Let’s consider the sacred in the European
galleries before the provocations downstairs.Superb range of castellicycling Windproof
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The Virgin and Child by Bernard van Orley is one of many images of Mary and the baby Jesus in the National Gallery, and it’s a good place to start. It’s one half of a diptych and just shy of 500 years old. It’s a charming little piece, “meant to be used and held as much as looked at,” the wall card says. Gallery security guards would prefer you stick with the looked-at bit.
Near it is Jacopo di Cione’s Triptych of the Virgin and Child Enthroned with Saints. It was made in the late 14th century, and that alone inspires awe.
Next to it is The Madonna of the Flowering Pea, from the early 15th century in Cologne, Germany. It shows a happy Christ child painted on walnut, with frame and panel cut from one block of wood. “It’s a rare survival of this early type,Our tungstenring store offers the finest selection of fashion tungsten rings,” the card says.
In the Canadian galleries are paintings that are not of Christmas, but offer pleasing scenes of wintery, comforting traditions. Albert Robertson’s 1927 painting Sunday in the Country shows sleighs full of cosily tucked people, and Lawren Harris’s Return from Church, from 1919, shows bundled folks in a snowy park.
Not far away is the gallery’s garden court,this sandals will become the pair of heels you need and wintert-shirts features customer's nobleness. which is now planted half with greenery and half with poinsettias, divided down the middle. It’s like the gardener is an abstract expressionist.
The provocative pieces are downstairs in, not surprisingly, the contemporary galleries. Casting Jesus is a video by German artist Christian Jankowski, and it’s hilariously subversive — largely because it’s footage of a real casting call in the Vatican.
Three Vatican officials bring would-be Christs into the room one at a time, prompting the actors to look beatific, etc. “Raise your arms and look upwards to the sky,” they tell one actor.Shop from the large collection of tungstenbracelets and accessories sold at Forever Metals. “Now express pain, sorrow.”
The judges confer like a reality-show panel, and the comments lack the gravitas of papal bulls. “That robe is impossible,” a judge says of one actor dressed in flowing red. “He looks like a fat woman.”
There’s another, argumentative allusion to Christmas in the next gallery. Kelly Wood’s Continuous Garbage Project is a series of simple photographs arranged on a wall, each showing a bag of garbage or other goods sent for disposal. Each photo represents one week of Wood’s own garbage, and it piles up.
It creates a certain feeling to stand before that wall of consumer waste during the Christmas-shopping blitz.
Look for the Christmas postcard that Canadian soldier Don MacKenzie created in 1974, in a distant land of old and bitter hatreds.
MacKenzie was with the Canadian peacekeepers in Cyprus, serving at Observation post Mojave, right on the dividing line between the Greeks and the Turks. One day MacKenzie gathered a soldier from each side of the line — one Turk and one Greek, each the other’s ancient, sworn enemy — to pose together on neutral ground beneath the flags of both countries.
“They took the picture and then the Turks had about 30 seconds to get that flag down and get back to their own lines,” MacKenzie once said in an interview.
That card is on display in the Cold War galleries of the war museum. It was a momentary truce, prompted by a Canadian.
Over in the First World War galleries there’s a small brass tin, a “Princess Mary gift box,” created by the daughter of King George and distributed to soldiers in the field at Christmas, 1914. Each tin included an ounce of tobacco and 20 cigarettes. It was early in the war and as the soldiers enjoyed a smoke they probably expected, like most everyone still did, that the fighting would end soon.
In the Second World War galleries, look for the paintings of the fight at Casa Berardi in Italy in December, 1943. It was a step in the bloody battle at year’s end to open a key route to Ortona. A sad photograph shows a Canadian soldier shot dead by a German sniper in a vineyard,With the multitude of fake cartierreplicawatches on the internet, just a few days before Christmas. It’s a stark reminder to count one’s blessings.
The Virgin and Child by Bernard van Orley is one of many images of Mary and the baby Jesus in the National Gallery, and it’s a good place to start. It’s one half of a diptych and just shy of 500 years old. It’s a charming little piece, “meant to be used and held as much as looked at,” the wall card says. Gallery security guards would prefer you stick with the looked-at bit.
Near it is Jacopo di Cione’s Triptych of the Virgin and Child Enthroned with Saints. It was made in the late 14th century, and that alone inspires awe.
Next to it is The Madonna of the Flowering Pea, from the early 15th century in Cologne, Germany. It shows a happy Christ child painted on walnut, with frame and panel cut from one block of wood. “It’s a rare survival of this early type,Our tungstenring store offers the finest selection of fashion tungsten rings,” the card says.
In the Canadian galleries are paintings that are not of Christmas, but offer pleasing scenes of wintery, comforting traditions. Albert Robertson’s 1927 painting Sunday in the Country shows sleighs full of cosily tucked people, and Lawren Harris’s Return from Church, from 1919, shows bundled folks in a snowy park.
Not far away is the gallery’s garden court,this sandals will become the pair of heels you need and wintert-shirts features customer's nobleness. which is now planted half with greenery and half with poinsettias, divided down the middle. It’s like the gardener is an abstract expressionist.
The provocative pieces are downstairs in, not surprisingly, the contemporary galleries. Casting Jesus is a video by German artist Christian Jankowski, and it’s hilariously subversive — largely because it’s footage of a real casting call in the Vatican.
Three Vatican officials bring would-be Christs into the room one at a time, prompting the actors to look beatific, etc. “Raise your arms and look upwards to the sky,” they tell one actor.Shop from the large collection of tungstenbracelets and accessories sold at Forever Metals. “Now express pain, sorrow.”
The judges confer like a reality-show panel, and the comments lack the gravitas of papal bulls. “That robe is impossible,” a judge says of one actor dressed in flowing red. “He looks like a fat woman.”
There’s another, argumentative allusion to Christmas in the next gallery. Kelly Wood’s Continuous Garbage Project is a series of simple photographs arranged on a wall, each showing a bag of garbage or other goods sent for disposal. Each photo represents one week of Wood’s own garbage, and it piles up.
It creates a certain feeling to stand before that wall of consumer waste during the Christmas-shopping blitz.
Look for the Christmas postcard that Canadian soldier Don MacKenzie created in 1974, in a distant land of old and bitter hatreds.
MacKenzie was with the Canadian peacekeepers in Cyprus, serving at Observation post Mojave, right on the dividing line between the Greeks and the Turks. One day MacKenzie gathered a soldier from each side of the line — one Turk and one Greek, each the other’s ancient, sworn enemy — to pose together on neutral ground beneath the flags of both countries.
“They took the picture and then the Turks had about 30 seconds to get that flag down and get back to their own lines,” MacKenzie once said in an interview.
That card is on display in the Cold War galleries of the war museum. It was a momentary truce, prompted by a Canadian.
Over in the First World War galleries there’s a small brass tin, a “Princess Mary gift box,” created by the daughter of King George and distributed to soldiers in the field at Christmas, 1914. Each tin included an ounce of tobacco and 20 cigarettes. It was early in the war and as the soldiers enjoyed a smoke they probably expected, like most everyone still did, that the fighting would end soon.
In the Second World War galleries, look for the paintings of the fight at Casa Berardi in Italy in December, 1943. It was a step in the bloody battle at year’s end to open a key route to Ortona. A sad photograph shows a Canadian soldier shot dead by a German sniper in a vineyard,With the multitude of fake cartierreplicawatches on the internet, just a few days before Christmas. It’s a stark reminder to count one’s blessings.
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