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I reach out to touch people that wouldn't afford me the same courtesy. It's an exercise in futility and yet, I can't seem to stop.
Day 3 of the 18th African Command and Staff Colleges Chief Instructors’ Workshop.| Kigali, 23 July 2025
Great turnout for yesterday's Multi-Chamber Business Expo & Taste of Okaloosa County! Thank you to our sponsors Apparel Expressions, LLC; CenturyLink; Fort Walton Beach Medical Center; Gulf Coast Dermatology; ResortQuest by Wyndham Vacation Rentals; SimpleHR; The Spine Institute on the Emerald Coast; Twin Cities Hospital; and Waste Management of NW Florida.
Day two of a three day backpacking trip into the Piney Creek Wilderness.
We hiked the remainder of Tar Kiln Trail down to Piney Creek Trail. The trail has shifted significantly to the east at the creek end. We tried to follow the original trail which is shown on the Topo maps and the Wilderness brochure, but it petered out very quickly, and we decided not to try and bushwhack 300 ft. down the hill.
Exploring more we found another trail that runs along the south of the creek leading to Buck Hollow. We followed this and camped at the mouth of Buck Hollow and Piney Creek.
8 June 2012 | Copyright © 2012 Gary Allman - Ozarks Walkabout, all rights reserved
This session featured nearly one hundred posters that showcased community-engaged activities at UMass Boston, and celebrate the efforts and achievements of faculty, staff, and community partners. Each year the poster showcase provides an excellent opportunity to learn about existing efforts, make new connections, and build stronger collaborations.
a streak of lightening over hull . hastily set up as i just noticed some flashes coming from behind the curtain!! i wish i had set up a bit quicker as the strike before it was close enough to set off the security lights in back the garden
House of Styles: Drucifer & Shagg-e
Shagg-E (Huntington, WV)
DRUCIFER (Beckley, WV)
www.facebook.com/druciferofficial.com
Photo/Video by Tophu Photo. www.facebook.com/TophuPhoto?fref=ts
Brought to you by the always dedicated Underground Industries. www.facebook.com/undergroundind
Eagles of Death Metal in concerto al Circolo Magnolia di Milano foto di Andrea Ripamonti per www.rockon.it
Ferinish End of Morvern Parish War Memorial
IN MEMORY OF
THOSE FROM THE FERINISH END OF
THE PARISH OF MORVERN WHO DIED
FOR US IN THE GREAT WAR
1914 - 1919
KILLUNDINE
SERGT JAMES FERGUSON M.G.C.
PTE ANGUS CAMERON M.G.C.
PTE ALEX McKINNON A.&S.H.
GLENMORVERN
SMN HUGH GILLIES M.N.
GNR JOHN McARTHUR R.G.A.
LIEUT DUNCAN CAMERON A.&S.H.
PTE WIOLLIAM GILLIES C.H.
PTE JOHN STEWART S'TH. H.
DRIMNIN
PTE DONALD MACDONALD, CANADIAN R.E.
PTE WM. C. BURN MURDOCH CANADIAN R.E.
GNR JOHN ROBERTSON R.G.A.
PTE JOHN CAMPBELL C.H.
"HIS NAME SHALL ENDURE FOR EVER"
ID:MHG28670
Type of record:Monument
Name:War Memorial, Ferirish Church, Bonnavoulin
Grid Reference:NM 56410 52261
Map Sheet:NM55SE
Civil Parish:MORVERN
Geographical Area:LOCHABER
FERINISH CHURCH WAR MEMORIAL, BONNAVOULIN
Alternative Names Fernish Church
Site Type WAR MEMORIAL (20TH CENTURY)
Canmore ID 134517
Site Number NM55SE 29.01
NGR NM 5640 5226
Council HIGHLAND
Parish MORVERN
Former Region HIGHLAND
Former District LOCHABER
Former County ARGYLL
Thousands of people watched this landmark event in the nation's Capital and one of Washington DC's favorite parades! The Capital Pride Parade presented by Marriott International traveled 1.5 miles through Dupont Circle and 17th Street and ended in the Logan Circle neighborhood. The parade included more than 170 contingents-floats, vehicles, walkers, entertainment-consisting of local businesses, Capital Pride Heroes and Engendered Spirit awardees, politicians, community groups, drag queens, dogs, and much more. For the first time, a U.S. Military color guard led the parade.
Follow @CapitalPrideDC on Instagram!
-Photos by Capital Pride Photography Team
Constructed between 1902 and 1904 as part of the "New Works" of the Greater Cincinnati Water Works, a major overhaul in the water service system for the city built at the turn of the 20th Century, this Neoclassical-style building stands along Riverside Drive (formerly Eastern Avenue) in Cincinnati's East End at the old Pendleton neighborhood. Six massive steam-driven plunger pump-type pumping units were originally housed within the limestone edifice, with the high-tech interior contrasting with the Classical-style exterior, which featured an intricate cornice, the city's seal, a red tile hipped roof, pedimented and arched window headers, an arched entrance porch centered on the pedimented middle pavilion of the building, Roman Lattice windows, and corinthian pilasters. The building still serves as the main pumping station for the city's water system, but, due to the flood-prone nature of the location and the importance of the sensitive equipment inside, the building has been surrounded for decades by a high concrete floodwall on all sides, reducing the ability to appreciate the beautiful facade of the building. Additionally, alterations, such as the infill of the lower row of windows with glass block and some upper windows with limestone panels, have impacted the historic character of the building. Nevertheless, it still remains a marvel of both early 20th Century engineering and architecture, a true public palace to progress.
