View allAll Photos Tagged Parallel
"Sustainable Business & Responsible Investments"
(Berlin; March 9th - 11th, 2018)
Held Parallel to the Berlin Tourism Fair ITB
The Sharjah Skyline !
Camera: Canon PowerShot S70
Exposure: 0.003 sec (1/400)
Aperture: f/5.6
Focal Length: 5.8 mm
Manif des Femmes de Montréal - Rassemblement solidaire - 21 janvier 2017
«Près de 2000 personnes manifestent contre Trump à Montréal
« Des femmes en colère, c'est dangereux ! Des femmes en colère, ça crie : c'est assez ! Est-ce que vous en avez assez ?», a lancé l'animatrice Pénélope McQuade à la foule de plus de 2 000 personnes rassemblées samedi midi au centre-ville de Montréal. Ce Rassemblement des femmes montréalais fait partie du mouvement de solidarité mondiale anti-Trump qui se déroulait en parallèle dans des centaines de villes dans le monde.
L'esplanade de la Place des Arts était pleine à craquer vers midi, une heure après le début du rassemblement. La foule était enthousiaste à défaut d'être bruyante. Les manifestants, en grande majorité des femmes, ont ainsi écouté pendant plus de deux heures les nombreux discours féministes, ponctués de performances musicales, notamment celles de musiciens autochtones et des groupes Mémés Déchaînées et Raging Grannies.
«L'investiture du président Trump est appropriée pour faire un appel à l'action, à se rassembler pour dire que nous veillerons à ce que le vaste pouvoir que détient le gouvernement américain n'est pas d'effet dévastateur sur les droits fondamentaux des femmes est des citoyens. Il faut s'unir et il faut agir !», a urgé Béatrice Vaugrante, présidente d'Amnistie internationale Canada francophone et ambassadrice de l'événement.
«L'homme qui vient de rentrer à la Maison-Blanche n'aime pas les femmes», a tranché la chercheuse Élisabeth Vallet en s'adressant à la foule. La directrice de l'Observatoire de géopolitique de la Chaire Raoul-Dandurand de l'UQAM soutient que les politiques de Donald Trump ont «déjà un impact sur les femmes» et qu'il s'apprête à nuire à l'accès à l'avortement et à nommer un juge conservateur à la Cour suprême.
L'animatrice Pénélope McQuade, qui se qualifie elle-même de «féministe et de femme en colère» a appelé les manifestantes à se soulever contre les inégalités faites à l'égard des femmes. «Je reçois de la haine simplement parce que je suis une femme, simplement parce que j'ai une tribune, simplement parce que je parle contre les inégalités», a-t-elle expliqué.
La députée du Parti québécois Catherine Fournier était également présente à la manifestation, aux côtés de sa collègue péquiste Carole Poirier. « C'est important de se mobiliser pour que le droit des femmes ne recule pas. On a fait beaucoup d'acquis depuis des dizaines d'années, mais il faut faire attention. Il faut les chérir, parce que ça peut changer assez rapidement. C'est important de montrer qu'on est là et qu'on va continuer de se battre pour que les femmes soient les égales des hommes dans la société», a-t-elle soutenu, en mêlée de presse. D'autres politiciens ont participé à l'évènement dont le député néo-démocrate Alexandre Boulerice et la chef de Projet Montréal Valérie Plante.
Dans la foule, de nombreuses manifestantes portaient à bout de bras des pancartes féministes et anti-Trump toutes plus originales et percutantes les unes que les autres. Les participants en avaient également longs à dire sur l'arrivée au pouvoir du 45e président américain. « Je trouvais important de rappeler les valeurs pour lesquelles les féministes se sont battues. Le principal danger de la présidence de Trump, c'est de remettre en cause le droit des femmes au travail et à la maternité », affirme Elise Huysmans, une jeune Belge qui réside à Montréal.
« Même si ça se produit aux États-Unis, ça concerne toute la planète », plaide Rayana Speede. La jeune femme noire se dit particulièrement inquiète pour le sort des femmes noires pendant la présidence Trump. « L'impact va être important sur la situation financière des femmes. Les femmes sont moins bien payées que les hommes. Les femmes noires sont doublement frappées. Il faut s'unir pour de meilleures politiques pour les femmes », dit-elle.
