Completion photos on Flickr

Governor Cuomo Announces Completion of Superstorm Sandy Restoration Work at Hugh L. Carey & Queens Midtown Tunnels Nine Months Ahead of Schedule by governorandrewcuomo

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July 20, 2018--Queens--Governor Andrew M. Cuomo, joined by Queens Borough President Melinda Katz and MTA Chairman Joe Lhota, praised the fast completion of safety modifications to the Queens-Midtown Tunnel and Hugh L. Carey Tunnel that will fortify them in the event of storm surges, such as the 2012 surge brought on by Superstorm Sandy. The two East River Crossings also feature improved lighting and cashless tolls that have improved the safety and flow of traffic. (Kevin Coughlin/Office of Governor Andrew M. Cuomo)

NYCT_6632 by Metropolitan Transportation Authority

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The completion of the work to rehabilitate seven stations along the West End D Line in Brooklyn was marked on August 2, 2012, with a ribbon-cutting ceremony at the Bay Parkway Station attended by MTA leaders and local elected officials. This seven station, $88 million stimulus project funded by the American Recovery and Reinvestment Act (ARRA) of 2009 brought station elements at the elevated stations and segments of the elevated structure south of 62nd Street into a state of good repair. Work included the transformation of the Bay Parkway Station into an ADA key station providing full vertical accessibility for the disabled through the installation of three elevators.

Photo: Metropolitan Transportation Authority / Patrick Cashin.

I-485 Completion by NCDOTcommunications

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This picture shows where I-485 currently ends near N.C. 115 in northeast Charlotte. Contractor Blythe Construction is working to build the final 5.7 mile segment of the Outer Loop between N.C. 115 and I-85.

Completion of Valle de Oro National Wildlife Refuge, August 8, 2014 by U.S. Senator Martin Heinrich

U.S. Senators Martin Heinrich and Tom Udall and Representative Michelle Lujan Grisham stand with Interior Secretary Sally Jewell to announce that a diverse group of federal, state, and local partners and conservation groups have acquired the lands needed to complete the 570-acre Valle de Oro National Wildlife Refuge, the Southwest’s first urban National Wildlife Refuge.

MTA Announces On-Time Completion of Sandy Resiliency Work in F Line’s East River Tunnel by Metropolitan Transportation Authority

The MTA announced the on-time completion of the F Line's East River Tunnel. The tunnel is the last of the MTA’s 11 under-river tunnels that were damaged by Superstorm Sandy’s corrosive floodwaters to be repaired and made more resilient against future storms.

Photo: Trent Reeves / MTA Construction & Development

Completion by Niku Angier

Near completion... by Leigh West

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Governor Cuomo Announces Completion of First-In-The-Nation 50-Mile Drone Corridor by governorandrewcuomo

November 12, 2019 - Syracuse, NY - Governor Andrew M. Cuomo today announced the completion of the state supported 50-mile unmanned traffic management drone corridor, which runs from Central New York to the Mohawk Valley. The first-in-the-nation corridor is the most advanced drone testing corridor in the nation. With the needed infrastructure now in place, companies will be able to test both unmanned aerial systems platforms and UTM technologies in real world settings, generating data that will inform the industry and regulators and taking us one step closer towards the routine commercial use of drones. The completion of the corridor advances the regions' collective strategy to accelerate and support emerging uses of UAS in key industries, including agriculture and forest management, transportation and logistics, media and film development, utilities and infrastructure and public safety. At the Syracuse International Airport, the Governor today also announced that the home of the innovative GENIUS NY UAS competition, the Tech Garden in Downtown Syracuse, will undergo a major expansion project to include the addition of two floors to the existing facility. The increased visibility and street-scape will serve as the anchor of the Syracuse's City Center Innovation Hub, a core component of the Syracuse Surge strategy, and will serve as the gateway to the "Innovation Alley" on Warren Street in Syracuse. Empire State Development is assisting the expansion project with up to $12.5 million made available through the regionally designed CNY Rising Upstate Revitalization Initiative plan. (Mike Groll/Office of Governor Andrew M. Cuomo)

DSC_8516 Shoreditch London Old Street and City Road Silicon Roundabout. We're transforming Old Street to create a better environment for those walking and cycling Completion Autumn 2022. THIS IS THE MOST ILL CONCEIVED PROJECT. by photographer695

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Shoreditch London Old Street and City Road Silicon Roundabout. We're transforming Old Street to create a better environment for those walking and cycling Completion Autumn 2022. THIS IS THE MOST ILL CONCEIVED PROJECT. This disgusting prolonged project will have taken THREE years to complete. City Road and Old Street form the inner ring road for traffic in London. 1) Three years of miserable traffic congestion. 2) Total inconsideration for pedestrians, particularly senior people and the infirm. Who have been made to walk a considerable distance to get from East to/from West to cross the road. 3) One of the tube station entrances has been completely closed. This was also an underpass to cross the road. 4) During the morning rush hour the tube station in exit only, because of the congestion created. Local people now have to travel to Moorgate to catch the tube. 5) Total priority is given to Cyclists over pedestrians and traffic. 6) Cyclists actually use the backstreet which have been virtually closed off to traffic. Consequently, few cyclists actually use these new cycle lanes. 7) An absolute waste of taxpayers money. The Mayor and TFL are trying their best to Sabotage London.

mural nearing completion by jeff covey

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Ellicott Square Building, Main Street and Division Street, Buffalo, NY by Warren LeMay

Built in 1896, this Renaissance Revival-style building was designed by Daniel H. Burnham and Charles Atwood. The building was the world’s largest office building by floor area at the time of its completion, with 447,000 square feet (41,527.7 square meters) of interior floor space, and stands 10 stories tall, taking up the entire block bounded by Main Street, Division Street, Washington Street, and Swan Street. It was also built with the intention to add ten more floors to the top of the building if needed, which was never carried out, which would have nearly doubled the floor area. The building remained the largest office building in the world by floor area until 1908, when the old, now-demolished Hudson Terminal Complex opened at the site of the present World Trade Center in New York City. After opening, the building was home to the Edisonia Hall and the Vitascope Theater in the basement, which was is believed to have been the first purpose-built movie theater in the world. The basement also was the location of the first hospitality establishment run by Ellsworth Milton Statler, a restaurant that operated from 1896 until 1940, starting as a high-end restaurant before quickly being reoriented towards a more profitable quick lunch model. The site of the building also was the southern third of the estate of Joseph Ellicott, whom platted the village of New Amsterdam in 1797, which became the city of Buffalo, whose heirs still owned part of the block when land acquisition for the present building began in the mid-1890s. The building was among the largest commissions of Charles Atwood and Daniel Burnham’s careers, though Atwood died in 1895, prior to the building’s completion.

