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Intended as a “permanent legacy to the commitment of the Europeans who courageously left their native land to create a new home in America”. Associated with The Church of Jesus Christ of Latter-day Saints. More here:
Other copies are located in Hull & Liverpool.
—Toledo Bronzeworks (active 2001) and Mark DeGraffenried (active from 1993)
Bacon then managed to force Berkeley, on the evening of September 18, 1676, to abandon the town for the Eastern Shore. The rebels entered Jamestown the next morning, but decided they could neither hold the capital nor allow the governor to retake it. Bacon's men ran from building to building with burning brands, torching numerous homes as well as the statehouse complex, warehouses, taverns, and even the church. [28] Berkeley and the loyalist refugees, anchored just downstream, watched the glow of the flames. [29]
François Boucher - French, 1703 - 1770
Allegory of Painting, 1765
West Building, Main Floor — Gallery 54
A young woman draws on an oval surface with white chalk while three winged, baby-like putti gather nearby, all on a bank of pale pink clouds in this horizontal painting. The woman and putti have pale, rosy skin, flushed cheeks, and hazel-brown eyes. To our left, the woman reclines with her upper body propped up on her far elbow, which rests on a steel-blue cushion as her legs stretch out to our right. Her light brown hair is braided and wrapped across the top of her head. She wears a loose, seafoam-green robe over a billowing ivory-white garment that has slipped off the shoulder closer to us. A round paint palette with brushes sticking out of its thumb hole and a roll of blue and white paper sit in the lower left corner, behind the woman. The woman and the objects are on a red cloth. In front of the woman is a rounded surface, perhaps a canvas, on which she draws. She holds up a gold-colored stylus with her right hand, closer to us, with a pointed piece of white chalk in one end and black chalk in the other. The canvas is taller than her head, so the child-like putto she draws on it is life-sized. The three nude putti on the far side of the canvas have copper or golden-blond, curly hair, flushed, rounded cheeks, short wings in white or peacock blue, pudgy torsos, and dimpled limbs. One putto, presumably the one the woman draws, sits back on the bank of clouds with a carnation-pink sash across his chest. He pulls his chin back and looks at her from under his eyebrows. He holds a gold-colored torch with a pink flame in one hand, and the other hand rests near a cylindrical quiver of arrows. Another putto peeks around the side of the canvas, and the third stands and props the canvas up. That third putto holds up a wreath of laurel leaves up over the canvas, above the woman’s drawing hand. The bank of clouds is parchment-brown with muted pink and blue highlights against a vivid blue sky. The artist signed and dated the lower right, “F Boucher – 1765.”
Although they bear different dates, François Boucher’s Allegory of Painting and Allegory of Music [FIG. 1] have been associated with each other since they came to light in the late nineteenth century.[1] Virtually identical in size, their compositions are well balanced and their subjects complementary. In each picture the arts of Painting and Music are personified as beautiful if rather undifferentiated young women,[2] seated against the sky on what appear to be billowing cloud formations. One turns her back to the viewer, while her companion reclines with her figure facing the picture plane. Their hair is pinned up to reveal the contours of their necks, and their bodies are wrapped in flowing drapes — one could hardly call it clothing — that fall away to reveal a bare shoulder, a leg, or a breast. The women are surrounded by attributes appropriate to their arts and are doted on by winged putti, who engage in playful activities. In Painting, one putto, reclining while holding a blazing torch, serves as a model for the maiden, who sketches his form on an oval canvas. A companion next to him looks on, while a third supports the canvas and holds aloft a laurel wreath. Their counterparts in Music serve similar functions, one holding a wreath and offering the woman a flûte à bec, the other pulling at the strings of a lyre.