De nombreux hommes participent aussi au rassemblement, dont Simon Dumais qui tenait à être présent. « Toute l'humanité est préoccupée par Trump, peu importe qu'on soit un homme ou une femme », soutient-il. « On est ici contre le président Trump et ses politiques. Il veut abolir Obamacare et expulser les immigrants. C'est scandaleux ! On se retrouve 50-60 ans en arrière », déplore Simon Dumais.
D'autre part, la seconde manifestation anti-Trump organisée vendredi par des groupes militants d'extrême gauche s'est soldée dans le grabuge. Une policière atteinte par un objet lancé par un manifestant a été légèrement blessée. Deux vitrines ont été fracassées, dont une du poste de quartier 20 du SPVM. Huit vitrines de commerces ont été visées par les graffiteurs.»
Louis-Samuel Perron - Journal La Presse - 21 janvier 2017
www.lapresse.ca/actualites/montreal/201701/21/01-5061782-...
Between #1 and #4, which one do you like better?
This series of pictures is a result of a discussion with WongCW. I have been enjoying WongCW's potostream for the last few weeks. The topic of discussion was on keystone effect. I conducted this experiment to find answer to my own question (see description under "Keystone Mitigation Technique Experiment"). Many thanks to WongCW.
I stood at the same spot in a standing position. Camera not tilted. Took the time to make sure the surface of the lens is parallel to the surface of the vertical column. The keystone effect is less pronounced. Of course, this technique will not work with fisheye lens or correct the inherent lens distortion.
Part of what I am calling the desert in 3d.
Flower from an oleander bush shot using the macro feature on my camera.
See the "Parallels Review" video
go.tagjag.com/screencast - There have been numerous screencasts submitted over the past couple of weeks. Several of them are very, VERY good! I always knew that our community was full of talented individuals. It's not too late for you to get involved, and have your screencast featured on this channel! Bwana has been hanging out with us for years, and is even a moderator in my chat room - when he has time! He's gained quite a following of his own, and rightfully so. He does excellent work, and I'm always more than happy to have him do reviews for us. Today, he sent a screencast to me to give you all an overview of Parallels 5.0 on the Mac. twitter.com/chrispirillo - chris.pirillo.com - www.youtube.com/iobuffaThis video was originally shared on blip.tv by l0ckergn0me with a No license (All rights reserved) license.
E eu de crachá....pior q só fui perceber hj vendo as fotos....cabeça na lua...ou melhor ,em outro lugar ....enfim...
The training course is basically about Online Marketing and making online profits. On the other hand, Aidan & Steve have also promised that it is going to be different like anything and anyone who has done this quite before. It's anticipated that this course will be a life-changing product for those who are mainly involved in it.
digitalworthacademybonus.com/parallel-profits-review-and-...
Charles J. Colgan Sr. High School's gymnastics team captured the team award and earned first place in every category during the Virginia Cardinal District meet, held at Apollo Gym in Woodbridge, Va. Photo by Damon J. Moritz
Found this while browsing the magazines at Barnes & Noble. They should of thought about flipping this one for better cover space. Some people might get the wrong idea about the mirror (backwards) image.
George Bellows - ) American, 1882 - 1925
Blue Morning, 1909
West Building, Ground Floor — Gallery G6
From under an elevated train track, we look at a cluster of people hammering and working on the far side of a wooden fence, all against a silvery-blue building that fills most of the background in this horizontal painting. The scene is loosely painted mostly in tones of hazy and saturated blues, so many of the details are indistinct. About a quarter of the way in from the right edge of the composition, a thin iron column holds up the train platform. The column nearly spans the height of the painting, and the track it supports runs across the top edge of the canvas. At the foot of the column, along the bottom edge, are two parallel tracks embedded in an area otherwise painted with short, diagonal strokes in topaz blue, olive green, and straw yellow. Just beyond the tracks, the split-rail wooden fence runs across most of the painting, though there is an opening at the left edge of the canvas. A man sits with his back to us on the railing to our right of center. He wears a dark cap, a lapis-blue shirt, and navy-blue pants. Several men work on or near a mound-shaped form, perhaps a piece of machinery, just beyond the fence, near the center of the painting. One man holds a hammer high overhead while another reaches down or strikes the mound with his feet planted wide. More people work together to our left, and a man to our right stands near a crane. The people and these areas are painted with broad strokes and touches of cobalt blue, charcoal gray, khaki brown, and a few swipes of shell pink and bright white. A puff of white smoke billows up behind the central group, before the land drops precipitously away. The chasm is painted with shimmering tones of aquamarine and cerulean blue. A sky-blue, rectangular building perches at the far edge. A few windows are outlined in royal blue to our left but the rest of the building is loosely painted with long, vertical strokes so no architectural details can be made out. Behind this structure are more city buildings, suggested with strokes of muted rust red, parchment and bright white, and cobalt blue. The ice-blue sky fills the band between the top of the buildings and the train track running overhead. The artist signed his name near the lower left corner, “BELLOWS.”