The building has a square footprint with a central light court that extends from the roof down to a hipped glass skylight over the central atrium on the first two floors. The exterior is clad in pearl gray brick with matching pearl gray terra cotta accents and trim, and has a facade stylized after an Italian Renaissance Palazzo, but on a much larger scale, with the facade being almost entirely intact and restored except for the large bracketed cornice at the top of the building, which was removed due to deterioration in 1971 and never replaced, with incongruous standing seam metal cladding in its place today. The exterior facades are tripartite, and are identical on the north and south sides, as well as the east and west sides, with the east and west facades having entrance doors with arched transoms featuring roman lattice motif and large decorative surrounds topped with decorative pediments with engaged doric columns, pilasters, and cornices with triglyphs, rosettes, and dentils, and sculptures of angels flanking the arched transom above, two arched windows on the second floor flanking the entrance, and decorative lampposts and hanging globe fixtures lighting the entryway at night. Elsewhere, the base features pilasters with doric capitals, and corners with quoins, with the first two floors being largely faced with two-story curtain walls featuring Chicago-style windows and Renaissance-style windows, narrow spandrels, and pilasters topped with brackets. On the third floor, the building has a band of windows with decorative trim and keystones, which are only interrupted by the ionic pilasters above the two main entryways to the building on the east and west facades. The fourth, fifth, sixth, and seventh floors feature recessed paired window bays topped with arched windows on the seventh floor, only interrupted on the fourth and fifth floors by the top of the decorative entrance surrounds on the east and west facades, which feature corinthian pilasters, broken pediments with statues in the middle, and urns atop the lower level of the entry surround. A band of horizontal trim runs around the base of the eighth floor windows, which feature narrower recessed bays only one window wide, with recessed spandrels between them and the arched ninth floor windows, which feature a band of decorative trim that runs along the top of each arch, interrupted by corbeled keystones. The tenth floor windows are flanked by two bands of horizontal trim, with the upper band featuring dentils and egg and dart motif, which was the base of the original cornice, with decorative trim between each window and cartouches flanked by statues at the corners. The top of the parapet features decorative trim with seashell motifs, heads, and acroteria angularium at each corner of the building. Most of the exterior windows are one-over-one replacements of the original double-hung one-over-one windows.

The interior of the building features large lobbies at the east and west entrances which connect directly to a large central two-story atrium, with a glass skylight as the roof with metal trusses underneath, a balcony running around the perimeter featuring a decorative cast iron railing, two grand staircases to the upper level, and ringed with windows and doors, and decorative chandeliers. The most notable feature of the ground floor is the large mosaic that runs from the east and west entrances and throughout the atrium, which was added in 1930-31 and designed by William Winthrop Kent and James Johnson, which helped to unify the three major interior common spaces within the building. Each lobby is clad in marble with staircases featuring decorative cast iron railings, with pilasters, triglyphs, and elevators with decorative brass doors and trim surrounds. The interior has been somewhat modernized for the needs of business tenants, but the common areas have had their historic character largely preserved.

The building today is owned and operated by the Ellicott Development Company, which rents the interior out to various commercial office and retail tenants. The central atrium is sometimes used for public events, such as weddings and social functions, and was featured in the 1984 film The Natural. The building, despite its impressive stature, and historical and architectural significance, is not listed on the National Register, but is a contributing structure in the local Joseph Ellicott Historic District.

DESLITING NEARING COMPLETION by Suva City Council

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" completion" 2/365 by Marybeth

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even in the ever changing flow of life there are moments when we come to a point of completion..In these moments we are able to perceive the whole picture, the composite of all the small pieces that have occupied our attention for so long. In the finishing, we can either be in despair because we don't want the situation to come to an end, or we can be grateful and accepting of the fact that life is full of endings and new beginnings...

this was a osho zen tarot card that i pulled today for inspiration...and this is the image that i was inspired to create.. (perhaps a bit over-edited)

double inspiration-

"and all my instincts, they return

and the grand facade, so soon will burn

without a noise, without my pride

I reach out from the inside"

Cab nearing completion by CountySuper4

County 1184 Tractor restoration.

SOUTHGATE: I-75 reconstruction (1991) by Downriver History & Facts

Work proceed toward completion of the massive I-75 reconstruction project, which stretched from Dix Toledo north to Goddard Road. The execution of long-term maintenance and repair plans has allowed this stretch of roadway to run without incident as of 2020. (Kevin Harrison collection)

Close to completion. by Marc F

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South Side 'L' Track Improvements by Chicago Transit Authority

Workers are beginning to near completion after around 1500 feet of track was renewed this weekend.

Large portions of track on the Ashland (former Englewood) Branch of the Green Line have seen improvements in advance of 24/7 Red Line service rerouted to Ashland/63rd via these tracks during the coming Red Line South Reconstruction Project.

The improvements will help ensure more reliable service during the reroutes.

15.12.2018 26th plenary meeting of the CMA (upon completion of COP plenary) by COP24 Official

15.12.2018 26th plenary meeting of the CMA (upon completion of COP plenary)

Under construction ...Centre Point. by Stephen Dowle

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Col. Richard Siefert's controversial Centre Point building nearing completion in 1964, seen from Oxford Street.

I seem to remember that planning permission for the building was granted as part of a scheme to construct a new roundabout which would have resulted in the destruction of the area around St Giles Circus. Eventually the roundabout was shelved and a one-way system was substituted. Once it had been completed, Centre Point's owner, the tycoon Harry Hyams, allowed it to stand empty for many years, rapidly increasing in value in the 1960s property boom. Also, as long as it remained unlet, Hyams didn't have to pay rates on the building. His cynicism earned him a great deal of opprobrium ...a common fate of people who get rich quick while their accusers don't. Eventually he went on a charm offensive, placing full-page advertisements in the national newspapers in an attempt to paint his motives in a favourable light. In the advertisements Centre Point was described as "this very wonderful building". This was pounced upon by Private Eye and the phrase "very wonderful" became part of its vocabulary.

Compared to most 1960s office buildings, Centre Point strikes me as slender, nicely fenestrated and not unattractive. From a distance it has a certain grandeur, but no modern architect seems capable of designing a building that is attractive close-up at ground level.

Completion Ceremony by Southwestern Adventist University SWAU

Projekt6 - near completion by Marten Kuilman

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Call +65 9336 4688 for Rental or Sale Enquiry IMG,_1204 by mel_tmt

For enquiry email: jintan@realtyagent.com

The Orchard Residences is a 99-years leasehold apartment development located at 238 Orchard Boulevard, Singapore 237973, in District 09, and just above the Orchard MRT Station. With expected completion in December 2010, it comprises 175 units. The Orchard Residences is situated along the vibrant Orchard Road shopping and entertainment belt. It is also close to the Singapore Botanic Gardens and Mount Elizabeth Hospital. Above MRT Station. Condo Facilities at The Orchard Residences Facilities at The Orchard Residences include a swimming pool, spa, and clubhouse. Condo Amenities near The Orchard Residences Numerous feeder bus services are available near The Orchard Residences. Established local and international schools are mostly a short drive away, such as Raffles Girls’ School, Overseas Family School, and ISS International School. Its prime location along Orchard Road means several one-stop shopping destinations are just a short walk away. These include Ion Orchard, Tangs Plaza, Wisma Atria, The Paragon, and Takashimaya. In addition, prestigious clubs, such as American Club and Tanglin Club, are located nearby. For vehicle owners, driving to the business hub from The Orchard Residences takes less than 10 minutes, via River Valley Road.

