique area of concentration in the State Art Collection.

State Art Collection

The Gallery's purpose is to preserve, interpret, display and acquire the visual arts from the past and the present with an emphasis on the art of Western Australia and Indigenous art.

The State Art Collection comprises 16,500 works in a range of media including painting, sculpture, craft and design, watercolours, drawings, photography and prints. Indigenous art is a highlight, providing a comprehensive overview of traditional and contemporary art from Western Australia, the Central Desert and Arnhemland. The Collection also has pre-eminent holdings of Western Australian art, craft and design from 1829 to the present.

Art Theft Program

Art and cultural property crime - which includes theft, fraud, looting, and trafficking across state and international lines -- is a looming criminal enterprise with estimated losses running as high as $6 billion annually.

To recover these precious pieces--and to bring these criminals to justice--the FBI uses a dedicated Art Crime Team of 13 Special Agents to investigate, supported by three Special Trial Attorneys for prosecutions...and it mans the National Stolen Art File, a computerized index of reported stolen art and cultural properties for the use of law enforcement agencies across the world.

Australian Prints, Drawings and Photographs

The Gallery also has an extensive collection of Australian prints, drawings and photographs with special emphasis on South Australian works, including a collection of 2000 Hans Heysen drawings which were bequeathed to the Gallery by the artist. The Gallery’s Australian prints and drawings reflect the strength of the paintings collection with strong holdings of colonial and modernist works as well as some fine examples of contemporary printmaking. Also to be found among the Australian works on paper are over 200 of Lionel Lindsay’s prints and drawings and a similar number of prints by Adelaide artist Barbara Hanrahan.

Graduate Studies in Art History

The MA program in Curatorial and Museum Studies is an innovative new course breaking new ground in Australia as the first course of its kind to utilise the expertise of practising gallery and museum professionals to teach around the theoretical and practical aspects of researching, designing and mounting exhibitions in museums and galleries. The program will be will be taught jointly by the Director and Curators of the Art Gallery of South Australia, the Art History staff of the University of Adelaide and ArtLab.

This course follows on from the successful postgraduate program in Art History which commenced at the Gallery in 2000. This course remains a leader in its field, offering students the chance to study art through the collections and special exhibitions of a major art museum, supported by University-based lectures and tutorials.

Students are expected to take 4 Graduate Diploma courses in Art History followed by 2 specialist MA courses in Curatorial and Museum Studies, which also includes a 20-day internship in a gallery or museum. Subjects offered in 2007 include Australian Art, European Art; Modern Art; Indigenous Art; and MA Program in Curatorial and Museum Studies.

Indigenous Art

The Indigenous art of Australia is the part of oldest continuing living culture in the world and one of the two major art traditions operating within Australia today. The National Gallery of Australia collects art of the highest artistic merit and excellence created by Aboriginal and Torres Strait Islander peoples (hereafter referred to as Indigenous) to document and represent the ongoing and developing traditions of art which reflect the diversity of Indigenous experience over time and from every region of the continent.

The collection aims to document the history of Indigenous art from the earliest collectable works to the most recent. Given the dynamic and innovative nature of Indigenous artistic practice, the Gallery aims to keep abreast of contemporary developments across all art forms including all media used by contemporary Indigenous artists.

Key works from the National Gallery of Australia’s collection of Aboriginal and Torres Strait Islander Art are exhibited in the Loti & Victor Smorgon Gallery on entrance level and in the broader context of Australian and international art throughout the building.

Among key Aboriginal and Torres Strait Islander Art works in the collection is The Aboriginal Memorial (1987–88), an installation of 200 painted hollow log coffins by the artists of Ramingining in Arnhem Land. The Memorial, a collaborative work involving 43 artists, is dedicated to all Indigenous Australians who have lost their lives defending their country since non-Indigenous settlement.

Rubbo, Antonio Salvatore Dattilo (1870 - 1955)

RUBBO, ANTONIO SALVATORE DATTILO (1870-1955), artist, was born on 21 June 1870 at Naples, Italy, son of Luigi Raffaele Dattilo, grain merchant, and Raffaela Rubbo. Dattilo died during his son's infancy: until he was 8 Antonio was looked after by a great-aunt at Pontecorvo. At 14 he won a prize for drawing, which enabled him to study draughtsmanship in Rome where he gained a certificate in 1888. While serving as a conscript in the Italian army for the next four years, he managed to visit the major Italian galleries and paint portraits of his fellow-soldiers. From 1893 at the Royal Academy of Fine Arts, Naples, he had a classical training based on drawing the antique, and also studied under Domenico Morelli and Filippo Palizzi, leaders of the liberal Neapolitan art movement. Morelli's eclecticism and method of sketching in the streets of Naples were an enduring influence on Rubbo's work. In 1896 he was awarded the academy's diploma of professor of drawing in public institutions.