The paintings exhibit the free and open brushwork that Boucher favored in his later years. In both works the artist apparently applied the paint relatively quickly, using a wet-into-wet technique. Numerous pentimenti indicate the freedom with which the artist painted the compositions directly on the canvas, probably with only minimal underdrawing. Indeed, the artist in Allegory of Painting, who quickly sketches her subject on the canvas with chalk, suggests the method employed by Boucher himself.[3] In the case of Music, at least, Boucher was adapting a composition he had invented as many as ten years before in an even more freely painted canvas [FIG. 2].[4] In this simpler conception, a single putto gazes rapturously at the woman, who delicately pulls the lyre from his fingers. When he painted the National Gallery of Art’s picture ten years later, Boucher added the second putto with the wreath, adjusted the position of the lyre and the figures’ poses and gestures, and shifted the placement of the music book and doves. A small pen and ink drawing, long associated with the National Gallery’s Music, must have been made as part of that process [FIG. 3].[5] Certain elements of the 1754 painting remain — the poses of the central figures, the music book and recorder — but Boucher added two more putti (mirroring the three in the Allegory of Painting), including one holding aloft a laurel wreath; and he adjusted the legs of the woman, anticipating how they would appear in the later painting. When he translated the design to his new canvas, however, he replaced the putto at lower right with a pair of doves and depicted the woman in a more reclining position, so that her posture mirrors that of her counterpart in Painting.
No corresponding compositional sketch for Painting has come to light, although a spirited black chalk drawing of a young boy’s head is evidently a study for the child-model at the right of the picture.[6] Yet, as is often the case with such finished drawings by Boucher, it is likely that this drawing was made after the painting as a work of art in its own right, rather than as a preliminary sketch.[7] There are numerous such drawings of putti in Boucher’s oeuvre, many related in type, if not in specific pose or gesture, to those in Painting and Music.[8] These drawings often served as models for prints, which were produced in large quantities by such engravers as Gilles Demarteau (1722 – 1776).[9]
The low viewpoints of the two paintings and the broad handling of the brushwork suggest that they were intended as overdoors, to be placed high in a decorative scheme where close examination would not have been possible. Both compositions are structured around a series of curvilinear forms, creating dynamic, oval compositions that must have been echoed in their original framing. Pairs of holes, now filled, in the corners of both paintings were probably produced when elaborate paneled surrounds were nailed over the canvases once they were in place.[10] In the pen and ink study (see fig. 3) for Music, Boucher employed an oval format, although it is unlikely that the painting itself was oval. Technical evidence suggests that the canvases have not been trimmed appreciably,[11] and key elements in the lower corners of the compositions — a palette with brushes in Painting, a plumed helmet and sword in Music, not to mention the artist’s prominent signature at the lower right of each work — are evidence that the framing did not cover much of the canvas surface. The upper corners may have been rounded, so that the expanses of unresolved sky would have seemed less empty than they do now. Noting the passages of pale rose and red tones, Paul Mantz, who first published Painting and Music in 1873, believed that the pictures may have hung in a salon decorated in white and gold, although this hypothesis is conjectural.[12]
The provenance of the Washington pendants, based on tradition rather than documentary evidence, derives from Mantz and is equally suspect: he believed they had been painted for the elector of Bavaria, Maximilian III Joseph (1745 – 1777).[13] They were supposedly returned to France in the early nineteenth century by General de Saint-Maurice, who, according to André Michel, kept them for some sixty years before selling them to Charles Maillet du Boullay.[14] As Alastair Laing has pointed out, however, Saint-Maurice never served in Bavaria and died in 1796.[15] Nor do any references to the paintings appear in the state archives of Bavaria; thus the early provenance of the paintings must be called into question.[16]
