View allAll Photos Tagged Exploit
ALEXANDRIA, VA: National Center for Missing & Exploited Children: December 2022 Board Meeting ( NCMEC 2022 Claire Edkins)
Hangar d'une exploitation agricole de la Zone d'Aménagement Différé : l'agriculteur affiche en grand sa volonté de rester sur ses terres par son refus du projet d'aéroport de Notre-Dame des Landes
Original Sumi-e Pen & Ink Calligraphy Cards by Richard Lazzara
www.flickr.com/photos/shankargallery/sets/72157594518634150/
WASHINGTON, DC: National Center for Missing & Exploited (NCMEC) 2023 Hope Gala, Sept. 14, 2023
The National Center for Missing & Exploited Children’s (NCMEC) Hope Gala held on Sept. 14, 2023, at the Smithsonian National Portrait Gallery in Washington, D.C. The event is a celebration of the inspiring work being done globally to protect children. We recognized leaders in child safety, honor survivors, and remember the families and victims who are still seeking justice and safety. Every child deserves a safe childhood. Claire Edkins/NCMEC
Battle Scene - c. 1645/1646
Philips Wouwerman
Dutch, 1619 - 1668
Philips Wouwerman, an important Haarlem painter from the mid-seventeenth century, is best known for his elegant hunting scenes. In his early career, however, he specialized in boldly expressive depictions of military encounters. Wouwerman’s dynamic vision of men and horses in the midst of battle seems to have been inspired by non-Dutch pictorial sources, which he would have known primarily through prints. Chief among these was Antonio Tempesta (1555–1630), whose etchings of battle scenes featuring rearing horses and close combat were widely circulated and enormously influential during the early
seventeenth century.
The dramatic poses of men and horses recall the oeuvre of Sir Peter Paul Rubens (1577–1640), but one can also recognize the influence of the Italianate painter Pieter van Laer (1599–1642), whose sketchbook Wouwerman owned. Images of warfare had a long tradition in Netherlandish painting, from sixteenth-century representations of peasant revolts to the various combat scenes that were popular during the Thirty Years' War (1618–1648). For Wouwerman, this long-drawn-out and devastating war may have become a particularly topical subject following his short period of study in northern Germany in 1638–1639, where he may have witnessed or heard firsthand accounts of the armed conflicts in that country.
In this powerful work from about 1645/1646, the viewer is presented with a violent skirmish between Dutch and Spanish soldiers. As the fierce confrontation rages on, dead bodies lie strewn on the ground and a maimed drummer tries to flee from the mayhem. Instead of extolling the heroism of military exploits, Wouwerman bears witness to a brutal display of human violence and the suffering that results. For all of the cold realism of the subject matter, Wouwerman painted this scene with a remarkably subtle palette and close attention to detail. Every element is carefully integrated into a dynamic composition that displays his considerable artistic skill at perspective and lifelike representation of bodies in motion.
Philips Wouwerman, a prolific painter of equestrian scenes, hailed from Haarlem, where he was baptized on May 24, 1619. The eldest of three sons born to the painter Pouwels Joosten and Susanna van den Bogert, Pouwels’ fourth wife, Wouwerman probably first learned to paint from his father. According to his earliest biographer, Cornelis de Bie, he was then apprenticed to Hals, Frans.[1] Wouwerman also may have received some training in the representation of horses from the Haarlem artist Pieter Verbeeck (1610/1615–1652/1654).
In 1638 Wouwerman briefly left the Netherlands for Hamburg. According to Matthias Scheits (c. 1625/1630–c. 1700), a student of the artist, Wouwerman fled the Netherlands in order to marry a Catholic girl, Annetje Pietersz van Broeckhof, against the wishes of his Protestant family. Although no records of the wedding exist in the marriage register of Hamburg’s Catholic community, the fact that Scheits knew Wouwerman personally argues for the validity of his account. Wouwerman’s journey to Hamburg, however, involved more than just a wedding; he also spent some time working in the studio of the obscure German history painter Evert Decker (d. 1647).
By 1640 Wouwerman and his wife had returned to Haarlem, where the artist was admitted into the local Saint Luke’s Guild on August 8 of that year. In early 1642 Koert Witholt, a Swedish artist, served as his apprentice for a few short weeks. Later that same year Nicolaes Ficke and Jacob Warnars, both from Amsterdam, were also recorded as his pupils. Wouwerman was an active member in Haarlem’s artistic and civic communities. In 1646 he was elected one of the six vinders of the Saint Luke’s Guild, and between 1642 and 1655 he served as a member of the militia company of Sint Joris. He and his wife had many children, of which seven survived. Wouwerman died at the age of forty-eight on May 19, 1668. He was buried four days later in Haarlem’s Nieuwe Kerk.
