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As the sun starts to awake from the horizon the birds welcome her with a song. For they’ve been preparing all night and they’ve practiced so long. So they sang a song so soft and sweat as The and clouds finally meet. In return the sun painted the birds a picture upon the clouds with soft colors and a gentle heat. The birds amazed by the beautiful work the sun has laid across the sky, and the sun who was soothed by th beautiful lullaby. They both agreed to do this every day for that’s why we may hear a beautiful song and see a painted sky every day we open our eyes.

By Avery Savage

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Gazing into this mesmerizing valley from a-top the sharp rigid mountain.
limitless land and opportunity, true freedom.
no restraints or restrictions a perfect place to learn to be a man.
how to provide
build a home
overcome and embrace failures and push further towards the future.

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This picture or now
which is more realistic
the people hiding inside
or the bussling streets full of aliens
the creatures show no care
while we live on inside
the aliens roam free
excluded from our culture
as the aliens takeover

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"Short Stories Mother Nature Told Me" by Tammy Kaufman

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"Short Stories Mother Nature Told Me" by Tammy Kaufman

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Calm.
The one emotion every creature strives for
The feeling of calm.
No anger
No rage.
Just Calm
The suns rays caress your face and a sense of relaxation runs though your veins
Euphoria that you've never felt before suddenly becomes your reality and for a split moment
You feel whole.

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Contact: Jon Pishney, 919.707.8083. Images available upon request

(RALEIGH, N.C.) - The North Carolina Museum of Natural Sciences' Nature Art Gallery presents "Short Stories Mother Nature Told Me," tiny paintings by Wake Forest artist Tammy Kaufman. The show runs March 6-29, with a Gallery reception Saturday, March 7, 2-4 p.m. All exhibited art is for sale.

"I'm an artist, a mountain biker, a writer and a dreamer," Kaufman says. With most of her paintings measuring only 12×16 inches or less, she's often asked why she paints so small. "I find a special refuge in the infinite beauty of the minuscule, the unnoticed, the smallest things so often overlooked and ignored. Creating tiny paintings is a painstaking and meticulous task, but one in which I discover a unique sense of tranquility and respite. It's my way of honoring the smallest and least among us, and it is my privilege to share my love and respect for our natural world through my artwork."

Kaufman grew up in the Piedmont of North Carolina and currently resides in Wake Forest. She is a member of The Miniature Art Society of Florida, Alabama Miniature Art Society, International Association of Pastel Societies and North Carolina Plein Air Painters, and is a juried Associate Member of the Pastel Society of America. Her paintings have been juried into multiple shows across North Carolina and hang in private collections throughout the United States including the permanent collections of Raleigh Parks and Recreation and North Carolina State Parks.

The Nature Art Gallery is located inside the Museum Store. Hours are Monday through Friday, 10 a.m. to 4:45 p.m.; Saturday, 9 a.m. to 4:45 p.m.; and Sunday, noon to 4:45 p.m. Admission to the Gallery is free. All exhibited art is for sale. For more information about the Nature Art Gallery, call 919.707.9854.
The North Carolina Museum of Natural Sciences in downtown Raleigh (11 and 121 W. Jones St.) is an active research institution that engages visitors of every age and stage of learning in the wonders of science and the natural world. Hours: Monday-Saturday, 9 a.m.-5 p.m., and Sunday, noon-5 p.m. General admission is free. For more information, visit naturalsciences.org.

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'Short Stories Mother Nature Told Me' on display at Museum's Nature Art Gallery in March | Programs and Events Calendar

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Contact: Jon Pishney, 919.707.8083. Images available upon request (RALEIGH, N.C.) - The North Carolina Museum of Natural Sciences' Nature Art Gallery presents "Short Stories Mother Nature Told Me," tiny paintings by Wake Forest artist Tammy Kaufman. The show runs March 6-29, with a Gallery reception Saturday, March 7, 2-4 p.m.

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Endless screaming even though no one can hear me, I am eating my mind up inside. Some people do not understand this level of hurt and some people never will. Feeling like not one person is listening to you or does not understand. Ignorance causes pain.

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we set sail, unsure of where we are going to end up,

or what will happen.

Waves crashing over us, bigger than our wildest dreams.

