5. |
Chapter I Scene 3
Looking up the Yosemite Valley, by Albert Bierstadt 1830- 1902 One of the great landscape painters of the 19th century. When Ronald Reagan took office in 1981, he filled the White House with art of the American West. One of the first pieces selected was the painting by Albert Bierstadt from the Haggin Museum, which hung in the Roosevelt Room. |
6. |
Chapter I Scene 3
Tempestuous Depths, by Curt Walters 1951 Walters first laid eyes on the Grand Canyon at the age of 19. Today he is heralded as the environmental “ambassador” of the Grand Canyon, devoting much of his time to reversing the tide of pollution. Walters, “the greatest living artist painting this natural wonder today” according to Art of the West Magazine, captures the fierce beauty and mystical aura of the Grand Canyon, Arizona’s National Treasure. |
7. |
Chapter I Scene 3
Portrait of a Young Woman, by Amadeo Modigliani 1884-1920. This Italian born genius is famous for his elegant, elongated nudes and extraordinary portraits, characterized by deliberately distorted features and the free use of large, flat areas of color. This winsome portrait of a young woman exemplifies Modigliani’s creative use of line, represented in the long neck and oval head set against a simple background
Mona Lisa, by Leonardo Da Vinci 1479- 1528, also known as La Gioconda, the wife of Francesco del Giocondo;
This figure of a woman, dressed in the Florentine fashion of her day and seated in a visionary, mountainous landscape, is a remarkable instance of Leonardo’s sfumato technique of soft, heavily shaded modeling. The Mona Lisa enigmatic expression, which seems both alluring and aloof, has given the portrait universal fame.
Reams have been written about this small masterpiece by Leonardo, and the gentle woman who is its subject has been adapted in turn as an aesthetic, philosophical and advertising symbol, entering eventually into the irreverent parodies of the Dada and Surrealist artists. The history of the panel has been much discussed, although it remains in part uncertain.
According to Vasari, the subject is a young Florentine woman, Monna (or Mona) Lisa, who in 1495 married the well-known figure, Francesco del Giocondo, and thus came to
be known as “La Gioconda”. The work should probably be dated during Leonardo’s second Florentine period, that is between 1503-06 |