Wouwerman was an extraordinarily productive artist. More than a thousand paintings bear his name, though only a small number are dated, making it difficult to establish a chronology of his work. Attribution issues also exist because a number of studio works and copies were made by his brother Pieter Wouwerman (1623–1682). Wouwerman’s oeuvre consists predominantly of small cabinet paintings of equestrian subjects, such as battle or hunting scenes, army camps, and smithies. He also painted several genre pieces as well as some mythological and religious subjects. Despite the Italianate quality of much of his work, it is extremely unlikely that he ever traveled to Italy. His style was greatly influenced by Laer, Pieter van, a fellow Haarlem artist who spent fourteen years in Italy from 1625 to 1639; according to Houbraken, after Van Laer died, Wouwerman acquired some of his sketches and studies.
________________________________
For earlier visit in 2024 see:
www.flickr.com/photos/ugardener/albums/72177720320689747/
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
.
Bandwebsite: www.the-exploited.net
This photograph is copyrighted and may not be used without permission. Please feel free to contact me for usage rights.
More at www.gertjanvanderloo.nl
In this zone their have been some pitch exploitation. Main rule for all heavy machinery working on the lake: keep moving!
Cyriaque Toussi, sous-traitant pour la mine Gemini, Canala.
Photo : Christine Demmer
Plus d'infos : cne.hypotheses.org/1640
Tapis de chargement du nickel à Thio, premier site d’exploitation de la la SLN, société historique.
Photo : Christine Demmer
Plus d'infos : cne.hypotheses.org/1640
The Charms have joined Old Jack's last Saturday of the month residency at Rosebud Bar in Davis Square a few times.
Photo by Sooz for Exploit Boston!
Read the event recap on Exploit Boston!
www.exploitboston.com/event-recaps/photos-of-the-charms-a...
If you use some pics (communauties and blogs uses only), please credit them as anne-m-photo.com/
Concert The Exploited,Wattie Buchan, Hellfest 2015, dimanche 21 juin 2015, crédit photo AnneM
Ancienne carrière d’exploitation de pierre de Comblanchien, abandonnée depuis 2003,
elle méritait une seconde vie.
Devenue au fil des années une friche dangereuse, rachetée par la petite commune de Villars-Fontaine , elle était destinée à être remblayée, comme toutes les carrières en fin de vie.
L’histoire aurait pu s’arrêter là !
La suite sur :
Вокалист легендарной панк-группы The Exploited Уотти Бьюкен (Wattie Buchan) доставлен в серьёзном состоянии в бельгийскую больницу во время европейского турне. Судя по заявлению группы на странице в Фэйсбуке, у Уотти серьёзное заболевание сердца, и «он почти умер». «Он хотел бы поблагодарить...
specialradio.ru/nr/frontmen-the-exploited-gospitalizirova...
Audi’s RS Q8 exploits are legendary, with the explosive sprinting bursts of Jamaica’s Kishane Thompson and the long-range speed and stamina of Sydney McLaughlin-Levrone. Based on the striking Q8 model, the RS variant ups the ante with stellar performance, a confident stance, enhanced technology, and exquisite materials.
Audi sent Automotive Rhythms a 2025 RS Q8 performance model in Chili Red Metallic for this week's media loaner to evaluate. Mechanically, it receives a 4.0 TFSI bi-turbo V8 engine, 8-speed Tiptronic transmission, and quattro AWD. Behind the wheel, we were enamored with its acceleration from 631-horsepower and 627 lb-ft of torque.
Reaching 0 to 60 mph in 3.4 seconds and topping 190 mph, the Audi SUV blows by traffic with ease when called upon. Along with the aggressive growl from the RS sport exhaust system and 23” 5-Y-spoke designed forged rims paired with 295/35 ZR23 Pirelli P-Zero performance tires, spectators become well aware of the SUV's capabilities!
www.xvcorsaire-saintmalo-rugby.com/pole-jeune
U16 : XV Rance Émeraude / CJF Fleury-les-Aubray
Dimanche dernier, les cadets du XV RanceÉmeraude (entente U16 entre le XV Corsaire Saint-Malo et Dinan) ont remporté, au Mans, la finale Grand Ouest face à Fleury-les Aubrais (45).
Les jeunes pousses malouines et dinannaises ont réalisé un bel exploit dimanche dernier, en remportant la finale Grand Ouest de leur catégorie. Sur un score sans appel qui plus est : 45 à 3, qui reflète la détermination et la domination des jeunes rugbymen bretons. « Un score qui s’explique par l’application, dès le début du match, d’une défense solide, basée sur une technique individuelle maitrisée et un état d’esprit courageux et solidaire de nos joueurs », se réjouit Jordi Rougé, responsable technique du XV Corsaire.
