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La presidenta de la Comunidad de Madrid, Cristina Cifuentes, se ha sumado hoy a la iniciativa “Ponles Cara” que, impulsada por la Fundación L’Oreal dentro del Programa “For Woman in Science”, pretende dar visibilidad a las mujeres científicas, y ha mostrado el compromiso del Gobierno regional para potenciar la investigación y apoyar el talento.
Prueba de ello, es la futura puesta en marcha de la Ley del Espacio Madrileño de Educación Superior, que permitirá a las universidades madrileñas mantenerse a la vanguardia de la investigación o el V Plan Regional de Investigación Científica e Innovación Tecnológica (PRICIT). También en esta línea se encuentra el Programa Operativo de Empleo Juvenil, muy orientado a la investigación y que, en sus tres convocatorias, ha destinado 29 millones de euros que han permitido contratar a 240 técnicos, 240 ayudantes de investigación 150 investigadores predoctorales y 150 posdoctorales.
La presidenta regional ha adelantado que en el año 2020 la Comunidad de Madrid destinará el 2 por ciento del Producto Interior Bruto a I+D+i, consolidando y potenciando la situación de Madrid, que en estos momentos concentra el 26 por ciento del gasto en I+D realizado en toda España y el 23,2 por ciento de los investigadores a nivel nacional
Video taken under NOAA MMHSRP Permit #24359.
A NOAA Fisheries-led large whale entanglement response team successfully removed rope and buoys from an entangled sub-adult humpback whale off the coast of Orange County on Friday, July 19. The humpback was first spotted by whale watching vessels on Saturday, July 13 off Palos Verdes. Over the course of 6 days, response teams encountered the whale several times, including as far south as Dana Point. The whale was evasive and skittish, making it difficult to cut the rope wrapped over the humpback’s tail.
Jesus KL 06 G 4162
Item No.141
Heard.Perused application and the permit file in respect of stage carriage KL-06-G-4162 covered
by a regular permit on the route Kambilikandam-Ernakulam South via Adimaly,
Kothamangalam, Perumbavoor,Ponjassery, Chembaraky, Pukkattupady, Kakkanad with cut trip
between Perumbavoor and Ernakulam as LSOS. The permit holder has requested to transfer the
permit file to the Office of Secretary,RTA,Idukki stating the major portion of the route lies under
the jurisdiction of RTA,Idukki.This is an inter district route having route length of 120 km and
the vehicle is plying through the jurisdiction of RTA,Idukki,RTA,Muvattupuzha and
RTA,Ernakulam. On perusal of the file it revealed that the regular permit was issued during the
year 2002, before the formation of RTA,Muvattupuzha. Details of route length comes under the
jurisdiction of each authority not specified by the enquiry officer. Hence Secretary,RTA is
directed to ascertain exact route length comes under the jurisdiction of each RTA and transfer
the permit file to concerned RTA which have the major jurisdiction on proper acknowledgment.
Item No.141 C2/9921/2013/E
Agenda: To consider the application for Transfer of file in respect of stage carriage KL-06 G4162 operating on the route Kambilikandam-Ernakulam South Via Adimaly,
Kothamangalam, Odakkaly, Perumbavoor, Nedumthod, Poonjassery, Chemparkey,
Pookkattupady, Kangarapady, Kakkanad With Cut Trip Between Perumbavoor And
Ernakulam As LSOS.
Applicant: Sri.Thomas Augustine,Vattakavumkal H,Mankuva P O,Chinnar
My postings here have fallen further behind. This batch is over a year ago. I will attempt to catch up as my time permits. Please continue to check in as I slowly catch up.
Merrell makes these to compete with Crocs, although you probably see 100 pairs (or even 1000) of Crocs for every pair of these you see. But I prefer these to Crocs. They are more comfortable and, to me more stylish. So I purchased a number of pair at the end of last summer when these photos were taken.