Next year, after briefly trying to interest himself in the family business, Rubbo left for Sydney, and upon disembarking on 13 November was befriended by Eirene Mort. In return for accommodation and English lessons with the Mort family, Rubbo conducted an art class at their Strathfield home. In 1898 he began a studio class in Hunter Street, moving next year to Rowe Street, where he established his atelier. He offered life classes and his school became the main rival to Julian Ashton's Sydney Art School. From 1898 Rubbo taught at well-known Sydney schools—St Joseph's College, Kambala and Scots College and later at Kincoppal and Rose Bay Sacred Heart convents, Newington College and Homebush Grammar School. He was a council-member of the (Royal) Art Society of New South Wales from 1900 and from 1907 to 1934 taught at its school, where he became the longest-serving and most popular instructor. Throughout his long teaching career he vigorously campaigned for the inclusion of art (and a more professional approach to its teaching) in the school systems.

Eora First People

This exhibition takes us on a journey from Tasmania to far Northern Queensland and the Torres Strait, exploring the way in which the sea and waterways are intrinsically linked to Aboriginal and Torres Strait Islander Culture. The Eora Gallery has been redeveloped and reopened on Friday 9 March, with an exciting new collection of objects on display.Eora means 'first people' in the language of the Darug, the traditional inhabitants of the land on which the museum now stands.

There are over 250 Aboriginal and Torres Strait Islander peoples or nations in Australia. One common thread they share is a strong connection to the land and to the sea. This exhibition takes us on a journey from Tasmania to far Northern Queensland and the Torres Strait, exploring the way in which the sea and waterways are intrinsically linked to Aboriginal and Torres Strait Islander Culture.

Eora - First People features delicate shell work from Tasmania, elaborately carved and painted Pukumani burial poles of the Tiwi Islands, ceremonial sculptures and hand-woven works from Arnhem Land and Cape York and the spectacular headdresses, body ornaments and dance machines of the Torres Strait.

Also, featured are a selection of works from Saltwater - Yirrkala Bark Paintings of Sea Country, a series of paintings explaining the spiritual and legal basis of the Yolngu's claim on the Saltwater Country of northeast Arnhem land.

These stories were painted to educated the outside world, to teach the Balander (stranger or white people) about the lore and law of the Yolngu people. The result is a body of works that form a comprehensive map of the Saltwater Country; a record of sacred lore based on an accumulated wisdom that spans thousands of lifetimes.

Preston, Margaret (1875 - 1963)

Margaret Rose McPherson born in 1875 in Adelaide, South Australia, died Sydney, 28 May 1963.

Margaret studied art in Sydney under W. Lister Lister, at the National Gallery School, Melbourne, and at the Adelaide School of Design. In 1904 she went to Munich to attend the Government Art School for Women, going to Paris where she studied at the Musee Guimet and exhibited still lifes. After a brief return to Adelaide in 1907 she left again for Europe, working with disabled soldiers in Devon. In 1919, after returning to Australia by way of North America, she married William George Preston, a businessman, and settled in Sydney. The couple travelled extensively throughout Australia, the Middle East, Africa, Europe and the Pacific Islands.

Although well known for her decorative still lifes, she was also a skilful wood engraver and linocut printer. Her woodcut and linocut prints featuring Australian native plants have become very popular in recent years. A writer and lecturer of art, she was a champion of and influenced by Aboriginal bark paintings. She was a member of the Society of Artists, the Australian Art Association and the Contemporary Group, Sydney. At the Paris International Exhibition in 1937 she was awarded a silver medal.

Birmingham Museum & Art Gallery

Museum & Art Gallery

Opened in 1885, the collections cover fine art and applied arts, archaelogy and ethnography, natural history, social history. The Museum has the largest collection of Pre-Raphaelite works in the world, as well as Old Masters and Impressionists.Recently the modern and contemporary collections have had a new home created in the Waterhall Gallery of Modern Art, positioned just at the rear of the Museum.

The Museum and Art Gallery has an ever changing programme of temporary exhibitions in the main gallery and in the Gas Hall. For a full and up to date listing of events please visit the Birmingham Museums and Art Gallery website.

Entrance to the Museum and Art Gallery is free,though some exhibitions in the Gas Hall may have an entrance charge. The Shop stocks a wide range of souvenirs and gifts and the Edwardian Tea Room provides refreshments in magnificent surroundings.

Chinese Fine Art collection

The Chinese Fine Art collection houses the museum's collection of modern Chinese art and Guangdong paintings and calligraphy, the beginnings of which date back to 1964. The rich catalogue of works is the result of many purchases made by the museum itself, but its establishment has also depended on the invaluable support of several collectors, including Mr He Zizhong and Mr Wong Po-yeh (Guangdong paintings), Mr Lau Siu Lui (works from the Taiyilou collection of modern Chinese painting and calligraphy), Mr Wu Guanzhong (Wu Guanzhong's paintings) and Ms Linda Chang (the New Literati paintings). These generous donations have immeasurably enhanced the museum's collection, which now comprises over 4,000 works. The collection is mainly divided into four categories: (1) paintings from Guangdong, (2) calligraphy from Guangdong, (3) the Lingnan School of painting and (4) modern Chinese painting. Representative items from the collection are selected for exhibition to depict how the art of Chinese painting and calligraphy has evolved in Guangdong, with a special focus on developments, also in modern Chinese art, in the 20th century.