We row and row, but the waves make the oars feel like  anchors we feel stuck,

struggling to fight through the wave

off Kanagawa.

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This iconic composition comes from the golden age of Japanese woodblock printmaking. Hokusai manages, through the clever and dramatic manipulation of space, to dwarf Japan's snow-capped Mt. Fuji with the enormous wave, which is about to crash down in the foreground.

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The Great Wave off the Coast of Kanagawa - Katsushika Hokusai - Google Arts & Culture

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This iconic composition comes from the golden age of Japanese woodblock printmaking. Hokusai manages, through the clever and dramatic manipulation of space, to dwarf Japan's snow-capped Mt. Fuji with the enormous wave, which is about to crash down in the foreground.

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The Bean
Great and big.

Simmering.

A silver bean,

Painted with the colors of

Pretentious sweat

And frivolous tears.

These colors from the sky,

We pull them to the ground,

All the while, remembering to paint this bean of ours

The pinkest of pinks like our cheeks in the heat of the fumes

That slink out from the ears of giant sky beats.

This Bean of ours,

Glowing like the heat of a thousand hearts on our cheeks,

All ours.

Our silver bean.

Look at how it peers up to the clouds,

And remember to dip it in the blackest of blacks

So that we may remember

This bean of ours

Belongs to the sky beasts,

Upon there silver tower,

Like the wastes that

decorate

A urinal,

Wastes painted

With an

artist’s touch.

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Betrayed, beaten, broken

by those who used to fear you.

Chains and shackles

Though love still binds.

Love of a woman

Has made you blind,

Revenge did you seek

In the temple of Dagon

God granted your wish

And the rest was destruction

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The Artist: One of the great figures of seventeenth-century painting, Giovanni Francesco Barbieri was born in the town of Cento, not far from Ferrara. His nickname, Guercino-literally, "the little crossed-eyed"-derives from an eye defect evident in portraits of the artist. Although at the age of sixteen he worked for a time with a local artist, Benedetto Gennari the elder, and then briefly in Bologna with minor figures, Paolo Zagnoni and Giovanni Battista Cremonini, he was in many respects self-taught. Of crucial importance for his career was an altarpiece by Ludovico Carracci in the local Capuchin church (the altarpiece is now in the Pinacoteca). In Cento-the center of his activities until his move to Bologna in 1642-he became the senior partner of the Gennari workshop. Enormously gifted, he had already secured an independent commission by 1613; three years later he set up an academy for drawing from the model, which he did in black chalk with extraordinary vigor (for example: 2004.250). The following year he was in Bologna working for Cardinal Alessandro Ludovisi, who, as Pope Gregory XV, would later employ Guercino in Rome. Ludovico Carracci was astonished at the still youthful Guercino, writing to the poet/collector Ferrante Carli, "There is a young man here born in Cento who paints with the happiest of inventiveness. He is a great draftsman and a felicitous colorist: he is a phenomenon of nature and a wonder capable of astounding all who see his works" (letter of October 25, 1617). Indeed, from this point Guercino was among the most sought after painters of the day, refusing invitations to work at the courts of Charles I in London and Marie de' Medici in Paris.

Guercino's career can be divided into three main periods, the first-of which Samson Captured by the Philistines is one of the masterpieces-culminating in the invitation to come to Rome to work for Gregory XV and his cardinal nephew Ludovico Ludovisi (1621-23); his altarpiece for Saint Peter's showing the burial of Saint Petronilla (Capitoline Museum, Rome) is a landmark in the history of Baroque art. The second, in which the compositional vigor and dramatic lighting of his early works is increasingly tempered by a concern for greater clarity of structure and elegance, can be followed with great consistency up to 1642, when the artist moved to Bologna and supplanted the recently deceased Guido Reni as the most important painter in the city. The Met owns a key work from this last phase: The Vocation of Saint Aloysius (Luigi) Gonzaga ( 1973.311.3). The ideas underlining these stylistic changes and their relation to humanistic culture have been brilliantly explicated in a key essay by Sybille Ebert-Schifferer.[1]

