For this series I overexposed +0.7EV to +1.3EV to move the whites up the tonal range and then processed 0EV as Zone 5. I found even over-exposing as I did that the whites remained well within the linear portion of the input correction curve, so the tonal separation is correct.

I wrote about a Digital Zone System and sensor characterization on my blog.

Iron Shell, LLC

415 N Plumer Ave, Tucson, AZ 85719

520-207-9043

ecorp.azcc.gov/Details/Corp?corpId=L17508699

Patent - CURABLE COMPOSITION, PASTE, AND OXIDATIVELY CARBONATED COMPOSITION

Strain energy and process zone based fracture characterization

of a novel iron carbonate binding material.

Iron Shell, LLC has developed a carbon-negative, iron-based binder for use with recycled materials — as an alternative to regular concrete. Their green product, Ferrock-TM, uses sustainable materials and has reduced environmental impact, greater flexural strength and resistance to salt water corrosion.

The whole band.

"Personas shows you how the internet sees you..." personas.media.mit.edu/personasWeb.html By Aaron Zinman

Notice carefully-

Images posted here are strictly prohibited for any kind of advertisement and commercial usages or display without my permission.

-AUTHOR.

Fields i’ve worked with-

1.Digital drawing and illustrations- Fractal arts, Vector and Rasterizaions.

2.Photo maniputaltion- Level and adjustment makeover.

3.3d characterization in Poser- Technical and Cartoon characterizations.

4.Painting and airbrushing- 2D brush works, portrait and postering.

5.Advertisement- Add graphics designing and marketing.

6.Web graphics and development- Web image allocation and modification.

7.Logo and business card designing.

8.Manufacturing Advertisements.

9.Poster and Graffiti.

10.Stock-image photography.

•Highly experienced in Use of design tools like: Photoshop Cs3, Corel Draw12, Illustrator Cs3, Dreamweaver Cs3, Poser7, Xara utilities, Swish, Flex, Macromedia Suit.

To watch my creative works-

xo39.deviantart.com

joy4manabata.multiply.com

Other certifications- A+,NIIT short term coerces, Aptech cources, Creative trainings.

Contact info-

Joy.

secret_culture@yahoo.com

Mobile no: +8801714303618

George Long’s American Literature students used active and collaborative reading exercises to come to terms with The Great Gatsby. Here, the class examines details of characterization to construct a more holistic understanding of the text and insert their voices into the intellectual conversation. Photography by Glenn Minshall.

Entry in category 2 Women and men of science; Copyright CC-BY-NC-ND: Vanesa Ayala-Nunez

Juliana, Argentinian scientist working in Switzerland, specializes in material characterization and mechanical testing of innovative construction materials. She is a Latin American woman contributing to shape Swiss science.

Lt. Peck is played here by Bradley Cooper. Cooper's characterization of "Faceman" was a bit too cocky.

Here is a statue that I thought was really interesting to me. During this time the Hellenistic period introduced the accurate characterization of age, and young children enjoyed great favor, whether in mythological form, as baby Herakles or Eros, or in genre scenes, playing with each other or with pets. However, the part that caught my attention the most was this child boby language he has a plump body and relaxed pose. This statue is a great way of showing foreshortening. This figure gives a sense of the immediacy and naturalistic detail that the medium of bronze was able to make possible. This statue is during the Greek or Roman Period around the 3rd Century BC. This statue really shows you the way in which we evolved over time,by showing all of the humanistic features in this statue. The way they were able to craft the statue in all of these realistic features is amazing to me. Although, he's laying down it seems as if he's laying in a sort of contrapposto postion, having most of his body shifted to the right side.

Student athletes as well as Campus Recreation and Office of Sustainability staff participated in Malley Center's first landfill waste characterization. Malley Center, August 2012. Photo by SCU Office of Sustainability.

seven crackers for seven gods: i love the characterizations on this package

Laura Garci-a y Ricardo J. Rodriguez

A Journey through iOS Malware Landscape: Evolution & Characterization

Laura Garci-a y Ricardo J. Rodriguez

A Journey through iOS Malware Landscape: Evolution & Characterization

ORISE Fellow Brandon Robinson, in the Fuels Processing Lab at NETL in Morgantown, running the catalyst characterization unit to characterize the zeolite material for acidic/basic properties.

Adorable Voldemort: I took a character from a book and hand drew him in a style which directly opposes his characterization entirely. I intended on portraying him in an adorable, cuddly way, simply through his features. I used graphite.

Jean Honoré Fragonard - French, 1732 - 1806

The Visit to the Nursery, c. 1775

West Building, Main Floor — Gallery 54

Two women, a man, and three small children gather around a baby sleeping in a wicker cradle near an open window in this horizontal painting. The people all have pale skin with rosy cheeks. The cradle is just to left of center of the composition. It has a half canopy to shade the baby, and it sits on rockers. The baby sleeps with chubby arms over the covers tucked around the body. A woman sits on a low chest next to and on our side of the crib, near the lower left corner of the canvas. She has a prominent nose and jutting chin. She wears an oatmeal-brown bonnet and apron, and a muted red dress. She holds a staff with fabric or a spindle at the top tucked in one elbow, and the other hand rests on the canopy. A white cat lies like a loaf next to her feet. On the far side of the crib, a clean-shaven man kneels on a low platform covered by a pillow at the foot of the cradle and leans into the arms of a standing young woman. The man has a pointed nose and rounded chin, and he looks with heavy-lidded eyes at the baby. His long gray hair is tied at the nape of his neck, and he wears an ice-blue and tan long-tailed coat, breeches, and stockings. He rests one cheek against the arm of the woman who stands at his far shoulder. Her body faces the man, and she rests her other hand on his shoulder as she turns to look at the baby. A round, broad-brimmed hat casts a shadow over her delicate nose and round cheeks, and she wears a white dress with elbow-length sleeves and a full skirt. Three children stand behind the man’s feet and along the right edge of the canvas. The child closest to us has carrot-orange hair tied in a bun with a blue ribbon. She wears a white, puffy-sleeved shirt, and a parchment-white apron bunched over a pale pink skirt. She faces our left in profile, looking at the man, and holds one end of a ball of yarn that has rolled away from her. The boy behind her stands with his body facing us as he looks up and to our left. He wears a yellow jacket and a broad-brimmed hat pushed back on his head. Only the forehead and eyes of an even smaller child standing behind this pair are visible. Voluminous curtains part to either side of a window at the head of the cradle, near the upper left corner of the composition. An unlit lantern sits on the sill, and the sky beyond is dusk-blue. Bright light shines into the room, especially onto the man and woman and three children. A piece of furniture, perhaps a wardrobe, is on the far wall behind the woman, and the door to the room is open behind the children.

