View allAll Photos Tagged Completion
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).
D9537 is only weeks away from being a running locomotive and being used for the first time on the ELR rails. Here it's seen at Buckley Wells.
To celebrate the completion of the art installations at the Southbank Centre, CHOI Jeong Hwa, the KCC staff and some of the volunteers had a brief celebration at the KCCUK.
Artist CHOi thank Director Won of the KCCUK and all the staff for putting together 'All Eyes On Korea' and he also thanked each volunteer for helping, as without them Time after Time and Life-Life would never have been possible.
On Wednesday, 30th May 2012 in between Southbank Centre and the Hayward Gallery, volunteers and supporters kindly gave their time to assist Korean Artist CHOI Jeong Hwa with the final preparations of his Outdoor Installation for 'All Eyes On Korea'.
For Life –life he uses thousands of multi-coloured spiral balloons to create a joyful cloud amongst the natural foliage of a large tree. For Time After Time, Choi uses thousands of green carrying baskets to create a series of sculptural columns that forge a cheerful path through the multi-level architecture of the Southbank Centre site.
All Eyes On Korea, the Korean Cultural Centre UK' Summer Festival will showcase the best of Korea's creative content at venues across the capital between June and September 2012.
The renewal of the down main nears completion at Teignmouth on 28 February 2016.
Camera: Olympus FE-120 digital compact.
To celebrate the completion of the Iowa Assessments, Callanan Middle School held an assembly on April 10th. The school watched a student vs. faculty basketball game. Then two instructors from Farrell's performed martial arts. The event ended with three names drawn for prizes.
As a PTA fundraiser for Callanan, Farrell's will offer four martial arts classes to students for $20 later in April.
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).
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.
Congrats to Christopher Knowles on his lease completion. Christopher is takning his BIG GIANT CHECK and taking a well deserved 30 day vacation fishing and hiking the Appalachians. He says he's packing his banjo!
Built on the original site where Mobil once stood and operated until 2011 when it transitioned over to an independent OTR branch.
1:
Grant Thornton Tower (formerly Chicago Title & Trust Center, 161 North Clark and sometimes Chicago Title Tower[1]) is an office tower located in Chicago designed by the firm Kohn Pedersen Fox Associates. Before completion in 1990 the twin tower design was awarded The Chicago Athenaeum's "Best Building" Architecture Award, the award was received by one of the lead designers Kevin Flanagan.(view PLP Architects ). The fifty-storey building rises 756 feet (230 m) in the Loop and was completed in 1992.
2:
77 West Wacker Drive, previously the United Building, is an office building in the Loop, Chicago. Finished in 1992, the building rises to a height of 668 ft (204 m) with around 944,000 square feet (87,700 m2) of interior space. The building, with 50 floors, was designed by Ricardo Bofill.
3:
300 North LaSalle is a 60-story mixed-use building, constructed from 2006 to 2009, located on the north bank of the Chicago River on the Near North Side community area of Chicago.
Height 239 m (784 ft); 60 floors
4.
The Richard J. Daley Center, also known by its courtyard Daley Plaza and named after longtime mayor Richard J. Daley.
Height 198 m (648 ft); 30 floors
5.
Water Tower Place is a large urban, mixed-use development comprising a 758,000 sq ft (70,400 m2) shopping mall and 74 story skyscraper in Chicago, Illinois, United States. The mall is located at 835 North Michigan Avenue, along the Magnificent Mile. It is named after the nearby Chicago Water Tower, and is owned by General Growth Properties.
6.
Park Tower, located at 800 North Michigan Avenue in Chicago, in the U.S. state of Illinois, is a skyscraper that was completed in 2000. At 844 feet (257 meters) tall with 70 floors — 67 floors for practical use, it is the twelfth-tallest building in Chicago.
7.
First United Methodist Church at the Chicago Temple is a church located at the base and in the utmost floors of the Chicago Temple Building, a skyscraper in Chicago, Illinois. The top of the building is at a height of 173 metres (568 feet).
(Wikipedia 2017)
The enhancement project includes restoring three South Bay salt ponds to more natural, tidal marsh conditions. More than 67,000 cubic yards of dredged sediment from the wildlife reserve was hauled to a nearby salt pond for the creation of a tidal salt marsh.
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.
Montjuïc Communications Tower
Architect: Santiago Calatrava
Location: Barcelona, Spain
Completion year: 1992
LUC has worked with a large multi-disciplinary team to deliver a sustainable infrastructure and development masterplan to guide the long term transformation of Shawfield in Glasgow’s East End. LUC also led the design and implementation of an advanced phase of public realm and landscape works that now forms a framework for new development to be realised over a 20-25year horizon.
Prior to construction the site was heavily contaminated and consisted of large areas of vacant and derelict land together with dated business and industrial premises. The site was completely cleared and underwent significant ground remediation in advance of the public realm works to ensure the site is ‘development ready’.