Many artists in Guangdong have had an almost innate inclination to modernize. This propensity for change is exemplified in works by artists such as Zhang Mu, Li Jian, Su Renshan and Su Liupeng, whose unique personal styles and alternative modes of expression have served to inspire subsequent generations of artists throughout the twentieth century. Guangdong has also seen the emergence of a succession of talented calligraphers like Chen Xianzhang, Kuang Lu, Song Xiang, Luo Shuzhong, He Shaoji and Jian Jinglun, etc. These artists sketch the development of Guangdong calligraphy from the middle of the Ming dynasty to the present day.

The Lingnan School has played an important role in the development of modern Chinese painting. The artistic origins of the School can be traced back to the Jiansu painters Song Guangbao and Meng Jinyi, who lived in Guangdong during the middle of the Qing dynasty, and their students Ju Chao and Ju Lian, also from Guangdong, in the late Qing. The founders of the Lingnan School, Gao Jianfu, Gao Qifeng and Chen Shuren, advocated a movement for "New Chinese Painting", and their theory and practice of blending Western techniques with Chinese art prompted an enthusiastic and stimulating response.

The impact of the Western tide of art that flooded into China in the 20th century triggered a transformation in modern Chinese art. Many artists tried to learn from Western styles and techniques, while others pursued studies in traditional painting, and these two currents gave birth to a new era in China. The works of Huang Binhong, Zhang Daqian, Lin Fengmian, Wu Guanzhong, Nie Ou and Zhang Yu are characterized by their unique styles that reveal the diverse developments in modern Chinese painting.

United States Senate Catalogue of Fine Art

The United States Capitol is recognized around the world both as a symbol of our country and for the momentous events that have taken place there. However, the building’s interior is far less well known. Visitors are often surprised by the Capitol's stunning architectural details and the impressive art complementing the interior spaces. Now, those works of art–ranging from portraits of prominent senators to depictions of significant events in U.S. history–are accessible to everyone through the publication of the United States Senate Catalogue of Fine Art. Prepared by the Office of Senate Curator, the catalogue represents the first comprehensive effort to illustrate and interpret this rich collection of paintings and sculpture.

The United States Senate Catalogue of Fine Art highlights 160 works of art, including 82 sculptures, 75 paintings, 2 enameled mosaics, and 1 stained glass window. Each work is illustrated with a color photograph and accompanied by essays and secondary images that place the work in historical and aesthetic context. These secondary images include other works of art that inspired or served as a model for the work in the Senate collection, as well as photographs that display the art in its current location. There is also an introductory essay that analyzes the art in the Senate and its place in American art history.

The catalogue is a result of a lengthy tradition of art in the Senate, a tradition that primarily dates from the establishment of the Joint Committee on the Library in 1802. In addition to maintaining the Library of Congress, this committee was also responsible for supervising the acquisition of art for the Capitol, the White House, and the public squares of Washington, D.C. After the middle of the nineteenth century, the joint committee became especially active in the selection of sculpture and painting. When the Capitol was expanded by adding the new dome and two new chambers for the legislature, a campaign was undertaken to decorate the building to reflect the United States’s newfound importance in world affairs.

Over the years, the Senate’s art collection has taken shape through several means. Some pieces have been purchased and others specially commissioned. Donors have also offered important works of historical significance that have become welcomed additions to the collection.

A review of the catalogue illustrates the broad sweep of U.S. history and the diversity of the Senate’s art collection. The 160 pieces in the catalogue represent the work of 111 artists, including such celebrated figures as Gilbert Stuart, Alexander Calder, Augustus Saint-Gaudens, Thomas Sully, and Daniel Chester French. Many of the works feature prominent senators, including portraits of Everett McKinley Dirksen, Mike Mansfield, and Robert A. Taft, and small bronze sculptures of Henry Clay and Daniel Webster. Many of the subjects are immediately recognizable; there are depictions of George Washington, Thomas Jefferson, Theodore Roosevelt, and Benjamin Franklin. Lesser-known figures include the Native American chief Be sheekee and Senate employee Isaac Bassett, who came to the Senate in 1831 as one of the first pages and stayed until 1895, when he was an elderly doorkeeper. Although portraits dominate the collection, the American landscape is represented by an oil painting of Niagara Falls in winter. Major events are also documented, such as the first reading of the Emancipation Proclamation by President Abraham Lincoln and the first manned moon landing. There are two special collections: a series of paintings of major U.S. army posts completed by Seth Eastman between 1870 and 1875, and a collection of vice presidential busts.

In the catalogue’s introductory essay, art historian William Kloss points to the Senate’s art collection as a “paradigm of public art in the United States,” saying that the collection “was intended to serve a grander purpose . . . to commit to posterity the persons and events of our national history, centered upon the institution of the Senate and on the founding of the Republic.” The United States Senate Catalogue of Fine Art offers readers an opportunity to see how this purpose was met.

The catalogue is available online through the Government Printing Office (GPO). It can be purchased from the Senate Gift Shop in the Dirksen Senate Office Building or the GPO bookstore. The catalogue may also be available at a federal depository library in your state.

Chariot of Fame wooden sea chest

Wooden sea chest with iron handles and latch. Painted on the front is 'Mrs. J. Anderson/Per Chariot of Fame Mr. A. Mitchell/Uralla by Bendemere/New England/New South Wales Not Wanted on the Voyage.'

