Daycare centers in baltimore md: Child Care Academy | Baltimore City Department of Housing & Community Development

A wide variety of options is available for low-income childcare. Many stay-at-home moms also run small day care businesses in which they discount their services. There is a way to make working and taking care of your children affordable.

American Baltimore soldiers of the National Guard and the police will pacify

The US National Guard units began to patrol the streets of Baltimore, guarded the city hall, near which there was an armored car, and a helicopter constantly chirped in the air. However, the guards are not allowed to use weapons, they must prevent looting and vandalism. Several streets are blocked by law enforcement officers in helmets, body armor and plastic shields. The authorities reported that about 2,000 policemen and guards are maintaining order, but if necessary, their number can be increased to 5,000. A little less journalists and TV cameras.

Spontaneous but peaceful protests gathered on the streets, in which several hundred people took part, shouting slogans against police brutality and racism. However, several people were detained. The city continues to operate a curfew from ten in the evening to five in the morning.

“We will not tolerate looting and vandalism. There will be no repeat of yesterday,” said Maryland Gov. Larry Hogan after touring the affected area of ​​the city. Mayor Stephanie Rowling-Blake, for her part, lashed out at the media for covering too much coverage of the pogroms while ignoring peaceful protests.

Recall that hundreds of African Americans took to the streets, demanding a fair investigation into the death of 25-year-old black Freddie Gray, who allegedly died due to a spinal injury inflicted on him by police officers during his arrest. Baltimore Police Chief Kevin Davis had to admit that his subordinates had made an unforgivable mistake by not providing timely assistance to Gray. Despite the requests, doctors were not called to him, first they took him to the police station, and only after discovering that he was already unconscious, they were hospitalized. At the same time, contrary to the rules, during transportation it was not fastened with seat belts. Davis promised a fair investigation, but many residents of Baltimore, where blacks make up two-thirds of the population, were not satisfied. It must be admitted that not without reason, since cases of bringing police officers to justice in such situations are very rare.

After Grey’s funeral, clashes with law enforcement erupted on Monday in the western part of the city. By nightfall, the riots had spread to other areas. The demonstrators threw stones and bottles at the police, set fire to and robbed the shops around. Law enforcement officers responded with stun grenades, detaining over 200 people.

According to the Baltimore Police Department, in a few hours, protesters burned 144 cars, including several police officers, set fire to 15 buildings, including one of the local pharmacies, looted a shopping center and several liquor stores. Injuries received 19law enforcement officers. The police department said that the city’s criminal gangs are threatening to kill law enforcement officers.

Not everyone liked this way of expressing protest. Particularly disappointed during the day were residents of the rioted areas, mostly blacks, many of whom took to the streets and helped firefighters clear them of debris and broken glass.

The city’s police chief noticed that there were several dozen teenagers of school age among the rioters, and urged parents to look after them. Widely popular in the local media on Tuesday was the footage of the ABC television channel, in which a woman, having seen her son throwing stones at policemen among the protesters, dragged him by the scruff of the crowd from the crowd, inflicted several cracks on him and sent him home. The riots were also condemned by relatives of the deceased African American. His cousin Frederica Gray told reporters that “violence is not the answer.”

The pogroms in Baltimore were the largest in recent months in the United States. Recall that since August last year, several waves of mass protests against police brutality and racism swept across the country. Their epicenter was first the city of Ferguson (Missouri), where a white patrolman shot and killed unarmed black Michael Brown during the arrest. Then, days of demonstrations swept New York, where a policeman was acquitted, who, during his arrest, strangled black Eric Garner.

If we talk about the pogroms in Baltimore, this time there are no particular complaints about the actions of the police, rather, many express dissatisfaction with the heated protesters. However, the very case of the death of Freddie Gray at the hands of the police once again drew attention to the obvious problems of cruelty and racism in law enforcement. Commentators also point out that the incident took place in a poor area of ​​the city, where many have neither education nor regular work, and therefore their protest was also social in nature.