The Picture: The picture illustrates a famous scene from the Old Testament book of Judges (16:17-21). Samson, the Hebrew strong man in their resistance against the Philistines, was so incautious as to fall in love with the Philistine beauty Delilah. Having coaxed from him the source of his strength-his long hair-she then lulled him to sleep in her lap, "and she called for a man, and she caused him to shave off the seven locks of his head . . . and his strength went from him. And she said, 'The Philistines be upon thee, Samson.' And he awoke out of his sleep . . . And he wist not that the Lord was departed from him. But the Philistines took him and put out his eyes, and brought him down to Gaza, and bound him with fetters of brass; and he did grind in the prison house." We can trace the genesis of the picture through four drawings, the most important of which is in The Met's collection ( 2018.196). Drawings provided Guercino with a rapid-fire means of exploring various approaches to a subject, and it is in them that we can appreciate the justice of Ludovico Carracci's appraisal of the young man when he arrived in Bologna in 1617 (see above).

In an early study for the Samson in the Teylers Museum, Haarlem (see fig. 1 above), Guercino first considered dividing the composition bilaterally, with, in the left half, Samson, his head shaved, struggling to rise from Delilah's lap while she triumphantly raises her hands, waving a comb and a lock of hair. Her maidservant ties a rope around the fallen hero's arm while Philistine soldiers arrive on the right. Another compositional drawing, in the Uffizi, has been discussed by Nicholas Turner (1989; fig. 2). In The Met's drawing-in which the full arsenal of Guercino's drawing techniques are in play, from rapidly scrawled pen lines exploring the dynamic posing of the figures to more descriptive pen work delineating their features to brushed-on shadows of varying darkness that create the impression of light flickering across the surface-Samson, viewed from the back, his face hidden from view, becomes the focus of the composition. The scene is staged in a portico bordered by two columns and there is a contrast between the densely grouped figures descending on Samson from the left and a view onto the sky and landscape on the right. What is clear in this drawing is Guercino's desire to identify a climactic moment suggestive of an unfolding drama rather than a frozen action. A drawing of a seated figure, his lower torso draped, viewed from the back (Institut Néerlandais, Fondation Custodia, Frits Lugt Collection, Paris; fig. 3), may be a study leading to Guercino's rethinking of the scene. In any event, The Met's drawing seems to mark the last stages of a process of radical rethinking of the subject-a part of what Michael Fried (2016, p. 165) has described as Guercino's project "aiming to establish a new kind of communication and exchange, at once intimate and distanced, corporeally involving and structurally removed, between the world of the painting and that of the viewer." Importantly, he sees The Met's painting as the climax of this project and "arguably the most profoundly conceived in Guercino's entire oeuvre."

The major change from the drawing is the elimination of the columns, with a female figure shown fleeing the scene but unable to resist turning back to catch a fleeting glance at the unfolding capture and blinding, and a further clarification of the dynamic relationship between the vainly struggling Samson, his legs flailing, his head in the grips of a soldier, and the seductively attired Delilah tugging at a cloth, her gaze fixed on her defeated lover. The melee of soldiers has gained in density, with a bug-eyed man wielding the metal-tipped pole by which Samson will be blinded while another, in the background, makes way for the advancing soldiers as he brandishes the scissors in one hand and a comb in the other-a biting comment on the weapons that brought down the Hebrew hero.