I bought one pair of every size from a very small Y13 (they call it K'S 13 to size 6 (They call that K's 6). Each pair is a different color. My feet are supposedly a 7, but the 6's felt a little loose, so I didn't get a pair of 7's
One advantage of rubber shoes is that the rubber can stretch to fit, and these are quite stretchy. The Y13 toebox stretches over my toes but is narrow enough to be very tight, and my heels are hanging out, bending the rubber heel counter down. I doubted I'd be able to routinely wear Y12's so I didn't get anything smaller than Y13.
They make these in a Crocs style closed toe "clog" and an open toe slipper. I bought one pair of slippers, but prefer the clogs for everyday wear.
As I said, I find them more comfortable than Crocs. The soles are more "bouncy", particularly the heels, and the rubber uppers are thinner, both looking more attractive and stretching to fit my feet more.
I've found the Y4s to fit me the way I like most, I wear them most often. I also wear the Y13s and Y1s just because I can, and like how small they look on my already small feet.
Manaus, 12/08/2019.TJAM e Sebrae/AM assinam convênio para cessão de terreno que permitirá abrir nova via de acesso para o estacionamento da sede do Tribunal. Foto: Chico Batata
(C) Isabelle Adam
The asterisk SHOULD lead to a note that this is NOT permitted if said sarcastically.
Permit Number :200/36/1999
Permit Owner:SONY KURIAN
Permit Owner Address: PULLAMKALAM HOUSE, MAMMOOD
P O, CHANGANACHERRY,KERALA KOTTAYAAM 686536
KOTTAYAM 08:53
PONKUNNAM BUS STAND 09:57 - 10:02
MUNDAKAYAM 10:42 - 10:50
KATTAPPANA PVT BUS STAND 01:05 -01:35
NEDUMKANDAM TOWN 02:31
NEDUMKANDAM TOWN 03:00
KATTAPPANA PVT BUS STAND 03:56 - 04:40
MUNDAKAYAM 06:56
PONKUNNAM BUS STAND 06:56
KOTTAYAM 08:39
Permit Number :18/33/1993
Permit Owner:K M LAKSHMANAN
Permit Owner Address: ASWATHI PATHIRIYAD
SANKARANALLUR
SUNDERESWARA TEMPLE 07:50 am
KANNUR 07:55 am
KANNUR 08:08 am
KOZHIKODE 10:48 am
KOZHIKODE 11:56 am
KANNUR 02:36 pm
SUNDERESWARA TEMPLE 02:41 pm
SUNDERESWARA TEMPLE 03:25 pm
KANNUR 03:30 pm
KANNUR 03:57 pm
KOZHIKODE 06:37 pm
KOZHIKODE 07:49 pm
KANNUR 10:29 pm
SUNDERESWARA TEMPLE 10:34 pm
The Department of Planning and Permitting (DPP) held the second of three community workshops for residents and businesses to create the Ala Moana Neighborhood Transit-Oriented Development (TOD) Plan.
The workshop was held on Tuesday, February 19, from 6-8 p.m. in the McKinley High School Cafeteria. Mayor Kirk Caldwell and Dan Grabauskas, Executive Director and CEO of the Honolulu Authority for Rapid Transportation, are expected to attend.
The City is planning a rail transit station near the Ala Moana Center on Kona Street and residents and other stakeholders will be able to comment on the appropriate scale and location of new housing, jobs, and shopping choices near the station. Workshop participants were asked to bring their thoughts on preliminary ideas for new bike lanes, improved sidewalks, gathering places, and other enhancements in the area.
DPP held the first Ala Moana TOD workshop last August and conducted a community survey of residents within a half-mile of the train station. The February workshop offered residents an opportunity to provide input on the alternatives for the area and shape the emerging elements of the Neighborhood Plan.
Missouri Compromise prohibited slavery in dark green territory and permitted in yellow and blue area
Fundación arteba permite la utilización en los medios de las imágenes subidas a su espacio de Flickr.
Agradeceremos que a modo de epígrafe de las mismas, se mencione: Gentileza Fundación arteba.
---
arteba Foundation allows the reproduction of the photos uploaded in Flickr.