The Chariot of Fame was a three-masted, square-rigged 'medium clipper' ship, built at East Boston, Massachusetts, by Donald McKay, for Enoch Train & Co., Boston, for their White Diamond packet line between Boston and Liverpool, and launched in April 1853. For the first year the Chariot of Fame sailed out of American ports as a packet vessel. After this the vessel was chartered by the White Star Line of Australian packets and made a number of good passages to Australia from England in 1854 and 1855. In 1862 the vessel was sold in London and the vessel came out to Australia on several more voyages. The Chariot of Fame was reported abandoned at sea in 1876.

Russell Cotes Art Gallery & museum

The Russell-Cotes Art Gallery & Museum, Bournemouth, UK, is one of the most fascinating and unique museums in the world. It comprises art galleries and museum, a licensed café, a shop and a children’s area and is an ideal place for learning, exploring and socialising. It is situated on the dramatic cliff top over-looking seven miles of award-winning beaches and is housed in one of the last Victorian villas in Bournemouth, East Cliff Hall. The exhibitions and displays in the galleries, along with events and activities, offer something for everyone.a

Marine Art of Geoff Hunt

Readers who have admired the covers of Patrick O'Brian's works (the recent editions) will appreciate Hunt's other realistic oil paintings depicting 18th-century ships at sea and sometimes in battle. Hunt, a member of the Royal Society of Marine Artists (and currently its president), also includes case studies which follow the progress of five paintings from start to finish; a section of paintings of scenes from the American Revolutionary War and the War of 1812; book cover illustrations for authors such as Miles Smeeton and for reprints of Patrick O'Brian's works; and a few paintings of modern naval vessels, merchant ships, and yachts.

PRINTS AND DRAWINGS

The National Gallery's collection of prints, drawings, and illustrated books consists of almost 100,000 Western European and American works on paper and vellum dating from the eleventh century to the present day. It began with just 400 prints donated in 1941 by five collectors: W. G. Russell Allen, Paul Sachs, Philip Hofer, Ellen Bullard, and Lessing J. Rosenwald. Their gifts of important works by Mantegna, Schongauer, Dürer, Canaletto, Blake, and a variety of other fine printmakers were intended to lay a strong foundation for a national collection that would enhance and complement the collections of painting and sculpture installed in the public galleries. The first sizable gifts of graphics, nearly 2,000 works, came the very next year with the donation of the entire collection of Joseph E. Widener, including an extraordinary array of French eighteenth-century prints, illustrated books, and related drawings.

Lessing Rosenwald ensured the future of the Gallery's graphics collection in 1943 by giving the museum his collection of some 8,000 old master and modern prints and drawings. In the ensuing thirty-six years he donated almost 14,000 more, supplemented by such fascinating technical materials as carved woodblocks and engraved copperplates. His collection brought to the Gallery the finest gathering in America of rare German woodcuts and engravings from the fifteenth century; comprehensive surveys of the prints and some select drawings by Dürer, Rembrandt, Nanteuil, Daumier, Whistler, and Cassatt; watercolors, drawings, prints, and engraved copperplates by Blake; and a collection of prints by early twentieth-century printmakers.

MARINE SANCTUARY SPONSORS ART CONTEST FOR STUDENTS IN GRADES

The NOAA Stellwagen Bank National Marine Sanctuary today announced the 2005 Marine Art Contest for students in grades K-12. This year’s theme is “Stellwagen Bank – 150 Years of Discovery,” commemorating the work of Lt. Henry Stellwagen and the discovery of the bank at the mouth of Massachusetts Bay that now bears his name. The first official government chart showing “Stellwagen’s Bank” appeared in 1855. NOAA, the National Oceanic and Atmospheric Administration, is an agency in the U.S. Department of Commerce.

Students are charged with exploring the fascinating world of New England’s only national marine sanctuary through their art in this open competition. The deadline is April 30, 2005. The contest is co-sponsored with the Massachusetts Marine Educators (MME) and the New England Aquarium.
The competition will be judged in five divisions – grades K-2, 3-5, 6-8, high school and scientific illustration. Students may select any activity, species or habitat in the sanctuary as the subject of their artwork. Possible topics include endangered species, research in the sanctuary, natural and/or cultural resources and new technologies for marine exploration, such as remotely operated vehicles. Students may use any medium, including markers, paints, pastels, pencil, pen and ink, collage or computer graphics and are asked to keep artwork between 8½ inches by 11 inches and 18 inches by 24 inches.

Judges for the contest include renowned marine artist Robert Lyn Nelson; Massachusetts artist and illustrator Dave Blanchette; commercial artist and graphic designer Dennis Huston; chairman of the board of the Cape Cod Museum of Natural History Richard Wheeler; author and educator Nathalie Ward; and sanctuary education coordinator Anne Smrcina.

Winning artists will receive passes from the New England Aquarium, certificates and other prizes. All award-winning entries will be posted on the Stellwagen Bank National Marine Sanctuary Web site and may be displayed at sanctuary exhibits throughout New England.

Congress designated the Gerry E. Studds Stellwagen Bank National Marine Sanctuary in 1992 as “an area of special national significance.” Virtually the size of the state of Rhode Island, the sanctuary stretches between Cape Ann and Cape Cod in federal waters off of Massachusetts. The sanctuary is renowned as a major feeding area for marine mammals, particularly humpback whales, and supports an ecosystem of diverse wildlife.