The Patron: The history of the commission and provenance of The Met's painting has been reconstructed in detail by Denis Mahon, from whose 1981 article the information that follows has been taken. The patron was Cardinal Jacopo Serra (1570-1623), who belonged to a patrician Genoese family (his mother was Claudia Lomellini). Prior to being created cardinal by Pope Paul V in 1611, he was put in charge of the Papal treasury-a position he retained after becoming a cardinal. In 1615 he was appointed cardinal legate (or governor) of Ferrara, which since 1598 was part of the Papal States. Cento is not a great distance from Ferrara and Guercino came to the cardinal's notice and went to Ferrara to work for him. Previously, in Rome, Serra had promoted Peter Paul Rubens, offering the Oratorians 300 scudi for the pictorial decoration of the high altar of Santa Maria in Vallicella provided that the young Rubens be hired for the task. Our principal source of information on Guercino, Malvasia (1678), records that in 1619 the artist was summoned from Cento to Ferrara by Serra, and there "made many paintings, and they were: a Saint Sebastian, when his wounds are succored, with various figures; a Samson and Delilah, who cuts his hair; a Prodigal son received by his father." The Saint Sebastian is in the Pincacoteca Nazionale, Bologna; the Prodigal son in the Kunsthistorisches Museum, Vienna. On September 8, 1619, Serra made a visit to Cento, where he was presented with a painting by Guercino by the local authorities, who evidently knew how much the cardinal admired the artist's work. A letter informs us that Guercino had, indeed, been the cardinal's honored guest in Ferrara "for several months" to paint some pictures that greatly pleased the cardinal. Guercino then returned to Ferrara to paint for Serra and his nephew, Giovan Paolo Serra. Among these is a painting of Elijah Fed by Ravens, now in the National Gallery, London, and a Jacob Blessing the Sons of Joseph in the National Gallery of Ireland, Dublin. In token of his admiration, Serra knighted the painter, making him a cavalliero on December 8, 1620. It is interesting to note that at the same time he was employed by Serra, Guercino painted an Erminia with the Shepherd (Birmingham Museum and Art Gallery) for Ferdinando Gonzaga, whose father had employed Rubens in Mantua. Guercino had been delayed in fulfilling that commission because of his work for Serra.

A copy of the picture is in the Musée d'Angoulême (fig. 4).

The picture, which has an interesting history (see Provenance) is not as well preserved as the other pictures belonging to the Serra commissions. When it arrived at The Met in 1979, the surface was found to have been somewhat flattened in a relining. Thin in parts, the transitions in the shadows have lost in subtlety and richness, compromising the clarity of some of the forms (as, for example, in the legs of Samson or the sleeves of Delilah's blouse). The right hand of Delilah had to be reconstructed and, hence, lacks the articulated structure one would expect.

Keith Christiansen 2018

[1] Sybille Ebert-Schifferer. "'Ma c'hanno da fare i precetti dell'oratore con quelli della pittura?': Reflections on Guercino's Narrative Structure," in Denis Mahon, Guercino: Master Painter of the Baroque, exh. cat., National Gallery of Art, Washington, 1992, pp. 75-110.

Jacopo Serra, Cardinal Legate of Ferrara (commissioned 1619-d. 1623); Serra family, Ferrara, ?later Naples (1623-?ca. 1920); Mr. and Mrs. Alfred Bey (Maria Teresa Serra) Sursock, Palais Sursock, Beirut (acquired in Naples; from after 1920); their daughter, Yvonne Lady Cochrane, Palais Sursock (by 1969-79; sold through Leggatt Brothers, London, to Wrightsman); Mr. and Mrs. Charles Wrightsman, New York (1979-84)

Pinacoteca Nazionale di Bologna. "Nell'età di Correggio e dei Carracci: pittura in Emilia dei secoli XVI e XVII," September 10-November 10, 1986, no. 163.

Washington. National Gallery of Art. "The Age of Correggio and the Carracci: Emilian Painting of the Sixteenth and Seventeenth Centuries," December 19, 1986-February 16, 1987, no. 163.

New York. The Metropolitan Museum of Art. "The Age of Correggio and the Carracci: Emilian Painting of the Sixteenth and Seventeenth Centuries," March 26-May 24, 1987, no. 163.

New York. The Metropolitan Museum of Art. "The Philippe de Montebello Years: Curators Celebrate Three Decades of Acquisitions," October 24, 2008-February 1, 2009, online catalogue.

THIS WORK MAY NOT BE LENT, BY TERMS OF ITS ACQUISITION BY THE METROPOLITAN MUSEUM OF ART.

Carlo Cesare Malvasia. Felsina pittrice: vite de' pittori bolognesi. Bologna, 1678, vol. 2, p. 364, lists three works executed by Guercino in 1619 for Cardinal Serra: a wounded Saint Sebastian being succored by various figures, a Samson with Delilah who cuts his hair, and a prodigal son received by his father; records that Serra proved so enthusiastic about Guercino's modeling that he paid more than the agreed upon price for the pictures and conferred a knighthood on the artist.