We appreciate if you credit them as Courtesy of arteba Foundation.
A demolition permit was issued for the 1884 residence and garage in September 2024. The property sold for $1.515 million on July 1, 2024, ensuring a large residence will be constructed here.
NOTE: A building permit was issued in February 2025 for a 4-story, 4-unit residence with detached 4-car garage and a 6-foot wood and iron fence.
I am delighted that I can now post some contemporary photographs. The conditions of my permits for South Bay kite aerial photography include a hiatus each year from the end of February to the start of September to avoid disturbing nesting birds. Thus, I eagerly await the start of fall and with it the chance to do some fieldwork.
On this occasion, I made a Wednesday trip to the Eden Landing Ecological Reserve (ELER) near Hayward, California. I launched the kite from the Oliver Salt Works ruins and walked the levee separating E13 from E12. I photographed this area just a week ago and was taken with the geometry and colors of the small sub-ponds that have been created as avian habitat in this area. This was a bonus session of sorts, as I had finished an earlier session over on Salt Ponds E10 and E11. Instead of joining the commute hour traffic, I decided to make this quick walk down to the pumphouse on the east side of E13. I reached the pumphouse and its adjacent marshes just as the sun was setting and that made for a pleasant end to the day.
I am taking these documentary photographs under a Special Use Permit from the California Department of Fish & Wildlife. Kite flying is prohibited over the Eden Landing Ecological Reserve without a Special Use Permit.
Gostou?
Então permita que Nalva faça sua cabeça…
Ligue: (84) 3212-1655
Créditos »
Personal Hair & Make-Up Stylist: Nalva Melo
Foto: Flávio Aquino
Modelo: Civone Medeiros
Texto: Eliade Pimentel
Apoio: Allan Talma & Vírginia
(*) Veja + da Campanha no Blog do Café Salão > www.cafesalao.com
Local: Café Salão, Ribeira - Natal/RN
The Macaulay Salmon Hatchery is permitted to incubate 121 million chum, 50 million pink, 1.5 million coho and 950,000 chinook salmon annually. The facility provides a diversity of enhancement programs that benefit commercial, sport and subsistence users of the salmon resources as well as producing harvestable surpluses of fish for cost recovery. www.dipac.net/Macaulay_hatchery.html
Nuestras fotografías están publicadas baja una licencia creative commons (cc) que permite su libre utilización, incluso para fines comerciales, siempre que se cite al autor (residuosprofesional.com). Solicitamos también que la imagen utilizada, o en su defecto el pie de foto, enlace a nuestra web: www.residuosprofesional.com
Por otro lado, cualquier obra derivada deberá ser compartida bajo la misma licencia
Permit Number :12/430/2003
Permit Owner:FAISAL.P A
Permit Owner Address: POYILIL HOUSE,CHEEYAMBAM
.P.O,PULPALLY,WAYANAD
y MARAKKADAVU SEETHAMOUNT PULPALLY PARAKKADAVU WAYANAD SULTHAN BATHERY
178 demolition permits have been issued by the City of New Orleans in the Neighborhood Conservation District without review by the committee since 9/8/08.
View the map online here and zoom in to your neighborhood:
maps.google.com/maps/ms?ie=UTF8&oe=UTF-8&hl=en&am...
View photos of these properties: flickr.com/photos/prc-advocacy/sets/72157607209781789/.
Permits are required to paint along the Venice Beach Art Wall area. The permits are free and are issued by ICU Art and valid for only one day.
A Post-Graduation Work Permit (PGWP) permits an individual to remain in Canada once their studies have completed for a period of up to 3 years.
This PGWP is advantageous as it allows you to receive full professional work experience in Canada that can be used to obtain permanent residency.
You can apply for a PGWP once you have completed your studies.
PGWPs are a gift that only occur one time and cannot be extended.