Allegories of the arts feature prominently in the oeuvre of Boucher and his circle. In conceiving the two paintings, he followed a standard formulation that he had employed on several occasions. Boucher leaves open the question of who Music represents: Is she a general personification of “music,” or someone more specific, such as one of the nine muses, the mythological attendants of Apollo? If so, she is likely Euterpe, the muse of music, or perhaps Clio, the muse of history, a figure Boucher represented before in similar fashion.[17] Identifying the figures precisely is difficult, however, given Boucher’s carefree use of attributes.[18] Noting the doves and the roses in Music, Albert Pomme de Mirimonde felt that Boucher had intended to represent Venus, thus explaining the presence of the helmet and sword at the left, the attributes of her lover, Mars.[19] Mirimonde further suggested a neo-Platonic reading of the subject: Boucher shows us a celestial Venus who reaches for the lyre with its seven strings (symbolic of the seven celestial bodies) while rejecting the flûte à bec (“emblème érotique”), which represents her carnal nature.[20]
The figure personifying Painting is even more generic. We cannot even be certain that Boucher intended to represent the art of painting rather than drawing, since the woman is shown sketching the model in white chalk.[21] Yet she sketches on canvas, and her palette and brushes are close at hand. Though Boucher was a fluent and facile painter, he was an even more brilliant and prolific draftsman. Better than any artist of his generation, he no doubt recognized the relationship between the two arts. Colin Eisler, suggesting that the figure represents Pictura, the personification of painting, proposed that Boucher was emphasizing the more general concept of Design, in which the artistic concept was more important than its actual execution.[22] Why he juxtaposed a personification of painting with one of music is less perplexing if we consider the possibility that the pair probably was part of a set of four or five pictures, the others most likely representing Sculpture, Architecture, and Poetry.[23] Eisler reasonably proposed that such a set may have been installed in a music room or library; no paintings by Boucher have surfaced, however, that might serve as viable candidates for the rest of the suite.[24]
The winged putti that gather around the female personifications are best described as “génies,” or geniuses, which symbolize “the expanse of the spirit, the power of the imagination, and the activity of the soul.”[25] These little geniuses, usually winged but sometimes not, flutter about throughout Boucher’s oeuvre, in paintings and in numerous drawings and the prints made after them.[26] The Goncourt brothers noted their ubiquity: “They appear everywhere in [Boucher’s] work. . . . They amuse themselves at the feet of the Muses by playing with the attributes of the Arts and Sciences. . . . They are always a charming spectacle, with their little fat hands, their rotund stomachs and navels like dimples, their cupid’s bottoms, their chubby calves. . . . And what games, the sport of elves and infant gods, they play amid the allegorical scenes.”[27] Boucher’s most ambitious and elaborate use of the type was in his large canvas, painted in 1761 as a cartoon for the Gobelins tapestry works, on the subject of Les Génies des arts [FIG. 4].[28] Here all the arts, including music and painting as well as sculpture, architecture, and drawing, are gathered before a classical facade, the whole a hive of activity. As in the two National Gallery allegories, one genius at the top holds aloft laurel wreaths to honor the arts.
Painting and Music were created during a period late in Boucher’s life when he was at the height of his influence, if not at the peak of his powers. In 1765 he was appointed First Painter to the King, and elected director of the Académie royale de peinture et de sculpture. During this time his talents as a decorator were in great demand, and his prodigious output sometimes resulted in a facility of brushwork and repetition of motifs. In Painting and Music, the fluid and open technique eschews details and complex working of the surface for a more rapid alla prima effect. This result may be a function of the pictures’ destination as overdoor panels or, perhaps, the artist’s failing eyesight,[29] although Eisler suggested that in the case of Painting at least, the intervention of Boucher’s studio may have been a factor.[30] It is worth remembering, however, that by the 1760s Boucher’s technique in general had attained a bravura confidence that had become somewhat mannered.[31]
This text was previously published in Philip Conisbee et al., French Paintings of the Fifteenth through the Eighteenth Century, The Collections of the National Gallery of Art Systematic Catalogue (Washington, DC, 2009), 25–32.
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
..
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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Soldiers assigned to the 3d U.S. Infantry Regiment (The Old Guard), trained the SPDHG on memorial affairs, Apr. 8-12. The police officers, who traveled nearly 3,000 miles, learned the details of flag folding, casket carrying and the duties of a firing party during the five-days of instruction on Joint Base Myer-Henderson Hall, Va.