LUC developed a green infrastructure strategy to inform the masterplan design with an emphasis on integrated surface water drainage and pedestrian connectivity to surrounding communities, transport nodes and the River Clyde corridor.
The Clyde riverbanks have been manipulated to provide new pedestrian and cycling infrastructure and this now provides an extension to the strategically important Clyde Walkway.
An ecologically diverse mosaic of riparian woodland, grassland and wetland habitats has been created that will improve the biodiversity of the River Clyde corridor.
A new strategic pedestrian and cycling link has been created linking the new South Dalmarnock Smart Bridge with the centre of the masterplan site, improving connectivity in the area. In contrast with the more naturalistic riverside treatment this link is more formal in character with strong tree avenue planting, lighting and paving patterns.
For more information, visit: www.landuse.co.uk
IRON BARON
Australian - BHP
IDNo:8323745
Year:1985
Name:OCEAN EXPRESS
Keel:
Type:Bulk carrier
Launch Date:12.84
Flag:PAN
Date of completion:
Tons:21975
Link:1440
DWT:37957
Yard No:2352
Length overall:188.0
Ship Design:
LPP:180.0
Country of build:JPN
Beam:28.0
Builder:Kurushima
Material of build:
Location of yard:Onishi
Number of
screws/Mchy/
Speed(kn):1D-14
Naval or paramilitary marking :
A:*
End:1995
Subsequent History:
89 IRRAWADDY - 90 IRON BARON
Disposal Data:
wrecked Launceston 10.7.95 & scuttled 39.33S/149.23E 30.7.95
July 1995 ... Several Bass Strait near shore islands were impacted at some locations. ... After towing to the dumping area,
the Iron Baron sank around 1930 hours (7.30pm), Sunday ...
The Iron Baron, a 37,557 dwt BHP chartered bulk carrier (built in 1985) grounded on Hebe Reef at the approach to the Tamar
River, northern Tasmania at 1930 hours (7.30pm) Eastern Standard Time (EST) on Monday 10 July 1995. The vessel had departed
from the NSW port of Port Kembla on Saturday 8 July 1995, with a 24,000 tonne cargo of manganese ore that had been loaded at
Groote Island, bound for the BHP owned TEMCO facility at Bell Bay which is located some 12 km inside the Tamar River estuary
and within the port of Launceston. Weather conditions prevailing at the time were north westerly winds of 20-25 knots with
two metre seas.
Shortly after the grounding, it was confirmed bunker fuel oil had escaped, which was later estimated at around 300 tonnes.
The ship's crew were safely evacuated, whilst National Plan response arrangements were initiated. Weather conditions
deteriorated and with the prevailing tidal conditions, oil impacted shorelines in the vicinity of Low Head. There was
significant impact on wildlife, particularly little penguins.
Whilst work continued to refloat the casualty, clean up of affected shorelines was underway. A large wildlife collection,
treatment and rehabilitation program was established at the pilot station complex at Low Head, north of George Town.
The ship was refloated on Sunday 16 July 1995, and the vessel moved to an anchorage, some two miles offshore. The Port of
Launceston Authority imposed a number of conditions to be met in relation to port safety and environmental protection,
before the vessel could enter port.
There was further oil released from under the ship following the refloating, some of which was successfully collected at sea
whilst some impacted Bakers Beach and the Rubicon River estuary in the vicinity of Port Sorell. Several Bass Strait near
shore islands were impacted at some locations. These islands were also the scene for a concentrated wildlife collection
effort.
Underwater inspections and onboard assessments confirmed major structural damage had occurred and with the ship's condition
reported to be deteriorating, and adverse weather predicted, BHP as the ship owner, decided to dump the vessel. The
Commonwealth Environment Protection Agency approved a disposal site some 53 miles east of Flinders Island. After towing to
the dumping area, the Iron Baron sank around 1930 hours (7.30pm), Sunday 30 July 1995.
Sinking Details: Amsa
Ships Details: Mirimar Ship Index
Photo Credits: Merchant Navy of Australia
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.
I was home most of the day getting rid of stuff via Craigslist, cleaning/reorganizing, and getting ready for a job tonight. A long-time client is proposing to his girlfriend and he asked me to photograph it. It's been an on again/off again/on again thing as it was nearly trashed because both had been exposed to Covid-19 last week. Both checked out negative, but she ran a fever the other day of 100 or something. She perked up yesterday and so it was back on, although not as planned, at a restaurant in Capitola, near Santa Cruz. Tonight, we'll be down near the Bay Bridge, and well, it won't be the surprise as initially planned. She pretty much knows what's coming.
So, this is my last picture of the year. I managed to yet again complete 365 days of at least one photo a day. I'm probably not going to go with much of a theme for the coming new year, but I probably will get out each day for at least one photo. While my standards aren't exactly sky high with what I post, I have a feeling that they'll be a tad lower next year. We'll see.
I'm not much of a holiday person. I pretty much hate them. All of them. But... I do hope somehow that 2022 is better for everyone because I don't know that many of us can take another full year that even resembles the last two.