NOAA’s National Marine Sanctuary Program seeks to increase the public awareness of America’s maritime heritage by conducting scientific research, monitoring, exploration and educational programs. Today, the sanctuary program manages 13 national marine sanctuaries and one coral reef ecosystem reserve that encompass more than 150,000 square miles of America’s ocean and Great Lakes natural and cultural resources.

The NOAA Oceans and Coasts Service manages the NMSP and is dedicated to exploring, understanding, conserving and restoring the nation’s coasts and oceans. The NOAA Oceans and Coasts Service balances environmental protection with economic prosperity in fulfilling its mission of promoting safe navigation, supporting coastal communities, sustaining coastal habitats and mitigating coastal hazards. NOAA is dedicated to enhancing economic security and national safety through the prediction and research of

John Glover - Marine painter

Glover was one of the precursors of an Australian style of painting. He arrived in Tasmania from England in 1831. A talented landscape painter with a strong reputation in England (and France), Glover was never seen as an artist who 'pushed the boundaries'.

While he was initially criticised for not paying close enough attention to the 'local characteristics', he did find an individuality in his work through the new landscapes and atmosphere of Tasmania. His depiction of the Tasmanian light as bright and clear, was a departure from his European paintings and gave his paintings a true Australian quality.

His body of work made him a pioneer of landscape painting in Australia. In addition to employment growth, job openings are expected for carpet, floor, and tile installers and finishers because of the need to replace workers who leave the occupation. The strenuous nature of the work leads to high replacement needs because many of these workers do not stay in the occupation long.

Fantastic Fishes Art Contest

Gray's Reef National Marine Sanctuary, designated in January 1981, is one of the largest near shore live-bottom reefs in the southeastern United States. The sanctuary is located 17.5 nautical miles off Sapelo Island, GA, and one of 14 marine protected areas that make up the National Marine Sanctuary System that encompass more than 150,000 square miles of marine and Great Lakes waters from Washington State to the Florida Keys, and from Lake Huroon to American Samoa; and one of three marine sanctuaries that make up the Southeast Region.

Within the 17-square-nautical-mile sanctuary, there are both rocky ledges and sandy flat places. The reefs' rock ledges, submerged beneath 60 to 70 feet of water, can be as tall as 6-8 feet and are highly complex-they have nooks and crannies and bumps and plenty of places for invertebrates to latch on to and for fish to hide. Together these animals form a dense carpet of living creatures that in places completely hides the rock. That gives the habitat of Gray's Reef its common name-a "live bottom".

USGS National Coastal Program Plan

A Plan for a Comprehensive National Coastal Program" describes a comprehensive National Coastal Program that responds to critical regional needs while addressing national issues associated with coastal change, including nutrient enrichment, oxygen depletion, harmful algal blooms, chemical contamination, diseases in marine organisms, and fish kills; shoreline erosion, the increasing susceptibility of coastal communities to natural hazards and sea level rise, increasing demands on non-living resources (including groundwater, sand and gravel, and energy resources); and declines in living marine resources, habitat loss, loss of biodiversity, and invasions of non-indigenous species.

These issues reflect the growing impact of human activities on coastal systems and the increasing vulnerability of expanding populations to coastal change. The interdependencies of these issues in complex coastal systems requires multidisciplinary and integrated science to provide the information and tools essential to sustain the environmental health of coastal communities and resources; maintain and enhance the contribution of coastal systems to the Nation's economy and well-being; and ensure the safety of coastal populations threatened by natural hazards and human-driven change.

The overall goal of this Program is to provide the scientific information, knowledge, and tools required to ensure that decisions about land and resource use, management practices, and future development in the coastal zone and adjacent watersheds can be evaluated with a complete understanding of the probable effects on coastal ecosystems and communities, and a full assessment of their vulnerability to natural and human-driven changes.

Specialization of Fine artists

Fine artists typically display their work in museums, commercial art galleries, corporate collections, and private homes. Some of their artwork may be commissioned (done on request from clients), but most is sold by the artist or through private art galleries or dealers. The gallery and the artist predetermine how much each will earn from the sale. Only the most successful fine artists are able to support themselves solely through the sale of their works. Most fine artists have at least one other job to support their art careers. Some work in museums or art galleries as fine-arts directors or as curators, planning and setting up art exhibits. A few artists work as art critics for newspapers or magazines or as consultants to foundations or institutional collectors. Other artists teach art classes or conduct workshops in schools or in their own studios. Some artists also hold full-time or part-time jobs unrelated to art and pursue fine art as a hobby or second career.

Usually, fine artists specialize in one or two art forms, such as painting, illustrating, sketching, sculpting, printmaking, and restoring. Painters, illustrators, cartoonists, and sketch artists work with two-dimensional art forms, using shading, perspective, and color to produce realistic scenes or abstractions.

The new landscape

Artists like the convict John Eyre, who produced paintings and engravings in the first decade of the nineteenth century, and the landscape painter Conrad Martens - a close friend of Charles Darwin - produced important works during these early years of settlement.