Marcello Oretti. notes on paintings seen in Naples. ca. 1777-78 [Biblioteca Comunale di Bologna, ms. B. 165²; this passage published in Mahon 1968, p. 83] , lists in the "Casa del Conte della Cerra fuori della Porta allo Spirito Santo un quadro con Sansone in grembo a Dalida assalito dalli Filistei del Guercino figure al naturale" [At the home of Count della Cerra, outside the gate of Santo Spirito, a life-size painting by Guercino of Samson in the lap of Delilah, assailed by Philistines].

Roberto Longhi. "The Climax of Caravaggio's Influence on Guercino." Art in America 14 (June 1926), p. 140, identifies Guercino's "Raising of Lazarus" (Louvre, Paris) as the pendant to his "Samson Captured by the Philistines," known only from a copy in the Musée d'Angoulême .

Denis Mahon. Il Guercino (Giovanni Francesco Barbieri, 1591-1666): catalogo critico dei disegni. Exh. cat., Palazzo dell'Archiginnasio. Bologna, 1968, p. 65, connects Guercino's sketch for "Samson Captured by the Philistines" (Teylers Museum, Haarlem) with his painting of the same subject known from a copy in the Musée d'Angoulême; agrees with Longhi (1926) that Guercino's "Raising of Lazarus" may have been conceived as a pendant to his "Samson".

Denis Mahon. Il Guercino (Giovanni Francesco Barbieri, 1591-1666): catalogo critico dei dipinti. Exh. cat., Palazzo dell'Archiginnasio. Bologna, 1968, p. 83, cites Oretti as evidence that a picture of this subject was in Naples in about 1777-78.

Andrea Emiliani in Nuove acquisizioni per i musei dello stato, 1966-1971. Exh. cat., Palazzo dell'Archiginnasio. Bologna, 1971, p. 55.

A. Pigler. Barockthemen: Eine Auswahl von Verzeichnissen zur Ikonographie des 17. und 18. Jahrhunderts. 2nd ed. [first ed. 1956]. Budapest, 1974, vol. 1, p. 128.

Denis Mahon. "Guercino and Cardinal Serra: A Newly Discovered Masterpiece." Apollo 114 (September 1981), pp. 170-75, colorpl. VII, figs. 2, 3 (details), discusses the rediscovery of this painting and its early provenance; sees the diverse and seemingly unrelated subject matter of the works Guercino made for Serra as evidence that the artist was at liberty with the latter to propose subjects that would serve as pretexts for the experiments in painting that interested both men; adds that Guercino may have enjoyed a similar freedom with Serra in decisions regarding the size and format of pictures made for him.

Amalia Mezzetti and Emanuele Mattaliano. Indice ragionato delle "Vite de' pittori e scultori ferraresi" di Gerolamo Baruffaldi. Vol. 2, Ferrara, 1981, p. 161.

John Russell. "1981: A Year for Artists' Centenaries." New York Times (January 1, 1981), p. 7.

Arnauld Brejon de Lavergnée and Dominique Thiébaut. Catalogue sommaire illustré des peintures du musée du Louvre. Vol. 2, Italie, Espagne, Allemagne, Grande-Bretagne et divers. Paris, 1981, p. 187, call it the pendant to the Louvre "Raising of Lazarus".

Patrick Matthiesen in From Borso to Cesare d'Este: The School of Ferrara 1450-1628. Exh. cat., Matthiesen Fine Art Ltd. London, 1984, p. 111, under no. 65.

Keith Christiansen in The Metropolitan Museum of Art: Notable Acquisitions, 1984-1985. New York, 1985, pp. 21-22, ill. (color), grants that Guercino's "Raising of Lazarus" (Louvre, Paris) may conceivably be the pendant to the Wrightsman "Samson".

Denis Mahon in The Age of Correggio and the Carracci: Emilian Painting of the Sixteenth and Seventeenth Centuries. Exh. cat.Washington, 1986, pp. 468-69, no.163, ill. (color).

Luigi Salerno. I dipinti del Guercino. Rome, 1988, p. 136, no. 58, ill. (color).

Marina Cellini in La pittura in Italia: il Seicento. Ed. Mina Gregori and Erich Schleier. Milan, 1989, vol. 2, p. 772.