The FPP Plastic Filmtastic 120 Debonair Camera
utahfilmphotography.wordpress.com/2014/11/12/the-fpp-plas...
The Kansas City Saxophone Workshop gives high school students (Grades 9-12) the opportunity to study with renowned saxophone performers and instructors. Ran by Conservatory faculty member Zach Shemon with special guest Michael Shults, workshop sessions were designed to help students discover and realize their full artistic potential while building technique, studying solo classical literature, and learning the fundamentals of jazz style and improvisation.
Panorama of London and the Thames from the 10th floor of 80 Strand, looking across the roof of the Savoy Hotel towards the City and St Paul's Cathedral
HOLY LAND, Tuesday 16 July – Friday 19 July, 8pm, £12, The Empty Space (formerly Footlights House), 8 Kansas Avenue, Media City, Salford, M50 2GL.
"You wanna film me Timmy? You wanna film me now? You ever do anything again, And I will follow you to the end of the world. Like a ghost. Like your dead ancestors. The world is on fire." Jon has just lost his daughter. Tim can't leave his office. Jon has bought a gun. Tim still can't leave his office. Not yet. Kate is just trying to get through the day. One drop of sweat. One little squeeze. One drop of blood. One little bullet. Three stories of online escapism and revolt interweave in this new show from Elegy. Fusing multimedia, vivid new writing and spoken word; Holy Land is an excavation of the dark side of the internet and human nature. Who is really accountable for what happens- How little control do we have- And how much of it can we take? The writer was shortlisted for The Royal Court Introductory Writers Group 2018.
Tickets manchesterfringe.eventotron.com/?genre=All&title=holy...
In Wichita, April 10-12. The 2014 event was themed inspire, create, innovate. Nearly 350 credit union staff, volunteers, speakers and exhibitors attended.
HOLY LAND, Tuesday 16 July – Friday 19 July, 8pm, £12, The Empty Space (formerly Footlights House), 8 Kansas Avenue, Media City, Salford, M50 2GL.
"You wanna film me Timmy? You wanna film me now? You ever do anything again, And I will follow you to the end of the world. Like a ghost. Like your dead ancestors. The world is on fire." Jon has just lost his daughter. Tim can't leave his office. Jon has bought a gun. Tim still can't leave his office. Not yet. Kate is just trying to get through the day. One drop of sweat. One little squeeze. One drop of blood. One little bullet. Three stories of online escapism and revolt interweave in this new show from Elegy. Fusing multimedia, vivid new writing and spoken word; Holy Land is an excavation of the dark side of the internet and human nature. Who is really accountable for what happens- How little control do we have- And how much of it can we take? The writer was shortlisted for The Royal Court Introductory Writers Group 2018.
Tickets manchesterfringe.eventotron.com/?genre=All&title=holy...
Soldiers assigned to the 3d U.S. Infantry Regiment (The Old Guard), trained the SPDHG on memorial affairs, Apr. 8-12. The police officers, who traveled nearly 3,000 miles, learned the details of flag folding, casket carrying and the duties of a firing party during the five-days of instruction on Joint Base Myer-Henderson Hall, Va.
2022 Armed Forces Men’s Soccer Championship hosted by MacDill Air Force Base in Tampa, Florida from March 6-12. The best players from the Army, Marine Corps, Navy and Air Force (with Space Force players) compete for gold. (Photo by Ms. Arianna Dinote, Department of Defense Photo - Released)
Backyard Hawkwatch_MD_Yard_11_09_12a
These shots were taken between 1230 and 1600 EST from my backyard 11 09 12. The shots are mainly for study. Some are of migrant raptors, the crow and Red-shouldered Hawks are resident birds;
7-6-12 The Trafford Center Manchester Star of The Only Way is Essex Sam Faiers WHSmith Books at Selfridgesmeets fans at book signing
ATLANTA, GA - April 18, 2012
The Devil's Carnival/The Plaze Theatre
Attendees (Sinners, Carnies, Ringmasters) dressed up in Cosplay Costumes for the Costume Contest
© Danielle Boise/Target Audience Magazine
In ancient times, only giants lived on the island of Bolmsö. Once the giants build a bridge from the Northern part of the island to the mainland. Traces of the bridges can be seen to this day. They are called Stenudden, The Cap of Stones. When the curch on Bolmsö was built a giant was enraged and flung a huge rock at the church.