Completion 5 by Riot Creative Imaging an ARC company

Major completion by Stephen

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Our Fordson Major is all done and ready for action.

*NEW* Bromsgrove Railway Station (before opening, near completion) by ColstaXC Transport Photography

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ahhhh, completion. by ryan mason

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MTA Announces On-Time Completion of Sandy Resiliency Work in F Line’s East River Tunnel by Metropolitan Transportation Authority

The MTA announced the on-time completion of the F Line's East River Tunnel. The tunnel is the last of the MTA’s 11 under-river tunnels that were damaged by Superstorm Sandy’s corrosive floodwaters to be repaired and made more resilient against future storms.

Photo: Trent Reeves / MTA Construction & Development

接近完成/Nearing completion by casper shaw

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Jucuzzi @ The Orchard Residences #38-08 Call +65 9336 4688 for Rental or Sale Enquiry by mel_tmt

The Orchard Residences is a 99-years leasehold apartment development located at 238 Orchard Boulevard, Singapore 237973, in District 09, and just above the Orchard MRT Station. With expected completion in December 2010, it comprises 175 units. The Orchard Residences is situated along the vibrant Orchard Road shopping and entertainment belt. It is also close to the Singapore Botanic Gardens and Mount Elizabeth Hospital. Above MRT Station. Condo Facilities at The Orchard Residences Facilities at The Orchard Residences include a swimming pool, spa, and clubhouse. Condo Amenities near The Orchard Residences Numerous feeder bus services are available near The Orchard Residences. Established local and international schools are mostly a short drive away, such as Raffles Girls’ School, Overseas Family School, and ISS International School. Its prime location along Orchard Road means several one-stop shopping destinations are just a short walk away. These include Ion Orchard, Tangs Plaza, Wisma Atria, The Paragon, and Takashimaya. In addition, prestigious clubs, such as American Club and Tanglin Club, are located nearby. For vehicle owners, driving to the business hub from The Orchard Residences takes less than 10 minutes, via River Valley Road.

NEARING COMPLETION by Suva City Council

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Jacksonville Harbor Deepening Project complete through JAXPORT’s Blount Island Marine Terminal by JAXPORT

Today, federal, state, and local leaders joined JAXPORT and the US Army Corps of Engineers (USACE) Jacksonville District to celebrate the completion of the Jacksonville Harbor Deepening Project through JAXPORT’s Blount Island Marine Terminal. The project deepened 11 miles of the federal shipping channel—from the sea buoy to Blount Island—to a depth of 47 feet from its previous depth of 40 feet.

The 47-foot harbor provides the channel depth needed for larger ships to call Blount Island to and from destinations worldwide and allows existing ships calling Jacksonville to carry more cargo on board. In addition, the project includes a new turning basin allowing larger vessels to turn around at Blount Island berths.

"Florida's seaports are economic drivers for our state and serve as gateways to domestic and international markets," said Florida Department of Transportation (FDOT) Secretary Jared W. Perdue, P.E. "Through FDOT's strategic investments, our seaports continue to expand and modernize to meet the needs of Florida's growing economy and communities. The JAXPORT Harbor Deepening Project communicates to the world that Florida is open for business and demonstrates Florida's unwavering commitment to strengthen and grow supply chains while providing a safe, resilient, competitive, and dynamic multimodal transportation system."

“When JAXPORT began this deepening journey nearly two decades ago, the goal was to build the port of the future,” said JAXPORT Board Chair Wendy Hamilton. “With today’s completion of deepening through Blount Island—the future is here, and JAXPORT is equipped to meet the needs of the nation’s supply chain for generations to come.”

In coordination with deepening, JAXPORT completed more than $100 million in berth enhancements this month to enable the SSA Jacksonville Container Terminal (JCT) at Blount Island to simultaneously accommodate two post-Panamax container ships. In early 2023, terminal operator SSA Atlantic will welcome three new eco-friendly 100-gauge container cranes, bringing the JCT’s total to six.

“Anchored by harbor deepening, well over half a billion dollars in infrastructure improvements have been recently completed or are currently underway to improve our container capabilities at Blount Island,” said JAXPORT CEO Eric Green. “With the support of our federal, state, and local partners, JAXPORT is open for business and ready to serve the needs of our customers while creating local jobs here in our community.”

Deepening through Blount Island was completed three years ahead of the original project schedule. The total funding to date is $420 million funded through a public-private partnership between the federal government, State of Florida, City of Jacksonville, JAXPORT, and SSA Atlantic.

“This truly is a great public-private partnership,” Congressman John Rutherford said at the event. “The potential is amazing, but what I really love the most is while we’re here for the deepening ribbon-cutting, the Board and Eric are already talking about how we are going to make port operations even better. This is not the end of anything, this is really the beginning.”

“This project solidifies Northeast Florida as a top destination for worldwide commerce and shipping, with the ability to accommodate larger ships,” said Congresswoman Kat Cammack. “Florida, with her 14 ports around the state, continues to lead the way for maritime transportation and I’m grateful for the hard work and investment in this project, which will only create more opportunities to strengthen our supply chain and make the Sunshine State a top gateway to domestic and international destinations.”

The Jacksonville Harbor Deepening Project creates or protects 15,000 jobs throughout the supply chain, including trucking, warehousing, and distribution. The initial feasibility study for the project began in 2005, and construction started in February 2018.

“As with all Corps projects, this mammoth civil works effort was undertaken to upgrade the nation’s waterways and ports, to strengthen supply chains and promote economic growth while protecting the environment,” said USACE Jacksonville District Commander Col. James Booth. “As a result of this team effort, we expect Jacksonville harbor will grow and prosper as a preferred destination and point of departure for the largest, most cost-effective commercial fleets of the mid-21st century.”

"Jacksonville's economy and livelihood has always centered around the St. Johns River. JAXPORT has been a crucial driver of economic growth and investments in our city," said Jacksonville Mayor Lenny Curry. "The completion of this leg of a decades-in-the-making Harbor Deepening Project has required the collaboration and effort of public, private, and nonprofit spheres. It is no small feat and will kickstart the next phase of growth in our job market and investments from regional, national, and global actors."