Luis Alberto del Castillo, Minister, Alternate Representative of Mexico to the OAS
Date: March 16, 2011
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Seeing a dazzling planetary alignment of Mars, Saturn, Jupiter & Luna early this morning. It was a spectacular display indeed! I went back to bed shortly after taking a few pics. I gotta get up again for work in a few hours... Pics taken from around San Jose, CA. (Tuesday early morning, April 14, 2020)
*Some more astronomy news:
The predawn hours this week was to sparkle as Jupiter, Saturn and Mars dance around the moon on consecutive mornings. On Tuesday morning (April 14), the moon was to be moving toward Jupiter. Then, on Wednesday (April 15), the moon would meet up with the ringed wonder of our planetary system, Saturn. And finally, on Thursday (April 16), it was to be the turn of the red planet, Mars, to have a summit meeting with Luna. Of course, such alignments are all just a matter of perspective. Our moon was about 243,000 miles away from us during these encounters, while Mars stands at 125 million mi, Jupiter at 473 million mi & Saturn at 936 million mi! During this time, Jupiter & Saturn were separated by 5.5 degrees in our sky, but in the coming months, this situation was going to change dramatically. At roughly 20-year intervals, Jupiter & Saturn engage in a conjunction, coming quite close to each other in our sky, after Jupiter's faster motion around the sun allows it to overtake Saturn… The last time this happened was in May 2000. Later this year, it was to happen again. Usually, when Jupiter & Saturn "meet," they approach to within a degree or two of each other in our skies. But what will happen in December was to be nothing short of extraordinary. On December 21, Jupiter & Saturn will come to within just 0.1 degree of each other (perspective-wise)! That's just one-fifth the apparent diameter of the moon. It will be by far the closest that these 2 planets have appeared relative to each other since the year 1623 and so close together that if you use a telescope and a high-power eyepiece, you will be able to fit both planets in the same field of view!
A Courtyard production combining professional actors with the most talented members of our Youth Theatre. 6 - 15 October 2016.
TASTE OF MILANO 2013
FOOD LOVES DESIGN !
NUOVA LOCATION PER L’EDIZIONE MILANESE
DEL PIÙ GRANDE RESTAURANT FESTIVAL DEL MONDO
La quarta edizione di Taste of Milano
si svolgerà dal 30 maggio al 2 giugno
al Superstudio Più, in zona Tortona.
Jouqain Miller Cabin
Part of Rock Creek National Park
Washington, D.C.
Listed: 10/23/1991
Rock Creek Park Historic District encompasses public reservation 339 created for the scenic and recreational enjoyment of the people of the United States on September 27, 1890. Rock Creek Park is a natural reserve within a heavily urbanized area and in this respect it is unusual. Unlike other great American urban parks designed in the 19th century, such as Central Park in New York City (1856), Golden Gate Park in San Francisco (1870), or the Boston Metropolitan Park System (1878-1895), Rock Creek Park was created by the forces of nature.
This historic district is architecturally and historically significant under National Register criteria A, B, and C. The period of significance for the district spans the years 1791 to 1941. The first date was chosen on the basis of historical associations with Andrew Ellicott's survey of the District of Columbia boundary. Rock Creek Park is the last major parcel of natural landscape in the District of Columbia and represents a symbolic reference to the historic Ellicott survey. The only other tangible cultural resource to recall this event are the District of Columbia boundary markers. Northwest Mile Marker No. 9 lies adjacent to the northwest corner of the park. It is known that the survey team worked in the park because the D. C. line also formed the northwest boundary line for Reservation 339 set aside as Rock Creek Park in 1890. The latter year for the period of significance correlates to the end of the Depression era improvements in Rock Creek Park. Under National Register criteria, the historic district has architectural and historical qualities and associations related to nine areas of significance: Architecture, Community Planning and Development, Conservation, Engineering, Entertainment/Recreation, Industry, Landscape Architecture, Military, and Other (Horticulture).
College of DuPage students, staff and faculty gather to enjoy student and employee art during the Fall Student, Faculty and Staff Art Reception hosted by the Office of the President. Selected pieces from the exhibit will continue to be displayed in the President’s office reception area and conference room. The artwork changes twice a year to create an ongoing celebration of the College’s creativity.
The Palais Welsersheim is a Baroque Graz city palace at the corner of Hans-Sachs alley and at the Iron Gate in the district of Inner City. Today in the premises, inter alia, the bookstore Moser is housed.