Listen to the story: www.sagobygden.se/en/legendary-places/the-giants-rock-and...
Coordinates
The Giant´s Rock:
N 57°00.643’ / E 013°43.845’
N 57° 00' 38,6", E 013° 43' 50,7"
N 57.01072 / E 013.73075
Stenudden:
N 57°01.052’ / E 013°47.449’
N 57°01’03.1’’ / E 013°47’26.9’’
N 57.01753° / E 013.79082°
Lockheed M-21 Blackbird
The Blackbird family of aircraft cruise at speeds of more than Mach 3 and fly over 85,000 feet (25,500 m) in altitude. Conceived nearly 50 years ago, Blackbirds remain the fastest and highest flying air-breathing production aircraft ever built.
This M-21 is a unique variant of the A-12, the earliest Blackbird type. Built for a CIA program code-named "Tagboard," the M-21 carried unpiloted vehicles for intelligence gathering. These drones were intended for launch from the M-21 "mother ship" for flights over hostile territories. Design features of the M-21 include the second seat for the Launch Control Officer and the launch pylon on which the drone is mounted.
The Museum's M-21 was built in 1963, and is the sole surviving example of its type.
Help us preserve this historic artifact for future generations. Click here to find out about the Museum's Adopt-A-Plane program.
This aircraft is on loan from the National Museum of the United States Air Force.
LONDON - MARCH 12:The Human Rights Watch International Film Festival benefit gala at Dartmouth House on March 12th, 2008 in London. (Photo by Nick Harvey/Human Rights Watch)
Ancient fishponds like this are unique to Hawaii.
From www.hawaiifoodandwinefestival.com:
Excursion and Lunch with Chef Kealoha Domingo
Back by popular demand! Kamehameha Schools exemplary tour of a native Hawaiian ahupua'a, an ancient land division that runs from the mountains to the sea, was so well received at last year’s Festival that guides and Hawaiian cultural practitioners Rick Barboza and Kapaliku Schirman of Hui Kū Maoli Ola and Hi'ilei Kawelo of Paepae o He'eia have graciously agreed to join us again. This year, as you journey to 800-year-old Hawaiian agricultural sites in the Ko'olau mountains and the shoreline of Kane'ohe Bay, opportunities for hands-on learning abound. Cultural practitioners will guide you in the art of dry taro pounding, and techniques for preparing poke, awa and steamed moi. The excursion ends with a delicious taste of He'eia's rich bounty prepared by chef Kealoha Domingo.
Transportation provided. Pick-up and drop-off at 555 South Street, Honolulu
The Christmas pageant is taking place on my blog-
theonesixthscaledollhouse.blogspot.com/2012/12/the-best-c...
Stained Glass Panel by Patrick Reyntiens
Size (inches):
Price:
Status:
Copyright: The Reyntiens Family Trust
Construction is under way on the new Yokota High School, a $40.5 million project in support of Airmen, Civilians and families at Yokota Air base, Japan. Officials from #USACE Japan District, the Department of Defense Education Activity, the installation, and the Contractor celebrated the beginning of construction during a groundbreaking ceremony May 19.
At 93,120 square-feet, the new facility will accommodate 325 students in grades nine through 12. The project, which is being constructed by the Corps in four phases is scheduled for initial completion in April 2017. #DODEA #BuildingStrong (USACE Photos by Satoshi Oka)