For assistance with a PGWP application, knowledge on eligibility requirements or assurance that you are currently enrolled in a program to which PGWP is available, book a consultation at ebakaimmigration.com/contact/
Permit Number :5/1103/2000
Permit Owner:BINU P S
Permit Owner Address: PAZHOOR HOUSE, PALAMPRA P.O.,
KANJIRAPPALLY KOTTAYA
Permit Valid From:21/08/2015
ELAMKADU 07:10
MUNDAKAYAM 07:40 - 07:45
KANJIRAPPALLY 08:13
ERATTUPETTA 08:45
PALA 09:11
THALAYOLAPARAMBU 10:10
ERNAKULAM 11:13
ERNAKULAM 01:18
THALAYOLAPARAMBU 02:19
PALA 03:18 - 03:30
ERATTUPETTA 03:56
KANJIRAPPALLY 04:28
MUNDAKAYAM 04:56 - 05:00
ELAMKADU 05:30
ELAMKADU 05:42
MUNDAKAYAM 06:12
MUNDAKAYAM 06:50
ELAMKADU 05:30
Permit Number :12/77/2014
Permit Owner:P.K MURALI
Permit Owner Address: PURATHOOT HOUSE CHETTAPPALAM
P O PULPALLY WAYANAD 13-08-2004
MADAPALLIKUNNU CHETTAPPALAM PULPALLY SULTHAN BATHERY
arteBA Fundación permite la utilización en los medios de las imágenes subidas a su espacio en Flickr.
Agradeceremos que a modo de epígrafe de las mismas, se mencione: Gentileza arteBA Fundación.
---
arteBA Fundación allows the reproduction of the photos uploaded in Flickr.
We appreciate if you credit them as Courtesy of arteBA Fundación.
Permite una mejor climatización de la sala al poder ubicar varias unidades interiores en los puntos más óptimos para la correcta redistribución del aire.
Permit Number :KL66/38/1996
Permit Owner: K T Thomas
Permit Owner Address: Kondodickal House Umpidi P O
KOTTAYAM
CUMBUMMETTU 07:50
KUMILY BUS STND 09:00 - 09:14
MUNDAKAYAM 11:15
PONKUNNAM BUS STAND 11:55
CHANGANASSERY 01:05
CHANGANASSERY 02:59
PONKUNNAM BUS STAND 04:09
MUNDAKAYAM 04:49
KUMILY BUS STND 06:50
CUMBUMMETTU 08:00
Item No.26
Heard. The learned counsel represented for the applicant .This is an application for renewal of regular permit in respect of the S/C KL-33-E-5760 on the route Nedumkandam - Kottayam (Via)Thookupalam Kochara, Puttady, Kumily, Mundakayam, Ponkunnam, Kottayam, Gandhinagar as LSOS.The application for renewal of regular
permit was rejected by RTA on 21/03/2013 vide tem No.42 since the route length is above 140kms. Honorable STAT in MP No.577/13 in MVAA 186/13 has directed to reissue temporary permit until final orders are passed in this MVAA. So Temporary permit u/s 87(1)d was being issued by Secretary, RTA. The. Govt. has amended vide GO(P)
6/17 rule 2(oa) of KMV rule and as per the amended rule the maximum route length is 140 kms. So the permit holder has filed WP( C) and submitted interim order dtd.14/07/2017 of Honorable High Court directing to issue Temporary Permit
untrammeled by GO(P) 6/17 and 8/17. Hence Secretary RTA has re-issued the Temporary Permit for the period up to 13/03/2019. There is no changes in the existing
timings. Also filed for reconsider the renewal of regular permit in respect of this stage carriage the S/C KL-33-E-5760 for a period of 5 years.from 19/01/2015 to 18/01/2020.
RTA Idukki dated 29/01/2015 considered this application and sought concurrence from RTA Kottayam. There is no need for any concurrence from sister RTAs for renewal of permit In the light of the several judgment of Honarable High Court of Kerala( quashing the clause (4) of the modified scheme,8/2017 dated 23/03/2017) there is no legal impediment to renew this regular permit since it is issued prior to 09-05-2006 . Hence
Renewal of permit granted subject to clearance of Government dues and NOC from the financier if applicable.