History
The paymaster count Sigmund von Stubenberg gave the order to build the palace which was built according to plans by Joachim Carlone 1689-1694. The property, along which led the former city wall, was left to him by the Styrian estates. After the death of count Wolfgang von Stubenberg the palace was bought by count Josef von Welsersheimb, giving the building his name. The house, which was partly rented, remained until 1956 in the possession of the descendants of count Welsersheimb. After the demolition of the Graz city fortification the family bought the neighboring Landschaftsbastei (bastion - Landstände: The "Landstände/Landschaft" were the political representatives of the estates of the realm in the German Empire in the Middle Ages and the Early Modern Period, as opposed to their respective territorial lords (the "Landesherrn")) and had built a terrace garden. To 1812 lived Louis Bonaparte, a brother of Napoleon, at the Palais Welsersheimb. In 1861 the building was enlarged and created a carriage house with the associated stables.
The tenants of the Palais were from 1911 the Bohemian Union Bank, between 1924 and 1957 the restaurant Reif. After the partial destruction of the east wing by bombs during World War II, bought the shoe factory Humanic 1956 the Palais, but sold it only three years later to the Austrian Länderbank. Under this ownership began the restoration of the affected by the disaster east wing. Since the spring of 2005, the majority of the palace is used by the bookstore Moser.
Architecture and design
The Palais Welsersheimb is a four-storey building with a U-shaped floor plan. The façade design of the representative palace building was under the influence of Andrea Palladio and Vincenzo Scamozzi. The large portal was built by master stonemason Bernhard Leykhauff and stems from the construction of the palace. Interesting are in addition to the facade stucco the frescoes in the vestibules with various scenes from Ovid's Metamorphoses and the staircase to the left near the gate with its Tuscan, Ionic and Corinthian columns and balustrades.
Das Palais Welsersheimb ist ein barockes Grazer Stadtpalais an der Ecke Hans-Sachs-Gasse und Am Eisernen Tor im Bezirk Innere Stadt. Heute ist in den Räumlichkeiten unter anderem die Buchhandlung Moser untergebracht.
Gschichte
Der Kriegszahlmeister Graf Sigmund von Stubenberg gab den Auftrag zum Bau des Palais, das nach den Plänen von Joachim Carlone von 1689 bis 1694 errichtet wurde. Das Grundstück, an dem die ehemalige Stadtmauer entlangführte, wurde ihm von den steirischen Ständen überlassen. Nach dem Tod des Grafen Wolfgang von Stubenberg wurde das Palais von Graf Josef von Welserheimb gekauft, der dem Gebäude seinen Namen verlieh. Das Haus, von dem Teile vermietet wurden, blieb bis 1956 im Besitz der Nachkommen des Grafen Welsersheimb. Nach dem Abbruch der Grazer Stadtbefestigung kaufte die Familie die angrenzende Landschaftsbastei und ließ einen Terrassengarten errichten. Um 1812 wohnte Louis Bonaparte, ein Bruder Napoleons, im Palais Welsersheimb. Im Jahr 1861 wurde das Gebäude vergrößert und eine Wagenremise mit den dazugehörigen Stallungen angelegt.
Die Mieter des Palais waren ab 1911 die Böhmische Unionsbank, von 1924 bis 1957 das Restaurant Reif. Nach der teilweisen Zerstörung des Ostflügels durch Fliegerbomben im Zweiten Weltkrieg, kaufte die Schuhfabrik Humanic 1956 das Palais, verkaufte es aber nur drei Jahre später an die Österreichische Länderbank weiter. Unter diesem Eigentümer begann die Restaurierung des in Mitleidenschaft gezogenen Ostflügels. Seit dem Frühjahr 2005 wird der Großteil des Palais von der Buchhandlung Moser benutzt.
Architektur und Gestaltung
Das Palais Welsersheimb ist ein viergeschossiger Bau mit U-förmigem Grundriss. Die Fassadengestaltung des repräsentativen Palastbaus stand unter dem Einfluss Andrea Palladios und Vincenzo Scamozzis. Das große Portal wurde vom Steinmetzmeister Bernhard Leykhauff errichtet und stammt aus der Bauzeit des Palais. Sehenswert sind neben dem Fassadenstuck die Fresken in den Vorsälen mit diversen Darstellungen aus Ovids Metamorphosen und das Stiegenhaus links neben der Toreinfahrt mit seinen toskanischen, ionischen und korinthischen Pfeilern und Balustraden.
PRESIDIO OF MONTEREY, Calif. - Presidio of Monterey service members and civilians compete for a spot on the Operation Rising Star singing competition at the Hobson Student Activity Center here Sept. 10. The annual Operation Rising Star singing competition and Classic Car Show will be held on Soldier Field.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
Photo by Hiro Chang, Presidio of Monterey Public Affairs.
Medicinal Rice Formulations of India popular among Senior Traditional SirsaPhool Experts.