Fragonard is usually associated in the popular imagination with amusing and mildly erotic works, yet he was also an observant and sometimes sincere painter of family life. The Visit to the Nursery is one of his more ambitious and successful domestic scenes, a touching and evocative image of parental affection. In a rustic interior, a fashionable young couple gaze lovingly at their sleeping child, who is looked after by an elderly woman seated beside the cradle. Three other children have wandered into the room and look on attentively. A soft light spills through the parted drapes at left, illuminating the scene with an ethereal glow. The quasi-devotional tenor of the scene is not unlike that found in Fragonard’s The Happy Family, although the characters are more fashionably dressed. The motif of a young husband and wife admiring their infant was popularized by such artists as Jean-Baptiste Greuze (French, 1725 - 1805),[1] and the theme undoubtedly would have had wide appeal in the years following Jean Jacques Rousseau’s (1712 – 1778) educational treatise Émile (1762), which advocated the development of emotional bonds between parents and their children.

The subject of a well-to-do couple admiring their sleeping child must have had a certain appeal for Fragonard, for he painted a number of variants. Several versions were circulating in Paris in the 1780s and 1790s, when there was a particularly active market for Fragonard’s work. The National Gallery of Art’s painting traditionally has been associated with one that appeared in the 1780 sale of Jean François Leroy de Senneville (1715 – 1784), a fermier général and important client of Fragonard; at one point he owned Young Girl Reading. The compiler of the sale catalogue, the dealer A. J. Paillet, described it in glowing terms: “This piece, with its broad and fluent handling, brings together all the spirit and the character suitable to the subject.” According to Paillet, “the picture is composed of eight figures, in which the subject is taken from the novel of Miss Sara by M. de Saint Lambert. This interesting composition represents the moment when the two spouses come to visit their child.”[2] This description is a plausible one for the National Gallery’s painting, although it has seven figures, not eight. When Leroy de Senneville’s painting came on the block again in 1784, the sale catalogue repeated the earlier description, with the addition that “this work . . . makes a great impact even if it is hardly finished,” a characterization difficult to reconcile with the National Gallery’s painting, which has all the appearance of a completed work.[3]

The issue is complicated further by the fact that Leroy de Senneville owned a second version of the subject, smaller and with “a completely different composition, in which one counts four figures, the principal one a pretty young woman wearing a straw hat; her husband sitting beside her appears to admire a child in his cradle, on which his nurse leans.”[4] The best candidate for this second version is a painting in the Rothschild Collection [FIG. 1], despite there being seven figures (Paillet easily might have overlooked the three children at right): the dimensions he recorded are accurate, and the description is reasonably precise, particularly the straw hat worn by the mother and the young nurse who has taken the place of the old crone at the side of the cradle.[5] Yet its composition cannot be described as “completely different” from the Washington version, if that is the one accepted as Leroy de Senneville’s larger picture.[6]

The emergence of another version of the subject, from a collection in Estonia, could help to resolve the puzzle [FIG. 2]. Recently published by Jean-Pierre Cuzin, the canvas is characterized by a “broad and fluent handling” — much more so than the National Gallery’s painting — and indeed could be described as “hardly finished,” particularly in the background figures, the dog at lower left, and the bedclothes in the center, where the paint film is thin, revealing the brown ground layer. Moreover, it features the requisite eight figures, and its composition is undeniably “completely different” from the smaller Rothschild version.[7] Of all the known variants, it best fits the descriptions in the Leroy de Senneville sale catalogues. If that is the case, the early history of the Washington painting remains to be discovered.[8]

Far from being unfinished, The Visit to the Nursery appears to have been carefully prepared and executed. Fragonard worked out the composition in a large oil sketch, a practice he employed on only rare occasions in his smaller canvases [FIG. 3].[9] Painted more fluidly and broadly, the sketch nevertheless established the principal distribution of forms and lighting that appear in the National Gallery’s painting. In the final conceptualization, Fragonard made the composition slightly more horizontal and worked up the details — particularly of the faces — with a finer technique and more evenly applied paint surface (which the artist enlivened by mixing sand or some other grainy material into the ground layer). Only slightly smaller than the final version, it was perhaps intended to convey to the patron what the finished painting would look like. Unfortunately, the provenance of this oil sketch cannot be traced back to the eighteenth century, further frustrating an identification of Fragonard’s patron.[10]

The specific subject of The Visit to the Nursery has been interpreted in various ways. For Roger Portalis it represented parents visiting their child at the home of a wet nurse; he suggested that Fragonard’s painting indicated that Rousseau’s condemnation of the practice of wet-nursing in Émile had not yet taken hold in French society.[11] Georges Wildenstein felt that here, as in all his family pictures, Fragonard was responding to his own presumably happy domestic life.[12] Mary Sheriff, whose complex and nuanced analysis of the painting focused on its ambiguous depiction of class identity and gender roles, also understood it as probably depicting an urban couple visiting their child in the rural home of a wet nurse.[13]