In addition to the deepening, berth improvements, and new cranes, more than $70 million in terminal enhancements—funded by SSA and a grant from the US Maritime Administration (MARAD)— are also underway to expand container capacity at the SSA JCT. By spring of 2023, SSA will complete the first three of seven construction phases, producing approximately 31 acres of newly paved and improved operating area. The total project of approximately 93 acres will be complete by the end of 2024, allowing the SSA JCT to accommodate 500,000 TEUs (containers) annually.

“SSA would like to thank JAXPORT, the Army Corps of Engineers, and all our state and local officials for their commitment to this historic event,” said SSA Vice President of Florida Operations Frank McBride. “Forty-seven feet of water positions Jacksonville among the deepest ports on the East Coast, further enhancing the capabilities of the SSA JCT as an international cargo gateway.”

The Jacksonville Harbor Deepening Project is a 13-mile federally authorized project. The current funding model covered the completion of the first 11 miles. The final two miles are authorized and under review.

JAXPORT is Florida’s largest container port and one of the nation’s top vehicle-handling ports. Jacksonville offers two-way ship traffic, no berth or terminal congestion, and same-day access to 98 million consumers.

Cargo activity through Jacksonville’s seaport supports 138,000 jobs in Florida and $31 billion in annual economic impact for the region and state. The port continues to make infrastructure improvements in support of JAXPORT’s mission to create jobs and economic opportunity for the citizens of Northeast Florida.

Column Completion by Graham Newell

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Lucretia by Alec Frazier

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Lucretia

•Rembrandt van Rijn

•Dutch, 1606-1669

•1664

•Oil on Canvas

•Dimensions:

oOverall: 120 × 101 cm (47¼ × 39¾ in.)

oFramed: 159.1 × 139.4 × 16.5 cm (62⅝ × 54⅞ × 6½ in.)

•Andrew W. Mellon Collection

•1937.1.76

•On View

Overview

After learning the fundamentals of drawing and painting in his native Leiden, Rembrandt van Rijn went to Amsterdam in 1624 to study for six months with Pieter Lastman (1583-1633), a famous history painter. Upon completion of his training Rembrandt returned to Leiden. Around 1632 he moved to Amsterdam, quickly establishing himself as the town’s leading artist. He received many commissions for portraits and history paintings and attracted several students who came to learn his method of painting.

The tragic story of Lucretia, recounted by Livy, took place in Rome in the sixth century BC during the reign of the tyrannical ruler Tarquinius Superbus. Rembrandt portrays Lucretia in utter anguish, right before her act of suicide. The tension surrounding that awful moment poignantly captures the moral dilemma of a woman forced to choose between life and honor.

Lucretia’s husband, Collatinus, had boasted to his fellow soldiers that her loyalty and virtue were greater than that of their wives. Taking him up on the challenge, the men immediately rode to Rome where they discovered Lucretia and her handmaidens spinning wool. Lucretia’s very virtue enflamed the desire of Sextus Tarquinius, son of the tyrant, who secretly returned to the house a few days later. Lucretia received him as an honored guest, but he later betrayed that hospitality by entering her chamber and threatening to kill her if she did not yield to him. The next day Lucretia summoned her father and husband, disclosed what had happened, and told them that, even though they deemed her an innocent victim, she was determined to end her life to reclaim her honor. Lucretia then drew a knife from her robe, drove it into her heart, and died. Overwhelmed by grief and anger, Lucretia’s father, her husband, and two accompanying friends swore to avenge her death. Lucretia’s rape and death triggered a revolt that led to the overthrow of monarchical tyranny and the creation of the Roman Republic.

Entry

In a moment of inner anguish Lucretia stands, with arms outstretched, just prior to her act of suicide. Although her body faces the viewer, she looks down toward the sharply pointed dagger clenched in her right hand. She holds her left hand open at the same height as the right, as though part of her resists completing the self-destructive act. The tension surrounding that awful moment emphasizes the human drama of a woman caught in the moral dilemma of choosing between life and honor, a choice that would take on symbolic connotations.

The tragedy of Lucretia’s impending suicide is intensified in the contrast Rembrandt develops between her elegant attire and the poignancy of her gesture and expressions. Richly adorned with golden diadem, pearl earrings, pearl necklace, and a chain with a golden pendant from which hangs a tear-shaped pearl, she is a regal figure. Her golden dress with a cape that falls over her out-stretched arms adds to her splendor. Rembrandt, however, arranged her robes to emphasize her vulnerability. The clasps that hook her dress at the bodice hang unfastened. With her dress parted, her chest covered only by the white chemise that fits so gracefully, she is about to thrust the dagger into her heart.

The tragic story of Lucretia, recounted by Livy, took place during the reign of the tyrannical ruler Tarquinius Superbus in Rome in the sixth century BC. While away during the siege of Ardea, Lucretia’s husband, Collatinus, boasted that her loyalty and virtue were greater than that of his compatriots’ wives. Taking up the challenge, the men at camp rode immediately to Rome where they discovered Lucretia alone with her handmaidens, spinning wool while other wives were idly enjoying their leisure. Lucretia’s very virtue, however, inflamed the desire of Tarquinius’ son, Sextus Tarquinius, who returned without Collatinus’ knowledge a few days later. Having been received as an honored guest, he later stole secretly to Lucretia’s chamber, drew his sword, and threatened to kill her if she did not yield to him. She resisted, but when Sextus Tarquinius threatened to kill his own slave as well and place their naked bodies together to give the appearance that they had been killed in the act of adultery, she yielded to his demands rather than die in such disgrace.

The next day Lucretia summoned her father and husband to her side and related what had happened, stressing that only her body had been violated, not her heart. Despite their protestations of her innocence, she was determined to make the moral choice that fate had forced upon her, saying: “Never shall Lucretia provide a precedent for unchaste women to escape what they deserve.” Livy relates that with these words Lucretia drew a knife from under her robe, drove it into her heart, and fell forward, dead.[1]

Overwhelmed by grief, Lucretia’s father, her husband, and two accompanying friends swore to avenge her death. Her suicide helped rouse the anger of the populace against the tyrannical rule of Tarquinius Superbus, who was forced into exile. Sextus Tarquinius, who was also driven from Rome, was assassinated shortly thereafter. In Livy’s account Lucretia embodied chastity, but her tragedy assumed wider political dimensions because she was also considered a metaphor for Rome itself. Lucretia’s rape came to symbolize the tyrannical subjugation of the city by Tarquinius Superbus and his family.[2] Her rape triggered the revolt that led to the overthrow of tyranny and the creation of political freedom in the form of a republican government.