Blue Morning is the last of four paintings that George Bellows executed from 1907 to 1909 depicting the construction site of the Pennsylvania Station railroad terminal in New York City. Undertaken by the Pennsylvania Railroad and designed by architectural firm McKim, Mead, & White, Pennsylvania Station (more commonly known as Penn Station) was an enormously ambitious project that helped transform New York into a thriving, modern, commuter metropolis. The building project was of considerable interest to the public, and throughout the years that Bellows worked on these paintings, newspapers and magazines regularly reported on the station’s progress.
The three other paintings in the Penn Station series all focus on the gaping excavation pit, and the two that were publicly exhibited at the time, Pennsylvania Excavation and Excavation at Night, were criticized for their “brutal crudity” and “grim ugliness.” Bellows seems to have addressed these criticisms in Blue Morning, because it is a far more aesthetic and impressionistic rendering of the subject. The unusual backlit composition minimizes the pit and instead focuses on the laborers working in the foreground. McKim, Mead, & White’s partially completed terminal building is visible in the distance.
George Bellows was born in Columbus, Ohio, on August 12, 1882, the only child of a successful building contractor from Sag Harbor, Long Island, New York. He entered Ohio State University in 1901, where he played baseball and basketball and made drawings for college publications. He dropped out of college in 1904, went to New York, and studied under Robert Henri (American, 1865 - 1929) at the New York School of Art, where Edward Hopper (American, 1882 - 1967), Rockwell Kent (American, 1882 - 1971), and Guy Pène du Bois (American, 1884 - 1958) were his classmates. A superb technician who worked in a confident, painterly style, Bellows soon established himself as the most important realist of his generation. He created memorable images of club fights, street urchins swimming in the East River, and the Pennsylvania Station excavation site and garnered praise from both progressive and conservative critics. In 1909 he became one of the youngest artists ever admitted as an associate member of the National Academy of Design.
In 1910 Bellows began teaching at the Art Students League and married Emma Story, by whom he had two daughters. After 1910 Bellows gradually abandoned the stark urban realism and dark palette characteristic of his early work and gravitated toward painting landscapes, seascapes, and portraits. His style changed as he explored the color theories of Hardesty Maratta and Denman Ross, and later Jay Hambidge’s compositional system of dynamic symmetry.
Bellows helped organize the Armory Show in 1913, in which five of his paintings and a number of drawings were included. That year he was elected a full member of the National Academy of Design. He had leftist political views and contributed illustrations to the Socialist publication The Masses from 1912 to 1917. Bellows began to make lithographs in 1916, and his exceptional talent engendered a revival of interest in the medium. He worked in Maine, in Carmel, California, and in Middletown, Rhode Island, and was a founding member of the Society of Independent Artists and a charter member of the Association of American Painters and Sculptors. In 1919 he taught at the Art Institute of Chicago. After painting the landscape near Woodstock, New York, in 1920, he bought a house there the following year. He died of appendicitis in New York on January 8, 1925, at the age of 42.
Bellows, who never went to Europe, is regarded as a quintessential American artist whose vigorous style enabled him to explore a wide range of subjects from scenes of modern urban life to portraits of his daughters, to turbulent Maine seascapes. As an early biographer noted, Bellows “caught the brute force of the prize fighter, the ruggedness of the country pasture, the essence of childhood and recorded them appropriately not only for his own generation but for all time.”
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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...
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