Septenary/Octonary Ingredients of Important Traditional Herbal Formulations from Pankaj Oudhia’s Medicinal Plant Database
Related References
Oudhia, P. (2013). Red Rice based Traditional Herbal Formulations for Tricuspid valve disease. Medicinal Rice Formulations (1990-2013) in Pankaj Oudhia’s Medicinal Plant Database at pankajoudhia.com
Oudhia, P. (2013). Red Rice based Traditional Herbal Formulations for Trigeminal neuralgia. Medicinal Rice Formulations (1990-2013) in Pankaj Oudhia’s Medicinal Plant Database at pankajoudhia.com
Oudhia, P. (2013). Red Rice based Traditional Herbal Formulations for Ulcerative colitis. Medicinal Rice Formulations (1990-2013) in Pankaj Oudhia’s Medicinal Plant Database at pankajoudhia.com
Oudhia, P. (2013). Red Rice based Traditional Herbal Formulations for Ulnar Wrist Pain. Medicinal Rice Formulations (1990-2013) in Pankaj Oudhia’s Medicinal Plant Database at pankajoudhia.com
Oudhia, P. (2013). Red Rice based Traditional Herbal Formulations for Undescended Testicle. Medicinal Rice Formulations (1990-2013) in Pankaj Oudhia’s Medicinal Plant Database at pankajoudhia.com
Oudhia, P. (2013). Red Rice based Traditional Herbal Formulations for Unexplained gastrointestinal bleeding. Medicinal Rice Formulations (1990-2013) in Pankaj Oudhia’s Medicinal Plant Database at pankajoudhia.com
Oudhia, P. (2013). Red Rice based Traditional Herbal Formulations for Urachal cancer. Medicinal Rice Formulations (1990-2013) in Pankaj Oudhia’s Medicinal Plant Database at pankajoudhia.com
Oudhia, P. (2013). Red Rice based Traditional Herbal Formulations for Ureteral calculi or stone. Medicinal Rice Formulations (1990-2013) in Pankaj Oudhia’s Medicinal Plant Database at pankajoudhia.com
Oudhia, P. (2013). Red Rice based Traditional Herbal Formulations for Ureteral cancer. Medicinal Rice Formulations (1990-2013) in Pankaj Oudhia’s Medicinal Plant Database at pankajoudhia.com
Oudhia, P. (2013). Red Rice based Traditional Herbal Formulations for Urinary Incontinence. Medicinal Rice Formulations (1990-2013) in Pankaj Oudhia’s Medicinal Plant Database at pankajoudhia.com
Oudhia, P. (2013). Red Rice based Traditional Herbal Formulations for Urinary tract infections. Medicinal Rice Formulations (1990-2013) in Pankaj Oudhia’s Medicinal Plant Database at pankajoudhia.com
Oudhia, P. (2013). Red Rice based Traditional Herbal Formulations for Uterine fibroids. Medicinal Rice Formulations (1990-2013) in Pankaj Oudhia’s Medicinal Plant Database at pankajoudhia.com
This picture is a part of Compilation of Pankaj Oudhia’s Research Works at Indira Gandhi Agricultural University (IGKV), Raipur, India (1990-2001),
Le Musée des beaux-arts du Canada (en anglais : National Gallery of Canada), situé à Ottawa, capitale du pays, est l'un des premiers musées du Canada.
Situé sur la promenade Sussex, le bâtiment de verre et de granite jouit d'une superbe vue sur le Parlement canadien et la colline du Parlement. Il a été dessiné par Moshe Safdie et a ouvert ses portes en 1988. Jean Sutherland Boggs, directrice du musée de 1966 à 1976, fut choisie par le Premier ministre Pierre Elliott Trudeau pour superviser la construction du bâtiment.
Histoire
Le musée est fondé en 1880, par le gouverneur général du Canada, le marquis de Lorne, dont la femme, la princesse Louise est artiste. En 1882, le musée est installé dans sa première demeure sur la colline du Parlement dans le même bâtiment que la Cour suprême. En 1911 on le déplace au Victoria Memorial Museum, qui est aujourd'hui le musée canadien de la nature. En 1962, un nouveau déménagement le déplace dans un bâtiment de Elgin Street à proximité de la haute commission britannique. Son dernier déménagement, dans ses locaux actuels sur Sussex Drive date de 1988. En 1985, le nouveau musée canadien de la photographie contemporaine, anciennement le Service de la photographie de l'Office national du film du Canada, est alors affilié au Musée des beaux-arts.
Collections
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Le musée abrite une collection large et variée de peintures, dessins, sculptures et photographies. Bien qu'il se concentre sur l'art canadien, il détient également des œuvres remarquables d'artistes européens. Il possède également une importante collection d'œuvres d'art contemporain comme certaines pièces d'Andy Warhol. En 1990, le musée fait l'acquisition de la Voix de feu (1967) de Barnett Newman pour 1,8 million de CAD$, causant une tempête de protestations, avec cette peinture composée de seulement trois bandes de couleur verticales bleu, rouge, bleu. En 2005, il acquiert une peinture de la Renaissance italienne de Francesco Salviati pour 4,5 millions de CAD$.
La collection canadienne est composée d’œuvres de Tom Thomson et du Groupe des Sept ainsi que d'Emily Carr, Alex Colville, Henry Speck, etc. Il détient également des œuvres d'artistes inuits comme Pudlo Pudlat.
Le musée organise ses propres expositions qui se déplacent à travers le Canada et au-delà, souvent coorganisées par d'autres musées dans le monde.