Rembrandt painted at least three images of Lucretia in his later years. The earliest of these is known only through an inventory of the possessions of Abraham Wijs and Sara de Potter, made on March 1, 1658. The inventory lists: “A large painting of Lucretia, by R: Van Rijn.”[3] The two extant images date from the last decade of Rembrandt’s life: the Washington Lucretia, 1664, and the Minneapolis Institute of Arts’ Lucretia, 1666 [FIG. 1]. In the Gallery’s haunting image, Rembrandt has evoked both Lucretia’s profound sadness and her resignation to the fate forced upon her. In the Minneapolis version, Rembrandt has portrayed Lucretia just after she has stabbed herself, her chemise already stained by blood from the mortal wound. The two images complement each other not only because their compositions and painterly qualities are similar, but also because they explore Lucretia’s emotions as she readies herself prior to her self-sacrifice and then responds to the consequences of her action. Nevertheless, they do not seem to have been conceived as a pair. The models Rembrandt used are different and their robes and jewelry, though similar in type, are not identical.[4]

As Stechow has demonstrated, three traditions exist for the representation of the Lucretia story: “narrative combinations of various scenes pertaining to the legend; dramatic scenes concentrating entirely on Tarquinius’ misdeed; and single figures of Lucretia stabbing herself.”[5] Rembrandt’s image belongs to the last. He certainly knew several earlier representations of Lucretia through prints and engravings, although only one has been suggested as a prototype for the Washington painting: Marcantonio Raimondi’s engraving after a Raphael design [FIG. 2].[6] The essential transformation of the idealized statuesque figure into the emotionally evocative image of Rembrandt’s Lucretia, however, argues that the relationship is more superficial than real. Far closer in spirit to Rembrandt, however, are half-length depictions of Lucretia by Titian and his school that represent the heroine dressed in loose-fitting robes and poised at the moment before she thrusts the dagger into her heart.[7] Rembrandt, who was profoundly influenced by Venetian art during his later years, may have known of such depictions of Lucretia, for a number of such paintings ascribed to Titian or Paolo Veronese were in Archduke Leopold Wilhelm’s collection in Brussels during the 1650s.[8] The painting of this compositional type that Rembrandt certainly knew, and used as a basis for other paintings in the 1640s and 1650s, was Titian’s Flora [FIG. 3], which was auctioned in Amsterdam in 1639.[9] The similarities in the general disposition of Lucretia’s head in the Washington painting and that of Flora suggest that this work continued to exert its influence on Rembrandt into the mid-1660s. Even supposing such antecedents could have helped provide the visual vocabulary for the rich pictorial effects and iconic composition of Rembrandt’s painting, the psychological characterization of Lucretia’s emotional state is entirely personal.

No record of commissions exists for these works, nor other information concerning Rembrandt’s motivation for painting them. Schwartz has suggested that the paintings have political overtones.[10] Because Lucretia’s suicide precipitated the revolt that helped institute the Roman Republic, she had traditionally been viewed, among her other qualities, as a symbol of patriotism. That such an attribute was associated with her in Rembrandt’s time is clear from a poem written by Jan Vos in 1660, quoted by Schwartz, about a Lucretia painted by Govaert Flinck (Dutch, 1615-1660) in the collection of Joan Huydecoper, one of the most influential patrons of the day: “In the red ink [of her blood] she writes a definition of freedom.” Lucretia, then, may well have assumed allegorical importance in the parallels that were being drawn around 1660 between the foundations of the Roman and Dutch Republics, as did Claudius Civilis, the first-century rebel leader of the Batavian revolt and the subject of Rembrandt’s 1661 painting for the Amsterdam Town Hall.[11]

The forceful impact of Rembrandt’s paintings of Lucretia, however, seems also to have resulted from personal associations the artist made between experiences in his life and the emotional traumas that he projected onto Lucretia at the time of her suicide. Only thus can we explain the essential transformation of the pictorial traditions for portraying this legendary Roman heroine that occurs in the two majestic paintings in Washington and Minneapolis.

Lucretia, in maintaining her honor through death, come to be revered as a symbol of chastity, honor, and faithfulness. Knuttel speculated that the 1664 Lucretia may have served as a psychological catharsis for Rembrandt after the death of his companion, Hendrickje, the previous year. Indeed, parallels can be found between Lucretia’s faithfulness and self-sacrifice and the indignities Hendrickje suffered because of her commitment to Rembrandt.[12]

The mythology surrounding Lucretia, however, was complex. While she was honored for her faithfulness she was also criticized by later Christians for having taken her own life, which was seen as a greater evil than adultery and a life of shame. As Garrard has written: “In Roman terms, Lucretia killed herself not out of guilt, but out of shame, concerned for her reputation and for the precedent of pardon that she might set for voluntary adulterers. Christian writers, schooled in a religion that placed the highest premium on the innocence of one’s personal conscience, regarded such values as excessively concerned with appearances and the opinion of others.”[13] Rembrandt, as he so often did, fused here the pagan and Christian worlds to create an exceptionally profound image of the psychological moment just prior to Lucretia’s fatal decision to thrust the knife into her heart. With her arms raised in a gesture that echoes that of Christ on the cross, she looks down toward the weapon of her destruction with an expression of one who, in her decision to commit suicide, must weigh issues never described by Livy: Rembrandt’s Lucretia is not the assured tragic heroine who has determined her punishment and dies for honor, but one who hesitates at that crucial moment because of an awareness of the moral dilemma that she faces.

It may be, as Held has remarked, that Rembrandt drew upon a theatrical tradition to give added poignancy to the moment, for Lucretia, whose mouth is partially open, seems to address the dagger as though giving the closing monologue of this tragic drama.[14] Shakespeare did exactly that in his Rape of Lucretia when she asks:

Poor hand, why quiver’st thou in this decree?

Honour thyself to rid me of this shame;

For if I die, my honour lives in thee,

But if I live, thou livest in my defame.[15]

Rembrandt’s late paintings, whether portraits, biblical accounts, or mythological stories, often take on an almost sacramental character in the way that the artist confronts the viewer with his images. His broad execution, rich colors, impressive use of chiaroscuro, and iconic compositional structure give these works unparalleled forcefulness. In Lucretia, all these elements of his late style are evident. Particularly remarkable in this painting is his use of chiaroscuro to transform an essentially symmetrical and static pose into an active one. Lucretia is lit not from the front but from the left. Light thus strikes her head, right arm, and shoulder. The dagger blade glistens against her white cuff. Although her left arm is thrown into shadow, her outstretched left hand catches the light. Through these subtle means of emphasis, which until the mid-1980s had been hidden by thick, discolored layers of varnish, Rembrandt heightened the drama by reinforcing the psychological and physical tension of the scene.[16]

Rembrandt painted this image using a broad range of techniques. He modeled the face quite densely by applying a sequence of paint layers. Some layers, such as the soft lavenders that model the shaded portions of the lower cheeks and chin, are quite smooth. Others, such as the pinks and oranges that highlight the cheekbones and the yellowish-whitish areas on the nose and forehead, are brushed on more vigorously. The eyes, nose, and mouth are broadly rendered. Specifics of eyebrows, eyelids, pupils of the eyes, nostrils, and lips were of little concern to the artist; instead he heightened and accented them with deft touches of rust-colored paint. One particularly bold stroke of ocher paint defines the upper left edge of the top lip.