US President Barack Obama acknowledged on Tuesday that recent killings of blacks by police officers have become “a slowly unfolding crisis” that his administration is set to address. But he found “no justification” for the violence in Baltimore, stating that “those who robbed stores should be considered criminals, not protesters.”

The riots in Baltimore will be a tough test for new US Attorney General Loretta Lynch, who was sworn in on Monday. Lynch became the first black woman in this position, and African Americans expect to see her as a defender of their rights and interests. Her department will conduct its own investigation. She said that the Justice Department intends to send a group of its own experts to Baltimore.

In the meantime, the Baltimore Symphony is hosting a free outdoor concert. On Wednesday, April 29, writes RIA Novosti with reference to the press service of the musical group. The musicians have approached residents with an offer to attend the concert to “collectively express our common desire to restore calm to the streets of Baltimore.”

Help WG

The incident with Freddie Gray occurred on April 12th. Four patrol officers stopped him on the street because of their suspicions, although the police did not specify which ones. As it turned out, at some point Gray received a spinal injury, from which he died a week later without regaining consciousness. According to the lawyer, in fact, he had a fracture of the spine, after which Gray fell into a coma, experienced clinical death, was brought back to life after surgery, but eventually died. Investigators have yet to establish when and how exactly Gray was injured. Six patrol officers involved in the incident were suspended from work.

National Guard units are on the streets of Baltimore for the first time since 1968, when a riot broke out in the city after the assassination of Martin Luther King.

Irvington, Baltimore

Irvington (Baltimore) is a neighborhood in Southwestern Baltimore County, located between the Yale Heights neighborhood to the west and the Gwynns Falls neighborhood to the east. Historically, it was nicknamed the “City of Skulls” because of its three large cemeteries: Loudon Park, Mount Olivet and New Cathedral. ^[2]

Over 50 percent of homes in Irvington were built before 1950. The population in 2008 was estimated at 4,548. ^[1]

Community boundary with Gwynns Falls area drawn by Caton Avenue and MARC Penn Line. Its border with Yale Heights follows Maiden Choice Run from Frederick Avenue (North) to Loudon Park Cemetery (South). The southwest corner of Irvington encompasses Loudon Park Cemetery and ends at Beechfield Avenue (west), where the Beechfield neighborhood and Wilkens Avenue (south) meet.

Irving entered Dickinson College in Carlisle, Pennsylvania in 1854 and graduated in 1857 (photo). In 1859 he was admitted to the Baltimore bar. In 1861 he joined the Confederate Service, Company F of the First Maryland Cavalry, where he met August Schwartz. Irving quickly approached the captain.

In 1869 he married Sophia Leipold Schwarze, sister of August. The couple had five children: Augusta, Sophia, Roberta, Henry and George Irving (twins).

Augustus owned most of the land in Irvington. In 1874, Irving bought from his son-in-law much of this land between Frederick Avenue and Old Frederick Road. Mr. Ditty laid out three muddy streets running north and south between two highways. He instructed the contractor A.S. Potter will build four houses on the far western avenue. He named this street Augusta after his eldest daughter. The other two streets today are Collins and Loudon. The Irvington area first appeared on a map in 1877.

The Ditty family lived at 4206 Euclid Avenue in Irvington. Irving maintained his law office in downtown Baltimore. He died on October 3, 1887 at the age of 49. Buried at Loudon Park Cemetery. After his death, Sophia moved from Irvington to West Lanvale Street in Bolton Hill. She lived to the age of 86 and died in 1932. She is buried in Greenmount Cemetery, on the property with her parents.]]

• Sources: ancestry. com, October 1950 article by The Baltimore Sun, Baltimore Census Records, Google Books.