Yet in 1780 the two versions owned by Leroy de Senneville (presumably figs. 1 and 2) were identified as representing a scene from Jean François de Saint Lambert’s sentimental tale, Sara Th. . . .[14] First published in 1765, this moralizing romance tells the story of a beautiful and well-bred young English woman who falls in love with a humble but educated Scottish farmer. Forsaking an arranged marriage, Sara weds the farmer, Philips, and the couple lives happily and productively on the farm, their relationship and attitude toward life continually inspired by the extraordinary library that was the gift of her father (among its volumes are copies of Samuel Richardson’s Pamela and Rousseau’s Émile). Saint Lambert’s tale is a paean to sensibilité, the virtues of honesty and sincerity, and the emotional satisfaction of parenthood. Notably, Sara breastfeeds her children, and one of Saint Lambert’s points is that such “natural” mothering is a primary reason for their intimate familial bonding. The scenes depicted in Fragonard’s paintings are evidently the one witnessed by the story’s narrator, a traveler who visits Sara and Philips at their farmhouse: “I saw them enter a room off the garden, its window open: they went together to a cradle where their fifth child was lying; the two of them knelt by the cradle, by turn looking at their child and at each other, all the while holding hands and smiling. I was enchanted by this touching scene of conjugal love and parental tenderness.”[15]

Can one assume that the subject of the National Gallery’s painting is also drawn from Saint Lambert’s tale, even though it cannot definitively be identified with the picture described in the Senneville sale?[16] Its general subject, specific actions, and overall mood are entirely consistent with the story of Sara and with Fragonard’s representation of the key moment in the small version in the Rothschild Collection (fig. 1). The depiction of Sara herself is remarkably similar to the description of Saint Lambert’s narrator: “a woman of twenty-five or thirty, she was blonde and fresh, if a bit sunburned; she had large dark eyes and a very white throat, which she left completely exposed.”[17] One would not demand or expect that Fragonard be so literal in his conception, but if additional evidence were needed, it has been provided by Emma Barker: she recognized the striking relationship between The Visit to the Nursery and an engraving after a design by Jean Michel Moreau le Jeune for an edition of Saint Lambert’s tale published around 1776.[18] The images are so similar in composition and details — for example, the pairing of the two children at the right edge, the tilt of Sara’s head, the cat and ball — as to suggest the artists were responding directly to each other’s work. Barker believed that Moreau’s print must have come first, “since it explains the elegant dress, befitting a prosperous farmer and his wife, which sets the couple apart from the figures who people Fragonard’s other rural genre scenes.”[19] Yet surely Fragonard did not need Moreau’s example, since figures in elegant dress populate his genre scenes throughout his oeuvre, even if he may have been inspired by the 1775 luxury illustrated edition to paint a series of pictures based on the story of Sara. In any case, he made the subject his own, reimagining the scene as a broad and stable horizontal composition (as opposed to Moreau’s strongly vertical arrangement) and introducing the elderly woman in place of the old man (Sara’s father) who appears in the print. She has been identified convincingly not as a wet nurse but as a sage-femme, or midwife.[20]

As is often the case with Fragonard’s oeuvre, the date of the present painting has proved elusive, and scholars have placed it anywhere from the mid-1760s to the late 1770s, a time when he is considered to have painted several other family pictures.[21] The Visit to the Nursery is an unusually classical composition consisting of a series of horizontal, vertical, and triangular forms arranged neatly before the viewer, which might argue for the earlier dating in the mid-1760s, near the time of the grand Corésus and Callirhoé (Salon of 1765; Paris, Musée du Louvre), his most academic production. Yet the blond tonality, the figure types, and the evenly applied paint surface point more toward the mid-1770s. This date would be consistent with the appearance of Moreau’s engraving around 1775. Alexandre Ananoff published a pen and wash drawing that closely resembles this painting. Rather than being a study, this highly finished drawing would appear to have been done afterward, as a finished work of art in its own right, as Colin Eisler proposed.[22] It first appeared in a sale in 1779, suggesting a terminus ad quem for the date of the oil

This text was previously published in Philip Conisbee et al., French Paintings of the Fifteenth through the Eighteenth Century, The Collections of the National Gallery of Art Systematic Catalogue (Washington, DC, 2009), 182–187.

________________________________

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...

..

________________________________

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...

.

Jean Honoré Fragonard - French, 1732 - 1806

The Visit to the Nursery, c. 1775

West Building, Main Floor — Gallery 54

Two women, a man, and three small children gather around a baby sleeping in a wicker cradle near an open window in this horizontal painting. The people all have pale skin with rosy cheeks. The cradle is just to left of center of the composition. It has a half canopy to shade the baby, and it sits on rockers. The baby sleeps with chubby arms over the covers tucked around the body. A woman sits on a low chest next to and on our side of the crib, near the lower left corner of the canvas. She has a prominent nose and jutting chin. She wears an oatmeal-brown bonnet and apron, and a muted red dress. She holds a staff with fabric or a spindle at the top tucked in one elbow, and the other hand rests on the canopy. A white cat lies like a loaf next to her feet. On the far side of the crib, a clean-shaven man kneels on a low platform covered by a pillow at the foot of the cradle and leans into the arms of a standing young woman. The man has a pointed nose and rounded chin, and he looks with heavy-lidded eyes at the baby. His long gray hair is tied at the nape of his neck, and he wears an ice-blue and tan long-tailed coat, breeches, and stockings. He rests one cheek against the arm of the woman who stands at his far shoulder. Her body faces the man, and she rests her other hand on his shoulder as she turns to look at the baby. A round, broad-brimmed hat casts a shadow over her delicate nose and round cheeks, and she wears a white dress with elbow-length sleeves and a full skirt. Three children stand behind the man’s feet and along the right edge of the canvas. The child closest to us has carrot-orange hair tied in a bun with a blue ribbon. She wears a white, puffy-sleeved shirt, and a parchment-white apron bunched over a pale pink skirt. She faces our left in profile, looking at the man, and holds one end of a ball of yarn that has rolled away from her. The boy behind her stands with his body facing us as he looks up and to our left. He wears a yellow jacket and a broad-brimmed hat pushed back on his head. Only the forehead and eyes of an even smaller child standing behind this pair are visible. Voluminous curtains part to either side of a window at the head of the cradle, near the upper left corner of the composition. An unlit lantern sits on the sill, and the sky beyond is dusk-blue. Bright light shines into the room, especially onto the man and woman and three children. A piece of furniture, perhaps a wardrobe, is on the far wall behind the woman, and the door to the room is open behind the children.