Sunday Morning - 1860
Asher Brown Durand (American, 1796 - 1886)
“Sunday Morning” was commissioned by the important Baltimore collector William T. Walters, who generously permitted Durand to exhibit the painting before he had even seen it. The debut showing of Sunday Morning at the 1860 National Academy annual elicited general approbation in the press. One writer found “infinite satisfaction” in the work: “One is inevitably carried back to the experience of childhood, when the Sabbath was a day of delicious quiet. There is the same picturesque bridge that spanned the gurgling stream, the meeting-house crowns the summit of the gentle hill, the plough is left in the furrow, the sheep have sought in the shade protection from a summer sun.”
Almost invariably, Durand chose a pastoral mode for his landscapes; he had a penchant for painting sunlit, verdant summer climes. He voiced this preference while addressing the “prejudice against green pictures”: I "cannot persuade” myself, he wrote, that “the sunny green of summer . . . is not beautiful, being, as it is, the first witness of organic life in the creation, the universal sign of unimpeded and healthy action; and, above all, the chosen color of creative Love for the earth’s chief decoration.”How suitable an environment, one might at first conclude, for the distant hilltop church and the members of its congregation walking to Sunday services, passing a cross along the way.
Widespread at the time, of course, was the conviction that nature, “apart from its wondrous structure and functions that minister to our well-being,” was “fraught with lessons of high and holy meaning.” Even more pointed, with respect to “Sunday Morning”, is Durand’s often quoted remarks on his habit of passing the Sabbath in communion with nature rather than attending church indoors. While the New Britain picture offers both experiences to the viewer, it is largely given over to the lush, verdant environs of the church, which are laid out for the viewer’s spiritual delectation. One can only imagine the worship service about to begin moreover, at a great distance. The churchgoers, in turn, seem distant from the natural setting of which the viewer is so much a part, an aspect noted by a contemporary critic.
Durand took care to embellish his scene with imagery associated with a state of quiet reverence. In the right foreground a plow sits in a furrow and six sheep rest from their grazing. The river in the middle distance is mirror smooth. Indeed, the sheep lying down in their hillside pasture and the stilled water surface effectively evoke Psalm 23 “ The Lord is My Shepard”. Durand’s friend and fellow artist Daniel Huntington put it well when he characterized “Sunday Morning” as “a poem, suggesting to the mind that stillness and feeling of sacred rest which is often experienced on a calm Sunday morning in a beautiful country.”
Among Durand’s located works, two other paintings portray the theme taken up in “Sunday Morning”, interpolating the “lessons of high and holy meaning” in nature with those taught in church. A more domesticated but equally verdant locale serves as a setting for an earlier “Sunday Morning” (1839; New-York Historical Society), which, like the New Britain version, depicts worshipers on a country road leading to a church tucked amidst trees in the middle distance. A more mature and thoughtful variation on the theme can be found in the arched, vertical composition “Early Morning at Cold Spring” (1850; Montclair Art Museum, N.J.). This work, referred to as “Sabbath Bells” in the nineteenth century, was accompanied in the exhibition pamphlet by a poem by William Cullen Bryant when it was shown in 1850 at the National Academy: “O’er the clear still water swells / The music of Sabbath bells.” Here, a lone gentleman silhouetted against a high-keyed water surface contemplates a church in the middle distance, once again nestled among trees in full summer foliage. Minuscule figures walk to Sunday worship, while our thoughtful gentleman stands in the embrace of a foreground coulisse of trees, a construct Durand frequently used that can suggest a natural “cathedral," especially in an upright, arched composition. These trees provide an aperture through which the viewer takes in the scene.
The New Britain “Sunday Morning”, though employing a horizontal format, also features an enframing aperture, formed by coulisse arrangements of land forms, trees, plants, shrubbery, and rocks at the far left and right. It is one of the few “aperture compositions” in a horizontal format in Durand’s oeuvre. Overall, “Sunday Morning” is cast in the pastoral mode Durand so favored. It is enriched with the earthy irregularity of the picturesque, especially in the foreground. A vaguely classicizing, or Claudian, layout opens up beyond the foreground imagery. Typical are the formulaic steps back into space classically contained at the left and right by those coulisse constructs and in the middle and far distance by the bridge, the shadowy riverbank, the hills, and horizon line beyond.