John Glover
Glover was one of the precursors of an Australian style of painting. He arrived in Tasmania from England in 1831. A talented landscape painter with a strong reputation in England (and France), Glover was never seen as an artist who 'pushed the boundaries'. While he was initially criticised for not paying close enough attention to the 'local characteristics', he did find an individuality in his work through the new landscapes and atmosphere of Tasmania. His depiction of the Tasmanian light as bright and clear, was a departure from his European paintings and gave his paintings a true Australian quality. His body of work made him a pioneer of landscape painting in Australia.

Australian painters

When the first artists arrived in colonial Australia from Europe in the late 18th century, they were confronted by images and scenery the likes of which they had never seen:

...the whole appearance of nature must be striking in the extreme to the adventurer, and at first this will seem to him to be a country of enchantments.Thomas Watling, Letters From An Exile in Botany Bay, To His Aunt in Dumfries, 1794

The traditions of European art and painting did not fit comfortably with this strange and bewildering new landscape. Early artists tended to paint what they saw and the better the representation; the better the work was regarded.

Government Art Collection on-line database

The Government Art Collection includes works in a range of media - paintings, sculptures, drawings and watercolours, prints, photographs and textiles. The majority are by British artists and they cover a wide span, both historically and in terms of subject matter, ranging from 16th-century portraits to contemporary landscape photographs. Works have been acquired by purchase, commission, gift and bequest.

The on-line database currently contains information on over 7000 works - almost all the paintings, drawings, sculpture and textiles in the Collection, as well as a substantial number of prints and photographs. We are adding to these all the time.

The number of good quality images on the website is continually increasing. Whenever works of art displayed overseas return to London, we take the opportunity to have them photographed and reassess their documentation. As research unearths new attributions and other art historical information, our records are updated and the information reflected on the website.

The Famous Artist Motherwell Robert

Over the years, Ken Tyler has worked with the divergent styles of many artists, adapting to the particular requirements of each one. Producing 'painterly prints' for the major Abstract Expressionist artist Robert Motherwell (1915-1991) was a considerable challenge. For Motherwell, who worked in an intuitive automatic manner, the technicalities of printmaking could be seen as a constraint. Yet, in his collaborative work with Tyler, his works maintained the freshness of their expression, despite the rigours of production.

One method favoured by Motherwell was collage, which he considered as an equivalent to a modern still life. 'Collage somehow became my joy, and has been ever since. Also, it has another function: Sometimes I get stuck in painting … and often, after shifting to collage for a time, I may resolve the painting problem when I return to it.' But collage had its difficulties too.

Motherwell's collage prints, such as the America-La France variations series of 1984, reveal the multiple changes made to each image over time. Motherwell proceeded back and forth with the collages, adding, subtracting, altering and sometimes almost beginning again. The process of collage making and proofing was exploratory, with the artist seeking the perfect resolution.
Another of Motherwell's methods of working was derived from the Surrealist theory of psychic automatism, or free association - but working on a large scale using dynamic forms.

From 1948, he began his Elegies to the Spanish Republic, first in painting and later in printmaking. The black images, evoking the tragic past, and the defeat of the democratically elected Republicans by the Monarchists in the 1930s civil war in his much-loved Spain, would stay with him for his lifetime, remaining an 'endless challenge' for the artist.

The final group of works Motherwell made with Tyler at the Mount Kisco workshop reflects his increasing interest in the use of colour, and the printer's keenness for this to happen.

Intro to Government Art Collection

The Government Art Collection is a unique British cultural resource, which operates within the Department for Culture, Media and Sport. Works of art from the Collection are displayed in British Government buildings both in the United Kingdom and around the world, playing a significant role in promoting British art and culture across diverse and international environments. More than 9000 works – over two thirds of the Collection

Design and Art Education or Outreach

To increase the understanding and appreciation of contemporary federal architecture and artworks and to educate both federal employees and the general public about the history and cultural heritage of the United States as reflected in the architecture and art of federal buildings, the Center for Design Excellence and the Arts organizes and produces publications, exhibits, films, forums, symposia, and interpretative materials.

Significant buildings commissioned through the Design Excellence process are documented in an award-winning monograph series. An oral history program is underway to interview important public figures, architects, designers, and artists who have worked to inspire and nurture excellence in federal architecture. Plaques are installed and interpretive brochures are produced to accompany works of art and to give visitors to federal buildings biographies of artists and an insight into the meaning of artworks and how they were produced. Exhibits are organized and designed to make the works of art accessible.

To maximize its educational and outreach activities, the Center has established partnerships for the Office of the Chief Architect with various professional organizations such as the American Institute of Architects, the National Organization of Minority Architects, the American Society of Interior Designers, and the American Society of Landscape Architects. It also seeks partnerships and collaboration with museums and schools of architecture and design. The Center is currently working with the American Architectural Foundation in Washington, DC; and the Cooper-Hewitt National Design Museum in New York City on an exhibition and lecture series on Design Excellence and the Arts. Every two years, the National Building Museum in Washington, DC, organizes an exhibition on the GSA Design Awards.

Southampton City Art Gallery

Southampton City Art Gallery can offer something for everyone, whether you're young or old, a lifelong fan or going to a gallery for the first time. Exhibitions and displays range from ancient culture to the cutting-edge and the Gallery is internationally renowned for its impressive art collection, spanning six centuries of European art history. The Gallery is housed within a beautiful example of 1930's municipal architecture.