Extrait de Wikipédia
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The National Gallery of Canada (French: Musée des beaux-arts du Canada), located in the capital city of Ottawa, Ontario, is Canada's national art museum.[8] The museum's building takes up 46,621 square metres (501,820 sq ft), with 12,400 square metres (133,000 sq ft) of space used for exhibiting art. It is one of the largest art museums in North America by exhibition space.
The institution was established in 1880 at the Second Supreme Court of Canada building, and moved to the Victoria Memorial Museum building in 1911. In 1913, the Government of Canada passed the National Gallery Act, formally outlining the institution's mandate as a national art museum. The museum was moved to the Lorne building in 1960.
In 1988, the museum was relocated to a new building designed for this purpose. The National Gallery of Canada is situated in a glass and granite building on Sussex Drive, with a notable view of the Canadian Parliament buildings on Parliament Hill. The building was designed by Israeli architect Moshe Safdie and opened in 1988.
The museum's permanent collection includes over 93,000 works from European, American, and Asian, Canadian, and Indigenous artists. In addition to exhibiting works from its permanent collection, the museum also organizes and hosts a number of travelling exhibitions.
History
The Gallery was first formed in 1880 by Canada's Governor General, John Campbell, 9th Duke of Argyll in conjunction with the establishment of the Royal Canadian Academy of Arts. In 1882, moved into its first home on Parliament Hill, housed in the Second Supreme Court of Canada building.
Eric Brown was named the first director in 1910.[10] In 1911, the Gallery moved to the Victoria Memorial Museum building, sharing it with the National Museum of Natural Sciences. In 1913, the first National Gallery Act was passed, outlining the Gallery's mandate and resources.[9] During the 1920s, the building was expanded. The art gallery was given four floors, and a separate entrance was created for the art museum. In addition, a firewall was built between the natural sciences museum and the National Gallery.[11] But, the Gallery was still in temporary space in the Victoria Memorial Museum building. Longterm plans were to move it to a new permanent location, with spaces dedicated to the viewing of art.
By the 1950s, the space in the Victoria Memorial Museum building had grown inadequate for the museum's collections. In 1952, the museum launched a design contest for architects to design a permanent home for the gallery.[11] But the museum failed to garner support from the government of Louis St. Laurent, resulting in the museum having to abandon the winning bid.
To provide a workable compromise for the National Gallery, St. Laurent's government offered the National Gallery the eight-storey Lorne office building for use.[11] The National Gallery moved into the nondescript office building on Elgin Street.[12] The building has since been demolished and replaced by a 17-storey office building to house the Federal Finance Department.
In 1962, Charles Comfort, the museum's director, was criticised after half of the works on display at an exhibition for Walter Chrysler's European works were exposed as forgeries by American journalists. Comfort had allowed the Gallery to host the exhibition although he had been warned about the works by the director of the Montreal Museum of Fine Arts.
The National Museums of Canada Corporation (NMC) absorbed the National Gallery of Canada in 1968.[14] During the 1970s, the NMC diverted funds from the National Gallery to form regional galleries.[14] The museum completed renovations to the Lorne building in 1976.[11] By 1980, it had become apparent that the National Gallery would need to relocate, given the poor condition of the building, historic use of asbestos there, and inadequate exhibition areas that provided only enough space for two per cent of the collection to be exhibited at any given time.
After the Canadian constitution was patriated in 1982, Prime Minister Pierre Trudeau announced a shift in policy focus towards the "creation of a nation," with priority given towards the arts in an effort to enrich Canadian identity.[11] In same year, Minister of Communications Francis Fox declared the government's commitment to erect a new permanent buildings for its national museums, including the National Gallery, and the Museum of Man within five years.[14] The director of the National Gallery, Jean Sutherland Boggs, was chosen by Trudeau to oversee construction of the national gallery and museums.[15] The museum began construction for its permanent museum building on Sussex Drive in 1985, and was opened in May 1988.[16]
The diversion of funds by the NMC to help fund regional museums was ended in 1982,[17] and the National Museums of Canada formally dissolved in 1987.[16] As a result of the dissolution, the National Gallery reacquired its institutional independence, and its mandate and powers outlined by its formative legislative act prior to 1968.
The Canadian Museum of Contemporary Photography (CMCP), formerly the Stills Photography Division of the National Film Board of Canada, was an affiliated institution of the National Gallery established in 1985. In 1988, the CMCP's administration was amalgamated to that of the National Gallery's. The CMCP later moved to its new location at 1 Rideau Canal, and continued to operate there until its closure in 2006. Its collection was later absorbed into the National Gallery's in 2009.
In December 2000, the National Gallery announced it suspected approximately 100 works from its collection was plunder stolen by the Nazis during the Second World War.[18] The gallery posted images of works suspected of being stolen art online, permitting its last legal owners to examine and possibly lay claim to the works.[18][19] In 2006, the museum restituted a painting by Édouard Vuillard that had been looted by the Nazis from Alfred Lindon in 1942, The Salon of Madame Aron, to Lindon's heirs.