Cette finale récompense le travail fourni tout au long de l’année par les joueurs et les entraineurs de l’entente.
Elle valide par ailleurs l’organisation sportive et pédagogique mise en place par le XV Corsaire depuis deux ans, notamment au sein du centre d’entrainement. « Notre collectif a su rester concentré jusqu’au bout, précise Mariot, coach des U16 au XV Corsaire. Je suis fier de leur implication et de leur état d’esprit ». tournois et Corsaire académie,
Le championnat est terminé mais pas la saison. Désormais, les cadets vont évoluer en rugby à 7 lors de tournois. De plus, cet été, du 9 au 13 juillet, le XV Corsaire organise la seconde édition de la Corsaire Académie : une semaine de rugby en demi-pension à Saint Malo.
Ouvert aux enfants et aux jeunes (filles et garçons) de 6 à 16 ans, licencié(e)s ou débutant(e)s souhaitant découvrir le rugby, ce stage s’achèvera par une journée Fun (lasergame, bowling, etc.).
Renseignements auprès de Jordi Rougé : 06 60 44 15 32.
(le Pays malouin)
Jeunes. Les cadets de saint-Malo en finale Teulière b.
Ce dimanche 27 mai, les cadets
du XV Rance Émeraude (entente entre le XV Corsaire CJF St Malo et Le Rugby Dinan) affrontent leurs homologues du CJF Avenir de Fleury-les-Aubray (45) pour le titre de champion Teulière B.
Après un parcours quasi sans faute tout au long du championnat - une seule défaite face à Ancenis que le XV Rance Émeraude a éliminé demi-finale - les jeunes rugbymen malouins et dinannais se préparent activement cette semaine pour la finale qui se déroulera au Mans (72).
« Les joueurs sont ultramotivés, rapporte Mariot, l’un des entraîneurs du XV Corsaire. Nous avons réussi à créer un collectif soudé au sein de l’entente.
Cette place en finale, c’est aussi le résultat d’un travail commun entre les deux clubs sur un même projet de jeu qui porte ses fruits puisque l’an passé déjà, les Juniors en entente avec Dinan étaient en finale. » Jordi Rougé, responsable technique du XV Corsaire, ne peut que se réjouir. Une bonne partie des jeunes finalistes font leurs gammes au centre d’entrainement du club malouin. Mis en place il y a deux ans, le centre d’entrainement du XV Corsaire offre aux joueurs de 14 à 18 ans des entraînements et des séances de préparation physique hebdomadaires intensifs ainsi qu’un accompagnement scolaire individualisé. «
La formation est au coeur de notre projet de club, précise Jordi Rougé. Dès leur plus jeune âge, nous proposons à nos licencié(e)s un encadrement de qualité.
Nos éducateurs suivent régulièrement des formations pour que les joueurs et joueuses de chaque catégorie bénéficient d’un enseignement technique commun qui les fera progresser tout au long de leur parcours rugbystique au sein de XV Corsaire. »
Pour rappel, le XV Corsaire compte plus de 220 licencié(e)s, un centre d’entrainement et 4 pôles sportifs (École de rugby, Pôle Jeunes, Pôle féminin et Séniors). Il accueille les filles et les garçons dès 4 ans. Son équipe Senior est championne de Bretagne (championnat Honneur 2017/2018) et évoluera en championnat de Fédérale 3 la saison prochaine.
(le Pays malouin)
Dimanche, les cadets du XV Rance-Émeraude (entente U16 entre le XV Corsaire Saint-Malo et Dinan) ont remporté, au Mans, la finale Grand Ouest face à Fleury-les-Aubrais (45), sur le score sans appel de 45 à 3. « Un résultat qui s'explique par l'application, dès le début du match, d'une défense solide, basée sur une technique individuelle maîtrisée et un état d'esprit courageux et solidaire de nos joueurs », se réjouit Jordi Rougé, le responsable technique du XV Corsaire. Désormais, les cadets vont évoluer en rugby à 7, lors de tournois. Cet été, du 9 au 13 juillet, le XV Corsaire organise la seconde édition de la Corsaire Académie : une semaine de rugby en demi-pension à Saint-Malo. Ouvert aux filles et garçons de 6 à 16 ans, licenciés ou débutants souhaitant découvrir le rugby.
Pratique
Renseignements auprès de Jordi Rougé, tél. 06.60.44.15.32.
(© Le Télégramme)