Even before his trip abroad, Durand, instructed by prints, had begun experimenting with a type of landscape handed down to later generations by the seventeenth-century French landscapist Claude Lorrain, though he did not have an opportunity to study Claude firsthand until he arrived in Europe. There, he also was able to see the work of John Constable, J. M. W. Turner, and the work of other English landscape painters at a time when the aesthetics of the Sublime, the Beautiful, and the Picturesque were still observed. The pastoral landscape was a mode that aestheticians had traditionally classified as Beautiful. More often than not, Durand embellished it with picturesqueness and frequently structured it within a loosely translated Claudian framework, creating, then, an amalgam drawn from various precedents, an amalgam represented in the New Britain “Sunday Morning”.
Despite the Englishness of the bridge and of the Gothic-style country church, “Sunday Morning” was described by the artist's son as “an ideal of American scenery.” Gothic Revival architecture had been popular in America beginning in the 1840s and even churches in rural areas were built in the style. Then, too, perhaps Durand was recalling a hamlet he had sketched during a stop in England. The scenery in “Sunday Morning” is, indeed, too generalized to permit the identification of a specific site. As a reviewer noted in 1860, “The traveler who has resided in the Old World, and studied the rocks and trees of the New, will perceive in this agreeable picture a little English, Italian, and American scenery tastefully combined.” Indeed, Durand rarely specified sites in his titles or in information accompanying exhibitions.
“Sunday Morning” was not only well received by the press but was also included D. O. C. Townley's list of sixteen Durand paintings that “attracted the most attention” when they were exhibited and for which the artist “received the highest prices.” Durand's son John considered “Sunday Morning” the culmination of his father’s ability. As Jonathan Sturges wrote to Durand, ”We have no other artist who could paint it.”
Asher B. Durand is best known as a first-generation Hudson River School painter, a place in the annals of American art that he shares with Thomas Cole, considered the father of the movement. Before turning to landscape painting, Durand pursued a successful career as an engraver. As he first became involved with painting, he worked with a number of subjects other than landscape, including portraiture, genre, and mythological, biblical, and literary themes. Even his landscape oeuvre is varied. Certainly inspired in great part by Cole, Durand experimented with allegorical, historical, and literary landscape compositions, considered in many quarters, at least until mid-century, aesthetically superior to pure landscape views. In a completely different vein, he executed pioneering plein-air studies in oil; he was probably the first American landscapist to engage in this practice. The variety of Durand’s output notwithstanding, his reputation is primarily based on his lovingly naturalistic, carefully detailed, and highly finished landscape views, which are considered exemplary of the Hudson River School style.
Durand was born and raised on a farm in Jefferson Village (later Maplewood), New Jersey. As a boy he was called upon to help his father, a sort of universal mechanic who augmented the family income with watch making and metalwork; his potential as an engraver was recognized at an early age. Following an apprenticeship with the Newark engraver Peter Maverick from 1812 to 1817, Durand became a partner, taking charge of the branch of the Maverick firm.
In 1820 John Trumbull, also in New York at the time, recognized Durand’s superior abilities as an engraver and asked him to reproduce his “Declaration of Independence”, prompting Maverick to dissolve the partnership. Upon completion of the work in 1823, Durand’s stature as an independent engraver was assured. He worked as an engraver until 1835, executing illustrations for gift books and annuals, countless banknote designs, and numerous portraits of clergymen, statesmen, and other notables. Attesting to his success, he was able to build a house for himself and his family in New York in 1827. He had married Lucy Baldwin of Bloomfield, New Jersey, in 1821, and by 1827 they had three children. The eldest, John, would be his father’s biographer.