Rembrandt varied his painting techniques in Lucretia’s cape and dress according to the play of light falling across her figure. Where light hits her right arm, Rembrandt cast a golden tone with a rich mixture of yellow, white, red, and salmon-colored paints. Under the lightest areas of the shoulder, he first laid in a light gray layer to give an added luminosity to the paints. On the shaded left sleeve, the paint is much less dense. A deep brown and reddish-brown layer covering the Ground in this area forms the basis for the sleeve’s tonality. Over it, Rembrandt, often with a dry brush, applied yellow, greenish yellow, red, and white highlights. In certain instances, for example, in a series of black strokes that shade part of the sleeve, he clearly used a palette knife as well as a brush.

Rembrandt utilized the palette knife even more frequently in the white of the left sleeve. Here he applied a rather dry paint onto the underlying brown layer to suggest the material’s transparency. More extensive use of the palette knife is seen in the dress near Lucretia’s waist. Here he spread broader areas of light-ocher paint with the knife to suggest the luminous character of the fabric. In general, the treatment of this area of the dress resembles that of the left sleeve where the underlying dark brown paint becomes an important ingredient in the overall color tonality. The one area with thick highlights in the dress is the belt, but even here Rembrandt did not really overlap paints. The accents of yellow, orange, and white are loosely applied and do not define the belt to any great degree.[17]

Stylistically, this painting resembles the so-called Jewish Bride in the Rijksmuseum, Amsterdam. The head of Lucretia is extremely close in type and in concept to that of the bride: both are built up in a comparable fashion. Remarkably similar are the ways in which the features are modeled with dense and somewhat roughly brushed strokes of paint. The similarities extend to the technique for the modeling of the pearls and even for indicating the gold diadem in the back of the hair. While most of the robes in the Jewish Bride are more densely painted than those of Lucretia and are built up almost exclusively with a palette knife, in the shaded area under the collar of the man Rembrandt used a modeling technique very similar to that seen in Lucretia’s left arm. Here he also used a brownish Imprimatura layer for the base collar of the robe and accented it lightly with a series of thin strokes of red paint applied with a palette knife.[18]

Similarities in painting technique also exist between this figure of Lucretia and that in Minneapolis, even though the latter work was painted two years later, in 1666. As is appropriate to its starker concept, Rembrandt applied his paints in a more angular fashion in the Minneapolis version than he did in the Washington painting. Still, the modeling of the facial features is once again comparable. One notices the way the top lip is defined with a bold stroke of flesh-colored paint along its upper edge. Also similar is the use of an Imprimatura layer as a base color of the left sleeve, and finally, the structure of the hand holding the dagger.

Arthur K. Wheelock Jr.

April 24, 2014

[1] Livy, The Early History of Rome, trans. Aubrey de Sélincourt (Aylesbury, 1973), book 1, LIX, 99.

[2] Ian Donaldson, The Rapes of Lucretia: A Myth and Its Transformation (Oxford, 1982), 9, stresses the political significance of this point.

[3] Walter L. Strauss and Marjon van der Meulen, The Rembrandt Documents (New York, 1979), doc. 1658/8, 418. “In ’t Voorhuijs Een groot stuck schilderij van Lucretia van R: Van Rijn.”

[4] The features in the Washington Lucretia resemble Rembrandt’s companion Hendrickje Stoffels, as she is seen in Rembrandt’s paintings from the mid-1650s (Gemäldegalerie, Berlin, inv, no. 828B). Hendrickje, who appears much older in the portrait of 1660 in the Metropolitan Museum of Art, New York, had died in July 1663. The model Rembrandt used for the Minneapolis Lucretia is not found in other of Rembrandt’s paintings.

[5] Wolfgang Stechow, “Lucretia Statua,” in Essays in Honor of Georg Swarzenski (Chicago and Berlin, 1951), 114.

[6] First suggested by N. Beets (see N. Beets, “Een ‘print van Rafel’ en Rembrandt’s Lucretia,” Nieuwe Rotterdamsche Courant [January 1, 1914], I). Northern prints and paintings of Lucretia have a quite different character and do not seem to have influenced Rembrandt in his depictions of Lucretia; for the prints see Ilja M. Veldman, “Lessons for Ladies: A Selection of Sixteenth- and Seventeenth-Century Dutch Prints,” Simiolus 16 (1986): 113-127.

[7] The most profound sixteenth-century images of Lucretia were created in Venice. In two memorable paintings, Tarquin and Lucretia (Gemäldegalerie der Akademie der bildenden Künste, Vienna) and Tarquin and Lucretia (Fitzwilliam Museum, Cambridge), Titian focused on the dramatic confrontation between Tarquin and Lucretia, capturing the animal energy of Tarquin blindly driven by lust.

[8] For paintings attributed to Titian see Harold E. Wethey, The Paintings of Titian, 3 vols. (London, 1975), 3:215, cat. no. x-24, 219, cat. no. x-33. For Veronese’s Lucretia see Kunsthistorisches Museum, Katalog der Gemäldegalerie I, Italiener, Spanier, Franzosen, Engländer (Vienna, 1965), 169, cat. no. 750.

[9] Harold E. Wethey, The Paintings of Titian, 3 vols. (London, 1975), 3:154-155, cat. no. 17.

[10] Gary Schwartz, Rembrandt: zijn leven, zijn schilderijen (Maarssen, 1984), 330, no. 382, repro. (English trans., Rembrandt: His Life, His Paintings [New York, 1985], 330). It seems unlikely, however, that there is any pro-Orange or anti-Orange sentiment implied in these works, as Schwartz suggests.

[11] For the parallels drawn between the story of Claudius Civilis and the foundation of the Dutch Republic as seen in the decorations of the Town Hall in Amsterdam see H. van de Waal, “The Iconographical Background to Rembrandt’s Civilis,” in H. van de Waal, Steps towards Rembrandt: Collected Articles 1937-1972, ed. R. H. Fuchs, trans. Patricia Wardle and Alan Griffiths (Amsterdam, 1974), 28-43.

[12] In 1654 Hendrickje, who lived with Rembrandt but was not married to him, had been publicly disgraced when a tribune of the Dutch Reformed Church condemned her for “living in sin like a whore” with the artist. After Hendrickje’s death in 1663, Rembrandt may have linked the tribulations she had suffered and the emotional traumas he projected onto Lucretia. The resemblance of Lucretia to Hendrickje as she appeared in the mid-1650s (see note 4) seems to reinforce this hypothesis. For his part, Rembrandt identified himself with a historical figure in his Self-Portrait as the Apostle Paul of 1661 (Rijksmuseum, Amsterdam), in which the sword of Paul’s martyrdom protrudes from Rembrandt’s chest.

