View allAll Photos Tagged Grounding
Open transformer wrapped in cloth, as are the wire joins, with angle iron grounding and an innertube handle. OSHA approved.
Taken with time lapse. Love the ease of that, but the picture quality suffers. Note: grey hair against grey sky is a less than optimal picture composition.
A series of photos showing the effort to remove the Sarah Spencer from her grounding near the Southwestern Sales dock in Windsor Ontario.
A series of photos showing the effort to remove the Sarah Spencer from her grounding near the Southwestern Sales dock in Windsor Ontario.
local radio 'grounding'
Space-Time: Convention T, annual music and arts festival, Wysing Arts Centre, 31st August 2013
A series of photos showing the effort to remove the Sarah Spencer from her grounding near the Southwestern Sales dock in Windsor Ontario.
Temperature monitoring and grounding of the control system in the old depot for the switch point heaters at Chur railway station. Switzerland, May 22, 2026. (12/21)
Yoga brings me back home to my body. Reminding myself - that my body is not an object to be criticized. I can appreciate the love I show here - adorning body with fun clothes, moving body to calm myself, hugging myself because I am worthy.
Yvonne in Green Dress - 1938
Guy Pène Du Bois (American, 1884 - 1958)
Born in Brooklyn, Guy Pène du Bois was named after Guy de Maupassant, a friend of his father, Henri, who came from New Orleans. Throughout his life the artist maintained a strong connection to French culture (he did not speak English until he was nine), grounding his art in the sharp wit and keen alertness to social environment of his Gallic predecessors, Honoré Daumier, Jean-Louis Forain, and Théophile Steinlen. Yet like so many of his generation, Pène du Bois remained confident in the future of art in America, and his themes were inspired by a broad conception of the American scene, including depicting his countrymen abroad. Although he resided in France for some years, he never became a true expatriate.
Pène du Bois began his art studies at the New York School of Art under William Merritt Chase and also took classes from James Carroll Beckwith, Frank Vincent Du Mond, and Kenneth Hayes Miller. But it was the magnetic Robert Henri, with whom he began to study in 1902, who made the most powerful impression on his development, and this teacher's emphatic blending of art and life remained fundamental to Pène du Bois's aesthetic, both as critic and as painter. He made his first trip to Europe in April 1905, returning in July 1906 after his father’s death. Needing to earn a living, he worked as a writer and an editor for a series of newspapers and art periodicals. His writings, spanning over forty years, represent an articulate consideration of realist concerns grounded in the aesthetic of Henri's circle.
The art of Pène du Bois came to maturity during the 1920s. Although he had ended his studies in 1905, the necessity of earning a living as a critic and teacher meant that studio time was often limited. In 1913 John Kraushaar began to handle the artist’s work at his New York gallery, and in 1918 Pène du Bois had his first one-man show at the Whitney Studio Club. In 1920, in an effort to minimize the distractions of New York, he moved to Westport, Connecticut, though the town, with its active social life--F. Scott Fitzgerald was a neighbor--did not turn out to be the quiet painting refuge he had sought, and he continued to work in his New York studio. Not until December 1924, when he sailed for France, could he paint full time, freed from immediate financial concerns. The artist was forty years old.
His six years in France were the most sustained period of work he would ever have. Temporarily relieved from his obligations as a critic and supported by steady sales through Kraushaar Gallery, Pène du Bois could concentrate on his painting. During this period his style changed dramatically, as he abandoned the heavy brushtrokes and dark colors of his earlier works in favor of a broader conception of the human figure, using a lighter palette, simplified volumes, bold patterns, and larger canvases. Seeking his subjects in situations he knew well, his style remained solidly representational yet progressive.
Pène du Bois and his family occupied a rented house in Garnes, a rural village about thirty miles from Paris, where he visited regularly, seeking the companionship of other artists and subjects for his works. He was fascinated by the display of contemporary life and social relations he saw at the Café du Dôme and other public gathering places and closely studied Americans he encountered abroad. His substantially modeled and stylish figures are chic and sophisticated yet ultimately empty and superficial. His was an urbane view characterized by an underlying sharpness; Pène du Bois’s canvases of the 1920s established his reputation as one of America's most trenchant artists.
The stock market crash of October 1929 forced the artist to return to America in April 1930. Throughout the 1930s and 1940s he continued exploring the figural interests that had long occupied him. Outside the studio he continued to write, teach, and exhibit widely. During the Depression he received government sponsorship for several New Deal murals, and he published his autobiography, “Artists Say the Silliest Things”, in 1940. That year he was also made a full member of the National Academy of Design. Increasing health problems throughout the late 1940s sharply curtailed his work, and by 1950 he had effectively ceased painting. Pène du Bois died in Boston, where his daughter Yvonne lived until her death in 1997.