Thousands of visitors explore the exhibitions and displays every month and, through a programme of educational activities, we aim to provide opportunities for greater access, involvement and understanding of art, for people of all ages.

The Southampton City Art Gallery has a Permanent Collection of over 3,500 works of international reputation. The Collection, which spans six centuries from the Renaissance to the present day, has been 'Designated' by the Government as having special national significance.

Advancement of Marine Artists

Marine artists hired by firms often start with relatively routine work. While doing this work, however, they may observe other artists and practice their own skills. Craft and fine artists advance professionally as their work circulates and as they establish a reputation for a particular style. Many of the most successful artists continually develop new ideas, and their work often evolves over time.

Many artists freelance part-time while continuing to hold a full-time job until they are established. Others freelance part time while still in school, to develop experience and to build a portfolio of published work.

Freelance artists try to develop a set of clients who regularly contract for work. Some freelance artists are widely recognized for their skill in specialties such as cartooning or children’s book illustration. These artists may earn high incomes and can choose the type of work they do.

The National Gallery of Australia

The National Gallery of Australia began to collect European and American painting and sculpture in the 1970s. At this time it became clear that the Gallery's mission would be to show works of art from all the cultures of the world, not only that of European Australians, Europe being the continent from which most immigrants have come to Australia. The collection includes works from every continent, concentrating on the cultures that underpin contemporary life, those of the nineteenth and twentieth centuries.

In 1992 the Gallery published a catalogue written by Michael Lloyd and Michael Desmond, European and American Paintings and Sculptures 1870-1970 in the Australian National Gallery. The catalogue is now available here.

In October 2002, twenty years after its doors opened to the public in 1982, the Gallery is publishing more of its collections of 430 paintings and sculptures made by European and American artists on its website. It will be possible to examine all these holdings, from a handful of examples of the art of ancient Greece and Renaissance Italy to many works of art made in the last decades

Eureka Fine Art Gallery

For nearly 110 years, the Ballarat Fine Art Gallery has been the home of the original Eureka flag. This flag, with its bold design of white on blue based on the constellation of the Southern Cross, was first flown in Ballarat during the ‘troubles’ of 1854, when the diggers made a concerted effort to resist the despotic and corrupt local arm of the colonial Government.

The flag was made as a banner for the Ballarat Reform League at some point in time after the first meeting of this group on 11 November 1854. It was first raised on public view at the Monster Meeting at Bakery Hill on 29 November 1854 when the diggers protested against the administration of the Gold Licence. On the following day, Peter Lalor swore his famous oath beneath the flag, which was then taken to the site of Eureka Stockade.

Fine Arts Collection

The Fine Arts Program manages GSA’s Fine Arts Collection to ensure its safety, accessibility, preservation, and appropriate use in order to enhance and promote high-quality work environments for federal agencies and the public they serve.

The Fine Arts Collection, one of our nation’s oldest and largest public art collections, consists of permanently installed and moveable mural paintings, sculpture, architectural or environmental works of art, and works on paper dating from the 1850’s. These civic works of art are located in federal buildings and courthouses across the United States. An additional 15,000 small moveable New Deal works of art are on long term loan to museums and other nonprofit institutions. Maintained by GSA as a part of our national and cultural heritage, the Fine Arts collection serves as a reminder of the important tradition of individual creative expression.

Unique Fine Art Gallery and Gifts

Fine art galleries are now available for people reference. More sample image will be shown vallejo gallery along with other available artwork. There you will find unique art galleries of unusual original artwork featuring a variety of subjects and digital techniques. Fine art and mosaic image lovers will enjoy the exceptional quality of the mosaic style pictures. Abstract art lovers will find stereographic images that are truly exceptional. The giclée images are available in mutiple sizes, either framed or unframed.

New Interactive NGAkids Still Life

The new NGAkids Still Life interactive encourages young artists to explore the world around them by arranging artistic elements and everyday objects into multi-dimensional works that mirror those of the old masters. But there are surprises in store, as some of the objects unexpectedly spring to life! Experiment with spatial arrangements, size variables, and perspective angles, then switch modes and add layers of textured "brushstrokes" to create a more painterly, abstract image. This Art Zone activity is suitable for all ages.

A Black Family Onboard Titanic

Miss Louise Laroche was an Honour Member of the Titanic Historical Society from the beginning until her death in 1998. Since she could not speak English, correspondence over the years was thin. When a young man from France joined the Titanic Historical Society who spoke fluent English, Edward Kamuda asked Olivier Mendez if he would pay her a visit and her story was published originally in the Titanic Commutator in 1995.

The Titanic Historical Society receives inquiries from time to time asking if there were any black passengers onboard. The answer is yes and contrary to popular assumptions, the family traveled in second class.

Oh, yes, I can eat cake. I'll even offer you some when you come!" Mademoiselle Louise was laughing on the telephone. My question was simply that of someone conscious of an elderly lady's health, I wanted to meet her in person and telephoned for an appointment.