In December 2009, the National Gallery of Canada and the Art Gallery of Alberta issued a joint press release announcing a three-year partnership, which saw the use of the Art Gallery of Alberta's galleries to exhibit works from the National Gallery's collection.[21] The program was the first "satellite program" between the National Gallery of Canada, and another institution, with similar initiatives launched in other Canadian art galleries in the following years.
Marc Mayer was named the museum's director, succeeding Pierre Théberge, on 19 January 2009.[22] On 19 April 2019, he was succeeded by Alexandra Suda, who was appointed the 11th Director and chief executive officer of the National Gallery of Canada. Under Sasha Suda, the Gallery underwent a major re-branding, dubbed Ankosé, to be more inclusive and work towards reconciliation. After only three years, Suda resigned. Angela Cassie was then appointed interim Director and CEO in July 2022.
Building[
The museum's present building was designed by Moshe Safdie & Associates, with construction beginning in 1985, and the building opening in 1988. The building has a total floor area of 46,621 square metres (501,820 sq ft). In 2000, the Royal Architectural Institute of Canada chose the National Gallery as one of the top 500 buildings produced in Canada during the last millennium.[23] The National Gallery of Canada is housed in a building on Sussex Drive, adjacent to the ByWard Market district. The building is the fourth edifice to house the art museum.
An independent crown corporation, the Canadian Museums Construction Corporation was established to build the museum with a budget of C$185 million.[17] Following the 1984 Canadian federal election, Prime Minister Brian Mulroney dissolved the corporation.[16] However, because the groundwork for the building was already completed, Mulroney chose to continue funding construction for the museum, albeit at a reduced total budget of C$162 million.
Exterior[
The building's northern, eastern, and western exterior facade is made up of pink-granite walls, or glass-windows. The southern exterior facade features an elongated glass wall, supported by concrete pylons grouped in fours.[24] The profile of the southern facade was designed to mimic a cathedral, with the concrete pylons being used similarly to the flying buttresses found on Gothic cathedrals.[24] The eastern portion of the building's southern facade transitions into a low-levelled crystalline glass cupola, which holds the museum's main entrance; and its western portion, which features a three-tiered glass cupola.
The three-tiered glass cupola is formed out of rectangular glass and narrow steel supports.[25] The second tier of the cupola is formed out of rectangles and equilateral triangles that are further subdivided into eight or twelve smaller equilateral triangles.[26] All these glass pieces are joined by steel struts. The third tier of the cupola is formed with similar designs, although the triangular glass panes are isosceles triangles.[26] The isosceles triangles converge upwards, with its apexes towards the centre.[26] The building's three-tiered cupola is positioned in a manner in which the cupola would be flanked by the Peace Tower and the Library of Parliament to the west when approaching the museum from the east.
Interior
The interior entrance lobby is floored with pink-granite, and includes a straight four metres (13 ft) wide ramp which slopes upward towards the west.[28] Safdie noted the importance of the ramp in his design, stating that one should "go through some kind of procession to make your way into something as important as the National Gallery," and that it gave the visitor the feeling of making an ascent to a ritual, a ceremony.[29] The walls of the entrance lobby are lined with rectangular cut pink granite, excluding the southern wall, which is part of the glass-walled exterior facade.[30] A glass and steel ceiling reminiscent of Gothic cathedral architecture, extends the entire way of the ramp.[30] However, as opposed to most Gothic cathedrals, the ceiling has several concrete columns spaced out to support the roof.[30] The summit of the ramp leads towards the Great Hall of the building, situated in the three-storey glass cupola.
The interior courtyard of the building includes the Taiga Garden. The garden was designed by Cornelia Oberlander, who modelled the painting Terre Sauvage by A. Y. Jackson;[31] a painting in the National Gallery's permanent collection. The garden attempts to mimic the landscape depicted in the painting, the Canadian shield; although limestone is substituted in place of the granite typically found at the Canadian shield.
Collection
As of October 2018, the National Gallery of Canada's permanent collection holds over 93,625 works,[1] representing several artistic movements and eras in art history. The Gallery has a large and varied collection of paintings, works on paper, sculptures and photographs. The earliest works acquired by the museum were from Canadian artists, with Canadian art remaining the focus of the institution. However, its collection also includes several works from artists around the world. The museum's collection has been built up through purchases and donations. The museum organizes its own travelling exhibitions to exhibit its collection, travelling across Canada and abroad.[32][33] The National Gallery is the largest lender of artwork in Canada, sending out approximately 800 pieces a year.[34]
courtyard in 2005
The museum's prints and drawings collection includes 27,000 works on paper dating from the 15th century to the present. The prints and drawing collection includes 10,000 works on paper by Canadian artists; more than 800 of these prints and drawings being crafted by Inuit artists.[35] The prints and drawing collection also includes 2,500 drawings and 10,000 prints by American, Asian, and European artists.
The museum also has approximately 400 works from Asian artists, dating from the 200 CE to 19th century. The museum's Asian collection began in the early 20th century, with a number of works originating from the collection of Nasli Heeramaneck.[36] The museum's also has a collection of photographs. A number of the photographs in the collection originated from the defunct Canadian Museum of Contemporary Photography.