Public Transport

MTA Route 10 passes through Irvington between Dundalk and Catonsville. The bus stops at Frederick Avenue and Yale Avenue. ^[3]

Quickbus route 46 stops at Frederick Avenue and Augustus Avenue in Irvington as it travels between the Paradise Avenue Loop and the Sedonia Loop. Open only on weekdays from 5 am to 6 pm. ^[4]

Schools

Mount St. Joseph College , located at 4403 Frederick Avenue in Irvington, is a Catholic high school for boys from 912 each. It was founded in 1876 by the Xavarian brothers on the former estate of Lasby. ^[5]

St. Joseph’s Priory School originally consisted of Whiteford Hall only. This addition was added in 1955 due to an increase in the set.

St. Joseph’s Monastery School , founded in 1889 by the Passionary Priests of St. Joseph’s Monastery, was established as a parochial school in the area known as Cedar Lawn. The School Sisters of Notre Dame took charge of teaching at the school, and on August 22, 1890, the first three sisters arrived. 40 students were enrolled for its opening. As enrollment grew rapidly, a separate school building was built in Irvington at 3601 Old Frederick Road. On February 22, 1893, Cardinal Gibbons opened St. Joseph’s Convent School. In 1923 a new convent was built to house the growing community of sisters. Enrollment continued to grow, and on October 3, 1954, ground was laid for a new addition to the school, with 12 grades that offered enrollment from first through eighth grades. September 18 1955 years, the two-story brick building of the school was consecrated by the archbishop of Keogh. The school was consistently enrolled until more and more families moved to the suburbs. ^[6]

St. Bernardine , formerly St. Joseph’s Convent School, opened in 1997 at 3601 Old Frederick Road, offering kindergarten enrollment through grade 8. It closed on June 4, 2010. The school was one of 13 in the archdiocese chosen to close at the end of the 2009/2010 academic year. ^{[7] [8]}

Schools Nearby

Two public schools are located in adjacent neighborhoods.

• Beachfield Elementary School, at 301 South Beachfield Avenue in Yale Heights, caters for nursery children through 6th grade.
• Sarah M. Roach Elementary School, 3434 Old Frederick Road in the St. Joseph area, serves preschool through grade 5.

Significant Landmarks

The ornate gate at Loudon Park Cemetery in the Irvington area of ​​Catonsville, which was built in the 1850s and later demolished due to structures that existed in the 1998 year. The photo shows the Baltimore, Catonsville and Ellicotts Mills Railroad with signs to Carrollton, Irvington. and heaven is on his side. By 1883 the line had come under the control of the United Passenger Railway.

Irvington Theater

Ever since the Irvington Theater opened at 4113 Frederick Avenue in January 1925, the marquee sign has been a prominent landmark in the community. After a renovation in 1967, it was renamed the Irvington Cinema and began showing classic and foreign films. ^[9]

The cinema marquee became a somewhat less welcome presence in the predominantly Catholic neighborhood when adult films were shown in the cinema in 1969. It closed in May 1971 in response to local protests. In September 1971, the building was converted into a church. The tent sign is no longer attached to the building. ^[9]

St. Joseph’s Monastery

St. Joseph’s Monastery Church, located at 3801 Old Frederick Road

The Monastery of the Passion of St. Joseph and the Parish of the Monastery of St. Joseph, located at 3801 Old Frederick Road, built of blue granite blocks, are some of the city’s most beautiful historic structures. The Passionist Order was invited to Baltimore in 1865 by the archbishop. Martin John Spaulding. In 1868, the Passionists built a small stave church on a piece of land along Frederick Avenue, opposite Loudon Park Cemetery. This building became known as the “Passion Church”, marking the beginning of the parish of the monastery of St. Joseph. ^[10]

Construction of a new, larger church began in 1881 and was completed in 1883. Its cornerstone was laid by a cardinal. James Gibbons. The original monastery next to the church burned down in 1883. The construction of the new monastery was completed in 1886. ^[10] The monastery chapel has been preserved and contains a Niemann monument from 1887. organ.