Fragonard is usually associated in the popular imagination with amusing and mildly erotic works, yet he was also an observant and sometimes sincere painter of family life. The Visit to the Nursery is one of his more ambitious and successful domestic scenes, a touching and evocative image of parental affection. In a rustic interior, a fashionable young couple gaze lovingly at their sleeping child, who is looked after by an elderly woman seated beside the cradle. Three other children have wandered into the room and look on attentively. A soft light spills through the parted drapes at left, illuminating the scene with an ethereal glow. The quasi-devotional tenor of the scene is not unlike that found in Fragonard’s The Happy Family, although the characters are more fashionably dressed. The motif of a young husband and wife admiring their infant was popularized by such artists as Jean-Baptiste Greuze (French, 1725 - 1805),[1] and the theme undoubtedly would have had wide appeal in the years following Jean Jacques Rousseau’s (1712 – 1778) educational treatise Émile (1762), which advocated the development of emotional bonds between parents and their children.

The subject of a well-to-do couple admiring their sleeping child must have had a certain appeal for Fragonard, for he painted a number of variants. Several versions were circulating in Paris in the 1780s and 1790s, when there was a particularly active market for Fragonard’s work. The National Gallery of Art’s painting traditionally has been associated with one that appeared in the 1780 sale of Jean François Leroy de Senneville (1715 – 1784), a fermier général and important client of Fragonard; at one point he owned Young Girl Reading. The compiler of the sale catalogue, the dealer A. J. Paillet, described it in glowing terms: “This piece, with its broad and fluent handling, brings together all the spirit and the character suitable to the subject.” According to Paillet, “the picture is composed of eight figures, in which the subject is taken from the novel of Miss Sara by M. de Saint Lambert. This interesting composition represents the moment when the two spouses come to visit their child.”[2] This description is a plausible one for the National Gallery’s painting, although it has seven figures, not eight. When Leroy de Senneville’s painting came on the block again in 1784, the sale catalogue repeated the earlier description, with the addition that “this work . . . makes a great impact even if it is hardly finished,” a characterization difficult to reconcile with the National Gallery’s painting, which has all the appearance of a completed work.[3]

The issue is complicated further by the fact that Leroy de Senneville owned a second version of the subject, smaller and with “a completely different composition, in which one counts four figures, the principal one a pretty young woman wearing a straw hat; her husband sitting beside her appears to admire a child in his cradle, on which his nurse leans.”[4] The best candidate for this second version is a painting in the Rothschild Collection [FIG. 1], despite there being seven figures (Paillet easily might have overlooked the three children at right): the dimensions he recorded are accurate, and the description is reasonably precise, particularly the straw hat worn by the mother and the young nurse who has taken the place of the old crone at the side of the cradle.[5] Yet its composition cannot be described as “completely different” from the Washington version, if that is the one accepted as Leroy de Senneville’s larger picture.[6]

The emergence of another version of the subject, from a collection in Estonia, could help to resolve the puzzle [FIG. 2]. Recently published by Jean-Pierre Cuzin, the canvas is characterized by a “broad and fluent handling” — much more so than the National Gallery’s painting — and indeed could be described as “hardly finished,” particularly in the background figures, the dog at lower left, and the bedclothes in the center, where the paint film is thin, revealing the brown ground layer. Moreover, it features the requisite eight figures, and its composition is undeniably “completely different” from the smaller Rothschild version.[7] Of all the known variants, it best fits the descriptions in the Leroy de Senneville sale catalogues. If that is the case, the early history of the Washington painting remains to be discovered.[8]

Far from being unfinished, The Visit to the Nursery appears to have been carefully prepared and executed. Fragonard worked out the composition in a large oil sketch, a practice he employed on only rare occasions in his smaller canvases [FIG. 3].[9] Painted more fluidly and broadly, the sketch nevertheless established the principal distribution of forms and lighting that appear in the National Gallery’s painting. In the final conceptualization, Fragonard made the composition slightly more horizontal and worked up the details — particularly of the faces — with a finer technique and more evenly applied paint surface (which the artist enlivened by mixing sand or some other grainy material into the ground layer). Only slightly smaller than the final version, it was perhaps intended to convey to the patron what the finished painting would look like. Unfortunately, the provenance of this oil sketch cannot be traced back to the eighteenth century, further frustrating an identification of Fragonard’s patron.[10]

The specific subject of The Visit to the Nursery has been interpreted in various ways. For Roger Portalis it represented parents visiting their child at the home of a wet nurse; he suggested that Fragonard’s painting indicated that Rousseau’s condemnation of the practice of wet-nursing in Émile had not yet taken hold in French society.[11] Georges Wildenstein felt that here, as in all his family pictures, Fragonard was responding to his own presumably happy domestic life.[12] Mary Sheriff, whose complex and nuanced analysis of the painting focused on its ambiguous depiction of class identity and gender roles, also understood it as probably depicting an urban couple visiting their child in the rural home of a wet nurse.[13]

Yet in 1780 the two versions owned by Leroy de Senneville (presumably figs. 1 and 2) were identified as representing a scene from Jean François de Saint Lambert’s sentimental tale, Sara Th. . . .[14] First published in 1765, this moralizing romance tells the story of a beautiful and well-bred young English woman who falls in love with a humble but educated Scottish farmer. Forsaking an arranged marriage, Sara weds the farmer, Philips, and the couple lives happily and productively on the farm, their relationship and attitude toward life continually inspired by the extraordinary library that was the gift of her father (among its volumes are copies of Samuel Richardson’s Pamela and Rousseau’s Émile). Saint Lambert’s tale is a paean to sensibilité, the virtues of honesty and sincerity, and the emotional satisfaction of parenthood. Notably, Sara breastfeeds her children, and one of Saint Lambert’s points is that such “natural” mothering is a primary reason for their intimate familial bonding. The scenes depicted in Fragonard’s paintings are evidently the one witnessed by the story’s narrator, a traveler who visits Sara and Philips at their farmhouse: “I saw them enter a room off the garden, its window open: they went together to a cradle where their fifth child was lying; the two of them knelt by the cradle, by turn looking at their child and at each other, all the while holding hands and smiling. I was enchanted by this touching scene of conjugal love and parental tenderness.”[15]