Until the mid-1980s, the Gallery's mandate did not include collecting art by Indigenous peoples. It was a settler institution. This has been much critiqued and led to important changes in the gallery from the 1980s onwards.[37] Despite a major re-hang in 2003 of the Canadian galleries to include Indigenous art for the first time, the Gallery continues to work towards more equitable representation of Indigenous art, particularly in the historic galleries.
The largest work in the Gallery is the entire interior of the Rideau Street Chapel, which formed part of the Convent of Our Lady Sacred Heart,[12] The interior decorations of the Rideau Street Chapel were designed by Georges Couillon in 1887.[10] The chapel interior was acquired by the museum in 1972, when the convent was slated for demolition. The interior's 1,123 pieces was dismantled, stored and reconstructed within the gallery as a work of art in 1988.
Canadian and Indigenous works]
The museum's Canadian collection includes works dating from 18th century New France, to the 1990s.[39] The collection includes paintings from pre-Confederation; abstract paintings and other postwar art; and the Henry Birks Collection of Canadian Silver.[39] Early pre-Confederation paintings were among the first items in the Canadian collections, with the National Gallery's earliest works originating from Canadian artists at the Royal Canadian Academy of Arts.
The museum's Canadian collection holds a large number of works by the Group of Seven.[39] The museum also holds a large collection of Tom Thomson works,[39] with the museum adding The Jack Pine to its collection in 1918.[40] The museum also holds the largest collection of works by Alex Colville.[41] Other artists featured in the collections includes William Berczy, Jack Bush, Paul-Émile Borduas, Emily Carr, Robert Field, Vera Frenkel, Theophile Hamel, Joseph Légaré, Cornelius Krieghoff, Fernand Leduc, Alexandra Luke, Ken Lum, James Wilson Morrice, John O'Brien, Antoine Plamondon, William Raphael, Jean-Paul Riopelle, William Ronald, Michael Snow, Lisa Steele, Jeff Wall, Joyce Wieland, Paul Wong, and members of the Regina Five.
In commemoration of the 150th anniversary of Canada in 2017, the museum of undertook a C$7.4 million renovation to open the Canadian and Indigenous Art: From Time Immemorial to 1967 gallery.[42] The gallery exhibits the progression of Canadian art and history, exhibiting Canadian and Indigenous works side by side.[42] These works are exhibited in a manner which examines the intertwined relations between the two groups of people.
The Indigenous collection includes works by Indigenous artists around the world, although it has an emphasis on works by the Indigenous peoples of Canada. The museum collection acquired its first works by First Nations and Metis artists in the early 20th century.[43] However, the makers of these works were often not acknowledged as Indigenous, because the Gallery's mandate did not include collection of art by Indigenous peoples until the 1980s. The museum acquired its first Inuit works in 1956, crafted by artists in Nunavik.[35] The Gallery's acquisition of Inuit works, at a time when it was not actively collecting art by other Indigenous peoples, is related to the Government's instrumentalization of Inuit art to create jobs in the North and to assert Canadian sovereignty there.[44] In 1979, Henry Birks bequeathed a large collection to NGC consisting primarily of Quebecois pre-confederation silver; this bequest of more than 12,000 objects included around 16 works by Indigenous artists.[45] In 1989 and 1992, the Department of Indian Affairs and Northern Development bequeathed 570 works by Inuit artists.
A number of Indigenous artists whose works are featured in the collection include Kenojuak Ashevak, Kiawak Ashoona, Qaqaq Ashoona, Carl Beam, Faye HeavyShield, Osuitok Ipeelee, Rita Letendre, Norval Morrisseau, Shelley Niro, David Ruben Piqtoukun, Abraham Anghik Ruben, Lucy Tasseor Tutsweetok, Jeffrey Thomas, John Tiktak, and Lawrence Paul Yuxweluptun.[40][43][35]
Contemporary
The museum's contemporary collection includes 1,500 works from artists since the 1990s.[46] The collection features a number of works from Canadian, and its Indigenous artists. The first Indigenous Canadian contemporary artwork acquired by the National Gallery was in 1987, a piece by Anishinaabe artist Carl Beam. In 2017, Bob Rennie donated a contemporary art collection to the National Gallery in honour of Canada' 150th anniversary.[34] The collection includes 197 paintings, sculptures, and mixed-media pieces with most of it originating from Vancouver-based artists including Geoffrey Farmer, Rodney Graham, Brian Jungen, and Ian Wallace.[34] The Rennie collection also includes some international contemporary works, including from Doris Salcedo.[34]
In 1990 the Gallery bought Barnett Newman's Voice of Fire for $1.8 million, igniting a storm of controversy. However, since that time its value has appreciated to approximately C$40 million as of 2014.[40] In 1999, the museum acquired a sculpture of a giant spider, Maman, by Louise Bourgeois for a cost of C$3.2 million.[40][47] The sculpture was installed in the plaza in front of the Gallery.[40] In 2011 the gallery installed Canadian sculptor Joe Fafard's Running Horses next to the Sussex Drive entrance, and American artist Roxy Paine's stainless steel sculpture One Hundred Foot Line at Kìwekì Point behind the gallery. Other contemporary artists whose works are featured in the National Gallery's collection includes David Altmejd, Lee Bul, Janet Cardiff, Bharti Kher, Christian Marclay, Elizabeth McIntosh, Chris Ofili, Paine, Ugo Rondinone, and Joanne Tod.