The parishioners of St. Joseph’s Monastery outgrew their church building in the next century. At 1931, Archbishop Michael Joseph Curley laid the cornerstone for the current parish church building. It was completed on October 2, 1932. ^[10]

In April 2014, Father Thomas McCann, administrator of St. Joseph’s Church, announced that Passionist priests “will no longer be shepherds” of St. Joseph’s Monastery Church after 149 years of residence. The order’s departure date was set for June 30, 2014. The Rev. Robert Jorger, a provincial of passions, reflected on the advanced age of many of his religious order, as well as the declining numbers of that order in his decision to leave Baltimore for other places. The Archdiocese of Baltimore assumed responsibility for the St. Joseph facilities on June 30, 2014. 9 Kelly, Jacques (April 11, 2014). “Passionist Fathers Leave Irvington Parish”. Baltimore Sun. Retrieved April 11, 2014.

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Baltimore Museum of Art, Maryland, USA – HiSoUR Cultural History

The Baltimore Museum of Art (BMA), Baltimore, Maryland, Maryland USA, is an art museum founded in 1914. Today, the BMA holds over 95,000 works of art, including the largest state holding. works of Henri Matisse. Collection highlights include a selection of American and European painting, sculpture, and decorative arts; works of contemporary artists; significant works of art from China; Antioch mosaics and a collection of art from Africa. The BMA galleries feature examples from one of the nation’s collections of prints, drawings, photographs and textiles from around the world. The museum also has a 2.7-acre landscaped garden. The museum includes a building with an area of ​​210,000 sq. feet that was built in 1929 in the architectural style of “Roman Temple” designed by the famous American architect John Russell Pope. The museum is located between Charles Village, to the east; Remington, to the south; Hampden, to the west; and south of the Roland Park areas immediately adjacent to Johns Hopkins University’s Homewood campus, although the museum is an independent institution not affiliated with the university.

The highlight of the museum is the cone collection amassed by the Baltimore sisters Dr. Claribel (1864–1929) and Etta Cohn (1870–1949). Avid collectors, the sisters have amassed a wealth of works by artists such as Matisse, Picasso, Cezanne, Manet, Degas, Giambattista Pittoni, Gauguin, Van Gogh and Renoir, almost all of which have been donated to the museum. The museum is also the permanent home of the George A. Lucas collection of 18,000 mid-19th-century French art, which has been designated a cultural “treasure” by the museum and “ranks among the largest collections of French art in the world.” country.”

history
In February 1904, a major fire destroyed much of Baltimore’s central business district. In response, the municipal government established a citywide convention to develop a master plan for the regeneration of the city and its future growth and development. Congress led by Dr. A.R.L. The Duma decided that the main drawback of the city was the lack of an art museum. This decision led to the creation of an 18-member art museum committee, chaired by art dealer and industrialist Henry H. Wiegand. Ten years later, the museum was officially incorporated on 16 November 1914 years old. Along with Minneapolis and Cleveland, the Baltimore Museum was “modelled after two prominent 1870s predecessors, the Metropolitan Museum of Art in New York and the Museum of Fine Arts in Boston. ” According to a brochure published at the time of registration, Baltimore was said to lag behind other cities “in matters of aesthetic interest.”

Still homeless, the fledgling museum was founded with a single painting, Sergeant Kendall’s Hurt, donated by Dr. Dome himself. Because the museum’s founders were confident that more art would eventually be acquired, the nearby Peabody Institute agreed to keep the collection for a while until a permanent home could be established. The committee began planning a permanent home for the museum’s collections.

In 1916, a building was purchased on the southwest corner of North Charles and West Biddle as a possible site for a museum. Although an architect was hired to remodel it, it was never taken up. By 1915, the group decided to locate the museum on a permanent basis in the Wyman Park area, west of what was then Peabody Heights (later Charles Village). By 1917, the group received a promise from Johns Hopkins University to provide land south of the new Federal-style Georgian Revival campus to which they were moving. This alleged plot was near the old 1800 Homewood Mansion and the later Italianate “Villa Wyman” mansion of Hopkins’ donor and confidant, William Wyman, who saw them leave downtown at North Howard Street and West Center, which they have occupied since 1876.