Looking at the photographs taken in 1910 by Louise Laroche's grandfather, Monsieur Lafargue, one cannot imagine the small house where the last French lady survivor of Titanic was living was still there wedged in between a modern glass government building and a row of older homes.

When I rang the door bell a lady wearing a shawl came down the stairs in the small garden and walked toward me. Her step was not sure on the cobblestones covering the yard. Mademoiselle Louise smiled as I remarked about the weather. "Never mind," she answered, "it's not too cold."

National Gallery of Art Seeks Paintings

As part of a worldwide initiative, the National Gallery of Art is seeking information about drawings, watercolors, and paintings on paper in public and private collections by the American artist Mark Rothko (1903–1970). The National Gallery of Art is publishing a multivolume catalogue raisonné, Mark Rothko: The Works on Paper, which will document more than 2,700 objects that are largely unknown to both art specialists and the public. Demonstrating the range of Rothko's creative achievements, these volumes will be the definitive historical record of Rothko's oeuvre on paper for decades to come.

TITANIC's "BRITTLE" STEEL - II

White Star gave Harland and Wolff complete freedom to build the very best ships they could, adding a percentage profit to the final cost of the building. The so-called "cost-plus" arrangement was used on all but one of the company's ships. From 1869 until 1919, it was said that there was never a single day that Harland and Wolff was not working on one of the White Star Line's ships. White Star was Harland and Wolff's best customer and they undertook to build Olympic and Titanic on the same basis as before, cost-plus. The ships were the largest in the world and would require numerous calculations as to the strength of hull required at this size. Much of the ships' arrangement was tried and tested basic shipbuilding design -- just larger with greater added strength. The strength was entirely provided by the ship's shell plating and rivets. Hydraulic riveting was used for much of the 3 million rivets, in some places the hull quadruply riveted.

Titanic's impact with an iceberg caused the rippling and springing of the joints between plates. Rivet heads ripped off would not cause massive flooding, rather the long leaking that is recorded to have happened in her forward compartments. Science tells us that in order for steel of this quality to fracture due to cold and impact would mean the steel being brought down to below the temperature of liquid nitrogen. As the water in Titanic's ballast tanks had not frozen on the night she struck the iceberg, it's safe to say the steel was above the freezing point of ordinary seawater.

We discovered on the Arabic (White Star liner of 1903) dive the ship's shell plating was in remarkable condition, but the rivets had "let go." That is to say, sprung -- allowing the plates to come apart. In places the ship was like a stack of playing cards not relating to any structure. I have some of these and I'm organizing a scientific study of them and will keep you apprised of the results.

I think -- and this is just a theory -- the rivets were heated so they could be riveted into place by hand or by hydraulic riveter. The steel would have to be capable of easy heating, malleable, and perhaps weaker by design. Is this the Achilles' heel of the Titanic? So much time is spent looking at the steel but I think these 3 million mild steel rivets might hold the secret.

TITANIC's "BRITTLE" STEEL

Olympic and Titanic were built using Siemens-Martin formula steel plating throughout the shell and upper works. This type of steel was first used in the armed merchant cruisers, Teutonic and Majestic in 1889/90. This steel was high quality with good elastic properties, ideal for conventional riveting as well as the modern method (in 1912) of hydraulic riveting. Each plate was milled and rolled to exact tolerances and presented a huge material cost to both yard and ship owner. The steel was not a new type, as already stated, but shows that yard and owner only put material and equipment into these two giants that was tried and tested. Reports of Teutonic's and Majestic's hull condition 20 years after they entered service showed that both were in remarkable condition. The excellent properties of this steel and resistance to corrosion made it the natural choice for the new sisters.
Yard workers at the time referred to this steel as "battleship quality." I had several conversations with retired shipbuilders at Harland and Wolff and they confirm this. Harland and Wolff used larger sized plates to reduce the amount of butts and overlaps. The shells themselves were generally 6 feet wide and 30 feet long weighing between 2 1/2 and 3 1/2 tons depending on thickness. The double bottom plating was 1 1/2 inches thick and hydraulically riveted up to the bilge. Some of the largest plates were 6 feet wide and 36 feet long and weighed 4 1/2 tons.

The Marine Paintings of Eugene Boudin

Eugene boudin was born in the year July 12, 1824 at Chebaa, Lebanon. Boudin was one of the first French landscape painters to paint outdoors. Eugene was a marine painter, and also has an expert in the rendering the services related to sea and along its shores. Boudin pastels, summary and economic, garnered the splendid eulogy of Baudelaire and Corot gazing at his pictures, said to him, "You are the master of the sky." He worked in a small art shop where Claude Monet displayed his art work Le Havre and Honfleur across the estuary of the Seine.

In the Forest of Fontainebleau: Painters and Photographers from Corot to Monet

Nearly 120 paintings, pastels, and photographs reveal the pivotal role of the Forest of Fontainebleau in the development of 19th-century naturalistic landscape painting and early photography. The exhibition traces the evolution of landscape painting through the work of artists such as Jean-Baptiste-Camille Corot, Théodore Rousseau, Jean-François Millet, and Claude Monet (whose experience in Fontainebleau inspired impressionism). Viewers can take a closer look at highlighted works in our new Web feature, as well as learn about Fontainebleau's history, its flora and fauna, and village life in and around the artists colony.