European, American, and Asia]
The European, American, and Asian collection area includes most of the museum's works by non-Canadian artists. The museum acquired its first European work in 1907, the painting Ignatius Sancho by Thomas Gainsborough.[48] Conversely, the museum did not begin to develop its collection of American art until the 1970s.[why?][48]
The museum's collection includes American and European works dating from the Renaissance through to the 20th century.[48] In addition to Western art, the collection area also has 400 works from India, Nepal, and Tibet.
The museum's European collection has since expanded either through acquisitions or gifts. Such works include La Tour Eiffel by Marc Chagall, acquired by the museum in 1956 for $C16,000.[50] In 2018, the museum planned to sell the piece to fund other acquisitions, but abandoned those plans after it was found to be unpopular with the public.[50] In 2005, the Gallery acquired a painting by Italian Renaissance painter Francesco Salviati for $4.5 million.[51] In 2018, the museum acquired The Partie Carée by James Tissot from the collection of David R. Graham, putting it on display in December 2018.[52] It is the third work by Tissot to be acquired by the museum since 1921.[52] Other works from the collection include The Death of General Wolfe by Anglo-American artist Benjamin West.[40] Other artists featured in the museum's European collection includes Alejo Fernández, Vilhelm Hammershøi, Gustav Klimt, Élisabeth Vigée Le Brun, Henri Matisse, Charles Meynier, Claude Monet, Rembrandt, and Vincent van Gogh.[40][36]
Library and archives
The library and archives of the National Gallery of Canada holds an extensive collection of art literature on Canadian art.[53] The library and archives was established alongside the museum in 1880, and contains documents on western art from the Late Middle Ages to the present.[53] The collection includes 275,000 books, exhibition catalogues, and periodicals; 76,000 documentation files; and 95,000 microforms.[53] The archives serves as the institutional archive for the museum.
The library and archives' special collections includes over 50,000 auction catalogues, in addition to 182,000 slides and 360,000 research photographs.[54] The Library and Archives' Exceptional Materials and Notable Subject Collections contains a number of rare imprints, books, and bookplates on Canadian artists, as well as items relating to historians of Canadian art.
Management]
The federal government assumed responsibility for the museum in 1913, with the enactment of the National Gallery of Canada Act. The museum became a Crown corporation on 1 July 1990 with the proclamation of the Museums Act. The Museum Act serves as the museum's governing legislation. It empowers a board of trustees to serve as the museum's governing body, with the board, through the chair, being accountable to the Minister of Canadian Heritage, who is ultimately responsible for the Museum.[55] The CEO and director are charged with day-to-day management of the gallery.
The museum is affiliated with several associations, including the Canadian Museums Association, the Ontario Association of Art Galleries, the Canadian Heritage Information Network, and the Virtual Museum of Canada.
From Wikipedia
One of my favorite things to do on a cruise ship is to get up early and capture the sunrise from the ship. These were taken on Thursday August 2nd, our last full day on the ship and day at sea as we were heading back to New York City. Like our other day at sea, there was a great deal of fog out there on this damp morning. On board the Royal Caribbean Adventure of the Seas at the start of our week-long cruise to New England and Canada (July 27th - August 3rd, 2018). The cruise departed from the Cape Liberty Cruise Port in Bayonne, New Jersey and stopped at Portland (Maine), Bar Harbor (Maine), Saint John (New Brunswick) and Halifax (Nova Scotia).
On board the Royal Caribbean Adventure of the Seas at the start of our week-long cruise to New England and Canada (July 27th - August 3rd, 2018). The cruise departed from the Cape Liberty Cruise Port in Bayonne, New Jersey and stopped at Portland (Maine), Bar Harbor (Maine), Saint John (New Brunswick) and Halifax (Nova Scotia). These pictures from the ship as it was returning to port at Cape Liberty (Bayonne, New Jersey) on the cloudy morning of Friday August 3rd, 2018. Some nice views of ships, the Statue of Liberty, the Verrazano-Narrows Bridge, and lighthouses in the harbor.
First Lady Yumi Hogan attends 2018 Maryland Commission for Women Hall of Fame Induction and Women of Tommorrow Awards by Tom Nappi at Annapolis, Maryland
The North Carolina National Guard 1st Attack Reconnaissance Battalion, 130th Aviation Regiment hosted Caroline County Board of Supervisors members Jeffrey Black, Nancy Long and Jeffery M. Sili on Fort A.P. Hill’s Range 25 to view part of the training rotation the unit is performing on the Garrison this week.
Their two caretakers live in the house they purchased in 2008. The property has great character, with a front yard that is a lush garden of cacti, flowering plants, and tropical trees. It’s a cat paradise. The three kitties typically romp around back, but when my wife and I met them today they frolicked on a more supervised, front-yard outing.
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