However, before permanently moving to its permanent home in 1929, the museum was temporarily relocated in July 1922 to the former home of their chief benefactor and founder Mary Elizabeth Garrett (1857–1915) at 101st Monument Street, South western corner. with Cathedral Street (overlooking West Mount Vernon Place and the Washington Monument). Garrett, a noted philanthropist in her own right who also helped found the Johns Hopkins School of Medicine, was the only daughter of John Work Garrett (1820–1884), the Civil War-era president of Baltimore and Ohio, a supporter of President Abraham Lincoln, and heir to Robert’s famous banking firm. Garrett in the city. At 19In 23, the museum opened its inaugural exhibition, which was visited by 6,775 people in the first week. The house was proposed by Miss M. Carey as a home for the “collections” and a meeting place for the board of trustees. The old Garrett mansion was purchased in 1925 by a group of art enthusiasts who bought the property with the goal of keeping the museum safe and sound. Despite the limited space, the museum offered space for artistic associations and a meeting room.

Meanwhile in Wyman Park, renowned architect John Russell Pope (1874–1937) was involved in the design of the museum’s permanent home. During his years of study in Europe, Pope is considered the prime exponent of the classical revival style so popular with traditional American architects. He is credited with a number of major buildings along the East Coast of the United States and abroad, including the National Archives building in Washington, the American Museum of Natural History in New York, and the Tate Gallery Statuary Hall in London. Its distinctive classicism, both calm and monolithic, was perhaps the perfect choice for such an ambitious project.

The cornerstone was laid on October 20, 1927, in front of the future Museum of Art Drive diagonally from North Charles Street. The systems engineering for the original design of the building was completed by Henry Adams, a renowned local mechanical engineer. The building is three stories high and includes several rooms that were remodeled and/or replicated from six local historic Maryland homes prior to their loss or destruction.

The construction phase was marked by controversy over its location, cost and workmanship, but 19April 1929, it opened on schedule with little fanfare. The first visitors were greeted by Rodin’s “Thinker” in the Sculpture Court, and most of the exhibits were provided by collectors from Baltimore and Maryland. During the first two months, the museum was visited by an average of 584 visitors every day.

By the 1930s, public reception was such that director Roland McKinney, in a letter to chairman Henry Trade, noted: “People seem to feel that the Museum belongs to them and show that they are genuinely proud of it and its activities. ” Unfortunately, these people were mostly indigenous, privileged and white, as noted in a Carnegie Corporation report 1937 years old. “[Baltimore’s] cultural institutions (outside of the library and schools) appealed to, targeted, and received support from a fairly small minority … they need to be opened up to the perspective of the entire community and its needs,” he concluded. Local artists also felt slighted. “We, the living, the discontented, left to work in a vacuum of indifference and neglect, while so much of the dead past is exhausted [BMA],” complained the president of the Baltimore Union of Artists in Evening Sun at 1937 year. The author of the letter was Morris Louis, whose work decades later will be in the modern collection of the BMA. Treide responded with an extensive public survey and in 1939 presented the city’s first exhibition of African American art. The show attracted over 12,000 attendees in two weeks.

Many of the objects given to the museum at its opening were eventually donated to it. Donors who have shaped the Museum’s collection include Blanche Adler, Dr. Claribel Cohn and Etta Cohn, Jacob Epstein, Edward J. Gallagher, Jr., John W. and Robert Garrett, Mary Freak Jacobs, Raida H. and Robert H. Levy, Saydie Adler May, Dorothy McIlwain Scott, Elsie C. Woodward, Alan and Janet Würzburger. The growing collection is reflected in three major additions: the Saidie A. May wing at 1950, the Woodward wing in 1956 and the Cone wing in 1957. All of these additions were designed by local architects Wrenn, Lewis and Jencks to be consistent with Pope’s original building.