_________________________________
"Acknowledged as the first museum in the world dedicated solely to collecting American art, the NBMAA is renowned for its preeminent collection spanning three centuries of American history. The award-winning Chase Family Building, which opened in 2006 to critical and public acclaim, features 15 spacious galleries which showcase the permanent collection and upwards of 25 special exhibitions a year featuring American masters, emerging artists and private collections. Education and community outreach programs for all ages include docent-led school and adult tours, teacher services, studio classes and vacation programs, Art Happy Hour gallery talks, lectures, symposia, concerts, film, monthly First Friday jazz evenings, quarterly Museum After Dark parties for young professionals, and the annual Juneteenth celebration. Enjoy Café on the Park for a light lunch prepared by “Best Caterer in Connecticut” Jordan Caterers. Visit the Museum Shop for unique gifts. Drop by the “ArtLab” learning gallery with your little ones. Gems not to be missed include Thomas Hart Benton’s murals “The Arts of Life in America,” “The Cycle of Terror and Tragedy, September 11, 2001” by Graydon Parrish,” and Dale Chihuly’s “Blue and Beyond Blue” spectacular chandelier. Called “a destination for art lovers everywhere,” “first-class,” “a full-size, transparent temple of art, mixing New York ambience with Yankee ingenuity and all-American beauty,” the NBMAA is not to be missed."
www.tripadvisor.com/Attraction_Review-g33847-d106105-Revi...
www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.
LEC holds the patent for the Dissipation Array System (DAS), the Retractable Grounding Assembly (RGA) as well as the Chem-Rod and many other Lightning Protection Products. Our Lightning protection products support two primary lightning protection standards: NFPA 780 & UL 96A. Today’s facilities demand continuing operations, downtime is not acceptable. Lightning related disruptions and damage can be prevented with lightning protection products by LEC. Get in touch with us: www.lightningprotection.com/
A series of photos showing the effort to remove the Sarah Spencer from her grounding near the Southwestern Sales dock in Windsor Ontario.
static grounding clamps :www.kunlunequipment.com
Static Grounding and Bonding Clamps :www.youtube.com/watch?v=RvLLaQf-Ahg
A mechanical structure used to guide the static electricity on the body. Usually and grounding pile or grounding grid connection clip body, and by the force of the spring firmly clamp on the object, and the sharp break paint thimble through surface paint, stains, such as insulating layer, making objects on the accumulation of static electricity can take the lead, eliminate the potential hazard of static electricity. Usually and electrostatic lead collocation use.
No.3 copper as ground for 200amp service panel. Dec 2009
Spool 12-3 NM Underground for shed and two outdoor receptacles
Balanced rock art calmness with the busy city in the background.
This is from the summer of 2012, the rocks were balanced about half-way between 2nd and 3rd Beaches on the Stanley Park Seawall. Balance on many levels!
Picture of the lower end of the motor figuring out if my bellhousing cover is missing. It is. Say hi to the teeth on my flywheel. I later found the cover in the boot of the car.
CATVANLOI.COM-Ống thép luồn dây điện EMT steel conduit (Electrical Metallic Tubing), ống thép mạ kẽm luồn dây điện ren 2 đầu IMC steel conduit (Intermediate Metal Conduit), ống thép tráng kẽm luồn dây điện ren RSC steel conduit (Rigid Steel Conduit), ống luồn dây điện tiêu chuẩn Nhật Loại E & C (JISC8305 White steel conduit), ống thép GI – STK luồn cáp quang/cáp điện tiêu chuẩn BS4568-BS31 (BS4568-BS31 Galvanized White steel conduit), ống thép luồn dây điện mềm, ống ruột gà thép KAIPHONE-CVL, ống ruột gà lõi thép mạ kẽm luồn dây điện, ống luồn dây điện mềm, ống ruột gà tráng kẽm không bọc nhựa, Flexible metallic conduit- water proof flexible galvanized steel conduit – liquid tight flexible metal conduit, High quality Thread rod, Thread rod coupling, Plastic end cap for thread rod, Drop in Anchor, Anchor Bolts, Heavy duty concrete Insert, Steel conduit hanger/Steel conduit Clamp/Pipe hanger, Beam Clamp/Iron Beam Clamp, Purlin Clamp/Suspending Clamp, Clevis hanger, K Clip, Flange Clip, Omega trap, Applicable hanger, Unistrut Channel/ Strut/ C-Channel/ Double Unistrut profile, Long spring nut, Cantilever Arm, U bolts, Fixings and Supports for Plumbing, Fire Protection, Heating, Ventilation and Air Conditioning- Mechanical Fixings, Fasteners and Spring steel Sprinkler Supports- Pipe & hanger clip- Pipe Clamp / Wire mesh tray/ Steel cable Basket, Unistrut/ C- profile systems /Strut 41 x 41 x 3000- 41 x 21 x 3000; Air Grille- Louver
The USS Constitution's sailing master recorded in the ships log the grounding of the frigate Philadelphia off Tripoli.
The United States Naval Academy Museum, located at Preble Hall within the Academy campus, features two floors of exhibits about the development and role of the U.S. Navy, spread across area of 12,000 square feet with four galleries. The museum's history dates back to 1845, when it was founded as the Naval School Lyceum. In 1849, President James K. Polk directed the Navy's collection of historic flags be sent to the new Naval School at Annapolis for care and display, establishing one of the museum's oldest collections. The Naval Academy Lyceum of the 19th and early 20th centuries was located in several places around the Naval Academy Yard, before the construction of Preble Hall in 1939. From 2007–2008, Preble Hall underwent a complete renovation to turn the building into a modern museum, which officially reopened in the summer of 2009.
The United States Naval Academy, the second oldest of the five U.S. service academies, was established in 1845 by Secretary of the Navy George Bancroft to educate midshipmen for service in the officer corps of the United States Navy and United States Marine Core. Approximately 1,200 "plebes" enter the academy each summer. About 1,000 midshipmen graduate and commission each year. The 338-acre campus, known as the "Yard," is located on the former grounds of Fort Severn, and is home to many historic sites, buildings and monuments.