Durand’s activity in the New York art world was impressive. In late 1825 he was instrumental in organizing the New York Drawing Association, which was renamed the National Academy of Design the following year. He subsequently served as the institution's recording and corresponding secretary, vice-president, and president (1845-61). He was also among the founders of the Sketch Club, later the Century Association.
Durand curtailed his engraving activity in the early 1830s; it is no coincidence that at this time his exhibits at the National Academy included engravings after his own designs as well as portraits in oil. In 1834 Luman Reed, notable for his generous patronage of American artists, among them Cole, supported Durand’s aspirations as a painter with commissions for several portraits as well as a literary and a genre scene. Durand’s career as a painter was launched. While the late 1820s and the early 1830s were witness to his continuing success in his first profession as a new one opened before him, these years also brought tragedy: after losing his firstborn daughter to illness in 1826, his wife passed away in 1830. She had given birth to their fourth child in 1829.
In 1837 Durand and his new wife, Mary Frank, whom he married in 1834 and with whom he would have two more children, joined the Coles on an excursion to Schroon Lake in the Adirondacks. The experience figured in Durand’s decision to become a landscape painter. The following year he exhibited nine landscapes at the National Academy. In 1840 Jonathan Sturges, business partner and son-in-law to Luman Reed, who had died in 1836, loaned Durand the money to travel abroad to sketch the scenery and see the sites but most important to get acquainted with the work of European artists, especially the Old Masters. Durand sailed in June 1840 with three artist friends John Casilaer, John F. Kensett, and Thomas Rossiter. His tour included London and other places in England, the Netherlands, Paris, Germany, Switzerland, and Northern Italy on his way to Rome. After wintering in Rome, where he set up a studio, he retraced his steps to England and returned to New York the following summer.
Durand, by now an indefatigable traveler, explored the Hudson River Valley in 1838 and toured a good deal of New England with Cole the following year. Indeed, until 1877, when, at the age of eighty-one he made his last trip to the Adirondacks, he went off virtually every season to sketch and paint in various locales. He visited the Adirondacks the most often and repeatedly toured the Hudson River and Catskill regions as well as Vermont, New Hampshire, and Maine. These trips yielded a steady production of Hudson River School landscapes as well as plein-air studies that he regularly exhibited at the National Academy and elsewhere to a receptive public, press, and circle of collectors.
In 1869 Durand, now a widower for the second time, returned to New Jersey and built a house on family property in Maplewood. It was there that he spent his remaining years, painting and exhibiting into the 1870s and, as long as health and age permitted, making his sketching excursions. His friends and colleagues in New York hardly forgot him, and in a memorable expression of their esteem a congregation of some twenty of them and their wives honored him with a surprise visit in June 1872, bringing food, drink, and conviviality. The occasion was a fitting testament to Durand’s leadership of the Hudson River School, a position he assumed after Cole's death in 1848, to his years of service to the National Academy, to his active participation in the New York art world, and most important, to his tireless devotion to landscape painting.
ink.nbmaa.org/people/473/asher-brown-durand
_________________________________
"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.
I started at Roads End,Kings Canyon National Park on August 22. I had reserved a permit, but I think I would have gotten on if I just walked up and asked the friendly ranger.
Inauguração da exposição No escuro, é Permitido Sorrir, de Maureen Bisilliat, no Memorial da América Latina.
Data:07/04/2022.
Local: São Paulo.
Foto: Governo do Estado de SP
Permit Number :KL99/1040/1995
Permit Owner:KRISHNAKUMAR A
Permit Owner Address: ARAVINDAKSHAN M V FTR1704550
Permit Valid From:
PALAKKAD 07:20 am
PATTAMBI 09:20 am - 09:25 am
GURUVAYUR 10:30 am
GURUVAYOOR 11:05 am
PATTAMBI 12:10 pm - 12:15 pm
PALAKKAD 02:15 pm
PALAKKAD 03:05 pm
PATTAMBI 05:05 pm
GURUVAYUR 06:10 pm
GURUVAYOOR 06:18 pm
PATTAMBI 07:23 pm - 07:25 pm
PALAKKAD 09:25 pm