So... press on, everyone... press on.
April 19, 2017. University of British Columbia, Vancouver, BC.
A John Horgan NDP government will help students get a start in life and get the skills they need to succeed by eliminating interest on BC student loans and offering $1,000 to people who complete their studies.
“At a time when more and more people are struggling to get by, Christy Clark and the BC Liberals have made it harder than ever for people to upgrade their skills and get ahead in life,” said Horgan.
“We’re going to fix that. We will ensure every British Columbian has the opportunity to pursue post-secondary education and skills training by eliminating interest on BC student loans and
offering $1,000 in student loan relief for people who complete their studies.
“We have a growing tech sector that is already employing more than 100,000 British Columbians, and they need more skilled employees. We’ll help them grow and help British Columbians succeed by making post-secondary more accessible and affordable.”
Full release here: www.bcndp.ca/releases/interest-free-student-loans-and-100...
Members of the National Commission on Higher Education Attainment before a Monday luncheon panel. From left to right: Andrew K. Benton, president of Pepperdine University (CA); Diana Natalicio, president of The University of Texas at El Paso; George A. Pruitt, president of Thomas Edison State College (NJ); ACE President Molly Corbett Broad; Stephanie Bell-Rose, TIAA-CREF Senior Managing Director and Head of the TIAA-CREF Institute; E. Gordon Gee, president of The Ohio State University; and Gail O. Mellow, president of LaGuardia Community College (NY).
ACE's 95th Annual Meeting, March 2-5, 2013
It's funny how things remain unfinished, then you have a spurt of creativity and make real progress. Am hooked on hexs again.
BLSO celebrated Lawari Rail tunnel festival.
CHITRAL: Beyar Local Support Organization (BLSO) celebrated Lawari rail tunnel festival at Booni some 75 KM from here. District Coordination Officer Chitral Mutasim Billah Shah was chief guest on the occasion while District Nazim Chiral Maghfirat Shah presiding over the ceremony. Chairman BLSO Sardar Hussain said that after completion of Lawari Rail Tunnel new windows of development will open at Chitral and life standard of inhabitants of the district will be enhanced by launching new projects and availability of maximum opportunities of employment and trade. But the nation who not hardworking and lazy can never develop. Tehsil Nazim Chitral Sartaj Ahmad Khan said that we never forget our benefactors like the first parliamentarian from Chitral Ataleeq Jafar Ali Shah who raised the voice for construction of the tunnel at the floor of assembly. The speakers paid rich tribute to Shaheed Zulfiqar Ali Bhutto the then Premier of Pakistan who not only had
launched practically work of the tunnel but also sending food and fodder in aero plane for the people of Chitral even for our cattle. District Nazim Chitral Maghfirat Shah also thanked Parvez Musharaf the then president of Pakistan who completed the tunnel. He stressed upon the nation to be ready to embark new challenges after completion of the tunnel and assured for legislation to preserve property and land of Chitral people.
District Coordination Officer Chitral Mutasim Billah Shah said that the district administration of Chitral would never ignore any opportunity for development of Chitral. He while hailing Chitral people said that being a civilized and polite nation you must to maintain your this standard after completion of the tunnel where most people outsiders expected to be arrived here. He said that the district admin want to arrange a function and to invite all Korean and foreigners engineers, technical non technical staff and daily wages labor for giving them thanks with a proper way and to offer a dinner in their honor. He highly hailed the efforts of BLSO for arranging this colorful festival and celebrating thanks giving day. The festival was concluded with the prayer words of Maulana Qadir Shah Nazim Union Council Mulkho. Later on BLSO members distributed sweets among the participats to express heir pleasures on the this occasion. The speakers termed that after
construction of Lawari Tunnel people of Chitral feeling themselves Pakistani first tieme because in past they remained disconnect from other sorts of the country. Those who spoke on the occasion were Sikandarul Mulk Nazim Tehsil Mastuj, Qayum Baig Nazim Torkho, Muzzafar social worker and member BLSO and local representatives. Earlier those dwellers of Reshun, Koragh and other village also celebrated the festival that distributed sweet dishes among the commuters. On conclusion of the speeches of guest a cultural show was also held where small kids and local youth presented traditional and folk dance to celebrate the day and to enthrall the participants. A large number of people participated the festival despite chilly cold weather and were setting over snow bound ground.
G.H. Farooqi PO Box No. 50 GPO Chitral Pakistan phone No. 0943-302295, 414418, 03025989602
Website: www.dailychitral.com
Email: gulhamad@gmail.com,gulhamad786@hotmail.com,gulhamaad@yahoo.co.uk
'Shoreline Development' This series of photos is of the first part of the development to be nearing completion. Ultimately the complex will occupy the foreshore from here to Folkestone Harbour with similar blocks of apartments. They may be described as luxury - the website indicates that a 1 bedroom apartment will be on sale at nearly half a million £s. This does include parking space in the basement. Current locals have a Marmite attitude to the development.
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.