Das Gravitationsfeld des Mare Serenitatis (unten) sowie die Topographie (oben), das Mascon ist im Zentrum deutlich zu erkennen (NASA) In der Frühzeit der Mondforschung hielt man die dunklen Flächen tatsächlich für Meere und wurden deshalb nach Giovanni Riccioli als Maria bezeichnet. Silver and blue screenprinted image. Jim Dean would continue to build the NASM collection as the museum's first curator of art. More important, the episode convinced the administrator that "…we should consider in a deliberate way just what NASA should do in the field of fine arts to commemorate the …historic events" of the American space program. Mare Serenitatis, are covered with recent mantling.

NASA artists produced stunning works of art that documented the agency's step-by-step progress on the way to the moon.

Before the end of the year, the space agency had transferred its art collection to the NASM.

(1) James E. Webb, the administrator of NASA, assumed that the artist was interested in painting a similar portrait of all seven of the Mercury astronauts. (1) Stevenson's portrait is now in the collection of the National Air and Space Museum (1981-627)(2) James E. Webb to Hiden Cox, March 16, 1962, memorandum in the NASA art historical collection, Aeronautics Division, National air and Space Museum. Mike Collins succeeded in luring Jim Dean to the museum, as well.The museum already maintained a small art collection, including portraits of aerospace heroes, an assortment of 18th and 19th century prints illustrating the early history of the balloon, an eclectic assortment of works portraying aspects of the history of aviation and a few recent prizes, including several Norman Rockwell paintings of NASA activity. Before the end of the year, the space agency had transferred its art collection to the NASM. You have successfully signed up for our newsletter. "(7)In January 1974 a new building for the National Air and Space Museum (NASM) was taking shape right across the street from NASA headquarters.

Both maria were visited by previous lunar landers. Alfred Blaustein was the only artist to turn down the invitation.The procedures that would remain in place for more than a decade were given a trial run in the spring of 1963.

About Mare--Serenitatis. He also introduced Thompson to Hereward Lester Cooke, curator of paintings at the National Gallery of Art.An imposing bear of a man standing over six feet tall, Lester Cooke was a graduate of Yale and Oxford, with a Princeton PhD. It is either on loan or in storage.The spring of 1962 was a busy time for the men and women of the National Aeronautics and Space Administration. Rilles, Mare Serenitatis, 1972 (from Lunar Transformations Series).Transferred from the National Aeronautics and Space Administration2-D - Unframed (H x W) (Print): 56 × 71.4cm (1 ft. 10 1/16 in. Silver and blue screenprinted image. On February 20, John H. Glenn became the first American to orbit the earth. Artists should be expected "…not only to record the physical appearance of the strange new world which space technology is creating, but to edit, select and probe for the inner meaning and emotional impact of events which may change the destiny of our race." By the end of 1970, Jim Dean and Lester Cooke had dispatched 38 artists to Mercury, Gemini and Apollo launches and to other NASA facilities.The art program became everything that Jim Webb had hoped it would be. That event would provide the ideal occasion for a test run of the plan Cooke and Dean evolved to launch the art program. Mare Serenitatis. "(7)In January 1974 a new building for the National Air and Space Museum (NASM) was taking shape right across the street from NASA headquarters.

On a professional level, Cooke had directed American participation in international art competitions and produced articles and illustrations for the National Geographic Magazine. Apollo 15 and 17 landing site map LPC-1Serenitatis.jpg 1,327 × 840; 792 KB.


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