Nicholas Turner. "A drawing for Guercino's "Samson Taken by the Philistines"." Burlington Magazine 131 (January 1989), p. 29, ill., attributes to Guercino a drawing given to Ludovico Carracci in the Gabinetto dei Disegni (Uffizi, Florence) and identifies this drawing as a composition study for the Wrightsman picture; is uncertain whether the Uffizi drawing precedes or follows the study in the Teylers Museum, Haarlem, but observes that it would have made for a less expensive picture "since Guercino charged less for half lengths than for full lengths" .

Denis Mahon and Nicholas Turner. The Drawings of Guercino in the Collection of Her Majesty the Queen at Windsor Castle. Cambridge, 1989, p. 29, under no. 53.

David Marshall Stone. "Theory and Practice in Seicento Art: The Example of Guercino." PhD diss., Harvard University, 1989, pp. 329-38, fig. 107, identifies Delilah as the figure in the background at upper right.

David M. Stone. Guercino: catalogo completo dei dipinti. Florence, 1991, pp. 75-76, no. 54, ill. (color).

Carel van Tuyll van Serooskerken. Guercino (1591-1666): Drawings from Dutch Collections. Exh. cat.The Hague, 1991, p. 40, no. 4, compares the Teylers Museum drawing with the finished painting, calling the former relatively restrained and frieze-like, with a less unified narrative; believes that if Longhi's (1926) suggestion that the "Samson" and "Raising of Lazarus" were intended as pendants is correct, then the format of the MMA picture must have evolved first, "since the earliest known drawings for the "Lazarus" already show the squarish format adopted for both paintings"; credits Aiden Weston-Lewis with connecting a red chalk study in the Lugt Collection, Paris, previously attributed to Annibale Carracci, with the figure of Samson in the Wrightsman picture.

William M. Griswold. "Guercino." Metropolitan Museum of Art Bulletin 48 (Spring 1991), pp. 10, 13-17, 33, ill. (color), speculates that the composition study in the Teylers Museum at Haarlem may have belonged to Queen Christina of Sweden who visited Guercino in Bologna in 1655; suggests that the drawing in the Lugt Collection, Paris, may have been made as an exercise in life drawing and only later incorporated into the painting for Serra, as its red chalk medium was used by Guercino mainly for studies of individual figures and drapery.

Denis Mahon. Guercino: Master Painter of the Baroque. Exh. cat., National Gallery of Art. Washington, 1992, pp. 32, 180 [Italian ed., 1991].

Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 117, ill.

Eliot W. Rowlands. The Collections of the Nelson-Atkins Museum of Art: Italian Paintings, 1300-1800. Kansas City, Mo., 1996, p. 244.

Gabriele Finaldi in Discovering the Italian Baroque: The Denis Mahon Collection. Exh. cat., National Gallery. London, 1997, p. 100, under no. 43.

Everett Fahy in The Wrightsman Pictures. Ed. Everett Fahy. New York, 2005, pp. 27-31, no. 7, ill. (color).

Keith Christiansen. "Going for Baroque: Bringing 17th-Century Masters to the Met." Metropolitan Museum of Art Bulletin 62 (Winter 2005), pp. 37-39, fig. 33 (color), ill. on front cover (color detail).

Alejandro Vergara in Rembrandt, pintor de historias. Ed. Alejandro Vergara. Exh. cat., Museo Nacional del Prado. Madrid, 2008, p. 37, fig. 12 (color).

Silvia A. Centeno and Dorothy Mahon. "The Chemistry of Aging in Oil Paintings: Metal Soaps and Visual Changes." Metropolitan Museum of Art Bulletin 67 (Summer 2009), pp. 15-16, figs. 22-26 (color, overall, detail, and paint samples).

Keith Christiansen in Philippe de Montebello and The Metropolitan Museum of Art, 1977-2008. New York, 2009, pp. 36-37.

Everett Fahy in Philippe de Montebello and The Metropolitan Museum of Art, 1977-2008. New York, 2009, p. 32.

Laura Muti, and Daniele De Sarno Prignano, with the collaboration of Gabriello Milantoni. Guido Cagnacci: Hypóstasis. Faenza, 2009, fig. 10.