Can one assume that the subject of the National Gallery’s painting is also drawn from Saint Lambert’s tale, even though it cannot definitively be identified with the picture described in the Senneville sale?[16] Its general subject, specific actions, and overall mood are entirely consistent with the story of Sara and with Fragonard’s representation of the key moment in the small version in the Rothschild Collection (fig. 1). The depiction of Sara herself is remarkably similar to the description of Saint Lambert’s narrator: “a woman of twenty-five or thirty, she was blonde and fresh, if a bit sunburned; she had large dark eyes and a very white throat, which she left completely exposed.”[17] One would not demand or expect that Fragonard be so literal in his conception, but if additional evidence were needed, it has been provided by Emma Barker: she recognized the striking relationship between The Visit to the Nursery and an engraving after a design by Jean Michel Moreau le Jeune for an edition of Saint Lambert’s tale published around 1776.[18] The images are so similar in composition and details — for example, the pairing of the two children at the right edge, the tilt of Sara’s head, the cat and ball — as to suggest the artists were responding directly to each other’s work. Barker believed that Moreau’s print must have come first, “since it explains the elegant dress, befitting a prosperous farmer and his wife, which sets the couple apart from the figures who people Fragonard’s other rural genre scenes.”[19] Yet surely Fragonard did not need Moreau’s example, since figures in elegant dress populate his genre scenes throughout his oeuvre, even if he may have been inspired by the 1775 luxury illustrated edition to paint a series of pictures based on the story of Sara. In any case, he made the subject his own, reimagining the scene as a broad and stable horizontal composition (as opposed to Moreau’s strongly vertical arrangement) and introducing the elderly woman in place of the old man (Sara’s father) who appears in the print. She has been identified convincingly not as a wet nurse but as a sage-femme, or midwife.[20]

As is often the case with Fragonard’s oeuvre, the date of the present painting has proved elusive, and scholars have placed it anywhere from the mid-1760s to the late 1770s, a time when he is considered to have painted several other family pictures.[21] The Visit to the Nursery is an unusually classical composition consisting of a series of horizontal, vertical, and triangular forms arranged neatly before the viewer, which might argue for the earlier dating in the mid-1760s, near the time of the grand Corésus and Callirhoé (Salon of 1765; Paris, Musée du Louvre), his most academic production. Yet the blond tonality, the figure types, and the evenly applied paint surface point more toward the mid-1770s. This date would be consistent with the appearance of Moreau’s engraving around 1775. Alexandre Ananoff published a pen and wash drawing that closely resembles this painting. Rather than being a study, this highly finished drawing would appear to have been done afterward, as a finished work of art in its own right, as Colin Eisler proposed.[22] It first appeared in a sale in 1779, suggesting a terminus ad quem for the date of the oil

This text was previously published in Philip Conisbee et al., French Paintings of the Fifteenth through the Eighteenth Century, The Collections of the National Gallery of Art Systematic Catalogue (Washington, DC, 2009), 182–187.

________________________________

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...

..

________________________________

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...

.

Simon Kang’ethe, genebank database officer, conducts seed characterization of 'Annona squamosa' using the Marvin5 seed analyser. The Marvin5 helps genebank staff to count and measure (length, width and shape) seeds quickly. Photo: Michael Major/Crop Trust

Characterization at the Central Neutralization Facility at East Tennessee Technology Park is necessary before demolition begins.

Site - NETL-Albany

Date - April 29, 2025

Building - High Pressure Immersion and Reactive Transport Lab, B26-103, 106

Individuals photographed -Zineb Belarbi and Sophia Bauer

Critical Minerals and Materials Research

NETL is focused on delivering a path to domestic supplies of critical minerals from unconventional feedstocks. Work is focused on developing processes that can enable the economically competitive recovery of critical minerals from these new feedstocks and on developing and utilizing key characterization data to make better predictions of prospective critical mineral resources. NETL leads teams across DOE’s national laboratory complex to support this mission. In METALLIC, NETL is leading a group of 9 DOE National Labs to de-risk critical material supply chains. The ORE-Lab is part of METALLIC and will serve as a testbed for processes related to battery minerals. In emerging HERMES, NETL is leading a group of 7 DOE National Labs to exploit advances in characterization and AI/ML for a defensible approach to valorize unconventional feedstocks (a key step in building business cases); the GAIA Lab in Albany will support the HERMES effort by developing innovative AI/ML methods for the conceptual feedstock models that underpin valorization approaches. In another AI/ML effort, EDX-ClaiMM provides an innovative platform to improve our integration and utilization of critical-mineral data at a national level.

CO2 Storage Stability, Seal Integrity, Drilling Fluid Performance, Corrosion, Critical Minerals, and REE

This lab is a multi-functional, state-of-the-art facility capable of performing geological and material studies that support several portfolios and directorates. Equipment can simulate depths up to 10,000 feet, providing an experimental basis for modeling of various subsurface phenomena and processes. The laboratory has a wide range of tools and instrumentation to ensure a complete cycle of scientific studies from preparation of representative samples, through the preliminary measurements of basic properties, to the advanced investigation of the processes of interest under simulated subsurface conditions. The laboratory contains rocking autoclaves and continuously stirred autoclave reactors, which are used to conduct experiments at high pressures and temperatures to investigate geochemical interactions. Research is aimed at monitoring the long-term storage stability and integrity of CO2 (or other flue gases) stored in geologic formations to better simulate conditions found in potential geologic storage sites. The flow-through systems that can simulate CO2-enhanced oil recovery, gas-water-rock interaction of core samples under CO2 storage conditions and simulate the interaction between drilling fluids and the borehole wall. Material and alloy research aim to reduce the corrosion on the inside of natural gas pipelines, specifically by using of coatings and linings of the pipe. Corrosion evaluation of chromium steels for low-temperature recuperators is performed under elevated temperatures and pressures simulating direct-fired supercritical carbon dioxide power cycle environment. The laboratory is also set up to handle large quantities of coal, coal by-products and waste, and underclay materials (55 gals or 15 kg) to simulate large batch mining efforts and in-situ recovery efforts of critical metals and rare earth elements.