Today, the BMA’s collection includes more than 95,000 items, making it the largest art museum in Maryland. It is governed by a private board of trustees and receives funding from the City of Baltimore; Baltimore Counties, Carroll and Howard Counties; state of Maryland; various corporations and funds; federal agencies; individual trustees; and many private citizens. The BMA welcomes over 200,000 visitors annually. In addition to its art collection, it organizes and organizes traveling exhibitions and, through its programs, serves as a major arts center for the region.

Recent Achievements

Refurbishment
BMA recently completed a $28 million renovation (2012-2015) that improved galleries for contemporary, American, African and Asian art collections; the necessary infrastructure has been improved and additional amenities for visitors have been created.

The first phase of the BMA renovation was completed in November 2012 with the opening of the Modern Wing. In November 2014, after being closed for nearly 30 years, the neoclassical historic Merrick Entrance was reopened to the public to celebrate the museum’s 100th anniversary. The next phase included Dorothy McIlwain Scott’s American Wing, consisting of the first and second floors of the original BMA 19 building29, designed by renowned American architect John Russell Pope; the 1982 east wing east vestibule and Zamoyski east entrance designed by Bauer, Lewis and Trower; and critical upgrades to the museum’s infrastructure. The architect for this phase of the renovation was the Baltimore-based architecture firm Ziger/Snead, which was completed by the Whiting-Turner Contracting Company of Towson, Maryland. The project leader was Synthesis, Inc., Columbia, Maryland. The BMA has also significantly expanded the galleries for its African and Asian art collections, which opened in April 2015. The redevelopment culminated in the opening of a new $4.5 million, 5,000 sq. Foot and the Mark Joseph Education Center in October 2015.

The renovation was funded by the museum’s philanthropic campaign, In a New Light: A Campaign for the Baltimore Museum of Art, which raised $80.7 million and added more than 4,000 pieces of art to the collection during the decade leading up to the BMA’s 100th anniversary.

Collections

African Art
The BMA was one of the first museums in the US to receive a collection of African art. Most of the collection was donated by Janet and Alan Würzburger at 1954 year. It contains over 2,000 items ranging from ancient Egypt to modern Zimbabwe and includes works from many other cultures including Bamanu, Yoruba, Cuba, Ndebele. The collection includes many different types of art, including headdresses, masks, figures, royal staffs, textiles, jewelry, ceremonial weapons, and pottery. Some of the pieces are known for their use in royal courts, performances, and religious contexts, and many are known throughout the world.

The highlight of the collection are the works of wood carvers Zlan and Sonzanlwon, as well as the figures of the legendary wind maker Ldamie. Also on display are the Lozi throne (c. 1900), most likely carved in the court of King Lewanika in western Zambia, a 20th-century Hausa Horas prayer tablet, and a 2006 video work by Theo Eshetu. At least a few masks and figurative sculptures are internationally recognized as the best of their kind.

American Art
BMA has one of the finest collections of American art in the world, with works spanning from the colonial era to the late 20th century. The exposition contains paintings, sculptures and arts and crafts. The museum has several works of art from the Baltimore area, including portraits of Charles Wilson Peel, Rembrandt Peel, and other members of the Peel family; silver from renowned Baltimore silver company Samuel Kirk & Son; Baltimore Quilts Album; and painted furniture by John Finley and Hugh Finley of Baltimore.

The museum’s collection of American paintings ranges from 18th-century portraits and 19th-century landscapes to American Impressionism and Modernism with works by artists John Singleton Copley, Thomas Sully, Thomas Eakins, John Singer Sargent, Childe Hassam, and Thomas Hart Benton. Notable canvases include The Wild Scene (1831–1832) by Thomas Cole, La Vachère (1888) by Theodore Robinson, and The Pink Tulip (1926) by Georgia O’Keeffe. These are complemented by collections of prints and drawings, as well as contemporary photographs from the Gallagher/Nahsheimer collection. Artists represented include Imogen Cunningham, Man Ray, Paul Strand and Alfred Stieglitz.