[13] Mary D. Garrard, Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art (Princeton, 1989), 219.

[14] Julius Held, “Das gesprochene Wort bei Rembrandt,” Neue Beiträge zur Rembrandt Forschung, ed. Otto van Simson and Jan Kelch (Berlin, 1973), 123. The theatrical character of the image is reinforced by the suggestion of curtains hanging behind Lucretia. These may have been more apparent before the paint darkened and the background suffered from Abrasion. Lucretia’s theatricality, however, has not always met with favor. Wilhelm von Bode, Studien zur Geschichte der holländischen Malerei (Braunschweig, 1883), 524, found the theatricality unconvincing given the portraitlike character of the image. The art dealer René Gimpel was more outspoken. When Lucretia was on the market in 1921 he wrote: “She is stabbing herself in her terror, with a ridiculous gesture. Neither realism nor idealism. A terrible lack of taste” (René Gimpel, Diary of an Art Dealer, trans. John Rosenberg [New York, 1966], 161).

[15] This quotation was first associated with Rembrandt’s 1664 Lucretia by Jan Veth, “Rembrandt’s Lucretia,” Beelden en Groepen 25 (1914): 25.

[16] The discolored varnish also had the effect of flattening the three-dimensional character of the image, which reduced the emotional impact of the scene by making the spatial relationships more difficult to decipher. One such critique against the painting was levied by Alfred Gold, “Die Sammlung Hielbuth,” Der Cicerone 13 (March 1921): 93.

[17] While I find the painting techniques described here characteristic for Rembrandt, Egbert Haverkamp-Begemann (personal communication, 1993) is quite critical of the way these areas are executed. He feels that the “paint has an abstract, unfunctional quality, and makes the impression of a method applied without regard for its reason.” He rejects the attribution to Rembrandt and notes that the painting has “strong similarities with works by Aert de Gelder.” This opinion is shared by Ernst van de Wetering, who argued in a lecture at the National Gallery of Art in January 2005 that Lucretia was painted by Aert de Gelder.

[18] The similarities in technique in this area have become even more evident since the 1993 restoration of the Jewish Bride.

Inscription

•Center Left: Rembrandt / 1664

Provenance

Jean-Joseph-Pierre-Augustin Lapeyrière [1779-1831, known as Augustin Lapeyrière, then de Lapeyrière], Paris; (his sale, Galerie Le Brun, Paris, 19 April 1825 and days following [originally scheduled for 14 March 1825 and days following], no. 143). Michael M. Zachary [d. 1837], London;[1] (sale, Phillips, London, 14-15 April 1826, 1st day, no. 64, bought in); (Zachary sale, Phillips, London, 31 May 1828, no. 25); purchased by Sir Thomas Lawrence [1769-1830] for Hugh Andrew Johnstone Munro [1797-1864], London, and Novar House, near Evanton, Ross-shire, Scotland.[2] Paul Pavlovich Demidoff [1839-1885], Prince of San Donato, near Florence; (his sale, at his residence, Florence, 15 March-10 April 1880, no. 1146). (Léon Gauchez, Paris); (sale, Christie, Manson & Woods, London, 13 July 1889, no. 56, bought in); (Léon Gauchez, Paris), until at least 1893.[3] (Bourgeois & Cie., Paris); (Leo Nardus [1868-1955], Suresnes, France, and New York);[4] Matthew Chaloner Durfee Borden [1842-1912], New York, by 1906;[5] (his estate sale, American Art Association, New York, 13-14 February 1913, 1st day, no. 28); (M. Knoedler & Co., New York and Paris);[6] sold 1913 to (Frederik Müller and Co., Amsterdam); sold 1913 to August Janssen [1863-1918], Amsterdam;[7] his estate; sold 1919 with the entire Janssen collection to (Jacques Goudstikker, Amsterdam).[8] Hermann Heilbuth [1861-1945], Copenhagen, by 1920.[9] (Ehrich Brothers, New York), in 1921.[10] (M. Knoedler & Co., New York and Paris); sold November 1921 to Andrew W. Mellon, Pittsburgh and Washington, D.C.; deeded 28 December 1934 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1937 to NGA.

[1] Although the main seller at the April 1826 sale was Lord Berwick, there were also other consignors. One annotation in the Wallace Collection (London) Library’s copy of the sale catalogue indicates that Zachary was the consigner of the NGA painting; another annotation next to the Lucretia entry reads “Sir T Lawrence.” The Getty Provenance Index© Database, Sale Catalogs, lot 0064 from sale catalog Br-2806, identifies the latter annotation as indicating a previous owner.

[2] This information is given by Cornelis Hofstede de Groot, Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII. Jahrhunderts, 10 vols., Esslingen and Paris, 1907-1928: 6(1915):120, no. 218 (also English edition, Cornelis Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century, trans. Edward G. Hawke, 8 vols., London, 1907-1927: 6(1916):143-144, no. 218). However, the Wallace Collection (London) Library’s copy of the sale catalogue is annotated with the name “Woodin” as the buyer (The Getty Provenance Index© Database, Sale Catalogs, lot 0025 from sale catalog BR-3135). Munro acquired a significant collection that was dispersed in sales both before and after his death, but the painting has not been in any of the sale catalogues. Hofstede de Groot lists a Munro sale in London on 26 March 1859 (given as 26 March 1851, in the 1920-1921 exhibition catalogue), which has not been identified; the painting does not appear in a sale of Munro’s English pictures held in London on 26 March 1860.

[3] Although Algernon Graves, Art Sales from early in the eighteenth century to early in the twentieth century (mostly old master and early English pictures), 3 vols. London, 1918-1921: 2:383, gives the buyer at the 1889 sale as Wontner, the painting was in fact bought in and returned to the consignor, Gauchez. This information was kindly provided by Lynda McLeod, Librarian, Christie’s Archives, London, in her e-mail of 28 March 2013 (in NGA curatorial files). Émile Michel (Rembrandt: Sa vie, son oeuvre et son temps, Paris, 1893: 489) saw the painting in Paris, but did not identify the owner, who is named by Malcolm Bell (Rembrandt Van Rijn and His Work, London, 1899: 157).

[4] Jonathan Lopez kindly provided this information (oral communication, 13 October 2006). See also Jonathan Lopez, “‘Gross False Pretences’: The Misdeeds of Art Dealer Leo Nardus,” Apollo, 2nd ser., vol. 166, no. 548 (December 2007): 78, 80, 82 nn. 25, 26.

[5] Wilhelm von Bode and Cornelis Hofstede de Groot, The Complete Work of Rembrandt: History, Description and Heliographic Reproduction of All the Master’s Pictures, with a Study of His Life and His Art, translated by Florence Simmonds, 8 vols., Paris, 1897-1906: 8(1906):152, no. 595.