Gaiaca provides Waste Management Services, Environmental Consulting & Industrial Hygiene, consulting, transportation, processing, and disposal services for the cannabis industry. For more info: gaiaca.com/

How often does one ever have a beautiful day. To get up in the morning, feeling great, to travel through your day enjoying every aspect and feature the day serves up, and to put the day to bed with equal joy, would be one possible characterization of a beautiful day. With such a definition, however, one might allow slight deviations in parts of their day to hinder the entire notion. Depending on your outlook, one might translate the day as being beautiful, good, or bad, simply based on the turning of a few critical moments at some point along the way. Is the glass half full or half empty. This is the kind of metric which can be applied to a day as well. If one considers the most beautiful semblances encountered in a day and combines them together into an abridged package, a superb amalgamation is the result.

It's not always easy to simply take this advice and represent a day as only the best pieces tied up in a knot. Sometimes one has to make a few good pieces for themselves. Don't just sit around and take too much of the bad part of a day, without trying to consider the good or if drastic measures are needed, find the good somewhere else. Get out of your environment, and go somewhere else for a while, just to give your day a piece of beauty. And don't forget, its all around you, only for you to find it. "Beauty to find in so many ways, if we could but perceive."

Materials Characterization Facility, Texas A&M University

Texas A&M University may or may not have model releases for people photographed on campus, in classrooms, research laboratories, or other areas related to Texas A&M. Use of the images for non-university purposes is subject to approval. Please contact the Office of Communications and Public Relations, Division of Research for further information: vpr-communications@tamu.edu or (979) 845-8069.

Iron Shell, LLC

415 N Plumer Ave, Tucson, AZ 85719

520-207-9043

ecorp.azcc.gov/Details/Corp?corpId=L17508699

Patent - CURABLE COMPOSITION, PASTE, AND OXIDATIVELY CARBONATED COMPOSITION

Strain energy and process zone based fracture characterization

of a novel iron carbonate binding material.

Iron Shell, LLC has developed a carbon-negative, iron-based binder for use with recycled materials — as an alternative to regular concrete. Their green product, Ferrock-TM, uses sustainable materials and has reduced environmental impact, greater flexural strength and resistance to salt water corrosion.

His characterization was perfect.

George Long’s American Literature students used active and collaborative reading exercises to come to terms with The Great Gatsby. Here, the class examines details of characterization to construct a more holistic understanding of the text and insert their voices into the intellectual conversation. Photography by Glenn Minshall.

Example of a B251 Blue Cave Glovebox. Following Characterization, the Equipment and Materials Stored Inside the Unit are Removed. The next Step is to Decontaminate and Package the Glovebox for Shipment.

For more information or additional images, please contact 202-586-5251.

George Long’s American Literature students used active and collaborative reading exercises to come to terms with The Great Gatsby. Here, the class examines details of characterization to construct a more holistic understanding of the text and insert their voices into the intellectual conversation. Photography by Glenn Minshall.

Simon Kang’ethe, genebank database officer, conducts seed characterization of 'Annona squamosa' using the Marvin5 seed analyser. The Marvin5 helps genebank staff to count and measure (length, width and shape) seeds quickly. Photo: Michael Major/Crop Trust

Flint is the state gemstone of Ohio. "Flint" is sometimes used as a lithologic term by modern geologists, but it is a synonym for chert. Flint and chert are the same - they are cryptocrystalline, quartzose sedimentary rocks. Rockhounds often assert that flint is high-quality while chert is low-quality. Some geologists assert that "flint" implies a biogenic origin and "chert" implies a chemical origin.

Many cherts do have a chemical origin - chert nodules are moderately common in some limestone units. The nodules form during diagenesis - pre-existing silica components in the carbonate sediments are dissolved, mobilized, and reprecipitated as chert masses. Some cherts do have a biogenic origin - for example, radiolarian cherts (rich in radiolarian microfossils) or spicular cherts (rich in siliceous sponge spicules).

The most famous flint deposit in Ohio is Flint Ridge, in Licking County. At this locality, the Middle Pennsylvanian-aged Vanport Flint is exposed in several places. The geologic literature on the Vanport Flint is relatively sparse, with inaccurate, incomplete descriptions and characterizations. For example, the literature describes the Vanport as a sheet of flint at Flint Ridge - it's actually a meganodule horizon. Other descriptions refer to the chert as the remains of siliceous sponges. In reality, siliceous sponge spicules are quite scarce in Vanport samples.

Two graduate student projects during the 2000s, conducted at two different universities, had very different conclusions & interpretations about the origin of the Vanport Flint. A 2003 study concluded that chert at Flint Ridge is biogenic in origin. A 2006 study concluded that the chert is chemical in origin.

Modern flint knappers value the Vanport Flint for being multicolored and high-quality (= very few impurities). With artificial heating, the flint is more easily knapped into arrowheads, spear points, and other objects. Prehistoric American Indians quarried the Vanport Flint at many specific sites on Flint Ridge. Old flint pits can be seen in Flint Ridge State Park. Many authentic artifacts found in Ohio (arrowheads & spearpoints - "projectile points") and elsewhere are composed of Vanport Flint.