BIA has a long history of collecting African-American artists. It began in 1939 with one of the first exhibitions of African American art in the country. This collection has grown significantly in recent years with the addition of over 50 historical and contemporary pieces. Joshua Johnson, Jacob Lawrence, Edmonia Lewis, Horace Pippin, and Henry Ossawa Tanner are included among African-American artists of the 19th and 20th centuries.

The BMA American Arts and Crafts includes an extensive collection of furniture featuring major historic joinery centers in Baltimore, Philadelphia, New York and Boston. Many of these items came from Dorothy McIlwain Scott, a generous Baltimore philanthropist and collector.

A gift made by Mrs. Miles White Jr. in 1933 of over 200 Maryland silver coins became the core of a silver collection that now includes pieces from leading 18th and early 19th century artisans in Annapolis and Baltimore, and also examples are early English silver owned by Maryland families during the federal era. Among them are the Annapolis signature tablet, made by Annapolis silversmith John Inch, and the oldest surviving silver item made in Maryland. More recent masterpieces by artists from Louis Comfort Tiffany to Georg Jensen can also be seen.

Other notable aspects of the decorative arts collection include a rare set of five clerestory windows and two mosaic architectural columns that represent Tiffany’s contribution to 20th century decoration. Historic halls from six historic Maryland homes, along with architectural elements from other historic buildings, illustrate 18th and 19th century urban and suburban styles, while a dozen miniature halls by Chicago miniaturist Eugene Kupjak invite you to explore various decorative styles in close distance.

Antioch Mosaics
BMA presents a collection of Antioch mosaics, the result of its involvement in the excavations of this ancient city, today known as Antakya, in southeastern Turkey, close to the Syrian border.

With the support of BMA trustee Robert Garrett, the Baltimore Museum of Art joined the National Museums of France, the Worcester Art Museum and Princeton University in excavations from 1932-1939, unearthing 300 mosaic pavements in and around the lost city. The BMA received some of the mosaics from the excavations, a total of 34 pavements, 28 of which are on display in the museum’s sunlit atrium courtyard.

Discovered in the wealthy suburb of Daphne and the nearby port city of Seleucia Pieria, the mosaic dates from the reign of Emperor Hadrian in the 2nd century AD and the Christian empire of Justinian in the 6th century, bridging the classical world and the early middle. Ages. The mosaics illustrate how classical art from Greece and Rome evolved into art from the early Christian era and tell how people lived in this ancient city before it was destroyed by catastrophic earthquakes in 526 and 528 AD. The mosaics are distinguished by their grand scale and elaborate borders, as well as the splendor of their decorative and naturalistic effects.

Ancient American Art
This collection contains works from 59 different art traditions from the Aztec and Maya of Mesoamerica, the Chimu and Muisca of Andean South America, Nicoya and the Atlantic Divide of Costa Rica. The collection includes works from 2500 B.C. before 1521 AD The main collection of 120 items was donated to the museum by Alan Wurzburger in 1958, which greatly expanded the scope of the existing collection and gave impetus to a traveling exhibition of Peruvian ceramics entitled “Myths of Ancient Peru (1969).

The collection is particularly admired by ceramics in Western Mexico, including an important model of the Nayarit house and the throne chief. Also on display is a unique collection of 23 figures in dance regalia that celebrates the ancient performance and highlights the diversity of Colima art.

Other notable pieces include a beautifully detailed Olmec serpentine figure, elegant Mayan and Aztec images showing the integral role women played in the social, political, economic and spiritual life of society, and miniature golden rites in the Muisca tradition.

Pacific Island Art
This exhibition includes art from several Pacific Island cultural traditions, including Melanesia and Polynesia. Works in the collection include jewellery, jewelery and tapam.

Of noteworthy interest is a finely carved dark wood and shell lizard from Easter Island; a battle breastplate crafted from hundreds of Nass shells that highlights Middy’s art in New Britain; and an 18th-century royal Hawaiian necklace.