[6] Newspapers speculated that Knoedler’s might have been buying for the New York collector Henry Clay Frick; copies of various articles are in NGA curatorial files.

[7] The 1913 sales are described by Ben Broos, Great Dutch Paintings from America, exh. cat. The Hague and Zwolle, 1990: 69-70. See also Gerhardus Knuttel, “De Lucretia En Andere Werken Van Rembrandt Bij De Firma Fred. Muller & Co. Amsterdam,” Elsevier’s Geïllustreerd Maandschrift 47, no. 2 (January-June 1914): 137-144.

[8] “Janssen Paintings Sold in Holland,” The Milwaukee Journal (3 August 1919): 10; Otto Hirschmann, “Die Sammlung August Janssen,” Der Cicerone 12 (January 1920): 17-18.

[9] The painting was included in a 1920-1921 exhibition of Heilbuth’s collection in Copenhagen.

[10] René Gimpel, Journal d’un collectionneur: marchand de tableaux, Paris, 1963: 184-185.

Exhibition History

•1832—British Institution for Promoting the Fine Arts in the United Kingdom, London, 1832, no. 44.[1]

•1909—The Hudson-Fulton Celebration, The Metropolitan Museum of Art, New York, 1909, no. 105.

•1920—A Collection of Paintings [H. Heilbuth], Statens Museum for Kunst, Copenhagen, 1920-1921, no. 63.

•1969—Rembrandt in the National Gallery of Art [Commemorating the Tercentenary of the Artist’s Death], National Gallery of Art, Washington, D.C., 1969, no. 23, repro.

•1991—Rembrandt’s Lucretias, National Gallery of Art, Washington, D.C.; Minneapolis Institute of Arts, 1991-1992, brochure.

•2001—Rembrandt’s Women, National Gallery of Scotland, Edinburgh; Royal Academy of Arts, London, 2001, no. 141, repro.

•2006—Rembrandt?: The Master and his Workshop, Statens Museum for Kunst, Copenhagen, 2006, no. 18, repro.

•2014—Rembrandt: The Late Works, National Gallery, London; Rijksmuseum, Amsterdam, 2014-2015, no. 115, repro.

Exhibition History Notes

[1] In 1833 Alfred Joseph Woolmer (1805-1892) painted a fanciful view of the exhibition of 1832 in which Lucretia can be seen hanging prominently to the right of an arched doorway (Yale Center for British Art, New Haven, inv. no. B 1981.25.694). Celina Fox, London World City, 1800-1840 (London, 1992), 447, repro. no. 383.

Technical Summary

The original coarse, plain-weave fabric, composed of heavy, unevenly spun threads, has been lined. The top, right, and left edges have been trimmed slightly, leaving worn and ragged edges. The bottom was at one time used as a tacking margin but has now been returned to the picture plane. Slight cusping present along the top and sides, but not the bottom, suggests a reduction in that dimension.

The double ground consists of a thick, gray lower layer and a moderately thin, dark brown upper layer.[1] In the dark areas, particularly the background, the dark brown upper ground layer was incorporated into the design, and in the upper left and lower right quadrants the upper ground was deliberately scraped away to expose the gray lower ground layer as part of the composition. In the richly impasted details on the dress, paint was applied thickly and freely with broad brushwork. Paint was both blended wet-into-wet and scumbled with a dry brush to exploit the coarse canvas texture. Extensive use of the palette knife can be recognized in the proper left cuff and in the lower portion of the dress. Incisions with the butt end of the brush are found in the proper left cuff and on the neck.

Several pentimenti have become visible over time. The dagger was once 3.5 cm longer, and the sitter’s proper right sleeve has been altered. Stray brushmarks cross the dress and white blouse at right, suggesting alterations to the neckline.

The paint is in good condition with few losses. Wide-aperture drying crackle has formed on either side of the head. Moderate abrasion has occurred in the darks, and the bottom tacking margin has been overpainted to incorporate it into the design. Conservation treatment was carried out in 1985 to remove an aged, discolored varnish layer and discolored inpainting.

Technical Summary Notes

[1] The ground composition was analyzed by the NGA Scientific Research department using cross-sections (see report dated May 8, 1985, in NGA Conservation files).

GP7_9101 by SUNY WCC Creative Communications

Completion Ceremony at Westchester Community College on June 13, 2019. (photo by Gabe Palacio)

Home Completions by Greg Alvas

Tracy Topham Design

Certificates of completion by 1st Brigade Combat Team, 1st Cav Div

Sgt. Ricardo Recinos a Soldiers with Company A, 1st Battalion, 82nd Field Artillery Regiment, 1st Brigade Combat Team, 1st Cavalry Division receives a medal and a certificate after he completed the Oderlander Marsch, June 14. The Oderlander Marsch is an annual partnered march from Kuestrin, Poland to Frankfurt an der Oder, Germany between the German, Czech and Polish armies. Represented by the 1st Brigade Combat Team, 1st Cavalry Division, this is the first year that the American Army has participated in the event. The march is one of the many multi-national events utilized to build partnerships and maintain relationships within NATO (photo by Master Sgt. Schroeder, German Army).

Gov. Malloy Commemorates Imminent Completion of Silver Sands State Park Renovations by Dannel Malloy

Monday, December 10, 2018 -- Governor Dannel P. Malloy and Department of Energy and Environment Protection (DEEP) Commissioner Rob Klee today cut a ribbon to celebrate the imminent completion of long-awaited renovations at Silver Sands State Park in Milford.

The project, which will be fully completed by the beginning of the 2019 beach season, includes three new buildings, including a concession building, restrooms, and offices. A new beach boardwalk will connect the previously existing boardwalk to the bathhouse, and a short new boardwalk across the tidal wetlands will connect the existing main boardwalk to the new bathhouse.

Auditorium Near Completion by Pueblo Warriors

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completion 7 by Riot Creative Imaging an ARC company

Sinagua Elevator Completion by Flagstaff Unified School District

14.12.2018 8th plenary meeting of the COP (upon completion of CMP plenary) by COP24 Official

14.12.2018 8th plenary meeting of the COP (upon completion of CMP plenary)

Completion of improvements at Murray Hill Community Center by North Charleston

Photo by Ryan Johnson

The completion of improvements at Murray Hill Community Center has made a big impact on the surrounding neighborhood.

Last fall, work began on the construction of a new press box, concession stand, outfield scoreboard, and most importantly, restrooms at the community center’s adjoining athletic field.

Previously, neighborhood and recreational events either had to forego restroom facilities or have portable toilets brought in to meet the needs of the attendees, limiting participation from the community. In addition, prior to two years ago, there were no youth athletics held within the neighborhood or the Murray Hill facility.

Today, the City’s Recreation Department has 135 participants in its Murray Hill youth baseball and softball programs and approximately 90 participants in its youth football program. The improvements to the facility are assisting in meeting the needs of the growing involvement from the community.