Keith Christiansen. "La création tardive d'une collection de peintures baroques au Metropolitan Museum of Art / Creating a Baroque Collection at the Metropolitan Late in the Game." Aux origines d'un goût: la peinture baroque aux États-Unis / Creating the Taste for Baroque Painting in America. Paris, 2015, pp. 66-67, 71-72, fig. 2 (color, gallery installation).

Michael Fried. After Caravaggio. New Haven, 2016, pp. 163, 167-73, 205 nn. 29, 31-32, p. 206 nn. 35-37, figs. 134-37 (color, overall and details), calls it "arguably the most profoundly conceived [painting] in Guercino's entire oeuvre"; discusses the significance of the central figure seen from the rear and of Delilah's action in pulling at the length of white cloth; suggests that the figure seen from the back in Velázquez's "Jacob Receiving the Coat of Joseph" (1630; Monasterio de San Lorenzo, El Escorial, Madrid) may have been inspired by this picture.

Kathryn Calley Galitz. The Metropolitan Museum of Art: Masterpiece Paintings. New York, 2016, pp. 280, 282, no. 211, ill. pp. 208, 282 (color).

Andrea Bayer. "Better Late than Never: Collecting Baroque Painting at The Metropolitan Museum of Art." Buying Baroque: Italian Seventeenth-Century Paintings Come to America. Ed. Edgar Peters Bowron. University Park, Pa., 2017, p. 137, fig. 56 (color).

Alain Roy in De Giotto à Goya: Peintures italiennes et espagnoles du musée des Beaux-Arts de Strasbourg. Strasbourg, 2017, p. 185, under no. 98.

This work may not be lent, by terms of its acquisition by The Metropolitan Museum of Art.

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Guercino (Giovanni Francesco Barbieri) | Samson Captured by the Philistines | The Met

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The Artist: One of the great figures of seventeenth-century painting, Giovanni Francesco Barbieri was born in the town of Cento, not far from Ferrara. His nickname, Guercino-literally, "the little crossed-eyed"-derives from an eye defect evident in portraits of the artist

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Aboard the ship to a land far beyond,
Crew busliting about the deck looking out into the vast emptiness
Staring from anything, something to give them a heading a way to their destination
A vast place fill with nothing but the crashing of the waves on the bow of the boat
Slicing through them with ease
It appears nothing can stop this mass from driving on

The sky's change to a angre grey ready to fight anyone trying to past
But the ship pushes on
The boat pushes and pushes till the framework of the giant mass starts to decay from the roaring sky’s efforts to stop you
Piece by piece you see the side of the ship fly into the opposing water
There is no stopping the force
And before you know it
Somehow the mass is gone and the crew with it
Without a trace
lost at sea

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The Museum has temporarily closed its three locations. Learn more.

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Albert Bierstadt's Sunrise on the Matterhorn

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Albert Bierstadt's Sunrise on the Matterhorn

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Walking through the woods,
You find this beautiful mountain,
Gazing in the sunrise,
You are in a deep trance,
Amazed by what you see,
Take a picture of it,
And will remember this
For the rest of your life,
Because it reminds you of home.

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In your sure hands,

Dread Persephone,

Seeds sleep,

Gestating in the

Deepest memory

Of darkest earth.

Treasure beyond treasure,

Keeper of life,

Who would seek you

Would find release

From death

Knowing the wild winds

Tearing through treetops

But leaving the magnolia untouched

The daffodils upright,

And the earth throbbing with life

Are your hands at work

Reaching for your mother,

Reaching, reaching,

Until you find her.

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Jack B. Yeats | The Unforgetting Background (1949) | MutualArt

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View The Unforgetting Background (1949) By ; Oil on board; 14 x 18; Signed; . Access more artwork lots and estimated & realized auction prices on MutualArt.

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"The whole continent, in short, seemed prepared to be the abode of a great nation, yet unborn."

—Alexis de Tocqueville

Throughout the history of man we have been curious

Curious of what is in space

How to make a wagon with no horse move

How to fly

How to win wars

The foundation to this curiosity is expansion

Without expansion there is no success

Our ancestors moved into uncharted territories to start new lives

Unknown who they will meet, what they will hunt, what they will do

They were curious