Other highlights of the collection include a pectoral ornament adorned with small birds and stars, which were considered a symbol of the prestige of the Tonga of the Fijian Islands. With an ivory and pearl design, it is recognized as one of the largest of its kind.

Asian Art
The museum’s Asian art collection includes works from China, Japan, India, Tibet, Southeast Asia and the Middle East. The collection is especially noted for its Chinese pottery, with particular depth in funerary wares from the Tang Dynasty (618–907) and utilitarian pottery from the 11th to 13th centuries. Although this collection contains more than 1,000 objects, due to limited space, only a portion of the exhibits are on display at any one time. The works can be seen in rotating installations at the Julius Levy Museum Gallery.

Some notable works in the collection include a life-sized, early 15th-century bronze Guanyin, commonly known as the “Goddess of Mercy”; a robust figure of a horse from a Han Dynasty tomb; the 39-member retinue of the mortuary, a rare example of the number of clay figures that were placed in tombs during the early Tang Dynasty; and a prominent leaf-shaped washer that represents the craftsmanship of Chinese blue and white porcelain. Asian art is also represented in other areas of the museum’s collection, including 475 Japanese prints and 1,000 textiles from across Asia.

European Art
The European Art Collection at the BMA contains works from the 15th to the 19th centuries. Much of the collection came from donations from Baltimore’s private citizens, including Mary Freak Jacobs, George Lucas, and Jacob Epstein. The collection contains a large selection of 19th-century French art, including over 140 bronze animal sculptures by Antoine-Louis Bari and several paintings by Barbizon artists such as Jean-Baptiste-Camille Corot and the Impressionist Camille Pissarro.

The collection includes a wide range of arts and crafts, including snuff boxes, porcelain and silverware. The museum also has a large collection of works on paper from the 15th to the 19th century.

European art exhibition highlights include Sir Anthony van Dyck’s Rinaldo and Armida (1629), which was commissioned by King Charles I of England. It is considered one of the artist’s finest paintings. Other pieces of Northern European and French art include Frans Hals’ Dorothea Burke (1644), Rembrandt van Rijn’s painting of his son Titus (1660), Jean-Baptiste-Siméon Chardin’s image of a beautiful maiden throwing a ball in “Knuckles Game” “(c. 1734), and the exotic princess Anna Alexandrovna Golitsyna of the French court portrait painter Louise Elisabeth Vigée Le Brun (c. 1797). Medieval and Renaissance works include a 14th-century Burgundian Virgin and Child carved in limestone and Titian’s Portrait of a Gentleman (1561). There are also late medieval and renaissance paintings by Giovanni Dal Ponte, Biagio D’Antonio, Sandro Botticelli i Workshop, Bernardino Luini, Francesco Ubertini and the Master of Sight Saint Gudul.

In 2012 Paysage Bords de Seine, Renoir, stolen from the museum, reappeared after being lost for 63 years. The painting then became the subject of a dramatic legal dispute involving the FBI, a woman who said she had found the painting, the insurance company’s rights to the art, and the intentions of Sadie Mae, an art collector who bought the painting in Paris at 1925 year. and loaned it to the Baltimore Museum. In 2014, a judge recognized it as the property of the museum after reviewing relevant documentation from its archives. During the theft of Fireman’s Fund Insurance Co. paid the museum about $2,500 for the loss. The company decided whether to make a claim on the painting when it surfaced, but decided it “belonged” to the museum.

Cone Collection
The Cone Collection was the work of the Conet sisters, Claribel and Etta Cohn, who at the beginning of the 20th century intended to acquire as many works as possible from artists such as Matisse and Picasso, as well as Cezanne, Gauguin, Van. Gogh and Renoir are among other major artists of the era.

Contemporary Art
The BMA Modern Wing was built and opened in 1994, closed in January 2011 for renovations and reopened in November 2012 with new wall and floor finishes; a gallery dedicated to light, sound and moving images; a separate gallery for prints, drawings and photographs; and BMA Go Mobile, a mobile website guide.