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Info. from park signage:

FLINT RIDGE

For more than 10,000 years, Flint Ridge was one of the most important flint quarries in eastern North America. The flint formed at the bottom of a shallow ocean 300 million years ago. The softer rocks surrounding the flint have washed away, leaving the hard flint exposed near the surface. Prehistoric people came here to quarry the flint, which they crafted into a variety of stone tools. Hundreds of quarry pits and workshops are scattered for miles along this ridge. The beautiful rainbow-colored flint was especially prized by the Hopewell culture that built the nearby Newark Earthworks. Artifacts crafted from Flint Ridge flint may be found throughout eastern North America. In more recent times, local industries quarried the flint for use as grindstones.

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FLINT RIDGE

Flint Ridge is a chain of long, narrow hills extending from a few miles east of Newark almost to Zanesville, a distance of more than twenty miles. The surface of these hills is underlaid with an irregular layer of flint, which may be only a few inches or several feet in thickness and varies greatly in color and texture. In many places along this ridge, the soil has been eroded, revealing the underlying flint. You are standing at one of these outcroppings.

Flint is formed by a geologic process whereby the softer limestones and shales are replaced with much harder silica. Due to its high quartz content, flint polishes beautifully and exceptional pieces of jewelry can be made from it. The 106th General Assembly designated flint as Ohio's offical gem stone in 1965 because of its occurrence in several parts of Ohio, particularly Flint Ridge, and because of its importance as a semi-precious gem stone.

Flint is both hard and brittle and thus can be broken into pieces that have razor sharp edges. For this reason, Indians as long as 9000 years ago traveled to this ridge to secure the rock for making projectile points, knives, and scrapers. The area is now covered with hundreds of shallow pits from which flint has been quarries through the ages; several are visible along the trails. The prehistoric Indians broke off chunks of flint with stone mauls and pried them out of the pits with wooden poles. They broke the chunks into usable pieces with hammerstones and then proceeded to chip the flint for various purposes.

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FLINT RIDGE

The history of American Indians in Licking County goes back 14,000 years, and countless generations of native people spent full and varied lives in this area. Probably the best known are those whom archaeologists identify as the Hopewell, who left their imprint in the form of monumental earthworks, including the Newark Earthworks located just 11 miles from here.

Flint - specifically, Vanport or Flint Ridge flint - contributed significantly to this rich human history. As you stand here today at Flint Ridge Ancient Quarries & Nature Preserve, you're standing a few feet above a layer of flint 10-12 feet thick that stretches for 8 miles from east to west and for 3 miles from north to south. This flint deposit is so large that it actually shapes the landscape of Flint Ridge. First, it influences how and where trees grown and fall. Second, 14,000 years' worth of quarrying by the people who originally lived here changed the area's ecology.

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THIS QUARTER-MILE TRAIL SHARES THE STORY OF FLINT RIDGE

FLINT: "OHIO'S GEMSTONES", BUT WHY?

Vanport flint formed at the bottom of an ocean millions of years ago, and its unique properties made it a valuable source of material for crafting tools for ancient American Indians and early European settlers. Today, Vanport flint, with its rich and varied colors, is prized as Ohio's state gemstone.

TECHNOLOGY: MINING AND CRAFTING FLINT

The quarries and workshops at Flint Ridge are the traces of Ohio's first industry. The flint was dug from the ground and shaped into many kinds of tools.

THE PEOPLE OF THE RIDGE

Studying flint tools found in this area - how they were made and how they were used - provides insight into the American Indian people who lived in central Ohio prior to European contact.

NATURAL HISTORY: FOR EVERYTHING THERE IS A SEASON

The ancient flint quarries have becom vernal pools (temporary wetlands) that are now home to a variety of plants and animals. In addition, the presence of the flint layer just a few feet underneath the soil greatly influences the ways that trees in the area grow.

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OHIO'S GEMSTONE

VANPORT FLINT

The flint deposits at Flint Ridge are found in rocks of the geologic era known as the Pennsylvanian Period (299-320 million years ago). These deposits are the largest and purest occurrence of flint in the state. Technically called "Vanport Flint", Flint Ridge flint occurs in layers from 10 to 12 feet thick at this site. Vanport flint is particularly notable for its array of colors. Flint ranges in color from white to black, but is usually light gray to milky white and often mottled with patches and streaks. Other colors, however, such as bright red, yellow, green, and blue make Vanport flint unique. It can be so colorful that it's commonly referred to as Ohio's "rainbow" flint. The unusual beauty and historical importance of Flint Ridge flint earned it the title of Ohio's official gemstone in 1965.

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WHAT IS FLINT?

Flint is a sedimentary rock - it formed from sediment, material that settled millions of years ago to the bottom of the seas that covered what is now Ohio. Flint is a type of the common mineral quartz. It's one of the "microcrystalline" forms of quartz, meaning that its crystals are so small they can't be seen without magnification. The crystals are also tightly locked together, which gives flint its even consistency and hardness. These and other properties of flint make it an ideal material for creating sharp, durable tools.

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PEOPLE AT FLINT RIDGE THROUGH TIME

During the Middle Woodland Period (2,000 to 1,500 years ago), Ohio's American Indian culture began to quarry Flint Ridge flint on a more industrial scale. They still used the flint to make the tools needed for the tasks of daily living, but now they began to create specialty items, such as bladelet cores and teardrop-shaped knives. These were signature artifacts of the Hopewell culture (1-450 A.D.), and Hopewell people used these beautiful objects, as burial offerings, ceremonial gifts, and trade items for distribution from special places such as the Newark Earthworks.

After the decline of the Hopwell culture, later residents focused on using tool materials closer to their homes, and the use of Flint Ridge flint fell sharply. When Europeans introduced their trade goods to American Indians in the 1700s, Flint Ridge was all but abandoned. For a brief period in the 1800s to the 1920s, however, European Americans quarried Flint Ridge flint to make millstones and sandpaper.

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PEOPLE AND TECHNOLOGY

MINING AND CRAFTING FLINT

At Flint Ridge, ancient American Indians quarried the flint from pits they laboriously dug by hand into the bedrock. Many of these pits are still visible along the park trails. Once the flint was exposed, it was struck with hammer stones to break it into large chunks, which where then pried out of the surrounding rock with wooden poles.

Favorable pieces of flint were carried off to be knapped - expertly chipped and worked into tools. When flint is struck, it breaks into chunks withe edges as sharp as glass, and a skilled flint worker, or "knapper", can shape raw flint into precisely formed tools such as spear points, knives, scrapers, and drills. Ancient flint workers sometims used fire to heat the flint, which made it easier to knap. Heating flint also made its colors more vibrant.

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PEOPLE AT FLINT RIDGE THROUGH TIME

From the Paleoindian Period of North American history, which began around 14,000 years ago, through the Early Woodland Period, which ended about 2,000 years ago, ancient American Indians came to Flint Rigde when they needed flint to make new tools to replace those that were worn or broken. These early Americans probably came to the quarries at the same time each year, and their gatherings were not only an opportunity to obtain the needed flint, but also to meet friends and relatives they hadn't seen for many months.

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FOR EVERYTHING THERE IS A SEASON

The extensive flint deposits at Flint Ridge and the quarrying by early residents influenced the local ecosystem, including how nonhuman inhabitants thrive here and how trees grow in the area. Mining activities at Flint Ridge ceased hundreds of years ago, but the flint pits dug by ancient Americans remained.

The ancient flint quarries have become vernal pools (temporary wetlands) that are now home to a variety of plants and animals. The flint layer just a few feet beneath the soil hinders drainage, which influences the species of trees living here.

At Flint Ridge, the vernal pools are critical breeding grounds for 10 species of salamander. Several native species are unusual for the area, including the four-toed salamander, which is a "Species of Concern" in Ohio. Thriving and diverse native amphibian populations, such as those found at Flint Ridge, indicate that an ecosystem is healthy.

In addition to numerous animals, this seasonal forested wetland supports several kinds of trees. American beech trees prefer wet areas, and you can see a number of them neaby. Look for their smooth, gray "elephant leg" tunks and cigar-shaped buds. Other species that thrive in this ecosystem include oak, maple, hickory, sycamore, dogwood, redbud, hop hornbeam, cherry, elm, and sweetgum.

The trees' lives may be shortened because the flint underneath the soil blocks downward root growth, making the trees less stable.

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Stratigraphy: Vanport Flint, Allegheny Group, upper Middle Pennsylvanian

Locality: prehistoric flint pit, Flint Ridge State Park ("Flint Ridge State Memorial"; "Flint Ridge Ancient Quarries & Nature Preserve"), southeastern side of the Flint Ridge Road-Brownsville Road intersection, southeastern Licking County, east-central Ohio, USA (vicinity of 39° 59' 15.01" North latitude, 82° 15’ 44.39" West longitude)

102nd CST Multi-Agency Training Event

The Oregon National Guard 102nd Civil Support Team (CST) trained with multi-agency partners during the Joint CBRN Characterization, Exploitation, and Mitigation Course (JCCEM) on June 9, 2022, in Stayton, Ore.

The training partners consisted of the Federal Bureau of Investigation (FBI) Team, United States Department of Energy Radiological Assistance Team Region 8, Oregon State Police Bomb Squad, Portland Police Department Bomb Squad, Eugene Bomb Squad, and the Washington National Guard 10th CST. The JCCEM training was provided by Eniwetok Group, LLC (EGL). The participants were placed in multi-agency teams and sent to investigate mock simulated Chemical, Biological, Radiological, and Nuclear (CBRN) situations. The group would then work through a solution to address the hazards.

(U.S. Army National Guard photo by Maj. W. Chris Clyne, Oregon National Guard Public Affairs)

Leonidas Frank Chaney, He is best remembered for his characterizations of tortured, often grotesque and afflicted characters

An Argonne/University of Tennessee research team reconstructed the crystal structure of BAP, a protein involved in the process by which marine archaea release carbon, to determine how it functioned, as well as its larger role in carbon cycling in marine sediments.

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Research was performed at the Advanced Photon Source and the Advanced Protein Characterization Facility.

Image courtesy Andrzej Joachimiak/Argonne National Laboratory

These items are bound for the landfill. We can't currently recycle or compost them, so we'll need to develop a plan to reduce, reuse, or find a new recycling solution. Malley Center, August 2012. Photo by SCU Office of Sustainability.

From a friend's characterization of Seattle, years ago.

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The WAND instrument, beam line HB-2C, at Oak Ridge National Laboratory’s High Flux Isotope Reactor, recently received a new detector for improved characterizations of materials in extreme environments at the microscopic level—courtesy of Los Alamos National Laboratory. Both ORNL and LANL are Department of Energy laboratories.

WAND instrument scientist Matthias Frontzek says the renewed role of the re-serviced 2-D detector will enable researchers to build 3-D images, designed to help track changes in magnetic behavior in experiments using single crystals.

Read the full story: neutrons.ornl.gov/content/new-2-d-detector-promises-expan...

“Hair Lust,” a series of drawings by illustrator Laura Rosenbaum debuted at the opening of HurlyBurly, the Graduate Illustration group show at the Museum at the Fashion Institute of Technology that opened on June 7, 2011.

Rosenbaum portrays characterizations of hair envy, lust, and fascination in her sketchbook. Using lines and simple poetry, she expresses how women feel about their different hair textures and how they use their manes to define themselves. Describing the project, Rosenbaum stated: “Nothing else quite compares to the way a girl sees herself through her hair. My capstone project, ‘Hair Lust,’ is a series of intimate drawings and prose about the introspective relationship between girls and their hair.”

“My drawings speak to this magical fiber, its silky lure, and all the yearning it induces. Whether it is curly, straight, wavy, kinky, fluffy, or thin, it slides, bounces, and dances, creating a life of its own,” she continued.

The images in “Hair Lust” present beauty through a spectrum of different hair types. Sometimes humorous and sometimes longing, Rosenbaum’s drawings and prose flirt with magic and desire.